I am a colourist, sound designer, and post-production specialist with a background in music and audiovisual education. I combine creative sensitivity with technical rigor to shape polished commercial, documentary, and short-film projects, working across colour grading, editing, motion graphics, sound design, and professional mixing.…

Wilderson Robertiz

I am a colourist, sound designer, and post-production specialist with a background in music and audiovisual education. I combine creative sensitivity with technical rigor to shape polished commercial, documentary, and short-film projects, working across colour grading, editing, motion graphics, sound design, and professional mixing.…

Available to hire

I am a colourist, sound designer, and post-production specialist with a background in music and audiovisual education. I combine creative sensitivity with technical rigor to shape polished commercial, documentary, and short-film projects, working across colour grading, editing, motion graphics, sound design, and professional mixing.

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Work Experience

Video Editor and Post-Producer at Tiempo Creativo
January 1, 2025 - May 1, 2026
Performed audiovisual editing, motion graphics, colour grading, and sound mixing for commercial brands including Awada Market, Layla, Belotti, and Grace Life & Corp. Optimized content for retention and engagement in digital environments.
University Professor at Arturo Michelena University
May 1, 2020 - July 1, 2026
Taught audiovisual production at the School of Graphic Design and the School of Social Communication. Led the technical training of students and supported the development of emerging content creators.
Freelance Colourist and Sound Designer at Mountteal Studio
November 1, 2019 - Present
Develops standardized post-production workflows, visual look development, acoustic layouts, colour grading, sound design, and mixing for national and international short films, documentaries, and audiovisual projects. Selected work includes El Quinto Hombre, Lo Que No Se Puede Nombrar, El Señor No Espera, Al Final del Día, Idlewild, and Rosterdeck.

Education

Bachelor of Arts, Music Major at Arturo Michelena University
January 1, 2020 - January 1, 2020

Qualifications

Specialization in Color Correction
January 1, 2026 - October 6, 2026
International Color Certification
January 1, 2025 - October 6, 2026
Diploma in Music Production
January 1, 2022 - October 6, 2026

Industry Experience

Media & Entertainment, Education, Retail, Professional Services
    Color Grading for Yolfran Capote (DoP)
    I work with highly talented cinematographers and agencies to produce visually compelling images and content for their projects.…
    Colorist for Short Film "Al Final Del Día"
    This project was shot on a Blackmagic Pyxis 6K in BRAW format; the director sought an intimate cinematic atmosphere dominated by shadows, the room's darkness, and the characters' sense of solitude. To achieve this, we emulated the Kodak Ektachrome E100 film stock used in the series *Euphoria* and maintained the underexposure chosen by the cinematographer during the shoot. Rather than arbitrarily correcting the exposure, we aimed to respect the creative choices of the director and cinematographer; the atmosphere was crucial, yet we ensured that shadow detail was preserved and that the characters' skin was correctly lit—with a slight sheen—so they wouldn't be swallowed by the background but would remain the story's focal points.…
    Colorist – "Rosterdeck" Commercial
    Served as Lead Colorist for a cyberpunk-inspired commercial, transforming Sony FX30 S-Log3 footage into a stylized cinematic piece. Recreated 'The Matrix' aesthetic by developing a custom color pipeline that balances cold, digital greens with an organic Kodak Vision 500T film stock emulation, maintaining natural skin tones amidst heavy stylized environments.…
    Colorist for Short Film "El Señor No Espera"
    This was a multi-camera project involving a Canon C200 (recording in Canon Raw) and a second Canon camera (recording in Canon Log 3). We had to match the footage from the two cameras; due to the use of different lenses and sensors, the images exhibited distinct textures—particularly noticeable in the hair and skin details. To correct this, we analyzed how each sensor captured light and the dynamic range (contrast stops) each could handle. We then used waveform analysis to match these characteristics during post-production, ensuring consistency in the final output. In some shots, space constraints caused RGB lights to spill onto areas of the set that were not intended to be affected—such as the bathroom scene bathed in blue light. This light spill caused the protagonist's skin shadows to appear purple and the green bathroom walls to look blue in wide shots—issues that did not occur in the tighter shots where lighting control was greater. Consequently, we had to correct this light spill to ensure the wide shots matched the close-ups.…