Crews

Technician rates and work hours in Brazil are regulated by unions, though working hours and turnaround can be negotiated per job. Standard working hours are between 8-12 hours, but most budget days are estimated as 12 hour days, including 1 hour for lunch. Camera crew is based on 10 hours. Beyond regular hours the standard OT per hour is 10% of daily rate. Nights, weekends and holidays are generally negotiated on a per job basis, but could result in double time. There are no meal penalties and meals are spaced approximately six to seven hours.


Key crew members are well versed in international productions and many speak English, as well as other languages. While some directors like to travel their trusted 1st AD’s Brazil has a solid of pool of assistant directors. They speak good English and are vital in terms of local knowledge and planning, communication with local crew and talent, amongst others. Many times I’m asked to cut this position. Rarely a smart move.

Brazilian DOP’s have excelled themselves in recent years helping Brazilian productions to win major awards around the world. Very professional, most speak English, and have online reels. Gaffers and grips are not great linguists but they speak the language of their expertise, which in terms of lighting and grip is fairly universal. It’s a good idea to have an English speaking PA/grip/electrician to smooth out communication if DOP and/or gaffer are foreign. Camera Assistants speak English, are educated and qualified professionals.

Brazilian wardrobe stylists, art directors, hair and make-up are gradually making their way into the 21st century by creating web sites to illustrate their work, but it’s a work in progress. While most are extremely professional and qualified, the presentation of their work leaves a lot to be desired. Making it a hard sell in certain cases.

Food stylists are kept busy by a growing local market. There are good and experienced professionals, but again web sites and presentation of their reels is often lacking.

Animal trainers are located mainly in Sao Paulo. But they work throughout Brazil and are kept busy with commercials and soap operas.

Finding a good location scout can be tough anywhere in the world. And it’s the one profession in the Brazilian production industry that needs improving. The best scout for me is Johnny Catrolli. Based in Rio de Janeiro, but he scouts throughout Brazil. Been in the business longer than anyone. He doesn’t bullshit, does the job, he’s creative, he can think outside the box, and gives you what you’re looking for and more within your budget.

Security is often a concern when traveling crew to a foreign location. I can’t speak for other companies on this issue, but it’s something my company, Utopia Films, takes very seriously. We provide security personnel from arrival until departure. Big cities in Brazil are, in general, no more dangerous than cities anywhere in the world. I’m from England, I live in Rio, and that’s my daily experience. But there are areas that should be avoided. The main issue you might encounter is petty crime, and the visible presence of security personnel is enough to deter this type of problem. 

Both Sao Paulo and Rio have a good selection of production managers, coordinators, PA’s and chaperone's who speak English and have a lot of international production experience. Production companies in Brazil serving international productions will generally provide qualified chaperone's to accompany foreign crews throughout their stay in Brazil.

Brazilians are natural problem solvers. If there's one drawback it's their need to over-analyze especially when it's a foreign production. Simple requests like 'can we please have no bagels or cream cheese on the craft service table' or 'please make sure the grip truck comes with a lift gate' are investigated and scrutinized. I found a PA had spent 6 hours on the Internet and made expensive phone calls to friends in the USA tracking down the exact meaning of 'craft service'. He was providing a baffled Coordinator with the detailed ingredients of bagels when I happened to stumble across their conversation. Many words used on a daily basis in the USA or Europe are sometimes non-existent or have been adapted here. A grip is a grip pretty much anywhere in the world. They dress, smell and work in much the same way. Wheels in Brazil are as round as they are in the rest of the world. But Brazilians are a different culture, they speak a different language with different interpretations. Often I will translate a written equipment list sent from a foreign DOP into photos. It's amazing how the illustrated world can bridge language barriers, and make complicated words very simple. The differences sometimes are very subtle, but it's important to have a local production contact who not only speaks but also understands your language. It's the little things, as everyone knows, that so often count.

Brazil Is Bigger Than Texas!

“Where you from, man?” a voice exploded. I’d stumbled off a plane and into New York for the Boards Summit and was about to be seated in a conference room of 800 film and agency people. The voice belonged to a 7-foot giant who leaned his enormous frame across the table. I winced as he crushed my hand, “I’m from England, but live in Brazil.” He dropped into his seat without releasing his grasp, almost pulling me clean across the table. “Brazil!” He shouted. His large eyes narrowed. “Bigger than Texas, ain’t it?”

He was still holding my hand. My lips and eyes formed a natural smile only to realize he was being completely serious. “Actually it’s almost the same size as the US,” I was still stretched across the table. I tried to wipe the smile away by literally passing my other hand across my mouth. He nodded, considering this. “Big!” His eyes widened in unnecessary emphasis, and he kept shaking my hand as if to congratulate.

