Visual Effects Compositing

VFX compositing in New York runs on Nuke-based pipelines at the senior houses along the Chelsea corridor. These include Framestore NY (Gravity, the Avengers franchise), The Mill NY, Method Studios, MPC, DNEG (the former Sniper Studios footprint) and Brickyard VFX NYC. Anonymous Content NYC, Untold Studios NY ops and the BUF NY operation widen the pool. Brooklyn-based boutiques handle commercial and broadcast finishing for the New York fashion, finance and pharma sectors.

Our planning places each project with a compositing team sized to its shot count. A senior Chelsea facility takes several hundred final shots on a Marvel or DC theatrical feature. A mid-tier house suits a HBO Hudson Yards series like Succession, Mrs. Maisel or Severance, and a focused boutique fits a New York commercial running through Anonymous, RSA NY ops or the Park Pictures roster.

We manage shot turnover from the offline edit. Plates are graded and conformed cleanly before compositing starts. Review cycles run through ftrack, Shotgrid or Frame.io, so feedback moves quickly between New York facilities and overseas producers on co-productions with HBO, Netflix, Apple TV+ and Amazon Studios.

Green-screen keying and rotoscoping use multi-channel keying, edge processing and careful hand work. This handles the motion blur, fine hair and semi-transparent elements common in the fashion, beauty and luxury work routed through Manhattan commercial agencies. Motion tracking runs on 3DEqualizer and PFTrack for camera-tracked shots, with object tracking supported across ARRIRAW, RED R3D, Sony Venice X-OCN and the HDR delivery specs global streaming sites now need.

At the higher end, compositors work in linear ACES pipelines. These support the high bit-depth files and Dolby Vision HDR workflows that HBO, Apple TV+ and Netflix need for master delivery. The Steiner Brooklyn Navy Yard LED volume (used on Severance and Mrs. Maisel) and Silvercup's volume stage have moved some of the comp load toward in-camera capture. But the plates that result still need broad integration work, such as set extension, sky replacement, reflection cleanup and CG character integration, all run through the same Chelsea pipeline. Finals go out as DPX sequences, EXR sequences or ProRes masters, based on the downstream finishing facility. The NYS Film Tax Credit 30-35% post-prod uplift is logged alongside IATSE Local 700 crewing where qualifying budgets apply.