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SANTITA-NETFLIX 2026 Santita stands as one of Netflix Latin America’s key releases for 2026. On this project, I collaborated as both camera and color pipeline designer and supervisor, leading the implementation of a unified workflow from set through post-production. The project was shot across two main camera units using ARRI Alexa 35 systems paired with Canon FD lenses, establishing the core visual language of the film. Additional cameras were introduced for specific sequenc

"PIMIENTA-2027" The first block of filming for Pimienta has been completed, marking the first feature film photographed by David Chávez. This project stands as a significant milestone and a strong starting point, demonstrating that even within the constraints of a modest budget, it is possible to achieve a sensitive, professional, and visually refined cinematography on par with higher-end productions. This was made possible through David Chávez’s extensive experience across t

CAMPEÓN GABACHO-2026 Campeón Gabacho represented a key project in my career due to the high level of technical demand involved, particularly under the supervision of Alfonso Cuarón, who was not only attached as a producer but also actively involved in the day-to-day oversight of the project on set. This level of involvement brought a strong emphasis on precision and execution, requiring a robust and adaptable approach to both camera and color workflows. The project demanded t

On La Ley de Alicia, a series produced by Netflix, I had the opportunity to collaborate as DIT, contributing to the camera and color workflow throughout the production. The project followed a classic two-unit camera setup using ARRI Alexa 35 systems, providing a solid and efficient foundation for the visual approach. Within that structure, the experience stood out for the collaborative environment on set, particularly in the exchange of ideas around lighting and composition.

For this BRITA commercial service, filmed in Mexico and starring Millie Bobby Brown, I worked as both DIT and on-set colorist, supporting the camera and color workflow throughout the shoot. The project was captured on ARRI Alexa 35, with a visual approach centered on a clean, pop aesthetic combined with soft, natural lighting. My role focused on ensuring consistency and control of the image on set, maintaining alignment between the intended look and the recorded material. Des

For this YSL commercial service, starring Austin Butler, I worked as DIT and on-set colorist, overseeing the camera and color workflow throughout the production. The project involved working with both the ARRI Alexa 265 and Alexa 35 Extreme, requiring precise control over formats and frame rates to meet the creative and technical demands of the shoot. The operational side was particularly complex, as frequent adjustments to camera settings had to be executed within a tightly

Las Azules Season 1 and 2 stand as one of the most complex productions I have been involved in, both from an organizational and technical standpoint. Developed for Apple TV+, a platform known for its extensive delivery requirements, the project demanded a high level of structure, task hierarchy, and workflow precision across all stages of production and post. From a technical perspective, the series presented significant challenges due to the scale of its VFX work, essential

Wirpul represented a project where I was able to fully deploy my technical and creative background, bridging camera, color, and workflow design into a cohesive process between production and post. The production presented a highly demanding environment, requiring a comprehensive understanding of color spaces, camera pipelines, and lighting. Approximately 90% of the project was shot on blue screen, making the camera workflow a critical component to ensure consistency and avoid

The Rivals of Amziah King marked my first experience working on an American feature film, representing an important step in my transition into international productions. While the project itself was relatively straightforward compared to other more technically demanding productions I had previously worked on, it was a meaningful opportunity to bring my knowledge and workflow approach into a new environment, collaborating with an English-speaking crew. Navigating the productio