Keylight 2.0v3 for Final Cut Pro User Guide
Contents
1. Figure 36 Status showing X Figure 37 Result showing Screen processing of the Screen Matte Replace Colour Figure 36 shows black white grey and green pixels The The Foundry Keylight 38 ADVANCED KEYING Status Keylight green pixels are a warning They show you the parts of the Screen Matte that have changed through processing the matte clipped softened or eroded These areas have had the correct amount of spill removed but the alpha has subsequently changed and the composite may no longer look right This can be corrected using the Screen Replace Colour to put back colour in these areas Figure 37 on page 37 is an extreme example to illustrate the point The Replace Colour has been set to pure red and you can see that this mirrors the green pixels in the Status View Similarly you may see blue pixels in the Status Figure 38 Status showing how Figure 39 Final Result showing the Inside Mask will affect the the Inside Replace Colour foreground These represent processed pixels in the Inside Mask that affect the despill of the foreground The Inside Replace Colour will be used to modify these pixels Another extreme example is shown in Figure 39 The Inside Replace Colour is set to pure yellow and Inside Replace to Hard Colour You may also see dark red pixels which indicate areas where an outside mask has been used to reduce the transparency of the image The Foundry Unpremultiply Result Screen Mat2. the other hand can be used to firm up the centre of the matte making it less transparent to the background You need to be really careful if you chose to use Clip Black and Clip White that you dont destroy the edges on your foreground It is possible to use Clip Rollback to compensate for this After picking the Screen Colour it s useful to be able to view the key in different ways You can do this using the View Menu shown here in Figure 33 Source Alpha Video Filters Corrected Source Colour Correction Edges Screen Matte N Inside Mask Outside Mask Combined Matte Status Intermediate Result Final Result a fe fe AS Figure 33 View Menu Here s the complete list of options and what they do Source displays the blue or green screen Source Alpha displays the alpha channel embedded in the blue or green screen Corrected Source displays the uncomposited source image with any colour corrections applied Keylight 36 ADVANCED KEYING Status Status Keylight Colour Correction Edges displays the foreground edges as a matte that will be colour corrected using the controls in the Edge Colour Correction folder Screen Matte displays the matte created as a result of picking the screen colour Inside Mask displays the mask that firms up the foreground Outside Mask displays the mask that cleans up the background Combined Matte displays all the screen matte inside and
3. C Clip Black 34 Clip Levels 34 Clip Rollback 40 Clip White 34 Colour Replacement 43 Computer Film Company 12 Contrast 47 Cropping 49 Crops 49 D Despill Bias 23 Despot 42 E Edge Balance 49 Edge Brightness 48 The Foundry Edge Colour Correction 48 Edge Contrast 48 Edge Suppress 48 End User License Agreement 73 error log files 10 Example Images 51 eye dropper 20 F Foreground Colour Correction 47 Framestore 12 G Getting Started 13 green pixels See Status 37 grey pixels See Status 22 I Images Downloadable examples 51 Inside Crops 50 Inside Masks 44 Installation 6 installing a license 8 L license file moving the 9 license file location 9 license problems 9 Licensing 6 INDEX 81 A Z Imhostid 8 M Matte Combined Matte 36 Processing 39 Rollback 40 Screen Matte 36 39 Status 36 0 Outside Crops 50 Outside Masks 44 P product activation 6 R red pixels See Status 38 Release Notes 67 Replace controls 43 Requirements 67 70 71 Rollback 40 S Saturation 47 48 Screen Colour 19 25 Screen Despot 42 Screen Matte 39 Source Alpha 46 Source Crops 49 Status 22 Status View 36 system ID 8 Keylight 82 INDEX A Z T The Foundry About Us 10 Tinder 11 Tutorial 51 images 51 Introduction 51 Tutorial 1 51 Tutorial 2 56 Tutorial 3 58 Tutorial 4 62 Tutorial 5 65 V View 21 35 View Controls Colour Correction Edges 36 Combined Matte 36 Corrected S
4. It has been used to create extraordinary images on scores of The Foundry The Foundry INTRODUCTION 11 About The Foundry feature films including 7he Dark Knight The Golden Compass Iron Man Transformers King Kong and Pirates of the Caribbean At World s End Furnace is a collection of film tools Many of the algorithms utilise motion estimation technology to speed up common compositing tasks Plug ins include wire removal rig removal steadiness deflicker degrain and regrain retiming and texture tools Tinder and Tinderbox are collections of image processing effects including blurs distortion effects background generators colour tools wipes matte tools painterly effects lens flares and much more Ocula is a collection of tools that solve common problems with stereoscopic imagery improve productivity in post production and ultimately help to deliver a more rewarding 3D stereo viewing experience RollingShutter is a plug in that tackles image distortion problems often experienced by users of CMOS cameras The plug in will often vastly improve the look of distorted footage by either minimising or eradicating image distortions Unlike solutions tied to camera stabilisation that stretch the image as a whole the RollingShutter plug in compensates for local skewing and distortion in the scene by correcting each object individually Visit The Foundry s web site at www thefoundry co uk for further details Keyl
5. in the screen colour A balance of O means that the saturation will be measured against the larger of the other two components A balance of Keylight 34 ADVANCED KEYING Clip Levels Clip Levels Keylight 0 5 will measure the saturation from the average of the other two components The appropriate balance point for each image sequence you key will be different depending on the colours in that image Generally speaking blue screens tend to work best with a balance of around 0 95 and green screens with a balance of around 0 5 These values are selected automatically the first time you pick the screen colour If the key is not working too well with these settings try setting the balance to about 0 05 0 5 and 0 95 and see what works best The clip levels are adjusted using two parameters Clip Black and Clip White Any alpha value at or below Clip Black will be set to zero and any alpha value at or above Clip White will be set to 1 Figure 31 shows the original alpha of an image and Figure 32 shows the result of clipping it Figure 31 Clip Black 0 Figure 32 Clip Black 0 5 Notice how the grey areas in the black background have been reduced and that the grey edges have hardened up considerably When compositing the Clip Black control can be used to improve the background image if parts of the foreground are showing through The Clip White control on The Foundry The Foundry Note ADVANCED KEYING 35 View
