Rotoscoping & Cleanup

Here is how this works in practice. Rotoscoping and cleanup happen inside VFX prep rooms in Paris, Vanves, and Saint-Cloud that supply finished mattes to houses like Mikros, Mac Guff, BUF, and Digital Factory. Our roto artists work primarily in Silhouette, Foundry's Nuke, and Mocha Pro, choosing the tool that fits each shot. Silhouette for detailed shape work on hair and fingers, Nuke for tight integration with the compositing script, Mocha for planar tracking that accelerates the matte across an entire shot range. Motion blur, soft edges, and semi-transparent elements receive frame-accurate hand work backed up by procedural keys so the final matte holds up at 4K cinema resolution.

Here is the short of it. Cleanup plates drop wires, rigs, lighting stands, boom shadows, GoPro witness cameras, and scene matching markers using a combination of patch tracking, multi-frame median synthesis, and classic paint work in Nuke. Whether the production was shot on a Côte d'Azur beach with safety rigs visible in every frame or a Paris studio cyclorama with tracking markers across the wall, the plates arrive at the compositor's desk ready for hero work rather than triage. EXR sequences carry full bit depth, the matte channels are ordered in a predictable structure, and the QC review is documented shot by shot so the supervisor knows exactly what was done before the next stage begins.