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In this clip we're going to take at exploring core and fringe mattes.
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Now before we really begin,
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let's take a look at the difference between core and fringe
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mattes and the first is the different names.
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So different names for core mattes are a hard matte,
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inside matte, and inner matte.
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And fringe mattes names are soft matte or gray matte.
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So let's take a look at what those look like in our script.
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So we're going to take a look at our image down here and the first
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thing that you will in our template is that we have a bit of a
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pre-processing node and that is the denoise node.
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So we want to get rid of that noise in order to pull the best key.
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Now there are other pre-processing methods that will not
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be reviewed in this particular clip.
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If you do want a review of those,
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I highly suggest that you take a look at the NUKE Green
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Screen Keying Fundamentals Course.
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Now I have used two different tools so here I've used the keylight tool for
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the fringe matte and the primatte tool for the core matte.
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So let's take a look at what these look like.
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So here's the keylight and if we go into the alpha,
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A for alpha, and turn down our gamma in our lights,
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we will see the different variations that it has.
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So it's either matte it has 100% black, inside the matte is 100% matte,
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but towards our edges we still don't have a solid matte so these are areas
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of gray that will need to be refined with our core matte.
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So over to our core matte.
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So this is quite different.
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In fact,
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you can see this actually dilated out further than our
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fringe matte and we will have to change that.
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So inside of our core matte 100% white and outside of it, it is 100% black.
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And of course we're going to add the two of those together.
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So let's take a look at how we do that.
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So onto another template.
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And so here you can notice that I have just a generic tool for the fringe,
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the core, combining them,
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and then the despill separately and that is because it really
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doesn't matter what tools that you use to get those mattes as long
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as it has those common characteristics.
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So here you're going to notice how I mentioned before that
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the despill is separate from the matte.
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So I combine the mattes together to get that perfect matte,
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hopefully and then we're going to despill it separate.
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Now why would we want to despill the image separate,
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copy over that funnel matte, and pre-multiply?
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Well, we're going to take a look at that in a minute.
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Now before we do that,
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I did want to note that it is very important that the despill comes from
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the original image that has not been pre-processed.
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In this case the pre-processing is the denoise.
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Denoise will degrade the plate.
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It will blur it slightly and it just won't look like the original image.
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We will lose that noise so we don't want to do that.
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Now despill will be covered in more depth in future modules and clips,
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but this is just a brief overview.
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So let's take a look at different types of keys and the despills that the pull.
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So here let's go back to full color, A, and take a look at our image.
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So there we go there.
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So let's take a look at first the keylights.
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So the keylight, if we look down here in the whites, pulls one despill.
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Our primatte pulls quite another here.
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It's very pink or magenta.
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IBK is almost on the green side and the roto shape
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that we pull has no despill at all.
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So we're going to combine them together with a keymix tool.
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The keymix will allow us to isolate the A input and reveal it where the
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matte is and it will reveal the B input everywhere else.
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So here is the reddish shape that I have to combine the two of them.
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And here is the keymix.
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So turn off that overlay cue and we can see the harsh details
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between the keylight and the primatte despill.
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Now these are not refined alphas so this is really the extreme,
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just to show how different the despills can be before refinement.
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So if I blur that matte between the two of them,
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it does blend a little bit better.
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In fact, that's better for our alpha here; however,
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we do want to see the very different despills so
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we're going to turn that off for now.
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Back with the overlay, we're going to introduce next the IBK.
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So there is the IBK.
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Again, it's quite different than the first two and of course, the roto shape.
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Now it's a little bit hard to see so that means that IBK is
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not doing a very great despill there,
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but we do have a bit of despill differences between
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the two of them and those two tools.
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So let's take a look at what that looks like overall.
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So I'm going to turn off my overlay and take a look at
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those four different keyers plus the rotos.
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So I guess a roto really isn't a keyer,
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but we're using it to pre-multiply the image.
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So if we go into here, it almost looks like a patchwork quilt.
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So very different despills.
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It's going to look a little bit funny perhaps once
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we're working with our final image.
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So a better alternative to this is to do one global despill once you have
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perfected your alpha and that's why we despill separately from the alpha
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in some cases just for more advanced keys.
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So let's take a look an example of this workflow.
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So if we go down here at the bottom we have a workflow that has the tools that
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are visible so here is my image so here's my original image.
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I have used a keylight to pull the fringe matte.
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I have used a primatte to pull that core,
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but you will notice that the core is much larger than my fringe,
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which is not good.
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So that means that we have to root away at our core a little
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bit just to blend it in between the two so we don't really
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ruin those nice fine-tuned edges.
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So a couple things to look at here are going to be
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the different types of erodes.
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So let's take a look at our property bin and there are
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three different types of erodes.
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So if I hit tab and type in erode, you're going to see the erode fast,
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the erode filter, and the erode blur.
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Now the erode fast is exactly what you expect it to
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be; it does a very quick job.
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It has very little parameters in it and it doesn't allow
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you to fine tune any of those edges.
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So let's take a look at that now.
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So here is that default 1 again, the erode fast, and if I keep it at 1.
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5, so there's 1.
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5 and I change it to 2, there's no difference.
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So this tool can only erode or dilate at a full
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pixel setting and not sub-pixels.
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So onto the next one.
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So this is the filter erode.
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We can see that it has different filters and it can work on
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sub-pixels so let's take a look at that image.
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So there's 2.
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5, there's 3, back to 2.
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5, and 2.
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So it does erode at sub-pixels, which allows us to really fine tune that image.
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So back to 2.
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5 and you'll notice it has different filters so the box is the fastest.
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Here's Gaussian, it blurs those edges just a little bit more.
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So I'm going to leave it at box and I will explain why in a moment.
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Now onto the last type of erode.
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So let's just type 2 in the property bin and take a look at that one.
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So this last one has a blur size.
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So it has a blur that is included in it and we can increase the quality,
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but it has no filter.
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So what I like to personally do is I like to use the one with
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the filter and then add my own personal blur.
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Again, it doesn't really matter which one you use overall,
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which erode you use, as long as it gets the results that you're looking for.
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So I've taken that erode.
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I've eroded away the image so here is it originally.
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I've eroded away and added a blur to it just to
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combine the two of them in there.
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So let's take a look at those combine mattes.
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Take a look at that keylight.
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Am I retaining those edges?
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Yes, I've retained those edges.
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Turn down the light so slam it down in the gamma just
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so we can see in those details.
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So there's the keylight and there's the combine matte,
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retaining those edges which is really nice for a combine matte
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and now we can despill the image separately.
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So as a brief summary for this particular clip,
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we looked at blurring the core matte so that we can blend
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it really nicely with our fringe matte.
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We also looked at why we would want to combine the
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matte separately from our despill.
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