Instagram Story Viewer
View Instagram Stories Anonymously
edlegrelle
Edouard Le Grelle
Cinematographer
For our new film for Natuur en Bos, we challenged ourselves to tell the entire story from one single perspective. In the morning, we locked the camera in place and positioned the characters exactly where their story needed them. Sometimes far away, sometimes up close, always from the point of view of one specific tree.
Thanks to our beautiful small cast and crew and @abel.ghekiere for the beautiful music.
Producer @evelien_de_corte @hotelbonkacommunication
Production assistant @pieterjan.vanderplaetse
Creative @evadejonckheere
Director @heleendclrcq
DOP @edlegrelle
1AC @lacarougeoise
Gaffer @sedrikoliha
Sound @feras_daouk
Make up @noravanlaer_mua
Art direction @evelien_de_corte
Edit @wardgeerts
Grading @didrikbrathen
Sound Design @larsoverstijns
Music @abel.ghekiere
Shot on 35mm @kodak_shootfilm
⚽🍔 FC McDonald’s enters the pitch 🍟👕 with directors @julienetquentin bringing bold style to the game. The @mcdonaldsfrance x @kappa capsule collection is where streetwear meets football culture. We’ll have a cheeseburger and french fries with maillot please.
🎥 Shot on Kodak Vision3 200T 35mm @kodak_shootfilm
Credits
Client: McDonald’s France
Title: McDonald’s x Kappa FC
Agency: @ddbparis
CEO: Alexander Kalchev
Creative Directors: Clara Noguier, Olivier Lelostec
Creative team: Calvin peigne, Nicolas Pageaud, Cassandre Jouan, Leopold Cartier
Tv Producer / Art Buyer: Corinne Persch @coco_persch / Mary -Amely Le Bornec
Production company: HAMLET
Directors: @julienetquentin
Executive Producer: @clement_martorell
Production coordinator: @eguionneau
Production coordinator: @cocobauer
DP: @edlegrelle
Photographer: @manufauque
Food stylist: @valerydrouetfood
Food stylist assistant: Léa Drouet
Service Production: @shotinmars
Service EP: Julien Manunta, Matthieu Berenguer
Service Production coordinators: Éléna Manunta, léléna Boyer
Location Manager: Margo Cholez
Location Manager Assistant: Yann Bottin
Location Management: Neal Farines, Louis Zerbib, Rudy Nieto, Tiffany Peiry, Cécile Boy, Papam Bonnet
Styliste : Elsa Manunta
Styliste : Louise Mast
Production designer: @elena_seegers
Assistant Production Design: Solène Cattino
Props: Grégoire Cviklinski
Art dept.: Jéremy Solari
Art dept. Photoshoot: Kyle Keese
Art dept. intern: Luna Josso
Casting director: @camille.casting
Postproduction company: HAMLET Paris
Post-producers: @lea.trk and @bazvds
Editor: @vincentfleischmann
Colorist: @arthurpaux
Sound: Studio 5
Music supervisor: Marine Cremer @vahinui__cremer
Starring @abdel.boukheit and @steeven_blck
Come #behindthescenes with us and #cinematographer Edouard Le Grelle (@edlegrelle) on his vibrant spot for @vodafoneuk, supported by #Panalux & #Panavision Manchester. 💡🎥
“I knew I needed a really good #gaffer, and after doing some research I found Julian White who I wanted to reach out to. We were relying on the sun, which was difficult being in Manchester and Blackpool in April. On the recces [location scouting] there was so much sun, but on the shoot it was very mixed. You cannot re-create the sun, and larger lights would have not suited our shooting style of 3 locations per day. We did have 18k Arrimaxs and 9ks and also some big tungsten, 12kw and 24kw light dinos, however it was very much about timing with the British weather. With Julian, we really benefited from his experience and he is such a great person as well. It was very fun.
We used Panavision #Primo lenses + zooms – I used the 24-275mm Primo zoom a lot, which was very versatile for what we were doing! #Director Greg Hackett (@greg_hackett) wanted a clean & crisp film look, with one of our references being ‘Saltburn’. I had a chance to do some tests and spoke with @kodak_shootfilm, and ultimately we chose 50d to achieve the look we wanted.”
