How I got here
I trained as a shooting technician in Turin, then spent three years in Milan studying communication and multimedia — the version of film school that makes you look at the whole production, not just one department. Compositing is where that came together: the last stage where every other department's work has to agree with itself, and where a mistake anywhere upstream becomes your problem to solve.
I started as a junior compositor at a studio in Milan, working across a wide range of features and episodic shows over two years — the kind of job that builds a broad base fast, because nobody has the luxury of specialising early. From there the work took me wherever it was: Rome, London, Toronto, back to Turin as a lead, Bournemouth, Berlin, London again, and Milan. Each move added a different kind of shot to what I could handle — dense CG-heavy episodic in one place, theatrical-scale set extension in another, creature and environment work somewhere else.
How I work
Most of what makes a shot hard isn't the software, it's finding where the problem actually sits — whether it's the plate, the track, the CG render, or the light — and agreeing a route with the departments upstream before spending hours on the wrong fix. I hold that standard even when a schedule tightens, which on premium episodic is often.
Leading compositing on a handful of Italian productions taught me the other half of the job: keeping a whole sequence consistent when several people are touching it, not just making one shot look right in isolation.
Tools and pipeline
Nuke is where the work happens — deep compositing, CG and environment integration, camera projection, look development, cleanup, relighting, shot finaling. Mocha Pro and Silhouette for tracking and roto, Photoshop for paint and matte work.
Since late 2025 I've been building AI-assisted workflows into that same pipeline — ComfyUI-based diffusion, with ControlNet and IP-Adapter conditioning for reference-based generation. In practice: AI-generated relighting, inpainting and digital matte painting, produced to a standard that drops into a professional compositing pipeline rather than sitting apart from it.
Where I am now
Available internationally, on site and remote, working in English day to day. If a production needs someone who can carry a shot from render pass to final delivery — and is just as comfortable bringing AI-assisted tools into that process where they genuinely help — get in touch.