6. Edge Colour Correction parameters allow you to colour correct edges to seat the composite into the background To see the areas considered an edge that you will be affecting select the Colour Correction Edges from the View menu Enable Edge Colour Correction use this option to separately colour correct edges of the image independently from the overall colour correction Edge Hardness this determines how strongly to blend between the edge correction and the main correction Edge Softness this will soften the region considered to be the edge by this amount in pixels Edge Grow this will grow the region considered to be the edge by this amount in pixels Edge Saturation these controls determine how much to scale the saturation of the image Edge Contrast this control increases decreases the contrast on the region considered to be the edge Edge Brightness this control brightens the region considered to be the edge Edge Suppress Choose to completely remove a specific primary either Red Yellow Green Blue or their components The Foundry Source Crops The Foundry ADVANCED KEYING 49 Source Crops Cyan Magenta or Yellow Edge Suppression Balance determines what to reduce the suppressed component to If set to O it will be the smallest of the other two components if set to 1 it will be the largest of the other two components Otherwise it will be to a balanced average Edge Suppression Am
7. Executive Decision shot above The Foundry ADVANCED KEYING 31 Biasing However sometimes you can pick a bias that gives a great alpha but performs a poor despill and another bias that gives a great despill but a poor alpha Consider the blue screen from the TV series Merlin courtesy of CFC Framestore shown below in Figure 23 We pick the strong blue of the background without choosing an alpha bias and end up with the lovely alpha shown in Figure 24 but the despill resulting from this key is poor as shown in Figure 25 on page 32 F Figure 23 Merlin blue screen Figure 24 Nice Alpha a mY Coy We can pick an alpha bias to get a better despill but this destroys our nice alpha The way around this is to turn off the Use Alpha Bias for Despill which gives you a separate bias factor to use solely for despill calculations If you then pick the Despill Bias to be something from Miranda Richardson s hair or skin tone you will keep the nice alpha The Foundry Keylight 32 ADVANCED KEYING Screen Gain and get a good despill as well Figure 26 Figure 25 Poor despill Figure 26 Final Key Using Separate Despill and Alpha Biases Screen Gain The screen gain controls how much of the screen colour is removed to make the screen matte Increasing this value will Figure 27 Status after picking Figure 28 Status showing the the Screen Colour increase in Screen Gain key more For the most part a
8. System ID sometimes called host ID or Imhostid is a unique number that identifies your computer We use this number to generate a license key for that and only that computer The System ID is shown at the bottom of the help dialog To The Foundry Where Does the License File Go Alternative License Directories Watermark License Problems The Foundry INTRODUCTION Where Does the License File Go display this number select Effects gt Video Filters gt Keylight gt Keylight 2 0 to apply the Keylight plug in and click on the Help button in its controls The license file should be called foundry lic and saved in the following directory as a plain text file Library Application Support TheFoundry FLEXIm foundry lic There are also other places where you can place the license file See Alternative License Directories on page 9 If you like you can also put the license file in an arbitrary directory and point to it with the environment variable FOUNDRY LICENSE FILE This can be useful for large post houses that have centrally managed license servers but will not be necessary for most customers See Further Reading on page 10 If you don t have a valid license key a warning will be displayed and the finished render will have coloured dots scattered over it If you can t get your licenses to work you can download the Foundry License Diagnostics FLD utility from http www thefoundry co uk
9. better way of improving the matte is using the Clip Black and Clip White controls Figure 27 shows the Status after picking the screen colour You can clearly see that parts of the background are grey where they should be black When composited you may see faint pixels from the foreground where you should be seeing pure background Increasing the screen gain will fix this as Keylight The Foundry Screen Balance The Foundry ADVANCED KEYING 33 Screen Balance shown in Figure 28 but increasing it too much will destroy your good work Like many keying parameters it s a balance not too much not too little Increasing the screen gain too much will lead to the background showing through the foreground and edge detail will be destroyed Figure 30 shows this quite well Mah Figure 29 Screen Gain 1 giving Figure 30 Screen Gain 1 5 a good screen matte giving background show through and over eroded edges Note the steering wheel is black when it should be white If you look at the composite you will see the background showing through here Also some of the fine hair detail on the actor visible in Figure 29 has been eroded in Figure 30 Saturation is measured by comparing the intensity of the primary component against a weighted average of the two other components This is where the Screen Balance control comes in A balance of 1 means that the saturation will be measured against the smallest of the other two components
10. in this release Improvements There are no improvements in this release Fixed Bugs Fixed instability in plug ins caused by OS incompatibility with FLEXIm 10 8 licensing module Upgraded FLEXIm to 10 8 6 for improved Leopard compatibility Known Bugs and Workarounds There are no known bugs Keylight The Foundry Keylight 2 0v1 The Foundry APPENDIXA 71 Release Notes This is the first release of Keylight on Final Cut Pro Requirements Final Cut Pro 6 0 on Mac OS X New Features This section will describe new features in later versions Improvements This section will describe improvements to existing features in later versions Fixed Bugs This section will describe fixed bugs in later versions Known Bugs and Workarounds There are no known bugs Keylight 72 APPENDIX A Release Notes Keylight The Foundry APPENDIX B End User License Agreement APPENDIX B End User License Agreement IMPORTANT BY INSTALLING THIS SOFTWARE YOU ACKNOWLEDGE THAT YOU HAVE READ THIS AGREEMENT UNDERSTAND IT AND AGREE TO BE BOUND BY ITS TERMS AND CONDITIONS IF YOU DO NOT AGREE TO THE TERMS OF THIS AGREEMENT DO NOT INSTALL COPY OR USE THE SOFT WARE This END USER SOFTWARE LICENSE AGREEMENT this Agreement is made by and between The Foundry Visionmongers Ltd a company registered in England and Wales The Foundry and you as either an individual or a single entity Licensee In consideration of the mu
