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Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Some campaigns talk about football. Others talk about how a country remembers football.

This one is interesting because it doesn’t start from the match, it starts from memory. From two moments that are still alive in Mexico as something emotional, almost collective. And instead of ignoring them or treating them in an epic way, the creative team and Nico Pérez Vega find a very smart way to flip it: turning that wound into a kind of heist-style comedy. There is a plan, a group, an execution… and a sort of symbolic “revenge”, light and playful, that transforms the pain into something shared and enjoyable.

That idea is already strong. But what makes it really interesting is that it doesn’t stay as a concept, it asks to be filmed in a specific way.

As a cinematographer, it’s great when that happens.When the idea pushes you towards something narrative, not just illustration. When you can think about tone, point of view, how to build tension or distance, even inside a commercial format.

Here there was space for that. To shoot it with intention of scene, not just shots. To follow that balance between reality and staging. And that’s also where Nico’s direction comes in: giving the trust and freedom to explore, to push it a bit more cinematic, more constructed, more intentional.

It’s not that common to find a project where the idea, the direction and the way of shooting are so aligned.And when it happens, you feel it. And it’s a pleasure to shoot something like this.

Thanks to the amazing crew for making it possible.

Directed by @nicoperezveiga
Produced by @primocontent

MÉXICO
AC Germán Betancourt
Gaffer @vladmgom78
Steadicam @arturocasta72

MADRID
AC @guillegvc
Gaffer @fllanosu
KG @carlitos_way_71
Steadicam @raulmanchadosteady

Color @marcmorato_colorist

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

Kerala has long been a place of arrival. Vasco da Gama reached this coast in 1498 while searching for spices, opening one of the first maritime routes between Europe and India. Since then, this part of the country has been shaped by trade, movement, and exchange. That history is still present today.

This series was photographed across Kerala, moving through Kochi, Fort Kochi, Munnar, and the Kerala Backwaters.

We photographed landscapes, tea plantations, factories, people working in the fields, merchants, and daily life as it unfolded. The intention was simple: to observe carefully and photograph with respect. To take a picture when it felt right, and to step away when it didn’t.

Kerala feels different from many other parts of India. Its strong focus on education and public life, its openness to the outside world, and its long history of social organization are not things you necessarily see directly, but you feel them in the way people relate to the camera and to each other.

One of the most striking aspects of the experience was how open and welcoming people were. Many accepted being photographed naturally, often with calm curiosity and generosity. There was no rush, no tension, just time and presence.

This photographs are not about explaining a place or reducing it to images. It is about paying attention, moving slowly, and letting moments appear. Kerala is a beautiful, complex corner of the world, and one we would genuinely recommend to anyone interested in traveling with curiosity, respect, and care.

Thank you @outliersguide for being so helpful!

STARBUCKS — SUNSERA BLEND
Directed by SHEILA JOHANSSON

Produced by @canadacanadacom

EP @victormatanoguera
Producer @sararenteriac
PM @isantss

AD @silvia_littleholland
Food stylist @pau_arregui

CD @violetacomella

Product Unit @sergi_iracheta
Product gaffer @ferrangrau.gaffer

AC @hectorjuol
2AC Ana Sánchez
VTR @_roger_vila
DIT @wiaggioe

Gaffer @kevingos
BB @jbioska
Sparks Giancarlo Pia, Tanit Testaert, Xavi Vallet

KG @alexmorego87
Grip @adri.arguelles.89

PD @andreabatllo

Color @nickecantarelli

@tchalamet for @chanelofficial With Olivier Polge, Bleu de Chanel L’Exclusif

Directed by @pablodiprima
Cinematography by @pepegay
Creative Direction @bevansburg
Produced by @northsix
Producer @fleshheap
Edited by Gabriel Viallet

Shot this @cupra_official commercial with @turbo_directors, @blur__________ and with a wonderful crew that made it possible!

1st AC @cesar_villalbamoreno
Gaffer @davidhappy
Precision driver @marcroca2000
DIT Ignacio Millet
Grade @marcmorato_colorist

@car_shooting111 @servicevision_scorpio @gripsupport.tv @zeferinolights @metropolitanacolor

Shot this @cupra_official commercial with @turbo_directors, @blur__________ and with a wonderful crew that made it possible!

1st AC @cesar_villalbamoreno
Gaffer @davidhappy
Precision driver @marcroca2000
DIT Ignacio Millet
Grade @marcmorato_colorist

@car_shooting111 @servicevision_scorpio @gripsupport.tv @zeferinolights @metropolitanacolor

Shot this @cupra_official commercial with @turbo_directors, @blur__________ and with a wonderful crew that made it possible!

1st AC @cesar_villalbamoreno
Gaffer @davidhappy
Precision driver @marcroca2000
DIT Ignacio Millet
Grade @marcmorato_colorist

@car_shooting111 @servicevision_scorpio @gripsupport.tv @zeferinolights @metropolitanacolor

Shot this @cupra_official commercial with @turbo_directors, @blur__________ and with a wonderful crew that made it possible!

1st AC @cesar_villalbamoreno
Gaffer @davidhappy
Precision driver @marcroca2000
DIT Ignacio Millet
Grade @marcmorato_colorist

@car_shooting111 @servicevision_scorpio @gripsupport.tv @zeferinolights @metropolitanacolor

Shot this @cupra_official commercial with @turbo_directors, @blur__________ and with a wonderful crew that made it possible!

1st AC @cesar_villalbamoreno
Gaffer @davidhappy
Precision driver @marcroca2000
DIT Ignacio Millet
Grade @marcmorato_colorist

@car_shooting111 @servicevision_scorpio @gripsupport.tv @zeferinolights @metropolitanacolor

S/N 2025.10.06.11 @cupra_official FORGET ABOUT REFUELLING

DIRECTOR: @turbo_directors
PRODUCED BY @blur__________
DOP: Pepe Gay @pepegay
MANAGING DIRECTOR / PARTNER: @inessegura

AGENCY: @rosasagency
Creative Director: @_polmartinez
Art Direction: @virginianico
Creative: @aldo.coste
Agency Producer: @j_jordisole

