Design & CRO Partner for SaaS and AI Startups
Design & CRO Partner for SaaS and AI Startups
Video Editor | Motion Design, AI Video & DTC Ads
- $1k+
- Earned
- 5x
- Hired
- 5.0
- Rating
- 73
- Followers
Video Editor | Motion Design, AI Video & DTC Ads
Creative Director | Ads Videos That Convert with 3D and AI
- $1k+
- Earned
- 2x
- Hired
- 59
- Followers
Creative Director | Ads Videos That Convert with 3D and AI
Over the past month, I had the chance to work on some really exciting projects and one of them was this visualizer for October London's new album "Love Me for Me", out now via Death Row Records.
The objective was to balance the vintage late-night soul mood of the record with a sleek, modern motion pipeline built specifically for mobile screens and digital distribution.
Huge thanks to Death Row Records, Snoop Dogg and October London for bringing us on board! Also, a big shoutout to Miguel Saporetti for collaborating on the visual delivery.
Art Direction & Motion: Ivam Marchon
Visual Assistant: Miguel Saporetti
Death Row Records
A&R: Teff Mogus, Frank Vasquez
Marketing: Fuzzy West, Tomeka Harris
Coordinator: Kaiya Lawrence
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AI Visual for artist Flavio Vieira - MIS SP Exhibition
Together with Treehouz, we collaborated with artist Flavio to bring his vision to life for an audiovisual piece presented at the Museu da Imagem do Som de São Paulo. Flavio arrived with the conceptual framework and visual references. My role was to translate and execute these ideas into high quality visuals using AI image and video production.
The piece portrays the dynamic interplay of contrasts, reflecting the psychological forces that inhabit the unconscious, as described in Jungian theory. My focus throughout the process was to transform these symbolic elements into cohesive, emotionally imagery that are aligned with the artist's vision.
It was an honor to contribute to this collaboration and have a project featured in one of the most important museums in Brazil.
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Visual Explorations // R&D
Three simple shots to capture a mood.
I wanted a clean top-down look at the plate, a raw macro close-up focused on the texture, and a shallow depth-of-field shot to ground the human element. Every angle, framing, and lens choice was completely calculated before clicking a button.
Just keeping the sequence strictly aligned with a real cinematic standard.
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The objective in this work was to create a series of premium assets for Balto, featuring five specific dog breeds (Pointer, Corgi, Poodle, Westie, Beagle) interacting with a 3D branded element. The project required a seamless blend of AI-generated characters and high-end motion design.
THE CHALLENGE: Raw AI video generations often suffer from significant technical flaws: blurred fur textures, inconsistent lighting, and "shimmering" artifacts. For a premium brand like Balto, these "AI artifacts" create a cheap, amateurish feel that dilutes brand authority. Prompt engineering alone is incapable of producing professional and stable assets.
THE STRATEGY: A Hybrid Digital Pipeline. As the Creative Lead, I developed a proprietary hybrid workflow to bridge the gap between raw AI output and cinematic quality:
- Biological Realism Pass: I executed a heavy post-production layer focused on "fur fidelity" and ocular clarity. By refining the noise-to-texture ratio, I removed the plastic "AI look," ensuring the dogs felt organic and physically present.
- Geometric Fidelity & Interaction: The interaction with the 3D coin required precise physics.
- Iterative Refinement: Every frame was audited for "shimmering" and warped geometry (common failures in AI) and corrected through a multi-pass upscaling and denoising process.
THE CONCLUSION: This project serves as a benchmark for the future of AI in high-end advertising. It proves that AI is a tool, not a replacement for Creative Direction. To achieve this level of quality, a professional eye for VFX and post-production is mandatory. Without this specialized oversight, the result is merely a "cool experiment." With it, it becomes a brand asset of elite quality.
Production Note: The coin in this video served as a spatial and temporal anchor, requiring precise synchronization to ensure realistic physics and interaction.
I was responsible for the high-fidelity AI generation, biological texturing, and character performance. The final high-resolution 3D asset rendering and compositing were managed by the client’s internal team post-delivery.
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Video Editor | Short-Form, UGC Ads & Branded Content
- $1k+
- Earned
- 5x
- Hired
- 4.8
- Rating
- 33
- Followers
Video Editor | Short-Form, UGC Ads & Branded Content
A little look at my workflow inside Magnific for AI teaser production.
I really like building my own process instead of relying on a one-click workflow.
Usually, I start with the characters first.
Then I shape a loose storyboard inspired by the book/story, selecting the scenes that would actually make sense in a teaser.
