Pietro Carlomagno face

Sensitivity (Creativeness) It revealed itself during three-dimension computer graphic productions (from 1991) and it subsequently refined in audio/video editing (from 1996), post special effects (from 1997), live shooting (from 1996) and now by embracing stereoscopy renaissance (from 2004). Please take a look at my audio-visual works for: architecture, scientific visualization, spots & billboards, titles, advertising, design, industrial communications (institutional), music videos, multimedia VR, short films, video installation for corporate events, art application. Please see my full filled DVD-demoreel (updated only to 2004). My customers and the targets of my core My customers are in physical people such as: directors, art directors, pure creative and visionary beings; in companies like: production and post-production facilities, advertising agency, web factory, design, architecture companies and convention&events agency. The target is my customers final satisfaction through my interpretation abilities of their creative wishes. Communication skills with them is therefore fundamental: I use my versatile sensitivity to follow them and subsequently my technological know-how to create and establish their ideas. I worked with companies like (references on request): Dima, Automa, Visuals, Giunti Multimedia, Progetto Evoluzione, Progecta, Cream, ProDesign, Interactiv Labs, 3arch+, Artes Group, B.Associati, Eidon, Harold & Motion Pictures, Max Information, VGS, Studio Boeri, Netick, PPV, SoundCage, MESS Engineering, FastForward, Rumble Fish (Hiatus), I Fiori di Barbi. Final customers like: Haier, Barilla, Campisa, HannoverExpo2000, Inda, Otis, Lorenzo Jovanotti, Teuco, Muzzi, 3M, Embraco, Giunti (CD-ART Botticelli, Leonardo, Klimt, Van-Gogh, Gauguin), Saporiti Italia, Muster and Dikson Service, Sector, Genoa Columbus Expo 92, Ferrari, Fiat, Gancia, WaterTribe, Torino2006 Olympic Winter Games, Canon, Welcome, WebEgg, Infinity, Virgin Wear, Fila, Seven, MTV, Levis, Alleanza Assicurazioni, Thun, Raf, Greenwitch, Cineplex, DeLonghi, Beefeater, BeckmanCoulter, Wellcome, Virgin Ware, San Paolo, CNR, Dash, Knoll, Juliette Gober, Xerox, Morositas, Fabrizio Plessi (WaterFire), Costa Crocere, IberoJet Cruises, Lowara ITT, Gruppo Banca Italease, . I specifically had taken care of: collaborating to design audio-visual contents from the creation, written proposal, to final production (problem solving); system manager: hardware and software maintenance of computer systems and audio/video stand-alone equipment for production and visualization; CG animator: 3D for all types of applications except character animation; editor & VFX: multi layer compositing and editing; streaming technology and compression video: mpeg1, mpeg2, mpeg4, box QuickTime (many CODECs), box AVI and WMV; virtual reality technology: with Apple QuickTimeVR; DVD-video authoring: programming, compressing and burning/mastering PAL DVD (on MacOS and Windows platforms); and more recently: advices for custom complex visual projects: - with the following characteristics: signal types: traditional “monoscopic” 2-D (same image sent to both eyes) and stereoscopic 3-D (two different images sent to each eye, illusion of depth); single or multi-synchronized signals, wide visual stage with multi display combination each with specific ratio, crop and resolution; live and post produced sources, on-the-fly mixed throw processor signals and mixer:
- LIVE real-time visuals through AliveVisuals (request PDF) and Stereoscopic shot techniques
- POST PRODUCED via video servers; CONTEXTUALIZE visuals: under the name of VirtualStage, the ambition to merge (blend) visuals contents (mono and stereoscopic) with real architecture stage environment. I create this "mirage" thanks to a precision approach of perspective and geometry rulers by using IntrigueVision2D and IntrigueVision3D techniques (ask explanation); - in the following cooperation steps: pre-production A) study the feasibility and improvement of the proposal; B) budget evaluation (supplier selection and consequent integration); C) ANIMATIC for pre-visualization (main contractor key study and reference for production); production D) shooting (in stereoscopic case: shooting geometry setup and supply additional stuff like RIGs and electronic additional devices); E) post-production (in stereoscopic case: stereo virtual cameras setup and workflow, plus parallax correction and integration of all stereo assets); visualization F) engaging the right displays and video servers for the event needs to reach the original director’s creativity and therefore satisfaction of the commitment; G) follow the installation of each supplier and insure the quality control planned.

CustomPipeline gallery

mono images (traditional 2-D):
Cineplex galleryCream Seven galleryCream Seven galleryTurin 2006 gallery
Web Egg galleryCampisaCarnivalBeefeater
DimaHaierIndaInteractiveLabs
PpvProgectaVisualsRitrosia
Progetto Evoluzionemy studioGreenwitchXerox
JRT 3Dvarious

mono (traditional 2-D) movies:
New Demo ReelNew Demo ReelInstitutional
Hannover ShowSimple QT insert

Last update 2008.1
email address
Copyright © 2007 Pietro Carlomagno, all rights reserved.