EXEC. PRODUCER: Pablo Heras @herrpablo
HEAD OF PRODUCTION: Francesca Gaidolf @gaidolfifrancesca
HEAD OF PRODUCTION: Pablo Herraiz
PRODUCER: Valentina Attalla @valentina.attalla
AP: @martamurm
PROD. MANAGER: Dani Molina
GAFFER: @davidhappy
VIP PRODUCTION SERVICE: @blaze__________prodstuff
VIP MANAGER: Beto Canut @beto_canut
PRECISION DRIVER: Max Álvarez @maxeti13
DRIVERS Cam: Marc Roca @marcroca2000
@eurogrip_rentals
Storyboard artist: @storyguyboards
EDIT: Eto @mellamoeto
POST&VFX: @the_frank_barton_company
COLOR: Marc Morató @marcmorato_colorist @metropolitanacolor
MUSIC: @pampam_studio_

ART DIRECTOR: Dominique Aizpurua @chez_dominique
1ST AD: Lucas Cuevas @mr_stollery
MUH ARTIST: Azucena Lavilla @makeup.tenita
STYLIST: Paula López @paula_costumedepartment
DRIVER: @marcros9

DROGA de @mora y @c.tangana producido por @plazabylittle
Dirigido por @santosbacana
PRODUCCION EJECUTIVA: @yaguerlopezabril
DOP: @pepegay
DIRECCION DE ARTE: @lelee.rodriguez
ESTILISTA C TANGANA: @alexturrion_
ESTILISTA FIGURACIÓN: @carlapaucar @alexturrion_
JEFE DE PRODUCCIÓN: @_juanluruiz_
1ST AD: ALMUDENA MARTIN DE LOS SANTOS Y ERNEST GIL
LINE PRODUCER: @pabloccl_
COORDINADORA DE PRODUCCIÓN: @rocio_marsan
LOCALIZADOR: @alejandrocamachomuñoz
REPARTO:
SEGURIDAD PUCHO Y MORA: MANUEL UTRERA ALFARO Y CARLOS ALBERTO ABONIA
BAILARINAS: EMMA TOLEDO / YESSICA CASTELLÓN / VERÓNICA PARKER / HENAR CENYENI / CARMEN OLIVA COIMBRA / GALA GÓMEZ
FARMACÉUTICA: @skinpharmacyjorgejuan34
FINANCIERO: @pabloccl
PRODUCTORES EN ESTUDIO:
@therealkigo @alexturrion_ @javierruiz.studio
2ND AD: @cvargasm_
3RD AD: CATALINA DEL CAMPO
AYUDANTE DE PRODUCCIÓN: @viviredlu
AUXILIAR DE PRODUCCIÓN: KARLOS OLIVEIRA / ÁLVARO GÓMEZ /AÍDA LÓPEZ / MIGUEL MORÁN / DANI CORTIJO / FRANKY KILMURRY
@karlinosoliveira @aidalopez_ @miguelon_23_
OPERADOR EN CÁMARA CAR: @daniel_mere_
AYUDANTE DE CÁMARA: @marioinadptados
AUXILIAR DE CÁMARA: @kikeazzolilini
VIDEOASSIST: ADRIÁN MARTÍN
LOADER: @pinkyloader
STEADYCAM: @raulmanchadosteady
AYTE STEADYCAM: MARC MALDONADO
RRSS: @heymariuk
FOTÓGRAFO: @adriosphoto
BTS: @pablorossanog
GAFFER: @fllanosu
BEST BOY: @isaacobregonandres
ELÉCTRICO: CHEMA MORENO/ JOSE ANTONIO @sergio.mantecon
KEY GRIP: ÁLEX LÓPEZ @juanan_velez_grip
GRIP: CARLOS ROS
AYUDANTE DE ARTE: FLORENCIA SASSO
AUXILIAR DE ARTE: CHECHU MARTÍNEZ @annacrosland
ATREZZISTA: PABLO ALONSO / SARA MARCO @elartedelafuente
ASISTENTE ESTILISMO: @iara_gordon
MAQUILLAJE Y PELUQERÍA: SARA RODRÍGUEZ
AYTE MAQUILLAJE Y PELUQUERÍA: LOLA LLORENTE / LAURA GONZÁLEZ
EDITOR: @i.pereira9
COLOR: XAVI SANTOLAYA
VFX: @yu.nishizuka

DROGA de @mora y @c.tangana producido por @plazabylittle
Dirigido por @santosbacana
PRODUCCION EJECUTIVA: @yaguerlopezabril
DOP: @pepegay
DIRECCION DE ARTE: @lelee.rodriguez
ESTILISTA C TANGANA: @alexturrion_
ESTILISTA FIGURACIÓN: @carlapaucar @alexturrion_
JEFE DE PRODUCCIÓN: @_juanluruiz_
1ST AD: ALMUDENA MARTIN DE LOS SANTOS Y ERNEST GIL
LINE PRODUCER: @pabloccl_
COORDINADORA DE PRODUCCIÓN: @rocio_marsan
LOCALIZADOR: @alejandrocamachomuñoz
REPARTO:
SEGURIDAD PUCHO Y MORA: MANUEL UTRERA ALFARO Y CARLOS ALBERTO ABONIA
BAILARINAS: EMMA TOLEDO / YESSICA CASTELLÓN / VERÓNICA PARKER / HENAR CENYENI / CARMEN OLIVA COIMBRA / GALA GÓMEZ
FARMACÉUTICA: @skinpharmacyjorgejuan34
FINANCIERO: @pabloccl
PRODUCTORES EN ESTUDIO:
@therealkigo @alexturrion_ @javierruiz.studio
2ND AD: @cvargasm_
3RD AD: CATALINA DEL CAMPO
AYUDANTE DE PRODUCCIÓN: @viviredlu
AUXILIAR DE PRODUCCIÓN: KARLOS OLIVEIRA / ÁLVARO GÓMEZ /AÍDA LÓPEZ / MIGUEL MORÁN / DANI CORTIJO / FRANKY KILMURRY
@karlinosoliveira @aidalopez_ @miguelon_23_
OPERADOR EN CÁMARA CAR: @daniel_mere_
AYUDANTE DE CÁMARA: @marioinadptados
AUXILIAR DE CÁMARA: @kikeazzolilini
VIDEOASSIST: ADRIÁN MARTÍN
LOADER: @pinkyloader
STEADYCAM: @raulmanchadosteady
AYTE STEADYCAM: MARC MALDONADO
RRSS: @heymariuk
FOTÓGRAFO: @adriosphoto
BTS: @pablorossanog
GAFFER: @fllanosu
BEST BOY: @isaacobregonandres
ELÉCTRICO: CHEMA MORENO/ JOSE ANTONIO @sergio.mantecon
KEY GRIP: ÁLEX LÓPEZ @juanan_velez_grip
GRIP: CARLOS ROS
AYUDANTE DE ARTE: FLORENCIA SASSO
AUXILIAR DE ARTE: CHECHU MARTÍNEZ @annacrosland
ATREZZISTA: PABLO ALONSO / SARA MARCO @elartedelafuente
ASISTENTE ESTILISMO: @iara_gordon
MAQUILLAJE Y PELUQERÍA: SARA RODRÍGUEZ
AYTE MAQUILLAJE Y PELUQUERÍA: LOLA LLORENTE / LAURA GONZÁLEZ
EDITOR: @i.pereira9
COLOR: XAVI SANTOLAYA
VFX: @yu.nishizuka

