Narrative & Documentary Editing

Here is how this works in practice. Italy's narrative and documentary editing community draws on a lineage running from Roberto Perpignani and Esmeralda Calabria through to today's editors such as Cristiano Travaglioli, Walter Fasano, and Marco Spoletini — figures shaped by AMC (Associazione Montaggio Cinetelevisivo) and the Centro Sperimentale di Cinematografia editing programme, and routinely recognised at the David di Donatello and Nastri d'Argento.

Here is the short of it. Our edit coordination pairs global productions with narrative editors who have worked inside that custom — drama experts with credits across series like Gomorra, My Brilliant Friend, The Young Pope, Suburra, and L'amica geniale produced for Rai Fiction, Sky Italia, Netflix Italy, and HBO by houses such as Cattleya, Wildside, Lux Vide, Indigo, and Palomar, alongside documentary editors carrying observational and historical work in the territory mapped by Gianfranco Rosi. Suite-time at Cinecittà's historic editing stages, Lumiq Studios Turin, Mercurio Cinematografica Milan, FrameByFrame Roma, and Direct2Brain Roma is secured against the director's shooting schedule, and editors are briefed on script structure, character arcs, and thematic intent in detail before any footage is touched on the bench.

Here is the breakdown. Narrative editing on scripted features and Rai Fiction or Sky Italia series is built around defined milestones — assembly, director's cut, producer's cut, fine cut, picture lock — with structured review sessions that give directors and producers clear points to shape pacing, performance, and dramatic arc. Documentary work, often pointed at the Venice Film Festival, RomaFF, or the Torino Film Festival, is approached with respect for source material, careful selection of testimony, and seamless integration of period footage, photography, and stills drawn from Italian body-level archives via Rai Teche and Istituto Luce.

Here is what that looks like on the ground. Editors work across Avid Media Composer for long-form drama, Adobe Premiere Pro for documentary, and DaVinci Resolve where the finish is colour-led. SIAE clearance for music and archive material runs in parallel with the cut, the David di Donatello and Nastri d'Argento submission calendar is tracked where relevant, and editors deliver picture-locked timelines with clean AAF and EDL hand-offs to Cinecittà DI or the appointed sound house, ready for downstream finishing.