Canary Islands’ VFX Talent, From Production Heads to 3D Generalists, VFX Supervisors, a 3D Artist and an Immersive Live Event Specialist 

From compositors and supervisors these creatives represent the range of talent and experience helping the Canaries expand from production service to a VFX powerhouse.

VFX is a team game often involving large numbers of generalists and specialists and some of top talent now call the islands home. The opportunities and lifestyle are attracting professionals from far afield and convincing others, who once had to leave, to stay and build long-term careers here.
More on a handful of the players at different stages of their VFX career journey:

Austėja Gaputytė

Originally from Lithuania, Austėja Gaputytė built her career from production floors upward. After running post house Madstone in Vilnius, she moved into international VFX pipelines, later joining Tenerife’s Flaming Frames as Head of Production. “When I joined Ignacio at the start of 2023, we were six people in a small office, cautious about taking on complicated shots,” she recalls “A year later, when that project [“Nine Bodies in a Mexican Morgue”] came in, we were a completely different company, with a larger team, our own office, and strong results on screen.” Gaputytė’s philosophy: “Production is generally the quiet part of VFX, and that is how it should be. When everything runs so smoothly that it seems like the production team isn’t needed, that usually means they are doing their job very well.”

Daniel Herrera

From San Cristóbal de La Laguna in Tenerife, Daniel Herrera entered VFX through his training in graphic design. He began experimenting with Cinema 4D after discovering digital artists whose work pushed the limits of visual storytelling. “I used to post videos on Instagram,” he tells Variety. “One day I commented on a company’s post, and the CEO contacted me after checking out my work. That’s how it all started.” Now a 3D Generalist at 22Dogs’ Tenerife office, Herrera worked on “Outer Banks Season 4,” contributing to a technically demanding ship sequence. “Being a generalist means dealing with constant change,” he said. “You need to adapt quickly and not let uncertainty or the fear of failure affect your creativity.” 

Leonardo Paolini

Hailing from Jesi, a small town in central Italy, Leonardo Paolini turned from computer science to VFX through self-teaching and early work at Rainbow on Winx Club, then WWFX Bulgaria, MPC and Framestore. His credits include “Doctor Strange,” “Guardians of the Galaxy Vol. 2,” “Paddington 2” and “Isle of Dogs.” Now VFX and 2D Supervisor at Flaming Frames, he oversees compositing and mentors new artists. “You have to think like a scientist and feel like an artist, often under tight deadlines,” he tells Variety. “The human side, teamwork, mentorship, empathy – VFX is not just about technology; it’s about people who share a vision and build something invisible together.”

Alessandro Salis

From Rome to London to Tenerife, Alessandro Salis’ path reflects the blend of artistry and leadership shaping Europe’s emerging VFX hubs. After studying at the European Institute of Design in Rome, he specialized in compositing at Escape Studios and began freelancing on commercials before joining Prime Focus, where he officially entered film and episodic VFX. “As an artist, definitely ‘Harry Potter,’” he said. “I grew up reading the books, so being part of the last two films and contributing to a world I had loved since childhood was truly a dream come true.” Now Head of VFX and VFX Supervisor at 22Dogs, he added: “One aspect that rarely gets mentioned is how much of my job is about people, not pixels or technology. Technology will advance, but the essence of great work will always come from human intuition, taste, and emotion.”

Pau Viladot

Barcelona-born Pau Viladot began in design before shifting to CG and compositing, cutting his teeth on music videos and advertising before supervising “12+1: A Metaphysic Comedy,” shot in Fuerteventura. After years at Weta FX contributing to “Avatar” and “Planet of the Apes,” he now heads 2D supervision at Carousel Studio. “Supervising means translating abstract artistic vision into quantifiable processes while respecting both the director’s intent and the artist’s individuality,” he said. “Having a good relationship with colleagues is the secret key to quality. It is teamwork and companionship is the strongest tool.” His wry take on reality: “I often joke that reality is a poorly made movie. We do a better job.”

Marcos Ernesto García Muñoz

A local, born in Puerto de la Cruz, Tenerife, Marcos Ernesto García Muñoz began in classical art, studying at the Fernando Estévez School of Arts and the University of La Laguna before turning to audiovisual studies at the Miguel Hernández University of Elche and earning a master’s in digital post-production in Valencia. Now a 3D artist at Volinga AI, he tests and refines the studio’s latest tools for creating hyperrealistic environments. “Once you discover a workflow that works for you, it’s a way to capture and get to know worlds, stories and characters trapped in the imagination,” he said. Passionate about adaptation and lifelong learning, García Muñoz adds: “Technology advances in a very steep upward curve… You have to be willing to accept and learn constantly. Never surrender, never give up.”

Dani Pinedo

A native of Gran Canaria, Pinedo returned home after 15 years in Madrid to find an island in creative motion. “At first, I came with a bit of fear, but it’s really been a surprise. There’s a lot happening in Gran Canaria,” he says. After contributing audiovisual content for the 2018 Las Palmas Carnival, a project that put him on the local map, he founded DerroteroVFX, which now spans film, TV, and immersive live events. “For now, there are only a few of us, and we almost all know each other,” he said. “That helps make everything flow smoothly.” With new infrastructure such as Gran Canaria’s LED stage boosting potential for virtual production, Pinedo is steering Derrotero toward technological and experiential projects. “We’re studying new tools,” he said, “and moving toward the world of technological and audiovisual experiences.”