Gaffer Julian White (@bloodandlight66) told us, "“I had a lot of fun shooting with Ed and the production crew. Shooting in the UK in the spring can send you any kind of weather and at any time, especially in the north west. Shooting on 35mm film... not much room for error. Although the sun is our friend, we had to be patient and lucky. Maybe that’s where experience does come in, knowing what to bring and when to bring it, reading the clouds and when the sun will be in the best position. Power, lamps, bounces and shade, all ready to move in when needed, adding a hot back light on a gloomy day in Blackpool. What is that saying? 'Luck is when preparation meets opportunity'.”
Come #behindthescenes with us and #cinematographer Edouard Le Grelle (@edlegrelle) on his vibrant spot for @vodafoneuk, supported by #Panalux & #Panavision Manchester. 💡🎥
“I knew I needed a really good #gaffer, and after doing some research I found Julian White who I wanted to reach out to. We were relying on the sun, which was difficult being in Manchester and Blackpool in April. On the recces [location scouting] there was so much sun, but on the shoot it was very mixed. You cannot re-create the sun, and larger lights would have not suited our shooting style of 3 locations per day. We did have 18k Arrimaxs and 9ks and also some big tungsten, 12kw and 24kw light dinos, however it was very much about timing with the British weather. With Julian, we really benefited from his experience and he is such a great person as well. It was very fun.
We used Panavision #Primo lenses + zooms – I used the 24-275mm Primo zoom a lot, which was very versatile for what we were doing! #Director Greg Hackett (@greg_hackett) wanted a clean & crisp film look, with one of our references being ‘Saltburn’. I had a chance to do some tests and spoke with @kodak_shootfilm, and ultimately we chose 50d to achieve the look we wanted.”
Gaffer Julian White (@bloodandlight66) told us, "“I had a lot of fun shooting with Ed and the production crew. Shooting in the UK in the spring can send you any kind of weather and at any time, especially in the north west. Shooting on 35mm film... not much room for error. Although the sun is our friend, we had to be patient and lucky. Maybe that’s where experience does come in, knowing what to bring and when to bring it, reading the clouds and when the sun will be in the best position. Power, lamps, bounces and shade, all ready to move in when needed, adding a hot back light on a gloomy day in Blackpool. What is that saying? 'Luck is when preparation meets opportunity'.”
Come #behindthescenes with us and #cinematographer Edouard Le Grelle (@edlegrelle) on his vibrant spot for @vodafoneuk, supported by #Panalux & #Panavision Manchester. 💡🎥
“I knew I needed a really good #gaffer, and after doing some research I found Julian White who I wanted to reach out to. We were relying on the sun, which was difficult being in Manchester and Blackpool in April. On the recces [location scouting] there was so much sun, but on the shoot it was very mixed. You cannot re-create the sun, and larger lights would have not suited our shooting style of 3 locations per day. We did have 18k Arrimaxs and 9ks and also some big tungsten, 12kw and 24kw light dinos, however it was very much about timing with the British weather. With Julian, we really benefited from his experience and he is such a great person as well. It was very fun.
We used Panavision #Primo lenses + zooms – I used the 24-275mm Primo zoom a lot, which was very versatile for what we were doing! #Director Greg Hackett (@greg_hackett) wanted a clean & crisp film look, with one of our references being ‘Saltburn’. I had a chance to do some tests and spoke with @kodak_shootfilm, and ultimately we chose 50d to achieve the look we wanted.”
Gaffer Julian White (@bloodandlight66) told us, "“I had a lot of fun shooting with Ed and the production crew. Shooting in the UK in the spring can send you any kind of weather and at any time, especially in the north west. Shooting on 35mm film... not much room for error. Although the sun is our friend, we had to be patient and lucky. Maybe that’s where experience does come in, knowing what to bring and when to bring it, reading the clouds and when the sun will be in the best position. Power, lamps, bounces and shade, all ready to move in when needed, adding a hot back light on a gloomy day in Blackpool. What is that saying? 'Luck is when preparation meets opportunity'.”
