Director of Photography Services

Here is how this works in practice. Peru's Director of Photography community has grown around a small but worldwide exposed core — Inti Briones, the long-time DP for Claudia Llosa across Madeinusa and the Berlin Golden Bear winner The Milk of Sorrow, anchors a lineage that runs through Mario Bassino, Luis Otero Vega, Roberto Maceda Kohatsu, Daniel Sánchez López, and Mauricio Vidal, with emerging cinematographers coming up through the PUCP and Universidad de Lima film programmes.

Our network spans senior DPs with global festival credits alongside mid-career commercial and documentary cinematographers built up through Tondero, Cinesphere, and Audiovisual Project Perú's in-house teams, plus emerging operators graduating into long-form work.

Here is the short of it. Lima sits at the centre — feature-film stages, broadcast facilities, and the agency commercial economy — but our DPs are routinely cleared for altitude work in Cusco and the Sacred Valley at 2,800-4,000m, jungle shoots out of Puerto Maldonado in Madre de Dios, the Pacific coast desert from Paracas to Sechura, and Andean range work across Arequipa, Huaraz, and the Cordillera Blanca. DAFO and Ministerio de Cultura accreditation is built into every engagement.

Here is the breakdown. Bookings begin with a creative brief and reference deck, then narrow to a curated shortlist of reels and direct conversations before contracts are issued. Our DPs are fluent across ARRI Alexa 35 and Mini LF, RED V-Raptor and Komodo, and Sony Venice 2 packages drawn from RentCam Perú, Filmotechnik, and partner houses, and most carry standing relationships with the gaffer, key grip, focus puller, and 1st AC crews they bring to set.

Here is what that looks like on the ground. Pre-production days cover shot lists, lighting plans, lens tests, and tech scouts across Lima sound stages, Cusco heritage exteriors needing INC pre-approval, and SERNANP-controlled reserves including Tambopata, Manú, and Paracas. Global productions can blend a Peruvian DP with a travelling director, or place a Peruvian cinematographer on a foreign-language shoot abroad — either path handled through one camera-department contract with IGV 18% applied where the production is registered locally, plus SUNAT ATA carnet support when gear flies in for the shoot.