GLOBAL, DATA-DRIVEN ENTERTAINMENT ECOSYSTEM
THE CHALLENGE
A person scrolling through Netflix decides whether to watch something in under a second, based on one image. Every title arrives with its own fixed system already in place — a logo, a rigid technical grid built for pixel-perfect delivery across every screen. My job was choosing, then building, the one image that had to work inside all of it: compressing an entire season into a single frame that sold the show instantly, survived that grid untouched, and still looked native to a platform used by hundreds of millions of people worldwide.
THE READ
Before launch, I watched the unfinished season — hundreds, sometimes over a thousand, raw set photos and high-resolution captures, alongside a detailed brief covering story, audience, and the moments the team believed mattered most. There was no shot list handed to me. The job was finding the single moment inside all of it that told a stranger everything they needed to know in one glance — genre, tone, who to root for, why to click. A different kind of thinking than building a brand from nothing: it's reading a story someone else already told, and finding its best sentence.
MACHOS SET 01
THE CRAFT
Most of these images don't exist. I built them — combining multiple separate photographs into one frame, refining until it reads as a single, real moment instead of a composite. What most people never notice is the point: if it works, nobody sees the seams.
THE RULES
The guideline isn't a final checklist — it has to live in the design from the very first choice. But the real test comes after the image exists: does the story survive Netflix's exact technical grid? Every title comes with pixel-perfect focal guidance built to lead a viewer's eye. That focal point has to live inside a small, exact rectangle, survive every ratio adaptation — TV, mobile, tablet, web — untouched by any logo, badge, or text, and still read clearly even when a third of the image is cropped away on both sides for portrait format. Design at this level takes more than Photoshop mastery. It takes designing for a rule you don't control, and never letting the story break under it.
THE RANGE
Netflix doesn't make one design per title — it builds multiple distinct sets for the same show, matched to different viewer taste profiles. Machos Alfa is where I did this most extensively: multiple tailored routes for the same season, each one built to catch a different kind of viewer. That first season went on to spend 13 weeks in Netflix Spain's Top 10. The show's now been renewed through a sixth and final season, with adaptations produced in Germany, France, the Netherlands, and Italy — proud to have been part of getting it there.
MACHOS SET 02
MORE TITLES
SEASON II.
AIB 01
AIB 02
GWS 01
GWS 02
TWT 01
TWT 02
