Can you tell us about your background and how you got started in the film industry?
My name is Alvaro Huerta. I studied in Maracaibo, Venezuela where I graduated as a Social Communicator, with a mention in Audiovisual Journalism.
During my university studies I took several courses in production, cinematography, scriptwriting, etc. Which gave me the training and the tools to dedicate myself to the film industry. I started in this business thanks to the support of great friends and professionals in this industry who gave me the opportunity to participate in their projects.
How did you meet the other founding cascabeleros? (Manuel, Carlos, Pichon)
I had the pleasure of meeting Manuel, Carlos, and Pichon while working on various projects in the film industry prior to the formation of Cascabel Grip and Lighting. We all shared a similar vision for how things could be done better in the grip and lighting field, and we quickly became friends and colleagues.
Why does everybody call you Sensei?
I do not know how or why people call me sensei. Could it be for giving advice? I do not know. Hahahah. I respect those who call me that way. I am infinitely grateful…
What inspired you to co-found Cascabel?
What inspired me to co-found Cascabel was to create an alliance with great friends to carry out this profession we love so much. We saw the deficiencies in the industry that we wanted to improve upon, so we started discussing the possibility of creating our own company. That’s when the idea for Cascabel was born, and we decided to join forces to create a business that would truly prioritize excellent customer service, quality crew, and top-of-the-line equipment.
What do you think sets Cascabel apart from other companies in the industry?
We do this job with a lot of love and dedication. We offer a friendly alternative.
In your opinion, what are some emerging trends or technologies in the grip and lighting industry that people should be paying attention to?
We are all aware of the continuous technological advancements in our industry, especially with regards to the optimization of equipment and lighting performance. The advent of wireless systems and versatile lighting effects has resulted in a gradual reduction in the need for personnel on set. However, we believe in finding a balance between technology and the skills of our experienced crew to ensure that we deliver the best results for our clients. As for the future, I reserve the future for myself
How do you see the future of the grip and lighting industry evolving and how is Cascabel preparing for those changes?
I see the future of G&E increasingly demanding. Many new businesses and companies are betting on independent projects and, I hope I’m not wrong, this is going to be a trigger for local development here in Miami. And I see Cascabel as a platform to help and contribute to projects of a different nature.
Can you share a favorite project or experience that you’ve had working in the film industry?
I have had the privilege of working as a dolly grip on several projects throughout my career, but there are two in particular that have stood out to me. The level of synchronization, physical demand, and attention to visual composition required for these projects brought me great satisfaction. The first project was the Marc Anthony live performance, and the second was the Barbra Streisand concert. Being a part of these productions and contributing to their success was truly a rewarding experience for me.
What advice would you give to someone who is just starting out in the grip and lighting field?
My only three recommendations for those who want to start in this area are: order, discipline and loyalty. Work on those three aspects and the rest will come in addition.
What skills do you believe are the most important for success in the grip and lighting field?
Be on time, schema, plan, diagram and order.
