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In this clip we're going to take a look at combining core
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fringe mattes with the keylight tool.
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In previous clips we've used the keymix and channel merge
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tools for combining multiple mattes.
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Combining them with a keylight tool offers a really
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great alternative to these workflows.
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So let's take a look at our shot.
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So inside of our script we are working with the footage of this little
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girl on a portable green screen and we have preprocessed the image so that
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we can really optimize it for keying purposes.
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So here is the preprocessed image.
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It has been white balanced, any color cast has been removed,
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and the green screen is a little bit more even than it
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was before with all the wrinkles.
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Now if you're not familiar with the preprocessing workflow,
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there is an example of what I have used here; however,
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I will go into it in more depth and as well with multiple
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different keyers so just the basic of those keyers inside of the
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NUKE Green Screen Keying Fundamentals Course.
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So let's take a look at the keylight tool itself.
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So inside the keylight tool we have a number of different inputs.
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We have the source input, the OutM, the BG, and the InM.
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So what exactly do those all mean?
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So let's take a look at a reference example.
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So here we have an example and we're going to pretend that this gingerbread man
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so to speak is our little girl in our green screen footage.
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So the OutM represents the garbage matte.
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So that would be either created with a roto shape or in this
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example we're going to be using an alpha channel that has been
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dilated so it's a rough matte.
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InM is the inside matte or the inner matte.
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Another term could be core matte.
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So it will be 100% opaque with no holes in it.
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The source is the RGB source input so that's the green screen that we
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will be plugging into our keylight tool and BG allows us to plug the
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new background into our keylight tool, assuming that that is a funnel key.
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So let's get started.
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So inside of our shot we have a number of different blue backdrops.
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So each one of them will build on top of the other.
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So inside of it we have a starting tool and then a reference tool,
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which is the optimized tool for us to work with.
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So I'm going to skip over a couple of steps just because they
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involve pulling the basic key and preprocessing.
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So here's a preprocessed image.
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We pull a brief key with the IBK tools,
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but we have to do one last step with them because
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this is not an even green screen.
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In fact,
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we have some non-green screen portions here on the right and left-hand sides.
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So we have used the IBK color,
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which is our clean plate and made sure that we've retained part of it.
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So here is a roto shape.
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I've taken the roto shape and isolate it so that our clean plate will
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always be seen on the right and left-hand side of screen.
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So we've blurred our edges ever so slightly.
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We do want to blur edges of all of our mattes just so they don't
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have a hard edge and they're better integrated,
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back to full color and to the keymix.
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So here we have kept the green on the right and left-hand side and
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we pull a key and all we're left with is a little girl instead of
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the extra stuff on the two sides.
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So there we go and now it's gone.
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On to optimization.
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So the IBK color in this example is going to represent our core matte.
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So let's take a look at that and really just optimize it so close
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the property bin there and we have the IBK.
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Let's take a look at our alpha.
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If I mouse over top of these values, some of them are pretty high so 0.
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5 is okay.
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It's about 5%,
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but 18% is definitely pushing our limit so we're going to have to optimize that,
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especially for our core matte.
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So let's take a look at our gray tool.
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So here we're going to use the gray tool to optimize our
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alpha so double click on the gray tool,
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change it to alpha so we're not changing our RGB and we're going to pull down
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on our gamma and if we have any holes inside of our matte,
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let's just see, and we do.
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So I'm going to bring up the game.
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So it's okay.
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She is dilating out a bit.
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We can change that after to modify it so we're just
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going to pull it up a little bit.
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I'm going to clip or clamp the white values just so
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that I ensure they don't go above 1.
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So there are other ways definitely to optimize the alpha.
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This is just one example.
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From there, back to your regular lights,
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double check these values are a little bit better.
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Much better, around 2%,
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and I'm going to erode at that alpha just a little bit and then blur out
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those edges so that when I combine it with the fringe matte that it's
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nice and clean and has a nice transition.
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So there we go.
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So there is our optimized core matte.
