I direct, edit, and write. And I believe the budget is the least interesting part of any project.
My cinematic education didn't start on a set; it started at twelve years old, studying actual cinema while everyone else my age was strictly watching Disney. By high school, I was deep into the mechanics of film photography. I didn't just want to take pictures; I needed to understand the raw, physical science of how a camera captures light. That tactile, hands-on foundation is exactly why I still love the feeling of mounting vintage Nikkor glass on my Lumix today—it keeps my process incredibly intentional and grounded in the fundamentals of the craft.
I dove straight into the industry right out of college. I cut my teeth and sharpened my directing instincts during an intensive, month-long workshop with Direk Erik Matti, an experience that permanently set the bar for the kind of grit and vision required on set. Since then, I’ve built my career here in the Philippines by directing, editing, and writing for projects that demand rapid adaptation and creative problem-solving.
Here is what I stand for today: the budget does not matter. Whether a project is entirely self-funded or backed by millions, my objective as a director remains exactly the same. The goal is to make every single frame look exponentially more valuable than what it cost, and to communicate the core message in the most visually striking, efficient way possible. Good gear is great, but a great idea—executed with absolute precision—is undeniable.