11. licensing Run the FLD and e mail the Keylight 9 10 INTRODUCTION Further Reading Error Log Files Further Reading About The Foundry Keylight resulting text file to support thefoundry co uk with a clear description of the problem If the plug in fails to get a license the incident is recorded in an error log file The time date and nature of the problem are appended to the end of the file The error log file can then be found in the following location Library Application Support TheFoundry FLEXIm log license log System Administrators may wish to find out more about licensing Keylight with FLEXIm We recommend reading the Foundry FLEXIm Tools FFT User Guide available to download from our web site http www thefoundry co uk licensing In addition there are general FLEXIm licensing guides on Macrovision s web site http www macrovision com The Foundry is a leading developer of visual effects software for film and video post production Its products include Nuke a high end compositing application and plug ins such as Furnace Tinder Tinderbox Keylight Ocula and RollingShutter The plug ins run on a variety of compositing platforms including After Effects Autodesk R Media and Entertainment Systems Avid DS Nuke Shake and Final Cut Pro For the full list of products and supported platforms see our web site http www thefoundry co uk Nuke is an Academy Award winning compositor
12. outside masks and any source alpha added together The combined matte is used to composite the foreground over the background layer Status displays an exaggerated view of the key so you can make a more informed decision on how to improve the result See Status on page 36 Intermediate Result is used for multipass keying The alpha is set as per normal but the RGB values are not modified from the original source image Final Result renders the foreground composited over the image on the background track This image is premultiplied In other words the RGB values of pixels have been multiplied by their corresponding alpha channel values The Status view is one of the options in the View menu and shows an exaggerated view of the key so that you can make The Foundry ADVANCED KEYING 37 Status a more informed decision when fine tuning the composite f Figure 34 Green Screen Figure 35 Status Figure 35 shows the Status after the screen colour has been picked from the image shown in Figure 34 Three colours are displayed Black pixels represent pure background in the final composite White pixels are pure foreground and grey pixels are a blend of the foreground and background pixels The grey is just one colour to highlight any areas that are not pure foreground or background Grey pixels do not mean the key is poor the final composite may be fine You may occasionally see other colours in the Status view
13. the foreground is showing on the background you need to improve your matte using the Clip Black and Clip White parameters In the next chapter we ll look at ways of doing this with inside and outside masks The Screen Colour is probably the most important parameter and you should always pick the screen colour before doing anything else It should be set to the colour of the green or blue curtain behind the foreground object When picking the screen colour it is often useful to open the foreground image in a new Viewer This way you can adjust the Keylight controls in the original Viewer pick the screen colour from the new Viewer and view the output in the Canvas To do so right click on the foreground clip in the Keylight 19 20 BASIC KEYING Screen Colour Browser and select Open in New Viewer as shown in Figure 9 Figure 9 Opening the foreground image in a new Viewer To set the Screen Colour select the eye dropper in the Keylight controls and pick the colour from the new Viewer Setting the Screen Colour will create a matte the Screen Matte set the Screen Balance and despill the foreground In some cases this is enough to get a decent key For more information on Screen Colour see page 25 Figure 10 shows a well lit blue screen behind an actor Figure 10 Blue Screen Keylight The Foundry The Foundry Note BASIC KEYING 21 View You should note that repeatedly picking the Screen Colour w
14. LE TO LICENSEE UNDER ANY THEORY FOR ANY INDIRECT SPECIAL INCI DENTAL PUNITIVE EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING DAMAGES FOR LOSS OF BUSINESS OR LOSS OF PROFITS OR THE COST OF PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES REGARDLESS OF WHETHER THE RELEASED PARTIES KNOW OR HAVE REASON TO KNOW OF THE POSSIBILITY OF SUCH DAMAGES AND REGARDLESS OF WHETHER ANY REMEDY SET FORTH HEREIN FAILS OF ITS ESSENTIAL PURPOSE No action arising out of or related to this Agreement regardless of form may be brought by Licensee more than one 1 year after Licensee s initial receipt of the Software provided however to the extent such one 1 year limit may not be valid under applicable law then such period shall limited to the shortest period allowed by law Keylight The Foundry APPENDIX B End User License Agreement SECTION 11 TERM TERMINATION This Agreement is effective upon Licensee s acceptance of the terms hereof by clicking on the Accept button and Licensee s payment of the License Fee and the Agreement will remain in effect until termination If Licensee breaches this Agreement The Foundry may terminate the License granted hereunder by notice to Licensee In the event the License is terminated Licensee will either return to The Foundry all copies of the Software and Documentation in Licensee s possession or if The Foundry directs in writing destroy all such copies In the later case if requested by The Foundry Licensee shall
15. ON TO NINETY 90 DAYS AFTER DELIVERY OF THE SOFTWARE TO LICENSEE SECTION 8 LIMITED REMEDY The exclusive remedy available to the Licensee in the event of a breach of the foregoing limited war ranty TO THE EXCLUSION OF ALL OTHER REMEDIES is for Licensee to destroy all copies of the Software send The Foundry a written certification of such destruction and upon The Foundry s receipt of such certification The Foundry will make a replacement copy of the Software available to Licensee SECTION 9 INDEMNIFICATION Licensee agrees to indemnify hold harmless and defend The Foundry and The Foundry s affiliates officers directors shareholders employees authorized resellers agents and other representatives collectively the Released Parties from all claims defense costs including but not limited to attorneys fees judgments settlements and other expenses arising from or connected with the operation of Licensee s business or Licensee s possession or use of the Software or Documentation SECTION 10 LIMITED LIABILITY In no event shall the Released Parties cumulative liability to Licensee or any other party for any loss or damages resulting from any claims demands or actions arising out of or relating to this Agree ment or the Software or Documentation contemplated herein exceed the License Fee paid to The Foundry or its authorized reseller for use of the Software Furthermore INNO EVENT SHALL THE RELEASED PARTIES BE LIAB
