Eight years of passion. Zero shortcuts.
Eight years of building a studio where the creative bar was non-negotiable — and the work proved it every time. I hired the team, designed the pipeline, and held the creative bar on every single project. Not just as a director — often with my hands in the work. This is what eight years of that looks like.
Numbers are easy. The real story sits behind them.
The brief doesn't set the ambition. The director does.
Motion and CGI were undervalued in Spain for a long time — finding clients who valued the work both creatively and commercially was a real fight. So we looked further. One of the first international projects that defined Koora came from a Norwegian company selling unhatched copepod eggs to the aquaculture industry. A niche product in a sector where nobody cared about communication — competitors had homemade videos filmed in a kitchen. They wanted a 3D commercial. We made them an Apple-level product film — cinematic narrative, premium visuals, a story built around something microscopic. The results were clear: it set them apart from every competitor overnight. That project taught me that the brief doesn't determine the ambition. The director does.
A small base. The right people around it.
I never built a big team. I built a solid one — a core of people I trusted completely, extended with specialists I'd met along the way and knew how to work with. That structure meant we could move fast without losing quality. One client needed a full 3D video — script to final render, ideation to post-production — in two weeks, in two languages. In pre-production we realised Arnold wasn't going to get us there in time. We switched to Octane, learned it from scratch, and delivered on deadline. That decision taught us something that stayed: the render engine doesn't define the quality. The judgment does. From that point on, we used whichever tool served the project best — a principle that runs straight through how I build pipelines today.
Some of the clients who trusted us
50+ projects. Zero unhappy clients.
Running a studio is a rollercoaster. There are periods where work piles up and periods where you're hunting for the next project. What doesn't change — what can't change — is the standard. Every client that came back, every referral, every project that led to the next one was built on the same thing: treating project 50 with the same creative care as project 1. Reputation is built on the average, not the highlights. Eight years in, the number I'm most proud of isn't the projects or the markets. It's the zero.
Think twice, render once.
Pre-production is where projects are won or lost. I've always invested time there — not because it's comfortable, but because a well-thought brief, a solid animatic, and a low-quality pass approved by the client means you only render once. Problems get solved on paper, not on a render farm at 2am. I was involved in every project — sometimes as director, sometimes hands-on from start to finish. That proximity to the work is what kept the pipeline honest and the quality consistent across every deliverable.
Eight years leaves a long trail.
TV broadcast graphics for EiTB. Research films for Tecnalia, Spain's leading R&D centre. International projects for universities across Europe including Deusto. Architectural visualisation, industry explainers, abstract concept films for EU-funded projects, corporate content, stage visuals for live events, 3D support for larger productions. Clients who came back. Clients who sent others. Eight years of real work, real briefs, real results — most of it built on recommendation, none of it phoned in.
This was the studio chapter.
See the full body of work at koora.studio.
Visit koora.studioFull portfolio, real projects, real clients.