VIDEO EDITOR & POST-PRODUCTION SPECIALIST
I'm a video editor with over 10 years of experience in post-production for television, documentary, advertising, and digital platforms.
My work spans the full post-production pipeline — from material ingestion and organization in Premiere Pro, through picture editing, sound design, motion graphics, and color correction. I bring both technical precision and a strong editorial instinct to every project.
Recent work includes two feature-length documentaries (90 min.) for Netflix and Amazon Prime Video, as well as long-running editorial work for national television in Spain. I've also cut commercial campaigns, branded content, and travel series distributed internationally.
I work independently, deliver on deadline, and adapt to any project's visual language and tone.
Skills: Adobe Creative Cloud (Premiere Pro, After Effects) · DaVinci Resolve · Sound Design · Color Grading · Motion Graphics · Multicam Editing · Bilingual (ES/EN)
"Papa León XIV: El Hombre Detrás del Papa"
Feature Documentary · 125 min · Amazon Prime Video · 2026
A feature-length documentary about the newly elected Pope León XIV, produced and delivered in under four weeks with a core team of four people. The film premiered on Amazon Prime Video on the day of this writing.
As post-production coordinator and lead editor, I was responsible for the entire pipeline from the first rushes to final delivery — ingesting and organizing all material, building the project architecture in Premiere Pro, picture editing, music and SFX selection, photo curation, graphic design, VFX, and color correction. Working under a tight deadline with a minimal team meant wearing many hats simultaneously and making fast, confident creative decisions under pressure.
The result is a 125-minute film that tells a coherent, emotionally engaging story — built from interviews, archival photography, and original footage — assembled and polished in a timeframe that most productions would consider impossible.
"Cayetana: La Duquesa de Todos"
Documentary Series · 3 × 50 min · Spanish Television + Netflix Original (90 min. special version) · 2026
A major documentary project about Cayetana de Alba, one of Spain's most iconic and controversial figures. The series aired on national television in three chapters, with a special extended cut released as a Netflix Original in March 2026.
This was a ten-month production with a dedicated director and a larger team than usual — the scale and ambition of the project demanded it. As lead editor, I was responsible for the full post-production pipeline: material ingestion and organization, project architecture in Premiere Pro, picture editing, music and SFX selection, and photo curation alongside the director.
Working across three episodes plus a separate 90-minute cut for Netflix required rigorous organizational discipline, consistent editorial voice across chapters, and the ability to collaborate closely with a director over a sustained creative process — while keeping every version of the film on track simultaneously.
I want to share with you my video portfolio! It's a recopilation of my films over the years. It include a little bit of everything I do: filming, editing, directing, and color correcting! Enjoy and share!
"Welcome to El Mundo"
Travel Documentary Series YouTube · 2023–2025
A long-running editorial collaboration with one of Spain's most-watched travel YouTube channels, accumulating over one million views across my edits alone.
The work demanded everything at once: short turnaround times, long editing hours, and footage arriving in wildly different formats — iPhone, Sony, GoPro, and DJI cameras shooting across multiple color profiles (S-Log, Vivid, D-Log Cinema) and frame rates (24, 29.97, 60fps, and mixed timelines). Normalizing that raw material into a cinematic, coherent final product — consistently, on deadline — required both technical fluency and a calm head under pressure.
Each video included the full post-production stack: color grading, sound design, music selection, and motion graphics. The channel's signature cinematic look wasn't a happy accident — it was built frame by frame, delivery after delivery.
