About

Origins

When I was 8, my family decided to set up a video-games arcade in the Catalan coast of Spain. Out of the blue, their decision altered my childhood hobbies forever. Game culture took over. By the time I turned 18, the arcade had to close because of a sudden tech change (the arrival of the consoles for mass consumption) put my parents’ joint, as well as most part of the world’s arcades, out of business. From that day on, I focused my efforts on technology innovation.

MACHINIMA (2000-2011)

After a short stint at SEGA (where I got access to plenty of VR projects), I started to experiment with the re-purposing games. However, it wasn't until 2004 (thanks to a digital arts residency set up by Dan Pinchbeck, CEO@Chinese Room) that I released a series of “Machinima” projects. Unknowingly, from one day to another, I became part of a (very early form of) a new and vibrant "virtual production” community — a cluster of creators with a passion for games and films (and viceversa). With this group of pioneers, I travelled the world promoting game culture and engaged directly with leading game companies.

A few years down the line, I was asked to take over Dan Pinchbeck’s job and lead the same digital arts centre that had welcomed me as a researcher.

VIRTUAL WORLDS (2006-2012)

Eventually, after being approached by broadcasters & production houses, I decided to have a go at virtual world development. Dr. Jim Purbrick is to blame for that. Jim is a former Blizzard and Eve Online dev who later becase Head of Eng at Facebook Europe. Second Life allowed me to work designing strategies and presences for brands and organisations all over, engaging with awesome creators along the way.

OTHER WORK

In my creative practise, I have often experimented with the combined use of production & distribution platforms, generally always trying to include audiences into the process. In 2005, I worked on a concept entitled Machinima Island, which invited viewers to use SMS, a website and virtual worlds in order to engage in an evolving 'collaborative narrative'. For this project, I had the pleasure to commission The Electric Sheep Company, led by Giff Constable and Chris Carella. In 2008, I obtained funding to publish a set of commissions so that artists could create virtual-world specific content. As a writer/director of Vlogger, a feature film produced with Zentropa, I also experimented with connecting audiences with content in different ways.

Thanks to all such projects, I've been honored to receive some awards, collaborate with awesome talent such as Red vs Blue, Submarine.nl, Academy Award winner Dr. Ken Perlin and many others. There’s not enough space in this page to thank my many talented colleagues at conferences and events such as SIGGRAPH (where I acted as Games Program Chair of the Asia editions 2020 & 2022), XR4All (Games SIG Chair), Edinburgh Festival (Interactive — content committee) and more recently Euromersive.

EXCITING TIMES AHEAD

Having recently been involved in producing some of the world's biggest Motion Capture projects (thousands of cubic meter volumes, weeks of capture and tens of actors…), I’m excited to have co-founded Captic.io along my partner and CTO — ARPU, who designed his first game at age 11. United by our common purpose of redefining audience engagement in the Metaverse, we’re excited to bring to the world a whitelabel metaverse solution for Web3 that already hosts thousands of user-created virtual presences.

Thanks for reading thus far.