From there, I generate base images and use those as the foundation for multiple variations — mostly to explore different framings, compositions, and emotional tones.
If you look closely, you can also see a lot of wrong generations in this board — and that’s exactly why having access to tools with generous or unlimited generation options matters so much.
For this phase, tools like Nano Banana 2.0 and Kling 2.5 inside Magnific are incredibly useful, because they let me generate a large volume of images, compare, curate, discard, and refine without being overly precious too early in the process.
My workflow usually looks like this:
— build the characters
— generate base stills
— create variations for framing and continuity
— select the strongest images
— make light fixes / upscale where needed
— test prompts and reactions in motion
Once I find something that really works, I usually replicate or polish it in Kling 3.0, or sometimes re-run it in Kling 2.5 at 1080p.
I mostly save Seedance for moments where I specifically want to work with audio, but honestly… it gets expensive fast 😅
If I were using Seedance more heavily, I’d probably consider a separate Dreamina plan just for that part of the workflow.
What I like about working this way is that it feels much closer to an actual creative process:
not just generating random beautiful shots, but developing visual consistency, testing scene logic, and building a teaser with intention.
AI helps a lot — but curation, taste, and structure are still doing most of the heavy lifting.
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If you’re an author, would you want a teaser like this for your book?
I’ve been thinking a lot about how books are introduced visually before they even have a finished campaign around them.
This is a shorter, more emotional teaser for Harness, a novel I’m still developing. I wanted it to communicate the feeling of the story before explaining the story itself.
I cut it to “Where Is Gone?” by Fontaines D.C. and ROSALÍA, which I’m completely obsessed with right now, and it ended up fitting the emotional tone of the project almost too well.
There’s something interesting about giving a book a cinematic language while it’s still being written. Not a trailer that explains the plot, but something that lets you feel the world first.
As an author, would you find this kind of teaser useful for building interest around a book?
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AI Book Trailer — Original Fiction Project
A cinematic, realistic book trailer created for an original fiction project currently in development.
I developed the visual direction and built the trailer using an AI-assisted workflow across Seedance, Nano Banana and Kling, with a strong focus on realism, character consistency, atmosphere and cinematic continuity between shots.
The process involved generating and refining visual references, creating consistent environments and characters, directing motion across multiple AI video models, and shaping the final sequence through editing, pacing, sound and visual rhythm.
Rather than treating each generated shot as an isolated image, the goal was to make the piece feel like a cohesive live-action trailer with its own visual world.
The book itself is still in development, so the trailer focuses on mood, tone and cinematic identity rather than revealing the full story.
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This piece was created as a realism test using Kling 3.0, focused on a content creator filming himself inside an elevator.
The goal here was not spectacle, but naturalism — believable body language, subtle camera behavior, and the kind of small, organic movement that makes a shot feel real rather than generated.
What interests me most in this kind of work is how much the final result depends on direction. Smooth, realistic movement often comes far more from the prompt design and the clarity of the creative intention than from the tool alone. If you let the model solve everything by itself, it often tends to produce movement that feels more abrupt, artificial, or physically unconvincing.
Because of that, a large part of my process is focused on refining prompts and shaping the result with precision. I’m very demanding about realism, especially when it comes to human movement. I pay close attention to the rhythm of gestures, the relationship between body and camera, and the overall natural flow of the shot.
For me, this is where AI video becomes most interesting: not when it looks flashy, but when it feels effortless, subtle, and believable.
Tools used: Kling 3.0
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AI Creative Direction for Fashion, Beauty & Brands.
AI Beauty Campaign | Creative Direction & Visual Production
A beauty campaign with a feminine, youthful and playful visual identity, built around a light, delicate and fresh aesthetic. The art direction brings together beauty, attitude and expression, creating imagery that balances spontaneity with strong visual appeal, while maintaining a consistent visual language throughout the campaign.
The project brings together beauty portraits, product compositions, application close-ups and group imagery, exploring different visual approaches within a unified creative direction.
From concept development and art direction to AI image generation and visual composition, the project was developed to ensure aesthetic unity and consistency across all images.
Creative Direction · Art Direction · AI Image Generation · Beauty Campaigns · Product Photography
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ARGEIA
A still-life campaign for ARGEIA, an artisanal jewelry brand.
The visual direction explores the jewelry through sculptural compositions, materiality and light, creating a refined and contemporary visual language for the pieces.
The campaign focuses on the relationship between form, texture and craftsmanship, transforming the jewelry into the central element of each composition.
My role: Creative Direction, Art Direction & Visual Development.