16. Software on workstations or otherwise in a user interactive capacity Licensee shall be authorized to use an interactive version of the Software for both interactive and non interactive rendering purposes if available Finally if the Software is an Educational Version Licensee may use it only for the purpose of train ing and instruction and for no other purpose Educational Versions of the Software may not be used for commercial professional or for profit purposes SECTION 3 BACK UP COPY Notwithstanding Section 2 Licensee may store one copy of the Software and Documentation off line and off site in a secured location owned or leased by Licensee in order to provide a back up in the event of destruction by fire flood acts of war acts of nature vandalism or other incident In no event may Licensee use the back up copy of the Software or Documentation to circumvent the usage or other limitations set forth in this Agreement SECTION 4 OWNERSHIP Licensee acknowledges that the Software and Documentation and all intellectual property rights relating thereto are and shall remain the sole property of The Foundry and the Third Party Licensors Licensee shall not remove or allow the removal of any copyright or other proprietary rights notice included in and on the Software or Documentation or take any other action that could adversely affect the property rights of The Foundry or any Third Party Licensor To the extent that Licensee is au
17. USER GUIDE Keylight on Final Cut Pro KEYLIGHT BY THE FOUNDRY Visual Effects Software The Foundry 2009 The Foundry Visionmongers Ltd All rights reserved Keylight User Guide This manual as well as the software described in it is furnished under license and may only be used or copied in accordance with the terms of such license This manual is provided for informational use only and is subject to change without notice The Foundry assumes no responsibility or liability for any errors of inaccuracies that may appear in this book No part of this manual may be reproduced stored in a retrieval system or transmitted in any form without the prior written permission of The Foundry The Foundry logo is a trademark of The Foundry Visionmongers Ltd Final Cut Pro is a registered trademark of Adobe Systems Incorporated All other products or brands are trademarks or registered trademarks of their respective companies or organisations Software engineering Ralph McEntagart Andrew Whitmore Benjamin Kent Bruno Nicoletti and Robert Fanner Initial algorithm development Wolfgang Lempp and Oliver James Product testing Jack Binks Sean Brice and Dan Allum Writing and layout design Eija Narvanen using Adobe FrameMaker Proof reading Eija Narvanen CONTENTS Introduction Getting Started Basic Keying Advanced Keying Keylight About this Manual 0 eee eee eee eee hh 5 Release Notes ici ho is eS EH EC es 5 Exa
18. cking this blue will key the back windscreen perfectly leaving reflections in the side window Figure 7 Pick the blue from the back windscreen 6 That s it In many cases this is all you will need to do to perform a key since selecting the screen colour creates a matte and Keylight The Foundry The Foundry GETTING STARTED 17 Quick Key despills the foreground The final composite is shown in Figure 8 Figure 8 Final composite There are a couple of extra steps that can be taken to fine tune this key and these are discussed in Tutorial 2 Fine Tuning a Key on page 56 Picking the screen colour may be enough for a lot of keys but there are many more tools within Keylight that can be used to tackle more complicated shots These are described in later chapters Keylight 18 GETTING STARTED Quick Key Keylight The Foundry BASIC KEYING Basic Workflow Screen Colour The Foundry BASIC KEYING Basic Workflow The following section describes the parameters you need to do basic keying This will give you enough to tackle most simple keys A discussion of advanced parameters to fine tune and tackle complex keys can be found in the next chapter The first step is always to pick the Screen Colour Then view the composite and the screen matte If there is blue spill on the composite pick skin tones for the Despill Bias from the foreground actor If the background is showing through the foreground or
19. de MaskKS o o ooooooooommoomoo ooo 44 Source Alphas ese a ie erede dato eU T 46 Foreground Colour Correcti0N o ooooooooooooo 47 Edge Colour Correction eee eee eee eee eee 48 Source CFrops ioi Ed eA ts 49 Inside and Outside CropS ooooooooooomooo ooo 50 Introd cti n eee a Are Meer ed SO RA a 51 Example Images oie wale ace RE deere epee oe wate 51 Tutorial 1 Simple Key o ooooooooooooooooooo 51 Tutorial 2 Fine Tuning a Key oo ooooooooooooo 56 Tutorial 3 Extreme Blue Spill 58 Tutorial 4 A Red Green Screen o oooooooooooooooo 62 Release Notes ooooooooooococooooonoorrormmoroo ooo 67 End User License Agreement 0 ee eee ee ooo 73 EZ ie AA ere Bd Se aR Ee ION ee be BS 81 Keylight INTRODUCTION About this Manual Release Notes Example Images The Foundry INTRODUCTION About this Manual Welcome to this User Guide for Keylight on Final Cut Pro Keylight is an industry proven blue and green screen keyer The core algorithm was developed by the Computer Film Company and has been further developed and ported to Final Cut Pro by The Foundry We hope you enjoy using Keylight Use the Quick Key chapter to see how a simple key is pulled using Keylight The Basic Keying Chapter goes over the most common parameters you ll need to pull a variety of keys The Advanced Keying Chapter explains how to
20. e current crop line and its screen edge Horizontal and vertical crop boundaries can have different edge methods Cropping is often used to remove unwanted pixels at the edge of an image If a video clip is digitized badly you may get black edges left and right These can be easily removed by moving the vertical crops and setting the edge method to Reflect Edge Colour sets the fill colour used when the edge method is set to Colour Left Right Top Bottom use these controls to set the crop positions Lines will be overlaid in the display enabling you to set the various positions by eye The position of the crop lines can be changed by clicking and dragging them directly on the screen The crops controls described above also exist for Inside and Outside masks The Foundry TUTORIAL Introduction Example Images Tutorial 1 Simple Key The Foundry TUTORIAL 51 Introduction We have included several tutorials with example images that you can use to practice Keylight Tutorial 1 Simple Key Tutorial 2 Fine Tuning a Key Tutorial 3 Extreme Blue Spill Tutorial 4 A Red Green Screen The tutorial images referred to in this chapter can be downloaded from our web site http www thefoundry co uk Using the blue screen clip from The Saint you will composite the actor over the background You will learn how to Apply Keylight to a clip Pick the Screen Colour View the Final Result The clip
