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I’m Sebastián Orueta Murillo, a Sound Designer specializing in sound design, mixing, and postproduction for narrative film, documentary, and video art — currently completing a Master’s in Sound for Film at ESCAC (Barcelona). My sound design on “The Dragon Letter” (dir. Stanzin Jigmet) won the 53rd Student Academy Award in the Narrative category, and my work has premiered at Cinequest, the Málaga Film Festival, SANFIC, and CurtasVila do Conde, plus a video installation at the Museum of Contemporary Art of Santiago. I’ve built soundscapes to picture across shorts, features, TV series (Movistar’s “Los Prisioneros”), video art, and music production — handling everything from Foley and ambience to final mix. A background in Visual Arts (BA, Pontificia Universidad Católica de Chile) shapes how I work: sound as a precise storytelling tool, matched tightly to on-screen action, with consistent quality even across high volumes of material. Alongside my film sound work, I compose, produce, and mix music for releases with Poxi Records and other artists, and I’ve served as a live sound engineer for their concerts. I enjoy bridging technical precision with creative experimentation—whether working in post-production for narrative projects, supporting production with field audio, or collaborating across audiovisual and art-focused environments. Proficient in Pro Tools, Ableton Live, iZotope, Dolby Atmos, and Wwise, with access to professional sound libraries and my own field recordings. Portfolio: _Website not available. Sign in: https://www.twine.net/signup_…I’m Sebastián Orueta Murillo, a Sound Designer specializing in sound design, mixing, and postproduction for narrative film, documentary, and video art — currently completing a Master’s in Sound for Film at ESCAC (Barcelona). My sound design on “The Dragon Letter” (dir. Stanzin Jigmet) won the 53rd Student Academy Award in the Narrative category, and my work has premiered at Cinequest, the Málaga Film Festival, SANFIC, and CurtasVila do Conde, plus a video installation at the Museum of Contemporary Art of Santiago. I’ve built soundscapes to picture across shorts, features, TV series (Movistar’s “Los Prisioneros”), video art, and music production — handling everything from Foley and ambience to final mix. A background in Visual Arts (BA, Pontificia Universidad Católica de Chile) shapes how I work: sound as a precise storytelling tool, matched tightly to on-screen action, with consistent quality even across high volumes of material. Alongside my film sound work, I compose, produce, and mix music for releases with Poxi Records and other artists, and I’ve served as a live sound engineer for their concerts. I enjoy bridging technical precision with creative experimentation—whether working in post-production for narrative projects, supporting production with field audio, or collaborating across audiovisual and art-focused environments. Proficient in Pro Tools, Ableton Live, iZotope, Dolby Atmos, and Wwise, with access to professional sound libraries and my own field recordings. Portfolio: _Website not available. Sign in: https://www.twine.net/signup_

