Styncat

Cacahuetex was born from a shared love of movies, series, and TV shows that shaped the team’s childhoods. What began as a hobby —filming sketches and short films— gradually evolved into their own audiovisual collective. From the very beginning, the dream was always to create something bigger: a film or a series of their own.

When they came across an online web series competition, they saw the perfect opportunity to take that leap. But rather than follow the familiar sitcom format so common in online series, they wanted to try something different —something bold. That’s how Styncat was born: a wild mix of action, comedy, and science fiction inspired by all the shows and films they grew up loving. Winning the contest wasn’t the main goal; the real motivation was to bring their idea to life. And even though they didn’t win, they chose to keep going —and they did.

The production process for Styncat took over a year, and as their first serious project, it brought plenty of challenges —and plenty of stories.

One of the most memorable episodes took place at a key filming location used for the final episode’s action scenes. From the start, the team felt like the place was cursed —nothing ever went according to plan. Although it was an open space, it required a key for access. Every time they got hold of the key, the lock had been changed, or the space was booked, or there was a gym class… or even a full-blown concert with hundreds of people. Somehow, despite all this, they managed to film —and the end result turned out even better than expected.

Another fun anecdote: since Toledo is known for its steel and sword-making tradition, they traveled there to buy weapons for the series. After browsing several stores, they ended up in a shop where the owner offered them a pair of extremely cheap —and incredibly ugly— zebra-striped katanas. They bought them anyway, and now those swords have become part of Styncat’s identity. Anytime someone sees a zebra katana, it’s a nod to the series.

The team shot the series using three Canon 550D cameras. The choice was purely practical: they needed something affordable with decent quality, and the 550D was a perfect fit for their YouTube-based project.

In terms of visual style, they wanted a conspiratorial, mysterious atmosphere. That led them to use a cold, bluish color palette throughout the show.

They started with just €450 and added money along the way whenever needed. Most of the budget went into fuel for driving to filming locations. While they don’t have an exact total, they estimate the entire project cost under €1,000.

The web series world has grown massively in recent years. Nowadays, everyone has a camera—even in their pocket —and anyone can upload content online. That’s a great thing, as it makes filmmaking more accessible. But it also means the internet is saturated with content, and standing out is harder than ever. Even with a good idea and solid execution, it’s no guarantee that a project will find an audience.

The team believes the internet is a powerful space where great talents are emerging —but there’s still work to be done in recognizing that online content can be just as valuable, if not more, than what’s shown on traditional television or in cinemas. In fact, Styncat itself offers a critique of that very reality: how internet culture often rewards randomness over quality, and how that continues to affect how online creations are perceived.

Genesis 88

Now Franc Sellers tells us about his webseries "Genesis 88":

The team's main motivation was to enjoy the creative process, to learn, and to bring a fictional story and its characters—who eventually became deeply loved—to life. The project was born from a genuine passion for storytelling and the pure pleasure of creating. The series consists of thirteen episodes that make up its first season, but it was conceived with continuity in mind. In fact, the final episode was written with an open ending, paving the way for future seasons.

The series was filmed using a Canon 60D DSLR camera. The choice was driven by practicality: the team had no budget, and the Canon 60D offered the best possible image quality within their limited means. Visually, the creators aimed for bright, vivid colors inspired by the original drawings featured in the opening credits and certain key scenes, evoking a comic book aesthetic. At the same time, they wanted to blend this look with the visual language of Latin American soap operas, infusing it with elements of suspense, mystery, action, humor, and science fiction—hallmarks of the genre they were paying tribute to.

No financial support or subsidies were received. The production was fully self-funded, with all expenses coming directly from the creators' own pockets. Filming was limited to weekends due to the team’s day jobs, family responsibilities, and personal commitments. Despite the challenges, they worked entirely out of passion and dedication. They believe the internet is now an invaluable platform for independent creators, offering visibility and reach that didn’t exist in the past.

The production process was filled with anecdotes, but one stands out in particular. During a key scene that took place in a restaurant parking lot, the team had already filmed several sessions there. On the final two, things got complicated. They began shooting around 8:00 p.m., when the restaurant manager approached and told them they had just 30 minutes to wrap up before a large busload of guests arrived. Miraculously, they managed to shoot twelve or thirteen takes with excellent results. What seemed nearly impossible turned into one of their most successful filming sessions—an unforgettable moment for everyone involved.

Rosario necesita héroes

An astral war.

Now Daniel Del Grande tells us about his webseries "Rosario necesita héroes":

The camera I used is an old Kodak, mainly designed for taking 7-megapixel photos —at least I think so. I don’t have it with me right now, but I can say its video mode is quite basic and nowhere near the quality of its photo mode. Still, it was the only tool I had at hand.

The budget? Practically nonexistent. I simply use whatever resources I have available, since this isn’t a professional project —at least not yet. Making money isn’t the goal.

And what’s my motivation? That’s harder to explain in just a few words. What I can say for now is that, over time, I hope to share a deeper spiritual journey —my own path— and everything I’ve learned along the way.

Videoclip:

Martin Mosca

Now Mariano Cattaneo tells us about his webseries "Martin Mosca":

Martin Mosca is a science fiction comedy that follows the misadventures of an ordinary man who builds a time machine —only to use it for trivial purposes. However, he soon discovers that tampering with time can have serious consequences: altering the natural order of the universe and endangering both his life and the lives of those he loves.

The concept for Martin Mosca was inspired by the beloved sci-fi and adventure films of the 1980s, including Back to the Future, Terminator, Weird Science, Ghostbusters, Indiana Jones, and Superman. These nostalgic influences helped shape the tone and spirit of the series.

