I resolve visual problems to let the story emerge from the cut.
Documentary film editorand fiction.
15yearseditingwhatthecameramerelycaptured.Everyvisualdecision,defendable.
Problem
An electoral institution needed intro spots that felt human, not bureaucratic—civic messaging people would actually stop to watch.
Approach
Directed and filmed scripted intro segments with real performances, then cut them for rhythm and clarity. Institutional message, cinematic treatment.
Result
Intro pieces that open each spot with a face and a story, not a logo. Produced through AVI Consultores for the subnational elections.
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I resolve visual problemswith defendable intent.
Film editor and visual storyteller based in Sucre, Bolivia. A decade in live broadcasting taught me that in storytelling, there are no second takes—everything is decided in the cut. Today, I edit documentaries and fiction with that same discipline: every visual choice must stand on its own, without explanation.
I map out the rhythm of the cut on paper before opening the timeline. A habit formed during ten years in live television, where making a mistake on-air has no Ctrl+Z.
Freelance Film Editor · Colorist
Documentary, fiction, music video and campaign work. Contracted through AVI Consultores and StarMedia for institutional and NGO productions.
Broadcast Director · Video Switcher
Progressed from camera operator to broadcast director. Multicam switching, technical direction and real-time team coordination. Ten years of live air with no critical failures—and no Ctrl+Z.
Narrative Editing
The footage does not tell the story the client thinks it does.
I restructure until the story emerges naturally from the cut. Structure first, effects later.
Documentary
Scattered footage, long interviews, zero narrative thread.
I find the arc that is already in the material. I edit for the story, not for the timeline.
Fiction
A piece with limited resources that must feel larger than its budget.
Pacing, sound, and color working in unison. The audience does not notice what is missing when what is present is right.
Color Grading
The technically correct frame feels flat.
I read motivated light, protect skin tones, and choose deliberate moves. I do not neutralize—I narrate.
Broadcast Production
In live broadcasting, there are no second takes. Any mistake goes live immediately.
Ten years of multi-camera switching and live directing. I apply that same live-air discipline to every post-production project today.
— Philosophy"Every visual decision must be defendable. If I cannot explain why a cut is there, that cut does not belong."