Production EngineeringThis was the beginning of my academic and professional journey.A time when I imagined and prepared myself for a future very different from the one I ended up following.As soon as I finished college, I started looking for a professional activity that would combine other areas of great interest to me: cinema and music.I did a brief internship at Estúdios Eldorado and then discovered the emerging digital animation market.In 1990, I did an internship with Flavio de Carvalho who taught me the basics of the area and gave me the opportunity to work with programs such as TOPAS and LUMENA.In 1991, I had the opportunity to start working at a finishing company called New Vision, which was then starting its computer graphics department based on a Silicon Graphics Personal Iris 4d 25 station.It ran programs such as TDI for animation and Nefertiti for painting.It was also the place that began to open my mind to the various disciplines related to cinema. Editing and color correction were mainly New Vision's great specialties. A place where I met incredible people who are still very important to me and to the market.In 1994, I worked at Vetor Zero, which at the time was not very big but already showed all the talent and competence of its professionals who would lead it to success in its trajectory.In 1995, I returned to New Vision but as a partner in the computer graphics department. However, in November of the same year, I created Terracota with my partners Carla Andrea Braga and Christiano Leal. Throughout Terracota's history, other partners have passed through the company: Lais Dias, Inês Schertel and Flavio Longoni.For many years, Terracota dedicated itself to animation, vfx and motion design services, mainly focused on the advertising market.Serving both production companies and agencies, we had the pleasure of working with a huge number of clients.My role in the company has always been more linked to the area of ​production and technical direction.Over the years, we have worked with several animation and composition programs.In 2016, I also started working in parallel in content production, providing 3D and composition for institutional clients, and film and series producers.At the end of 2020, I met FGREAT, a London-based production company that opened its operations in São Paulo that year, where I worked as a Senior 3D Generalist until July 2024.