Personal FX work: pyro, rigid body destruction, fluids, particles and volumes, built in Houdini.
I am a Senior FX Artist and 3D Artist specializing in Houdini-based simulation for film and television, with a background spanning more than 20 years in 3D, animation and visual production.
I trained as an Industrial Designer at ELISAVA in Barcelona, graduating in 2004, followed by a Master in Animation and Post-Production at CICE in Madrid. I started my career as a 3D artist working across architectural visualization, product and industrial imagery, animation and post-production.
In 2016 I moved to Canada and joined a real-estate production company in Vancouver, where for four years I focused on high-end architectural visualization, animation and post-production, eventually working on complete cinematographic-style real-estate productions. This period gave me a strong foundation in visual storytelling, lighting, rendering, camera work and the demands of delivering complex projects from concept through final image.
My career then moved decisively toward FX. I joined WildBrain Studios as an FX Artist, working on productions including Sonic Prime and LEGO Ninjago: Crystalized. I later joined Atomic Cartoons as a Senior FX Artist, working on Marvel's Iron Man and his Awesome Friends and LEGO Frozen: Operation Puffins. These experiences gave me the opportunity to work within large studio pipelines, developing and delivering production FX across Pyro, VDB, POP, FLIP and RBD, while building setups and tools that could be used efficiently across a production.
For the past two years I have been working as a freelance FX and 3D artist, with Houdini remaining my primary platform for simulation and procedural work. At the same time, I have been actively experimenting with local generative AI workflows, particularly ComfyUI, exploring how AI models, custom nodes, ControlNet, LoRAs and procedural techniques can be combined with established 3D and FX workflows.
My focus is not simply on generating images with AI, but on understanding how these technologies can become useful production tools: building repeatable workflows, testing new approaches, connecting AI with procedural systems, and finding practical ways to integrate emerging technology into existing pipelines.
With a background that combines 3D production, Houdini FX, procedural thinking and hands-on AI experimentation, I am particularly interested in studios and teams exploring the next generation of FX, procedural workflows and AI-assisted production for film and television.
Five series across two studios. Twenty-one months of studio FX: pyro, rigid body destruction, particles and procedural setups built in Houdini and handed to comp. Open any card for the reel, the frames and what the work involved.
Simulation, 3D production and AI-assisted imagery. The grid reads straight from the asset folder, so it grows as the work does.