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BIOGRAPHY

CURRICULUM VITAE

VISUAL EFFECTS

FILM DIRECTORS

MIKE CONNOR

ALBERTO PARODI

ALESSIO FOCARDI

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Since 1987 Alessio Focardi has been facing the world of audiovisual communication.  









1995 - Alessio founded his post production company La Sartoria dell’immagine in Florence.

1998 - He was selected by Disney Channel International as senior editor for the start up of Disney Channel Italy.

2001 - Alessio made his debut in film editing with David Ballerini’s “The Silence of the Skylark”.

2006 - Film editor for “Noi Due”.

2007 - Film editor for “Memoirs of Hadrian” directed by Matteo Raffaelli with Giorgio Albertazzi.

2010 - Rainbow Film entrusted him with the editing of 24 episodes of the international co-production "Mia & Me”.

2011 - He made his debut as a director with the documentary "Fabrizio Caselli Misce".

2012 - Film editor for “The Secret of the Trees”, directed by Alessandro Tofanelli.

2014 - Alessio began with the profession of DIT with the documentary on Napoleon’s Elban exile “The Exile of the Eagle” and also became the film’s editor.

2019 - He participated in the production of the docu-film "El numero Nueve - Gabriel Omar Batistuta" as associate producer, editor and colorist.

2020 - Alessio starts experimenting with a new remote working method called RFPP Remote Film Post Production. During the Covid-19 pandemic he manages to achieve remotely the entire post production of 5 short films in 8K with the collective title "Ripartenza", in the triple role of Art Director, Film Editor and Colorist. He has also gone on to edit more short films on the pandemic with "Come Pesci rossi sul divano", "Durante", “Babal” and "Cinema Covid”.

La Sartoria dell'immagine in Florence, member of the 8k Alliance, and the Mobile Digital Lab in London have decided to offer their combined professional skills and technologies for editing, sound, colour grading, post production and visual effects for films & tv series. Alessio Focardi, David Bush and Mike Connor have researched and developed highly innovative services that allow working in full resolution immediately starting the editorial process live from the camera, without having to wait for cards and memory to be downloaded.


While many are learning now how to make remote working and the cloud feasable for their projects, Alessio started working on set with Avid Media Composer in flight cases in 1995. Alessio and David met for the first time in 1993, when David, founder of Interactive, hired Alessio as the senior editor of the Milan facility. Although they had very different personalities, one very "British style" and the other a "Tuscan" very attached to his land, they shared the same passion: that of continuously innovating film and television post-production, developing new work-flows and suggesting implementations to technology manufacturers, in order to make processes more and more efficient and convenient; saving money for producers while offering new creative opportunities for directors.


Alessio finished the post-production of a collective short film called "Ripartenza" earlier this year directed by 5 directors, produced by DADO Produzioni, shot in 8k RedRaw and entirely managed remotely. Below some ungraded stills. The camera native files were uploaded directly to the cloud system and immediately shared with the 5 directors of photography, the 5 directors, the production and Alessio's remote editing room in Florence.


film editing, post production, visual effects, 8k remote working

David comments on Alessio:


Alessio is a genuine “Toscanccio” as they are known in Italy. That doesn’t just mean someone who comes from the area of Tuscany, which is, in my opinion, the most beautiful part of Italy, but it denotes a certain character.


It may seem unlikely, but even though I'm a British-born subject, we have had many experiences in common.


First of all, he is passionate about his work, and we often exchange techniques and technologies with frank and mutually effective discussions. Those who know us intimately know that we also tinker with technologies to adapt them into doing what we want them to do.


It was many of these qualities that made my mind up to call Alessio as Senior Editor in the company I founded in Milan called Interactive in 1992, and when I also pushed on him untried and, I confess, not all that functioning technologies, which he managed to govern all the same.


We have kept in touch, and, after more than 30 years we have decided to pool our resources and professional skills for the International market, and here we are working together on a slate of films using our Mobile Lab and Alessio’s facility together with our combined know how, so I’m happy to be working yet again with the Toscanaccio!


We have taken the technologies developed for remote working and applied them to sending immediately high quality imagery and sound directly to the post production systems near to set, allowing Alessio to start editing immediately. This can be a great help to the director. Of course, by its very nature, this workflow also allows for distant remote working too.




Alessio Focardi

"Ripartenza", in Italian means, at least in football, a fast counterattack born from an insistent pressing action by the opposing team. The choral project intends to narrate the recovery of show business after the Covid-19 pandemic, and in which five directors tell how painting, music, cinema, dance and theatre get back on their feet after this difficult moment. The short choral film shot and post produced entirely in 8k had its world premiere at the Prato Film Festival and attracted much interest in the area. Alessio, who was art director, editor, colourist and technical co-ordinator for all the short films was present during and after the screening, and many of those present were surprised with the results of the technical and creative challenge shown by the film.