I have worked in the CGI field since 1992, when computer graphics images were just a lump of bright blurred dots. Since then I have always used technology as the main tool to express my artistic flare, creating both images and sounds.
Although my professional path touched many roles, In the past few years I have been focusing mainly on the creation of digital matte paintings for block buster films, whilst I kept using my spare time to explore, compose, and arrange music often related to niche projects.
Currently I have the honour to operate in the film industry as a Head of 3D Digital Matte Painting and Environments for one of the main VFX vendor: MPC.
During the nights and the week-ends I’m delighted to compose and produce music for an independent horror game named Allison Road by newly founded UK studio Lilith Ltd.
I am a highly motivated, reliable, enthusiastic and positive person.
I love collaborating with the team, freely exchanging tips, opinions and suggestions, in order to grow up as a person as well as an artist. The world changes quickly and I believe it’s crucial to stay open to new ideas, comments and criticism to be able to adapt to it.
I love traditional arts (fine art and classical music) and I consider computers just a modern version of the traditional tools. In my humble opinion knowing about photography and visual communication, composition and harmony, is as relevant for us today as it was for any artist from the past.
Moreover, since technology evolves constantly, these are amongst the very few assets on which we can always relay on.
As a Head of Department of a global company I am exposed to both the business requirements as well as the needs of the single artists. I try to act as a sensitive and sensible mediator in order to keep a balance between the priorities of both parties, hoping to be a mature and considerate voice that makes the process and the life of the people involved easier.
What’s the opposite of death? I say it’s passion!
Since I was a kid I have always followed my passions with undivided drive and dedication, fueling what has been so far a never ending love.
Although I have been incredibly lucky and I have managed to fulfill many of my childhood dreams, my goal hasn’t really changed: I still want to challenge my self every day, in order to grow as an artist as well as a human being.
Visual Artist Professional Path
In the past few years I have worked in London, at Framestore first, painting backgrounds and textures for the dreaming sequence of “the Tale of Despereaux” and since 2008 I joined MPC contributing on a few shows, such as:
2017 – Pirates of the Caribbean: Dead Men Tell No Tales
2017 – Transformers: The Last Knight
2017 – Alien: Covenant
2016 – The Legend of Tarzan
2016 – The Hunger Games Mockingjay: Part 2
2016 – Jungle Book
2016 – Passengers
2015 – The Fantastic Four
2015 – Terminator Genisys
2015 – The Martian
2014 – Exodus: Gods and Kings
2014 – Guardians of the Galaxy
2013 – 300: Rise of an Empire
2012 – 47 Ronin
2012 – The Seventh Son
2012 – Men of Steel
2012 – Skyfall
2012 – Total Recall
2011 – Prometheus
2011 – Wrath of the Titans
2011 – John Carter
2010 – The Chronicles of Narnia: The Voyage of the Dawn Treader
2010 – Robin Hood
2010 – Clash of the Titans
2009 – The Wolfman
2009 – Dorian Gray
2008 – Shangai
In 2013 I have been lucky enough to be nominated for the VES Award: Outstanding Created Environment in a Live Action Feature Motion Picture with the work that Julien Bolbach, Martin Riedel, Marco Rolandi and I did on Prometheus: LV-233
From 1999 to 2007 I have lead the computer graphics department of Dreamlike Visions, a small post-production company working mainly for commercial, motion graphics and broadcast products.
This experience gave me the opportunity to learn how to deal with pressure, tight deadlines and a team of artists as well as entertaining relations with the clients.
I also had a chance to work as a freelancer CG artist for a few years, but everything really started when I was 15 and together with some friends I worked on a couple of Commodore Amiga games as the main graphic artist: Nathan Never and Black Viper.
I have a background in Fine Art, Photography and Architecture.
- Ballistic Exposè 3
- Ballistic Exposè 5
- Ballistic Exposè 6
- Ballistic D’artiste: Matte Painting 2
- Ballistic Elemental 3
A few images have been used as covers for CGI magazines or chosen for contemporary fine art exhibitions.
I have been also lucky enough to be invited to share my experience by writing articles or speaking at lectures and workshops. I really enjoyed participating to the following events:
- Nov. 2012 – “Creating the amazing environments of Prometheus” – View Conference – Turin
- Nov. 2007 – “Why, when and how to use a 3D software for Digital Matte Painting” – Master-class – View Conference – Turin – hosted by Softimage master-classes
- Jun. 2007 – “The 6 principles of the good CG artist” – Workshop
CG-day 1 – University of Tor Vergata – Rome
- Dec. 2006 – “VFX Technical Back-Stage – Painting and Compositing tasks” – Workshop – 3DDay – University of Tor Vergata – Rome
- Nov. 2006 – “Computer Graphics Industry in Italy – Compositing VFX technical backstage” – Workshop – University of Teramo
- Feb. 2006 – “Tip of the Day – Artistic aspects of the characters and backgrounds” – Interview – MyMedia Magazine
- Jan. 2006 – “Tip of the Day – Technical and artistic aspects of the project” – Interview Rai Futura Channel
- Jan. 2006 – “Tip of the Day – Technical and artistic aspects of the production” – Workshop – Fiabesque Event – Peccioli
- Dec. 2005 – “Tip of the Day – Art Direction and Digital Painting” – Workshop – 3DDay – University of Tor Vergata – Rome
- Dec. 2005 – “Tip of the Day – Art Direction and 3D techniques for backgrounds” – Interview – CGItalia – www.cgitalia.it
- April. 2004 – “Tip of the Day – Matte Paintings techniques” – Interview CGItalia – www.cgitalia.it
- Nov. 2003 – “Digital Technologies for Visual Communication” – Workshop – ECIPA-Lazio – Rome