P O R T F O L I O

Experience MM HORDE AXIS's matchmove technology through video.

Parasyte: The Grey  |  Netflix Series
​In this project, most of the shots we worked on involved rotomation and object tracking tasks.
Tasks such as rotating the entire body or the face while the character rotates its head posed significant challenges.
Overall, it was necessary to ensure that the characters moved naturally in 3D space and seamlessly integrated into the live-action footage, which involved considering a multitude of complex elements.

Especially in the early scenes at the performance venue, as most shots involved rotomation, it was crucial for the characters to stand firmly on the ground while maintaining consistent scale and naturalness. However, due to lighting variations in the footage, even basic camera tracking was challenging.

As experienced professionals in rotomation may already know, if rotomation work is done on footage with shaky or irregular camera movements, the characters will also move unnaturally along with the camera. Therefore, ensuring that the camera follows the correct trajectory was a crucial issue not only in rotomation but also in all shot tasks involving object tracking.

In most of the shots we worked on, the rotomation was tightly matched from the neck to the face, while the rest of the body parts such as arms and legs were roughly matched to assist animators in creating smooth animations. Therefore, please note that any shaking or protrusions in areas other than the face and neck were not issues in our work.
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IL4U  |  Commercial video
Enjoy MM HORDE's matchmove prowess.
Turn on CC for English & Korean subtitles

Today, I am writing to introduce a new portfolio after a long time. MM HORDE takes great pride in having participated in a project conducted internationally, not domestically. Matchmove encompasses various areas of work, with rotomation being one of the most challenging tasks. I am particularly proud to have been involved in this complex aspect of matchmove, rather than just simple camera tracking.

MM HORDE understands that camera tracking technology is based on photogrammetry, and we actively utilize related technologies, such as photogrammetry scan programs, rather than just relying on camera tracking software. When we are tasked with projects that require us to generate or apply photogrammetry data ourselves, it brings us excitement and joy beyond just the work itself.

Furthermore, this project required the use of multiple rigs, rather than just one rig per character. Specifically, it involved aligning and connecting three independent lion head rigs and one human rig, adjusting their scale and position, which required complex technical skills.

We look forward to taking on more challenging projects where we can fully demonstrate our capabilities.
Thank you.
Object tracking Transformation!  |  Matchmove Special Technique
​Enjoy MM HORDE's matchmove prowess.
Turn on CC for Korean subtitles.

MM HORDE always pays attention to intricate details during the workflow to make it easier for teams to work after the matchmove process is completed. While some may think our workflow doesn't differ significantly in the process, I believe these small details accumulate to efficiently reduce overall working time for the post-matchmove teams and produce excellent quality.

When working on tasks that involve both camera tracking and object tracking (or rotomation) simultaneously, various issues can arise. Difficulties in tracking may make calculations challenging, or while calculations may be accurate, unclear survey information can cause objects to move inaccurately.

In this video, we will examine a specific case and explore MM HORDE's solution.
How easy finger rotomation is!  |  Matchmove Special Technique
Enjoy MM HORDE's matchmove prowess.
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We find 2.5D points extremely useful in achieving seamless integration between live action footage and real 3D environments. We believe there are very few artists that utilize 2.5D points to their fullest extent like we do.
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To maximize efficiency, we meticulously match every joint and surface of the body/clothing through 2D tracking, utilizing all available points. 
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In order to control all translate/rotate channels of the controller based on points, it's necessary to have a minimum required number of points, and selecting the appropriate points to track is crucial.
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These are all part of our robust expertise!
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Whether it's rotomation or general matchmove work (camera/object tracking), the quality of the outcome can significantly elevate when we adeptly employ the constrain function and leverage 2.5D points.
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It's worth mentioning that all the techniques showcased in our video were achieved solely using 3dequalizer and Maya. We rely on the core functionalities within Maya itself rather than additional plugins or software.
Enjoy watching!
Sweet Home Season 2  |  Netflix Original 
This is a breakdown video for the Netflix Original project "Sweet Home Season 2". This project presented various challenges, raising the difficulty significantly.
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 The main issues include:
1. Zoom and anamorphic lens Issues
2. Matching Scene Scale without survey data
3. Matching the movement of the plates while characters and rigging mismatch 
- Accurately matching the abdomen part of the character Yi-Kyung
- Challenges in matching the movement in scenes where Hyun Soo's body is attacked by tentacles due to the absence of finger controllers and significant differences in matching data
4. Rotomation for the underwater scene without survey data


 "Sweet Home Season 2" project utilized both regular lenses (spherical lens) and anamorphic lenses. As you may know, anamorphic lenses typically pose challenges in distortion control and require significant working hours.


How We Overcame Challenges:

Car Action Scene:
Frequent use of zoom lenses with poor visibility of the background in car action scenes posed challenges. We had to employ various methods to create cameras to solve shots, using the car survey data. Additionally, there were numerous shots in the car action scenes that required object tracking. To ensure that these cars were properly attached to the ground, we needed to find the correct scene scale without survey.

