Afterglow

A single-take music video built around one slow push, timed so the camera arrives on the last chord and the light goes with it.

Second Bloom

A spring campaign shot in the last week of winter, on the argument that the interesting part is the bit just before everything opens.

Low Tide

Four mornings on a tidal flat in Brittany, shot only in the ninety minutes either side of the turn, when the water is neither coming nor going.

Field Study

A slow-looking film about six plants and the light they were found in. Shot over four mornings on a single lens, in the order the light arrived.

Green Fern

Nightshade

A product film shot entirely after sunset on a single practical light, cut so the object arrives late and leaves early.

Solstice

The longest day of the year, shot end to end from one locked camera position — eighteen hours of changing light, cut down to three minutes.

Yellow Flower

Understory

Eleven months in the same twenty metres of woodland, shot on the same lens from roughly the same position, cut to four minutes.

Violet Hour

Built entirely in the twenty minutes between sunset and full dark — eleven consecutive evenings for four minutes of finished film.

Purple Flower

Ember

Shot over two days in late autumn on 35mm in the Vaucluse, graded warm to hold the last of the light rather than correct it out.

Orange Flower

Bloom State

A self-initiated study made with no client and no brief, testing whether a single subject can carry an entire film on colour alone.

Lilac Flower

Afterglow

A single-take music video built around one slow push, timed so the camera arrives on the last chord and the light goes with it.

Second Bloom

A spring campaign shot in the last week of winter, on the argument that the interesting part is the bit just before everything opens.

Low Tide

Four mornings on a tidal flat in Brittany, shot only in the ninety minutes either side of the turn, when the water is neither coming nor going.

Field Study

A slow-looking film about six plants and the light they were found in. Shot over four mornings on a single lens, in the order the light arrived.

Green Fern

Nightshade

A product film shot entirely after sunset on a single practical light, cut so the object arrives late and leaves early.

Solstice

The longest day of the year, shot end to end from one locked camera position — eighteen hours of changing light, cut down to three minutes.

Yellow Flower

Understory

Eleven months in the same twenty metres of woodland, shot on the same lens from roughly the same position, cut to four minutes.

Violet Hour

Built entirely in the twenty minutes between sunset and full dark — eleven consecutive evenings for four minutes of finished film.

Purple Flower

Ember

Shot over two days in late autumn on 35mm in the Vaucluse, graded warm to hold the last of the light rather than correct it out.

Orange Flower

Bloom State

A self-initiated study made with no client and no brief, testing whether a single subject can carry an entire film on colour alone.

Lilac Flower

Films made in colour

A director and editor working in motion, colour and stillness for brands that would rather be looked at than read. Based in Paris, shooting anywhere.

About

Twelve years behind a camera

Started in documentary, moved into commercial work without losing the habits — small crews, long lenses, natural light, and a preference for the take before anyone remembers they are being filmed.

Read more

Questions

How it works

What does a project usually cost?

The fee follows the scope rather than a rate card — a single shooting day and a three-week turnaround are not the same job. Send a rough idea and a date and you will get a number back, along with what it does and does not cover.

How far ahead do you book?

Usually six to eight weeks for a commissioned shoot, and less if it is edit-only. I am currently taking work for late 2026 and into 2027. Short-notice dates come up more often than you would expect, so it is worth asking anyway.

Do you work direct or through an agency?

Both, roughly half and half. Enquiries come to me either way — there is no agent in between, so the person you brief is the person who shoots it.

Can you cut something I have already shot?

Yes, and it is a real part of the work rather than a favour. Offline and online, including rushes from other shooters. If the material will not carry the film you have in mind, you will hear that before the job starts rather than at the first assembly.

Do you travel?

Based in Paris, shooting anywhere. Most jobs land somewhere in Europe and travel is quoted at cost. Small crews make this considerably easier than it sounds.

What do you need in order to quote?

A rough idea, a date, and where it is going — social, broadcast, a site, or all three. Treatments, rates and a full reel follow once there is something concrete to talk about.

Contact

Tell me what you’re making

Taking commissions for late 2026 and into 2027. Treatments, rates and a full reel on request.

hello@moon.film

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