SEBASTIÁN ORUETA MURILLO

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I’m Sebastián Orueta Murillo, a Sound Designer specializing in sound design, mixing, and postproduction for narrative film, documentary, and video art — currently completing a Master’s in Sound for Film at ESCAC (Barcelona). My sound design on “The Dragon Letter” (dir. Stanzin Jigmet) won the 53rd Student Academy Award in the Narrative category, and my work has premiered at Cinequest, the Málaga Film Festival, SANFIC, and CurtasVila do Conde, plus a video installation at the Museum of Contemporary Art of Santiago. I’ve built soundscapes to picture across shorts, features, TV series (Movistar’s “Los Prisioneros”), video art, and music production — handling everything from Foley and ambience to final mix. A background in Visual Arts (BA, Pontificia Universidad Católica de Chile) shapes how I work: sound as a precise storytelling tool, matched tightly to on-screen action, with consistent quality even across high volumes of material. Alongside my film sound work, I compose, produce, and mix music for releases with Poxi Records and other artists, and I’ve served as a live sound engineer for their concerts. I enjoy bridging technical precision with creative experimentation—whether working in post-production for narrative projects, supporting production with field audio, or collaborating across audiovisual and art-focused environments. Proficient in Pro Tools, Ableton Live, iZotope, Dolby Atmos, and Wwise, with access to professional sound libraries and my own field recordings. Portfolio: _Website not available. Sign in: https://www.twine.net/signup_…I’m Sebastián Orueta Murillo, a Sound Designer specializing in sound design, mixing, and postproduction for narrative film, documentary, and video art — currently completing a Master’s in Sound for Film at ESCAC (Barcelona). My sound design on “The Dragon Letter” (dir. Stanzin Jigmet) won the 53rd Student Academy Award in the Narrative category, and my work has premiered at Cinequest, the Málaga Film Festival, SANFIC, and CurtasVila do Conde, plus a video installation at the Museum of Contemporary Art of Santiago. I’ve built soundscapes to picture across shorts, features, TV series (Movistar’s “Los Prisioneros”), video art, and music production — handling everything from Foley and ambience to final mix. A background in Visual Arts (BA, Pontificia Universidad Católica de Chile) shapes how I work: sound as a precise storytelling tool, matched tightly to on-screen action, with consistent quality even across high volumes of material. Alongside my film sound work, I compose, produce, and mix music for releases with Poxi Records and other artists, and I’ve served as a live sound engineer for their concerts. I enjoy bridging technical precision with creative experimentation—whether working in post-production for narrative projects, supporting production with field audio, or collaborating across audiovisual and art-focused environments. Proficient in Pro Tools, Ableton Live, iZotope, Dolby Atmos, and Wwise, with access to professional sound libraries and my own field recordings. Portfolio: _Website not available. Sign in: https://www.twine.net/signup_

Available to hire

I’m Sebastián Orueta Murillo, a Sound Designer specializing in sound design, mixing, and postproduction for narrative film, documentary, and video art — currently completing a Master’s in Sound for Film at ESCAC (Barcelona). My sound design on “The Dragon Letter” (dir. Stanzin Jigmet) won the 53rd Student Academy Award in the Narrative category, and my work has premiered at Cinequest, the Málaga Film Festival, SANFIC, and CurtasVila do Conde, plus a video installation at the Museum of Contemporary Art of Santiago.

I’ve built soundscapes to picture across shorts, features, TV series (Movistar’s “Los Prisioneros”), video art, and music production — handling everything from Foley and ambience to final mix. A background in Visual Arts (BA, Pontificia Universidad Católica de Chile) shapes how I work: sound as a precise storytelling tool, matched tightly to on-screen action, with consistent quality even across high volumes of material.

Alongside my film sound work, I compose, produce, and mix music for releases with Poxi Records and other artists, and I’ve served as a live sound engineer for their concerts. I enjoy bridging technical precision with creative experimentation—whether working in post-production for narrative projects, supporting production with field audio, or collaborating across audiovisual and art-focused environments.

Proficient in Pro Tools, Ableton Live, iZotope, Dolby Atmos, and Wwise, with access to professional sound libraries and my own field recordings.

Portfolio: Website not available. Sign in: https://www.twine.net/signup

Skills

Experience Level

Expert

Expert

Expert

Expert

Expert

Expert

Expert

Expert

Expert

Expert

Expert

Expert

Intermediate

Intermediate

Intermediate

Language

Spanish; Castilian

Fluent

English

Advanced

Catalan; Valencian

Intermediate

Work Experience

Sound Postproduction – Freelance

January 1, 2021 - Present

Sound design, foley editing, dialogue editing, and mixing for short films and video art. Credits include sound design for “The Dragon Letter” (Stanzin Jigmet) with a 53rd Student Academy Award (Narrative) win in 2026; foley recording and editing for “Cinemania” (Marc Ferrer); sound design and mixing for “Massa Mae” (premiere at CurtasVila do Conde 2026), “Bunyols de vent” (Cinequest Film Festival 2026), and several additional narrative and art projects with festival premieres (e.g., Museum of Contemporary Art of Santiago, SANFIC, Málaga Film Festival). Also supported production sound on “Ustedes Los Artistas” and handled dialogue editing for “Romance de la Luna, Luna.”

