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In this clip we're going to take a look at additive
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keying for following details.
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So, additive keying workflow is not an actual keyer.
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Instead, it's best described as an image blending tool.
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Its strength is in retaining the fine details in wispies,
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motion blur and transparency.
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The benefit to this workflow is that I can retain details
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that keyers may not be able to extract.
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However, it does come with limitations.
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The main limitation is that the backing region should be as even as possible.
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So, the pre-processing workflow may help with this.
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Now, it isn't mandatory,
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so if you haven't done the pre-processing workflow
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to even out the backing region,
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you can use extra steps in order to really have a great outcome.
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Now, this workflow combines two different steps.
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We use our pre-multiplied image that we have used in previous clips and
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modules and we also use the additive keyer step that helps to fill in any
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extra edge details that we may be missing.
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So, let's take a look at our script.
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So,
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the first thing that we're going to do is go through a few steps
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just to see the visuals for what we will be doing.
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So,
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this is our original image and the first thing that we do
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is we're going to compare the clean plate and minus it
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from the de-noise source plate.
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We're going turn down the saturation to approximately 10%,
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so it's very low,
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it's not completely de-saturated but we're going to bring down that saturation.
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The next thing that we're going to do is place this
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image over top of our background,
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so you can see here that we've retained just details
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primarily where the transparency is.
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Next,
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let's compare what that looks like against the image that
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we had previously without these details.
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So, here it is with the details added to the background.
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Pay special attention to up here and here they are missing,
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so let's just zoom in to see that difference,
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so this is with those details and without those details,
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so it definitely adds to it,
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we can dial this information in so that it works for us completely.
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So, now let's take a look at our script.
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So, if we look inside of our script,
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basically all the areas in blue come from our previous clip
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and everything again in teal has been added.
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Now, they've been just condensed to be a little bit smaller.
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We don't have as many little notes in here,
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so if you need to just relate back to the last clip,
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please do so.
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So, let's get started.
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So,
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here is our pre-processed plate and the first thing that we're
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going to do is basically create a clean plate,
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so here I've used a constant,
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I've taken the average of this entire background and
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that's to create this constant, play into a clean plate.
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Now, you can create an actual clean plate from this,
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it doesn't really matter but this should be close enough that it's
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going to pull up pretty good outcome down here.
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Now,
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we're going to minus and we're going to take this image and
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we're going to minus it against the clean plate to get this
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image here and de-saturate it,
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so we don't want any of that blue that was in it before,
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we don't want any of these funny colors.
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These colors are not in our actual source plate.
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There is some blue,
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so get rid of most of the saturation just to retain the wispies.
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Now, we can dial this back later,
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we can either make it completely de-saturated or add
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more information back as needed.
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You will notice that this has a green little note here,
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so the green notes basically mean change the settings
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to work for your particular script.
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If it does not have a green little note,
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that means that you can probably leave it as is and use it as a template set.
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So, these two steps,
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they're not going to make sense quite yet but I will
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go into them as much as I can.
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So, the first branch that we have off of here is going to be to clamp the black,
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so this is breaking our rules,
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generally we don't want to clamp any colors in our RGB but for
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this workflow with operators it will work.
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So, we're going to clamp the blacks, so we're going to clamp them at zero,
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so no negative values and we're going to make the super whites at least 1,
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000.
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So, the typical super white is probably just above one,
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it might be one, five, even 15, so 1, 000 is a really,
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really safe number.
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The next branch that we have down here is to clamp the white values,
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so generally speaking we don't want to clamp them at one but it's going
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to work again with the process that we have set up,
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so don't worry about that, we've captured them up here.
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So,
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in this clamp we're going to allow for negative values
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and that's going to be negative 1, 000,
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again more than enough for negative values and clamp the white at one.
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So, before we get into how to apply these, let's just shelve these for a minute.
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We're going to go up to preparing the background image.
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So, we have a checkerboard here and we're going to work with HSL color space,
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so that is hue, saturation and lightness.
