Fifteen years, two continents, one camera bag.
I started in sound. Before I ever framed a shot I was training as a sound engineer in Buenos Aires, learning that most of what an audience feels arrives through their ears. That's still how I work — I hear a scene before I see it, and I have never handed the mix to someone else and hoped for the best.
Picture came next, then everything around it. I spent my agency years in Buenos Aires building things that didn't exist yet: at Wunderman I founded the in-house video studio from zero — service offering, rate card, staffing, workflow — and grew it into a profitable line producing work for Microsoft, Coca-Cola, Dell and HP. At OLIVER I scaled a single-market production unit into a LATAM-wide service and led a team of eight through campaigns for Unilever brands.
In 2022 I moved to the Netherlands. Since then I've produced brand and product content for The Social Hub, run video production for Semrush's European marketing organisation with a €450K budget on a single global campaign, and landed at Backbase as the sole in-house video producer for a global fintech platform.
That number isn't a boast about working hard. It's the result of building a system: reusable motion and edit templates, a brand-compliant asset library, a briefing-to-delivery workflow that means the same problem never costs me twice. I'm as interested in the machinery behind the content as I am in the content itself, because the machinery is what lets one person do the work of a team without the quality quietly sliding.
What I actually enjoy, though, is the human part. Most of my recent work has been getting real people to be real on camera — a bank CTO, a customer, a founder, someone who has never been filmed before and is quietly terrified. Making that person forget the lens is there is a craft, and it's the one I'd happily keep practising for another fifteen years.