CGI & 3D Animation

Italy holds one of Europe's deepest CGI and 3D animation scenes. It is anchored by feature-film houses such as EDI Effetti Digitali Italiani — the Goldcrest-class Rome site whose work spans Gomorra, My Brilliant Friend and the Sorrentino filmography. Rome also hosts Direct2Brain, Chromatica, Frame By Frame, MAD, Proxima and Post Atomic, with Mercurio in Milan, plus Rainbow CGI, Mondo TV, Maga Animation Studio and Movimenti Production on the animation side.

Our planning matches global shoots with the right tier of studio for the brief. That might be a senior Rome site for character-led hero shots on a Cinecittà-anchored feature, a mid-size house in Milan for product visualisation aimed at the Italian luxury and fashion sectors, or a boutique shop handling stylised commercial animation for an episodic Netflix Italy or Amazon Prime Video Italy first. We brief in English and Italian and manage asset turnovers against the offline edit. Review cycles run through ftrack and Shotgrid, and we line up milestones with theatrical, broadcast or streaming delivery dates anywhere in the world. That includes the Italian dubbing and localisation passes when titles ship to many areas from the same master.

Modelling, texturing and look-development work draws on a talent pool trained through Centro Sperimentale di Cinematografia's VFX track. These artists are proven on titles including Pinocchio (Garrone), The Hand of God, Suburra, Romulus, Diavoli, Gomorra and ZeroZeroZero. Pipelines run Maya, 3ds Max, Houdini, Cinema 4D, ZBrush, Blender and Substance Painter. Character animation gets full rigging, motion-capture cleanup at sites equipped for performance capture, and keyframe work tuned for both Italian dramatic style and the realism that global features demand.

Photorealistic rendering uses Arnold, V-Ray and Redshift. Unreal Engine is more and more common for virtual production tie-ins on Cinecittà and Rai Cinema shoots, and for the LED-volume work now spinning up across Italian stages.

Italian render-farm partners such as Rebusfarm Italy and Bricks render cover peak capacity. Qualifying budgets can pair this work with the MiC 40% Italian Cinema Plan rebates, and our team keeps the records alongside the studio schedule. We also handle CCNL Cinema Audiovisivo crewing for any on-site oversight and file ENPALS reports where needed. When the project warrants it, we support David di Donatello (Migliori Effetti Speciali), Nastri d'Argento, Cartoons on the Bay and Venice Film Festival submission packages.

We guard your assets to the security level streamers and studios ask for. Plates and turnovers move over encrypted links into locked-down pipelines, never open file shares. Review renders carry a watermark tied to each viewer, so any leak traces back. Artist stations and render nodes sit on isolated networks, and we log who opens each asset. At wrap, we return or wipe the data to your retention rules. Unreleased films and series get guarded-screener care throughout.