19th September 2013
New talent: Pensacola
Title of film: Opening Ceremony, Fast Cars in Vegas
Spanish directing duo still studying film in NY rack up a reel of stunning vfx and live action work out of London

Back story please. Let’s start with the name. Pau Suris and Pau Dalmases become the directing duo Pen$acola, which when we googled came up as a beach town in Florida. Is there any connection? Is the $ symbol simply wishful thinking?

At the beginning everything started kind of like a joke. A friend from Barcelona told us this name, it sounded superexotic for her but also fun, so we went for it. The $ sign was also purely for fun. We are now working with Folch Studio on a new, less naïve and more thoughtful logo that will comprise what Pensacola means for us –  something new, fun and unexpected:

How did you two meet and when did you decide to work as filmmakers together?

That’s a pretty bizarre story: we met in a prospective US students event in Spain and we started chatting about films, we connected quite quickly. We moved to NYC to study different things and started collaborating in several projects for us and for friends with no budget at all. Everything started to get serious when, during the days of Hurricane Sandy in NY we conceived and shot the 10.deep commercial for a class.

Do you have different skills that compliment each other or do you work simultaneously together on each stage of creating a film? Please tell us about your creative process.

When we started we used to do everything together, we did the treatments together and then split in two units to shoot. Nowadays, as more projects come along, we sometimes split to develop ideas and then discuss them and make them grow together afterwards.

Most of the process is discussed at every stage. We normally start by brainstorming the basic idea and then build up with VFX, on camera tricks… As we have been doing more jobs, we’ve tried to learn as much from the artists, clients and collaborators who we have been working with.

As of now, we want to have strong concepts to develop, as much narrative as possible, and build up from there. There are many skills that complement each other, but the most important thing is that we really push each other to find new ideas, to surprise ourselves in every single project we do. Also, Sasha Nixon, executive producer at FOREVER and Oscar Romagosa, executive producer at CANADA, have guided us and pushed us to find our best ideas.

Where does your love and knowledge of VFX come from? What programs do you like working in?

To be sincere we’ve always wanted to do things people had not seen before, we tried to innovate in everything we do and not be repetitive. We have always admired the capacity to create on camera effects and VFX transitions in directors such as MEGAFORCE and CANADA. We also love photography and many times we see pictures, paintings or sculptures and we think how cool would it be to see that in a video, as a moving image. Once you try to figure out how something is done, you start trying to do it and this always brings you to discover new techniques and ways to explore. This is the origin of our love for VFX.

Whichever program can be used to shape what we have in mind, we will use. Lately we have been able to work and collaborate with great talents of VFX like Alvaro Posadas (who does a lot of post for CANADA) and Lewis Kyle White, who worked with us on our BBC Radio One spot shot in London this summer, through Forever.

Actually your VFX work has increasingly become more restrained – say from your earlier video work for Mind Enterprises’ track My Girl and the 10.Deep commercial – to this latest film for Opening Ceremony which involves more live action albeit still with your signature effects twists. Was this decision in response to the brief? And what was the original brief?

When we had the first meetings with the OC guys, they told us they wanted to go for something fun and innocent. We came up with some iconic vignettes that recalled Elvis, which is the theme of the collection. We try to make proposals that are coherent with what we want and what the brand needs, and we don’t think this time VFX made sense. For this one we wanted all the effects to happen on camera, trying to create, simple and stylized iconic images. We hope to keep incorporating new effects into more narrative stories in the next projects.

Any major challenges filming and making the OC film?

We shot everything in Barcelona, which is a really rare thing for OC. We are really happy they agreed to do it, since we had the chance to work with a super talented and young crew in this project. The challenges were few, everything was super smooth, but the heat was really quite something: we shot really cute models in thick winter coats in Barcelona, on the top floor of a building and no AC… We are really happy with this video and hope to do another soon again.

So two Spanish guys based in New York direct an English establishment – the BBC – film for Radio 1. Were you given creative carte blanche on this? Were any of your ideas restrained by the client? Was it straight forward creating this or were there a few headaches?

