FAQ

I work across CGI, 3D rendering, commercial photography, high-end retouching and AI-assisted visual content. Depending on the project, I can use one discipline or combine several of them into a single production workflow.

I’m based in Barcelona, Spain, and work with clients locally and internationally.

Yes. I collaborate with brands, creative agencies, production companies and other studios on advertising, commercial photography, CGI, product visualization and post-production projects.

Yes. Depending on the project, I can work across concept development, photography, 3D, CGI rendering, lighting, texturing, AI-assisted production, compositing, retouching and final Photoshop post-production.

CGI stands for computer-generated imagery. It allows images and environments to be created using 3D software, giving precise control over camera, lighting, materials, composition and perspective.

My main CGI workflow is based on Cinema 4D and Redshift. Depending on the project, I also use Blender, Substance Painter, ZBrush and Photoshop for modeling, texturing, rendering, compositing and post-production.

Yes. I create photorealistic CGI and 3D renders for advertising, product visualization, digital campaigns, websites and social media.

Sometimes. CGI can be especially useful when a product does not exist yet, when many variations are required or when precise control over lighting, materials and composition is important. In other projects, photography and CGI work better together.

Yes. CGI can be integrated into photography while matching camera perspective, lighting, shadows, reflections, color and atmosphere so that the final image feels coherent.

Yes. I create commercial 3D product visualization for products, packaging, furniture, architecture and advertising imagery.

Yes. If CAD files, drawings or sufficient references are available, CGI can be used to create advertising and marketing visuals before production is complete.

Yes. Once a product is created in 3D, different colors, finishes, materials, lighting setups and camera angles can usually be produced efficiently.

Yes. Existing CAD and 3D assets can often be incorporated into the workflow, although they may require optimization, retopology, materials or additional modeling before rendering.

Yes. 3D modeling can be included as part of a CGI project when the required model is not already available.

I work primarily with commercial photography, advertising photography, product photography, portrait photography and fashion-related imagery.

Yes. Photography can be produced specifically for advertising campaigns, branded content, websites, social media and other commercial applications.

Yes. Photography and high-end retouching can be handled as one complete workflow, from capture through final Photoshop post-production.

Yes. Hybrid photography and CGI workflows are useful when part of an image needs to be photographed while products, environments or other elements are created in 3D.

Yes. I’m based in Barcelona and can work on productions in Barcelona as well as travel for projects when required.

I provide commercial retouching and high-end Photoshop post-production for advertising, products, automotive, portraits, fashion and CGI imagery.

Depending on the image, the process may include cleanup, compositing, color grading, local corrections, reflections, material adjustments, masking, background work and detailed Photoshop retouching.

Yes. I can work with existing photography supplied by photographers, studios, agencies and clients.

Yes. CGI retouching and compositing are an important part of my workflow. Even a strong 3D render can benefit from Photoshop post-production, color grading and final image refinement.

Yes. Compositing can combine multiple photographs, CGI renders and other visual elements into a single finished image.

RAW or working files are not normally part of the standard final delivery unless agreed in advance. They can be supplied for specific projects if required.

Yes, but AI is only one part of my workflow. I often combine AI-assisted visual content with CGI, photography, 3D and Photoshop rather than relying entirely on image generation.

It means using artificial intelligence as part of a broader production workflow for ideation, visual development, realism, texture, detail or experimentation while maintaining creative control through 3D and post-production.

No. Mostly 3D. Some AI for photorealism. Refined in Photoshop. AI is only part of the process.

CGI provides precise control over camera, perspective, composition, geometry, materials and lighting. AI can then help develop selected details, visual complexity or realism, while Photoshop is used to refine the final result.

Yes. AI-generated or AI-assisted elements can be combined with real photography when the workflow and visual direction are appropriate.

Yes. One workflow I use is to establish composition, camera, perspective and lighting in Cinema 4D and Redshift, use AI-assisted tools for selected stages, and then complete the image in Photoshop.

It can be, depending on the project, brand requirements and intended usage. The workflow is chosen according to the level of control, consistency and realism required.

