This short film has an official story involving neuroscience, emotions, and inner powers. The unofficial version is that I was testing Astera tubes and a Sumo light prototype and liked what they did to the space. I shaped the images first. The narrative followed.
Afterlife was all about space — and how to fit a camera into it. Solving those constraints was genuinely fun. Color grading, not so much. Still, it pushed me to develop a more professional workflow with the editor and the director, which became one of the most valuable parts of the process. Working closely with a director during shot list creation — especially one who challenges my ideas — is what truly expands the cinematography. When I work alone, my production background tends to limit the possibilities, which is why I seek collaborations with directors who have a clear vision. For this project, I also created my own cinematography cut. It didn’t make it into the final film, but it’s the version that best reflects my visual approach.
Serial Däter was my first project outside of film school and a key step toward professional set dynamics. It strengthened my leadership skills, my collaboration with the 1st AD, and my ability to work under pressure. While the camera work was relatively straightforward, shaping a naturalistic look using available light became the core creative challenge.
Summers in January is currently in post-production. It was a real challenge to shoot without a shot list, with a crew willing to improvise and work against the time constraints imposed by the locations. The process involved a high level of uncertainty, but the project moved forward and we completed the shoot. From a cinematography perspective, the challenge was less about building light and more about controlling it. Working in crowded spaces with existing, unmotivated lighting required constant adaptation. With improvising actors, a large crew, and multiple extras, the first day was disorienting. Finding my footing within that chaos became part of the process — and allowed the cinematography to hold together under pressure. I’m looking forward to the final version of the film.
Mexican Filmmaker with a Master’s degree in Cinematography, specializing in camera, lighting, and post-production workflows; I focus on editing, motion graphics, color.
Available for projects in Europe and Latin America. Languages: Spanish, English, Portuguese.