21. e a serial number for Keylight you can activate the plug in via the Internet or by telephone The Foundry Activation via Internet The Foundry INTRODUCTION Activating Keylight If you don t have a serial number for Keylight you can activate the plug in by telephone 1 Start Final Cut Pro 2 Select Effects gt Video Filters gt Keylight gt Keylight 2 0 to apply the Keylight plug in to an image sequence 3 In the plug in controls press the Help button and make a note of your System ID sometimes called host ID or Imhostid This number is unique to your machine and your license key will be locked to it 4 Press the Enter Serial Number button in the bottom left corner of the dialog 5 This launches a web browser Check that the System ID shown on the web page is correct If it is not or you wish to activate for a different computer follow the on screen instructions 6 Type your serial number into the box provided Make sure you type it in exactly as shown Click continue 7 If successful you will be taken to a page that lets you download your license file and the Foundry License Installer FLI Click download license 8 Double click on the downloaded file to extract the license key and the Foundry License Installer your computer may do this automatically The license will be in a plain text file called foundry lic The license will look a bit like this INCREMENT keylight fxplug i foundry 1 0 permanen
22. e from errors that may arise from the electronic file transfer from The Foundry and or its authorized reseller to Licensee and b to the best of The Foundry s knowledge Licensee s use of the Software in accordance with the Documentation will not in and of itself infringe any third party s copyright patent or other intellectual property rights Except as warranted the Software and Documentation is being provided as is THE FOREGOING LIMITED WARRANTY IS IN LIEU OF ALL OTHER WARRAN TIES OR CONDITIONS EXPRESS OR IMPLIED AND The Foundry DISCLAIMS ANY AND ALL IMPLIED WARRANTIES OR CONDITIONS INCLUDING WITHOUT LIMITATION ANY IMPLIED WARRANTY OF TITLE NON INFRINGEMENT MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE REGARDLESS OF WHETHER The Foundry KNOWS OR HAS REASON TO KNOW OF LICENSEE S PARTIC ULAR NEEDS The Foundry does not warrant that the Software or Documentation will meet Licensee s requirements or that Licensee s use of the Software will be uninterrupted or error free No employee or agent of The Foundry is authorized to modify this limited warranty nor to make addi tional warranties No action for any breach of the above limited warranty may be commenced more than one 1 year after Licensee s initial receipt of the Software To the extent any implied warran The Foundry Keylight 76 APPENDIX B End User License Agreement ties may not be disclaimed under applicable law then ANY IMPLIED WARRANTIES ARE LIMITED IN DURATI
23. e left of the pilot Although feel free to The Foundry TUTORIAL 63 Tutorial 4 A Red Green Screen experiment picking different parts of the green screen The initial selection gives the result shown in Figure 75 Figure 75 Default key 3 To fix this we need to tell Keylight to scale down the red component to make the green the most dominant so that it keys correctly To do this pick colours from the pilot s mask for both the Despill Bias and Alpha Bias Then look at the Final Result in the Canvas The result is shown in Figure 76 Figure 76 Despill Bias and Alpha Bias The Foundry Keylight 64 TUTORIAL Tutorial 4 A Red Green Screen 4 If you look closely the background and foreground need cleaning up Figure 77 shows the Status View FOOL Figure 77 Status View We will use the Screen Matte tools to make the cockpit windows black and the pilot white 5 Increase Clip Black to 0 2 to remove some of the foreground showing through the background Decrease Clip White to 0 7 to improve the opacity of the foreground Increase Screen Softness to 0 1 Screen Despot Black to 0 2 and Screen Despot White to 0 2 Figure 78 Composite 6 Use the Screen Replace to pull some of the original image through the composite This improves the apparent Keylight The Foundry The Foundry TUTORIAL 65 Tutorial 4 A Red Green Screen graininess in the foreground Figure 79 shows the differences Figu
24. e midtones can be adjusted too For example if you are working on a dark shot you may want to set the midtone level to a dark grey to make the gain controls differentiate between tones that would otherwise all be considered shadows Remember that Keylight does two things it removes the screen colour to despill the image and generates an alpha Screen Matte to composite the foreground over the background layer If you then process the Screen Matte for example by eroding the matte or changing the clip levels Keylight will be removing the wrong amount of screen colour from the pixels whose transparency have now changed The Replace controls instruct Keylight how to deal with such pixels The Status will display which pixels use a replace method Those pixels who use a replace method because the Screen Matte processing tools modified the transparency will be green Keylight 44 ADVANCED KEYING Inside amp Outside Masks Inside amp Outside Masks Keylight whilst those pixels whose transparency was modified by the inside mask will be blue See the Status View on page 37 There are four options to the replace method these are 1 None the despilled image is left untouched if the alpha is modified Source the image will have a corresponding amount of the original pixel screen colour and all reintroduced removed if the alpha is changed Hard Colour the despilled image has a corresponding amount of the