DROGA de @mora y @c.tangana producido por @plazabylittle
Dirigido por @santosbacana
PRODUCCION EJECUTIVA: @yaguerlopezabril
DOP: @pepegay
DIRECCION DE ARTE: @lelee.rodriguez
ESTILISTA C TANGANA: @alexturrion_
ESTILISTA FIGURACIÓN: @carlapaucar @alexturrion_
JEFE DE PRODUCCIÓN: @_juanluruiz_
1ST AD: ALMUDENA MARTIN DE LOS SANTOS Y ERNEST GIL
LINE PRODUCER: @pabloccl_
COORDINADORA DE PRODUCCIÓN: @rocio_marsan
LOCALIZADOR: @alejandrocamachomuñoz
REPARTO:
SEGURIDAD PUCHO Y MORA: MANUEL UTRERA ALFARO Y CARLOS ALBERTO ABONIA
BAILARINAS: EMMA TOLEDO / YESSICA CASTELLÓN / VERÓNICA PARKER / HENAR CENYENI / CARMEN OLIVA COIMBRA / GALA GÓMEZ
FARMACÉUTICA: @skinpharmacyjorgejuan34
FINANCIERO: @pabloccl
PRODUCTORES EN ESTUDIO:
@therealkigo @alexturrion_ @javierruiz.studio
2ND AD: @cvargasm_
3RD AD: CATALINA DEL CAMPO
AYUDANTE DE PRODUCCIÓN: @viviredlu
AUXILIAR DE PRODUCCIÓN: KARLOS OLIVEIRA / ÁLVARO GÓMEZ /AÍDA LÓPEZ / MIGUEL MORÁN / DANI CORTIJO / FRANKY KILMURRY
@karlinosoliveira @aidalopez_ @miguelon_23_
OPERADOR EN CÁMARA CAR: @daniel_mere_
AYUDANTE DE CÁMARA: @marioinadptados
AUXILIAR DE CÁMARA: @kikeazzolilini
VIDEOASSIST: ADRIÁN MARTÍN
LOADER: @pinkyloader
STEADYCAM: @raulmanchadosteady
AYTE STEADYCAM: MARC MALDONADO
RRSS: @heymariuk
FOTÓGRAFO: @adriosphoto
BTS: @pablorossanog
GAFFER: @fllanosu
BEST BOY: @isaacobregonandres
ELÉCTRICO: CHEMA MORENO/ JOSE ANTONIO @sergio.mantecon
KEY GRIP: ÁLEX LÓPEZ @juanan_velez_grip
GRIP: CARLOS ROS
AYUDANTE DE ARTE: FLORENCIA SASSO
AUXILIAR DE ARTE: CHECHU MARTÍNEZ @annacrosland
ATREZZISTA: PABLO ALONSO / SARA MARCO @elartedelafuente
ASISTENTE ESTILISMO: @iara_gordon
MAQUILLAJE Y PELUQERÍA: SARA RODRÍGUEZ
AYTE MAQUILLAJE Y PELUQUERÍA: LOLA LLORENTE / LAURA GONZÁLEZ
EDITOR: @i.pereira9
COLOR: XAVI SANTOLAYA
VFX: @yu.nishizuka

DROGA de @mora y @c.tangana producido por @plazabylittle
Dirigido por @santosbacana
PRODUCCION EJECUTIVA: @yaguerlopezabril
DOP: @pepegay
DIRECCION DE ARTE: @lelee.rodriguez
ESTILISTA C TANGANA: @alexturrion_
ESTILISTA FIGURACIÓN: @carlapaucar @alexturrion_
JEFE DE PRODUCCIÓN: @_juanluruiz_
1ST AD: ALMUDENA MARTIN DE LOS SANTOS Y ERNEST GIL
LINE PRODUCER: @pabloccl_
COORDINADORA DE PRODUCCIÓN: @rocio_marsan
LOCALIZADOR: @alejandrocamachomuñoz
REPARTO:
SEGURIDAD PUCHO Y MORA: MANUEL UTRERA ALFARO Y CARLOS ALBERTO ABONIA
BAILARINAS: EMMA TOLEDO / YESSICA CASTELLÓN / VERÓNICA PARKER / HENAR CENYENI / CARMEN OLIVA COIMBRA / GALA GÓMEZ
FARMACÉUTICA: @skinpharmacyjorgejuan34
FINANCIERO: @pabloccl
PRODUCTORES EN ESTUDIO:
@therealkigo @alexturrion_ @javierruiz.studio
2ND AD: @cvargasm_
3RD AD: CATALINA DEL CAMPO
AYUDANTE DE PRODUCCIÓN: @viviredlu
AUXILIAR DE PRODUCCIÓN: KARLOS OLIVEIRA / ÁLVARO GÓMEZ /AÍDA LÓPEZ / MIGUEL MORÁN / DANI CORTIJO / FRANKY KILMURRY
@karlinosoliveira @aidalopez_ @miguelon_23_
OPERADOR EN CÁMARA CAR: @daniel_mere_
AYUDANTE DE CÁMARA: @marioinadptados
AUXILIAR DE CÁMARA: @kikeazzolilini
VIDEOASSIST: ADRIÁN MARTÍN
LOADER: @pinkyloader
STEADYCAM: @raulmanchadosteady
AYTE STEADYCAM: MARC MALDONADO
RRSS: @heymariuk
FOTÓGRAFO: @adriosphoto
BTS: @pablorossanog
GAFFER: @fllanosu
BEST BOY: @isaacobregonandres
ELÉCTRICO: CHEMA MORENO/ JOSE ANTONIO @sergio.mantecon
KEY GRIP: ÁLEX LÓPEZ @juanan_velez_grip
GRIP: CARLOS ROS
AYUDANTE DE ARTE: FLORENCIA SASSO
AUXILIAR DE ARTE: CHECHU MARTÍNEZ @annacrosland
ATREZZISTA: PABLO ALONSO / SARA MARCO @elartedelafuente
ASISTENTE ESTILISMO: @iara_gordon
MAQUILLAJE Y PELUQERÍA: SARA RODRÍGUEZ
AYTE MAQUILLAJE Y PELUQUERÍA: LOLA LLORENTE / LAURA GONZÁLEZ
EDITOR: @i.pereira9
COLOR: XAVI SANTOLAYA
VFX: @yu.nishizuka

