04 / 07Where the shot becomes a shot
2D Compositing
Every layer, one frame.
Multi-pass CG integration, set extension, sky replacement and atmospherics — Nuke-native, colour-managed end to end under ACES.
What 2D Compositing does
Compositing is where roto, prep, keys, tracks and renders finally become a single image. We integrate CG passes, extend sets, replace skies, add atmosphere and light wrap, and deliver a frame that grades as if it was shot that way.
You send
Plates, elements, CG passes and renders, lookdev reference and the delivery spec.
We build
Layered Nuke scripts with keys, mattes, projections, atmosphere and light wrap, colour-managed from input to output.
You get
Grade-ready EXR or DPX sequences to spec, plus the scripts, so any note can be turned around in hours.
Where the shot becomes a shot
Before / After
Drag through
the passes
Screen extracted, skyline built, atmosphere and light wrap added, then the whole frame regraded for dusk. This is the layer where it all comes together.
Set extension
Full skyline build on the solved camera
Sky replacement
Dusk gradient and star field
Atmos & wrap
Depth haze and edge light on the figure
Grade
ACES, delivered as EXR
Process
Brief to
final delivery
Five stages, the same five every time. Open a stage to see what it means on a 2d compositing show.
01
Brief
What the shot has to do, what you are sending, and when it has to be back.
On a 2D Compositing show
Reference frames, lookdev and the delivery spec locked. We ask for the colour pipeline before we ask for the plates.
02
Analysis
Plates conformed and QC'd, every shot banded by complexity and given a method before work starts.
On a 2D Compositing show
Shot breakdown per layer: what is keyed, what is roto'd, what is projected, what is CG, and the order they stack in.
03
Production
One supervisor, one pipeline, daily versions on your review platform.
On a 2D Compositing show
Layered comps built in Nuke — integration, set extension, atmos and light wrap — with versions posted to your review platform daily.
04
QC
Checked at full resolution, frame by frame, against the delivery document.
On a 2D Compositing show
Frame-by-frame check at full res on a calibrated display, against the delivery document, before every version goes up.
05
Final Delivery
Colour-managed, versioned, named to your convention and archived for the life of the show.
On a 2D Compositing show
Colour-managed EXR or DPX to spec, versioned and archived for the life of the show, with the scripts alongside.
Technical Showcase
How the work
actually gets done
- Technique01
Multi-pass CG integration
Beauty, diffuse, spec, AO and cryptomatte passes rebuilt in comp, so every element can be tuned in context.
- Technique02
Set extension & sky
Projected matte paintings, replacement skies and CG extensions locked to the matchmove.
- Technique03
Atmos & light wrap
Depth-driven haze and edge light so foreground and background share the same air.
- Tools04
Nuke, ACES end to end
Nuke-native scripts under an ACES colour pipeline, so what we see is what your DI sees.
- Quality control05
Calibrated review
Final checks on a calibrated display at delivery resolution, not on a browser player.
- Production06
Daily reviews
Playable versions with artist notes on Syncsketch or ftrack. Nothing drifts for a week unnoticed.
In the Pipeline
Where 2D Compositing
sits
Every discipline hands the next one something. Hover a stage to see what it passes on, and click through to it.
- 01RotoscopyMattes hand compositing a clean edge for light wrap, grade isolation and CG integration.
- 02Paint & PrepA clean, stable plate that lets keying, matchmove and compositing work on the shot instead of on the rig.
- 03Wire RemovalA rig-free plate that keying and compositing can treat as if the stunt was never wired.
- 04CleanupA finished plate: nothing added, nothing left that the frame did not need.
- 05KeyingA clean alpha that lets compositing wrap the new background around the subject without a halo.
- 06MatchmoveA locked camera and undistort maps that let compositing place CG, set extensions and clean-plate projections with confidence.
- 072D CompositingThe finished frame — graded, checked and delivered as EXR or DPX to spec.
- 08FinalGraded, checked frame by frame, delivered to spec and archived for the life of the show.
Why AronFX
The standard
every frame
leaves under
- 01
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.
- 02
Consistency
One methodology per sequence, written down before work starts, so the last shot matches the first even when a dozen artists touched them.
- 03
Scalability
Departments sized for volume and staffed to the difficulty of the shot, so a 500-shot show gets a schedule you can hold us to.
- 04
Technical expertise
Nuke-native and ACES colour-managed, with lens distortion, survey alignment and multi-pass integration handled as routine rather than as a special request.
- 05
Production workflow
Plate intake and technical QC within 24 hours, shot-level bidding with complexity banding, and a named supervisor on every show.
- 06
Quality assurance
Frame-by-frame checks against the delivery document, a difference matte with every prep delivery, and final review on a calibrated display at delivery resolution.
- 07
Client collaboration
We work inside your pipeline — ftrack, Syncsketch, Aspera, your naming convention, your delivery document. You should never have to learn ours.
Next Project
Have a VFX
project in mind?
Send us a cut, a plate or a shot count. You will hear back from the supervisor who would run your show, with a breakdown, a schedule and a number.