Filipe Carvalho

It’s probably about time I say something. We’ve been on set for the last few weeks, and I’ve got to meet some amazing people on both sides of the camera. I still can’t go into detail, but I can tell you this: the show’s called Viewfinder, it’s 13 episodes, and if you’ve been paying attention to world events you’ll recognize a lot of the headline names on it. On a personal note, it’s been very rewarding to find out that, if you’re surrounded by the right people, your role is mostly to ask questions and decide on answers. I know it’s been said before by others, but feels good to have it happen to me. And for those wondering how the hell did I get this thing of the ground, the answer is pretty simple: no one’s stopped me yet. So I just keep going. I learned that from @andrewuk More soon.

So… this just happened.

The talent behind Azul. Editors, colorists, sound designers, title designers, and VFX partners with credits across Cannes, Berlinale, Sundance, Netflix, and National Geographic. Curated for fit. Coordinated as one system. azulpost.com

I've been thinking of what to say for a few days. It hit me hard. Working from overseas, so far away from America, I learned what I could from looking at the work being done, and at the people doing it. Danny quickly became a beacon of light. The work was a revelation, but the man was what resonated the most. The way he thought of things, how he presented them, and how he made them happen. And above all - I later learned - the way he worked with other people. Many years later, I eventually came to work with him a few times. Sure, the work mattered, but by then what mattered most (and still does) are the people you do the work with. And that made it all come full circle for me - working with a true legend, who is also a wonderful person. Was a wonderful person. Back then, working remotely wasn't yet so commonplace. But it felt like I was sitting next to him, learning from the best. And that will stay forever. I just hope I can do the same for others, like Danny did for so many of us. Me included. Don't be afraid to have heroes in your journey. They can change your life. See you on the other side Danny. @danny_yount

BCN, April 2026 @offfest

Special animated sequence for Turn of the Tide S3 (Netflix). Handmade with the incredible talent of @margherita_premuroso and @varisco_lorenzo Creative Director: Filipe Carvalho Art Director/Illustrator: @margherita_premuroso Animation: @margherita_premuroso @varisco_lorenzo Motion tests/previz: @joao_vazoliveira Production: Ukbar Films/RB Films Director: @augusto_fraga_director

Worked together with the uber talented @margherita_premuroso and @varisco_lorenzo a special animated sequence for “Turn of the Tide” Season 3 on Netflix. This was a huge undertaking for Margherita and Varisco, a lot of sketching, rough animating, paint over, frame by frame work. Can’t say thank you enough! You’re one of the best out there. I’ll post the sequence video soon! Check out “Turn of the Tide” (Rabo de Peixe) Season 3 out now on Netflix. Congratulations @augusto_fraga_director and thank you for everything man.

🤩 We’ve just published an interview of Filipe Carvalho. (link on profile) Speaker at #typeparisnow26 30 May 2026, Paris. 🛎 Regular tickets at €190. Limited quantity available! Includes access to all talks, snack and beverage, a tote bag full of graphic and type goodies. ❥ “Understand the tone of the piece your working in, and just be honest in how you approach it. A whisper is most of the time louder than a scream.” – Filipe Carvalho The Now26 Graphic & Type conference, it’s 12 talks and panel discussion, speakers announced: Flavia Zimbardi @flaviazim , Antoine Aillot, Guillaume Hugon, Marvin De Deus Ganhitas: Golgotha @glgth , Astrid Stavro @astridstavro , Marie Carrasco @chattasco , David Quay @thefoundrytypes , Hélène Marian @helene_marian , Filipe Carvalho @filoak , Özge Güven @ozgeguven , Tobias Frere-Jones @frerejones , Justine Suillaud + Margot Retif @martine.studio — — — #typeparis26 #graphicdesign #typography #fonts

We are thrilled to introduce our newest speaker, Filipe Carvalho (@filoak ), in partnership with @maxonvfx ! A true legend in our community, it’s finally time to welcome him to the UBN stage. An Emmy® award-winning Creative Director, Filipe is renowned for his cinematic approach—mixing design, architecture, and photography to create something truly transcendent. From collaborating with Thom Yorke and Taylor Sheridan to his work on The Walking Dead and Lioness, Filipe’s influence on the industry is undeniable. Let’s go!

🔥Join us to listen to Filipe Carvalho, at #typeparisnow26 (link on profile) 30 May 2026, 🎟️ Ticket €190, include access to all talks, snacks and beverages, and a tote bag full of graphic and type goodies. ➽ Filipe Carvalho is an Emmy-winning creative director, worked on notable cinematics projects such as Counterpart, Working, Lioness, The Panic Office Retrospective, Sia: A Retrospective, The Walking Dead, WWII From the Frontlines. Member of the American Television Academy. Now26 Graphic & Type conference Tickets ➽ Regular €190, ➽ Late €240, ➽ Student €50 (conditions apply). ❡ Speakers Graphic design Marie Carrasco, FR Filipe Carvalho, PT Golgotha: Antoine Aillot, Guillaume Hugon, Marvin De Deus Ganhitas, FR Martine: Justine Suillaud + Margot Retif, FR Özge Güven, TR Astrid Stavro, GB ❡ Speakers Typography Tobias Frere-Jones, Frere-Jones Type, USA Léon Hugues, FR Hélène Marian, FR David Quay, The Foundry Types, GB Flavia Zimbardi, BR ❡ Panel Discussion: Publishers in graphic design & typography Eye Magazine, John Walters Slanted, Julia Kahl B42, Alexandre Dimos Elliot Jay Stocks 🔥 Follow @flaviazim @glgth @astridstavro @chattasco @thefoundrytypes @helene_marian @filoak @ozgeguven @frerejones @martine.studio @leon.hugues @eyemagazine_ @slanted_publishers @editionsb42 @elliotjaystocks — — — #typeparis26 #graphicdesign #typography #fonts

I’ve always heard that a director’s best friend is his editor. An editor jumps in with eyes closed, absorbs everything, listens and ultimately embodies the project, understanding it as well or better than you do. Still, it always amazes me every time @claudiasvsilvestre shows me a cut. It’s always a shock to see how editing can completely transform an episode, and how each new cut brings you closer to what it was always meant to be. It’s been such an honor to work with her. Like sculpture, the show’s already there - you just need to find it. I’ve been working in this industry for over 20 years, and it feels like I’m just starting now. We’re on episode 10. 3 more to go.

More frames for "FX Love Story". Done with DK.