Rotoscoping & Cleanup

Rotoscoping and cleanup happen in VFX prep rooms in Paris, Vanves, and Saint-Cloud. These rooms feed finished mattes to houses like Mikros, Mac Guff, BUF, and Digital Factory. Our roto artists work mainly in Silhouette, Foundry's Nuke, and Mocha Pro, picking the tool that fits each shot. Silhouette handles close shape work on hair and fingers, Nuke ties tightly into the compositing script, and Mocha runs planar tracking that speeds the matte across a full shot range. Motion blur, soft edges, and semi-transparent elements get frame-accurate hand work backed by procedural keys, so the final matte holds up at 4K cinema resolution.

Cleanup plates drop wires, rigs, lighting stands, boom shadows, GoPro witness cameras, and scene matching markers. We do this with patch tracking, multi-frame median synthesis, and classic paint work in Nuke. The footage may come from a Côte d'Azur beach with safety rigs in every frame, or a Paris studio cyclorama with tracking markers across the wall. Either way, the plates reach the compositor's desk ready for hero work, not triage. EXR sequences carry full bit depth, the matte channels sit in a predictable order, and the QC review is logged shot by shot. The supervisor then knows exactly what was done before the next stage starts.