Segio lived his first ten years in the middle of downtown Mexico City. He played football on the sidewalk and the closest park was the "Alameda". He studied in an active school since he was just kid until he reached high school. It all kept him in a bubble that kept him believing in a fantasy of "a happy world". Majored in Anthropology and philosophy, he soon got bored and got to study what he really loved: Cinematography. He left to Italy to the "Centro di Cinema Sperimentale di Roma" but once more, the "economical crisis" just let him enjoy this for a while and had to return. When arriving back to Mexico he enrolled in the ninth generation of "CCC, Centro de Capacitación Cinematográfica" and SPR, Public Broadcasting System of the Mexican State Throughout this trajectory he has directed for advertising and other audiovisual streams. His work in advertising has been recognized nationally and internationally. He has won two gold awards in the prestigious contest PROMAX/BDA World Gold Awards, in the Eagle Awards, and Pantalla de Cristal, just to mention a couple. Some of the campaigns he has developed are international and have been transmitted in Italy, Spain, USA, Finland, Sweden, UK, Russia, China, Japan and countries of Africa, Latin America and Asia. He was assistant director to some of the best Mexican directors and some foreign ones who he still maintains a relation of friends and mentors. Some of them include Arturo Ripstein, Jorge Fons, Julian Pastor, Benito Rabal and Paolo Mercandini. With all this experience he can evolve with efficiency, creativity and solvency in any genre and medium related to the industry. He's a music lover and this can be appreciated throughout his work with constant fusion to music. Paintings are a constant reference in his visual projection and development. Architecture is the art hidden behind cinematography realization, for that he is always paying attention to the directly proportional relation between space and the scene set. He is attracted to advertising because of the exigency of narrative efficiency and the possibility of visual experimentation. Due to that today, almost fifty years after he was born, he still listens to the promise of that we are almost out of this crisis", he has developed a thick skin for working in this field, and like a Zen Buddhist virtue of infinite patience. Now like he has always done, he rather not sit and wait to find out if this time it's true what they say. He rather by any means to keep on filming his projects.
