A Game of Thrones Intro Inspired Graduation Project


For our master graduation project we produced a Game Of Thrones Intro inspired video as a tribute to Italy and to all GoT fans.
With the use of computer graphics and 3D modeling softwares, we recreated 6 of the most famous and loved italian cities.

The aim of our thesis is to analyze the impact of new technologies and social media on the diffusion of tv series-related contents produced by fans.


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Gli Erranti – A short movie


Gli Erranti” is an animated short movie made with the purpose of showing how practical effects can replace visual effects but also work in harmony with them.
We tried to find a solution to the problem of digitally animating a floating soul by creating a “real” soul and making it float underwater.
The creation of an environment for the soul is another challenge we took on. Just like for the animation of the soul, we did not have the time and, probably, the skills to create something decent, so we took the practical way. Using water, ink and fluids we tried to create an abstract environment, a proper setting for our character.
We relied on digital techniques as well, such as chroma key and particle effects, and colour correction, they were necessary for removing the soul’s background and creating very specific effects.
In conclusion, we tried to show how it is possible to make an animated movie considering the limits of time, money and skills, hoping to acheive a decent result.

Enrico Greco, Cristian Gurra, Jessica Manetta, Claudia Rolletto.


Interview with Enrico De Palo – VFX Artist



Enrico De Palo is a visual effect artist, a digital compositor who works in the filmmaking industry and creates visual effects for the cinema. During his career he has worked for about ten years as a compositor, an on set supervisor and sometimes as a vfx supervisor in Italy, where he worked for movies like “Il Mercante di Pietre” and “Lontano dalla Luce”.

Then he had the fortune to divide his time between Berlin and London, in order to achieve some visual effects for many important American blockbusters as “Fast and Furious”, “Kingsman” and “Hercules”.

Moreover, for two years now, Enrico De Paolo has worked as a teacher in the Turin offices of the digital art school Event Horizon, where professionals in the field of digital art and 3D artists are willing to share their knowledge.

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Interview with Alessio Bertotti – VFX Artist


Showreel of Alessio Bertotti’s best VFX, Compositing, 3D and Motion Graphic works, until Winter 2015:

Alessio Bertotti, VFX Artist and supervisor, has worked in Italy and abroad in different fields: movies, commercials, TV series, music videos and motion graphics.
Since he was young he’s been interested in this industry and in video and photo editing. He’s graduated in Graphic and Virtual Design at the Polytechnic of Turin, and then he has attended two master’s program: one in Computer Graphics in Turin and the other in Professional Compositing at the Escape Studios in London.

Alessio Bertotti

Despite his age, he’s already taken part to the realization of remarkable projects, such as “Captain America: Civil War” (2016), “Avengers: Age of Ultron” (2015), “The Expendables 3” (2014), “Everest” (2014), the featured RAI film “One thousand and one nights” (2012), the Tv series “Constantine” (2014-2015) and the commercials for “Vision Express” (2014), “Direct Line” (2013), “Mercedes-Benz Assist” (2013).

Having the possibility to interview Alessio Bertotti, we’ve decided to ask him some questions about his experience in this industry, the differences between working for a movie, a tv series or a commercial, and some details of some of the most interesting and remarkable projects he’s worked for.

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Interview with Enrico De Palo



Enrico de Palo, born in 1966, is an italian VFX artist, specialized in compositing. He has worked for big international productions such as Furious 6, and After Earth, as a compositor. He also has experience as VFX supervisor for smaller productions.

Visual effects are Enrico’s passion, and this passion was so big that he decided to become a VFX teacher at Event Horizon School of Digital Arts.
In this interview we are going to see how hard it was for him to reach the top of his career, how his passion helped him and the way he tries to infuse this passion into his students.

You are a renowned compositor. How hard has it been to reach this level? What are the main steps of your growth?

The main goal of a VFX supervisor is to work on an international production. You reach that goal when you work for an american blockbuster, but this forces you to move abroad because if you stay in Italy, you will only work for italian productions.
If you want to work for important productions, you have to move to the USA, but this is almost impossible because American market isn’t open to foreigners, unless you have connections.
Fortunately, american productions are also developed overseas, they delegate their work to english-speaking countries like Canada, United Kingdom, Australia and New Zealand.
I tried to move either to Canada or London to join the american visual effects market and become a professional compositor. After you do this, then you can move freely both in the american environment and in the european one.
I started with the movie “After Earth” in Berlin with Pixomondo and then I moved immediately to London with Double Negative.
You need to be lucky and have a great willpower. With a little skills and two or three years of experience in Italy, you can find a job as a decent compositor and then it gets easy. But I had no intention of spending my life in London so I moved back to Italy. Sometimes I move abroad to work for two or three months and I consider this as sort of holiday.

How does it feel to work for very important productions?

It feels satisfactory. It feels fulfilling when you speak with someone and you can say “I made THIS movie” and people know about it.
It feels a lot different to say that you made movies like “Il mercante di pietre”, “il 7 e l’8” or “Baaria” rather than “Furious 6”, “Kingsman” or “Hercules”.
This means that you’re filling your own ego. It is a personality matter because I don’t work for money but for passion and I must give the best of me on something that will live for a long time.



How do you define your job compared to others? Is it a kind of hobby?

It depends on the point of view, to me it is an hobby. It’s a matter of personality, I look it and say it’s a cool thing, some others say that they would never do my job. Each shot has a result, you create something that doesn’t exist and this is the great part of the work, you make a shot and it becomes something that’s partially yours, it’s something that you created!

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INTERVIEW WITH FEDERICO GALVANI – Motion Design, Stop Motion, Visual Art and a lot more…


ENG (Leggi in Italiano)

INTERVIEW WITH FEDERICO GALVANI – Motion Design, Stop Motion, Visual Art and a lot more!!!


Federico Galvani teaches motion design at the University IUAV of Venice and he is a founder of the multidisciplinary laboratory “Happycentro” where he works on art direction, graphic design, visual identity, illustration, modeling in clay and paper, printing, and directed animation. This studio works for famous brands or small startup and uses several methods of communication: Stop Motion Animation, TV / web commercials, Packaging, Visual Art, Typography, Graphic Design and Music Videos.

The main technique that reflects the style and the way of working of “Happycentro” is the stop motion because it is the synthesis of what we have always done, build objects, puppets and backdrops of various materials, combining illustration and graphic design and set up the set and lights for the photo shoots.

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HOW TO – Homemade Facial Motion Capture

How To - Homemade Facial MoCap

In this video we are going to show how to create basic home made facial MoCap videos with 3 different softwares/methods, which are:

  • Microsoft KINECT (through FACESHIFT)


A brief introduction to the basic steps, an overview of the result that you can achieve and an analysis of the difference between these softwares.

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