2026.2.28
- Can you tell me more about yourself?
Everything started with photography more than two decades ago. When I held my first camera, it was love at first sight. It wasn't planned; I think it was more of a happy accident, one of those good accidents life throws at you. From that moment, I haven't been able to stop, even to this day.
For many years, I resisted adding movement to my photography until a producer from a national news channel in the United States encouraged me to create two short videos of just over two minutes each. That's how, for the first time, I dared to venture into the world of video. Since then, I've created more than ten documentaries and over 15 short films, some of which have been featured at international film festivals. Now, I can't imagine my photography without movement. It's more challenging, and the processes are more complex, but I enjoy it.
2. Very excited to know you have finished the documentary US Charros, could you please simply introduce the documentary US CHARROS with us?
I'm based in Austin, Texas, and I plan my projects in both the United States and Mexico. This allows me to easily travel anywhere with my Jeep and video and lighting equipment. US Charros is a documentary I had to make because no one had ever talked about charrería in the United States before, and for me, it was an opportunity I couldn't pass up. Charrería is Mexico's national sport, and it arrived in the United States over 80 years ago with Mexican immigrants. Many people don't realize that the American rodeo evolved from charrería. So, I can proudly say that US Charros is the first documentary that addresses charrería in the United States.
3. How did you know about DZOFILM? In what situations or conditions did you get the chance to use DZOFILM cine lenses?
I learned about DZO FILM from a good friend in Mexico City. I think all filmmakers face the challenge of realizing how expensive it is--almost prohibitively--to acquire a good pair of cinema lenses. Usually, they're either highly high-end or basic. In my case, I remember asking my friend if he could recommend a brand, and he was the one who mentioned DZO FILM to me. That was in 2019, and I've been using DZO FILM exclusively ever since because DZO offer the quality and versatility I need.
4. In US CHARROS, which cameras and lenses are used in the shooting? How does the DZOFILM lenses perform with the camera in the shooting?
For US Charros, I used three cameras: the Blackmagic URSA 12K, the Blackmagic Cinema Camera 6K, and the Nikon Z9 for behind-the-scenes shots--all equipped with DZO Film lenses. My primary lens was the Arles 35mm. For interviews, I used the PictorZoom kit and the Vespid series 40mm and 21mm lenses. I used the Gnosis macro series lenses in 32mm, 60mm, and 90mm for detailed shots.
5. What do you think about DZOFILM new Arles Prime lenses after using? Have the Arles Prime lenses helped you overcome any challenges in this filming? For example?
I received the Arles 35mm lens right on my first day of filming. Usually, I prefer to test new equipment for at least two weeks before using it in my projects, but this time, I didn't have that luxury. Fortunately, being familiar with DZO FILM lenses made it easy to use them immediately. With a much sturdier build and heavier weight than the Vespid series, it inspires confidence as soon as you hold it. Thanks to the 1.2 aperture, it performs well in low-light conditions, which is fantastic for me. Best of all, the 35mm lens complements my visual style perfectly, as it's always been part of my basic photography kit, allowing me to maintain my signature style.
6. Based on your on-set experience, what innovative features would you like to see in DZOFILM's future products?
I sincerely believe DZO FILM has done an excellent job meeting the needs of those of us in the audiovisual production field. The Arles series strengthens the DZO FILM lens lineup, and the film industry now regards it as a genuine option for small, medium, and large productions.