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We're going to go from linear to HSL.
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So, what exactly is lightness?
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Well,
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it's definitely not the same as luminance and it can
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often be confused for one or the other.
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Lightness is calculated by taking the average between the minimum and
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maximum values of the RGB colored image versus luminance which is the
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perceptual gray representation of a color.
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Each channel represents a certain percentage of the luminosity.
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And once combined, they create the overall luminosity of an image,
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so for example, red is approximately 21%,
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green approximately 72%,
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blue approximately seven percent luminosity and when combined
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it is the overall luminosity of that image.
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So, now that we are working with the lightness,
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the lightness is going to be what helps us complete these steps.
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We're going to shuffle it into the blue channel,
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so we want to make sure that the lightness is into the RGBA,
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so we've shuffled the lightness into RGBA,
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it's represented in the blue channel here and now we're going
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to combine it with these clamped images,
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so take the clamped black and multiply it against a branch of what we've just
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completed and take the clamp white and also multiply it,
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so not the same branch but separate branches.
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We will bring them together in a moment.
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So, now let's just make some room here to figure out what we are doing.
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So again, green,
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that means that we are going to dial this back and
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forth as we need for our final output.
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So, here this is where we're going to adjust the whites,
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or the lights rather,
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so here is this image here of our top and we're going to dial this,
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we're going to dial it once it's over top of the background,
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so we're going to dial the gain in here and this one here is
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to dial again but is for the dark values,
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so let's just take a look at this here very quickly.
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It'll make more sense when it's over top the final image,
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so here it brings it down and up and again,
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we are punching that image from the background through our edges
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to make it better integrated and here we go,
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here is for the darks and again, with the gain,
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lighter and darker.
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So, let's take a look what that looks like when they are combined,
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plus them together and then let's take a look at what
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they look like over top of the flight, so there we go,
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there's this information re-added and our final output
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which is down here and we've added some details in here
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which were not available before, so let's just turn that off,
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disable.
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I've added some nice information.
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So, now what do these two things mean up here?
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So, let's see how they actually interact with our final output,
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so the gain is going to brighten up and make it more visible for those details.
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Be careful in here, it's starting to look a little bit funny,
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so don't push it too far.
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Just enough to start dialing in that information and the darks over here,
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again, so, makes it brighter or darker, so dial both as need be,
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again just to make it look like it's well integrated.
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There we go.
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So,
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it's allowing us to work with the darks and the lights to
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integrate them into our final image.
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Now, one last step,
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we're going to pretend that you did not use the pre-processed plate,
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so maybe your backing region is uneven,
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so I've added a little bit of a dot here to our image,
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so here is our dot,
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pretending that's our image that's appearing in our
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backing region and we have to get rid of it.
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So, what we've done is we've created a mat to give rid of that,
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so up to our original image, here's our temp key.
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We're going to use the same technique as in previous clips,
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so go into our alpha,
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we're going to blur our alpha just to increase some of this gray in our alpha.
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We're going to use the color lookup again to get rid of those gray values,
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so into our alpha and just pull it in, so not too far but far enough.
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We are then going to dilate this out,
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so we dilate this out so that it reaches the edges of our wispies,
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this is pretty extreme.
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We have some pretty extreme wispies out here and then we blur it
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just a little bit so that if there is any information in the
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backing region that we don't want, that it nicely fades off into nothing,
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so you can always dial this up to ease that transition,
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back to full color and then this will be used,
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let's just make some room in here, as a mask,
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so here was it before, here's it after,
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it's masked it out and now we can take a look at our final outputs,
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so let's just turn on the switch there.
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There we go, now it's gone and onto our final comp.
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So, there we go,
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there's a really great overview of how we can add even
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more extra information to our wispies.
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It does have some limitations,
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be careful of this edge up in here but overall it's looking much,
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much better than what we had coming into this particular script and
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it helps us add that detail that we were missing,
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so that is with the additive keyer.
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Again,
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the additive keying process is not an actual key but rather a
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blending tool to add that extra information.
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