Visual Effects Compositing

Compositing pulls each VFX team together.

We line up that final blend through Tokyo and Osaka houses, including OmnibusJapan, Marza Animation Planet, Sublimation, and Frame Sequence. Our main tool is Nuke for film and high-end episode work, while After Effects suits motion-graphics-heavy shots and Fusion or Flame step in where the pipeline asks for them. Green-screen keying uses multi-channel pulls, with edge work and spill control tuned to mixed-camera plates from Sony VENICE, ARRI Alexa Mini, and RED Komodo bodies common on Japanese shoots. Motion tracking covers 2D point, planar, and 3D camera solves through PFTrack and SynthEyes when in-software fixes need a hand.

Colour match, grain blend, and lens-distortion copy make sure CG items, matte paintings, and live-action plates fuse into believable single frames at 4K, 6K, or 8K resolution. The ACES colour chain holds creative intent from grade through delivery.

HDR flows such as Dolby Vision and HDR10+ run alongside Rec.709 SDR masters. DPX sequence and ProRes deliveries are built to whatever spec the downstream pipeline needs. Shot turnover, dailies review, and final sign-off run through Frame.io with timestamped director notes. Whatever the visual aim, we hand back composites that earn first-pass approval and serve the story without breaking the photographic illusion.

Each composite is built to match its end point. Work for NHK, TBS, and Fuji TV follows Rec.709 broadcast norms, while shots for Netflix Japan run through HDR picture. We finish through houses such as OmnibusJapan, Sony PCL, and Imagica to keep the chain tight. Bilingual handling stays in step throughout, so English and Japanese supervisors review the same shots. Online sessions keep global teams aligned across time zones, with notes folded straight into the next pass.

Cost is quoted in Japanese yen, with the 10 percent consumption tax shown plainly on every line. Simple clean comps carry a clear per-shot rate, while heavy green-screen or CG-integration work is priced against the shot breakdown. We set the schedule around broadcast slot dates or streaming release windows and report progress at each turnover. Whatever the visual aim, we hand back composites that earn first-pass approval and serve the story.