C.V. English
C.V. Spanish


Imagine a 13-year-old boy building a little world from construction paper so that the clay men he fashions can complete their secret missions, fight their villains, and fall in love.  He picks up his Super-8 camera, a gift from his father, and makes his first film.  The result is more than a little embarrassing—as a movie, it's just a man walking down a street.  But something else is recorded in that stop-motion piece:  a passion for the artful magic of make-believe.

Isaac belongs to the group of pioneering 3D and digital post-production artists in Spain.  After his teenage forays into filming action figures on paper sets, he decided to study computer graphic arts.  He took his degree in Audiovisual Communication from the Complutense University, where he specialized in television, film, and computer graphics.  While a university student, he also enrolled in a private film academy.  Upon graduating, he received a scholarship for advanced studies in 3D Animation at Fundesco, one of the most prestigious research foundations in the panorama of information and communication technologies during the 1980s.  Afterwards, Isaac honed his animation skills while working for private enterprises such as Computer Arts Developments, a leader of 3D animation in Spain. 

His past projects include corporate and commercial advertising for broadcast television, programming 3D environments for real time, and visual effects for feature films.  He was awarded the Goya for Best Special Effects for the movie Earth (Julio Medem, 1996).  In the latter half of the 1990s, Isaac worked in digital postproduction, serving as the Director of Visual Effects for many films and projects and leading the surge of Spain's creative forays into this sector.  When Mad Pix, a postproduction company, was formed in Madrid, Isaac headed the 3D department, and he lent both direction and creative work to many projects in motion pictures and television.  He left MadPix to establish, along with  Rubén Villoria, the animation studio Tripoly.  But part of him is still in his room after school, a camera in one hand, a puppet in the other, imagining all the stories that can be told.