DROGA de @mora y @c.tangana producido por @plazabylittle
Dirigido por @santosbacana
PRODUCCION EJECUTIVA: @yaguerlopezabril
DOP: @pepegay
DIRECCION DE ARTE: @lelee.rodriguez
ESTILISTA C TANGANA: @alexturrion_
ESTILISTA FIGURACIÓN: @carlapaucar @alexturrion_
JEFE DE PRODUCCIÓN: @_juanluruiz_
1ST AD: ALMUDENA MARTIN DE LOS SANTOS Y ERNEST GIL
LINE PRODUCER: @pabloccl_
COORDINADORA DE PRODUCCIÓN: @rocio_marsan
LOCALIZADOR: @alejandrocamachomuñoz
REPARTO:
SEGURIDAD PUCHO Y MORA: MANUEL UTRERA ALFARO Y CARLOS ALBERTO ABONIA
BAILARINAS: EMMA TOLEDO / YESSICA CASTELLÓN / VERÓNICA PARKER / HENAR CENYENI / CARMEN OLIVA COIMBRA / GALA GÓMEZ
FARMACÉUTICA: @skinpharmacyjorgejuan34
FINANCIERO: @pabloccl
PRODUCTORES EN ESTUDIO:
@therealkigo @alexturrion_ @javierruiz.studio
2ND AD: @cvargasm_
3RD AD: CATALINA DEL CAMPO
AYUDANTE DE PRODUCCIÓN: @viviredlu
AUXILIAR DE PRODUCCIÓN: KARLOS OLIVEIRA / ÁLVARO GÓMEZ /AÍDA LÓPEZ / MIGUEL MORÁN / DANI CORTIJO / FRANKY KILMURRY
@karlinosoliveira @aidalopez_ @miguelon_23_
OPERADOR EN CÁMARA CAR: @daniel_mere_
AYUDANTE DE CÁMARA: @marioinadptados
AUXILIAR DE CÁMARA: @kikeazzolilini
VIDEOASSIST: ADRIÁN MARTÍN
LOADER: @pinkyloader
STEADYCAM: @raulmanchadosteady
AYTE STEADYCAM: MARC MALDONADO
RRSS: @heymariuk
FOTÓGRAFO: @adriosphoto
BTS: @pablorossanog
GAFFER: @fllanosu
BEST BOY: @isaacobregonandres
ELÉCTRICO: CHEMA MORENO/ JOSE ANTONIO @sergio.mantecon
KEY GRIP: ÁLEX LÓPEZ @juanan_velez_grip
GRIP: CARLOS ROS
AYUDANTE DE ARTE: FLORENCIA SASSO
AUXILIAR DE ARTE: CHECHU MARTÍNEZ @annacrosland
ATREZZISTA: PABLO ALONSO / SARA MARCO @elartedelafuente
ASISTENTE ESTILISMO: @iara_gordon
MAQUILLAJE Y PELUQERÍA: SARA RODRÍGUEZ
AYTE MAQUILLAJE Y PELUQUERÍA: LOLA LLORENTE / LAURA GONZÁLEZ
EDITOR: @i.pereira9
COLOR: XAVI SANTOLAYA
VFX: @yu.nishizuka

Hace tiempo que con Berni teníamos ganas de hacer algo juntos. Al final surgió la oportunidad de colaborar con 'Quédate'. Quisimos retratar ese lugar extraño entre la persona y personaje y nos salió esto.

Lo pudimos hacer con un equipo entrañable. Gente que se volcó y nos echó un cable enorme. Gracias de corazón a todos los proveedores y al equipo humano detrás. A veces se olvida, pero sin ellos, proyectos así no se hacen.

Gracias a Casa Costa por abrirnos las puertas y ser mucho más que el espacio del videoclip.

Y nada, que si después de verlo os bajáis a Casa Costa a probar el flan de Berni, pues... ya con eso nos damos por satisfechos.

@bernarda.__ “Quédate”
Dirigido por Pepe Gay de Liébana

Producido por Dani Molina
Jefa de Producción @martamurm

Dirección de arte @annabarnadas @martubau

Montador @marc__soria

Diseño de sonido @mushii.______

Ayudante de cámara @cesar_villalbamoreno
Auxiliar de cámara @jero_fd
DIT - Ignacio Millet

Gaffer @davidhappy
Eléctricos Nacho García & Xavi Carrión

Key grip @nestord.fs

Auxiliares de arte @paula158058 @manuegilmera

Maquillaje & Peluquería @makeup.tenita
Transportista - Eric Fernández

Mentor del flan y receta original @soyjoan

Management @miguelro_hb @liveindallas

Proveedores @sipublicidad_ @servicevision_scorpio @gripsupport.tv @zeferinolights

Reparto
Sergio González
Andreu García
Abdul Khaleq
@cedriccampbellcarter

Agradecimientos
@casacostabarceloneta @david_giro Héctor Giró @blur__________ @tarrambo Julia Llasana, Luis Jimenez, @carlosfontclos Xavi Gordi @keygripbarcelona @david.arres @nsarrio @pimaxito @inessegura @marioblur @grrddh @sirpau @mercedesorfilacorominas @hannahgui Ariadna Molina @xomgmt

Latest one for @adidas shot a couple months ago!