25. e parties concerning the subject matter hereof and supersedes any and all prior oral or written agreements negotiations or other dealings between the parties concerning such subject This Agreement may be modified only by a written instrument signed by both parties If any action is brought by either party to this Agreement against the other party regarding the subject matter hereof the prevailing party shall be entitled to recover in addition to any other relief granted reasonable attorneys fees and expenses of litigation Should any term of this Agreement be declared void or unenforceable by any court of competent jurisdic tion such declaration shall have no effect on the remaining terms of this Agreement The failure of either party to enforce any rights granted hereunder or to take action against the other party in the event of any breach hereunder shall not be deemed a waiver by that party as to subsequent enforce ment of rights or subsequent actions in the event of future breaches This Agreement shall be gov erned by and construed in accordance with English Law Copyright c 2009 The Foundry Visionmongers Ltd All Rights Reserved Do not duplicate The Foundry Keylight 80 APPENDIX B End User License Agreement Keylight The Foundry A activating RollingShutter 6 Advanced Keying 25 alternative license directories 9 B Balance 47 Basic Keying 19 black pixels See Status 22 blue pixels See Status 38 Brightness 47
26. ect to the appli cable restrictions of i FAR 52 227 14 ALTS I Il and III June 1987 ii FAR 52 227 19 June 1987 iii FAR 812 211 and 12 212 and or iv DFARS 227 7202 1 a and DFARS 8227 7202 3 The Software is the subject of the following notices Copyright c 2009 The Foundry Visionmongers Ltd All Rights Reserved Unpublished rights reserved under the Copyright Laws of the United Kingdom SECTION 16 SURVIVAL Sections 2 4 5 6 7 8 9 10 12 13 14 15 16 17 and 18 shall survive any termination or expi ration of this Agreement SECTION 17 IMPORT EXPORT CONTROLS To the extent that any Software made available hereunder is subject to restrictions upon export and or reexport from the United States Licensee agrees to comply with and not act or fail to act in any way that would violate the applicable international national state regional and local laws and regulations including without limitation the United States Foreign Corrupt Practices Act the Export Administration Act and the Export Administration Regulations as amended or otherwise modified from time to time and neither The Foundry nor Licensee shall be required under this Agree ment to act or fail to act in any way which it believes in good faith will violate any such laws or reg ulations Keylight The Foundry APPENDIX B 79 End User License Agreement SECTION 18 MISCELLANEOUS This Agreement is the exclusive agreement between th
27. h different screen colours if your initial pick didn t give a good key The Foundry Keylight 26 ADVANCED KEYING Screen Colour Background Pixel If the saturation of the pixel in the image is as strong or Saturation Screen Colour Pixel Result Figure 16 Blue screen pixel set alpha to zero greater than the screen colour then it ll be a pixel from the blue screen background and that pixel will be set to completely transparent and black See Figure 16 Edge Pixel If the saturation of the pixel is less than the screen colour then it ll be the edge of the foreground object and we Keylight The Foundry ADVANCED KEYING 27 Screen Colour subtract some of the screen colour from the pixel de spilling and set the image to semi opaque See Figure 17 Screen Colour Pixel Result Saturation Figure 17 Edge pixel gives partial alpha Foreground Pixel If the primary component in the pixel is not the same as the primary component of the screen colour we have a foreground pixel and the alpha is set to completely opaque The pixel colour is not modified See Figure 18 od ah al Screen Colour Pixel Result Saturation Figure 18 Foreground pixel gives full alpha Note You should note that the Screen Colour is a single colour You are not picking lots of colours that are keyed out The Foundry Keylight 28 ADVANCED KEYING Biasing Biasing What s biasing all about Biasing in Keylight was
28. hlighting the close up view as showing unwanted grey shown in Figure 43 transparency in the white foreground shape or you can use the Clip White parameter to turn these grey pixels white This cleans up the foreground Figure 44 but it will also destroy the edge detail you want to keep This is where Clip Rollback comes in This is used to put back the edges to restore the detail that was lost A rather The Foundry ADVANCED KEYING 41 Screen Matte exaggerated clip rollback is shown in Figure 45 to illustrate the point Figure 44 Clip White has been Figure 45 Clip Rollback has been used to remove the unwanted used to reduce the unwanted grey pixels in the white matte erosion of the edge Screen Dilate This control should not normally be used as eroding the edges can produce a very poor key However the Screen Dilate parameter allows you to grow if greater than zero or shrink if less than zero the alpha in the Screen Matte These controls are sub pixel accurate A A dh iua Figure 46 Screen Matte Figure 47 Eroded Matte The Foundry Keylight 42 ADVANCED KEYING Screen PreBlur Screen Softness Screen Despot Screen PreBlur Keylight Occasionally it is useful to be able to blur the matte Use Screen Softness for this The most common example would be to pull a very harsh matte that you would use as an inside matte further down the tree For this you d soften and erode the sc
29. ht_2 0_FCP Docs Keylight2 0 lt build version gt _FCP pdf Fixed Bugs e BUG ID 7075 The Foundry plug ins for Final Cut Pro were not designed to work with other applications supporting the FxPlug framework such as Motion When these plug ins were used in Motion crashes would result This has been fixed by explicitly preventing the inadvertent use of the plug ins in Motion The user is notified by a splash screen that the plug in will only function in Final Cut Pro BUGID 7093 If the Inside Mask s Inside Replace Colour was zero invalid inf rgb values could occur This is now fixed e BUG ID 7108 After applying Keylight the Intermediate Result would contain a binary alpha channel This would make it less useful for using as an additional matte for further keying operations It should have contained a continuous alpha channel This has been fixed e BUG ID 8864 Keylight would cause FCP to crash when working with larger projects containing hundreds of Keylight instances FCP would crash when a sequence containing numerous Keylight plug ins was copied and pasted because the computer would run out of memory This has been fixed e BUG ID 8902 The Source Crops horizontal and vertical cropping controls were non functional This would have prevented simple removal of e g wiring from the edges of the image This has been fixed Keylight The Foundry APPENDIXA 69 Release Notes BUG ID 8903 The Edge Colour parameter fo