Tools: AI image generation, Kling AI & CapCut.
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ARGEIA
A still-life campaign for ARGEA, an artisanal jewelry brand.
The visual direction explores the jewelry through sculptural compositions, materiality and light, creating a refined and contemporary visual language for the pieces.
The campaign focuses on the relationship between form, texture and craftsmanship, transforming the jewelry into the central element of each composition.
My role: Creative Direction, Art Direction & Visual Development.
Tools: AI image generation, Kling AI & CapCut.
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Designer, marketing, and video creation using AI.
INDEPENDENT CONCEPT FILM - SPORTSWEAR CAMPAIGN - FROM MIST TO FLIGHT
My interpretation of a sportswear campaign that breaks reality.
It's not about running faster. It's about having the courage to jump when the ground ends.
Forest in the mist -> Open field sprint -> Cliff jump into the clouds -> Flight on a dragon towards the sunset.
Everything produced 100% with Artificial Intelligence, from scratch. No crew, no location, no CGI studio.
This is the future of commercial filmmaking - where a fashion ad can become a fantasy epic.
Full project + behind the scenes on my Instagram: https://www.instagram.com/reel/De9zqOeRKf7/?hl=pt-br
What do you think of the concept?
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I developed a concept film to explore what a campaign for the new Roadster might look like. The core concept: BEYOND GRAVITY. The narrative is structured in three acts: Pure Design: A studio presentation to highlight the vehicle’s lines. City of the Future: A performance on a suspended thoroughfare, with other Roadsters flying in the background—normalizing the extraordinary. Destination: Arrival at a mountain home, featuring a close-up of a wheel as another Roadster takes off toward the horizon. Everything was produced 100% using Artificial Intelligence, from scratch. No film crew, no physical locations, no actual car. It serves as an exploration of the future of automotive advertising: how to create cinematic, scalable campaigns without the physical limitations of traditional production. I believe that the next major differentiator for brands won’t just be the product itself, but the ability to tell stories without boundaries. I am open to conversations with agencies and brands interested in exploring this format.
If you’d like to see more videos like this, follow me on Instagram: https://www.instagram.com/p/DesV5-TlRal/
What do you think of this approach for automotive marketing? #InteligenciaArtificial (https://www.linkedin.com/search/results/all/?keywords=%23inteligenciaartificial&origin=HASH_TAG_FROM_FEED) #AIVideo (https://www.linkedin.com/search/results/all/?keywords=%23aivideo&origin=HASH_TAG_FROM_FEED) #Publicidade (https://www.linkedin.com/search/results/all/?keywords=%23publicidade&origin=HASH_TAG_FROM_FEED) #MarketingAutomotivo (https://www.linkedin.com/search/results/all/?keywords=%23marketingautomotivo&origin=HASH_TAG_FROM_FEED) #Tesla (https://www.linkedin.com/search/results/all/?keywords=%23tesla&origin=HASH_TAG_FROM_FEED) #ProducaoAudiovisual (https://www.linkedin.com/search/results/all/?keywords=%23producaoaudiovisual&origin=HASH_TAG_FROM_FEED) #Inovacao (https://www.linkedin.com/search/results/all/?keywords=%23inovacao&origin=HASH_TAG_FROM_FEED)
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This case study explores the creation of a 15-second cinematic short-film trailer titled “The Last Contract”, a fictional action-thriller concept with a dark, elegant, and suspense-driven atmosphere.
The project focuses on building tension through premium cinematic visuals, high-contrast lighting, moody neon environments, sharp cuts, controlled pacing, and a refined trailer-style structure. Each scene was designed to gradually reveal the story: a contract file, a silent preparation sequence, a neon-lit corridor, and a fast action montage leading to the final title reveal.
The goal was to practice creating a short cinematic narrative using AI video tools, combining visual storytelling, dramatic atmosphere, suspense, character presence, and movie-trailer pacing in a polished format.
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This case study presents a social media design concept focused on Sports Physiotherapy. The project explores a clean and professional visual direction created for clinics, physiotherapists, and health professionals who want to communicate recovery, injury prevention, mobility, stability, and safe return to training.
The designs were developed with a modern blue color palette, soft organic shapes, structured layouts, clear typography hierarchy, informative content blocks, and strong call-to-action sections. Each post was created to feel trustworthy, approachable, and visually polished while maintaining a strong connection with sports performance and rehabilitation.
The goal was to practice creating strategic static posts for Instagram and digital campaigns, helping position sports physiotherapy as an essential part of performance, prevention, and long-term athlete care.