Come #behindthescenes with us and #cinematographer Edouard Le Grelle (@edlegrelle) on his vibrant spot for @vodafoneuk, supported by #Panalux & #Panavision Manchester. 💡🎥
“I knew I needed a really good #gaffer, and after doing some research I found Julian White who I wanted to reach out to. We were relying on the sun, which was difficult being in Manchester and Blackpool in April. On the recces [location scouting] there was so much sun, but on the shoot it was very mixed. You cannot re-create the sun, and larger lights would have not suited our shooting style of 3 locations per day. We did have 18k Arrimaxs and 9ks and also some big tungsten, 12kw and 24kw light dinos, however it was very much about timing with the British weather. With Julian, we really benefited from his experience and he is such a great person as well. It was very fun.
We used Panavision #Primo lenses + zooms – I used the 24-275mm Primo zoom a lot, which was very versatile for what we were doing! #Director Greg Hackett (@greg_hackett) wanted a clean & crisp film look, with one of our references being ‘Saltburn’. I had a chance to do some tests and spoke with @kodak_shootfilm, and ultimately we chose 50d to achieve the look we wanted.”
Gaffer Julian White (@bloodandlight66) told us, "“I had a lot of fun shooting with Ed and the production crew. Shooting in the UK in the spring can send you any kind of weather and at any time, especially in the north west. Shooting on 35mm film... not much room for error. Although the sun is our friend, we had to be patient and lucky. Maybe that’s where experience does come in, knowing what to bring and when to bring it, reading the clouds and when the sun will be in the best position. Power, lamps, bounces and shade, all ready to move in when needed, adding a hot back light on a gloomy day in Blackpool. What is that saying? 'Luck is when preparation meets opportunity'.”
Come #behindthescenes with us and #cinematographer Edouard Le Grelle (@edlegrelle) on his vibrant spot for @vodafoneuk, supported by #Panalux & #Panavision Manchester. 💡🎥
“I knew I needed a really good #gaffer, and after doing some research I found Julian White who I wanted to reach out to. We were relying on the sun, which was difficult being in Manchester and Blackpool in April. On the recces [location scouting] there was so much sun, but on the shoot it was very mixed. You cannot re-create the sun, and larger lights would have not suited our shooting style of 3 locations per day. We did have 18k Arrimaxs and 9ks and also some big tungsten, 12kw and 24kw light dinos, however it was very much about timing with the British weather. With Julian, we really benefited from his experience and he is such a great person as well. It was very fun.
We used Panavision #Primo lenses + zooms – I used the 24-275mm Primo zoom a lot, which was very versatile for what we were doing! #Director Greg Hackett (@greg_hackett) wanted a clean & crisp film look, with one of our references being ‘Saltburn’. I had a chance to do some tests and spoke with @kodak_shootfilm, and ultimately we chose 50d to achieve the look we wanted.”
Gaffer Julian White (@bloodandlight66) told us, "“I had a lot of fun shooting with Ed and the production crew. Shooting in the UK in the spring can send you any kind of weather and at any time, especially in the north west. Shooting on 35mm film... not much room for error. Although the sun is our friend, we had to be patient and lucky. Maybe that’s where experience does come in, knowing what to bring and when to bring it, reading the clouds and when the sun will be in the best position. Power, lamps, bounces and shade, all ready to move in when needed, adding a hot back light on a gloomy day in Blackpool. What is that saying? 'Luck is when preparation meets opportunity'.”
Come #behindthescenes with us and #cinematographer Edouard Le Grelle (@edlegrelle) on his vibrant spot for @vodafoneuk, supported by #Panalux & #Panavision Manchester. 💡🎥
“I knew I needed a really good #gaffer, and after doing some research I found Julian White who I wanted to reach out to. We were relying on the sun, which was difficult being in Manchester and Blackpool in April. On the recces [location scouting] there was so much sun, but on the shoot it was very mixed. You cannot re-create the sun, and larger lights would have not suited our shooting style of 3 locations per day. We did have 18k Arrimaxs and 9ks and also some big tungsten, 12kw and 24kw light dinos, however it was very much about timing with the British weather. With Julian, we really benefited from his experience and he is such a great person as well. It was very fun.
