FIM (Fédération Internationale de Motocyclisme), es el organismo rector/sancionador mundial de las carreras de motos y otras disciplinas. Representa a 116 federaciones nacionales de motociclistas que se dividen en seis uniones regionales continentales. Hay siete disciplinas deportivas de competencia que cubre la FIM, estas abarcan 82 campeonatos mundiales y cientos de campeonatos secundarios: enduro, trial, carreras en circuito, motocross y supermoto, cross -country, e-bike, y carreras en pista. La FIM también participa en muchas actividades ajenas a las carreras que promueven el turismo y el deporte, la seguridad y apoyan las políticas públicas pertinentes. La FIM es también la primera federación deportiva internacional en publicar un Código Ambiental, en 1994.

Encargado de impulsar y promover el Moto Turismo de manera segura y organizada en nuestro país.

www.bunkermedia.com.mxThe Bunker Media is a studio with the perfect blend in design, technology and marketing strategies through state-of-the-art design, product design, exciting website experiences, new technology programming & developing, digital catalogues, advergames & more. Our developments are characterized by the high quality of illustrations, photography and product design.

TABOO DIGITAL, is my current studio. We started by providing post-production services with only one big high-end equipment (SGO MISTIKA). Offering services as a boutique studio just for a few clients. Always sticking to our principle of staying a small operation, never exceeding more than 10 people working on the studio. During the first years we made several movies and commercials. We were honored with the recognition from the United States Embassy in Mexico for a project they commissioned us with: the production of a series of short animations to ilustrate the general public on how to go through several common procedures. We where involved from the rewriting of scripts, storyboards, animation and audio post-production.At that time, I had the opportunity to direct on set and produce projects for my clients.As a special note, we performed some VFX for “RAID TAILS” ( a George Lucas film).However the offer of this type of services in Mexico was growing and the prices decreased more and more, to the point that it did not make sense to pay for a place, staff and all other related overhead. I decided to sell the equipment and currently attend occasional services with freelance artists.www.taboo-digital.com

www.mxadventures.com.mxResponsable del área de Marketing, promoción y diseño. Relaciones publicas, alianzas e intercambios comerciales.

Software Integration.High technology and trainingfor professional post-production industry.BF, was derived from obtaining the representation of the SGO Postproduction Platform in Spain, we were in charge of providing maintenance and technical support. I was in charge of dealing with clients, this company did not require much of my time. Currently there are no customers using this platform in the country.

www.grupobunkermedia.com/maverickMAVERICK offers aerial filming services using cutting-edge technology equipment.Quadcopter drones and remote controlled Hexacopters equipped with high-definition cameras and real-time visualization.This division complements the range of services offered by our other businesses.

I had the representation of Beatmap Group, whose headquarter offices are in Chile, accomplishing some architectural visualization projects. After a couple of projects I realized that in Mexico the market was not paying enough and decided to stop.

At Lomas Post I was able to test my knowledge as a PostProduction Manager, once again I had to start from scratch. Equipment purchase, installation, hiring personnel, forming work teams, etc. In a short time we had exponential growth thanks to the business vision that we set ourselves. We started with only one edition suite, but in three years we managed to acquire three more suites and two telecines. We achieved something that no post-production center in Mexico had done in such a short period of time. Right after the purchase of the second telecine I became aware of the unavoidable arrival of digital video with cameras like Panasonic and RED. An opportunity to sale my shares appeared and I took it. To this day I think it was one of the best decisions I have ever made.I designed the areas to start the business according to the budget and sales forecasts.I supervised the installation of equipment according to technical factors and efficiency, taking care of the quality of the video signal.I assembled work teams from across the post-production center, recruiting engineers, colorists, editors, and artists for compositing and integration.I lead the technical and sales areas.

I undertook from the beginning what years later became one of the most important post-production facility in the country.I designed the areas to start the business according to the budget and sales forecasts.I supervised the installation of equipment according to technical factors and efficiency goals, taking care of the quality of the video signal and the processes involved.I assembled work teams from across the post-production center, recruiting engineers, colorists, editors, and artists for compositing and integration.Applying my knowledge of the market, I supported the sales area in the commercialization of our services.Ollin Studio was one of the most important challenges of my career, I had the responsibility of creating the post-production area from scratch. My knowledge of engineering allowed me to work hand in hand with the engineering team for the installation of the equipment. Then create the work areas: Programming, artists, video engineers, colorists, etc. We decided to be the most important post-production center in the country and we did it, when we decided to go after Hollywood production projects, we acomplished that also. We managed to participate in the visual effects execution of "The Curious Case of Benjamin Button" "Tron" and "Pirates of the Caribbean" in addition to multiple National film productions.During the best years of my involvement with Ollin Studio, I was in charge of more than 100 people. I learned to work with Groups and see them as individuals, leadership starts like this. We carried out large productions in which I deeply involved myself analyzing the processes, times and costs. However, I believe that one of my greatest achievements was to assemble successful work teams.

I have worked in many post-production facilities abroad carrying out freelance projects in order to learn different workflows models and ideas.Preparation of projects, mainly television commercials, budget management, calendar and deliveries with the highest possible quality standards.At EDEFX Group I was in charge of serving Mexican clients.During this stage I learned not only to stick to a budget, I also controlled travel expenses. I developed an ability to interact with the artists involved on each project, to provide them with clear instructions at specific times, ask for and contribute technical solutions. This allowed me to grow as a team leader, clearly showing objectives, assuming responsibility towards the clients.

Pioneer in the digital video revolution in México collaborating in one of the first post-production facilities in Mexico within the operational technical team. Innovating with the implementation of customer-focused consulting services.Scheduled, supervised and accounted for all final deliverables, technical processes and post-production costs of each project.Developed custom solutions according to specific requirments and technical concerns, budgets and processes to meet deadlines and budgets without compromising the quality of the project.Created and managed post production budget, schedule and resources to meet the targets of each project individually.I started out as an editor, but I used my free time to learn Quantel Effects, 35 mm. Film color correction and to enhance my skills. Postproduction was really my passion, when I finally reached a level where I dominated the operation of all areas, I was asked to upgrade to a position that did not exist, it was about supporting clients by advising them on complex postproduction issues, preparing their schedules and budgets. At that time the term did not exist but it was a kind of VFX Supervisor.