This study focuses on visual consistency, message clarity, professional branding, and high-impact social media communication for the sports health and rehabilitation market.
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⚡ I help founders turn working products into trusted ones.
- $10k+
- Earned
- 1x
- Hired
- 5.0
- Rating
- 7
- Followers
⚡ I help founders turn working products into trusted ones.
Connecting strategy and aesthetic for unique brands
RETURN TO WHAT WORKS.
The concept: TALLO is a premium ritual skincare brand inspired by the ancestral use of beef tallow. My goal was to give this timeless ingredient a fresh, modern identity by pairing premium Wagyu tallow with botanicals like honey, lavender, and vanilla, while reimagining the products through a refined chrome packaging system.
Rather than designing just a website, I wanted to create a complete brand experience that felt authentic and launch-ready. From the visual identity and packaging to the ecommerce experience and storytelling, every detail was designed to position TALLO as a modern take on traditional skincare.
Built with Squarespace + Finish Layer: I used Block Transforms, Loop on Scroll, Float, Stacks, Font Uploads, and Block Animations to create dynamic layouts, subtle motion, and an editorial shopping experience that brings the brand to life.
Squarespace link (https://dolphin-bumblebee-yabl.squarespace.com/)
Password: 4321
Tools: Squarespace · Finish Layer · Figma · loveart
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For some patients, the hardest part of a dental visit isn't the appointment. It's getting there.
The problem: booking care for them used to mean hours of WhatsApp back-and-forth for a solo, on-the-road dentist. Explaining accessibility needs, quoting prices, and chasing reminders, one message at a time, time that came straight out of the day with patients.
So I replaced all o with a booking system built for a home-care dentist's real day: Sorriso Sem Barreiras, in Rio de Janeiro. The patients are elderly, bedridden, or living with special needs. Depending on the case, the patient books it themselves, or a caregiver does it on their behalf.
Cleaning, cavity treatment, gum care, or a full evaluation: all in plain language, with upfront prices and no medical terms to figure out. A routine visit books in about two minutes. Urgent cases get their own same-day flow, with a fixed price and the earliest slot available.
Now, confirmations, reminders, and 6-month recalls go out on their own. The dentist's day starts with one screen showing only what actually needs attention- nothing more to chase, more time for patients instead of messages. The booking works in English and Portuguese.
The name means "smile without barriers." That's the goal: making sure a real barrier, like mobility or distance, doesn't stand between someone and the care they need.
This was my first time using Lovable. I wrote and refined the full brief with Claude, then built it in Lovable: testing the flow myself, catching what didn't work, and rebuilding piece by piece until it worked end to end.
@Lovable
Project Link (https://sorrisocare.lovable.app)
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2,600 years ago, this small terracotta vessel held perfumed oil — carried on
three legs, ringed with a frieze of a siren, a sphinx, a lion, and Aristaios,
the mythical figure who gave humans agriculture.
I scaled it up. What if it wasn't oil it was holding — what if it was grain?
Turns out that's not even a stretch: farmers really did build silos out of
fired clay tile in the early 1900s, before concrete and steel took over.
So I rebuilt this piece as one — same tripod form, same painted frieze, wrapped around a real working structure: ladders, catwalks, conveyors, floodlights.
Then I followed one worker through an ordinary day on it, dawn to night.
The myth of the harvest, still holding up the harvest, 2,600 years later.
Built entirely on floraai
Original piece: Terracotta tripod kothon, The Met LINK
(https://www.metmuseum.org/art/collection/search/255067)Instagram post (https://www.instagram.com/p/DdAZxCyGjHe/?img_index=1)
Flora link
(https://app.flora.ai/join-project/afb70048-3223-4bbf-bfd0-58666a5f7c22)Process, start to finish:
1-Sourced the original piece — Terracotta tripod kothon, The Met's open access archive
2-Researched the real history of terracotta silo construction (early 1900s hollow clay tile silos, and grain storage in fired clay going back millennia) to ground the concept in real material history, not just visual similarity
3-Designed the silo concept, merging the kothon's tripod form and painted frieze with a modern industrial grain silo structure
4-Iterated the silo image on FLORA until the frieze accurately matched the siren, sphinx, lion, dancers, spearmen, and Aristaios from the original
5-Built an 8-shot storyboard following one worker through a full day at the silo, from dawn to night
6-Generated and refined each storyboard frame, staying loyal to the locked silo design
7-Animated the storyboard into a continuous video on FLORA — motion, transitions, environmental sound, sparse dialogue, and a soft ambient score
8-Final cut and review. The walkthrough video is on the comments,i also did a second version.
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