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In this clip we're going to talk about keying for Motion Blur.
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So when we pull the keys for Motion Blur we treat the edges much like we treat
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the hair wispies or fine details in other particular shots.
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So we key on frames with the Motion Blur and try to pull the
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key as close to the Motion Blur as possible.
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That's going to be a very light key.
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So let's take a look at script.
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So before we begin,
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you will notice that we do have the complete workflow from our previous clip
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with all of the steps that we've created so far for this image,
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so for the car sequence.
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So now let's take a look at how we treat that edge detail on the Motion Blur.
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So here we have pirate.
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We have a little bit of Motion Blur that is on his sword,
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on his head and so forth.
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And we want to take that Keylight and we're going to sample it.
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Now keep in mind, this image has not been preprocessed.
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That would be in other modules and clips.
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So take a look at that.
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However,
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we do just want to pull a rough key to get an idea of where
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we're going to pull that key on the Motion Blur.
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So again, zoom in, Control + Shift + Left Mouse Button to click and drag.
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And again a close to that edge as possible,
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which should yield a pretty good alpha.
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So we want to do the core and fringe and so forth.
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However, we're just looking at the edge details in this example.
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So again, a little bit of a halo.
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Some artifact is, well that will be rid in our preprocessing workflow.
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However let's take a look at this when it's been revised.
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So again we have this halo.
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And we need to get rid of it to do our final composite.
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So how can we get rid of that?
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Well often when we pull the keys,
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we create Mattes separately from the Despill and then the
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Premultiplied image is left with a gray halo,
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so such as we see in here.
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Now the more transparent that the edge is,
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such as with Motion Blur, the more apparent the gray halo is.
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The gray halo is introduced from the neutralized or
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Despilled backing region that is in your image.
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So let's take a look one more time.
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So here is a key.
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There's our Despill and when we Premultiply it we get this halo along our edges,
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particularly where the Motion Blur is.
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So we have rid of it.
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So now one way to rid of this is sometimes during the Despill process and we
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will be discussing that in more detail in our next module.
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However another great method is to do what some call the
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edge smear or edge extend workflow.
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Now this workflow is created using the strengths of the
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Unpremultiply and Premultiply workflow.
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Now if this method is new to you,
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be sure to check out the Advanced Clean Plate Techniques in
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NUKE and look for the clip that discusses Discovering
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Premults versus Unpremult for Paint.
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And that can be found on the Pluralsight website.
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So now let's take a look at just a quick before and after
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and we'll get into the details of how we can refine those
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edges and the workflow for it.
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So here's our switch.
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So this is the Despilled image that does not have any edge treatments.
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If I toggle to the other one, look what just happened.
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So it disappeared on our edges.
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Our alpha is the same as it was previously.
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We've just pushed out those gray pixels.
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So let's look at that one more time.
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So there's before, that is after, so again we've replaced those pixels.
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So what exactly are we doing?
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Well we're taking the last blue pixel here and we are duplicating it
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outwards so that we can re-Premultiply it after and basically have
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blue in his edge and not the gray halo.
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So we're pushing out the gray halo.
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So let's take a look at how we can do that in our shot.
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So here is our blue screen image.
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It has been Despilled.
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We have alpha from our previous clip and the first thing that
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we want to do is we want to add a gray tool.
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So make sure this gray tool is only set to the alpha.
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And we're going to go look at our alpha and we want to rid of any gray values.
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So anything in here and in here which represents transparency.
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We want to create a Hard Matte.
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Now there are other tools to do this,
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but we're going to work with the Grade tool for this example.
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So here's our Grade tool and you will dial back that blackpoint,
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so somewhere around there, so that again it's mostly a Hard Matte.
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And then we will Premultiply our image.
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So notice how there's no more gray edges in here,
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particularly on her shoulder and on part of the dash and so forth.
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Now if I didn't hook that up, this is what it would look like before.
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So it doesn't look so bad on a black backdrop,
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however, other backdrops it might not hold up so well.
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So let's look at our next step.
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So we have our Premultiply image with our Hard Matte.
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We're going to take a duplicate of the Hard Matte and do a slight erode,
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blurring of the alpha, that's very, very small in there,
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so that's our blur and invert our image.
