Meat
Producer · UCLA thesis film · dir. Javier Kirán
Short film · 2017
Audiovisual producer and 3D artist based in Madrid. Ten years of production between Los Angeles and Madrid; eleven of 3D, from Cinema 4D to Unreal Engine 5.
I started producing in Los Angeles and learned the craft where there is no room to improvise: shooting schedule, budget, cash flow, permits. That craft later held up “Everyone Will Burn”, the feature I was executive producer on — world premiere at Sitges, awarded on two continents, released in US cinemas.
Alongside all of it I never left 3D. Today those two lives are one: I produce work where the technical pipeline — Unreal Engine 5, MetaHuman, ComfyUI running locally — is built by the same person who signs the production plan. I produce films. I build the pipeline.
Live-broadcast planning and booking at Overon; then production assistant in the Acquisitions department at Mediaset España — acquired programming, rights contracts and international markets.
Certificate in Business & Management of Entertainment and Production Certificate. Before that, a degree in Audiovisual Communication at Universidad Francisco de Vitoria.
Music video, short film and independent cinema: runner on Janelle Monáe's “Django Jane” (Diktator), producer on “Broken Teeth” and on “Meat” (UCLA thesis film), production crew on UCLA and NYFA thesis films.
Ford, Mahou, ALSA, Ferrovial and Ribera del Duero with El Trampoline and Vietnam Studios, among others. First assistant director on “España Compite” for the Spanish National Sports Council.
35 shooting days across Madrid and Ávila with Nostalgia Shop Films. World premiere at the Sitges Festival (54th edition), Best Ibero-American Film at Fantaspoa, Critics' Choice Award at Screamfest, US theatrical release with Drafthouse Films.
Now on Prime Video, Filmin and FlixOléHonda, Roche, MSD, Simyo, Lowi and VIPS; “Luger” by Bruno Martín (La Dalia Films); logistics and locations in Spain for “The Amazing Race” (CBS).
3D artist on “Trailettos” (Flowtime); interactive ArchViz with Pixel Streaming. Custom generative video pipeline: VFX on Bajo la noche (in progress), “Trafalgar” (62 shots), “Alicia and Jaime”, “Súper Agus”.
What ends up on screen belongs to the director. Making the shoot happen at all belongs to the production team.
Ten years in production teams between Los Angeles and Madrid, across feature film, television, music video and commercials. The commission changes; the craft does not: make the shoot possible, make it hit its date, and bring it in on the agreed budget.
Before the shoot comes pre-production, which is where almost everything is decided. On “Everyone Will Burn” I was executive producer and production coordinator, and that work was mine from beginning to end: the 35-day shooting schedule across Madrid and Ávila, the budget and the cash flow, the sales documents and the presentations used to raise finance, and the film's paperwork, locations and permits. A budget is not a sheet you hand over and forget: it is tracked day by day, and you have to be able to defend it when the plan changes, which it always does.
A good part of the craft sits with suppliers: service production companies, camera and lighting rental, transport, catering, insurance and additional crew. Requesting and comparing quotes, negotiating terms, coordinating deliveries and collections, and having someone to call when something fails mid-day — which is what separates a setback from a lost day.
I have also worked in locations: finding and visiting spaces, photographing them for the director and the director of photography, negotiating with owners and local councils, obtaining permits to film on public streets, and leaving the place ready so that on the shooting day there are no surprises.
I have done this work for Ford, Mahou, ALSA, Ribera del Duero, Honda, Roche, MSD, Simyo, Lowi, VIPS, Velilla and Popitas, with production companies including El Trampoline, Vietnam Estudios, Petra Garmon, Grow Comunicación and Sassy Films.
Producing music video, short film and independent cinema, alongside the certification at UCLA Extension (Business & Management of Entertainment + Production Certificate).
I learned the craft where there is no room to improvise. In Los Angeles I produced on minimal budgets with small crews, where the producer draws up the shooting schedule in the morning and drives the van in the afternoon: street filming permits, insurance, casting, locations, catering and the daily reconciliation of hours.
Out of that came “Broken Teeth” and “Meat”, my UCLA thesis film, both as producer. And out of that also came getting on a big shoot as a runner — “Django Jane”, for Janelle Monáe — and seeing how the machinery works from the inside when the money is actually there.
Producer · UCLA thesis film · dir. Javier Kirán
Short film · 2017
Visual effects (3D) · UCLA thesis film · Javier Kirán
Short film · 2017
Production assistant
Production crew
Before the set, inside the structure of a major broadcaster: the departments where audiovisual content is bought, scheduled and transmitted.
A good part of a shoot is decided far away from the shoot. Before moving into field production I worked at Mediaset España and at Overon, and there I learned how a broadcaster works from the inside: how the rights to a film are bought, how a transmission is scheduled, how an invoice travels, and what deadlines and hierarchies a large company actually runs on. It is knowledge that shows later — in a shooting schedule, in a negotiation with a supplier, and above all in how you present a project to whoever has to finance it.
Acquisitions department — acquired programming
2013–2014
Live broadcast operator — planning and booking
2012
Education
UCLA Extension — Certificate in Business & Management of Entertainment · Production Certificate · 2015–2017
Universidad Francisco de Vitoria — BA in Audiovisual Communication