CGI Artist Services

Italy's CGI talent pool has grown around a clear set of production-grade pipelines. EDI Effetti Digitali Italiani in Milan and Rome did the heavy CGI work on Garrone's Pinocchio, Sorrentino's The Hand of God, and the Suburra and Gomorra series for Netflix and Sky Italia.

Rainbow CGI in Loreto built Italy's largest CG animation pipeline behind Winx and Mermaid Magic. Maga Animation Studio in Milan, Mondo TV, Frame By Frame, Chromatica, Direct2Brain, and Post Atomic each run their own production-grade pipelines. These cover Maya, Houdini, Nuke, V-Ray, Arnold, and Redshift, all aligned with global vendor specs.

Our network has artists who sat inside those facilities for the credited shows. They include character TDs from the Pinocchio creature team, environment leads from Rome and Naples-set series, and hard-surface modellers from car commercials shot through Mercurio Milan. We also field lookdev artists fluent in ACES and the OCIO config that EDI and Mercurio use when handing CGI plates into global DI suites at Cinecittà DI and Lumiq.

We pick against your pipeline first and your shot count second. Each brief opens with the toolchain you and your VFX supervisor have already locked: Maya or Houdini for assets, Nuke or Fusion for comp, and ftrack or Shotgun for production tracking. Then we put forward artists who can drop into that pipeline without rebuilding it.

Many shows tie back to Rai, Mediaset, Sky Italia, or global SVOD vendors. For those, we confirm TPN-aligned data handling, encrypted vendor handoff, and turnover ALE/CDL ingest against the dailies workflow your edit has set in Rome or Milan. For commercials, we stage artists who can revise at the agency pace of Tortona and Brera while keeping lookdev parity with the live-action plate. Our CGI roster works fluently in English and Italian and holds CCNL Cinema Audiovisivo or freelance VAT-regime contracts based on buy-in. The work they ship survives the David di Donatello and Venice Film Festival release path our DPs and supervisors deliver into.

We build the team around your render deadline and shot count. We scale artists up for crunch and add render capacity through cloud farms when local nodes fill. Most of our roster works remotely, so we can fold in leads across Milan, Rome and Turin without moving anyone. We set review cadences that fit your edit's turnover dates and hold the schedule against them. We track shots through ftrack or Shotgun so progress stays visible. That keeps delivery steady even when the cut keeps shifting late in post.