Engineer's heart · Tinkerer's mindset · Magician connecting the dots
I help lead AI and pipeline innovation for PlayStation Studios at Sony Interactive Entertainment — shaping technical strategy, finding the inventions worth patenting, and building the systems that change how the next generation of games, characters, and digital worlds gets made.
If you want to know me, start here. Five working principles, learned the slow way — everything I build follows from them.
01
I spent twenty years inside production — artist, engineer, co-founder, technical director — before designing systems for it. That order matters. A tool designed from the outside automates the wrong things; one designed from inside the craft knows which hours are mechanical and which are the art.
02
A groom an artist refines beats a groom an artist rebuilds — and both beat a groom no artist touched. The point of a production system is to raise the ceiling on what a team can make, not to lower the floor on who makes it.
03
Hand-painting fabric and training a model are the same discipline: look at reality, understand why it reads, encode it. The same instinct moved me through textures, shaders, C++ trading systems, studio infrastructure, and machine learning. The eye doing the judging is the same.
04
I've built teams at a startup I co-founded and inside the world's largest studios. Sony invested a year of formal leadership mentorship in me; the work now includes shaping SIE's character vision with our VP. Same discipline as any craft: study the material — here, people — and remove what's in their way.
05
Capture reality, learn from it, hand artists a working result. The first patent was hair; a second is filed and confidential. My roadmap is no secret, though: every blank-scene problem artists still face is on it. That's the next decade, and I intend to ship it.
Where the principles came from: twenty years across games, film, fintech, and a startup. Case studies live on the work page; the hands-on craft years are archived under technical direction.
The person behind the record — where the arc started, and what I do when nobody's paying me to do it. The hands-on years live in the technical direction archive.
My job at Sony Interactive Entertainment is helping PlayStation Studios figure out what AI is for. I write tools, turn hard production problems into patents, and sit at the table where art direction and engineering decide what a game can look like next.
Most careers in this industry pick a lane. I treated mine like a curriculum. Madrid first — Pyro Studios, then Mercurysteam as producer and Shading TD on early Castlevania: Lords of Shadow — learning how games get made from both sides of the desk. Then Weta Digital, for Avatar and The Lovely Bones, to see what world-class looks like up close. Then back to Madrid to co-found Tequila Works and pitch Deadlight to Microsoft — to learn what it costs to build a studio from zero.
When Spain's industry cratered, I didn't wait it out — I spent two years building C++ trading systems at Santander's tech arm, because hard engineering is hard engineering wherever it lives. Then the film years: Skyfall and 47 Ronin at Framestore, Captain America: Civil War at Double Negative, features at Ilion and Reel FX. By the time I joined Naughty Dog for The Last of Us Part II, I had shipped from every seat in the building: artist, engineer, producer, founder.
That range is the strategy. At Sony since 2021 — first supervising shading and lookdev, now helping lead AI innovation across PlayStation Studios — every earlier seat pays off: I can argue the art, the code, the schedule, and the business case in the same meeting. Sony invested a year of formal leadership mentorship in me; two patents followed in two years. The work now is direction — helping shape where production technology goes next, and turning research into systems artists actually adopt.
I build RC turbine jets from raw metal — actual thermodynamics from first principles. I collect Neo Geo MVS boards because the games that taught me what game feel is were arcade originals.
I shoot photographs to keep studying real light. I ride bikes long enough that the bike, the body, and the road become one system. I'm a father; my kids are the most demanding QA team I've ever worked with.
Los Angeles, CaliforniaOriginally from Madrid
Technical Computer EngineerUniversidad Rey Juan Carlos · 2001–2006
English · SpanishNative bilingual
2 patents filed at SIEVR surgical training system · co-author
AI & pipeline leadership advisory, technical direction, speaking, and select studio collaborations. Based in Los Angeles, working globally.