Pregnant woman Yi-Kyung scene:
When matching Yi-Kyung's pregnant belly, we had to work with two types of rigging simultaneously: one with only the pregnant belly and another without the belly (since the modeling wasn't tailored precisely to her). We performed hand tracking using the regular rig, which included all parts of the human body, for the shadows cast on the belly, and matched the belly using a rig with only the pregnant belly. Generally, matching moves with curves are considered the most challenging tracking tasks. Ensuring that oval edge parts match perfectly regardless of the angle requires highly skilled techniques.Additionally, an improvised pregnancy belly prop was used to depict her pregnant abdomen. Because of this, each plate had varying shapes and positions, requiring meticulous attention to find the appropriate shape for rigging on each shot.

Hyun Soo Scene:
During the rotomation work where Hyun Soo's body is attacked by tentacles, there were many differences in shape between the rigging and the actual plate movement, and there were even situations where finger controllers didn't exist.When matching Sangwook’s arm attacking Hyun Soo, there was no modeling and rigging data that accurately surveyed his arm. Therefore, we had to create a mesh arbitrarily based on the plate and connect it to rigging to proceed with the work.

Underwater scene:
Since there was no survey data available for underwater scene, and all camera and roto animation work needed to be done, it was challenging to seamlessly integrate the two.


We anticipate that the segment around the 00:48 mark will captivate many viewers. Generally, when working on rotomation tasks, most artists use a method similar to the one that animation artists do, inserting individual keys while checking the visible parts manually. Instead, we employ 2.5D points in diverse ways. We anchor all elements within the shot to ensure that they adhere to the rigging, and create natural animation. This technique may pose challenges even for experienced matchmove artists. In essence, it involves re-rigging atop existing rigging, integrating with 2.5D points. Mastery of constraint functions and a profound grasp of 3D space (translation, rotation coordinates) are essential for this method. By utilizing this approach, rotomation performance is significantly enhanced, yielding high-quality results with minimal working hours, even for nuanced movements.


We selected shots for the portfolio based on our experience in overcoming these various challenges. Therefore, if you keep these aspects in mind while enjoying the portfolio, you will likely find it even more enjoyable.

If you're interested in collaborating with us, don't hesitate to contact us. We're ready to showcase our capabilities and discuss how we can meet your specific needs!
Duty After School  Season 1 
"Duty After School" involved predominantly challenging rotomation tasks, with most of the project lacking LiDAR and lens data. Working on diverse characters using a shared general human rig added complexity. All characters were fully clothed, yet the rig available for rotomation lacked clothing data. Consequently, aligning the overall movement of the rig posed significant challenges.

Given these numerous challenges, our attention honed in on specific areas outlined in the client-provided CG issue images. We focused on specific areas and poses where these issues occurred, such as the scene involving the monster attacking a person, meticulously observing details to ensure a seamless integration. Efforts were made to showcase natural movements throughout the entire body, minimizing discrepancies on the screen, not just in the crucial areas that required precise alignment.

As you can see in the portfolio, we confirm and refine our work by checking the CG effect that will be incorporated in the blending of hidden line mode and shaded mode. This meticulous approach stands as a fundamental principle within our company.

By focusing on these aspects while exploring our portfolio, you're sure to discover even more enjoyment. 
😊Thank you!
JUNG-E  |  Netflix Original 
This is our breakdown showreel of the Netflix Original project ‘Jung-E'. 

Jung-E presented numerous challenges, particularly in face replacement and character interaction.Our focus was on a crucial sequence towards the end of the film, involving intense action scenes between Jung-E and Sang-Hoon.

Given that the live action footage we worked with was predominantly action-packed, issues like motion blur and jello effects were prevalent, demanding meticulous attention during the tracking process.
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As a result, the tracking process took a bit longer due to these peculiarities.
In terms of matchmove task, we covered the camera tracking for background integration; object tracking to overlay a mechanical material on Sang-Hoon's left eye; rotomation work on Sang-Hoon for interaction with Jung-E during their fight; and digital double work to replace the stuntman's face with Sang-Hoon's. Additionally, there was object tracking for the inclusion of CG effects.
Concrete Utopia 
Concrete Utopia project required a lot of camera trackings with building extension issues.

Fortunately, LiDAR was available in almost all areas, making the challenging camera tracking tasks relatively smooth. However, identifying zoomed plates and solving them posed a bit of a challenge. Additionally, since the plates were shot in a generally dim environment, it was crucial to monitor closely to ensure that we had smooth 2D trackings.

The backdrop of the movie is a derelict apartment complex. However, constructing the actual apartments was not feasible, so the set was built only up to three floors, with the remaining floors extended using CG. We paid special attention to areas where camera tracking might be off to ensure that the extended building would have a realistic outcome.

We hope that with an understanding of these aspects, you'll enjoy watching our portfolio even more.