Carolina Vazquez

In charge of technical workings of the Arri Alexa Mini cameras used to shoot, making sure the Cooke s4 lenses are clean and working properly, and setting up wireless follow focus and wireless monitors for production use.

In charge of technical workings of the Arri Alexa Classic and Arri Alexa XT cameras used to shoot, making sure the ultra prime 35mm lenses are clean and working properly, and setting up wireless follow focus and wireless monitors for production use.

Assisted with the technical workings of the Arri Alexa Mini, the Hawklite anamorphic lenses, charging batteries, and managing media downloads and back ups.

Assisted with the technical workings of the Phantom Gold on set and delivering cards to the DIT.

Director of Photography in charge of visuals and lighting for the web commercial ads commissioned.

Assisted with the technical workings of the Arri Amira, the 35mm lenses, maintaining DIT reports, charging batteries, and managing media downloads and back ups.

Assisted with running clean lines to all the lights on set and building the different chimera sets.

Assisted with the technical workings of the Arri Amira, the anamorphic lenses, slatting, maintaining camera reports, and managing media downloads and back ups.

Assisted in rigging lights inside the studio sets built for the show.

Assisted with the technical workings of the three Canon C300's on set, multi-cam slatting, and delivering cards to the DIT.

In charge of technical workings of the Arri SR III, making sure the ultra prime 16mm lenses are clean and working properly, and loading and unloading the 16mm mags.

Assisted with the technical workings of the two Canon C300 cameras used to shoot, made sure the ultra prime 35mm lenses are clean and working properly, and setting up wireless monitors for production and client use.

In charge of setting up of the lights used in the all-interior short comedy.

In charge of technical workings of the Arri Alexa Plus and Arri 416 cameras used to shoot, making sure the ultra prime 35mm lenses are clean and working properly, and setting up wireless follow focus and wireless monitors for production use.

Director of Photography in charge of visuals and lighting for the comedy short.

In charge of technical workings of the Ikonoskop and Arri 416 cameras used to shoot, making sure the master prime 16mm lenses are clean and working properly, and setting up monitors for production use.

In charge of technical workings of the Alexa Studio camera used to shoot, making sure the Ultra prime lenses are clean and working properly, and setting up monitors for production use.

Director of photography in charge of Black and White 4:3 visuals and lighting for the short drama.

Director of photography responsible for super 16mm visuals and lighting plans for Fuji Eterna Vivid 500T stock.

Operated B Camera for the webseries that traveled around Brooklyn, NY exploring interesting coffee shops, tailors, and restaurants to visit in the city.

Director of Photography in charge of visuals and lighting for the horror short.

In charge of technical workings of the Canon C300 camera used to shoot, making sure the Angenieux Optimo zoom and Canon-E lenses are clean and working properly, and setting up monitors for production use.

Co-Director of Photography and gaffer for the Easel R pilot to be shown to networks in the Spring. In charge of visuals and lighting plans for the pilot.

In charge of planning and setting up of the lights used in interior and exterior scenes.

In charge of planning and setting up of the lights used in interior and exterior scenes.

In charge of technical workings of the Sony F5 camera used to shoot, making sure the Zeiss CP2 lenses are clean and working properly, and setting up monitors for production use.

Directed and wrote the short film "Vale La Pena," shot in Venice, California and set in 1968.

Shot on 16mm in one shot. In charge of visuals and lighting plan for the one shot short.

In charge of technical workings of the Sony FS100 camera used to shoot, making sure the Cooke Varotal zoom lens is clean and working properly, and setting up monitors for production use.

In charge of technical workings of the Sony FS100 camera used to shoot, making sure the Zeiss SLR prime lenses are clean and working properly, and setting up monitors for production use.

Shot on 35mm in Prague, Czech Republic. In charge of camera work and shots.