We used Panavision #Primo lenses + zooms – I used the 24-275mm Primo zoom a lot, which was very versatile for what we were doing! #Director Greg Hackett (@greg_hackett) wanted a clean & crisp film look, with one of our references being ‘Saltburn’. I had a chance to do some tests and spoke with @kodak_shootfilm, and ultimately we chose 50d to achieve the look we wanted.”
Gaffer Julian White (@bloodandlight66) told us, "“I had a lot of fun shooting with Ed and the production crew. Shooting in the UK in the spring can send you any kind of weather and at any time, especially in the north west. Shooting on 35mm film... not much room for error. Although the sun is our friend, we had to be patient and lucky. Maybe that’s where experience does come in, knowing what to bring and when to bring it, reading the clouds and when the sun will be in the best position. Power, lamps, bounces and shade, all ready to move in when needed, adding a hot back light on a gloomy day in Blackpool. What is that saying? 'Luck is when preparation meets opportunity'.”
Come #behindthescenes with us and #cinematographer Edouard Le Grelle (@edlegrelle) on his vibrant spot for @vodafoneuk, supported by #Panalux & #Panavision Manchester. 💡🎥
“I knew I needed a really good #gaffer, and after doing some research I found Julian White who I wanted to reach out to. We were relying on the sun, which was difficult being in Manchester and Blackpool in April. On the recces [location scouting] there was so much sun, but on the shoot it was very mixed. You cannot re-create the sun, and larger lights would have not suited our shooting style of 3 locations per day. We did have 18k Arrimaxs and 9ks and also some big tungsten, 12kw and 24kw light dinos, however it was very much about timing with the British weather. With Julian, we really benefited from his experience and he is such a great person as well. It was very fun.
We used Panavision #Primo lenses + zooms – I used the 24-275mm Primo zoom a lot, which was very versatile for what we were doing! #Director Greg Hackett (@greg_hackett) wanted a clean & crisp film look, with one of our references being ‘Saltburn’. I had a chance to do some tests and spoke with @kodak_shootfilm, and ultimately we chose 50d to achieve the look we wanted.”
Gaffer Julian White (@bloodandlight66) told us, "“I had a lot of fun shooting with Ed and the production crew. Shooting in the UK in the spring can send you any kind of weather and at any time, especially in the north west. Shooting on 35mm film... not much room for error. Although the sun is our friend, we had to be patient and lucky. Maybe that’s where experience does come in, knowing what to bring and when to bring it, reading the clouds and when the sun will be in the best position. Power, lamps, bounces and shade, all ready to move in when needed, adding a hot back light on a gloomy day in Blackpool. What is that saying? 'Luck is when preparation meets opportunity'.”
Come #behindthescenes with us and #cinematographer Edouard Le Grelle (@edlegrelle) on his vibrant spot for @vodafoneuk, supported by #Panalux & #Panavision Manchester. 💡🎥
“I knew I needed a really good #gaffer, and after doing some research I found Julian White who I wanted to reach out to. We were relying on the sun, which was difficult being in Manchester and Blackpool in April. On the recces [location scouting] there was so much sun, but on the shoot it was very mixed. You cannot re-create the sun, and larger lights would have not suited our shooting style of 3 locations per day. We did have 18k Arrimaxs and 9ks and also some big tungsten, 12kw and 24kw light dinos, however it was very much about timing with the British weather. With Julian, we really benefited from his experience and he is such a great person as well. It was very fun.
We used Panavision #Primo lenses + zooms – I used the 24-275mm Primo zoom a lot, which was very versatile for what we were doing! #Director Greg Hackett (@greg_hackett) wanted a clean & crisp film look, with one of our references being ‘Saltburn’. I had a chance to do some tests and spoke with @kodak_shootfilm, and ultimately we chose 50d to achieve the look we wanted.”
