SCENE 01 / ROTOSCOPING CLEANUP
Rotoscoping & Cleanup
Precision rotoscoping and invisible cleanup work that forms the foundation of seamless visual effects.
Here is how this works in practice. Rotoscoping and cleanup are frame-by-frame post-prod processes that isolate elements, remove unwanted objects, and prepare footage for compositing. Rotoscoping traces precise mattes around subjects for extraction, while cleanup removes wires, rigs, markers, and other artifacts visible in raw production footage.
Here is the short of it. We set up rotoscoping and cleanup work with VFX facilities skilled in detailed frame-by-frame processing. Our team manages shot turnover, quality reviews, and delivery schedules to make sure your footage is cleanly prepared for compositing or presented free of distracting production artifacts.
Capabilities
Rotoscoping & Cleanup Excellence
We provide the essential foundation for high-quality visual effects through meticulous frame-by-frame work that isolates elements and removes unwanted artifacts.
01
Precision Roto
Frame-accurate masking with perfect edge quality.
Accuracy
02
Wire Removal
Invisible elimination of rigs and support wires.
Invisible
03
Paint Work
Seamless cleanup and artifact removal.
Clean
04
Tracking Integration
Smart workflows with motion tracking.
Efficient
Rotoscoping Services
Cleanup Services
Why Us
Why Choose Our Roto Services
01.
Pixel Precision
Frame-by-frame accuracy for perfect results.
02.
Efficient Workflow
Smart techniques for faster delivery.
03.
Quality Control
Tight checking at each stage.
04.
VFX Ready
Prepared for seamless compositing.
On Location
Frame-by-frame roto and cleanup through Casablanca, Conspiração, and the Lobo prep tier
Here is how this works in practice. Brazilian rotoscoping and prep work is structured as a high-volume layer feeding the São Paulo VFX cluster. Casablanca Studios, Conspiração Filmes, O2 Filmes, Lobo, Vetor Zero, and Globo Estúdios PROJAC's in-house VFX department in Rio operate roto, paint, and cleanup pools that prep plates for compositing across telenovela, feature, episodic streaming, and commercial output. We set up Silhouette FX, Mocha Pro planar tracking, Nuke roto with Furnace and OFlow toolsets, Boris FX Mocha for moving-camera cleanup, manual frame-by-frame masking on extended takes, wire and rig removal, marker and tracker paintout, and reflection and crowd cleanup for street and stadium plates in Rio, São Paulo, and Salvador. Talent feeds from PUC-Rio, USP, Universidade Anhembi Morumbi, FUMEC, and the Escola Britânica de Artes Criativas, and overflow capacity routes through DNEG's LA, Vancouver, London, and Mumbai network and Method Studios Vancouver on the 12-hour LA-GRU corridor when shot counts exceed domestic bench depth.
Here is what we have to work with. Brazilian prep work has carried high-profile features through worldwide visible pipelines. Cesar Charlone's handheld grammar on City of God (four Oscar nominations including Cinematography in 2003), Walter Salles's Central Station (Berlin Golden Bear plus Fernanda Montenegro Best Actress Oscar nod) and I'm Still Here (Foreign Language Film Oscar nomination 2025 plus Fernanda Torres Best Actress nod), José Padilha's Tropa de Elite (Berlin Golden Bear 2007) and Tropa 2 (highest-grossing Brazilian film), and Kleber Mendonça Filho's Bacurau (Cannes Jury Prize 2019) and Aquarius all moved through Brazilian roto and cleanup rooms before reaching the screen.
Here is the layout. On the ground, Delivery feeds into ACES-aligned compositing pipelines at Quanta Pós-Produção and Vermes Vermelhos São Paulo. With downstream HDR trim passes for Netflix Brasil, Apple TV+ Brasil, Disney+ Brasil, Amazon Prime Video Brasil, and HBO Max Brasil and Rec.709 broadcast wraps for Globo, Band, SBT, Record, RedeTV!, and Globoplay. ANCINE sign-ups, ANATEL compliance, and LGPD residency on AWS São Paulo or Azure Brazil South sit inside the workflow.
FAQ
Frequently Asked Questions
What rotoscoping software do you use?
Here is the breakdown. We primarily use Silhouette, Nuke, and Mocha Pro for rotoscoping work. Each tool has strengths for different scenarios - Silhouette for detailed shape work, Nuke for integration with compositing, and Mocha for planar tracking-helped roto. We select the best tool for each shot.
How do you handle motion blur in roto?
Here is what that looks like on the ground. Motion blur needs careful attention to keep natural-looking edges. We match blur direction and intensity to the source footage, using specialized edge treatments and multi-frame techniques. The goal is seamless integration where the roto edges are invisible in the final composite.
Can you work with difficult elements like hair?
Here is how the picture comes together. Yes, we specialize in challenging roto including fine hair, fur, and semi-transparent elements. We use techniques including core mattes with soft edges, multi-channel keying help, and detailed hand work to achieve clean results that preserve natural edge detail.
What's your typical turnaround for roto work?
Turnaround depends on shot complexity and volume. Simple roto might be completed in hours per shot, while complex character work with hair and motion blur needs more time. We give detailed estimates based on shot breakdowns and can scale our team to meet deadlines.
Related Services
Productions in Brazil that need this often pair it with Visual Effects Compositing, CGI & 3D Animation Services, and Motion Graphics Services for full coverage. Most projects also draw on Virtual Reality Filming and Digital Cinema Package (DCP).
On Set
Ready for Flawless Prep Work?
Let's create perfect mattes and clean plates for your VFX.