About me
I’m a color grading and post-production editor. I had vividly brought documentaries, short films, TV shows, animations, advertising, commercials, and branded content to life for broadcasting and digital platforms since 2011. Previously, I have worked on (short) documentaries, including Carlo Radice Fossati (2025), FC Barcelona 125(2024), a short feature for Osho International Foundation (2013), and the 20x20x20 Onlus (2011). For branded content, he has color-graded commercials and featurettes for Versace (2024), Bottega Veneta (2023), the local government of the Friuli Venezia Giulia Tourism and Culture Department (2022 - 2025), Google (2021), and Lipton (2012), to name a few.
Before becoming a full-time colorist, I worked as a (recording) sound engineer around France and Monte Carlo for about 15 years, collaborating with artists including Henry Olusegun Adela Samuel (aka Seal), Terence Trent D'Arby, Asha Puthli, Sheila E., Phil Palmer, Patty Pravo, Loredana Bertè, Roberto Vecchioni, and Mina, to name a few. My background includes a Bachelor of Science in Communications at IULM University in Milan, Italy, as well as having graduated from the Conservatorio di Milano for cello.
I’m based near Milan, Italy. My extended portfolio, which includes viewable reels and previous works, as well as the pricing kit, is available upon request. For projects, collaborations, and ideas in mind, feel free to contact the team through hello (at) vitointernicola (dot) com.
Experience
StudioVision
2021 – Colorist
Urban Frames
2022 – Lead Compositor
LensCraft Agency
2023 – Creative Editor
Freelance Projects
2024 – Present
Specialties
Latests Work's
Trusted by
A short conversation with Vito Internicola (interview by Matthew Burgos)
What is your artistic process? My process begins with understanding the director's or cinematographer's vision, then going through and studying the footage. Here, I look for the emotional undercurrent. Color grading for me is about 'sculpting' adjusting the contrast. texture, and rhythm of color until the image or frame feels authentic, fitting, and resonant. I always try to create what feels invisible but is felt and experienced, as if the film could never have lived without that particular grade.
How do you see the position of your work in the midst of social media (reels)? Reels and short-form works are shaping how people consume images now. They're fast, condensed, and designed to be consumed quickly. At Tinct, I see it less as competition and more as a playground. It is a platform to experiment with bold looks and tighter narratives while still practicing and applying the traditional craft of color grading. The challenge is to make these brief clips (still) feel cinematic and not disposable, especially on social media, where the platforms and attention are quick, unlike in broadcasting.