Colombia offers not only competitive incentives that can cut production costs by up to 50% but also boasts exceptional film crews. Known for their extensive experience, strong work ethic, and positive attitude, these crews are skilled artisans adept at tackling complex challenges.
Colombia’s film industry has evolved through years of on-set experience and formal training for many, participating in projects of all sizes, including feature films, commercial campaigns, TV series, and documentaries.
With an increasing number of international productions choosing Colombia as their filming location, the country has significantly expanded its talent infrastructure. Netflix’s project “One Hundred Years of Solitude,” its largest series in the region, has contributed to the emergence of a new generation of talent in various production roles.
Highlighted Below-the-Line Talents (in alphabetical order):
Andres Barrientos, 1st Assistant Director
Recognized as one of the 25 Gems of Colombian Cinema by the Colombian Heritage Film Council, Andres Barrientos initially made his mark by writing and directing award-winning animated shorts. He transitioned to live-action productions, advancing from production assistant to 1st AD, where he now manages set operations and shooting schedules. “Some 1st ADs lead by fear, while others lead with love, which I prefer. As my mother advises, ‘Be harsh on facts, easy on people.’”
Recently, Barrientos worked on Zack Snyder’s “The Last Photograph,” where he also took on an acting role due to his experience as an acting coach. Snyder’s rapid shooting style demanded up to 68 setups in a single day. His other work includes Christopher Nolan’s “Tenet,” where he managed large-scale action scenes, coordinating what might be the longest road closure in Hollywood history—nearly six miles—in Estonia.
Barrientos has also served as an acting coach, consultant, and casting director on acclaimed films like the Oscar-nominated “Embrace of the Serpent,” “Birds of Passage,” and Laura Mora’s “The Kings of the World,” involving many first-time actors. He is currently writing the script for his bilingual directorial debut, “Salt in the Skin.”
Wilmar Benavides, Gaffer
Wilmar Benavides’ passion for filmmaking was sparked at just 12 years old when he observed a wedding photographer turn moments into lasting images. With a background in Film & TV from university, he began his career at 19 as a camera assistant on the Colombian series “Parents & Children” (“Padres e hijos”). He progressed through various roles, ultimately becoming a gaffer, a position he’s held for 11 years.
Benavides is particularly drawn to the creative aspects of his job, using his technical skills to help directors realize their vision and create the desired visual atmosphere. “As a gaffer, I aim for the lighting to be unobtrusive. The light should highlight the actors, allowing them to shine in every scene.”
His credits include “K-dabra,” “Longboard,” “Fake Profile” (“Perfil falso”), and “Always a Witch” (“Siempre bruja”).
“Each project has its unique challenges,” Benavides explains. “On ‘Always a Witch,’ we contended with Cartagena’s strong winds, while ‘Fake Profile’ required complex lighting setups for yacht chases. For night scenes, I avoid Hollywood’s intense blue ‘day-for-night’ look, opting for softer, greener lighting to enhance the story’s emotional tone.”
Carlos Fernando Vélez García, Location Manager, Line Producer
With 23 years in the audiovisual industry, Carlos Fernando Vélez García has spent the last decade as a location manager, helping to professionalize the role in Colombia as international productions transformed the field. “A location manager’s responsibilities extend beyond finding filming sites,” he says. “It’s about making the director’s vision a reality through logistics, negotiation, and execution.”
Vélez García’s breakthrough was as a location manager on Netflix’s “El Chapo,” where he learned from top international peers. He emphasizes teamwork, stating, “This is never a one-person job. Every location on screen results from a collaborative effort.”
Each production poses different challenges. “Jack Ryan” Season 2 required balancing meticulous planning with the flexibility to manage two 300-person units, hundreds of extras, and an international cast. “Topos” involved filming in storm drains and vulnerable neighborhoods with local communities and child actors. “Paddington in Peru” required coordinating shoots in remote rivers, jungles, and caves using advanced drone-camera technology.
As Colombia draws more period productions, Vélez García sees the preservation and adaptation of historic locations as key industry challenges. “Regardless of budget or scale, my task is always to find the perfect place for the story to come alive.”
Diego Gallego, Cinematographer
Diego Gallego is one of Latin America’s leading visual storytellers. A graduate of Jorge Tadeo Lozano University in Bogotá, where he studied Journalism and Visual Media, he began his career in 2001, developing a distinct visual style influenced by Colombia’s landscapes, cultures, and people. “My work is always connected to the location, the people, and the emotions of the story,” he notes.
Gallego’s international breakthrough came with Ciro Guerra’s “Embrace of the Serpent,” which he considers his most challenging film. Shot in 35mm black and white in the Amazon rainforest, the film required creating a timeless setting where spiritual and physical elements coexist. “We faced all the conditions that could have led to failure,” he recalls, pointing to the remote location, limited transportation, natural light, small crew, and unpredictable weather. The film earned Colombia’s first Academy Award nomination and multiple cinematography awards for Gallego.
His continued work with Guerra and Cristina Gallego on “Birds of Passage” garnered significant cinematography accolades. His credits include “I Am Not a Witch,” “Wildland,” “The Last Son,” “Butcher’s Crossing,” Cannes Camera d’Or winner “War Pony,” Emmy-winning “Rebel Ridge,” and Netflix’s upcoming political thriller “Palace,” directed by Jayro Bustamante, Edgar Nito, and Samir Olivares.
“Cinematography is about crafting a visual world that complements the story,” Gallego states. “The camera should not only depict events – it should evoke emotions within the audience.”
Cristina Medina Trujillo, Production Designer
Cristina Medina Trujillo has dedicated over 25 years to creating visual environments for film, television, and advertising. Graduating in Communications and Journalism from the University of Manizales, she began her film career with “Paraíso Travel” and ventured into television with “Until Money Do Us Part” (“Hasta que la plata nos separe”). She has since designed more than 20 series for platforms like Netflix, Disney+, Prime Video, ViX, Discovery Kids, and Nickelodeon, along with over 700 commercials.
“Production design transcends mere set construction; it’s about narrating stories through spaces, objects, textures, and emotions,” Medina Trujillo explains. “The smallest details make a set remarkable. They are where the truth of a story resides.”
Her career highlights include Netflix’s “Eva Lasting,” which recreated 1970s and 1980s Bogotá over four seasons; “Consuelo,” a 1950s Mexico-set drama that earned Aura and Produ Award nominations for Production Design; Prime Video’s “Primate”; and Netflix’s “Crime Diaries: Night Out,” which garnered her an India Catalina Award nomination.
One of her most recent challenges was Netflix’s “How to Lose it All” (“Cómo Perderlo Todo”), where she designed and constructed Colombia’s first aircraft set equipped with a turbulence system, marking one of the most extensive and intricate projects of her career. She also founded La Madame Coquette, a design studio and prop house dedicated to bringing stories to life through meticulously crafted worlds.
