Broadcast & Entertainment
Selected Broadcast Work
01 — Mask Singer
FReMANTLE / ATRESMEDIA
2020–2022
• Built high-energy multicamera sequences for a top-rated primetime format reaching millions of weekly viewers.
• Integrated performance, music, and live audience elements to maintain rhythm and maximize viewer engagement.
• Achieved a 30.8% share for the series premiere, marking the best entertainment debut on Spanish TV since 2012.
02 — Vamos a Llevarnos Bien
THE POOL STUDIOS / RTVE - LA 1
2022
• High-energy celebrity talk show blending music, comedy, and pop culture segments in a live prime-time format.
• As Offline Editor, I shaped the comedic timing and pacing across the show's rapid segment format, ensuring each contestant's material landed within tight broadcast runtimes.
• The format evolved mid-run from a studio-based comedy contest to a late-night music-driven show, requiring the editorial team to adapt structure and rhythm without losing the programme's identity.
03 — El Líder de la Manada
NOTRO TV / CUATRO - AMAZON PRIME - APPLE TV
2011
• Offline editing balanced two distinct emotional registers within each episode — the procedural rigor of the training sequences and the more personal, unscripted moments between Millán and each family.
• Each hour-long episode followed a single dog's full arc, from shelter rescue through training to placement, requiring careful pacing to sustain that arc without losing momentum across commercial breaks.
• Celebrity guest segments were cut to serve the show's underlying cause — raising awareness about pet abandonment — rather than functioning as standalone promotional moments.
04 — En el Punto de Mira
UNICORN CONTENT / MEDIASET ESPAÑA
2016–2023
• Working within a six-editor team across two full seasons (2021–2023), I handled offline editing for weekly investigative segments under a fast, recurring production cycle.
• Editing required reconciling multiple footage sources within a single story — hidden-camera material, drone aerials, and traditional interview coverage — into a coherent investigative narrative.
• Consistency across a six-editor rotation demanded close attention to the show's established pacing and tone, so each week's investigation felt part of the same series regardless of who cut it.
05 — Los 40 de 40
PLURAL ENTERTAINMENT / Cuatro
2019
• This anniversary special was the first project where I took on sole editing responsibility, handling the cut from assembly through final delivery.
• Working without a co-editor meant managing pacing, music and archive material as a single continuous process rather than dividing it across a team.
• It was an early step toward the editorial and delivery responsibilities I've carried on larger productions since.
06 — Gran Hermano
ZEPPELIN tv / MEDIASET ESPAÑA
2008–2014
• Leading the edit on El Debate meant turning live discussion and audience reaction into a coherent, broadcast-ready programme on a weekly cycle.
• Moving between El Debate, El Diario and La Gala across eight seasons meant adapting to three distinct editorial rhythms within the same production.
• This was the project where I learned to sustain the level of speed and output that the industry demands — a benchmark I've carried into every production since.
07 — Fama
zeppelin tv / cuatro
2008
• The dual format — daily daytime episodes plus a distinct weekly gala — meant working across two different editorial rhythms within the same production.
• Dance performance footage required a different editorial approach than dialogue-driven reality content, cutting for rhythm and musicality rather than narrative beats.
• Contributing to the first edition of a format that became a genuine ratings phenomenon was an early lesson in what a hit production actually demands from the edit.
08 — Supervivientes
MEDIASET ESPAÑA
2015–2016
• Cut short-form video packages for the main gala under the same weekly broadcast pressure as the rest of the production team.
• Worked as part of a larger editorial team rather than owning a segment individually, contributing footage-driven pieces that fed into the live broadcast.
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