I have always had a great passion for video games and computer-animated movies. It was when I saw Toy Story that I realized I wanted to dedicate myself to computer graphics in one way or another. I started by studying Computer Engineering, as it was the closest field related to making video games or animated films. After finishing my degree, I began working at Deimos Space, developing software for satellites, and from there, I spent almost two years working at the European Space Agency.

Upon returning, I saw that a new Master's program in video games had just been created, and I decided to leave everything behind to study what I had always wanted. As a natural continuation, I pursued a Ph.D. in physics-based simulation and haptic rendering. I spent some time as a CTO at a small startup in Madrid before finally joining Ilion Animation Studios—now Skydance Animation Madrid—where I currently work.

Making an animated film requires extensive resources, time, and highly skilled personnel across the various departments that make up the company. First, there are the Pre-Production departments, which mainly include Art, Script, and Storyboarding. Then, during the Production phase, we have departments for Modeling, Texturing, Layout, Character Effects, Rigging, Animation, Special Effects, and Lighting. Finally, in the Post-Production phase, we have the departments of Compositing and Color Correction.

None of this would be possible in large productions without a Pipeline, essentially, the set of software and tools, both commercial and in-house, that enables the workflow for artists in each department. The Pipeline also facilitates the transfer of work from one department to the next, the rendering of each frame of the movie, and review sessions with supervisors or directors.