Can you briefly introduce yourself?

In 2007, after leaving the cinema from watching the newly released Transformers movie by Michael Bay, I couldn't get over my amazement. I looked at my older brother, who had accompanied me, and said, "I don't know how to do it, but I want to work on that."

It was then, with great enthusiasm, that at the age of 12, I began researching on my own and watching tutorials of the famous softwares, Adobe After Effects and Autodesk 3Ds Max, with which I started making silly videos, both in stop-motion and with typical effects like lightsabers or laser blasts.

What began as a simple hobby eventually transformed into a true passion. When the time came to choose my path, I seized the opportunity to study Visual Effects and Animation at U-TAD. Over the next four years, I immersed myself in the art and craft of bringing stories to life, mastering every stage of the animation and visual effects pipeline, from concept to final production.

However, during my second year of studies, I decided to take a leap and gain hands-on experience. I secured an internship at one of the most pioneering visual effects studios in Spain. This unexpected step marked the true beginning of my professional career in the industry.

My name is Alejandro Rivas Llave, though on the internet, I’m usually known as Alex Rivas and I currently work at El Ranchito VFX as a Senior Digital Compositor.

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Tell us about your childhood. What inspired you growing up, and how did those early experiences lead you to your current career? Were there any unique challenges you faced during those early stages?

Since I was a child, I’ve been a big fan of history and fine arts, as I loved drawing and bringing all the ideas I had in my head to life on paper. I also loved science fiction, such as Marvel or DC superheroes, Transformers, and disaster movies. Being able to see these things on screen, so realistic that they felt as real as life itself, only made me imagine worlds that didn’t exist and immerse myself fully in the action, which gave me an incredible sense of satisfaction. To me, that was magic, and I wanted to be a part of that magic trick. I, too, wanted to be one of those magicians who created that illusion for people.

But the question I had to ask myself was... How are these things made? What’s the creation process? How do you get to do it?

The world is whimsical, and by chance, my older brother was a photographer. He showed me a software he worked with called Adobe Photoshop, which, for me, became the gateway to a world of creative possibilities.

From there, after searching online, I began to familiarize myself with the world of visual effects, animation, and photography. It was then that I discovered After Effects and 3Ds Max, with which I began creating small test videos. Later, I started exploring the world of cameras (perhaps a legacy from my brother) and began filming live-action sequences. Eventually, I also made small stop-motion shorts and added effects to them.

I kept learning more, doing more complex things, and even adding effects to video projects from high school. It was already clear that I had fallen in love with this industry. However, as the moment to choose a professional career and figure out what I wanted to do in the future approached, I still didn’t know how I could become an artist in the visual effects industry.

I did a lot of research to find out how I could study something similar, and I discovered that in many other countries, both in Europe and the US, there were countless schools dedicated to animation and visual effects. But what about my country? In Spain, it seemed complicated, but after some research, I found a few places, and among them, a university that caught my attention: UTAD, where I could study an official degree in visual effects and animation. It was then that I saw the opportunity to learn from professors who were active industry professionals and who would teach me everything I needed to know to finally dedicate myself to making VFX. On top of that, I would find and surround myself with people who shared common interests.

This definitely sounded great and promised to be the beginning of something magical!

What lights the spark for you? Where do you find the most  inspiration when you're deep into a project?

As someone passionate about history and art history, traveling and exploring cities, as well as visiting monumental places, always ignites something within me that fuels my creative process. These experiences inspire ideas that I want to capture, often with a fantasy twist, leading to new projects.

Reading, watching movies, and TV shows also play a big part in sparking my creativity, especially those that resonate with me and make me wish I could create something similar or be part of them. That’s when the best ideas usually come to mind.

However, true inspiration often stems from tangible, real-world elements, like architecture, painting, sculpture, photography, and, of course, the masterpieces created by filmmakers. Their movies offer an abundance of great shots, lighting, and set design ideas. But this is just the foundation. As artists, we aim to create something new or something never seen before. We take inspiration from existing elements, mix them up, and from there, we generate fresh ideas that capture the viewer's attention.

As a digital compositor, though, not everything is about creating from scratch. Life in the studio is a bit more structured, as you're given specific tasks based on the director’s vision, which is often concrete and detailed. So, what you imagine in your head might not always align with what you can bring to life. Inspiration also often comes from the talented colleagues around you, from whom you can learn and gain valuable knowledge to improve your day-to-day work.

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Let’s shine a light on one of your favorite projects. Walk us through the creative process and the magic that brought it to life. What makes it stand out in your portfolio?

Without a doubt, one of the projects I am most proud of is our work on the series Five Days at Memorial, which tells the story of the flooding in New Orleans after Hurricane Katrina.

