It all began in 2007, on the set of Asterix at the Olympic Games.
At the time, I was working as a line producer. On that large-scale project, one thing became clear: transport solutions offered to the film industry were not meeting real on-set requirements, especially for moving equipment from Paris to Spain.
Rather than accept the situation, I decided to find another way.
I turned to industrial transport, contacted the leading companies in the sector, and sent several requests.
That is when the story truly began.
Florence Rivière, then Sales Director of a major publicly listed transport group, received my message.
She managed around fifteen sales executives and usually delegated files, but that day she chose to handle this one herself.
The project, the film, and probably the name as well, sparked her curiosity.
Very quickly, I discovered an exceptional professional.
A committed, rigorous woman involved at a rare level.
To the point of asking to be called in the middle of the night to validate the end of loading, and answering even from her bed.
A level of standards, responsiveness, and reliability I had never seen before.
At the end of that collaboration, one conviction emerged:
what if we brought together the best of both worlds?
On one side, the exacting standards of cinema, represented by a field-experienced line producer.
On the other, the rigor and strength of international transport.
That is how Cinematrans was born.
The partnership of a line producer and a transport expert.
For 17 years, we have supported productions with one guiding idea:
delivering logistics designed by and for cinema.
Because we know your constraints.
Because we speak your language.
And because on a set, every minute matters.