Director @waaaw.tv @jackantoinecharlot @sidneyvanwichelen
Production bubblesfilms
Service production @naftafilms @elijahthehun
1AD gundarsjakobsons
DIT joedunnigan
VTR andreykulpin
Grip maksimpodolski olivernoor
Stylist frankpeterwilde
Hair reza.hair
Makeup tricialehanne
Post-production and VFX @orage_studio
Post-producers @LolaBellini
Superviseur VFX : @FlavioFernandes
VFX Artists LéoMétayer, LauraFrançois, JulieHervieu, JeremyMichel, TomJohan-Rohm, ManonFrançois, Pierre André Fontaine

Editor @vincentfleischmann
Colorist @arthurpaux
Additionnal Grading @RomainLivenais
Sound designer + mix @jrjwilkinson

Agency @scholzandfriends soniapflesser
Creative director @lapp.land
Creatives @camillemkoehler @alperol_spritz

Adidas @adidas lisapiwernetz dominikamagotsch nicoleochmann

Deichmann @deichmann andreasconze nawrathmarcel

With the participation of Sarah Connor

Latest one for @adidas shot a couple months ago!

Director @waaaw.tv @jackantoinecharlot @sidneyvanwichelen
Production bubblesfilms
Service production @naftafilms @elijahthehun
1AD gundarsjakobsons
DIT joedunnigan
VTR andreykulpin
Grip maksimpodolski olivernoor
Stylist frankpeterwilde
Hair reza.hair
Makeup tricialehanne
Post-production and VFX @orage_studio
Post-producers @LolaBellini
Superviseur VFX : @FlavioFernandes
VFX Artists LéoMétayer, LauraFrançois, JulieHervieu, JeremyMichel, TomJohan-Rohm, ManonFrançois, Pierre André Fontaine

Editor @vincentfleischmann
Colorist @arthurpaux
Additionnal Grading @RomainLivenais
Sound designer + mix @jrjwilkinson

Agency @scholzandfriends soniapflesser
Creative director @lapp.land
Creatives @camillemkoehler @alperol_spritz

Adidas @adidas lisapiwernetz dominikamagotsch nicoleochmann

Deichmann @deichmann andreasconze nawrathmarcel

With the participation of Sarah Connor

Latest one for @adidas shot a couple months ago!

Director @waaaw.tv @jackantoinecharlot @sidneyvanwichelen
Production bubblesfilms
Service production @naftafilms @elijahthehun
1AD gundarsjakobsons
DIT joedunnigan
VTR andreykulpin
Grip maksimpodolski olivernoor
Stylist frankpeterwilde
Hair reza.hair
Makeup tricialehanne
Post-production and VFX @orage_studio
Post-producers @LolaBellini
Superviseur VFX : @FlavioFernandes
VFX Artists LéoMétayer, LauraFrançois, JulieHervieu, JeremyMichel, TomJohan-Rohm, ManonFrançois, Pierre André Fontaine

Editor @vincentfleischmann
Colorist @arthurpaux
Additionnal Grading @RomainLivenais
Sound designer + mix @jrjwilkinson

Agency @scholzandfriends soniapflesser
Creative director @lapp.land
Creatives @camillemkoehler @alperol_spritz

Adidas @adidas lisapiwernetz dominikamagotsch nicoleochmann

Deichmann @deichmann andreasconze nawrathmarcel

With the participation of Sarah Connor

Latest one for @adidas shot a couple months ago!

Director @waaaw.tv @jackantoinecharlot @sidneyvanwichelen
Production bubblesfilms
Service production @naftafilms @elijahthehun
1AD gundarsjakobsons
DIT joedunnigan
VTR andreykulpin
Grip maksimpodolski olivernoor
Stylist frankpeterwilde
Hair reza.hair
Makeup tricialehanne
Post-production and VFX @orage_studio
Post-producers @LolaBellini
Superviseur VFX : @FlavioFernandes
VFX Artists LéoMétayer, LauraFrançois, JulieHervieu, JeremyMichel, TomJohan-Rohm, ManonFrançois, Pierre André Fontaine

Editor @vincentfleischmann
Colorist @arthurpaux
Additionnal Grading @RomainLivenais
Sound designer + mix @jrjwilkinson

Agency @scholzandfriends soniapflesser
Creative director @lapp.land
Creatives @camillemkoehler @alperol_spritz

Adidas @adidas lisapiwernetz dominikamagotsch nicoleochmann

Deichmann @deichmann andreasconze nawrathmarcel

With the participation of Sarah Connor

Latest one for @adidas shot a couple months ago!

Director @waaaw.tv @jackantoinecharlot @sidneyvanwichelen
Production bubblesfilms
Service production @naftafilms @elijahthehun
1AD gundarsjakobsons
DIT joedunnigan
VTR andreykulpin
Grip maksimpodolski olivernoor
Stylist frankpeterwilde
Hair reza.hair
Makeup tricialehanne
Post-production and VFX @orage_studio
Post-producers @LolaBellini
Superviseur VFX : @FlavioFernandes
VFX Artists LéoMétayer, LauraFrançois, JulieHervieu, JeremyMichel, TomJohan-Rohm, ManonFrançois, Pierre André Fontaine

Editor @vincentfleischmann
Colorist @arthurpaux
Additionnal Grading @RomainLivenais
Sound designer + mix @jrjwilkinson

Agency @scholzandfriends soniapflesser
Creative director @lapp.land
Creatives @camillemkoehler @alperol_spritz

Adidas @adidas lisapiwernetz dominikamagotsch nicoleochmann

Deichmann @deichmann andreasconze nawrathmarcel

With the participation of Sarah Connor

Latest one for @adidas shot a couple months ago!

Director @waaaw.tv @jackantoinecharlot @sidneyvanwichelen
Production bubblesfilms
Service production @naftafilms @elijahthehun
1AD gundarsjakobsons
DIT joedunnigan
VTR andreykulpin
Grip maksimpodolski olivernoor
Stylist frankpeterwilde
Hair reza.hair
Makeup tricialehanne
Post-production and VFX @orage_studio
Post-producers @LolaBellini
Superviseur VFX : @FlavioFernandes
VFX Artists LéoMétayer, LauraFrançois, JulieHervieu, JeremyMichel, TomJohan-Rohm, ManonFrançois, Pierre André Fontaine

Editor @vincentfleischmann
Colorist @arthurpaux
Additionnal Grading @RomainLivenais
Sound designer + mix @jrjwilkinson

Agency @scholzandfriends soniapflesser
Creative director @lapp.land
Creatives @camillemkoehler @alperol_spritz

Adidas @adidas lisapiwernetz dominikamagotsch nicoleochmann

Deichmann @deichmann andreasconze nawrathmarcel

With the participation of Sarah Connor

@verizon campaign directed by @bicepsdirector and produced by @furlinedproductions

