Davide Valvona

I've spent the last 10 years building photoreal environments for feature films, episodic TV and commercials, with studios like DNEG, Scanline VFX, Outpost VFX, TRIXTER and many more on shows including Andor, Loki, Doctor Who, Fast 9, Flash and The Wheel of Time. My background started in graphic design before moving into VFX, which is probably why I care as much about composition and colour as I do about technical accuracy.

What keeps me interested is the moment an environment stops reading as CG. Not the modelling or the render, but everything after: the atmosphere, the imperfection, the light behaving the way it does through a real lens pushed into the correct context. That's the part I find really satisfying, and it's what I chase on every shot I work on.

Lately I've been pushing hard into procedural workflows in Houdini while building my own AI-assisted tools for DMP for concepting and actual set-extension work, not meant to replace the craft, but to get to a readable keyframe faster and spend more time on the part that actually matters, advancing to the next stage of Image creation.

Where I'd like to go: senior and lead work on ambitious environment-heavy projects, ideally where there's room to shape how the DMP and environment pipeline gets set up rather than just delivering shots. I've done that a few times now as it is the intervention I care about the most.