Marcelo Encinas C.V.
Professor in the departments of Creativity, graphic and audiovisual production for 5 years in F.A.E.C.C. and another 5 years in the Professional Association of Media -A.P.M.- Taught courses on Photography and Audiovisual in various institutions.
As a freelancer was hired by Walt Disney Pictures, Buenos Aires Catering-BAC-, producers of all broadcast television and film and video advertising, Pimalú, Argentina Book Chamber, Alson, Lumicolor, Creche, Asofarma, Servial, Lef shipyards and Blog, Radio Rivadavia, Pan American Medical Publisher, Editorial Profile, Spring Editorial, Editorial Atlantida, Cosmetics St. Nazaire, ESPAMER '81, Dinacom, Yaelit, Metallurgical Dekay, Great Universal Brotherhood and other companies.
Recognized by his peers as Creative broad lateral thinking and original generating multiple alternatives accurately framed the marketing objective. Producer and Director on several Agencies and AudioVisual Production. Currently Director and General Producer of FSX Productions. Since age 13, when he started making black and white photo lab, until now, went through all the "counters". Creative, graphic and audiovisual producer, industry and advertising photographer, photojournalist, socialero. He took private lessons and co-produced over thirty photographers and filmmakers, seminars and courses in ATC, Globotec, Transvideo, ENERC, ISER, Gütenberg Foundation, Buenos Aires Photo Club, Photo Club Argentino. He received his Technician in Advertising graduate of the Foundation for Advanced Studies in Commercial Sciences. As an independent filmmaker was hired by Walt Disney Pictures, AXN a Sony Pictures Entertairment Television, Buenos Aires Catering -BAC-, Producers various television channels, film and video production companies advertising, etc.. He worked in the departments of Audiovisual and Graphic Publiart advertising agencies and Ricardo de Luca, as a laboratory in the newspaper "Tiempo Argentino", photojournalist Editorial Florida and Half Century Editions, Photography Editorial content covers in Editorial Troquel and initially in prominent social photography houses.