Rotoscoping & Cleanup

Here is how the work lines up. Canadian rotoscoping and cleanup work is staffed through the country's senior VFX houses. DNEG Vancouver / Toronto / Montreal (Dune Part Two atmospheric particle cleanup, Tenet, Ex Machina edge-roto work), ILM Vancouver, Pixomondo Toronto (Star Trek Discovery wire and sign cleanup across the entire Strange New Worlds and Discovery production runs, plus Halo), Image Engine Vancouver (District 9, Lost in Space), SpinVFX Toronto (Game of Thrones, The Boys), Folks, Mavericks VFX Toronto, Rodeo FX Montreal, Hybride Quebec, and Mr. X / Wolfe Productions.

Here is what we have to work with. Roto-paint teams in this lineage handle the prep work that makes the downstream composite possible: character core-mattes with hair detail extraction, wire and rig removal across stunt sequences, sign and product cleanup for advertising and brand-clearance issues, marker and tracker removal, lens-flare cleanup, atmospheric particle reduction (Dune Part Two sandstorm work), and snow-and-debris removal across Banff, Jasper, Whistler, and northern-Canada production locations. The Inuit cinema cleanup tradition that started with Atanarjuat: The Fast Runner — natural-light, real-location, frame-accurate observation — informs the country's prep-work sensibility.

Here is the layout. Tooling runs Boris FX Mocha Pro for planar-tracker-helped roto (the industry standard, deeply integrated into both Nuke and After Effects pipelines), Boris FX Silhouette FX for detailed shape work and paint cleanup, Foundry Nuke with its native RotoPaint node for shot-context work, and Adobe After Effects for motion-design-adjacent cleanup. Motion blur is matched against source-footage traits using directional edge treatments and multi-frame sub-sample techniques, with hair, fur, and semi-transparent elements handled via core-matte-and-edge-feather ways rather than hard-keyed shapes.

Here is how the work shapes up. Tracker integration uses 3DEqualizer and SynthEyes for high-end camera-tracked roto and PFTrack for production-volume work. Shot turnover handles ARRIRAW, RED R3D, Sony Venice X-OCN, and Blackmagic RAW originals at 4K, 6K, and 8K, with ACES-linear colour management protecting the prep through the downstream composite. Reviews use ftrack or ShotGrid, with turnover from supervisor down through the artist team lined up against the wider VFX shot-tracking pipeline.