Matías Bossié

My Story — Bridging Creativity Since Day One

Offderecord, or How I Started…

In my early twenties, while still a student, I witnessed Argentina’s independent music scene rise in the early 2000s — and I felt compelled to help it grow.

I began connecting web developers with graphic designers to build a platform that could serve as a living archive for emerging bands in Buenos Aires. With the help of a film director, I co-created a kind of visual manifesto: we would film one-take, unedited live performances of local bands in unexpected locations, using ambient sound and natural lighting to preserve the raw energy of each song. To do it right, I even convinced professional sound engineers to join an unpaid passion project because they believed in the bigger picture.

That’s how Offderecord was born — a digital logbook and creative time capsule that, today, holds cult status in Argentina’s music history. More importantly, it was my first real lesson in creative partnerships: aligning different talents around a common vision, building something from nothing, and giving voice to stories that deserve to be seen.

VFX, YES!

My first passion behind the camera was visual effects. That fascination led me to become the face of Nomad VFX for clients across Latin America — acting as the connector between ambitious directors, production companies, and highly specialized post-production teams.

At Nomad, I helped bring to life a variety of projects that blended technical complexity with storytelling ambition — including an apocryphal documentary on the cult Argentine graphic novel El Eternauta, and the post-production of the feature film Corazón de León, along with dozens of advertising campaigns.

It was here I began to fine-tune one of the core skills that has defined my path: acting as a creative translator between the visionary and the viable. Understanding what each side needs — from filmmakers to VFX artists, from agencies to brands — and helping shape partnerships where everyone feels seen, trusted, and empowered to do their best work.

Crossing Borders — Learning the Language of Global Production

Craving greater challenges and international exposure, I moved on to Tronco, a production house based in Buenos Aires that partnered with New York-based 1stAveMachine. Together, we produced commercials in every imaginable style and technique — from handcrafted stop motion to high-end CGI.

This chapter became a masterclass in North American production workflows and expectations. I immersed myself in the methods, the pace, and the discipline — while remaining rooted in creative storytelling.

Over those years, I produced 2D and 3D animation, motion graphics, stop motion, live-action shoots, and mixed media projects. I wore many hats: head of production, line producer, on-set lead, and executive producer — always acting as the translator between technical execution and creative ambition.

It was here that I fully stepped into my identity as a creative operations bridge — someone who could understand both the artistry and the mechanics and who could lead diverse teams toward one shared vision, across continents and craft disciplines.

From Crisis to Scale — Creative Diplomacy & Global Vision at 3DAR

When I joined 3DAR, my first assignment was producing VFX for a CGI-heavy series for FOX. The project was in trouble — months behind schedule, with barely any client approvals. After observing the dynamics in just a couple of meetings, I identified a core issue no one wanted to name: the lack of chemistry between the director and the client.

With diplomacy and clarity, I proposed a shift. We transitioned the director out and brought in a seasoned VFX supervisor as the new client-facing lead. Approvals started flowing. Deadlines were saved. And what could have turned into a legal mess became a win for everyone.

From that turning point, I took on New Business development, representing 3DAR in Los Angeles and producing VFX for a feature film shot over seven weeks across the city. I led the production of branded VR experiences and served as producer and consultant on Gloomy Eyes, the award-winning VR piece narrated by Colin Farrell.

I also developed a bespoke VR installation for Nespresso NY, which involved building a physical miniature model, transporting it to Dallas, and then traveling to Chicago to supervise final setup and ensure flawless headset performance during launch. It was a meticulous fusion of physical design, immersive tech, and client experience — and a perfect example of turning a creative idea into a fully integrated brand moment.

One of the highlights of my career came here: producing the animated music video EARTH for Lil Dicky and the Leonardo DiCaprio Foundation — a massive collaboration with the Hollywood music industry that surpassed 450 million views on YouTube.

On the business front, I closed a strategic partnership with Facebook (now Meta), making 3DAR one of only four official Spark AR studios in the Americas. This milestone cemented the studio’s presence in the immersive tech space and opened a new chapter in cross-industry creative partnerships.

Building Bridges Across Continents — Le Cube & Final Frontier

My next chapter began with Le Cube and Final Frontier — two sister companies with roots in Latin America and Asia. Together with the founders, I opened Le Cube’s Madrid office, leading our entry into the European market as Executive Producer. I introduced the studio to a new creative ecosystem, building partnerships with agencies and brands across the EU.

After a year of growing Le Cube’s presence, I also began representing Final Frontier, originally founded in Shanghai, where the majority of our advertising clients were based. I served as the link between Western clients and an Asia-based production powerhouse — refining workflows, translating expectations, and building trust across cultures and time zones.

One business trip to Los Angeles changed everything. While reconnecting with my network, I was invited to pitch a long-form animated special for Disney. At that very moment, I was also waiting for the birth of my daughter, Margarita.

During the height of the pandemic — managing over 200 artists remotely — I produced Descendants: The Royal Wedding, an animated princess special that aired on Disney Channel. It was an ambitious, fast-paced production that blended creative complexity with emotional stakes. Today, both my name and my daughter’s are part of the Disney heritage, and that project remains one of the most meaningful of my career.

From there, I founded and led Final Frontier’s Entertainment Division — building it from the ground up in a space where we had no track record. I led the acquisition of animation rights for the legacy of Diego Maradona, which, despite never being sold, taught us how to navigate the intricate IP world of Latin American icons.

Alongside original development, I also oversaw third-party production services for global clients — combining our world-class animation teams with entertainment formats that required precision, cultural fluency, and top-tier creative execution.

Throughout this journey, I built a global network of independent creators — screenwriters, showrunners, directors, illustrators, and production houses from every corner of the world. This collaborative web became essential to our success.

We delivered high-end production services on acclaimed titles like Pobre Diablo and Unicorn Wars, and most recently wrapped the first season of Common Side Effects — where I once again acted as the bridge between the creators at Green Street Pictures and the hundreds of artists around the globe whose talent brought the series to life.

Maradona - TV Show

Mad West — A Studio Built as a Bridge

After years of producing for others, I founded Mad West Animation Co. — not as a traditional studio, but as a flexible creative hub. My goal was to build a space where I could continue collaborating with independent artists and select partners, developing agile content solutions while staying deeply connected to the global creative community.

Mad West was never designed to compete in scale, but rather to explore edge spaces — places where animation intersects with new formats, technologies, and audience behaviors. Through the studio, I’ve led creative work for mobile game studios like Scopely, and collaborated with early-stage companies in the Web3 and blockchain space, helping them develop narrative and brand identity through animated storytelling.

The studio gave me the space to test, learn, and lead — across game marketing, interactive formats, and emerging creative models — all while reinforcing my passion for building partnerships that scale.

Now, I’m ready to channel that experience into a larger ecosystem. What I bring from Mad West is not a competing ambition, but a tested toolkit: operational fluency, deep industry awareness, and a builder’s mindset shaped by leading creative teams through shifting landscapes.

Netflix is the kind of platform where those skills can reach their full impact.

THANKS FOR READING!