30. ich is a colour cast that is removed from the source image and screen colour then a key is pulled from this modified image then the colour cast is put back In essence this automates the work around described above however it is done in a way that does not slow Keylight down at all For our Executive Decision shot an appropriate colour is the red cast on the pilot s mask in the source footage Setting our bias to this now gives us the far better result as shown in Keylight 30 ADVANCED KEYING Biasing The Bias Colours in everyday use Picking a Bias Colour Why are there two Bias Colours Keylight Figure 22 Figure 22 Final Key with the Bias Colour Set to the Value of the Pilot s Mask It also turns out that the bias colour is actually useful for situations without strong casts typically where there is some colour spill around the edge of keys By setting the biases to the main colour that occurs near the edge of the foreground typically flesh tones or hair tones you allow Keylight to better discriminate between foreground and background To pick a bias colour activate the colour picker under Alpha Bias and click on the image foreground to select a colour Remember that Keylight does two things calculates a transparency and removes the screen colour from the foreground By default one bias colour the Alpha Bias is used for both operations This works fine in most situations for example the
31. iewed The Foundry Keylight 46 ADVANCED KEYING Source Alpha Source Alpha Keylight The Outside mask forces that part of the image to be in the background thus keying out the rig The Screen Matte shown in Figure 53 shows the matte pulled when the green screen is picked When the Outside mask is subtracted from the Screen Matte we get the Combined Matte shown in Figure 54 Figure 53 Screen Matte Figure 54 Combined Matte Here you can see the change in the matte that will result in the lighting rig being keyed out in the final composite If more than one mask is required to remove garbage then use the masks to create an embedded alpha channel in the image and set the Source Alpha to Normal See Source Alpha below This parameter determines how to deal with any embedded alpha in the original image Ignore this will not use any embedded alpha in the key Add To Inside Mask the embedded alpha is added to the inside mask Normal the embedded alpha is used to key the layer as normal It is added to Keylight s screen matte and can be useful if requiring complicated multi shaped masks to rotoscope out garbage The Foundry Foreground Colour Correction The Foundry ADVANCED KEYING 47 Foreground Colour Correction The Foreground Colour Correction parameters allow you to modify the foreground colours in your composite In particular reflected blues and greens from the screen can be suppres
32. ight 12 INTRODUCTION About CFC and Framestore About CFC and Framestore Keylight The Computer Film Company CFC pioneered the field of digital film compositing and today operates a state of the art film effects facility in London under the name Framestore The company has always invested in research and maintains the kind of edge that has twice been honoured with Technical Achievement Awards from the Academy of Motion Picture Arts and Sciences Visit Framestore s web site at http www framestore com for further details The Foundry GETTING STARTED Introduction Notation Quick Key The Foundry GETTING STARTED 13 Introduction Keylight has been refined over a number of years to make keying quicker and easier while providing a depth to the tools that will tackle even the most challenging shots Keylight was first developed by The Computer Film Company to help with difficult keys in feature films Over the years Keylight has been refined in production on hundreds of films When we refer to blue screens throughout the text we mean of course blue or green screens Keylight is available from the Effects gt Video Filters gt Keylight in Final Cut Pro Consider this shot from The Saint pictures courtesy of CFC and Paramount British Pictures Ltd Figure 1 Blue Screen Figure 1 is the blue screen foreground that should be Keylight 14 GETTING STARTED Quick Key composited over the backgro
33. igure 60 Opening a new Viewer 5 In the Keylight controls select the Screen Colour eye dropper and click on the blue screen in the new Viewer Keylight The Foundry TUTORIAL 55 Tutorial 1 Simple Key window A good place to pick is the blue from the back windscreen as this has no reflections See Figure 61 Figure 61 Pick the blue from the back windscreen 6 That s it In many cases this is all you will need to do to perform a key since selecting the screen colour creates a matte and despills the foreground The final composite is shown in Figure 62 Figure 62 Final composite There are a couple of extra steps that can be taken to fine tune this key and these are discussed in the next tutorial on page 56 The Foundry Keylight 56 TUTORIAL Tutorial 2 Fine Tuning a Key Tutorial 2 Fine Tuning a Key Note Keylight Using the images from the film The Saint you will learn how to fine tune the key pulled in Tutorial 1 You will learn how to Use Status to judge the quality of the key Use the Screen Gain to improve the background Use the Despill Bias to remove more blue spill Create a new composition using SaintFG mov and SaintBG mov Apply Keylight Open a the SaintFG mov clip in a new Viewer Select the Screen Colour eye dropper and click on the blue screen in the new Viewer These steps were covered in greater detail in the previous tutorial 3 Before we do anything else we
34. ill override any previous selections It will not add to previous selections and key more of the image with each click You should always pick screen colours from the Source image and not the Final Result Tip It s worth picking several different blues and for each one viewing the matte and status to judge the key After picking the Screen Colour it s useful to be able to check the quality of the key by viewing the composite and the screen matte You can do this using the View Menu shown here in Figure 11 Source Alpha Corrected Source Colour Correction Edges Outside Mask Combined Matte Status Intermediate Result Final Result Figure 11 View Menu The options you ll use the most are Screen Matte this renders the matte created by picking the screen colour Keylight 22 BASIC KEYING Status Status Keylight e Status this renders an exaggeratted view of the mattes so that minor problems are shown clearly Final Result this renders the foreground composited over the background using all mattes spill and colour corrections The Status is one of the options in the View menu and shows an exaggerated view of the key so that you can make a more informed decision when refining the composite Figure 12 Green Screen Figure 13 shows the Status display after the screen colour has been picked from the image shown in Figure 12 Three colours are displayed Black pixels show areas that will be pu