Behind-the-scenes: Martin Mosca's house

Each episode’s budget varies according to the demands of the script. As with many independent productions, teamwork is essential. Every person involved contributes according to their skills and possibilities, and the human commitment behind Martin Mosca is invaluable. While digital platforms such as YouTube, Facebook, Google+ and Twitter provide a vast window for exhibition, there is still a lack of formal distribution channels that are willing to take risks on web series and offer creators sustainable compensation.

Creating an independent web series means being prepared for the unexpected. With limited funds and tight schedules, improvisation becomes a necessity, and every challenge must be resolved on the fly.

One memorable anecdote occurred during the filming of the eighth episode, which required a scene in a cemetery. Without the time or resources to obtain a permit —which in Argentina could take weeks— the team decided to film guerrilla-style, entering as regular visitors. The actors playing Martin and the future traveler had to hide behind tombstones in their elaborate costumes and helmets. Surprisingly, many passersby asked them for directions without noticing anything unusual, despite their eye-catching outfits.

The series was filmed using a variety of Canon DSLR cameras —5D, 7D, 60D, T3i, and T2i. These cameras provide a simple yet powerful toolset, delivering full HD (1920 x 1080) quality. Their affordability, portability, and flexibility have transformed consumer-grade equipment into reliable tools for professional filmmaking.

Martin Mosca is the result of a passionate and collaborative effort by Mariano Cattaneo (director), Leandro Cóccaro (actor), Hernán Márquez (actor), and Pablo Boyanovsky Bazán (writer/producer).

Watch first episode:

Justice Woman

Now Vanessa Verduga tells us about her web series Justice Woman:

Six years ago, Justice Woman was just a domain name that happened to be available —and I bought it because it sounded cool. I grew up as a fan of Wonder Woman and especially Batman, a mere mortal with no superpowers who still cared deeply for the people of Gotham. I had recently graduated from law school, but I couldn’t stomach the idea of practicing law. My true passion was acting. Still, I had bills to pay, so I stuck with law and opened my own practice, which I ran for two years. It was during that time that Justice Woman was born.

Hanging out my own shingle was an eye-opening experience. I witnessed firsthand how our legal system —and those in charge of it— can work both for good and for harm, all under the guise of "the law". That realization pushed me to leave law behind and return to acting. I enrolled at the American Academy of Dramatic Arts, and that’s when I started writing.

After graduating, I needed an acting reel to showcase my work. But putting one together was exhausting —I spent more time chasing down directors to get copies of their films than actually promoting myself. At that point, I figured: with all the effort I’m putting in, I might as well write and shoot my own project —the Justice Woman story that had been simmering in my mind all along.

While writing the series, I watched as a wave of turmoil swept across the world. Those events ignited my desire to speak not just for myself, but for others who had experienced injustice. I began to write about the many inequalities in society—homophobia, immigration issues, discrimination, double standards, sexual hypocrisy, class privilege, political corruption, and more. These became the core themes of Justice Woman. Still, I took Oscar Wilde's advice to heart: "If you want to tell people the truth, make them laugh —otherwise, they’ll kill you". So I gave the story a comedic edge.

As a fan of Batman and Robert Rodriguez’s Sin City, I knew I wanted Justice Woman to have that gritty, comic book look. We achieved that mostly through production lighting and color correction in post.

Initially, I planned to shoot just a pilot, but I was too excited to wait for a network to pick it up—so I embraced the web series format. I did my research and drew inspiration from Felicia Day and her web series The Guild.

I didn’t go to film school, and I didn’t have a big budget, so I took on every role I could—writer, director, producer, and lead actor—to make Justice Woman happen. It was tough, but thanks to the encouragement and support of friends and former colleagues, it was also possible. Their generosity—offering locations, props, and time—made a huge difference. Sometimes, juggling so many roles gets hectic, but the cast and crew keep me going. We have fun on set, and everyone gets along—no drama, just lots of laughter.

Most of the cast are close friends I’ve worked with in theater, film, and even law. For them, it’s more than just another gig; it’s about our shared friendship, and that shows in the final product. They come to set, give it their all, and even help with production when needed.

For the first season, we used a Canon EOS 7D, because that’s what our first Director of Photography owned. I wasn’t very knowledgeable about cameras at the time, but I liked the crisp look it gave us. In season two, we switched to a Canon EOS 1D Mark IV, thanks to a new DP who owned that camera. The image quality was even better, but when he left to study in London, we went back to the EOS 7D for seasons 3, 4, and 5. It remains a solid choice for our budget and needs.

I tend to shoot first and aim later—which has gotten me into trouble at times—but it’s also shown me that if I commit and push forward, I’ll get things done.

We started Justice Woman with just $2000. I quickly realized that wasn’t enough, so I chose to shoot only on weekends while working weekdays to save more. I bartered services and goods —offering housing in exchange for filming space— called in favors, and relied heavily on the generosity of friends and family. It wasn’t often financial support, but every bit of help made a big difference.

The series is planned for six seasons and 18 episodes, but that doesn't mean it has to end there. It could go on indefinitely. As John Stuart Mill once wrote: "As long as justice and injustice have not terminated their ever-renewing fight for ascendancy in the affairs of mankind, human beings must be willing, when need is, to do battle for the one against the other". The fight for justice is ongoing, and nothing would make me happier than to keep Justice Woman alive. It’s something we’re actively exploring.

Thanks to advances in technology, filmmaking has become more accessible than ever. Anyone with the drive and desire can tell their story. I’m confident that we’ll continue to see more diverse, meaningful stories in the years to come. With web series distribution, we’re hearing from voices that once had no platform. Thanks to the internet, we’re no longer stuck watching bad TV —we can choose what we want to see.

Watch first episode: