Luca Lo Duca

Nil wanted the video for "Tra Luce e Buio (2026)" to have a strong late-90s, early-2000s pop-punk style. I shared the art direction with director Manuel Balasso and worked as DOP and colorist. We shot on a Sony FX3 with a Sigma Art 24-70 f/2.8 and a Laowa Zero-D S35 7.5mm T/2.9. The Laowa is a Super 35 lens, so on the FX3's full-frame sensor it doesn't cover the whole frame and leaves black edges around the image. We kept that vignette as part of the look. The whole video is lit with a single Amaran 60x with a Fresnel lens, operated by hand. It gave us hard, directional light in the concrete tunnel and on the couch dragged down the road at night, and it also worked as fill for the shots from under the plexiglass. Most of the contrast and the cold, desaturated palette came from the locations and the lighting. In DaVinci Resolve I refined the look with Dehancer, using Cinestill 800T as the negative and Fuji 3513 as the print, with pronounced grain for a 16mm-like texture, and added a subtractive saturation pass. Nil was especially happy with the final video.

• Colourist
• Director of Photography

For its Summer 2026 campaign, Superga wanted a Mediterranean summer mood: warm, relaxed and a little elegant, with a slow-living pace and an aged, film-like look. Director Manuel Maccario brought me in as DOP and colorist. We shot the Crochet, Espadrillas and 2750 lines at a masseria in Puglia and on its private beach. I shot on a Sony A7 IV with the 24-70 GM II, working with natural light and using reflectors and diffusion panels to fill and soften it. I also brought a VHS camera, and some of its clips ended up in the final videos. Before the shoot I built a preview LUT for the set monitor. I started from a Fuji 3513 print emulation and adjusted it to match the look I had designed in Dehancer, so the team could see the final image while shooting. For the grade I used Fuji Velvia 50 as the negative and Fuji 3513 as the print. The texture had to be clearly present without taking over the image. I added grain and halation with Resolve's own plugins, softened the sharpest areas selectively and then the whole frame slightly, so the grain would blend in and look real. We delivered four videos for Superga's social channels, website and ads, and the client was happy with the result.

• Colourist
• Director of Photography

For its summer collection, Superga planned photo and video content for two packs: the 2750 Color, built around the range of colors, and the Summer Pack, with neutral tones and natural materials like linen. Director Manuel Maccario brought me in as DOP, editor and colorist. We made four videos, two per pack, one focused on the product and one on the overall mood. We shot at Erreci Studios in Milan on a Sony A7 IV with the 24-70 GM II. I used natural light where I could and added shaped artificial sources to recreate sunlight, keeping the tones warm. The look had to feel like summer while showing the shoes in their real colors. In DaVinci Resolve I used a Fuji 3513 print film emulation only as a base and built the rest of the grade by hand around those two needs. Given the brief, I chose a lighter grain and film texture for this project. I also edited all four videos. The videos ran on Superga's social channels, website and ads, and the client was satisfied with the result.

• Colourist
• Director of Photography
• Video Editor