Generating is the easy part. Directing is the job.
I make spots, social ads, music videos and short films, from the first line of the script to the final cut. I have a soft spot for animation but every story gets to choose how it's told.
The tools change. The taste doesn't. Years of drawing and animating taught me one rule: every frame is a decision. AI helps me explore further and faster.
I'm a storyteller first. I chase the extraordinary wherever it hides: a strange true story, an image that stops the scroll, a body moving to the beat, a new way to tell an old tale.
Now showing.
07 films · 2026
Hot Zone
A nuclear-plant containment team, a robot and an unexpected item. Handle with core.
Roll it
Working Late
Working late? You're not alone. Caffeine-fuelled office horror.
Roll it
MK Ultra
The CIA, LSD and unwitting citizens. Research, they called it.
Roll it
Five Missiles
A Soviet alarm reports a nuclear attack. One officer decides it's wrong. He was right.
Roll it
Long. Strange. Detour.
A chemist. A bicycle. The world's first bad trip.
Roll it
H o l d i t . . .
Sweat, steel and the last train home.
Roll it
Von Neumann
He gave us the computer you're scrolling on right now. And also, you know... the bomb.
Roll itOne vision. Script to final cut. Every step, directed.
Spots and social ads · Music visuals · Short films
Script. Story first. Always.
Story is the engine, emotion the hook. If it doesn't work on paper, no model will save it.
Look. Characters on paper.
Every face, room and prop designed before a single frame is generated. The same character survives fifty shots, not five.
Boards. No surprises.
Every shot planned and approved before it moves. Good direction starts long before the first frame.
Motion. Shot by shot.
Generated, judged, improved, until it plays. Every shot earns its place, or it's cut.
Finish. Sound, edit, delivery.
Music, sound design and the final cut. Delivered ready for wherever it runs.
The rider comes first.
One of my first memories: trying to draw a rider on a horse. I could see him clearly in my head. On paper, he came out wrong. I was sure the problem was me. So I drew. Every day. To close the gap.
I've been closing it ever since. Art school, then straight into freelance work for publishers. Comics. Magazine commissions on tight deadlines, where I learned that one strong visual metaphor beats two fighting each other. Then animation and post-production.
AI closes the gap faster than any pencil ever did. But it can't give you the rider. He has to be in your head first.
Born in Madrid. A third of my life in London. Now I ride between the two.
I'm Eduardo Fuentes. On screen, SOR3N.
20+ years. Five lives.
- 2026 – Present
SOR3N
SOR3N is born. Two decades of craft meet a new kind of camera.
- 2017 – 2026
The third dimension
Signed by Début Art. Taught myself Blender and built a 3D style of my own. Clients included Costa Coffee, Intel and a long run of commissions for British Airways.
- 2012 – 2017
Things start moving
The drawings learn to move. 2D animation and motion design in After Effects for VCCP UK, Uber Digital and Google Digital Garage, among others.
- 2008 – 2012
Deadline days
One idea, one image, by Friday. Vector illustration for Wired UK, Monocle, Radio Times and many more.
- 2004 – 2008
Ink and science
Science and textbooks for Oxford University Press, Cambridge University Press, Pearson and others. Watercolour first, then digital, then comics.
Have a brief?
Tell me what it needs to do. I'll take it from there.