Rotoscoping & Cleanup

Here is how the picture comes together. Colombian rotoscoping and cleanup teams sit inside the country's senior VFX houses — Toma Uno Bogotá, Limonero Films, Imagen Latina, Sambia Post, and Antorcha Post — with Pixelio Animation Studios Medellín extending roto-paint capacity for productions splitting shoots between Bogotá and Medellín. Pipelines run Mocha Pro for planar-tracking helped roto, Silhouette FX for detailed shape work and fine-edge matte refinement, and Nuke for direct integration with the downstream composite.

The country's telenovela ADR workflow custom at Caracol and RCN Bogotá has produced a deep talent pool skilled in high-volume rig, wire, mic-pack, and signage cleanup work — exactly the discipline that translates into the rig-removal volume increasingly demanded by Netflix Latam, HBO Max LatAm, Disney+, and Amazon Prime LatAm scripted series.

Expert work draws on the country's prestige-feature lineage: atmospheric particle and dust cleanup tied to the Memoria (Apichatpong) and Embrace of the Serpent (Ciro Guerra) aesthetic, Guajira dust and sand-removal techniques developed on the Birds of Passage shoot, and the magical-realism semi-transparent element handling used across Colombian feature finishing. Fine-hair, fur, and motion-blur roto is handled through multi-channel keying help, soft-edge core mattes, and detailed hand-work; multi-frame edge treatments preserve natural blur that integrates invisibly into composites.

Format scope spans ARRIRAW, RED R3D, Sony Venice X-OCN, and Blackmagic RAW originals at 4K, 6K, and 8K resolution with full ACES-linear and HDR pipeline support. Turnaround scales from hours per shot on simple roto to multi-day per-shot for character-detail work with hair and motion blur, with shot breakdowns and team-scaling guesses provided up front, bilingual EN/ES dailies notes, and review delivered via Frame.io and ftrack to overseas supervisors and producers.