Illusorium is the studio where I currently work. It's a studio filled with enthusiasm that has been rapidly progressing and is on the verge of becoming a major studio. With several projects (still under wraps) in the works, including the production of the animated series Sky: Children of the Light, based on the famous video game created by TGC, I have the opportunity to apply all my experience gained over the years, spanning various projects and different working methods. Everyone better be ready because Illusorium is coming in strong.

At El Guiri, I lived a continuous love story, but unfortunately, it ended abruptly. Working alongside Rodrigo de Blas, one of the most talented animation directors, helping to build a team and set up a studio, collaborating on one of my favorite IPs (NDAs prevent me from mentioning), was the perfect mix to bring out Jaime 2.0. Sadly, the project I was hired for was canceled, and the opportunity we had to create something unique with Rodrigo had to be postponed.

At Lingokids, I may have had one of the most unique experiences of my career. I wasn't entering a studio to work, but rather joining a company, specifically a Start-Up. Lingokids ranks in the top 3 educational children's apps worldwide, offering educational video games in English. The company hired Guillermo Carcía Carsi, a close friend of mine whom I had already worked with at El Señor Studio, and gave him 'carte blanche' to produce content. At Lingokids, I not only oversaw the production of episodes but was also actively involved in creative and content decision-making.

When Skydance came knocking on my door, it was a recognition of my work thus far. A large and prestigious studio, with high-budget projects, top-tier artists, and above all, the opportunity to keep learning. I was very curious to witness how such a big fish operates, its processes, and its (necessary) bureaucracy. At the studio, I met wonderful people and was able to be part of a painstaking 'Pixar-quality' process. In fact, I met John Lasseter. Just for that, it was worth it.

"Able&Baker is a studio I had wanted to work at for a long time. Led by Ramón Giráldez and Carlos Tschuschke and with a team composed of young but experienced individuals, Able&Baker marked my return to working in a physical studio after the pandemic. For the first time in my career, I was working in a studio with multiple projects simultaneously. Previously, I had always worked on a specific show without other projects running in parallel. It was a challenge, but I learned a lot about resource management and client communication.

Pinkmantv was my first experience working remotely. The project, Jibaro, directed by the Oscar-winning Alberto Mielgo. Leading the team was Sergio Jiménez, whom I consider my mentor and also my friend. After 5 years of working outside of Europe, Pinkmantv gave me the opportunity to come back in a big way. The experience was tough, but we all knew we were working on something big and innovative. This project could be said to be my breakthrough as a producer. In the end, the results speak for themselves; we won an Emmy.

Tunche Films was the second studio I worked at in Peru. The facilities were located within a beautiful colonial house in the Miraflores neighborhood. Before my arrival, Tunche Films produced advertising spots and had a reputation for being the best at Post Production and VFX in the capital. I was hired to oversee the production of Ainbo, a fantastic movie about a girl seeking her destiny in the Amazon. It was a co-production with the Netherlands, and the management between studios, combined with a very ambitious project in terms of complexity, forged my professional spirit.

At Aronnax, I grew up. I traveled to Peru hired as a Production Manager to work on the movie Condorito, an IP from a very popular Chilean comic in Latin America. In this project, my responsibility was much greater, and I was actively involved in the 'construction' of the studio. In the middle of Avenida Brasil, on a corner above a Chinese restaurant, we set up an animation studio for more than 120 people. Many of my friends from my time in Argentina joined the adventure, and together with the best local talent from Peru and surrounding areas, we produced a movie with a lot of heart. The experience of working at Aronnax is one of the best I've had professionally.

El Señor Studio was an experience I remember fondly. Situated in the heart of Madrid, in an old apartment that rented out rooms for coworking, the studio was located in one of those rooms. For months, I worked side by side with Guillermo García Carsi, the creator of Pocoyo, on the pre-production of a 2D series for a major distributor, which I can't mention due to NDAs. Sadly, the series was canceled, but I thoroughly enjoyed that time.

Ilion was one of the leading studios in Europe, and thanks to Planet 51, the world of animation turned its attention to Spain. Here, I worked as a Production Assistant on the film Mortadelo and Filemón, based on a comic I grew up with. The production team was small, and I was responsible for overseeing the Art, Modeling, and Tools departments. Ilion provided me with an invaluable foundation upon which I have built my career as a professional. In this project, I collaborated with some of the best talents in the animation industry in Spain.

Catmandu was the first animation studio I ever worked at. Located in the heart of the Belgrano neighborhood in Buenos Aires, an animation studio was set up bringing together the best talents from Latin America and Spain to work on the film Metegol, directed by the Oscar-winning Juan José Campanella. The project was something unique in the region, and the enthusiasm could be felt in every room of the team. I made great friends, and many of them I crossed paths with in later projects.