“They’re all having verbal sex,” Jack Stratton said. He was standing next to me that night, conveniently isolated in a warm corner. He was on his 5th whisky, I was on my 2nd beer. It was the Boards opening party in the office of a music house in central Manhattan. People were crowded in the hall and down the corridor. He extended his hand across my chest. “See the little fellow?” He was pointing at a dwarf dressed as snow white. “We used him for a shoot last year in Caracas. 300 little people and 7 camels riding over a bridge. Bloody nightmare.” I asked why he’d chosen Venezuela. “Cheap!” He chuckled. “Rape and pillage while we can. British have always been good at that.”

“I know you…” A hand reached for mine. I followed up the arm to see a blonde woman looking intently at me. Behind her stood a tall man with an eager, almost fanatical look. I shook her hand trying to place her. My eyes kept drifting to the man towering over her. Why was he looking at me like that? I told her with absolute certainty that she was the husband of Bob in LA. She politely corrected me by saying that if his name was Bob that would surely make her the wife, and actually she’d never been married and lived in Chicago. My mouth formed the shape of an ‘oh’, but nothing came out. She smiled automatically. The big fellow reached down across her shoulder and held his hand so that I could shake it. “Name’s André. Sheryl’s my agent. What do you do?” Jack Stratton screamed, “ He’s a bloody pirate! What do you think he does? Make lights for Christmas trees?” Fortunately André had a sense of humour. He was, of course, a musician. English, living in a converted loft in Brooklyn. Well at least we had a country of birth in common. Apart from that I had no need for a musician nor he for a production service in Brazil. His agent had mistaken me for someone more important, and I had confused her with the wife of Bob. Time to move on.

The giant from Texas cornered me at the bar. He rested his elbow on my shoulder. I couldn’t move. I was like a statute, afraid to upset the balance. He rammed a fistful of peanuts into his mouth and crunched. “Sum up Brazil for me in one word.” I’d never thought of Brazil in one word. He could see I was struggling. “See, in Texas it would be ‘steak’.” If I had to use one word, I said, it would be ‘delicious’. He stopped chewing with his mouth open. “Delicious,” he repeated the word as though tasting something exquisite. “I like that.” It’s really big, too, I said. “Bigger than Texas!” his eyes widened for emphasis. And now he roared with laughter. He lifted his huge elbow off my shoulder and I almost keeled over. Finally, I thought, Brazil is being recognized for what it is. The giant from Texas was still laughing and I couldn’t help myself, I laughed too. The Boards Summit proved a hectic three days. Many people, many events, many interesting conversations. When you travel into the big, big world for your next shoot, you have two (of many) additional reasons to consider Brazil – bigger than Texas, and delicious. Bon voyage!

Originally published in Filmmakers Guide - Service Companies Of The World - 2007

Equipment

The major equipment houses are based in Sao Paulo and Rio de Janeiro. Lighting/grip houses include Quanta, Electrica, Cinecidade, Locall, Apema, Naymar. Cranes and dollys are supplied by Fabrica Brasileira de Imagens, Aircam, Para Movimentos, Quanta, Apema, Electrica, Sunshine, amongst others. Camera houses for 35/16 mm and digital include JKL, Camera 2, Central, as well as many owner/operators.

Equipment moves frequently between the two major Brazilian production centers of Sao Paulo and Rio de Janeiro. Sao Paulo is a 40 minute flight from Rio (6 hrs drive). Smaller cities like Belo Horizonte, Brasilia, Salvador, Recife and Porto Alegre have smaller equipment houses. Most international commercial productions and feature films shooting in these smaller cities will require equipment to be transported from Sao Paulo or Rio.

Brazil is a large country with a population of 194 million. It has a significant home based production industry and has sufficient equipment for large international TV commercial productions and smaller features. It is not Hollywood, however, and does not have the volume of most US production centers. Cameras and lenses are very well maintained. Grip and lighting items have sometimes been modified or replicated, but most name brands are available. Foreign grip and lighting technicians may find that though the equipment does the job it is not maintained and as shiny new as their toys at home. Brazilian technicians are used to working with what they have and make perfectly good use of it. Production equipment is imported so rental costs are no cheaper than the USA or Europe. If an item in short supply gets damaged ordering parts to fix the problem could become a time issue.

For international TV commercials and small movies there should be no issues or concerns in finding equipment for your production in Brazil. Unless you have a specific requirement like motion control, for example. This equipment may have to come from a neighbouring country such a Colombia, Mexico, or even the USA.

Visas

Many clients call me asking to clarify the process to secure filming visas for Brazil. There are a number of steps involved and it's quite simple. The whole process takes from 5 to 10 days.

To film in Brazil you need to sign an agreement with a Brazilian production company. The Brazilian company must be registered with Ancine (Ministry of Culture).

