Rotoscoping & Cleanup

Here is how this works in practice. We set up rotoscoping and cleanup work at Mexico City VFX houses with full frame-by-frame masking pipelines. This covers Labodigital, AnimaEstudios (Toluca, with experience from the Pinocchio del Toro stop-motion production), Brainstorm Multimedia, and boutique roto-paint shops in Roma and Polanco. Standard toolchain runs Foundry Nuke for compositing-integrated roto, SilhouetteFX for dedicated frame-by-frame roto and paint work, and Mocha Pro for planar tracking and Mocha-driven roto shapes.

Here is what we have to work with. On the ground, Cleanup work has wire and rig removal, marker erasure, lens-dust paint-outs, set-decoration adjustments, period-anachronism removal (today's signs, today's clothing on period shoots), and full background plate reconstruction where needed. Output mezzanines deliver as 16-bit EXR sequences in ACES color space, conforming downstream into Resolve / Baselight color suites or back into edit timelines.

Here is the short of it. Mexican roto and cleanup work has shipped on Oscar-tier shoots. Pan's Labyrinth (del Toro 2006, Best Cinematography / Art Direction / Makeup Oscars) needed wide practical-effects-to-CG roto integration with DDT Efectos Especiales practical creature work. The Shape of Water (del Toro 2017, Best Picture) ran amphibian-creature roto-cleanup pipelines combining Spectral Motion suit work with digital fin and gill detailing. Apocalypto (Mel Gibson 2006) needed jungle-set cleanup of today's intrusions on Yucatán location shoots.

Here is the layout. On the ground, For today's streaming, episodic, and commercial work we deliver clean plates and cut-out elements to Vix (TelevisaUnivision LatAm SVOD HQ'd CDMX), Netflix LatAm originals, Disney+ LatAm, Apple TV+ LatAm, and Amazon Prime Video LatAm pipelines. Cross-border roto-cleanup joint work runs with DNEG LA, ILM, and Method Studios LA through USMCA carnet pipelines on tight episodic and feature schedules.