Gaffer Julian White (@bloodandlight66) told us, "“I had a lot of fun shooting with Ed and the production crew. Shooting in the UK in the spring can send you any kind of weather and at any time, especially in the north west. Shooting on 35mm film... not much room for error. Although the sun is our friend, we had to be patient and lucky. Maybe that’s where experience does come in, knowing what to bring and when to bring it, reading the clouds and when the sun will be in the best position. Power, lamps, bounces and shade, all ready to move in when needed, adding a hot back light on a gloomy day in Blackpool. What is that saying? 'Luck is when preparation meets opportunity'.”
Come #behindthescenes with us and #cinematographer Edouard Le Grelle (@edlegrelle) on his vibrant spot for @vodafoneuk, supported by #Panalux & #Panavision Manchester. 💡🎥
“I knew I needed a really good #gaffer, and after doing some research I found Julian White who I wanted to reach out to. We were relying on the sun, which was difficult being in Manchester and Blackpool in April. On the recces [location scouting] there was so much sun, but on the shoot it was very mixed. You cannot re-create the sun, and larger lights would have not suited our shooting style of 3 locations per day. We did have 18k Arrimaxs and 9ks and also some big tungsten, 12kw and 24kw light dinos, however it was very much about timing with the British weather. With Julian, we really benefited from his experience and he is such a great person as well. It was very fun.
We used Panavision #Primo lenses + zooms – I used the 24-275mm Primo zoom a lot, which was very versatile for what we were doing! #Director Greg Hackett (@greg_hackett) wanted a clean & crisp film look, with one of our references being ‘Saltburn’. I had a chance to do some tests and spoke with @kodak_shootfilm, and ultimately we chose 50d to achieve the look we wanted.”
Gaffer Julian White (@bloodandlight66) told us, "“I had a lot of fun shooting with Ed and the production crew. Shooting in the UK in the spring can send you any kind of weather and at any time, especially in the north west. Shooting on 35mm film... not much room for error. Although the sun is our friend, we had to be patient and lucky. Maybe that’s where experience does come in, knowing what to bring and when to bring it, reading the clouds and when the sun will be in the best position. Power, lamps, bounces and shade, all ready to move in when needed, adding a hot back light on a gloomy day in Blackpool. What is that saying? 'Luck is when preparation meets opportunity'.”
Come #behindthescenes with us and #cinematographer Edouard Le Grelle (@edlegrelle) on his vibrant spot for @vodafoneuk, supported by #Panalux & #Panavision Manchester. 💡🎥
“I knew I needed a really good #gaffer, and after doing some research I found Julian White who I wanted to reach out to. We were relying on the sun, which was difficult being in Manchester and Blackpool in April. On the recces [location scouting] there was so much sun, but on the shoot it was very mixed. You cannot re-create the sun, and larger lights would have not suited our shooting style of 3 locations per day. We did have 18k Arrimaxs and 9ks and also some big tungsten, 12kw and 24kw light dinos, however it was very much about timing with the British weather. With Julian, we really benefited from his experience and he is such a great person as well. It was very fun.
We used Panavision #Primo lenses + zooms – I used the 24-275mm Primo zoom a lot, which was very versatile for what we were doing! #Director Greg Hackett (@greg_hackett) wanted a clean & crisp film look, with one of our references being ‘Saltburn’. I had a chance to do some tests and spoke with @kodak_shootfilm, and ultimately we chose 50d to achieve the look we wanted.”
Gaffer Julian White (@bloodandlight66) told us, "“I had a lot of fun shooting with Ed and the production crew. Shooting in the UK in the spring can send you any kind of weather and at any time, especially in the north west. Shooting on 35mm film... not much room for error. Although the sun is our friend, we had to be patient and lucky. Maybe that’s where experience does come in, knowing what to bring and when to bring it, reading the clouds and when the sun will be in the best position. Power, lamps, bounces and shade, all ready to move in when needed, adding a hot back light on a gloomy day in Blackpool. What is that saying? 'Luck is when preparation meets opportunity'.”