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Moving on.
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So now that we have our optimized core matte, let's take a look at that there.
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So there's our core matte and we're going to create the
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outside mask or the garbage mask now.
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So I have grabbed a filter erode tool and I'm going to take
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it and dilate it out so you can dilate it out quite a bit so
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it's increasing those numbers.
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It's a rough matte so it's okay if it's not perfect.
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So that's why we're going to start there.
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So there's our core matte and there is our garbage matte.
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Next step.
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So this is where we get to combine it with the keylight tool.
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So I have taken the garbage matte here so that's the outside,
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here's our core matte,
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and now we're going to combine them into the keylight tool.
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So what we want to do,
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let's just make this a little bit wider so that we
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can see what we're doing here.
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We're going to take the source to our original plate.
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Actually, not to our original plate,
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to our denoise plate or our preprocess plate.
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It's really fine.
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We're going to do a despill separately, remember?
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And we're going to take the OutM and plug it into our
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garbage matte and the InM to the core matte.
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And we're going to take a look at how we're going to make
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sure that the keylight recognizes it.
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So here we have in component alpha and out component alpha.
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So what exactly does that mean?
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So we're going to go back here and take a look at an example.
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So here's another reference.
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Back to full color and what we are trying to do is we are trying to
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make it so that all the artifacting that was on the outside will be
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gone and we will keep our core matte.
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So we have the InM component as the alpha; we're going to set it to alpha so
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that our core matte is retained and the OutM component,
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which is our garbage matte will be inverted.
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So what it will do is it will get rid of all the artifacting outside of here
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and only keep it so that we have the ability to key between these hard edge
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and our core matte that's probably around here,
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which will give us a nice falloff of our soft edges and motion blur.
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So let's see how we can do that down here.
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So back to our script and we're going to take a look at our keylight tool in
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the property bin and scroll down to the bottom and it says InM component and
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that's going to be alpha because we want to keep our core and OutM component
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is going to be set to alpha inverted.
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So let's take a look at that keylight tool.
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So there's our keylight tool.
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That's exactly what we want it to look like because now we can
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key between here and here; it will keep our core matte while
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combining it with our fringe matte.
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Moving on to our last few steps now.
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So now that we have this set up here, we're going to pull the key.
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So I'm going to pull the key, double click on your keylight tool,
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select the eyedropper and generally speaking I want to go really
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close to our character where her wispies are.
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So Ctrl + Shift + left mouse button and drag.
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So there we go.
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Make sure that we're clicking on there.
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There we go.
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Nice and clean.
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Turn off the eyedropper, turn off the little selection so Ctrl + Shift + click.
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And overall we have a pretty nice key in here so
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let's take a look at that alpha.
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Her alpha is nice and solid and we've retained nice
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detail now also in here wispies.
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Now if I take a look down here at the bottom,
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we have a lot of values in here that are a little bit high.
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So we can pull a second alpha.
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So let's take a look at that.
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We're going to use our keymix tool to do that.
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So I have pulled a second keylight here.
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You can see it's a little bit better.
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It's cleaned up.
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I have sampled down here at the bottom rather at the
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wispies up top so even though we have optimized this comp
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and optimized the green screen, we don't have the perfect key yet.
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So here is the nice key for her wispies at the top and a second really
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nice key to fix all the issues down here at the bottom.
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Now to combine the best of both worlds,
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we have taken a roto shape with a blur tool just to combine them.
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Again,
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nice and smooth transition and keymix them so it's going to retain the nice
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key here at the bottom and retain the wispies at the top,
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keymix it together, and there we go.
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So now we have the best of both worlds.
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We're going to merge over top of a checkerboard just to take a look.
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We have included the despill here that is just so that we can see what we're
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working with to begin with for our edges and overall this is looking pretty
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good so it can be refined a little bit further,
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but for a quick key we have a pretty great output.
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So in this clip we reviewed the inner matte,
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the outer matte,
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and how to combine the core and fringe mattes together in the keylight tool.
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