Visual Effects Compositing

VFX compositing in South Korea runs mostly on Nuke-based pipelines at the country's senior facilities. DEXTER Studios, Westworld, Mofac Studios, and Macrograph all keep capacity for features and streaming series with high shot counts. We place each project with compositing teams sized to the shot volume.

That might mean a senior site handling several hundred final shots for a feature. It could be a mid-tier studio in the DMC hub's Digital Media City for an episodic series, or a focused boutique for commercial work shooting in Gangnam or Hongdae. Our team manages shot turnover from the offline edit and makes sure plates are graded and conformed cleanly before compositing starts. We also build review cycles around Frame.io or the client's chosen review site, so feedback moves quickly between Seoul and overseas producers.

Green-screen keying and rotoscoping use multi-channel keying tools and edge-processing methods. Careful manual cleanup handles motion blur, fine hair, and the semi-transparent elements common in fashion and beauty work. Motion tracking comes through 3DEqualizer and PFTrack for camera-tracked shots, with object tracking across all major formats. At the higher end, compositors work in linear ACES pipelines with full support for ARRIRAW, RED R3D, and Sony Venice X-OCN.

We also meet the HDR delivery specs that Korean and global streaming sites now ask for more and more. Finals can ship as DPX sequences, EXR sequences, or ProRes masters, based on the downstream finishing site. Our supervisors can attend shoots at Namyangju Studio Tricky or on location, so plate photography meets the compositing brief.

Houses such as Mofac Studios, Digital Idea, and Creative Party give us deep compositing capacity for high-shot-count series. Unreal Engine real-time scenes feed virtual-production shots straight into the comp pipeline, so artists can match lit CG to the live plate fast. Our team briefs compositors from the camera and lens data captured on the Korean shoot, so set extensions and screen comps carry the right perspective, grain, and lighting.

Our post team builds the delivery to the broadcaster or streamer taking the master. Series for KBS, MBC, SBS, or JTBC follow each network's frame-rate and colour spec. Originals for Netflix, Disney+, or Coupang Play meet the platform's HDR and Dolby Vision rules. We QC every final comp on calibrated displays, then hand off EXR sequences, ProRes masters, and a layered project archive the finishing facility can reopen without chasing missing media.