Guides and stories for couples getting married in Italy.
Even if your wedding is far from home, my style travels with me. Here's how I work as a destination wedding videographer in Tuscany, the Amalfi Coast, Lake Como, and across Italy (and abroad).
Sony just launched its most talked-about camera yet. I took a close look — and here's why, for your wedding, it doesn't change a thing about my setup.
No more level anxiety during the ceremony: how 32-bit float, the DJI Mic 3 and the Zoom H4n let me focus only on the story.
You are hiring someone in a foreign country for a day that cannot be repeated. Here is the vetting checklist that separates true professionals from improvised operators.
Nobody changes camera systems lightly when weddings allow no second takes. My Lumix story is about people first, sensors second — and a look that changed my films.
A videographer who says «no» to weddings sounds like a paradox. It's actually the choice that protects the quality of your film — and the person who signs it.
«Will you tell us what to do?» No. My only rule at your wedding is to be a present but invisible friend — and let the day simply happen.
Quotes for the same wedding can differ by thousands of euros. What's actually behind the number — and the questions to ask before you sign anything from abroad.
It feels like a budget question: invest in the photographer or the videographer? After 14 years working beside great photographers, my honest answer is that it's the wrong question.
Couples see 15–20 minutes flowing as if the film edited itself. What they don't see: weeks of silent work, made above all of choices about what to leave out.
Flowers wilt in a week, the venue changes owners, the dress stays in a wardrobe. The film is the only investment of your wedding that starts working the day after — and never stops.
On your wedding day, everyone is alive, young, present — all your people in one room. It will never happen again with that completeness. A film is the only way to keep that room whole.
You receive your film, you watch it moved, you share it — and then the file ends up on a USB stick in a drawer. It's the most common fate, and the riskiest, for the one memory that can never be re-shot.
The golden streaks of light, the soft oval backgrounds, the wide cinema frame: it's not a filter. It's physics — the same lenses, as a family, that shot the cinema we love.