Creative philosophy

I believe the most important thing a piece of content can do is earn the attention it receives. Not demand it. Not trick it. Earn it — through a story that is genuinely worth following, told in a way the audience actually wants to experience. That is the standard I hold every project to, whether it is a feature-length documentary, a campaign film, or a thirty-second social clip.

Video is the medium I have dedicated my career to, because nothing else carries complexity and emotion simultaneously in the way that well-crafted moving image does. But craft alone is never enough. The strongest work I have been part of starts with a clear understanding of who the audience is, what they care about, and what will make them stop scrolling — and then builds outward from that insight into story, format, and execution.

How I work

I work across the full arc of a production: from the first conceptual conversation through to final delivery. And I stay close to the craft at every stage.

That means I am as comfortable developing a creative concept from audience research as I am behind a camera in a conflict zone or in a post suite at midnight. I have built my career on the belief that creative leaders should not drift away from the work itself.

Cinematography is my deepest passion within this. I care about the visual quality of everything I produce, not just the flagship work. Audiences raised on high-end documentary and streaming content have developed an instinct for visual craft, and they feel its absence even when they cannot name it. I hold every format — a brand interview, a product walkthrough, a social cutdown — to the same cinematic standard, because that consistency is what separates content that builds trust from content that is merely consumed and forgotten.

Experience

I currently serve as Head of Audiovisual Productions at one of the world's leading animal welfare organisations. I lead a multidisciplinary in-house team of twelve consisting of filmmakers, photographers, editors, and content creators, and oversee a global content output that reaches close to three million people across digital channels. I’ve carried out an Executive Producer role on the organisation's long-form documentary output, which has received industry recognition internationally.

Before this, I spent nearly a decade as a freelance cinematographer, director, and editor across documentary, broadcast news, and branded content. I covered breaking stories for BBC News across Europe, and produced branded content work for PUMA, Save the Children, Ludwig-Maximilian University Munich, and TU Wien. I’ve regularly worked in high-pressure, fast-moving environments, including conflict and disaster zones, where finding and shaping a story in real time is not a technique but a necessity.

My academic background spans a BA in English Literature and Creative Writing from the University of East Anglia, where I specialised in scriptwriting for film & TV. I recently completed a Master's degree in Creativity for Advertising and Branded Content from Elisava (Barcelona), which has sharpened how I connect audience insight and platform behaviour to creative ideas, and how those ideas connect to measurable outcomes.

leadership and presence

Leading a creative team well means creating the conditions in which good work can actually happen, which requires as much attention to people and process as it does to craft. I have built and developed multidisciplinary teams, managed creative operations through periods of significant organisational change, and mentored individuals across a range of disciplines and career stages. Psychological safety is not a soft concept to me; it is the foundation of consistent creative output.

I am equally comfortable presenting creative strategy to senior stakeholders as I am directing a shoot. When the story calls for it, I also step in front of the camera, having presented and hosted content for international audiences.

Craft & tools

I am fluent across the full production stack: major cinema camera systems, post-production workflows including editing, colour, and sound, motion design, and emerging AI-assisted tools across ideation, production, and content systems. I approach AI not as a trend but as a genuine production multiplier: a way to extend what a skilled, lean team can create, test, and iterate at pace, with performance data informing creative decisions rather than replacing them.

I am bilingual in English and Spanish, and fluent in German and Italian, which has made me a natural fit for international, cross-market creative teams throughout my career.