AronFX is a visual effects and post-production studio built around the exacting, unglamorous work that makes every other department believable.
The studio in eight frames
Northwind · Key, comp, dusk grade
Who We Are
A studio started
by the people
doing the work
AronFX was assembled by compositors and roto artists who had spent a decade watching good shots get lost between vendors — a matte drawn in one country, a track solved in another, a comp finished by someone who had never seen the reference.
So we built the opposite. Every discipline sits in one building, under one supervisor, on one colour pipeline, with one delivery spec. The artist who prepped the plate can walk over to the artist compositing it. That is not a workflow diagram; it is just how the floor is laid out.
“If the audience notices our work, we have done it badly. The whole craft is spent making sure nobody ever thinks about the frame.”
- 01
One supervisor, end to end
The supervisor who bids your show is the one reviewing it on delivery day. Nothing gets re-explained at a handover, because there isn't one.
- 02
Artists first, capacity second
We staff to the difficulty of the shot, not the size of the invoice. Hard sequences get senior artists from the first version, not after the first retake.
- 03
Built for the shots that come back
Hair against a blown-out sky. Rain on a moving lens. Rigs through motion blur. The work other vendors hand back is the work this studio was assembled to do.
What We Do
Seven disciplines,
one standard
Each of these can be booked on its own. Most shows take four or five, which is exactly why they all live under one roof and one supervisor.
- 01
Rotoscopy
Articulate mattes on 4K, 6K and 8K plates, tracked not stepped — so edges stay honest through the whole cut.
- Hair & fine detail
- Motion blur
- Semi-transparency
- 4K / 6K / 8K
- 02
Paint & Prep
Clean plates rebuilt frame by frame, so compositing starts from what the camera should have seen.
- Clean plates
- Marker removal
- Split screens
- Stunt pad removal
- Reflection removal
- Slimming & beauty
- 03
Matchmove
Camera, object and body solves delivered in your scene format, with distortion maps ready to go.
- Camera solve
- Object track
- Lens distortion
- 04
Compositing
Multi-pass CG integration, set extension and atmospherics — Nuke-native, ACES end to end.
- CG integration
- Set extension
- Grade-ready
- 05
Cleanup
Crew, rigs, reflections, tape marks, dead pixels. Everything the frame is better off without.
- Dust-bust
- Beauty work
- Reflection removal
- 06
Keying
Green and blue screen extraction with spill suppression and edges that survive a heavy grade.
- Despill
- Edge treatment
- Multi-key builds
- 07
Wire Removal
Wires, harnesses and safety rigs taken out without a trace. The invisible work that sells the stunt.
- Harness paint-out
- Rig removal
- Stunt support
Need all
of them?Most shows do. One bid, one supervisor and one delivery spec across every discipline on this page.
Start a Project→
Our Approach
Footage in,
frames out
Four stages, the same four every time. The interesting part is how little changes between a 90-shot commercial and a 500-shot feature.
- 01
The plate arrives
Secure transfer, conform against your EDL and a technical QC pass within 24 hours. You get a written note on anything that will bite us later — bad tracking markers, crushed blacks, a lens change mid-sequence.
- Secure intake
- Conform & QC
- Reference gathering
- 02
Breakdown & methodology
Every shot is banded by complexity and given a method before a single matte is drawn. You approve the approach and the schedule, and the bid holds to it.
- Shot-level bidding
- Complexity banding
- Schedule lock
- 03
Technical execution
Roto, track, prep and comp run in one building under one supervisor. Daily reviews land on your platform with playable versions and artist notes attached, so nothing drifts for a week unnoticed.
- Daily reviews
- Named supervisor
- Versioned iterations
- 04
Final delivery
Colour-managed EXR or DPX to your spec, checked frame by frame against the delivery document, then archived for the life of the show.
- ACES delivery
- Frame-by-frame check
- Long-term archive
Stage 03, in one frame
One frame,
four passes
A rooftop plate shot against green with a full wire rig. Keep scrolling and it goes through the studio the way the shot did: keyed, de-rigged, extended, graded. Six artists, one supervisor — and the audience is supposed to see none of it.
01Keying
Extraction and spill suppression
02Wire removal
Rig and harness paint-out
03Set extension
Full CG skyline build
04Compositing
Atmos, light wrap and grade
Global Presence
Two studios,
one timeline
Pick a studio. The floors are different sizes and do different jobs, but the shot never leaves the same pipeline.
Coverage · UTC
Princeton
Supervision & client services · United States
- Local time
- ET · UTC−5
- Hours
- Mon–Fri · 9am–6pm ET
Studio address to confirm
Princeton, NJ
- VFX supervision and client-facing creative reviews
- Production management, bidding and delivery coordination
- US-hours overlap for same-day turnarounds
Hyderabad
Production hub · India
- Local time
- IST · UTC+5:30
- Hours
- Mon–Sat · 9am–9pm IST
Studio address to confirm
Hyderabad, Telangana
- Rotoscopy, paint, prep and matchmove at volume
- Two overlapping shifts across a six-day week
- Segregated project network, no removable media
Quality & Reliability
Boring,
on purpose
Creative risk belongs in the frame, not in the schedule. Everything around the work — security, versioning, reviews, delivery — is deliberately predictable, because that is what lets the shots be ambitious.
- 24h
- Plate intake and technical QC
- 2 days
- Typical bid and breakdown
- 1
- Named supervisor per show
- 3
- Time zones, one pipeline
- Precision
- Nothing leaves the building without a supervisor pass at full resolution. We check the frame the way a DI theatre will, not the way a browser player will.
- Consistency
- One methodology per sequence, written down before work starts, so shot 412 matches shot 3 even though eleven artists touched them.
- Collaboration
- We work inside your pipeline — ftrack, Syncsketch, Aspera, your naming convention, your delivery document. You should never have to learn ours.
- Security
- Segregated project networks, no removable media on the floor, NDA'd artists, access logs kept for audit, and content handling built against studio security requirements.
- Production standards
- ACES colour management end to end, versioned EXR and DPX deliveries, and a project archive maintained for the life of the show.
Behind the Scenes
Nobody here
is a resource
Around 160 people across two studios. Artists who argue about edge treatment at 11pm, coordinators who know your delivery document better than you do, and a pipeline team nobody notices until the day they save the show.
Echo Protocol
Final composite — 412 shots
The Last Tide
Roto and prep review
Hollow Crown
Paint pass, version 06
Cinder
Wire removal breakdown
Deep Field
Matchmove and integration
Northwind
Key and comp, dusk grade
Supervisors
VFX and comp supervision on every show
Compositors
Nuke-native, junior to lead
Roto & prep
The largest department, and the proudest
Matchmove
Camera, object and body solves
Pipeline & IT
Tools, storage, security and uptime
Production
Coordinators, schedulers and client leads
Next Project
Let's create
something extraordinary.
Start with the reel if you want to see the work, or send a cut and a shot count if you already know what you need. Either way you will hear back from the supervisor who would run your show.