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This project was an immense challenge, particularly because nearly all of the scenes were shot in a large water tank, but even that wasn’t enough to fully capture the scale of the hurricane’s impact. Our task was to digitally recreate the entire environment surrounding Memorial Hospital, simulate the vast floodwaters that devastated the city, and extend buildings, including the hospital, using digital effects. To achieve this, the 3D and Environment teams at El Ranchito spent considerable time analyzing disaster footage, original recordings, and current photographs of the area to recreate the hospital and its surroundings with as much precision as possible.

Simultaneously, the Matchmoving team, aided by LiDAR scans of the set, recreated the digital cameras to match the original ones. This allowed them to replicate the camera movements and place the 3D assets in the same locations as the practical elements on set.

Once the assets and camera movements were established, the next step was lighting the scene to match the natural lighting captured during filming. This was followed by the rendering process, where multiple 3D passes were created to be composited together into the final scene.

This is where the part of the process I’m most involved in begins: compositing. Here, we seamlessly blend the 3D renders with matte painting elements from the DMP department to craft the final shot, ensuring that the digital and practical elements blend so naturally that it feels like everything was filmed together in a single take.

One of the biggest challenges in these shots was extending the vast stretch of water from the tank to the horizon.  We had to seamlessly merge the real water from the tank with the digitally created water, ensuring to recover the reflections of the set elements while also restoring all the objects floating on the surface.

Additionally, since the water in the tank was very clean during filming, we had to rely on disaster references to make it look more authentic. This meant muddying and dirtying the water, adding debris and other elements that would have been carried by the flood. In compositing, we also created drag elements and particles, significantly clouding both the real and 3D water to achieve a more realistic final look.

This project stands as one of the highlights of my portfolio, not only because of the technical challenges but also because it was such an exciting and rewarding experience. I viewed it like model-making, requiring meticulous attention to detail and a delicate visual finesse. It involved carefully selecting and combining small elements to gradually build the final shot.

I was fortunate to have had the opportunity to work on many of the most iconic shots from this series, including several key shots from the episode for which we were nominated and ultimately won an Emmy for Outstanding Visual Effects in a Single Episode in 2023.

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That’s why I look back on the work we did on this show with such pride and fondness.

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What's the most challenging or unexpected task you've encountered during production, and how did you navigate through it?

To this day, the biggest challenge I've faced in my career was being assigned one of the most complex shots I've ever worked on. It was a key shot in the 2024 film Leave the World Behind, a single-shot sequence in which we had to depict an airplane crashing on a beach, followed by one character running from the massive wave generated by the impact and seeking refuge in a nearby house.

However, this shot wasn't as straightforward as it seemed, because the single shot didn’t actually exist. It was made up of three separate shots filmed in different ways, with three different cameras. Our task was to seamlessly stitch them together to create one continuous shot.

In addition to the camera work, another major challenge was that many parts of the shot had to be fully replaced with digital elements. We had to create large sand dunes on the beach, massive embankments filled with plants, CG objects scattered across the sand, and even a forest in the background that was completely leafless. The director decided he wanted a spring-like forest filled with green leaves, so all of these elements had to be digitally recreated.

This was one of the largest and most complicated shots we’ve ever created, which required us to break the work down into smaller, manageable tasks. We worked through each task meticulously, making sure each one was completed before moving on to the next. This step-by-step approach was essential to ensure the shot’s success.

Despite this methodical approach, the deadline was tight, and the tasks grew increasingly demanding for a single compositor. The stress kept building. To handle this, the shot was split among several compositors who contributed to its creation over the course of nearly a year. Even our friends at Image Engine lent a hand in creating the final FX sim for the shot.

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After this experience, which stands as one of the greatest challenges of my professional life, I’d like to offer a piece of advice: Even when we think we can handle everything, it's important to remember that we’re human. Stress can overwhelm us, and when we can’t manage it, it's crucial to pause, breathe, and ask for help. The beauty of working with talented colleagues in a team is that the support we give each other is one of the strongest tools we have. Through collaboration, we can achieve incredible results. The magic of this work wouldn't be possible without everyone working together.

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How do you manage your time, especially with side personal projects and teaching?  And when stress creeps in, how do you handle it and keep your energy levels up?

Since I work 7 hours a day, personal time can sometimes be limited, especially during busy periods when overtime is required. That's why I always recommend something I've learned over time: when stress starts to build up, it's crucial to stay calm and breathe. Sometimes, we let ourselves become overwhelmed by work, and in those moments, it's essential to calm our minds. Taking a deep breath really helps.

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During these times, when your body feels the strain from long hours at the computer or the stress of work, it's important to stay active and exercise. For instance, I train four days a week and stretch a lot, which helps relieve stress after a long day. It also clears my mind and gives me a chance to get some fresh air.

