Cinematic lighting and real time environments, built for the camera, across studio pipelines and independent work.
Modeling, texturing, lighting, compositing and render · no step handed off to another department.
A plaster body dissolving into a swarm of night moths. A study in the tension between fragility and transformation · desaturated palette, cold light, one gold accent.
Directed by Roberto Pioli, for the music project Kinder Garden by Francesco Menna. A science fiction music video where a person's past, present and future meet, perhaps for the last time. Featured on Beyond the Short · my first real step inside the music scene I want to keep building in.
A real time environment study in Unreal Engine 5, HDRI and volumetrics. Concept art reference by Benoit Fleury · this is my read of the scene, not the original environment.
A few immersive days at Take 2 Studios in Salzburg, on the invitation of Rodrigo De Deus, alongside an international team of virtual production specialists. The studio's LED volume runs on ROE Visual panels, the kind of setup used across product, architecture and vehicle visualization, wherever a reflection on a surface has to hold up in camera rather than in post. Working there with ASSIMILATE's live grading tools, I saw how color is graded directly onto the LED wall in real time, HDRI lit and matched to the physical set, while Unreal Engine drives the background the camera actually sees. I spent the days comparing notes with digital artist Marco Mittendorfer, the studio's virtual production lead Felix Brandstetter, and DP Jako on the camera side. Everyone there was exceptional, and I came back with a much sharper sense of how real time rendering, materials, HDRI lighting and photorealistic surfaces have to hold together when the camera, not just the render, is the final judge.
VFX across Netflix, DreamWorks, Apple TV+ and Prime Video productions · from training through episodic and feature pipelines.
It started in Treviso (Italy), in a Master's programme in Computer Graphics · 2020/2021, just before the world went quiet. Classes began at eight in the morning; render passes were still finishing at ten at night.
Immersed in the green of the campus outside, some days it felt less like a school and more like a secret base · a small, hidden research bureau in the middle of nowhere. That's where I first worked hands on in lighting, texture and shading, chasing every reflection and every grain of wood until it looked real.
"For Teddy" was our final thesis film · the piece that closed that chapter. Its poster still hangs on a wall inside the Bigrock campus, one frame among many others. It remains one of the experiences that shaped me most as an artist in this industry.
Our final thesis film at Bigrock · a team production about a boy's toys that come alive to avenge his lost teddy bear. My own contribution was in lighting, texture and shading: building the materials of the bedroom, tuning how light falls on wood, fabric and worn plush, and getting every surface ready for compositing.
"...called the VFX team behind it 'geniuses'." · Sir David Attenborough, on Prehistoric Planet (MPC)
Recognition for the production I contributed to via MPC (Technicolor Group):
Four projects, step by step: from wireframe to final render with full lighting and compositing.
A spiral stairwell and walkway system built for the Silo · full CG environment work, shown from geometry to final composite.
Creature shading and lighting for a practical-feeling deep-sea organism · final composite, shown across two moments in the shot.
Full CG personal piece: prop modeling and texturing for the leg, environment blockout through to final lit composite, with lookdev spheres for lighting reference.
I'm a generalist 3D / VFX artist. My studio background sits inside post production on film and episodic pipelines as a senior lighting/compositing artist, and inside real time production on Unreal Engine as a virtual production artist. I built that foundation across Technicolor, Flipbook Studios, Jellyfish Pictures, Toon 2 Tango and Red Monk Studio, on productions including Dog Man, Silo, Prehistoric Planet, The Witcher: Blood Origin, KAOS and Wolf King.
Outside the studio pipeline, I take on full CG work for private clients and brands · concept to final frame, no department skipped. That's where personal projects and music video collaborations live.
Invited as a guest speaker for JFX on cinematic lighting, and an active part of the international VFX community (Rainbow Conference, London ACM SIGGRAPH).
A reel of recent lighting, compositing and full CG work.