Steps:

1. Find a Brazilian production company that suits your budget and needs, check if they are registered with Ancine.

2. Once you're ready to go ahead with the job have them send you their production agreement. That agreement (signed by both parties), with a copy of the passports of your technician(s) traveling to Brazil, specifics of the job, equipment list (if applicable), will be sent to Ancine. Ancine will issue a letter to your local consulate authorizing the visa(s). Ancine portion can take from 1 - 5 days.

3. Your passports can now be dropped off at your local Brazilian consulate with the applicable forms/fees (these can vary from country to country). The consulate time frame probably will depend on how many vitally important drinks parties they have scheduled that week. If the visa is urgent the shedding of a few tears and gentle cries of persuasion come in handy.

Reasons for above? There are several including your country requiring Brazilians to have visas, Brazilian labor laws (number of Brazilians hired vs foreigners), general filming permit from Ancine, temporary import of equipment, and ensuring you are connected with a qualified local production service provider. The primary reason, however, is customs. Getting equipment, wardrobe, and any bulky production items through customs in Brazil can be a major pain if you don’t have the correct paperwork. A filming visa eliminates the pain. With the filming visa you can temporarily import equipment and related items (without customs duties) by bringing them as accompanied baggage. And/or your production service company in Brazil can do a temporary import of your equipment via shipment to Brazil on your behalf. See customs below.

Client and agency personnel qualify for regular business visas, no need to include with the Ancine authorization. UK and European passport holders (as well as some other countries) do not require visas for Brazil, in which case clients and agency do not need to apply for the visa. They travel on their passports and get a 90 day stamp on entry. Working film crew from these countries do, however, need to get the visa as outlined above. Visa rules change so always best to double check with the local Brazilian consulate.

Photo Shoots - Ancine does not authorize visas for photo shoots. Your production service provider can send a letter to your local Brazilian consulate stating that they will be responsible for your production in Brazil, and list the names and passport numbers of crew requiring visas. Take the letter to the consulate along with passports, application and fees.

Customs

Equipment or production items imported as accompanied baggage:

1. Your Brazilian production service provider pre-files your equipment with customs through their customs broker. The Ancine authorization is proof that the import is temporary. You arrive in Brazil and pass through customs usually without hold-ups. If you have a lot of items customs may verify the items, and customs broker will accompany the entry and verification. When leaving Brazil customs may verify the items again. If anything is missing you or your local production service provider will be charged import duties on items left in Brazil (since they are no longer temporary), unless you can prove they were lost or stolen. Note that custom broker fees will apply for this service.

Or

2. Upon arrival in Brazil your technician declares the equipment on form DBA, shows the visa and equipment list with serial numbers, values etc. The DBA process can be time consuming. If it’s a large equipment package go with option 1. More costly but ensures entry without hold-ups or problems.

Equipment or production items imported via shipment:

Your Brazilian production service provider files your equipment list with customs through their customs broker. The Ancine authorization is proof that the import is temporary. Once the shipment arrives in Brazil it usually takes from 3 - 5 days to clear customs. It is vital, however, that all paperwork is filed correctly and on time. If there are mistakes in the filing there will very likely be hold-ups. Brazil has a reputation for bureaucratic customs issues, though in recent years it has improved considerably. Make sure your service provider and their customs broker have experience with the import/export process for productions. To be safe it is best to allow a minimum of 1 week to 10 days for clearance. Certain items such as cosmetics and certain liquids may have entry restrictions, so check these with the customs broker in advance. Some items may need to be transported as accompanied baggage to avoid hold-ups. Customs broker fees will apply as well as possible transport, storage, and port fees.

A foreign production company can do all the above (legally no less) – but unless you’re doing a major production, which includes opening a local production company in Brazil to handle all your local requirements – save yourself the headache. Contact a qualified local production service company or fixer who speaks your language. These companies are structured within the local laws, can apply for all your permits, make all your local payments. They have established relationships with local vendors enabling them to secure the best rates on equipment, locations, transport, hotels etc.

Brazilian production companies:

Utopia Films, my company, is based in Rio de Janeiro and Sao Paulo and works throughout Brazil. We do the above on a regular basis – www.utopiafilms.com. There are many other qualified companies, check Film Brazil www.filmbrazil.com, or Ancine www.ancine.gov.br for a full listing.

In The Shadow Of The Christ

If the world were a city it would be called Rio de Janeiro. Beauty sits nestled in tragic poverty. Immense wealth, ugliness, huge urban sprawl and spectacular rural expanses are close neighbours. It is a city of contrasts unlike any other. Touching at the heart of what attracts so many people to Rio is probably that one definition. You can see the past, the present and the future of your own life mirrored in some aspect of this city. You can feel at home, or you can feel completely alienated. But it is never less than fascinating.