This routine also helps me manage other responsibilities, like teaching at the university and working on personal projects with colleagues.

For my classes, I try to set aside an hour or some free time before dinner, after exercising and when my mind is clearer, to prepare the lessons I’ll be teaching throughout the week.

As for personal projects, I’ve always been clear about this: they don’t have a deadline. While we stay engaged throughout the process, there’s no rush to finish. We take it step by step during our free time, focusing on the quality of the result without stress.

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One thing I’ve become increasingly convinced of over time is that we should never neglect personal plans and the time we have outside of work. These personal projects should be pursued during our free time, whenever we feel inspired. But we shouldn’t put pressure on ourselves, as that can diminish our enthusiasm. It’s important to disconnect from everything, whether by going for a run, exercising, or hanging out with friends. These activities not only help clear our minds but also recharge our energy, spark inspiration, and foster creativity for new ideas.

As you’ve climbed the ladder to Senior Compositor position, What's your secret sauce?  Any tips for those aspiring to grow into similar roles? Are there any gotchas or obvious statements that you wish you knew earlier?

Looking back on my career, I can confidently say that one of the things that contributed most to my growth was dedicating myself fully to every task, continuously learning, and always striving to make things as good as I could. Gradual learning through each task was essential. However, what truly drives growth is the ability to face problems on your own. Solving challenges independently helps you develop key skills and grow as a professional. That said, it's equally important not to overlook the opportunity to learn from your colleagues. Being surrounded by talented artists and learning from them daily , whether by asking how they would approach certain tasks or simply observing them at work, has been one of the most enriching experiences of my career.

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At the same time, like in any job, it's crucial to understand that you have deadlines. Being structured and managing your time wisely are key elements to success. Knowing which tasks are most important at any given moment allows you to efficiently reach the final result without wasting time on things that may not be relevant at that time. As you grow, you begin to implement a more organized work structure, enabling you to achieve the goals of each shot and task more efficiently and ultimately deliver the desired results.

As a compositor, with working on various scales of projects showcased in your showreel, what specific challenges do you encounter in these projects?

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One thing that I find interesting about the VFX work is that each project, and especially each shot, is completely different. So, each one is a challenge, and every project has its own unique set of issues to face at each moment and in each specific situation. The exciting part of this is that you always have something new to face that you've never encountered before, and as a result, you have to figure out how to solve it, or even take your time to think about how to do it.

There are many challenges to face in a shot, ranging from technical aspects, such as how to carry out a task, what tools to use, and how to execute it, to more artistic challenges, like creating a specific effect or achieving a particular lookdev.

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What are the things you wish you knew or learned earlier that would have made a significant impact on your current situation?

One of the greatest lessons I’ve learned over the years is, as I mentioned before, the importance of time management when working on a shot and how to approach it in a structured way to meet the deadline without any issues. More than anything, it’s about handling stress in those situations and how staying organized can make a huge difference.

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Who in the industry do you look up to as an inspiration or role model? Is there someone you’ve said, "I want to be like them someday"? or “I wish I collaborated to work on a project with”

I believe one of the most influential figures in my career, and even a paternal figure within the VFX industry, is Adrián Pueyo, whom I also consider my mentor. I’ve been incredibly fortunate to collaborate with him on several short projects. Adrián has been a mentor and a key influence in shaping my approach to VFX. His insights have been instrumental in my growth, and I deeply admire his ability to merge artistic vision with technical precision.

To this day, I consider him a great friend and a constant source of learning, and I’m fortunate to continue collaborating with him as a teacher in his Visual Effects Compositing Master’s program.

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What's your favorite part of your job? Is there a particular feature or tool that you love and couldn't imagine working without?

My favorite part of the job is working on LookDev, or what I’d call the more artistic side of the shots. That’s where you get a bit of creative freedom. Of course, in VFX, that freedom comes with limits since we usually follow the director’s vision. But there’s still room to experiment, develop effects for specific shots, and try out different LookDev approaches based on your own instincts.

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When it comes to my favorite tools, I’d say that nowadays, I couldn’t live without Nuke or Mocha. However, as someone who has spent a long time working with different software and exploring various fields, whether 3D, 2D, or motion graphics, I can definitely relate to the famous saying: "The tool doesn’t make the artist." In the end, tools can be learned, but what truly matters is the creative vision, something inherent to the artist. Now more than ever, we’re seeing this with the rise of AI, where images can be generated randomly without any true artistic judgment.

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On the path of personal development, how do you continue to challenge yourself and grow as an artist?

Even now, I keep taking on personal challenges to grow as an artist, not just the ones that come my way, but also the ones I choose on purpose to push myself further. I’m always looking for new and tougher tasks to sharpen my skills.

