ArtSphere Paris Stage
Production and coordination assistant stage at ArtSphere Paris. September-October-November 2023. I have worked with these incredible people for three months and learned a lot from the world of high end production. Here are a few of the projects I’ve participated in, and a small comment on my personnal experiences.
- Sébastian Coindre for Boucheron “Histoire de Style”
It was my first experience with fine jewelry and it was important for me to understand the differences on treatment, protocol and care that these pieces received. Everything was done with extreme care, almost slowly. Every shine and shimmer mattered so we couldn’t even walk when the pieces were being filmed by a camera robot. It was also very interesting to deal with such technology and its movements definitely made me think about my own techniques while shooting something nowadays, specially if it is a steady object. It also helped me understanding budget; and how even in huge brands, there are limits and also small productions.
Coordination and production assistant in the photoshoots for: - Koto Bolofo for Vogue Greece “La Divina”
I worked with a photographer represented by the agency, Koto Bolofo, and although I had already participated in big productions, it was my first time followed the artistic direction process from beggining to end of a big photoshoot. It was very interesting to realise how the creative process went in this very classical project, compared to my prior experiences. The main difference (besides budget) is that nobody was “afraid” of the past, and I feel it might have also been because of a preference in western Europe, when compared to the Netherlands and its Dutch love for the “new”.
Production of VOGUE Portugal cover and editorial “Love Hope” by Alexandra Sophie
It was important for me to learn more about how to access a city’s talent pool. Having recently arrived in Paris, locating artists and select them was good work, and it also opened my eyes to Paris’ preferences on design and style, definitely very different from the Netherlands’ choices. I assisted the art buying of this shoot and the project made me wide the range of my artist references and to get to know more of the photographers that are actively working right now. I came to paris because it is where I can project myself, I had a great experience with this internship and a confirmation that this is what I want.
- Branislav Simoncik for Boycott Magazine.
This was a shoot I observed how the briefing process works between the agency, the artist and the client, and how we continue behind the scenes afterwards, as producers. In this shoot specifically, everything went quite smoothly. The production team and the art direction team were on the same page. This wasn’t always the case with other clients, specially bigger brands. Many times whatever the creative team wanted simply wasn’t possible budgetwise, even with big companies, and I watched the production team push connections and create ways to achieve what they knew was most important in the creative briefing. It was interesting to watch, mainly because in the start of my career, with basically have no budget, it dictated my choices, so it was interesting to see money dictating such huge clients.
