Categoría: Motiongraphics

For AMIGO App I worked as an end-to-end AI Content Creator: I designed the original still frame, generated every video sequence with AI, and directed and edited the final piece myself.

A technical exercise in AI-driven hair replacement: swapping one hairstyle for another while preserving motion, lighting and skin continuity. Before/after comparison included. A good example of the kind of frame-accurate AI compositing problem that comes up constantly in beauty and haircare advertising.

Three stages of the same project: the AI previz built from a single photo and the director’s notes before the shoot, the live-action presentation cut, and the final spot combining AI-generated elements with compositing. My previz contributions directly reduced the production budget on set. The agency is submitting this as an award entry — a…

Working on high-stakes assets for La Caixa, I was tasked with integrating AI-generated content into a professional broadcast pipeline. The project presented a significant technical bottleneck: early-generation AI video models struggled to maintain the geometry of solid objects, causing ‘liquid’ artifacts and visual aberrations on elements like coins. I investigated and engineered a scalable technical…

As part of the pre-production for an Orange campaign, I developed an experimental workflow to reconstruct a bird species using generative AI. The proposal explored whether generative tools could deliver the biological fidelity required for high-end advertising. Although the final piece was delivered using traditional 3D – the AI version wasn’t approved due to client…

I worked in the generative video production phase for this Orange campaign. I received images developed by the agency and my role was to technically optimize them to improve the quality of image-to-video generation, generate the AI video pieces, and perform the final compositing in After Effects to ensure the outputs met the brand’s broadcast…

I’m currently building this hybrid production workflow to tackle the two biggest hurdles in the AI creative space today: achieving total character consistency and reducing the high costs of traditional VFX. This project is a Work in Progress, serving as a pilot to prove that AI isn’t just a tool for generating random images, but…

In August 2025, I initiated this R&D exploration to test the boundaries of a fully hybrid creative pipeline. ‘Abuelas’ covers the entire lifecycle of a production—from initial ideation and scriptwriting to visual generation and final VFX—by blending generative AI with traditional high-end compositing techniques. I designed this workflow to treat AI as a creative catalyst…

I owned the concept development, particle simulation and motion graphics animation for this cosmetics campaign. A pure craft piece — no AI generation involved, all hand-built particle work and motion design.

Full graphic design and art direction for Serena Studio’s brand identity, with a brutalist visual language carried through into a motion piece.

For the Orange TV rebranding, I was part of the core team responsible for transforming static art direction into a high-volume motion graphics engine. Our challenge wasn’t just to follow the new brand guidelines, but to engineer a production-ready system in After Effects that could handle the ‘infinite’ versions required for a major telecom launch.…

For the Spanish National Research Council (CSIC), I led the creative direction and visual conceptualization for ‘The Origin of Life.’ The core challenge was translating abstract biochemical theories into a high-fidelity visual narrative that remains scientifically rigorous without sacrificing accessibility. I treated animation and illustration not as decorative elements, but as functional cognitive tools. My…

During my collaboration with Amazon Prime Video and Tve1, I was a key part of the team responsible for the post-production, motion graphics, and versioning of high-impact marketing campaigns and original title sequences. My role required meeting the highest standards of visual fidelity, brand safety, and legal compliance for the platform’s global ecosystem. Key Contributions:

Three Movistar campaigns — motion graphics work spanning brand system animation and event-driven creative («Semana Loca», «Riders»).

Design and motion graphics for a Coca-Cola advertising piece — full graphic system and animated execution built for broadcast.

A VFX exercise for Mutua: two shots composited with and without eyebrows, swapping the actor’s eyebrows while preserving skin texture, lighting and motion continuity across frames. Traditional frame-by-frame compositing work, not AI-generated.

Motion graphics work across three McDonald’s Happy Meal campaigns (Multiversus and Minecraft tie-ins). Fast-turnaround, brand-locked animation for a Gen Z audience — creativity within tight system constraints.

During my time at Secuoya I led art direction, motion graphics, design and animation for television title sequences, including «Lo Siguiente» and «Viajeras con B». Broadcast-grade animation work under tight editorial deadlines.

Motion graphics, creativity, artdirection and design for Myme, the startup and video agency where I worked in-house. Building a product launch video from the ground up, including work-in-progress stages.

Motion graphics, compositing and animation for Orange’s «Ser de Orange» brand campaign. Full creative execution from animatic to final comp.

Art direction, animation and compositing for «La Noche de los Libros», including the animated VFX sequence built to bring the illustrated concept to life.

Motion graphics, sound design and animation for a Hermès piece — full creative ownership of both the visual and audio language of the film.

Art direction, direction, animation and design for a piece bringing Goya’s engravings to life for the Real Academia de Bellas Artes de San Fernando — motion design in service of fine art heritage content.

One of the projects I’m proudest of. The brief required every photograph to read at true real-world scale — a genuinely difficult constraint to compose around. I turned that limitation into the organizing idea of the piece, building the whole video’s motion language around the «real size» game. Art direction and motion graphics throughout.

A selection of illustration and digital painting work spanning character design, concept art and standalone pieces — the drawing foundation underneath all of my motion and compositing work.

Alongside motion and AI production, graphic design is a core part of my practice: brand systems, layout, typography and print/digital design work built over more than a decade in advertising and branding studios. Creativity applied to the static frame, not just the moving one.