Fixer

Fixer

Based in São Paulo and Rio, journalist Caio Vilela works as a TV fixer and field producer for foreign film crews producing content in Brazil and South America.

With 30 years experience on the road, having travelled over 100 countries as a reporter, photographer and travel guide, and extensively around Brazil and South America as a TV fixer, he is able to quickly organize productive field trips, with build up expertise on filming in the Amazon region and among indigenous tribes, as well as interviews with politicians, artists, sportsmen and other celebrities.

Among frequent clients are NatGeo, Animal Planet, Discovery, History Channel, ABC  News (United States), YLE (Finland) , ARTE (France-Germany), ARD (Germany), CBC (Canada), ABC (Australia) and CNN Español (based in Miami), SBS (Australia), Mediawave (New Zealand), TV2 (Denmark), CNN Japan and Channel 4/BBC (UK).

Services provided:

Filmilng in Brazil

ANCINE permit

Caio Vilela Fotografia production company is registered at Ancine and can sort out Ancine permit papers as well as general location permits. Please note that if you’re doing a journalism, corporate, private or educational film there is no need to issue ANCINE permit. ANCINE permit applies only to entertainment and advertising commercial productions.

Updates on their website, click here.

If you wish to apply, the process takes 3 weeks and we have to provide them the following information:

  • Copies of all of the crew’s passports
  • Rough shooting schedule
  • Short description of show
  • List of filming locations
  • Budget
  • Letter from home production company
  • Gear list
  • Contract from partnering Brazilian company/person

Filming in Rio and Iguazu

Permits and safety

Always crowded with visitors and often a stage for film productions, Rio and Iguazu are probably the only destinations that do require some bureaucracy done beforehand. Previous permits issued for filming inside the national parks areas and at tourism attractions like Iguazu Falls, Corcovado or Sugar Loaf are issued with no costs for journalism or educational films, but they do charge a fee for cinema, entertainment, commercial or corporate film productions. Permit is issued in 2 weeks via email with the national park office manager.

In practice, a permit is not needed for filming at beaches like Ipanema, Copacabana and urban locations. But Rio’s government film agency Rio Filme do ask (more like a suggestion, not a requirement) for intl production companies to apply for a municipality permit for filming in public areas. Although this is not mandatory, it sure does help both: the film crew gets backed up by someone from the municipality aware of their steps in town (and we’ve seen them send a civil police car to be around our crew filming in crowded urban locations) and Rio municipality keeps track of where there are film crews working in town, occasionally helping with traffic organization and safety for film productions that may required temporary street blockage.

RioFilme permit is free and issue in 3 days by filling an application in Rio Filme website, click here.

Filming in the Amazon

Having worked in the amazonian regions of Brazil, Peru, Bolivia, Venezuela and Ecuador since 2002, Caio does make sure to help film crews move around safely and find ways to film the several issues threatening Amazon’s forest fragile ecosystems and native tribes, as well as its beautiful landscapes and fauna. Knowing where not to step and dealing with local people such as politicians, indian chiefs, police officials and boat captains are crucial skills when the plan is to shoot activities such as Illegal logging and mining, drugs and wildlife trafficking, deforestation and criminal fires.  Media vehicles from all over the world come to the Amazon every year to report on that and such almost specialized field production became Caio’s expertise along the years.

Filming in Indian Reservations

Filming in indian reservations is possible through direct negotiations with the indian chief in charge of the village where we intend to film. In general the best action plan is to let them know everything we want to film in advance and agree on a cash donation price according to the time we’d like to spend in their land. This surely does help getting all tribe warriors to cooperate on whatever is needed to accomplish the film director’s goals. Using local services such as cooks, guides and boatmen and paying them separately is a good idea too. Every ethnic group and indian chief has their own particular aims and concerns. Some do have a message to tell the world and are willing to do it. Listening to the chief while on field will help things go smoothly.

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