Academy award winer for best sound in “the sound of metal” (darius marder, 2020). His work in this movie also aknowledge him a bafta and a cas for the same category.

He began working on sound design for theater plays such as “savia” and “yogamoi”, which have been performed at different festivals around the world including the festival de l’imaginaire in paris, france.

Since then he has been dedicated to all kinds of musical and audio-visual projects.

He currently works in the film industry performing different tasks from sound editing to the final mixing of different feature films such as “tempestad” by tatiana huezo, “our time” by carlos reygadas, “robe of gems” by natalia lópez gallardo.

Sound designer and re-recording mixer with more than 15 years of experience in sound design and mixing for film, music supervision and production, field recording and sound installations. He is a member of the cinema audio society.

In 2017 he founded the walla collective studio after his stay in london, where he was collaborating with various directors and artists.

He currently has over 80 film credits shown at various film festivals and museums around the world, including cannes, berlin, toronto, locarno, san sebastian, moma and tate modern museum.

In recent years he has excelled as a mixer and sound designer for film, as well as sound and music supervisor for several netflix and hbo series.

He has collaborated with various authors and directors such as tiago guedes, alain raoust, rita azevedo gomes, gabriel abrantes, francis lee, salomé lamas, jorge jácome, gabriel mascaro. As well as composers such as lichens, dead combo, manel cruz and justin melland, mixing soundtracks for film and television.

Guitarrista y compositor nacido en la Ciudad de México. Desde temprana edad mostró interés por la música y a los 8 años comenzó a estudiar guitarra clásica, práctica que continuaría hasta los 20 para seguir su formación en el Centro de Investigación y Estudios Musicales y posteriormente en “The London Music School”.

A partir del año 2004 comenzó a musicalizar proyectos “mutlimedia” y del 2008 a la fecha, se ha dedicado a componer música de manera independiente para la industria publicitaria (Grupo Modelo, General Motors, Honda, P&G, Unilever, Cuauhtémoc Moctezuma, The Coca Cola Company, entre otros), algunos cortometrajes y recientemente para proyectos de video mapping, colaborando con DUX Animation, que se han presentado en varios estados del país y el extranjero.

Durante los últimos años ha incursionado en la industria cinematográfica como diseñador de audio y principalmente como “mixer” para corto y largometrajes en Splendoromnia. También ha colaborado como guitarrista en diversos proyectos musicales y como compositor/productor en las bandas Dirty Boodaz e Illuminari.

Actualmente está desarrollando proyectos de audio en el colectivo Phonolab (www.phonolab.mx), colaborando con Carlos Cortés, ganador del premio Oscar con el largometraje Sound of Metal.

Lena Esquenanzi, sound engineer graduated from the Film Engineers Institute in Saint Petersburg, Russia, has made a significant impact on the Mexicanfilm scene over the years.
Her distinguished career has been honored with six Ariel Awards for Best Sound. Among her recent achievements is her involvement in the film “Noche de Fuego” (2022), directed by
Tatiana Huezo, where her work was not only recognized with the Ariel Award for Best Sound but also earned her the Award for Best Sound Creation at the Cannes Film Festival.

Over decades, Lena has left her mark on the industry, receiving accolades for her work in films such as “Bardo” (2022) (additional sound designer), “Tempestad” (2017), “Temporada de
Patos” (2005), “Nicotina” (2004), “Del Olvido al No Me Acuerdo” (2000), and “Cilantro y Perejil” (1997).

Maluz Orozco nació en CDMX en 1984 y es Licenciada en Comunicación por la Universidad Iberoamericana (2008), más tarde se especializó en Sound design for Visual Media en Vancouver Film School ( 2010). Ha colaborado en Splendoromnia como Supervisora y Diseñadora en la serie de HBO “Sierra Madre” de Gabriel Nuncio. También en el largometraje para Netflix “ Que culpa tiene el Karma” dirigida por Elisa Miller; en los cortometrajes de Léa Soler: “ Corpúsculo” y “ Casi el polvo”; así como con Lotte Van Raalte y su corto “Guerreras”. Su primer encuentro con Splendor fue como editora de diálogo en la película “Madeline’s Madeline” bajo la supervisión de Martín Hernández. Desde 2017 reside en Tepoztlán con sus dos hijxs.

Thomas Becka was born in Paris, 1991. His early interest in music and sound drove him to attend a technical school focused in the audiovisual medium. Afterwards he studied in an art school specializing in the sound design area. He is also a musician, who in 2019 created a music and sound art label named Alcôve.

Sound designer and Re-recording engineer with 10 years of experience in the film industry.
Graduated in Communication from the Iberoamerica University and from Sound Design for Visual Media program at Vancouver Film School. Curious about music and audio, he began his musical training from childhood, leading to a youth full of garage bands and noise as an escape valve. In 2009, he began his collaboration at Ibero 90.9, a recognized radio station in Mexico City, where he served as a radio producer, music programmer, and radio host for 11 years. In 2014, he began working in film, collaborating with directors such as Paula Hopf, Isaac Ezban, and Carlos Armella. Since then, his professional practice has been focusing on sound design and mixing. Outstanding works: “Sísifos” by Nicolás Gutierrez and Santiago Mohar, “Observar las Aves” by Andrea Martínez Crowther, “Buen Salvaje” by Santiago Mohar, “Pedro” by Liora Spilk, “The Tuba Thieves” by Alison O’Daniel.

Graduated in Film and Television from the Jorge Tadeo Lozano University of Bogotá and later from the sound specialty of the EICTV of Cuba, she is a Colombian sound engineer and sound designer who stood out in events such as Guadalajara Talents and Berlinale Talents. With experience in series, short films, and feature films, she participated in projects like “The Tuba Thieves”, winning awards and nominations for best sound design. Her work includes films like “Frida”, “The Other Tom”, and “Rotting in the Sun”. She contributed as an editor and 5.1 mixer in Netflix and Amazon Prime series, such as “Everything Will Be Fine” and “Daughter From Another Mother”. She is currently based in Mexico City where she works as a sound designer, sound supervisor, and sound engineer.

He is an image post-producer and colorist.

He also works as a director and photographer. He has received various awards and nominations at important world film festivals for his work as author.

He has wide experience in working with image. He has made the color correction and image post-production of different films, including:
The 4k restoration of “battle in heaven” by carlos reygadas for the criterion collection, “fifaliana” by lorenzo hagerman, “al son de beno” by ilán lieberman, “dante y soledad” by alex de la mora,“biopsy” by adriana garibay, “sermon to the birds” by hilal baydarov, ”the tuba thieves” by alison 0’daniel (sundance 2023).

Rocio Ortíz Aguilar nació en Morelia, reside en la Ciudad de México.

Estudió la Licenciatura en Estudios Cinematográficos, en el Instituto Mexicano de Investigaciones Cinematográficas y Humanísticas.

Editó los largometrajes “Almas rotas” y “Día 6” del director Juan Pablo Arroyo, estrenados en el Festival Internacional de Cine de Morelia. Editó y produjo el documental “Aurora” de Laura García, nominado al Ariel a mejor cortometraje documental. Ha trabajado en el set como DIT, data manager y asistente de edición de proyectos cinematográficos de ficción y documental, además ha corregido más de 20 películas y cortometrajes. Actualmente se encuentra realizando la edición del documental “Matryoshka” de Maricarmen Merino.