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So what's going to happen?
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And we're going to take the blue value from here and smear it out.
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However, it's very important not to change the RGB image from here inward.
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So now what we're going to do is we have that Hard Matte,
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we've inverted the Matte here and we're going to take the Hard Matte
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image that has been Premultiplied and add a blur,
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so a very, very small blur, in fact a blur of three.
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Two or three should do the trick.
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Now look what's happening here.
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So here's my original image,
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here's my blurred image and it's not changing in here.
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That's very important.
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If I didn't mask it out by the inverted Matte, look what happens.
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It will actually change my image.
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So there is before, there is after.
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It is blurring it ever so slightly.
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Just take that off, it's not quite working there.
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So there's before, there's after and it's actually destroying my image.
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So make sure the mask input is hooked up and then
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continually start to stack those blurs.
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So blur and blur and it's going to slowly push this color outwards.
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Now when you Unpremutliply this image, it pushes out this color,
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which is exactly what we want.
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Now the larger the Motion Blur the more you want this color to be pushed out.
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Next what are we going to do?
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We're going to look at a blur that has not been stacked and
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that's just going to be a blur of nine.
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So this is three, three, and three, so nine in total,
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versus a image where it's a single blur.
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So this is the one where it is stacked and this is
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the one where it has not stacked.
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And it's hard to see here,
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however if we take a look at over top of our head rest,
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so this is before with the stacked.
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Nice details,
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it has a nice smooth transition in here versus nonstacked and
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it looks just like a majorly blurred image.
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So it will be a little bit harder to basically fool the audience that
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this is a continuation of our seat to fix the edge.
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So this is bad, stay away from it.
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Better to do small increments if need be.
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Now for some reasons,
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this still including some of the edge detail that we don't want.
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You can repeat this process all over again.
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So again, take this again.
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Oops, let's go over there.
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So take this,
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erode away or color correct that alpha so that it is eroded a little
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bit more and then go back in and resmear it outwards.
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So it can be duplicated multiple times just so that you
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can get the details that you need.
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So now what are we going to do?
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We're going to go in and add a little bit more detail.
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So this part is optional.
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Doesn't do a whole lot for us in this particular example, but let's take a look.
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So we take our Unpremultipled image and our image that was not
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Premultiplied before and we're going to compare the two.
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So we're going to compare the two.
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So here's our divide.
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Let's see what the difference is.
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We're trying to add details in here.
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And change the saturation so we're not adding any color back.
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So that was before, this is after and multiply it.
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So in some cases it will add nice detail back to that edge work.
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So again, this is before, this is after, which may or may not be of use to us.
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So a great little trick in here, works really well with wispy hair detail.
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That may not make such a big difference with us in this example.
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So take this final image,
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copy over the final alpha that has all the nice gray values in it,
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Premultiply and let's take a look at those edges.
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So these are the edges that are looking pretty good.
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It's hard to tell the difference,
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so we're going to take a look at them over top of a new background.
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So here's our new background.
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We're going to toggle it back to the checkers.
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So let's go back to the checker board.
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So we'll at the color bars in this example and let's
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take a look at what it's looking like.
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So here we have the Premultiplied image without edge treatments.
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Look at the black halo, the dark halo that's happening over here.
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And we're going to switch it to with edge treatment.
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Look at the difference it's making down here.
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So again, without and with.
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Now in some cases it's going to do more harm than good,
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so feel free to isolate just that Motion Blur or wherever it's needed.
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Now keep in mind that you may have to animate this mask on and off,
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pull separate Motion Blur keys throughout the shot depending how
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much information your initial key is picking up.
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So no just one Fringe Matte and one Core Matte will generally do the job.
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You have to pull multiple little Mattes in order to get those
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fine details to take your final image to final.
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So let's take a look at different backdrops again.
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So here we are.
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So this is a Premultiplied imaged with edge treatment over a colored bars.
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This went up pretty good.
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Little bit of Despill that we can fix and details we can
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fix later in future modules and clips.
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Here we have a gray backdrop, we have a checkerboard, and so forth.
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So it definitely adds some of that detail in our edge work, it helps us.
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You can see that in both of these examples,
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but it may need to be masked off to just the areas that you need it.
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