Sound Postproduction (Freelance)

January 1, 2021 - Present

Freelance sound designer and mix engineer for short films, feature films, and video art. Responsibilities include sound design, Foley recording and editing, dialogue/sound editorial work, and final mixing. Selected credits include sound design and mixing for festival-premiered shorts (including “Massa Mae”, “Bunyols de vent”, “Éxtasis”, and “La Gran Aventura”), Foley recording and editing for the feature “Cinemania”, and production sound and dialogue editing support on additional productions.

Sound Postproduction Assistant at Kinshasa Estudio

January 1, 2021 - December 31, 2022

Editing and premixes for TV series and films; dialogue editing for the series Los Prisioneros (Movistar TV).

Sound Postproduction – Freelance at Self-employed / Various clients

January 1, 2021 - Present

Sound design and mixing for short films and video art; collaborated with Claudia Mateu, José de la Maza Guzmán, Ariana Doric, and Ingrid Wildi Merino; production sound and dialogue editing for features; festival premieres (Cinequest 2026, SANFIC).

Co-founder & Director – Panorama Estudio at Panorama Estudio

January 1, 2020 - January 1, 2023

Managed audiovisual projects and communications campaigns, coordinating teams and delivering audiovisual production and post-production. Also involved photography and content execution alongside project leadership and planning.

Co-founder & Director at Panorama Estudio

January 1, 2020 - December 31, 2023

Project and campaign management; team coordination; audiovisual production and postproduction, photography.

Production Assistant at Productora DAZE

January 1, 2019 - December 31, 2022

Logistics and production for events and festivals; budget reporting; team coordination.

Communications Director at Casa-museo Alberto Baeriswyl

January 1, 2019 - December 31, 2023

Development of communication strategy; digital content design; on-location audiovisual production; on-location photography.

Art Director – Visual Food at ABA Studio Visual Food

January 1, 2018 - January 1, 2019

Provided lighting and set operation and handled art direction for food photography, supporting visual production needs within studio environments.

Art Director at ABA Studio Visual Food

January 1, 2018 - December 31, 2019

Lighting and set operation; art direction for food photography.

Assistant Professor; Sound Art Workshop (Academic Assistant) at Universidad UNIACC

January 1, 2017 - January 1, 2022

Assistant professor and workshop support for sound art learning activities and studio-based instruction.

Music – Freelance

January 1, 2017 - Present

Composition, production, and mixing for recorded releases, plus live and recording engineering. Worked on album “Campos de Sentido” (Poxi Records) and co-production/composition for “El Peor de los Días” (Cazeria Cazador). Provided live sound engineering for Poxi Records concerts and recording engineering support for Poxi Records’ sound.

Sound Art Workshop / Studio Assistant at Universidad UNIACC / Pontificia Universidad Católica de Chile

January 1, 2017 - January 1, 2022

Contributed to sound art teaching and studio support responsibilities within university settings.

Music (Freelance) — Composition/Production/Mixing & Live Sound at Various (Poxi Records; album artists)

January 1, 2017 - Present

Freelance music production covering composition, production, mixing, and recording engineering. Includes work on album production and co-production, plus live sound engineering for concerts associated with Poxi Records, supporting releases and performance audio workflows.

Studio Assistant at Pontificia Universidad Católica de Chile

January 1, 2017 - December 31, 2022

Studio assistance in sound and visual arts contexts.

Assistant Professor at Universidad UNIACC

January 1, 2017 - December 31, 2022

Sound Art teaching, workshop facilitation, and studio assistance.

Musician / Composer – Freelance at Poxi Records & Independent Projects

January 1, 2017 - Present

Composition, production, and mixing for the album Campos de Sentido; composition and co-production for El Peor de los Días; live sound engineering for Poxi Records concerts; recording engineer for Poxi Records.