Rotoscoping & Cleanup

Rotoscoping and cleanup form the invisible base under nearly every Peruvian VFX delivery. Our planning places this frame-by-frame work with the roto teams inside the Lima post cluster. Cinesphere VFX, Tondero VFX, Audiovisual Project Perú and La Mecha Post all run dedicated roto pools sized to shot volume. Freelance pros back them up, artists who came up through the comedy-driven Asu Mare cycles, Wiñaypacha-era Andean drama, and the Llosa magical-realist features that shaped Peruvian VFX standards over the last decade.

The work covers character mattes for green-screen extraction, wire and rig removal on action and stunt sequences, marker cleanup on tracking plates, and the detailed paint work that erases production artifacts from finished frames. That means boom mics drifting into frame on cramped Cusco interiors, crew reflections in Sacred Valley glass, modern signage in colonial Lima backstreets, and the GPS markers that DGAC drone rules need visible during flight. Shot volume ranges from a handful of cleanup passes on a small drama up to several hundred roto shots on an effects-heavy feature. We set up turnover and review against the offline edit on Frame.io or Shotgrid.

Pipelines run Silhouette for detailed shape work, Nuke for a direct link into downstream compositing, and Mocha Pro for planar-tracking-aided roto where geometry and camera moves allow it. Tool choice is made shot by shot. The toughest hair, fur, motion-blur and semi-transparent elements go through layered core-matte and soft-edge methods plus frame-by-frame hand work.

We match motion-blur direction and strength to the source photography, so roto edges stay invisible in the final composite. Edge treatments are tuned to the lens traits and grain of the rental-house glass most Peruvian shoots run: ARRI Alexa Mini, Sony Venice and RED Komodo packages from the Lima rental houses. Cleanup work for Ministerio de Cultura heritage-site shoots follows the INC rules on digital changes to UNESCO-listed monuments, and our team sets up clearance records where they apply. Final delivery hands clean plates downstream as EXR or DPX sequences, ready for the compositing pass. Detailed shot notes flag any edge cases the supervisor should see.