Why compositing
The school was in Turin and it taught shooting. I went because I loved films and wanted to make them, not sit near them. After that came three years in Milan studying cinematography. Learning how a camera sees is the part I still use most: how light falls on something, what a lens does to it, why a plate already looks the way it does before anyone touches it.
Compositing is where that landed. It is the last stage, the one where every other department's work has to agree with itself, and where a mistake made anywhere upstream turns into your problem to solve. I liked that. It is the closest thing in the pipeline to being responsible for the image itself.
Ten years in, I still watch a film for the film the first time. The second time is when I start looking at the seams.
How I work
Most of the job is working out whether the problem sits in the plate, the track, the CG render or the light, then agreeing a route with the departments upstream before hours go into the wrong fix. I hold that standard when a schedule tightens, which on premium episodic is most of the time.
Leading compositing on Italian productions taught me the other half of the job. Making one shot look right is a craft problem. Keeping a whole sequence consistent while several artists are working through it is a different problem, and most of it is communication.
The route
Every move added a kind of shot I had not done before. Dense CG episodic in one place, theatrical set extension in another, creature and environment work somewhere else.
- 2017Milanfirst job
- 2019Rome
- 2019London
- 2020Toronto
- 2021Turinas lead
- 2022Remotesince
What I am testing now
Since late 2025 I have been building diffusion work into the same pipeline. Relighting, inpainting, digital matte painting, made to drop into a comp rather than sit beside it.
The time actually goes into telling two things apart: a technique that survives a review at delivery resolution, and one that only survives a demo. New models turn up every few weeks and most of them are the second kind. Finding the ones that are not is the useful part.
Where I am now
Available internationally, working in English day to day. If a production needs someone who can carry a shot from render pass to final delivery, and who is just as comfortable bringing newer tools into that when they genuinely help, get in touch. The CV has the full list.