03 / 07Camera & object tracking
Matchmove
Solves that lock, dead-on.
3D camera, object and body tracking delivered in your scene format, with lens distortion solved and undistort maps ready to go.
What Matchmove does
Matchmove recovers the camera. From the plate alone, or from the plate plus set survey, lens grids and HDRIs, we solve where the camera was, what lens it wore and how it moved, so CG can be placed in the shot and stay glued to it.
You send
Plates, lens and camera metadata, set survey or LiDAR if it exists, and a note on what will be added.
We solve
Camera, object and body tracks with lens distortion modelled, checked against survey and locked to scene scale.
You get
Scene files for Maya, Nuke or Houdini, undistort and redistort maps, and a cone-check render proving the lock.
Camera & object tracking
Before / After
Move the camera,
the solve holds
The skyline was placed on a solved camera, so the parallax between the figure and the buildings behind holds through the move.
Camera solve
From the marker grid and set survey
Lens distortion
Solved first, undistort maps delivered
Scene scale
Locked to measured points on set
Cone check
Rendered over the plate before delivery
Process
Brief to
final delivery
Five stages, the same five every time. Open a stage to see what it means on a matchmove show.
01
Brief
What the shot has to do, what you are sending, and when it has to be back.
On a Matchmove show
Camera body, lens, sensor and any survey data collected up front, with a note on which elements the solve must serve.
02
Analysis
Plates conformed and QC'd, every shot banded by complexity and given a method before work starts.
On a Matchmove show
Distortion grid solved first, then a feature-track plan: what tracks, what gets masked, and where the scale constraints come from.
03
Production
One supervisor, one pipeline, daily versions on your review platform.
On a Matchmove show
Feature tracking, camera solve, survey alignment and object or body tracks, with lens distortion applied so CG renders line up with the plate.
04
QC
Checked at full resolution, frame by frame, against the delivery document.
On a Matchmove show
Cone-check and geometry renders over the plate, checked at full res for slide, jitter and scale drift on every frame.
05
Final Delivery
Colour-managed, versioned, named to your convention and archived for the life of the show.
On a Matchmove show
Scene files in your format, undistort and redistort maps, and the lens model so your renders match without guesswork.
Technical Showcase
How the work
actually gets done
- Technique01
Lens distortion first
Distortion solved before the camera, from grids where we have them and from the plate where we do not.
- Technique02
Survey-aligned solves
Set survey, LiDAR or measured points lock the solve to real scale, so CG sits at the right size.
- Technique03
Body & object matchmove
Rigged geometry tracked to performers and props for cloth, digital doubles and interactive effects.
- Tools04
3DEqualizer & Nuke
Solves in 3DEqualizer, verified and delivered through Nuke, exported to Maya and Houdini scene formats.
- Quality control05
Cone-check renders
Every solve ships with a check render over the plate: cones on the tracked points, geometry on the set.
- Production06
Pipeline-native delivery
Your scene format, your naming, your frame range. No reconforming on your side.
In the Pipeline
Where Matchmove
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.