Two hours north east of Rio lies Arraial do Cabo. It is a small paradise of white sand beaches, turquoise ocean waters, desert dunes, and some of the best diving in Brazil. The constant clarity and colour of the water is due to the underwater current that arrives directly from the Falkland Islands. It is a phenomenon known as up-welling. Cold currents are carried in a stream over hundreds of miles and, upon meeting the warm Brazilian current, surface here in Arraial do Cabo. Two hours south of Rio is Angra dos Reis. 365 tropical islands are scattered amongst the bays and coastline of lush jungles and waterfalls. One hour north of Rio are the mountains of Teresopolis, Petropolis and Novo Friburgo. Roads circle around huge mountain peaks. Forests, rivers and waterfalls split the valleys. Early settlers were from Austria, Switzerland, Norway and Finland. The hotel Sao Moritz is an immaculate replica of Swiss chalets located on the road between Teresopolis and Novo Friburgo.

The city of Rio de Janeiro is at the center of this amazing contrast of landscapes. Yet it’s biggest claims to fame are the beaches of Copacabana, Ipanema, Carnival, samba and, of course, football. All within the shadow of the huge statute of Christ, perched on the mountaintop of Corcovado. His arms held wide, embracing all that lie below. Anyone who has truly experienced Brazil knows that it is a bit like a giant dog chasing it’s own tale. Rio is no exception. The problems have solutions and the solutions have problems, which have solutions. And within that structure there are chaotic smiles and happy tolerance. Brazilian patience is virtually impossible to define. It is part of what makes them appealing. ‘Jeitinho’ is the famous way of getting anything done. “Vou dar um jeitinho” means literally “I’ll find a way”. It is a way of life that is the structure of the unstructured. As you look out over the steep granite hills shrouded in ocean mist, across the wide open bays, the endless beaches, the city skyscrapers, the historic buildings, the urban forest, the favelas – it strikes you as an endless mix of chaotic, yet unique beauty. No wonder they call this the Marvelous City

Rio is hot; it is sensual and scintillating. Neighbourhoods like Lapa and Catete are deliciously seedy. Copacabana is crowded and touristy. Ipanema is chic and respectable. Santa Teresa is bohemian artist mansions. Leblon is elite, while Barra de Tijuca is Miami. In between are the forgotten souls. The driving heartbeat of the city known as favelas. “The unfortunate are born over there,” people say. There are no walls of separation but the barriers are greater than any brick wall. Poverty is a curse. When it spreads beyond control it is a moral disgrace. Decency is a human right and without decency there is no respect for humanity.

Some time ago I visited a school in one of these regions of Rio. 400 children crammed into an area the size of a regular house in any respectable country. These children are the cast-offs. They have lost parents, brothers. They live amongst drug dealing, gun-wielding illiterates. The local public school system has branded them as un-teachable. Yet in little more than a few months these young beings aged between 5 – 16 years of age are being taught to connect thoughts, to maintain and train their memory. They are being salvaged from the wreck of humanity that makes up these neighbourhoods. This small school was founded and is run by Ivonne Bezerra de Mello who is a driving force for human rights in Brazil. She has created a very simple solution to a very complicated problem. Education. Learning to think. Imagine that! It is an amazing and heartwarming process. This story, amongst many others, forms the basis of “Cade O Dinheiro”. A documentary that Utopia Films is producing, using Rio de Janeiro as the model of the world within a city. Literally translated it means, “Where’s the Money?” It is a question that occurred to me while driving through a residential area of upscale Rio. I stared all around wondering who could afford to live here? The hills, just above the luxury apartment buildings, were lined with slum houses. It illustrated perfectly the contrast that is Brazil.

In addition to developing local projects, Utopia Films stays busy servicing international productions from around the world. “Dream Hotel” for Austria/Germany, “Panasonic” for Dentsu, Japan, “TENA” for directors Blinkk and the agency DLKW Lowe in the UK, “Fear Factor” for Endemol, “Mastercard” for Canada, are just a few of our recent projects. In the world of the unstructured structure that is Brazil, Utopia Films prides itself on maintaining familiar levels for international clients. The world outside our structure holds advantages for the budget constrained international production community. Prices can be negotiated; there is flexibility in regulations, and always a means to an end. All within the wide embracing arms of the man upstairs, in the form of a statute on top of a hill. Day and night he has watched over the city. Despite the exasperating struggles, I suspect, now and again, he gives a consenting wink. For more than 70 years he’s observed people who are black, white, brown, and every shade in between jostle with the good, bad, evil, overbearing, generous, pious, selfish, and corrupt. Rio is sexiness, it is religion, prostitution, it is nuns on bikes. Beauty and ugliness live hand in hand. One feeds from the other. Nowhere else on earth has the hypocrisy of humankind been displayed (and tolerated) more successfully than in Brazil. Life is about life. Live it, enjoy it, as Brazilians do. Despite its contradictions this city holds the key to my heart. If the world were a city it would be called Rio de Janeiro.

Originally published in Filmmakers Guide - Service Companies Of The World - 2007