For example, at work, when I start a new project, I sometimes ask for shots that catch my interest if I get the chance. I also try to take on fun but challenging tasks that keep getting tougher. It helps me keep learning and, most importantly, keep growing as an artist.

My growth as an artist also comes from personal projects, ideas that come to mind and bring their own set of challenges. They give me the chance to experiment with things I haven’t been able to try professionally in the studio while continuing to develop my VFX skills. At the same time, they allow me to blend what I learn at work with what I discover through testing and creating on my own.

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As a Senior Compositor, do you have a set of tips and tricks you can share that you find helpful and would like to share.

One thing that I believe really defines compositors and people in the VFX field is curiosity. We’re the kind of people who enjoy observing everything around us, trying to understand how things work and how certain phenomena occur. This curiosity is key, especially because, in our daily work, we often need to replicate these things digitally in shots. By visualizing them, understanding how they happen, and breaking them down, we can approach creating their digital versions more effectively

One piece of advice I always give is that it’s really important to be curious and observant in this field. Photography is a great way to nurture that curiosity. With a camera, we can observe, frame shots, find beautiful compositions, and play around with light, angles, and natural phenomena. In this profession, what we’re ultimately trying to recreate is how the world looks through the lens of a camera. And what better way to understand that than by using a camera to see the world for what it is?

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Is it true that the industry is evolving at an incredible speed? And are we really capable of keeping up with it?

In compositing, we see it every day; artificial intelligence has transformed processes like rotoscoping, cleanup and de-aging, allowing us to focus more on integration and creativity. At the same time, real-time rendering and virtual production have changed how we interact with elements on screen.

With these advancements, many, especially those just starting in the industry, feel uncertainty about the future. There’s a growing fear that these tools could replace artists entirely, reducing VFX to a more mechanical process or even making it obsolete. However, history has shown that technology doesn’t erase creativity; it reshapes it. The role of the artist is not disappearing; it’s evolving. The key isn’t to fear these advancements but to adapt to them.

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Learning, exploring, and experimenting with these tools let us evolve with the industry rather than fall behind. In the end, technology keeps moving forward, but it’s up to us to use it to bring every shot to life and seamlessly integrate it into the story

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For artists who want to check out your work and learn more about you, where should they go?

Of course! If you’d like to check out my work or explore my portfolio and projects, you can find me on the social media platforms I use most:

• Instagram
• Vimeo
• LinkedIn
• IMDb

Feel free to reach out if you'd like to learn more about my work or just want to chat! Don’t hesitate to contact me if you have any questions, need advice, or are looking for collaboration opportunities. I’m always happy to help and share what I can. I love working on personal projects and am always open to collaborating with new artists who are passionate and eager to create exciting things together. Let’s connect!

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What do you have for the community?

I have a long-term idea to share some of the assets from my personal projects, like 3D models and renders, with the community. It’s still in the early stages, but hopefully, we’ll make these files available in the future. For now, it’s just an idea in development.

In the meantime, I’d love to share a couple of great resources that I find really helpful, especially for those interested in compositing. One of them is Josh Parks' Compositing Newsletter, which I’m subscribed to. Each edition includes valuable tips and tricks to improve compositing, recommendations for new tools, both his own and from other artists, plus interviews, videos, and courses. It’s a great way to learn new techniques and stay updated with the industry.

Another resource I highly recommend is The Art of VFX, a blog that has been incredibly useful to me. Not only has it helped me discover new studios, but as a big fan of VFX breakdowns, I use it a lot to see how different companies bring their work to life in films and series. The site features interviews with VFX supervisors, breakdowns, making-ofs, and even company demo reels, offering an informative look into the industry. I find it both inspiring and educational, helping me explore new ideas and understand how certain scenes are created.

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As we wrap up, what final words do you have for your fellow artists?

I truly believe this industry is a beautiful one. Those of us who work in it are passionate about what we do. We love creating, and we’re fascinated by the art of making things come to life, even tricking the eye. For me, it’s always felt like magic; an art form like no other. Everyone in the world of VFX and animation is driven by something inside them, something that inspires and excites us. It’s an industry that fuels our passion.

However, like any job, there are tough moments. Sometimes, we feel stressed, overwhelmed, or even experience imposter syndrome, doubting whether we’re good enough for the work we do. But we need to remember that if we’ve made it this far, it’s because we belong here. We can’t let these doubts stop us. We have to keep moving forward, trusting in our passion, and pushing past the setbacks.

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The most important thing is to keep growing as artists and doing what we love.

Even in tough times, we have to remember that seeing our work come to life on the big screen makes it all worthwhile. Knowing that millions of people around the world will experience what we've created is a huge motivator. It’s not just about enjoying the creative process; it’s about the impact our work has on others.

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And that’s what keeps us moving forward.