Camera operator · Paris
Camera Operator in Paris
Raphaël Molina, camera operator and cinematographer based in Paris, for fiction, commercials, music videos, documentaries and live events. Available as main operator, B-camera or DoP-operator, in France and across Europe.
Fill in the form or call me on +33 6 60 82 31 80
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Play the 2026 showreel ▶Framing that serves the story
My name is Raphaël Molina and I am a camera operator based in Paris. On most of the films I shoot as a cinematographer, I operate the camera myself: it is the best place to feel the actors’ performance, to follow a movement or to wait for the right moment to start a pan. Framing is not only about composition; it is a way of looking at the characters and guiding the audience’s eye.
A good operator can follow a precise shot list and improvise when the scene calls for it. They understand what the director is after, anticipate movement, stay aware of focus, light and continuity, and keep the image steady and readable. That mix of discipline and instinct is what I bring to every shoot.
Camera operator in Paris, Lyon and across France
Fiction: short and feature films
In fiction, framing is part of the staging. I have operated on many short films as their cinematographer, including Nébuleuse by Titouan Stéber, Orchis by Julian Aïdan, Les profondeurs d’un cri by Michèle Déra and Itération, shot in 48 hours. Every shot is designed with the director: camera position, shot size, movement or stillness.
Commercials and branded content
In commercials, framing has to be precise to the millimetre: a product, a gesture, a face must appear exactly as the agency imagined. I work with directors and agencies to deliver clean, repeatable shots that work in every delivery format, from 16:9 to vertical.
Music videos
Music videos often call for freer and more physical camerawork: handheld among the dancers, fast moves, close shots on the artist. I love shoots where the camera almost becomes a character and the energy of the music comes through the movement.
Documentary and live events
In documentary and event work, the operator has to be ready at all times. For the Château Perché 2025 aftermovie, I filmed crowds, stages and set designs right in the middle of the action, with no second take. That ability to anticipate is just as useful for concerts, conferences and live performances.
Operating techniques
Handheld
Handheld keeps the camera close to the actors, lets it follow a movement or bring a particular energy to a scene. Done well, it stays readable and supports the emotion instead of distracting from it.
Sticks, dolly and locked-off shots
Locked-off shots and dolly moves demand great precision: composition, horizon, timing of the move, coordination with the grip and the focus puller. They are often the most demanding shots, because the smallest flaw shows.
Stabilised and lightweight setups
For fast shoots, events or social media content, I also use lighter, stabilised setups that make it possible to move quickly while keeping a smooth image.
Operator, B-camera or DoP-operator
Depending on what the production needs, I can work in several ways:
- DoP-operator: I take care of the whole image, framing and lighting, with my own crew or a small team.
- Camera operator for a director of photography: I operate while the DoP focuses on lighting and the overall look.
- B-camera: on fiction, commercials or multi-camera live events, I run an additional camera following the visual guidelines set by the DoP.
My experience as a gaffer and electrician on feature films, Netflix series and commercials also helps a lot as an operator: I understand lighting constraints, I know where to stand so as not to spoil the light, and I communicate easily with the electrical department. That work is shown on the gaffer & electrician page.
Preparing the frame with the director
Good framing is prepared long before the shoot. With the director, we work through the shot list scene by scene: how many shots, which sizes, which angles, which moves. We talk about the references that inspire them, the rhythm they imagine in the edit and how much room they want to give the actors. Whenever possible, I join the location scouts to check angles, camera heights and the space available for moves.
This upstream work avoids hesitation on set. On the day, everyone knows where the camera goes, the actors can focus on their performance, and there is still time to look for the happy accident that makes a shot special.
What makes a good shot
A good shot does not stand out for its virtuosity: you feel it. The composition leads the eye to what matters, the horizon is right, the lines of the set structure the image, and the space between a character and the edge of frame conveys an emotion. Movement should always be motivated: following a look, revealing something, going with a change in the scene.
An operator also has to think about the edit. Holding a shot a few seconds longer, offering a reverse angle, taking care of entrances and exits: these reflexes give the editor the material they need. That overall vision, from shot list to edit, is what I try to bring to every project.
Working as a team on set
The operator works hand in hand with the first assistant camera, who pulls focus, and with the grips for camera moves. Good communication between these roles makes all the difference to the quality of the shots and the pace of the day. I am happy to bring assistants I regularly work with, and I fit in easily with an existing crew.
I own a professional camera kit with lenses and accessories, so I can step in quickly on lighter shoots. On bigger projects, I work with the package chosen by the production, rented from Paris rental houses.
Recently operated films
NébuleuseShort film · 2026 · Titouan Stéber
OrchisShort film · 2026 · Julian Aïdan
StendhalShort film · 2026 · E. Leroy, Y. Turi
Devant mes yeuxShort film · 2026 · Julian Aïdan
Itération48-hour film · 2025 · V. Lavastre, T. Samson
Château PerchéAftermovie · 2025 · Titouan StéberEvery film is on the home page, with its stills.
Training and background
I hold a film degree from Université Paris 8 and took part in the Égalité des chances programme at ENS Louis-Lumière, so I learned operating at school as much as on set. An internship on the Netflix series Family Business, then several weeks at a camera rental house testing and prepping camera packages, gave me hands-on knowledge of the cameras, lenses and accessories I use every day.
Camera operator in Paris, France and Europe
Based in Paris, I work in the Île-de-France region and all over France. I also have accommodation in Lyon, Montpellier and Vannes, which makes regional shoots easier. I speak fluent English and can join international crews, in France or abroad. This page also exists in French.
Hiring a camera operator in France
For UK and European productions shooting in France, hiring a local camera operator is often the simplest option: no flights or hotel for one more crew member, someone who knows how French crews work and who can talk to both your team and the local technicians. I work in English with directors and DoPs from abroad and in French with the rest of the crew, so nothing gets lost in translation on set. Whether you need an operator for a single day of B-camera on a commercial or for a full shoot, send me your dates and I will tell you quickly whether I am available, along with the assistants I would recommend for the job.
Get in touch
Looking for a camera operator in Paris for a fiction shoot, a commercial, a music video or a live event? Send me the dates, the location, the type of project and the position you need. I will get back to you with my availability.