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In this clip we're going to take a look at despill with the keylight tool.
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So often when combining multiple keys and mattes,
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the image is despilled separately from the final alpha.
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Chroma keys are often built to have two major functions.
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One, to pull a key, and two, to despill the image.
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So let's take a look at our script in more detail.
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So here is our image sequence, and we're going to add a keylight tool,
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and before we begin we're going to add an alpha to our image.
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So if I double-click on my image and I scroll down in the
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Properties bin we can turn on Auto Alpha.
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Let's take a look at our alpha.
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Here it's made the entire canvas 100% white in the alpha.
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Or we can do a second option, which we add a shuffle node.
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There's a shuffle node,
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I'm just going to turn off the Auto Alpha and shuffle
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100% white into the alpha instead.
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So either one of those is acceptable,
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but it's really just your personal preference.
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I find that a visual cue often helps, so if that works for you,
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feel free to add a shuffle node.
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So hook up the source input,
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and I'm going to connect the InM over here just so that
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we can see it a little bit easier.
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Now if you need a refresher with all the different inputs for the keylight tool,
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I do suggest that you refer back to a module earlier in this
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course named Combining Multiple Mattes.
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In that particular module you'll find a clip named
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Combining Core and Fringe Mattes with Keylight.
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And there, we looked at the keylight input in more depth.
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So now that we have the InM selected,
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we're going to hook it up to the shuffle node or to the
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original image if you had an alpha there.
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InM is the inside mass or core matte,
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and we're going to tell the keylight tool to make
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the entire canvas the core matte.
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So scroll down to the bottom of your Properties bin for the keylight tool,
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and then, under Crops, there's the InM component and OutM component.
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Under InM, our core matte, we're going to say alpha,
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and now it's going to make sure that the entire
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canvas is our core matte and that we, essentially,
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can't pull a key.
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So let's take a look at our image and go to full color,
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and we're going to just say, please, just get rid of 100% of that green.
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It's despilled the image, but our alpha remains untouched and 100% white,
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which means that we have separated the despill from
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the keying process in this tool.
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So now let's take a look at a different way to do the same thing.
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So this is personal preference.
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So again, here's the keylight tool, but I don't have to select the InM,
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or hook it up.
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We can select the keylight tool and scroll down to the bottom,
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and instead, this time, go to Inside Mask.
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So by default, the source alpha will be set to Ignore,
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so it's ignoring that source alpha just so that we can pull a key,
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essentially, so pull a key and to do the despill.
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So here's a keylight, we want to say, please take a look at that alpha,
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and we want to not pull a key, but just despill.
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Do that again, full alpha, and there we go.
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So it is doing the same thing again, it is doing the despill,
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but not changing my alpha, which is exactly what we want.
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So now that we know how to set up the keylight tool
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so that it doesn't pull a key,
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let's take a look at the couple of different options that
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we have in order to despill the image.
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So here we go, so here is our image over here,
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and we're going to take a look at the keylight tool.
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Again, it's hooked up to the InM.
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And I can do one of two things, I can either,
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A, despill 100% of the green, so here it is,
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100% of the green.
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Just say one.
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The problem with this is sometimes it's quite aggressive,
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so be careful that it's not going to push those colors too far,
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especially because there was never 100% green in our backing region.
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However, there is a benefit to doing this,
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and that is that our backing region has actually matched
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the color of our character's hair.
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So a lot of times what'll happen is that the color of the backing
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region will not match the edges of our character,
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or object, which will leave a halo once it's pre-multiplied.
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So for her hair this is actually working really fantastic.
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However, once it's pre-multiplied, we may get a brown halo next to her jacket,
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so we will take a look at that in more depth in future
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clips in this particular module.
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So let's take a look at the second option.
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So the second option is to actually select the green inside of this image.
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So let's add a new keylight tool, there's our keylight.
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Let's hook it up to the source, hook it up to the InM if you wish.
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Down here, alpha, so it's not going to pull the key.
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We're going to say, select the backing region color, so there we go.
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Let's try that one more time, there we go.
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So it's neutral gray.
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Take a look at these values,
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it is almost identical across the board with the RGB colors.
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So the problem with this is now not only does it not match her hair edges,
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but it also does not match any other part of this foreground character either.
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So not only will it pull a edge, or a gray edge around her hair,
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but also for the rest of her body.
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Let's take a look at the two different images.
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So here is it before, where it matches her hair,
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and here is where it is where it's gray on the outside and,
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again, quite the difference, but minimal changes in the core of my image,
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which is probably a good thing, just for my edges over here,
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where it will be semitransparent.
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Now this is often an issue,
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edge work is one thing that we really want to take a look at
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when we're finally in our integration.
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We're going to take a look at different ways to change this or to
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modify it in future clips in this particular module.
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Now you can also change small, little things,
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or small, little colors in that back region.
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Let's say that this isn't quite what we were looking for.
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Where you can increase the colors up here in the screen colors,
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so let's just increase that a little bit more,
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we'll exaggerate it.
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So there we go.
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Let's just exaggerate even further, so one five,
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so we can see that it's starting to neutralize it,
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but we can play around with these colors to a degree so that
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we can change that backing region color.
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Now if you push it too far, let's go.
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5, then you can start to affect this one.
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So let's go 100%, and that's definitely not going to work,
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so be careful with these colors.
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We really want to start to play with this backing region color 'cause
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that's going to help us with our pre-multiplied images,
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or once we have the final composite.
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So now that we have reviewed how to do the despill with the keylight tool,
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let's take a look at it with expressions in our next clip.
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