Rotoscoping & Cleanup

Rotoscoping and cleanup work for shoots shot in South Korea is handled through the same VFX facilities that deliver the headline Korean theatrical and streaming output. DEXTER Studios (the house behind Along With the Gods and Ashfall), Westworld (Squid Game, Kingdom), 4th Creative Party, Mofac Studios (Train to Busan, Concrete Utopia), Macrograph and Digital Idea. Our team sets up shot turnover from picture edit, dialing in deliverable specs with the watching VFX editor and assigning shots across teams sized to the schedule.

Roto artists work primarily in Silhouette, Foundry Nuke and Mocha Pro, selecting the tool that fits each shot: Silhouette for detailed shape work and hair, Nuke when the roto needs to live inside the compositing pipeline, Mocha for planar-tracking-helped shapes on locked architectural elements. Quality review runs at each milestone, with edges checked on calibrated displays before any shot moves downstream.

Cleanup work covers the full range of invisible repair that shoot schedules invariably push to post. Wire and rig removal for stunt sequences, set marker and tracking dot paint-outs, gear reflections in glass and chrome, crew members visible at the edge of frame. Scene matching fixes where wardrobe or props drift between takes. Korean VFX houses have built strong painting and 2D cleanup pipelines around the demands of high-volume drama production for the global streaming sites.

That capacity scales for global features and series shooting in country. Motion blur is tied to the source footage in direction and intensity so roto edges sit invisibly in the final composite. Challenging elements — fine hair, fur, semi-transparent fabric, smoke and water interaction. Are handled with core mattes, soft edge treatment and the multi-frame techniques the senior artists have refined across hundreds of theatrical shots. Turnaround scales with shot tangle, and team size adjusts to hit announced delivery dates.

Houses such as Mofac Studios and Digital Idea give us the volume capacity that high-shot-count drama needs. Our roto and paint work feeds straight into the compositing pipeline, so mattes and clean plates land on the artist's desk graded and conformed. Our team turns shots over from the picture edit with frame-accurate reference, then runs each milestone past a QC pass on calibrated displays before any shot moves downstream.

Our post team sizes the delivery to the broadcaster or streamer taking the master. Series for KBS, MBC, SBS, or JTBC follow that network's frame-rate and colour spec. Originals for Netflix, Disney+, or Coupang Play meet the platform's resolution and HDR rules. We hand off roto mattes as EXR sequences with matched alpha, clean plates as graded frames, and a layered archive the finishing facility can reopen without chasing missing media.