Motion / Video

A multi-camera night, rebuilt in post. I gave every track a visual “chapter” through color, repaired the audio until it could breathe again, and used motion/VFX details to make the final video feel like a real live session—not an accident.

A multi-camera night, rebuilt in post. I gave every track a visual “chapter” through color, repaired the audio until it could breathe again, and used motion/VFX details to make the final video feel like a real live session—not an accident.

A multi-camera night, rebuilt in post. I gave every track a visual “chapter” through color, repaired the audio until it could breathe again, and used motion/VFX details to make the final video feel like a real live session—not an accident.

Nov 2024

IT

Carmen Town Live Session

This project was born in the most honest way: friends recorded a night at Carmen Town in Brescia with whatever cameras they had, while Rich performed live. The raw material was not “production-ready” at all—especially the sound. But I liked the energy, and I could see the potential. So I took everything we had, put structure around it, and treated it like a real live-session piece: clear pacing, clear chapters, and a visual idea that could hold the whole set together.

This project was born in the most honest way: friends recorded a night at Carmen Town in Brescia with whatever cameras they had, while Rich performed live. The raw material was not “production-ready” at all—especially the sound. But I liked the energy, and I could see the potential. So I took everything we had, put structure around it, and treated it like a real live-session piece: clear pacing, clear chapters, and a visual idea that could hold the whole set together.

What I received

Multiple camera angles from the night, recorded in real conditions: fast, imperfect, and with audio captured directly from the cameras. The vibe was there, but the material needed a strong editorial hand to become something people would actually enjoy watching.

The concept: give each song a color

To make the session readable (and rewatchable), I assigned a distinct color to each song. That did two things:

  • it helped the viewer instantly understand when one track ends and another begins,

  • it gave the edit a “designed” feeling without killing the raw live energy.

On top of that, I added small easter eggs—tiny details that do not interrupt the narrative, but reward attention.

Post-production and creative direction

I handled the overall creative direction in post:

  • selecting the strongest takes from each camera

  • building the rhythm of the night (so it feels like a performance, not a compilation)

  • adding motion/VFX touches when they supported the story (never just for decoration)

The hardest part: audio rescue

The real challenge was sound. The original audio was not usable as-is, so I worked closely with Stefano Fanti to rebuild it heavily: cleaning, balancing, and making it feel present enough to carry the performance. This was the turning point—once the audio was solid, the video could finally feel professional.

Why I am proud of it

Because it is a good example of what editing can do: it can turn something “unrecoverable” into something structured, intentional, and enjoyable—without losing the truth of the night.

This live session is proof that creative direction is not only something you do on set. Sometimes it happens after the fact, when you take raw reality and shape it into a clear experience. I loved turning chaos into chapters, and giving the performance a final form that feels worth pressing play on.


Camera 1: Diego Pacchiana (@godie.mp4)
Camera 2: Francesco Aiena (@whosfra)
Camera 3: Andrea Portesi (@pergliamiciporte)
Editing / Creative direction: Eduardo Pellegrino (@eduardopellegrino_)
Audio: Stefano Fanti (@oklimite)
Artist: Riccardo Sensibile — Rich (@richbetterthanfamous)

Recorded: November 1, 2024 — Carmen Town, Brescia

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