Emily Maye directs Decathlon’s latest campaign with BETC — her first film for the French market — delivering a powerful tribute to the emotional richness that sport brings into our lives, deliberately grounding the narrative in reality: a cast of real athletes from local clubs, in locations marked by effort, perseverance, and courage.
CLIENT – DECATHLON @decathlon
Louis FLORIN
Nicolas MIGNOT
Iaorana DELATTRE
AGENCY – BETC Paris @betcparis
Creative Director – @aperso
Managing Partner – @mehdibenali
Art Director – @seb.lafaye
Copywriter – @joyaut
TV Producer – @benoit_fernandes
Associate Director – Jennyfer PERRODO
Commercial – Hugo LESIEUR
PRODUCTION – LA PAC @la_pac
CEO / Executive Producer – @flyingjed
Deputy General Director – @helenesegol
Green Producer – @clementineburen
Head of Production – @marickdelaunay
PRODUCTION SERVICE – All_in @all_in.all_in
Service Producers – @julien_floutard & @thomas.laget
Production Coordinator – @suzonthom
Production Assistant – @robovictor
FILM CREW
DOP – @eddegrelle
DOP Agent – @vinh2608
1st Assistant Director – @pim.caloni
2nd Assistant Director – @anouk.barrere
3rd Assistant Director – @dollmyriam
1st Assistant Camera – @bledstarz
2nd Assistant Camera – @cinemmmma
3rd Assistant Camera – @jeremy.surace
2nd Camera – @tbeducrichard
Underwater Camera Operators – @aurelienlecalvez @_subfocal @remi.metin
DIT – @patrick_pourcier @anonyma.prod
Sound Operator – @matthbsch
Gaffer – @bastien.garcia.gaffer
Best Boy – @nicolas_pastergue
Key Grip – @canuthierry
Grips – canurobin, @maxchtgrip
1st Light Assistant – @renaudmorin
2nd Light Assistant – @sacha.kam
Digit – @marpessasigue
ART DEPARTMENT & TALENT
Production Designer – @cabriolet__
Stylist – @acostby
Hair & Make-Up – @leamarin__ & @romina_allio
Casting Director – @camille.casting
UNIT
Unit Manager – @airsanchoklub
Unit Manager Assistant – @bouvardmathilde
Lifeguard – Cédric VIARD
Boat 1 – Laurence DESMASURES
Boat 2 – Pierre PAURRIER
Boat 3 – Gilles
POST-PRODUCTION
Editor – Vincent MARCHAND
Color Grading – Mathieu CAPLANNE
Post Production Manager – Caroline DELOFFRE
Emily Maye directs Decathlon’s latest campaign with BETC — her first film for the French market — delivering a powerful tribute to the emotional richness that sport brings into our lives, deliberately grounding the narrative in reality: a cast of real athletes from local clubs, in locations marked by effort, perseverance, and courage.
CLIENT – DECATHLON @decathlon
Louis FLORIN
Nicolas MIGNOT
Iaorana DELATTRE
AGENCY – BETC Paris @betcparis
Creative Director – @aperso
Managing Partner – @mehdibenali
Art Director – @seb.lafaye
Copywriter – @joyaut
TV Producer – @benoit_fernandes
Associate Director – Jennyfer PERRODO
Commercial – Hugo LESIEUR
PRODUCTION – LA PAC @la_pac
CEO / Executive Producer – @flyingjed
Deputy General Director – @helenesegol
Green Producer – @clementineburen
Head of Production – @marickdelaunay
PRODUCTION SERVICE – All_in @all_in.all_in
Service Producers – @julien_floutard & @thomas.laget
Production Coordinator – @suzonthom
Production Assistant – @robovictor
FILM CREW
DOP – @eddegrelle
DOP Agent – @vinh2608
1st Assistant Director – @pim.caloni
2nd Assistant Director – @anouk.barrere
3rd Assistant Director – @dollmyriam
1st Assistant Camera – @bledstarz
2nd Assistant Camera – @cinemmmma
3rd Assistant Camera – @jeremy.surace
2nd Camera – @tbeducrichard
