Film Editor Services

Italy's editing community works inside one of cinema's founding montage traditions. Roberto Perpignani cut Bernardo Bertolucci's The Conformist and 1900, then led the Centro Sperimentale di Cinematografia as president. Esmeralda Calabria won a David di Donatello for her work with Marco Bellocchio and on prestige documentary. Cristiano Travaglioli has had a long partnership with Paolo Sorrentino, from The Consequences of Love through The Great Beauty, Youth, The Young Pope, and The Hand of God. Walter Fasano cut Luca Guadagnino's I Am Love, A Bigger Splash, and Call Me by Your Name, while Marco Spoletini cut Matteo Garrone's Gomorrah, Tale of Tales, and Pinocchio. Massimo Quaglia rounds out the field with a wide commercial and feature slate.

Our editor roster sits in that lineage, with most based out of Rome and Milan post houses. Frame by Frame in Rome holds two David di Donatello VFX awards. EDI Effetti Digitali Italiani works in Milan and Rome, with credits across Disney, Marvel, and DC features. Square Post Production in Milan runs a London branch for global oversight, and Cinecittà Post handles the Studio-tier features. Credits span theatrical features, prestige series for HBO and Sky Italia from Cattleya, Wildside, and Indigo Film, RAI Fiction commissions, Netflix and Disney+ Italian originals, and high-volume commercial and luxury-brand finishing for the Milan houses.

Our matching process weighs genre, format, intended rhythm, and the post timeline. We then narrow to editors whose recent credits and working style fit the brief, whether auteur features, prestige series, fashion films for Milan Fashion Week and the Quadrilatero della Moda houses, documentary, or large-format commercial. Editing tools cover Avid Media Composer, DaVinci Resolve, and Adobe Premiere Pro. Bilingual Italian and English assistants stand ready for global shoots that need a cleanly translated bin and notes pass through to AMC handover and final delivery.

Assemblies mostly start during principal photography, so directors can review and adjust coverage before wrap. Remote cuts are routine. CET timezone overlap gives real-time review with European shoots and easy morning sessions with US East Coast teams in New York and Atlanta.

Delivery covers RAI broadcast standards, DCP for theatrical exhibition, and the streaming platform specs that Netflix, Disney+, Apple TV+, Sky Italia, and Amazon Prime Video Italian originals are finished against. We build the Italian Tax Credit (up to 40% under the MiC 40% Italian Cinema Plan) into invoicing, so post-production spend qualifies through to David di Donatello, Nastri d'Argento, and Venice Film Festival deliverables.

We handle footage with the security that prestige and streaming work demands. Rushes are backed up on the LTO and mirrored drive standard, with checksummed copies kept on and off site. Project files and bins are version-locked, so no take or note is lost between sessions. Access to a cut is limited to named team members, and review links carry a watermark. Our assistants log every media handoff, which keeps the trail clean from card download through final master and archive.