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.