Innport presents
At Innport, we are passionate about supporting audiovisual and cinema professionals by providing them with equipment suited to their needs.
Beyond simply lending equipment, we love showcasing the projects that come to life through these collaborations.
Today, we invite you to meet Jules Pajot, member of the Union des Chef·fes Op and cinematographer of the short film Mamie Rose, shot in Avignon.
Can you tell us about your project?
“Mamie Rose is a darkly humorous short film that plays with appearances and social conventions. An 80-year-old woman who still has plenty of fight left in her would love to enjoy her final years without Papy, who has become incontinent and bedridden. Goodbye diapers and walkers, hello rock’n’roll cruises! But she didn’t count on the unexpected arrival of Steven, the physio who doesn’t quite look like a physio. Because in this story, nobody is really what they seem…”
What is the ambiance of the film?
“I defined the style of the film as a chic comedy from the south of France, but with a dark undercurrent, quite raw. Our work on the image was to create a world that is seemingly very mundane and sunny, but where the framing, staging and lighting sometimes suggest a darker reality. Regarding lighting, Mamie Rose’s house had to feel bright and sunny, almost overly idyllic: a cozy interior, warm tones, sunlight streaming in through the windows. But behind this inviting facade lies a more oppressive reality: Papy is bedridden in a dark room, and Mamie Rose hides her true intentions.”
Who was part of the team?
“The team was small. I was in charge of the photography, assisted by Corentin Agaise and Marine Corlais. Lilian Hernandez was my gaffer. Set design was handled by Gregory Frugoli.”
Where did the shoot take place?
“Choosing the location was complex. Due to a very tight budget and relatively short shooting schedule (three and a half days), we needed to find a single-story house that we could freely decorate and where we could easily set up large sources outside, while making the most of practical lights on set, so we could shoot quickly without spending too much time on lighting setups between shots. A few months before the start of shooting, we finally found a house lent by a private couple in Avignon.”
What equipment did you use for this shoot?
“For the camera, we shot with my DJI Ronin 4D 6K and a set of Olympus Zuiko OM lenses, lent by Hugo Brengues. For lighting, I needed powerful yet versatile sources. It was in this context that I reached out to Innport, who generously lent us an Evoke 1200B, an Evoke 900C, and a set of Fiilex P360s. Along with a classic Astera FP1 tube kit, lent by BandOriginale.”
Why these choices? What use did you make of them?
“Combined with a ‘magic’ kit of CRLS mirrors, the Evoke 1200B and the 900C were used to control and sometimes recreate daylight for the interior/exterior sequence between Mamie and Steven the physio. The 900C also helped create a funereal atmosphere, filtering through the shutters and curtains of Papy and Mamie’s bedroom. These sources were chosen for their power, flexibility (no gels needed) and, for the 900C, its precise color rendering. Since the set was a privately owned house and the shooting schedule was short, the versatility of these LED sources was a natural choice for this shoot.”
Did the equipment meet your expectations?
“The lent equipment was invaluable, crucial. Given the ultra-tight budget of the short film, it allowed me to work wonders. I want to sincerely thank Innport for their trust and support. Their generosity and responsiveness were remarkable.”
Innport thanks Jules Pajot for sharing his experience and wishes great success to Mamie Rose!
