Not just a designer.
A creative partner.
Most brands assemble a team: one for strategy, one for the edit, one for design, one for the site.
Four calendars, four invoices, four versions of the same brand. I'm all of it.
Script, motion, design, interface and code — nine years editing, six of them professionally.
Featured Works
Ads that stop the scroll. Interfaces people actually use — for founders, studios and science-led brands that can’t afford to look amateur. Identities built to survive contact with the market. Every piece here was written, designed, edited and shipped by one person.
What You Actually Get
One promise: no handoffs. Five ways it gets built.
Everyone is fast now. Almost no one is deliberate. That gap is where I work.
Most editors start on the timeline. I start on paper. Nine years cutting video and six of them getting paid for it taught me that the edit is never the hard part — deciding what the piece has to do is. Hook, tension, payoff. Everything after that is execution.
Retention isn't luck, it's structure. A brand isn't a logo, it's a set of rules that still holds on the hundredth post. That's why I don't edit by eye and why nothing here was improvised — a system is what lets you improvise without getting lost.
I write it, board it, shoot it, cut it, design it and code it. One person across the whole chain means nothing gets lost in a handoff and nothing waits on someone else's calendar. Agencies take weeks. I deliver in days — and it still looks like it was made on purpose.
Currently: short-form systems, motion design, and interfaces that ship.
The Operating Model
Five principles. Every project. Every decision.
Code
The system underneath. Components, state, and performance — I build the interface, not just the mockup. What ships is what I designed.
Craft
Frame by frame. Typography, timing, restraint — the difference between a cut that works and one nobody scrolls past.
Commercial
Retention isn't luck. Every hook, every cut, every CTA is built to move a number — watch time, clicks, or revenue.
Velocity
Agencies take weeks. I deliver in days. Not by cutting corners — by owning the whole pipeline and never waiting on a handoff.
Narrative
It starts on paper. Scriptwriting and storyboarding before a single clip loads — hook, tension, payoff. The board decides whether the edit has anything to hold on to.
Fast Is a System, Not a Shortcut
I don’t edit by eye and I don’t prompt and pray. Every project runs through the same pipeline — script, board, generate, cut, ship. That’s why the work lands in days instead of weeks, and why it still looks like it was made on purpose.
What it buys you: campaign creative and the page behind it, live in days, without three vendors arguing over whose file broke.
How the Work Gets Made
Five steps. Every project. Every time.
The right brief finds the right person
Taking on retainers and project work as a creative partner, not a supplier.
Founders who want one person accountable for the whole thing. Based in Argentina, working worldwide.