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What we do in
Roto / Paints
Rotoscoping and VFX Paint are the "invisible" backbone of post-production. While flashy explosions get the glory, these two disciplines spend thousands of hours ensuring that every frame looks seamless.
Character Roto (Organic Roto)
This is the most common and labor-intensive type. It involves masking living beings (humans or animals).
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What it is: Isolating humans, animals, or moving characters.
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Why it's time-consuming: The human body is "organic"—it bends, stretches, and folds. We break a character into 15-20 different shapes (head, joints, fingers) to ensure the mask doesn't "warp" or "chatter" during movement.
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Achievement: 100% accurate movement tracking that allows you to place characters in any environment without "edge flickering."
Hard Surface & Vehicle Roto
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What it is: Isolating rigid objects like cars, buildings, or machinery.
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While the shape doesn't change, the perspective does. We use planar tracking to ensure the mask sticks to the metal or glass surfaces perfectly.
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Achievement: Sharp, clean lines that preserve the mechanical integrity of the object.
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This is considered the "expert level" of rotoscoping.
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Soft Edges: Hair cannot be captured with a sharp line. Artists use a combination of core shapes (for the bulk of the hair) and very thin, soft "stray hair" shapes.
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Detail Extraction: Often, instead of pure roto, artists use VFX Paint or Channel pulling (using the Blue or Green channel) to get the fine details of the hair.
Motion Blur / Defocus Roto
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When an object moves fast, it becomes semi-transparent (blurred).
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Shutter Alignment: The artist must match the "feather" of the mask to the camera’s shutter speed.
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Transformation: The mask must expand to cover the entire blurred area, often requiring the artist to animate the "feather" (softness) of the spline frame by frame.
VFX Paints
Sometimes the perfect take has an unwanted distraction. Our VFX Paint team specializes in "invisible" cleanup—removing the clutter so your audience stays focused on the story.
Object & Rig Removal
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What it is: Removing unwanted items from the frame, such as safety wires, harnesses, production equipment (microphones/lights), or even entire buildings and people.
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We don't just "erase" the object; we have to rebuild what was behind it. This requires creating a "Clean Plate" and matching the original lighting, shadows, and camera movement.
Sequence Paint (Frame-by-Frame Restoration)
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What it is: Fixing complex issues where an object moves through changing light or across highly textured backgrounds.
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Unlike a static patch, sequence paint requires our artists to manually paint or "clone" textures frame-by-frame. This ensures that the "patch" reacts naturally to the camera’s perspective and light shifts.
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Achievement: Flawless restoration even in high-motion or complex shots where automated tools fail.
Digital Beauty Work & Face Retouching
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What it is: Enhancing the appearance of actors. This includes removing skin blemishes, stray hairs, wrinkles on clothing, or correcting makeup issues.
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Faces are the most scrutinized part of a frame. We have to maintain the skin’s natural texture (pores and fine lines) so the actor doesn't look like "plastic." We use digital "frequency separation" to keep the skin looking real.
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Achievement: High-end, "magazine-quality" skin and costume aesthetics that remain consistent throughout the scene.
Marker Removal & Tracking Prep
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What it is: Painting out the green/orange tracking crosses on sets or "bluescreens."
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Why it’s time-consuming: While it seems simple, these markers often overlap with actors' hair or complex props. Every pixel of the marker must be replaced with the correct background color and grain.
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Achievement: A perfectly clean plate ready for the Compositing department to add CGI or new backgrounds.