Underwater Camera Operators – @aurelienlecalvez @_subfocal @remi.metin
DIT – @patrick_pourcier @anonyma.prod
Sound Operator – @matthbsch
Gaffer – @bastien.garcia.gaffer
Best Boy – @nicolas_pastergue
Key Grip – @canuthierry
Grips – canurobin, @maxchtgrip
1st Light Assistant – @renaudmorin
2nd Light Assistant – @sacha.kam
Digit – @marpessasigue
ART DEPARTMENT & TALENT
Production Designer – @cabriolet__
Stylist – @acostby
Hair & Make-Up – @leamarin__ & @romina_allio
Casting Director – @camille.casting
UNIT
Unit Manager – @airsanchoklub
Unit Manager Assistant – @bouvardmathilde
Lifeguard – Cédric VIARD
Boat 1 – Laurence DESMASURES
Boat 2 – Pierre PAURRIER
Boat 3 – Gilles
POST-PRODUCTION
Editor – Vincent MARCHAND
Color Grading – Mathieu CAPLANNE
Post Production Manager – Caroline DELOFFRE
Emily Maye directs Decathlon’s latest campaign with BETC — her first film for the French market — delivering a powerful tribute to the emotional richness that sport brings into our lives, deliberately grounding the narrative in reality: a cast of real athletes from local clubs, in locations marked by effort, perseverance, and courage.
CLIENT – DECATHLON @decathlon
Louis FLORIN
Nicolas MIGNOT
Iaorana DELATTRE
AGENCY – BETC Paris @betcparis
Creative Director – @aperso
Managing Partner – @mehdibenali
Art Director – @seb.lafaye
Copywriter – @joyaut
TV Producer – @benoit_fernandes
Associate Director – Jennyfer PERRODO
Commercial – Hugo LESIEUR
PRODUCTION – LA PAC @la_pac
CEO / Executive Producer – @flyingjed
Deputy General Director – @helenesegol
Green Producer – @clementineburen
Head of Production – @marickdelaunay
PRODUCTION SERVICE – All_in @all_in.all_in
Service Producers – @julien_floutard & @thomas.laget
Production Coordinator – @suzonthom
Production Assistant – @robovictor
FILM CREW
DOP – @eddegrelle
DOP Agent – @vinh2608
1st Assistant Director – @pim.caloni
2nd Assistant Director – @anouk.barrere
3rd Assistant Director – @dollmyriam
1st Assistant Camera – @bledstarz
2nd Assistant Camera – @cinemmmma
3rd Assistant Camera – @jeremy.surace
2nd Camera – @tbeducrichard
Underwater Camera Operators – @aurelienlecalvez @_subfocal @remi.metin
DIT – @patrick_pourcier @anonyma.prod
Sound Operator – @matthbsch
Gaffer – @bastien.garcia.gaffer
Best Boy – @nicolas_pastergue
Key Grip – @canuthierry
Grips – canurobin, @maxchtgrip
1st Light Assistant – @renaudmorin
2nd Light Assistant – @sacha.kam
Digit – @marpessasigue
ART DEPARTMENT & TALENT
Production Designer – @cabriolet__
Stylist – @acostby
Hair & Make-Up – @leamarin__ & @romina_allio
Casting Director – @camille.casting
UNIT
Unit Manager – @airsanchoklub
Unit Manager Assistant – @bouvardmathilde
Lifeguard – Cédric VIARD
Boat 1 – Laurence DESMASURES
Boat 2 – Pierre PAURRIER
Boat 3 – Gilles
POST-PRODUCTION
Editor – Vincent MARCHAND
Color Grading – Mathieu CAPLANNE
Post Production Manager – Caroline DELOFFRE
Last summer, I had the opportunity be the second unit Dop for the film L’Amour Ouf!
It was an incredible experience to work alongside such a talented team.
Thank you so much to Laurent Tangy and Gilles Lellouche for their trust and for allowing me to contribute briefly to their vision.
Directed by @autopromodegilleslellouche
Shot by @laurent.tangy
Produced by Chi-fou-miProductions and @tresorcinema
Go watch it in all cinemas now!
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.