PROYECTOS
LOVE DEATH AND ROBOTS: HOW ZEKE GOT RELIGION (2024)
Previs Artist
At Titmouse, I had the opportunity to work on the series Love, Death & Robots, specifically on the episode "How Zeke Got Religion."
My task was to explore and define camera angles inside the 3D airplane for the 2D Layout team. Once again, I worked in Blender, where I supported my previs by creating a simple generic character rig to better understand the spatial dimensions.
LEGADO (2024)
3D Artist
What began as previs work for various live-action film projects turned into a broader generalist role, due to changes in the production schedule. I contributed with camera tracking validation, texturing, and lighting in Autodesk Maya, and also created basic precomps using The Foundry Nuke. While I initially worked in Maya, my experience with Blender and EEVEE allowed me to add greater visual fidelity to the previs when needed.
PINK NOISE (2024)
2D/3D Layout Artist
A real challenge. In this project, I completed the entire layout for a 25-minute pilot episode in a 2D cutout style, all done in Blender.
I could say I acted as a supervisor, since I communicated with other departments and helped develop parts of the pipeline — although, to be fair, the only person I supervised was myself.
GHOST OF RUIN (2023)
3D Senior Layout Artist
A different kind of project. At B-Water, they're always eager to stay at the cutting edge of pipeline development — and the fact that they managed to produce an 80-minute series in just 9 months is proof of that.
It’s true the pace was intense, but considering the tight deadlines, the final result turned out quite well. Once again, the entire project was done in Blender.
SPELLBOUND (2023)
3D Layout Artist
This marked my first completed animated feature film project, and also my first experience working within a traditional layout department structure. The production was carried out using Maya and ShotGrid, as is standard in the industry.
EMBER (CANCELLED)
Previs Artist
Although short, this experience was truly inspiring. I worked for a month alongside talented and passionate artists, all driven to create an outstanding piece. Unfortunately, the project was cancelled by Netflix.
Previsualization was done entirely in Blender and later passed on to the 2D Layout team.
LORD OF THE FALLEN (2022)
Final Layout Artist
This was both my first experience working in Unreal Engine and my first time contributing to a video game project.
I joined the team during the final layout stage for the in-game cinematics of Lords of the Fallen (PS5), where I was responsible for polishing camera animation and enhancing shot composition.
FRIDGE AND TV (2022)
Codirector
A personal project co-directed with Javier de la Chica (@contanimation). Together we developed the pilot, which was showcased at Cartoon Springboard and Pixelatl.
FTV is a web series concept built around short-format comedy episodes.
More details coming soon.
TOAD AND FRIENDS (2022)
Artista de Layout 3D
Human quality — that’s what best describes the team at Wild Child. I was lucky to share the experience and learn from an excellent supervisor.
There, I worked on Toad and Friends, an animated series produced with a hybrid pipeline using both Maya and Unreal.
THE SCHOOL FOR GOOD AND EVIL (2021)
Layout TD
This was my first role in the VFX industry. At Framestore, I gained insight into a large-scale pipeline and had the opportunity to observe a VFX Supervisor at work.
My main responsibility was to recreate live-action camera framings and movements in Autodesk Maya, facilitating the integration of CG creatures in later stages.
MAGIC THE GATHERING : CRIMSON VOW (2021)
Previs Artist /Layout
https://www.axisstudiosgroup.com
I joined Axis Studios as a previs artist, responsible for setting up sequences and translating storyboards into 3D. I then transitioned into layout, integrating motion capture data and refining camera work.
This was my first professional experience with motion capture. The cinematic was developed for Magic: The Gathering, using Autodesk Maya.
PETTSON AND FINDUS (2020 -2021)
3D Layout Artist
The project where I learned to use Blender. Working on Pettson and Findus was an enriching experience thanks to the amazing team around me.
I worked on this project for one year and two months. During the last two months, I also worked on the second season of Treasure Trekkers, which was produced in Autodesk Maya — sometimes I even had a different software open on each screen!
COLRUN (2017-2019)
Director / 3D Artist
Colrun was my graduation short film. The problem was that I got a bit too ambitious for the skills I had at the time, and ended up finishing it a year later than planned.
Fortunately, the short had a good run in festivals and even won a few awards.
If you want to know more, check out the COLRUN section.
HISTORIAS LAMENTABLES (2019)
Previs Artist
I was brought on to handle previs for a live-action feature, working as part of a two-person team. The project was particularly challenging due to the limitations of the software (Shot Pro), and the absence of a storyboard — which meant we had to actively propose visual solutions to the director, Javier Fesser.
Despite the odds, we successfully previs’d the entire two-hour film.
TREASURE TREKKERS (2018-2019)
3D Layout Artist
This was my first contract as a layout artist, and I’m thankful to B-Water for placing their trust in me.
As my entry into the industry, it taught me a lot about time management and meeting deadlines. I was fortunate to work with a great team and began to refine both my composition skills and camera work.
CONTACT
If you want your project here, don´t hesitate to contact me
