Back in 1981, before graduating from film academy, I had already pulled focus on a 35mm

feature, and then came a 16mm short film for another film academy (competitor to mine!)

because I was requested to do so.

These 2 rare occasions made me move onto the business as focus puller, the decision was done!

After a brief career start operating documentary on video and shooting ENG or EFP for RTL

(Luxembourg), I started focusing 35mm high-level documentaries for NATO and UK producers,

so did I dedicate to focus pulling and I never quit since then (1985).

Working then aside (for 7 years) as film camera/lenses technician in a major Belgian rental

house, I learned a lot about technology and that tremendously helped me understanding the way

camera & lenses were designed and how to maintain them working on set, in every situation, up

to the most unexpected.

That gave me new opportunities and opened a new world when I started shooting mainly

commercials & features.

Since then I have been working in 66 countries around the world, mostly focus pulling

but also often operating camera on major movies & commercials with a remote-control aerial

helicopter (flying-cam).

I have so been working with +/- 500 directors of photography coming from over 25 countries,

and since 1985 I shot more than 1500 commercials with 150 production companies from 42

different countries.

All this alongside the movies listed on the webpage you are looking at.

Speaking 4 languages, understanding 3 more, producers very often booked me to meet foreign

crews or operators/DP's coming to shoot in my countries (French born, living in Brussels), and

that also gave me these opportunities to travel that much.

First in mind is always serving the operator and the cinematographer.

Alongside I use a dedicated, trained and organised crew and the appropriate technology, when

producers give me that opportunity!

I have always been defending the right amount of people & equipment on set.

I like:

* great scripts, nice story-telling

* strong composition and diligent blocking to give the writing and acting real life

* great "on-purpose" camera moves at the right time

* nice cuts because they enhance story-telling

* great static shots also, because they are worth it!

* acting with emotions, and talents understanding a crew might have to shoot it again to make

them look/sound great!

* long lenses compressing and flattening DOF, making focus more selective, not allowing the eye

to travel and forcing the audience to observe only one thing

* and also, a wide/mid lens making the audience looking and understanding his/her own way

* available light because Mother Nature is Magic

* subtle lighting on set which is enhancing the story and the vision of both cinematographer and


* organised camera crew, trained and taking care of the gear to the utmost but never above

expectations or over the way it's been built for

* my AC's being like my many arms (like the Indian divinity Kali) as I totally rely on them, so I

can be dedicated to my focus

* operators making the right move at the right time or even leave their camera rock-solid

because the set explains it all

* teaming up and becoming part of a family, shooting a film like raising a kid

* networking where everyone trusts and takes care of each other

* teaching the job to next generations, as it’s the essence of the world

* cinematographers/operators writing with their camera (this is pinnacle to me)

* great documentaries where the camera gently sneaks an unknown world, not being aggressive,

respecting people/animals/nature in the new world we are intruding.

* everyone to be mindful on set.

* people not just setting a high technical bar but interviewing a real awareness of everybody's

job so that we may each respect and admire the others' work

* shooting right after blocking (without a technical rehearsal) if an intuitive director and/or

talents want it this way because a first take is often magic, but understanding though it might

not be a « state-or-the-art » master shot, so that a second take or cuts are needed for coverage.

* some mis happenings on set suddenly adding that little bit of magic!

I do not like:

* shooting like hell just for coverage, with directors feeling the longer we shoot the more we get,

because the quality ratio will mostly be poor

* camera setups not being right, because there is just no time to look after the real shot and

block the scene

* fast & furious shooting style if there is no idea behind it, so everyone on set has to improvise

* to sensitive or non-complying camera gear, so that you have to struggle on set because it's not

been designed in accordance with the requirements

* rental houses making package deals and only concerned by profit or budget constrains, prior to

cinematographers & camera crew's requirements

* being trapped with missing technology or manpower, not coping the director/cinematographer


This is of course a non-exhaustive list of wishes & happenings, but it should tell you a little bit

more about me and the way I see this job.

And then will come a possible interview or not, but things are clarified from start.

I will bring on set my experience with so much diversity, having a strong background made of all

kind of working systems I've been dealing with, serving that many cinematographers around the

world, with that many different ways of shooting due to culture, customs & traditions.

Philippe Piron
1st assistant camera / Focus Puller
+32 (0) 479351209

Références (liens)



Équipe image/prise de vue
  • Prise de vue sous-marine
  • Pointeur,-euse
  • Location de matériel de prise de vue
  • Cameraman




1180 UCCLE
M: +32479351209

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