About
Tinct is a color grading and post-production studio founded by Vito Internicola. The Italian colorist has vividly brought documentaries, short films, TV shows, animations, advertising, commercials, and branded content to life for broadcasting and digital platforms since 2011.
Previously, he has 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, Vito worked as a (recording) sound engineer around France and Monte Carlo for about 15 years, collaborating with artists including Henry Olusegun Adeola 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. His 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.
Tinct is based near Milan, Italy. The studio’s 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) studiotinct (dot) com.
A short conversation with Vito Internicola
Vito, can you share why you chose Tinct as your studio’s name?
“Tinct” comes from the idea of “tinge,” a subtle infusion of color. It’s an old word, but it still feels alive. I like how it suggests both precision and atmosphere: something technical but poetic at the same time. This balance is what I’m after in color grading: not just correcting images, but tinting them to evoke a feeling.
What is your artistic process for Studio Tinct?
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 Studio Tinct 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.
Vito Internicola
Studio Tinct
