Rotoscoping & Cleanup

Behind every clean composite in a Tokyo drama or Osaka commercial sits detailed roto and cleanup work. We line up that volume through Japanese VFX houses, including OmnibusJapan, Sublimation, and Frame Sequence.

Here is how this works in practice. Rotoscoping is done in Silhouette for fine shape work, Nuke when downstream comp blend matters, and Mocha Pro for planar tracking-assisted setups. Wire removal, rig erasure, tracking-marker paint-outs, and unwanted-element removal route through set paint teams. QC hand-off between artists keeps the look steady across long sequences.

Here is the short of it. Motion blur direction, lens distortion, and atmospheric haze are matched to source plates. Edges read as real at full 4K resolution. Tricky items — fine hair, fur, semi-transparent fabric, smoke, water — run through core-matte plus soft-edge flows. We add multi-channel keying support and fine hand-work where auto tools fall short.

Here is the breakdown. Shot turnover scales from hours per shot for simple cleanup to many days for character-level hair work. Team size flexes to match deadlines for Japanese broadcast slot dates or global streaming releases. Every shot ships with the right alpha channels, edge passes, and clean plate items ready for compositor hand-off. Whatever the source plate looks like, we hand back footage that vanishes into the final composite.