The visual direction can be adjusted before producing the complete image set.

Not always. They become particularly useful when exact product appearance, materials, proportions or brand-specific details need to be reproduced.

Gaussian Splatting is an image-based 3D reconstruction and rendering technique that can reproduce real-world environments with a high level of visual detail using photographs or video-derived image sequences.

Yes. Gaussian Splatting can be used for real-world 3D capture, environments, visual experiences and hybrid CGI workflows.

Gaussian Splats can be useful for photorealistic environment capture, spatial documentation, immersive 3D content, virtual walkthroughs, visual production and digital representations of real spaces.

No. Both can reconstruct scenes from images, but traditional photogrammetry generally focuses on producing meshes and textures, while 3D Gaussian Splatting represents and renders the scene differently.

Yes. A carefully planned sequence of overlapping photographs can be used for Gaussian Splat reconstruction.

Yes. Video can be converted into image sequences and used as capture material, although image quality, motion blur, exposure and camera movement affect the final reconstruction.

Yes. Gaussian Splatting can become part of a larger 3D and CGI workflow, combining captured real-world environments with conventional 3D assets and post-production.

Yes. One of the strengths of Gaussian Splatting is its ability to reproduce complex real-world appearance and spatial detail from image-based capture.

It can be used for both, although the ideal capture method depends on scale, surface properties, lighting conditions and the final application.

The workflow can include photographic or video capture, camera reconstruction, Gaussian Splat training, scene cleanup, optimization and integration into a wider 3D or post-production pipeline.

Yes. 3D scanning can be used to digitize real objects or environments for CGI, visualization and other 3D workflows.

A 3D scan can provide a starting point for modeling, reference, digital assets, visualization, real-world reconstruction or integration into CGI scenes.

A conventional 3D scan usually aims to obtain geometric data that can become a traditional 3D asset. Gaussian Splatting is particularly focused on reproducing the visual appearance of a captured scene using a different representation.

Yes. Depending on the project, different real-world capture and 3D reconstruction techniques can complement each other.

Yes. FOOH — Fake Out Of Home — can combine real footage, CGI, 3D tracking, compositing and visual effects to create advertising content designed to look as if something extraordinary happened in a real location.

Usually there is a real photographic or video base, although the exact production method depends on the concept.

Yes. CGI elements can be camera-tracked, lit and composited into real footage so they interact naturally with the environment.

Yes. FOOH is often designed as short-form branded visual content, particularly when the concept benefits from a strong visual hook.

Yes. I teach photography, post-production, CGI, 3D and AI-assisted visual workflows.

Yes. Courses and workshops can cover photography, Photoshop post-production, CGI, 3D and emerging visual workflows.

Yes. Gaussian Splatting can be taught as part of courses or workshops focused on 3D capture, scene reconstruction and emerging 3D workflows.

It depends on the course. Some are designed for beginners, while more technical CGI, 3D or Gaussian Splatting workshops may require previous knowledge.

Yes. Online teaching and workshops can be offered depending on the course.

Yes. Custom workshops and training can be developed around specific workflows, software or production needs.

Yes. Commercial and advertising usage can be included in the project agreement.

Yes. Usage can cover websites, social media, digital advertising and other agreed commercial channels.

Yes. Many CGI, retouching and AI-assisted projects can be produced remotely, making international collaboration straightforward.

Send a short description of the project, references if available, required deliverables, timing and intended usage. From there, the most appropriate production workflow can be defined.

The most useful information is the number of images or deliverables, type of production, required resolution, intended usage, deadline and any existing photography, CAD or 3D assets.

Timing depends on complexity. Small productions may sometimes be completed within a few days, while photography, CGI and larger advertising projects require a schedule based on the brief.

Typically around 48–72 hours, depending on the scope and number of images.

The number and type of revisions are normally agreed when defining the project. Establishing the visual direction early helps keep production efficient.

Significant changes to the approved direction, deliverables or scope can require an updated timeline and quotation.

Payment conditions can be defined according to the project, production scale and client relationship.