BBC Radio 1 was a very good project for us. Simon and Steve from Karmarama had seen our video for Chvrches and they loved some of the effects. It was a very pleasant process working with them. They had some ideas on what did they want, something not narrative and surprising, who would blow up people’s mind when they saw it. Everyone on the team pushed hard to make it happen, and Sasha from Forever was able to push hard to get everything we needed. Headaches came later when we were dealing with very short timings to do drawings frame by frame, but everyone in the team pushed hard to make it happen and now we mostly remember the fun moments!

Where are you based and what are you up to now?

We are just finishing the graduate film program at NYU so we are currently based in NYC, but we love to move around and live in different cities to shoot.

Right now we are really excited to be pitching for several projects and on the side, Pau S. is finishing to write a comedy short film about superheroes, while Pau D. is trying to figure out the meaning of true love.






Opening Ceremony, Fast Cars in Vegas

Director – Pensacola

AD – Txesma Lasa
Executive Producer FOREVER PICTURES – Sasha Nixon, Jennifer Byrne
Executive Producer CANADA – Oscar Romagosa
Production CANADA – Alba Barneda
Producer – Laura Serra
Production Manager – Blanca Ballesté
1st Production Assistant – Maria Vives
Production Assistant – Oscar Pérez
DOP – Daniel Fernández Abelló
Editor: Carlos Font Clos
Post Production VFX: Aina Rossell
Focus Puller – Arnau Mata
DIT – Clara Civit
Gaffer – Juli Carné
Electrician – Boris Favereau
Direct Sound – Brendan Golden
Art Director – Anna Colomer
Set Dresser – Martí Flotats
Set Dresser – Maria Cristina González
Set Dresser – Judit Ferrer
Hair & Make Up – Gina Ros
Stylism local assistance – Clara Casasayas
Stylism local assistance – Vicki Viñas
Casting – Joana Colomar


BBC Radio 1, Reboot (Directors’ cut)

Directors: Pensacola

Executive Producer Sasha Nixon& Jennifer Byrne

Production co: Forever Pictures

Forever Producer: Vivienne Jaspers

Agency Producer Caroline Hicks/Red Bee

Agency:  Karmarama

Art Director: Stephen Cross

Copywriter: Simon Connor

Creative Director: Dave Buonaguidi

Planner (Creative Agency) :Elle Graham Dixon

Post Production: Lewis Kyle White

Editors: Carlos Font Clos, Myles Painter, Pau Dalmases

Director Of Photography: Kate Reid

Production Assistant: Rosana Gouldman


Mind Enterprises, My Girl (Directors’ Cut)


Directors: Pensacola Ft Gusti Fink

Production Company: Forever Pictures

Label: Because Music

Uk Producers: Alex Scharffman & Sophie Finkelstein

Maya Artist: Ian Wilmoth

After Effects And Colorist: Alvaro Posadas Canada Stylist: Olga Miasnikova

Dp A Cam: Bruce Thierry Cheung

Ac A Cam: Vladimir De Fontenay

Dp B Cam: Brendan Brudzinski

Ad: Ferran Mendoza


Chvrches, Gun (Directors’ Cut)


Director: Pen$Acola

Production Company: Forever Pictures

Producer: Tiernan Hanby

Director Of Photography: Rob Lietzell

Art Director: Anna Rhodes

Choreographer: Jonathan Hart

Editor: Carlos Font Clos

Motion Graphics: Ohmyhood

Colourist : Jordi Murillo

Grading Company: Enefacto

Commissioner: James Hackett




Directors: PENSACOLA (Pau Dalmases & Pau Suris)

Assistant Director: Ferran Mendoza

Editors: PENSACOLA (Pau Dalmases & Pau Suris)

Post Production and Effects: Aina Rossell, Joan Gabriel Servera (OHMYHOOD)

Producer: Alex Scharfman

Executive Producer: PENSACOLA, Oscar Romagosa

DP: Rob Leitzell & Federico Cesca

Camera Assistants: Andhin Ha, Vladimir de Fontenay

Art Direction: Olga Miasnikova

Talent: London O’Connor, Sean Dhalberg, Natalia Henri, Franklin Rivera

Production Assistant: Sophie Finkelstein

Media Manager: Alex Lora

Music: Seasun by Delorean