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# Offenbach scores Federico Solmi's Unity studio footage
- URL: https://www.killscreen.com/offenbach-scores-federico-solmis-unity-studio-footage/
- Published: 2026-08-26T22:35:23.000Z
- Updated: 2026-08-26T22:35:22.000Z
- Description: A process reel shows hand-painted surfaces wrapped onto 3D models — the game engine used as camera and stage, never as game.
- Author: Kill Screen Staff
- Tags: Federico Solmi, video art, unity, painting, Art, Game Engines, exhibition

In June, Federico Solmi posted [a process reel](https://www.instagram.com/p/DZkwMKxRO2t/?ref=killscreen.com) recorded inside the Unity game engine and scored, of all things, to the Barcarolle from Offenbach's *The Tales of Hoffmann*. It is a rare backstage look at how the "video paintings" get made — and a reminder that one of the most committed game-engine artists working is, at heart, a painter.

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Federico Solmi’s process reel, recorded inside Unity and scored to the Barcarolle. Via [Instagram](https://www.instagram.com/p/DZkwMKxRO2t/?ref=killscreen.com).

Solmi's pipeline runs in exactly the opposite direction from most game art. Surfaces are hand-drawn and painted first, then scanned, mapped onto three-dimensional digital models, and animated with game engines, motion capture, and digital scripting. The result is a world where every texture carries brushwork — garish, seasick, and pointedly satirical about power and its pageantry. The most recent showcase was *Adrift* at the [Everson Museum of Art](https://everson.org/explore/current-exhibitions/federico-solmi-adrift/?ref=killscreen.com) in Syracuse, which ran January 30 through April 19 of this year and paired new video paintings with *The Ship of Fools*, a monumental canvas reworking Géricault's *Raft of the Medusa*; the [Brooklyn Rail's review](https://brooklynrail.org/2026/04/artseen/federico-solmi-adrift/?ref=killscreen.com) is a good primer on the project.

What the reel makes plain is the role Unity actually plays in the studio: not a game to be won but a camera and a stage — a place to light, block, and shoot paintings that have learned to move. Game engines keep getting repurposed by every discipline that touches them; it is the same current that carries [Indira Ardolic's live-coded engine performances](https://www.killscreen.com/indira-ardolics-live-coding-performances-turn-game-engines-into-instruments/), where the software becomes an instrument instead. In Solmi's hands the engine is an easel, and Offenbach supplies the soundtrack.

Painters, filmmakers, choreographers — Killscreen follows everyone who walks into a game engine. The free newsletter is where those dispatches land.

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