AO
Alessandro Ongaro
Director, Producer, Additional Credits
Alessandro Ongaro is a Swedish Visual Effects Supervisor. Born in Lugano, Switzerland, from early 3D work for architecture to high-end feature films, his journey has spanned Milan, Hollywood, DreamWorks, and DNEG. He was the production visual effects supervisor on Ghostbusters: Afterlife (2021), Godzilla x Kong: The New Empire (2024) and Captain America: Brave New World (2025).
His interest in visual effects began in the early 1980s, rooted in his childhood. Growing up in Milan, he and his sister Silvia often spent time with their grandparents, watching Hollywood movies—sometimes ones far too mature for their age. His grandfather collected the Italian film magazine Ciak, whose special features on visual effects sparked Alessandro’s curiosity. Films like Star Wars (1977), Dune (1984), An American Werewolf in London (1981), and Tron (1982) fascinated him. At the time, though, he never imagined VFX as a possible profession.
In the early 1990s, after failing to pass the admission test for Politecnico di Milano, Ongaro enrolled in ISAD, a design school in Milan. There, he discovered 3D technology, a turning point in his career. He quickly excelled in 3D CAD and landed a part-time job at a design firm. At the same time, he experimented with early 3D rendering software, such as Crystal Topas 3D, which, despite its limitations, introduced him to ray tracing and cemented his passion for computer graphics. He realised that Hollywood was his ultimate goal.
After graduating in 1996, he returned to Lugano with few opportunities, as the VFX industry was almost nonexistent in Switzerland and Italy. For two years, he bartended and DJed while teaching himself software such as 3D Studio DOS, Lightwave, and Imagine 3D. His break came in 1998, when a chance encounter with Roberto Luzzani, who owned Amila Productions, led to his first job as a 3D artist. In 2001, he moved back to Milan to work for Digitalia Graphics, one of Italy’s first VFX companies. There, with the guidance of Stefano Marinoni and Paola Trisoglio, he transitioned from commercials to feature films, sharpening his skills and building confidence.
In 2004, his big leap came when he joined ESC Entertainment in Alameda, California. Moving to the U.S. on April 9th, he began working on Constantine, marking his official entry into Hollywood. From there, his career expanded across major productions and studios.
Growing up in Switzerland, far from the main VFX hubs, was a challenge. With little community or mentorship available, he taught himself through trial and error, inspired by scarce behind-the-scenes features from films like Jurassic Park (1993). A pivotal moment came when he nearly accepted a cybersecurity job but instead took the opportunity at Amila Productions.
In 2020, Ongaro became an independent VFX Supervisor after working at DNEG. His first project was Ghostbusters: Afterlife.
His interest in visual effects began in the early 1980s, rooted in his childhood. Growing up in Milan, he and his sister Silvia often spent time with their grandparents, watching Hollywood movies—sometimes ones far too mature for their age. His grandfather collected the Italian film magazine Ciak, whose special features on visual effects sparked Alessandro’s curiosity. Films like Star Wars (1977), Dune (1984), An American Werewolf in London (1981), and Tron (1982) fascinated him. At the time, though, he never imagined VFX as a possible profession.
In the early 1990s, after failing to pass the admission test for Politecnico di Milano, Ongaro enrolled in ISAD, a design school in Milan. There, he discovered 3D technology, a turning point in his career. He quickly excelled in 3D CAD and landed a part-time job at a design firm. At the same time, he experimented with early 3D rendering software, such as Crystal Topas 3D, which, despite its limitations, introduced him to ray tracing and cemented his passion for computer graphics. He realised that Hollywood was his ultimate goal.
After graduating in 1996, he returned to Lugano with few opportunities, as the VFX industry was almost nonexistent in Switzerland and Italy. For two years, he bartended and DJed while teaching himself software such as 3D Studio DOS, Lightwave, and Imagine 3D. His break came in 1998, when a chance encounter with Roberto Luzzani, who owned Amila Productions, led to his first job as a 3D artist. In 2001, he moved back to Milan to work for Digitalia Graphics, one of Italy’s first VFX companies. There, with the guidance of Stefano Marinoni and Paola Trisoglio, he transitioned from commercials to feature films, sharpening his skills and building confidence.
In 2004, his big leap came when he joined ESC Entertainment in Alameda, California. Moving to the U.S. on April 9th, he began working on Constantine, marking his official entry into Hollywood. From there, his career expanded across major productions and studios.
Growing up in Switzerland, far from the main VFX hubs, was a challenge. With little community or mentorship available, he taught himself through trial and error, inspired by scarce behind-the-scenes features from films like Jurassic Park (1993). A pivotal moment came when he nearly accepted a cybersecurity job but instead took the opportunity at Amila Productions.
In 2020, Ongaro became an independent VFX Supervisor after working at DNEG. His first project was Ghostbusters: Afterlife.
Alessandro Ongaro Filmography
| 2015 | Hollywood Hitmen (TV Series) |
| 2015 | Hollywood Hitmen (TV Series) |
| 2026 | Resident Evil · as Visual Effects Supervisor |
| 2025 | Captain America: Brave New World · as Visual Effects Supervisor |
| 2024 | Godzilla x Kong: The New Empire · as Second Unit Director |
| 2024 | Godzilla x Kong: The New Empire · as Visual Effects Supervisor |
| 2022 | The Adam Project · as Visual Effects Supervisor |
| 2021 | Ghostbusters: Afterlife · as Visual Effects Supervisor |
| 2019 | Men in Black: International · as Visual Effects Supervisor |
| 2018 | Ant-Man and the Wasp · as Visual Effects Supervisor |
| 2005 | Madagascar · as Visual Effects |
| 2003 | Mother Teresa · as Visual Effects |
| 2003 | I'm Not Scared · as Visual Effects |
| 2002 | From Zero to Ten · as Visual Effects |
| 2002 | Un amore perfetto · as Visual Effects |
| 2001 | Flying Virus · as Visual Effects |