Post / Image Transformation
AI post-production is not a single filter or push-button pass. It is a shot workflow: define the change, preserve what matters, generate or transform the required material, and integrate it with editorial, compositing, sound, and color. Our approach treats AI output as production material that must be selected, directed, matched, and finished.
Onsetology production notes · Updated August 26, 2026
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Working Principle
We select methods around the brief, source material, schedule, review needs, and final delivery—not around a predetermined tool.
01 / Process
Each shot is classified by creative intent, source quality, motion, continuity risk, and the amount of manual finishing it may require.
Representative frames and short motion tests establish the look before the team scales the approach across a sequence.
Inputs, references, masks, timing, and versioning are organized so results can be compared and reproduced during review.
Edges, grain, light, color, motion, and artifacts are resolved in the same finishing context as the rest of the film.
02 / Production Notes
AI post-production becomes manageable when the team stops describing it as one broad effect. Every shot has a source, a requested change, elements that must remain stable, a visual reference, an edit context, a duration, and an approval state.
A shot audit identifies where an AI method is appropriate, where conventional compositing or cleanup is still required, and where source quality, continuity, reflections, or rights create additional risk. The audit becomes a test plan before work expands across the sequence.
A useful generated result is not automatically a finished shot. It may still need tracking, masks, edge work, stabilization, cleanup, grain, relighting, color matching, or selective restoration from the original plate.
Keeping generation and integration visible as separate stages also improves review. The team can evaluate the creative direction of the change without confusing it with the craft still required to make that change belong inside the photographed film.
Tests should be reviewed in sequence and at delivery speed. A side-by-side comparison can show whether a transformation improves the shot, but the edit reveals pacing, continuity, and whether the new image supports the scene rather than only adding novelty.
Final work follows the same color-management and delivery discipline as photographed or conventionally rendered material. Aspect ratios, cutdowns, text-safe areas, compression, platform specifications, and archive requirements are defined before the last round of shot work.
04 / FAQ
No. Source resolution, motion blur, occlusion, reflections, continuity, and legal or brand requirements can limit an approach. We test high-risk shots before committing the full sequence.
Through approved references, controlled inputs, shot tracking, version review, compositing, and a final color-managed pass—not through generation alone.
Yes. The workflow is non-destructive: source plates, approved versions, and final composites remain distinct so creative decisions can be reviewed and revised.
Sometimes. Source resolution, motion blur, hair and edges, reflections, contact with the environment, lens movement, light direction, continuity, and rights can limit the approach. We begin with a shot audit and representative motion test before scaling the work.
05 / Other Production Paths
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