Director of photography · France

Director of Photography in Paris, France

A French director of photography for UK and European productions shooting in France, and for French productions looking for a DoP who is just as comfortable in English.

From prep to grade: camera setup, lighting and framing. Equipped with an ARRI Alexa Plus, a Sony FX3 and a lighting kit.

Fill in the form or call me on +33 6 60 82 31 80

Fiction, commercials, music videos, documentaryFrance and EuropeOwn camera and lighting kitFull crew through my network

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Your director of photography in France

When a production travels to France, one of the first questions is who will lead the camera department on the ground. Bringing a whole team from abroad is expensive; hiring locally without knowing anyone is risky. My name is Raphaël Molina, and I am a director of photography based in Paris. I speak fluent English, including set vocabulary, and I know the French way of working: how crews are organised, how rental houses operate and what a realistic shooting day looks like here.

I shoot short fiction films, commercials, music videos and documentaries, and I also work as a gaffer on feature films, Netflix series and commercials. That combination makes me a useful bridge between a foreign production and a French crew: I can take on the image myself, or help you build and run a local camera and lighting team around your own DoP.

What a director of photography does

The director of photography, or DoP, is the head of the camera and lighting departments. Working closely with the director, the DoP designs the visual language of the film and is responsible for how every frame looks: composition, lighting, camera movement, lens choice, exposure and, eventually, colour. In the UK the job title is often “DoP”, in the US “cinematographer” or “DP”, and in France “chef opérateur” or “directeur de la photographie”. The role is the same.

Designing the look

Everything starts with conversations: the script or brief, visual references, the mood the director is after. From there, I propose a look and the tools to achieve it: camera, lenses, filtration, aspect ratio, and a lighting approach for each set or location. On a commercial, this also means working within the brand guidelines and the agency’s treatment.

Leading the camera and lighting crews

A DoP rarely works alone. I lead the camera assistants, the gaffer and electricians, the key grip and grips, and I coordinate with the DIT. My own years as an electrician and gaffer help a lot here: I know what I am asking for when I request a lighting setup, how long it will take to rig, and what it will cost in time on the schedule.

Protecting the image until delivery

The job does not stop when the camera wraps. I stay involved in data management with the DIT and attend the colour grade, so that the final image matches what we designed together, whether the grade happens in Paris, London or remotely.

Director of photography (DoP) in Paris

Hiring a director of photography who lives in France removes a lot of friction for a visiting production.

• Local crew: I can recommend camera assistants, gaffers, electricians and DITs I have already worked with, so you are not hiring strangers.
• Rental houses: I know the Paris camera and lighting rental houses and can prepare equipment lists, tests and quotes with them.
• Language: I work in English with your director and producers and in French with the crew, so instructions are understood on both sides.
• Travel costs: no flights to book for the DoP, and I also have accommodation in Lyon, Montpellier and Vannes for shoots outside Paris.
• Own equipment: I own a professional camera kit with lenses and accessories, which is often enough for smaller shoots and second units.

I drive and have my own vehicle, so I can reach locations anywhere in France with equipment, from Brittany to the Mediterranean coast and the Alps.

Projects I work on

Fiction

Short films are where I have shot the most, with directors such as Titouan Stéber (Nébuleuse), Julian Aïdan (Orchis, Devant mes yeux), Michèle Déra (Les profondeurs d’un cri) and Hubert Girard (Sœurs, Rumeur du monde). I bring the same care to a no-budget short as to a funded one: the frame and the light have to tell the story.

Commercials and branded content

For agencies and production companies, I shoot commercials and branded content in studios and on location. I also have hands-on experience of virtual production, having worked on commercials shot in LED studios, which is increasingly common in Paris.

Music videos

Music videos are a playground for strong visual ideas, and a test of speed. I enjoy bold lighting and camera choices that give an artist a recognisable image.

Documentaries and events

For documentaries and event films, such as the Château Perché 2025 aftermovie, I work light and fast while keeping a cinematic image.

A gaffer’s background

Before and alongside shooting my own projects, I have lit other people’s: as an electrician and gaffer on Netflix documentary series such as Outreau, un cauchemar français and Y a-t-il un dealer dans l’avion ?, on the feature film Là où on s’aime, il ne fait jamais nuit, and on the commercial Petite sœur for the Fondation Abbé Pierre, directed by Arnaud Desplechin. This work is shown on my gaffer & electrician page.

For a production, this background means a director of photography who plans lighting realistically, communicates precisely with the electrical department and keeps an eye on safety and power requirements, especially on location.

Selected films

NébuleuseShort film · 2026 · Titouan StéberOrchisShort film · 2026 · Julian AïdanStendhalShort film · 2026 · E. Leroy, Y. TuriDevant mes yeuxShort film · 2026 · Julian AïdanItération48-hour film · 2025 · V. Lavastre, T. SamsonChâteau PerchéAftermovie · 2025 · Titouan Stéber

See every film on the home page or read more about my work as a cinematographer in Paris.

Working with UK and European productions

I am available for UK and European productions shooting in France, and I am happy to travel for projects elsewhere in Europe. For a production coming from London, Brussels, Berlin or Madrid, the practical benefits are simple: a DoP who already knows the French crews and suppliers, who can join prep meetings in English, and who can be on location without international travel.

I can take on different set-ups depending on your needs:

• Director of photography for the whole project.
• DoP for a French unit, second unit or additional shooting days while your main team is abroad.
• Gaffer or lighting technician alongside your own DoP, with a local lighting crew.

Questions productions often ask

Can you work with our own crew as well as a French one?

Yes. On international shoots, the camera team is often mixed: a focus puller who travels with the production and a French lighting crew, for example. I am used to working in both languages and to making sure everyone on set shares the same information.

Do you work on small budgets?

Yes. Many of the films on this site were made with small crews and tight schedules. With a lighter budget, the priority is to spend it where it shows on screen, and owning my own camera kit helps a great deal. On larger productions, I scale the crew and the equipment accordingly.

Which camera do you shoot on?

The camera is chosen for each project, depending on the look, the delivery format, the budget and the post-production workflow. I can shoot with my own kit or with any professional cinema camera package from the Paris rental houses, and I always test the chosen set-up before the shoot.

How far in advance should we book?

As early as possible, especially for shoots in spring and summer, when crews are in high demand. A few weeks of notice is usually enough for a short film or a commercial, but prep days need to be booked too: a director of photography who joins the project on the day of the shoot cannot deliver the same quality as one who took part in the prep.

Do you travel outside France?

Yes. I am available for shoots in the United Kingdom and elsewhere in Europe, and I can advise on whether it makes more sense to travel with my own kit or to rent equipment locally.

What to send when hiring a DoP

To get an accurate answer on availability and cost, it helps to send:

• The shooting dates, including prep and any tech scouts.
• The locations, and whether they are in the studio or on location.
• The format: fiction, commercial, music video or documentary, and the planned delivery.
• A treatment, script or brief, plus a few visual references.
• An indicative budget for camera, lighting and crew.

With that, I can come back with my availability, a proposed crew and a first equipment list.

Get in touch

Planning a shoot in Paris or elsewhere in France and looking for a director of photography? Write to me through the contact page with the details of your project. I usually suggest a short call first to talk about the look you have in mind.