He became a full-fledged cinematographer in Kandelerong Pilak (Silver Candlesticks), 1954, which won for Lilia Dizon the best actress award in the Cambodian Film Festival. As actor, Accion appeared in films like Ang Lalaki (The Male), 1947; Sierra Madre, 1948; Tambol Mayor (Big Drum) and Kandidato (Candidate), 1949; In Despair, 1950; and Donato, 1954.
He was also the cinematographer of Malvarosa, 1958, which won for Rebecca del Rio the best supporting actress award in the 5th Asian Film Festival held in Manila. In his later years, he turned to movie directing and made Kung Kaya Mo, Kaya Ko Rin (If You Can Do It, I Can Do It, Too), 1979, with Christopher de Leon, and Coed, 1979, with Vilma Santos and Jay Ilagan.
His first film was Malaya, Mutya ng Gubat (Malaya, Muse of the Forest), 1948, starring Mila del Sol and Teody Belarmino.
He was assistant cameraman to Ray Lacap in Hantik (Black Ant), 1950, which won the Maria Clara best supporting actor award for Tony Santos Sr. He also photographed the prize winning Avellana documentary, El legado (The Legacy), 1959.
Through self-study, he learned how to operate a camera.
When Tolosa transferred to LVN, Accion was made assistant cameraman to cinematographers Remigio Young and Rafael Salumbides.
His other movies that received nominations in the best- cinematography category are: Tanikala and Working Girls, Urian; Brutal, Moral, and Desire, MMFF; The Graduates, Pinulot Ka Lang sa Lupa (You Were Merely Plucked From the Earth), and Nagbabagang Luha (Blazing Tears), Film Academy of the Philippines (FAP) Awards; and Hari sa Hari, Lahi sa Lahi (King to King, Race to Race), Star Awards. To him have been attributed such awesome and wondrous cinematic effects as human princes turning into figures of stone and vice versa in Ibong Adarna (Adarna Bird), 1941; the fantastic floating castle in Prinsesang Basahan (The Princess in Rags), 1949; the biblical Red Sea parting at the stroke of a cane in Tungkod ni Moises (Moses’ Cane), 1952; handsome Jaime de la Rosa transformed into a horrifying bat creature in Taong Paniki (Bat Man), 1952; Bayani Casimiro dancing upside down from ceiling-to-wall-to-floor in Big Shot, 1956; and the terrifying giant reptile monster sowing havoc in Tuko Sa Madre Kakaw (Gecko at Madre Cacao), 1959. Francisco aka Botong Francisco for the production design of some films that he directed, among them: Haring Kobra (King Cobra), 1951, where a mythical Balinese country near the Philippines was created; and Higit sa Korona (Above the Crown), 1956, where the illusion of ancient Egypt provided the backdrop for the longest swordfight in local movie history. He finished high school at the University of Manila.
Aside from working in the movies as cinematographer and/or editor, Abaya also works as still photographer for commercial lay-outs and directs commercials for television. He studied at the University of the Philippines (UP) School of Fine Arts. Abelardo, brother to cinematographer Bayani Abelardo, and uncle to Ben Resella, art director of Sampaguita Pictures who later became a scenic artist in Hollywood.When she was 12, her family migrated to the United States. Aguirre won the Citizens’ Award for Television (CAT) as best supporting actress for Si Tatang Kasi in 1970. Later, she appeared in the films of Sampaguita Pictures. Since then, he has appeared in many films and has been known as Dolphy’s sparring partner. They received no formal training in animation, but learned it on their own, through readings and practice. Her parents are Alfredo Hernandez and Lourdes Anderson Viana. Alonzo was briefly enrolled at the Mapua Institute of Technology (MIT), and, at one time was a Philippine Airlines flight attendant.