Agency @ogilvy
Creative @yallsfriend

Furlined EP @dianemcarter
Furlined Producer @_choppywaters_

Serviced by @blur__________
Blur EP @inessegura
Line producer @marc.sitges

AC @guillegvc
Gaffer @pedrosanchez3020
Grip Alex Capitán
DIT Ibon Esparza

Grade @josephbicknell @company_3

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

Glimpse of Japan

@arca1000000 ft. @tokischa.sol ‘CHAMA’

Directed by: @stillz
Produced by: @canadacanadacom @weownthecity
Executive Producer: @victormatanoguera
Producer: @christy.am
Cinematographer: @pepegay
1st AD: álvaro riesgo
Production Manager: @annasalgado21
Production Manager: @marti.mendez.g
Arca Hair & Make-up: @rubenmarmol
Tokischa Hair & Make-up: @8ah_y_
Set Photographer: @42rqfa
Post Production Coordinators: @__javibotella @marinsmcam
Editor: @middlenameherrick @cartel.tv
Post Production: @alv_alv @marta.mkv
Graphic Design: @aliciavogelvogel
2nd AD: @paulatrejoespada
Production Assistants: @xj.ale.xj & Mía Mata
PA runners: Marc Casademont, Camila Faraci, Bruno Asensio & Silvia Esser
Unit Manager: Juliana Hernández
Location Manager: Eduard Giménez
1st Camera Assistant: Josep María Espinoza
2nd Camera Assistant: Roger de Pastors
Data Wrangler: Lluc Carles
Steadicam Operator: @aos.camera
Steadicam Assistant: Manu Rodríguez
Camera Truck: Marc Barbero
Key Grip: Gil Sala
Grip: Erik Guinez
Grip Trainees: Angela Flo Llinas & Xavi Pardos
Motion Control: Angelo Freda
Motion Control: Luis Giordana
Gaffer: Jaume Muntada
Sparks: Anderson Ramírez, Pau Carne & Manu Fernández
Genny Operator: Josep Maria Enelmo
Light Truck: Jesús Álvarez
Art Assistant: Marga Llanos
HMU Assistant: Vera Pino
Prosthesis Director: Cristina Iglesias
Prothesis Assistants: Estel Ramírez, Sandra Montero & Eugeni Iglesias
Motorhome: Rafael González
Arca Assistants: Kike Alba &Unai Lafuente
Suppliers
Zeferino, Grip Support, Napalm Rental, Clon Factory, Modasa, WRS, Ricard Hidalgo, SIP & Quadis Rent a Car
Special Thanks
Àxel Serrat, Pau Carreté, Yolanda Gata, Diana C. Milesi, Sílvia Fernández, Magdalena Hart, Àlex Fillat, Alexandra Jordana, Nerea Nongrados, Cartel & Abby Siegel

@arca1000000 ft. @tokischa.sol ‘CHAMA’

Directed by: @stillz
Produced by: @canadacanadacom @weownthecity
Executive Producer: @victormatanoguera
Producer: @christy.am
Cinematographer: @pepegay
1st AD: álvaro riesgo
Production Manager: @annasalgado21
Production Manager: @marti.mendez.g
Arca Hair & Make-up: @rubenmarmol
Tokischa Hair & Make-up: @8ah_y_
Set Photographer: @42rqfa
Post Production Coordinators: @__javibotella @marinsmcam
Editor: @middlenameherrick @cartel.tv
Post Production: @alv_alv @marta.mkv
Graphic Design: @aliciavogelvogel
2nd AD: @paulatrejoespada
Production Assistants: @xj.ale.xj & Mía Mata
PA runners: Marc Casademont, Camila Faraci, Bruno Asensio & Silvia Esser
Unit Manager: Juliana Hernández
Location Manager: Eduard Giménez
1st Camera Assistant: Josep María Espinoza
2nd Camera Assistant: Roger de Pastors
Data Wrangler: Lluc Carles
Steadicam Operator: @aos.camera
Steadicam Assistant: Manu Rodríguez
Camera Truck: Marc Barbero
Key Grip: Gil Sala
Grip: Erik Guinez
Grip Trainees: Angela Flo Llinas & Xavi Pardos
Motion Control: Angelo Freda
Motion Control: Luis Giordana
Gaffer: Jaume Muntada
Sparks: Anderson Ramírez, Pau Carne & Manu Fernández
Genny Operator: Josep Maria Enelmo
Light Truck: Jesús Álvarez
Art Assistant: Marga Llanos
HMU Assistant: Vera Pino
Prosthesis Director: Cristina Iglesias
Prothesis Assistants: Estel Ramírez, Sandra Montero & Eugeni Iglesias
Motorhome: Rafael González
Arca Assistants: Kike Alba &Unai Lafuente
Suppliers
Zeferino, Grip Support, Napalm Rental, Clon Factory, Modasa, WRS, Ricard Hidalgo, SIP & Quadis Rent a Car
Special Thanks
Àxel Serrat, Pau Carreté, Yolanda Gata, Diana C. Milesi, Sílvia Fernández, Magdalena Hart, Àlex Fillat, Alexandra Jordana, Nerea Nongrados, Cartel & Abby Siegel

@arca1000000 ft. @tokischa.sol ‘CHAMA’

Directed by: @stillz
Produced by: @canadacanadacom @weownthecity
Executive Producer: @victormatanoguera
Producer: @christy.am
Cinematographer: @pepegay
1st AD: álvaro riesgo
Production Manager: @annasalgado21
Production Manager: @marti.mendez.g
Arca Hair & Make-up: @rubenmarmol
Tokischa Hair & Make-up: @8ah_y_
Set Photographer: @42rqfa
Post Production Coordinators: @__javibotella @marinsmcam
Editor: @middlenameherrick @cartel.tv
Post Production: @alv_alv @marta.mkv
Graphic Design: @aliciavogelvogel
2nd AD: @paulatrejoespada
Production Assistants: @xj.ale.xj & Mía Mata
PA runners: Marc Casademont, Camila Faraci, Bruno Asensio & Silvia Esser
Unit Manager: Juliana Hernández
Location Manager: Eduard Giménez
1st Camera Assistant: Josep María Espinoza
2nd Camera Assistant: Roger de Pastors
Data Wrangler: Lluc Carles
Steadicam Operator: @aos.camera
Steadicam Assistant: Manu Rodríguez
Camera Truck: Marc Barbero
Key Grip: Gil Sala
Grip: Erik Guinez
Grip Trainees: Angela Flo Llinas & Xavi Pardos
Motion Control: Angelo Freda
Motion Control: Luis Giordana
Gaffer: Jaume Muntada
Sparks: Anderson Ramírez, Pau Carne & Manu Fernández
Genny Operator: Josep Maria Enelmo
Light Truck: Jesús Álvarez
Art Assistant: Marga Llanos
HMU Assistant: Vera Pino
Prosthesis Director: Cristina Iglesias
Prothesis Assistants: Estel Ramírez, Sandra Montero & Eugeni Iglesias
Motorhome: Rafael González
Arca Assistants: Kike Alba &Unai Lafuente
Suppliers
Zeferino, Grip Support, Napalm Rental, Clon Factory, Modasa, WRS, Ricard Hidalgo, SIP & Quadis Rent a Car
Special Thanks
Àxel Serrat, Pau Carreté, Yolanda Gata, Diana C. Milesi, Sílvia Fernández, Magdalena Hart, Àlex Fillat, Alexandra Jordana, Nerea Nongrados, Cartel & Abby Siegel

@arca1000000 ft. @tokischa.sol ‘CHAMA’

Directed by: @stillz
Produced by: @canadacanadacom @weownthecity
Executive Producer: @victormatanoguera
Producer: @christy.am
Cinematographer: @pepegay
1st AD: álvaro riesgo
Production Manager: @annasalgado21
Production Manager: @marti.mendez.g
Arca Hair & Make-up: @rubenmarmol
Tokischa Hair & Make-up: @8ah_y_
Set Photographer: @42rqfa
Post Production Coordinators: @__javibotella @marinsmcam
Editor: @middlenameherrick @cartel.tv
Post Production: @alv_alv @marta.mkv
Graphic Design: @aliciavogelvogel
2nd AD: @paulatrejoespada
Production Assistants: @xj.ale.xj & Mía Mata
PA runners: Marc Casademont, Camila Faraci, Bruno Asensio & Silvia Esser
Unit Manager: Juliana Hernández
Location Manager: Eduard Giménez
1st Camera Assistant: Josep María Espinoza
2nd Camera Assistant: Roger de Pastors
Data Wrangler: Lluc Carles
Steadicam Operator: @aos.camera
Steadicam Assistant: Manu Rodríguez
Camera Truck: Marc Barbero
Key Grip: Gil Sala
Grip: Erik Guinez
Grip Trainees: Angela Flo Llinas & Xavi Pardos
Motion Control: Angelo Freda
Motion Control: Luis Giordana
Gaffer: Jaume Muntada
Sparks: Anderson Ramírez, Pau Carne & Manu Fernández
Genny Operator: Josep Maria Enelmo
Light Truck: Jesús Álvarez
Art Assistant: Marga Llanos
HMU Assistant: Vera Pino
Prosthesis Director: Cristina Iglesias
Prothesis Assistants: Estel Ramírez, Sandra Montero & Eugeni Iglesias
Motorhome: Rafael González
Arca Assistants: Kike Alba &Unai Lafuente
Suppliers
Zeferino, Grip Support, Napalm Rental, Clon Factory, Modasa, WRS, Ricard Hidalgo, SIP & Quadis Rent a Car
Special Thanks
Àxel Serrat, Pau Carreté, Yolanda Gata, Diana C. Milesi, Sílvia Fernández, Magdalena Hart, Àlex Fillat, Alexandra Jordana, Nerea Nongrados, Cartel & Abby Siegel

@arca1000000 ft. @tokischa.sol ‘CHAMA’

Directed by: @stillz
Produced by: @canadacanadacom @weownthecity
Executive Producer: @victormatanoguera
Producer: @christy.am
Cinematographer: @pepegay
1st AD: álvaro riesgo
Production Manager: @annasalgado21
Production Manager: @marti.mendez.g
Arca Hair & Make-up: @rubenmarmol
Tokischa Hair & Make-up: @8ah_y_
Set Photographer: @42rqfa
Post Production Coordinators: @__javibotella @marinsmcam
Editor: @middlenameherrick @cartel.tv
Post Production: @alv_alv @marta.mkv
Graphic Design: @aliciavogelvogel
2nd AD: @paulatrejoespada
Production Assistants: @xj.ale.xj & Mía Mata
PA runners: Marc Casademont, Camila Faraci, Bruno Asensio & Silvia Esser
Unit Manager: Juliana Hernández
Location Manager: Eduard Giménez
1st Camera Assistant: Josep María Espinoza
2nd Camera Assistant: Roger de Pastors
Data Wrangler: Lluc Carles
Steadicam Operator: @aos.camera
Steadicam Assistant: Manu Rodríguez
Camera Truck: Marc Barbero
Key Grip: Gil Sala
Grip: Erik Guinez
Grip Trainees: Angela Flo Llinas & Xavi Pardos
Motion Control: Angelo Freda
Motion Control: Luis Giordana
Gaffer: Jaume Muntada
Sparks: Anderson Ramírez, Pau Carne & Manu Fernández
Genny Operator: Josep Maria Enelmo
Light Truck: Jesús Álvarez
Art Assistant: Marga Llanos
HMU Assistant: Vera Pino
Prosthesis Director: Cristina Iglesias
Prothesis Assistants: Estel Ramírez, Sandra Montero & Eugeni Iglesias
Motorhome: Rafael González
Arca Assistants: Kike Alba &Unai Lafuente
Suppliers
Zeferino, Grip Support, Napalm Rental, Clon Factory, Modasa, WRS, Ricard Hidalgo, SIP & Quadis Rent a Car
Special Thanks
Àxel Serrat, Pau Carreté, Yolanda Gata, Diana C. Milesi, Sílvia Fernández, Magdalena Hart, Àlex Fillat, Alexandra Jordana, Nerea Nongrados, Cartel & Abby Siegel

@arca1000000 ft. @tokischa.sol ‘CHAMA’

