My career began in Mexico working in previs, shaping the foundations of camera and story. Since then, I’ve focused on layout and cinematography for feature animation—crafting clear geography, intentional framing, and emotional camera work. This is where I bring sequences to life, one shot at a time.

I began my career as a 2D compositing artist, developing a strong foundation in attention to detail, shot cleanup, FX integration, and QC—bringing sequences together in visual harmony. Over time, I had the fortune of supervising the comp department and was entrusted with creating the opening title sequences for both a TV show and a feature film. There’s something incredibly satisfying about seeing a project grow from layout all the way to final comp—the full A-to-Z of bringing a show to life.

My 3D journey began on La Leyenda de la Llorona, where one of my first feature-film tasks was modeling and texturing a local church—an experience that set the foundation for my craft. From there, I went on to texture props and characters for Monster Island and contribute to the 2D/3D hybrid sets of The Angel on the Clock. This work taught me how to blend detail, style, and world-building to create assets that truly belong in the story.