Directed by: @stillz
Produced by: @canadacanadacom @weownthecity
Executive Producer: @victormatanoguera
Producer: @christy.am
Cinematographer: @pepegay
1st AD: álvaro riesgo
Production Manager: @annasalgado21
Production Manager: @marti.mendez.g
Arca Hair & Make-up: @rubenmarmol
Tokischa Hair & Make-up: @8ah_y_
Set Photographer: @42rqfa
Post Production Coordinators: @__javibotella @marinsmcam
Editor: @middlenameherrick @cartel.tv
Post Production: @alv_alv @marta.mkv
Graphic Design: @aliciavogelvogel
2nd AD: @paulatrejoespada
Production Assistants: @xj.ale.xj & Mía Mata
PA runners: Marc Casademont, Camila Faraci, Bruno Asensio & Silvia Esser
Unit Manager: Juliana Hernández
Location Manager: Eduard Giménez
1st Camera Assistant: Josep María Espinoza
2nd Camera Assistant: Roger de Pastors
Data Wrangler: Lluc Carles
Steadicam Operator: @aos.camera
Steadicam Assistant: Manu Rodríguez
Camera Truck: Marc Barbero
Key Grip: Gil Sala
Grip: Erik Guinez
Grip Trainees: Angela Flo Llinas & Xavi Pardos
Motion Control: Angelo Freda
Motion Control: Luis Giordana
Gaffer: Jaume Muntada
Sparks: Anderson Ramírez, Pau Carne & Manu Fernández
Genny Operator: Josep Maria Enelmo
Light Truck: Jesús Álvarez
Art Assistant: Marga Llanos
HMU Assistant: Vera Pino
Prosthesis Director: Cristina Iglesias
Prothesis Assistants: Estel Ramírez, Sandra Montero & Eugeni Iglesias
Motorhome: Rafael González
Arca Assistants: Kike Alba &Unai Lafuente
Suppliers
Zeferino, Grip Support, Napalm Rental, Clon Factory, Modasa, WRS, Ricard Hidalgo, SIP & Quadis Rent a Car
Special Thanks
Àxel Serrat, Pau Carreté, Yolanda Gata, Diana C. Milesi, Sílvia Fernández, Magdalena Hart, Àlex Fillat, Alexandra Jordana, Nerea Nongrados, Cartel & Abby Siegel

@arca1000000 ft. @tokischa.sol ‘CHAMA’

Directed by: @stillz
Produced by: @canadacanadacom @weownthecity
Executive Producer: @victormatanoguera
Producer: @christy.am
Cinematographer: @pepegay
1st AD: álvaro riesgo
Production Manager: @annasalgado21
Production Manager: @marti.mendez.g
Arca Hair & Make-up: @rubenmarmol
Tokischa Hair & Make-up: @8ah_y_
Set Photographer: @42rqfa
Post Production Coordinators: @__javibotella @marinsmcam
Editor: @middlenameherrick @cartel.tv
Post Production: @alv_alv @marta.mkv
Graphic Design: @aliciavogelvogel
2nd AD: @paulatrejoespada
Production Assistants: @xj.ale.xj & Mía Mata
PA runners: Marc Casademont, Camila Faraci, Bruno Asensio & Silvia Esser
Unit Manager: Juliana Hernández
Location Manager: Eduard Giménez
1st Camera Assistant: Josep María Espinoza
2nd Camera Assistant: Roger de Pastors
Data Wrangler: Lluc Carles
Steadicam Operator: @aos.camera
Steadicam Assistant: Manu Rodríguez
Camera Truck: Marc Barbero
Key Grip: Gil Sala
Grip: Erik Guinez
Grip Trainees: Angela Flo Llinas & Xavi Pardos
Motion Control: Angelo Freda
Motion Control: Luis Giordana
Gaffer: Jaume Muntada
Sparks: Anderson Ramírez, Pau Carne & Manu Fernández
Genny Operator: Josep Maria Enelmo
Light Truck: Jesús Álvarez
Art Assistant: Marga Llanos
HMU Assistant: Vera Pino
Prosthesis Director: Cristina Iglesias
Prothesis Assistants: Estel Ramírez, Sandra Montero & Eugeni Iglesias
Motorhome: Rafael González
Arca Assistants: Kike Alba &Unai Lafuente
Suppliers
Zeferino, Grip Support, Napalm Rental, Clon Factory, Modasa, WRS, Ricard Hidalgo, SIP & Quadis Rent a Car
Special Thanks
Àxel Serrat, Pau Carreté, Yolanda Gata, Diana C. Milesi, Sílvia Fernández, Magdalena Hart, Àlex Fillat, Alexandra Jordana, Nerea Nongrados, Cartel & Abby Siegel

@arca1000000 ft. @tokischa.sol ‘CHAMA’

Directed by: @stillz
Produced by: @canadacanadacom @weownthecity
Executive Producer: @victormatanoguera
Producer: @christy.am
Cinematographer: @pepegay
1st AD: álvaro riesgo
Production Manager: @annasalgado21
Production Manager: @marti.mendez.g
Arca Hair & Make-up: @rubenmarmol
Tokischa Hair & Make-up: @8ah_y_
Set Photographer: @42rqfa
Post Production Coordinators: @__javibotella @marinsmcam
Editor: @middlenameherrick @cartel.tv
Post Production: @alv_alv @marta.mkv
Graphic Design: @aliciavogelvogel
2nd AD: @paulatrejoespada
Production Assistants: @xj.ale.xj & Mía Mata
PA runners: Marc Casademont, Camila Faraci, Bruno Asensio & Silvia Esser
Unit Manager: Juliana Hernández
Location Manager: Eduard Giménez
1st Camera Assistant: Josep María Espinoza
2nd Camera Assistant: Roger de Pastors
Data Wrangler: Lluc Carles
Steadicam Operator: @aos.camera
Steadicam Assistant: Manu Rodríguez
Camera Truck: Marc Barbero
Key Grip: Gil Sala
Grip: Erik Guinez
Grip Trainees: Angela Flo Llinas & Xavi Pardos
Motion Control: Angelo Freda
Motion Control: Luis Giordana
Gaffer: Jaume Muntada
Sparks: Anderson Ramírez, Pau Carne & Manu Fernández
Genny Operator: Josep Maria Enelmo
Light Truck: Jesús Álvarez
Art Assistant: Marga Llanos
HMU Assistant: Vera Pino
Prosthesis Director: Cristina Iglesias
Prothesis Assistants: Estel Ramírez, Sandra Montero & Eugeni Iglesias
Motorhome: Rafael González
Arca Assistants: Kike Alba &Unai Lafuente
Suppliers
Zeferino, Grip Support, Napalm Rental, Clon Factory, Modasa, WRS, Ricard Hidalgo, SIP & Quadis Rent a Car
Special Thanks
Àxel Serrat, Pau Carreté, Yolanda Gata, Diana C. Milesi, Sílvia Fernández, Magdalena Hart, Àlex Fillat, Alexandra Jordana, Nerea Nongrados, Cartel & Abby Siegel