35. ilm Merlin The Blue Spill results with Keylight are certainly not perfect indeed it is unlikely that you will ever end up with a truly realistic looking shot However there are some interesting things to observe You will learn how to Reduce the blue spill using Screen Balance and Despill Bias Improve the foreground opacity using Alpha Bias 1 Load the MerlinBlueFG mov Figure 66 and Merlin BlueBG mov clips and apply Keylight Figure 66 A tricky blue screen 2 Open the MerlinFG mov clip in a new Viewer and pick the Screen Colour using the eye dropper Figure 67 Serious blue spill Keylight The Foundry TUTORIAL 59 Tutorial 3 Extreme Blue Spill Pick a pure blue pixel away from the hair Increase the Screen Gain from 1 to 1 05 This will clean up a little of the background Alter the Screen Balance from 0 95 to O as shown in Figure 68 This step is a bit subjective but improves the blue spill Figure 68 Adjust the Screen Balance Now let s try and get rid of that blue spill Switch off Use Alpha Bias for Despill From the second Viewer pick skin tones for the Despill Bias When you do this the image and the screen colour will have the blue component scaled up before the key is pulled so that more blue is removed Figure 69 Despill Bias Keylight 60 TUTORIAL Tutorial 3 Extreme Blue Spill 6 Look at the Final Result in the Canvas You will notice that Miranda Richardson s face
36. ll Bias which in the vast majority of cases is the best way to use these controls See Why are there two Bias Colours on page 30 in the Advanced keying section for a look at a case Keylight 24 BASIC KEYING Despill Bias where unlinking the bias controls is a good tactic Thus using the Alpha Bias control colour dropper pick the predominant foreground colour In the majority of cases it s best to pick skin tones from the foreground actor as viewers tend to be most tuned to colour shifts in these areas Keylight The Foundry ADVANCED KEYING 25 Screen Colour ADVANCED KEYING The following section describes the parameters you need to fine tune keys and get the most out of Keylight Basic parameters covered in the previous chapter may also be covered here in more detail Screen Colour The Screen Colour represents the colour of the pure blue or green screen The first thing you should do when pulling a key is pick the Screen Colour This single colour has a primary component blue or green and that has a saturation Once the screen colour has been picked Keylight analyses all the pixels in the image and compares the saturation of the primary component in each of these pixels with the corresponding saturation of the screen colour setting the alpha and modifying the colour accordingly Tip Picking different shades of blue or green from the background can give quite different results It s worth experimenting wit
37. mple Images cece eee cee eee cette aa 5 Installation on Mac OSX eee ene 6 Uninstalling Keylight ooooooooooooomoo eee 6 Activating Keylight o o ooooooooooooomooroo 6 Installing a License 1 ee eee eee tees 8 System ID Imhostid 0 00 cc cece cc cece eee ee 8 Where Does the License File GO0 oooooooooo o 9 License Problems eii rr ts a 9 Further ReadinQ ooooooooooococooooromrroo ooo 10 About The Foundry o oooooooooooooooooooooo ooo 10 About CFC and Framestore o o o ooooooococoooommoooo 12 INtrOdUEtiON ie a o UAR He FG 13 QUICK KEY i a ao Fae 13 Basic Workflow ooooooooooooooorormmrrooooo 19 Screen Colour cer eR re aka CREE wee 19 MIBW Spied iei dua Ue e eek RS 21 Status eet sette hee debe eU RO e epo dex bs 22 Despill Bias 5 2 ere RR RIT BR ERES SER 23 Screen Cold rero Reve er AES E Vg 25 Biasing ns oou AS Spe eiie at 28 Screen Gain 6 A A ERS EEG 32 Screen Balance uvae eese Ptr dee wel 33 Clip Levels oet cte Re 34 VIEW lt e uet is cele ee a ane ques 35 The Foundry Tutorial Appendix A Appendix B Index The Foundry Status sese Soe abe web WERL UE REN 36 Unpremultiply Result o ooooooooooooooooo 39 Screen Matte iii 4 AR ue Ia e EU raa 39 Screen PreBl t geese mr nr rete i ure a a 42 TUNING uuo RE I AAA er 43 Colour Replacement 0 cee eens 43 Inside amp Outsi
38. need to look at the quality of the key so far On first inspection the composite looks pretty good but it s hard to judge To see any potential problems more clearly switch to the Status view as shown in Figure 63 Figure 63 Status showing grey pixels in the background Here we can see that the windscreens are a mixture of black and grey pixels The black pixels tell us that pure background will be seen here in the final composite The grey pixels tell us that there will be a mix of foreground The Foundry TUTORIAL 57 Tutorial 2 Fine Tuning a Key and background pixels What we want is a clean back ground showing through the windows but with some reflections in the side window preserved In other words we need mostly black pixels with a few grey ones 4 Figure 64 shows the Status view that we re aiming for The background has been cleaned up and we still have some reflections in the side window To get this you should increase the Screen Gain from 1 to 1 12 D Sri 23 Figure 64 Improved background with Screen Gain 5 Finally if you look closely at the composite you will see a tiny amount of blue spill on the woman s hand and in her hair This was from reflected light from the blue screen Pick skin tones for the Despill Bias to remove it Figure 65 Final Composite The Foundry Keylight 58 TUTORIAL Tutorial 3 Extreme Blue Spill Tutorial 3 Extreme This is a really interesting clip from the f
39. originally developed for a shot in the motion picture Executive Decision The foreground consisted of reddish browns but a combination of factors led to the green screen being lit so that its primary component was actually slightly red Figure 19 Is this the worst green screen you ve ever seen So what happens when we pick the screen colour Well because the screen was red as is the foreground our pilot ends up being keyed out as shown in Figure 20 Figure 20 Default key showing the transparency in the foreground as a result of picking the red screen colour Not a great result l m sure you ll agree and much pressure Keylight The Foundry The Foundry ADVANCED KEYING 29 Biasing was applied to the lowly programmers to get around the problem A work around to this is to manually colour correct the image so that the background is properly green pull the key from this corrected image then un correct the result of that so that the foreground colours match the original A corrected image would look something like the one shown in Figure 21 The green screen is now strongly green and distinct from the foreground colours Notice also the red cast on the pilots mask has been removed and turned into a neutral grey Figure 21 Colour corrected image that would give a better key This is effectively how the Keylight developers got around the problem They introduced the concept of a bias colour wh
40. ount determines how strongly you want to reduce the indicated component Edge Balance these controls are used to alter the colour balance of the image edges Choose a hue and saturation via the colour sampler the sliders or the colour balance wheel to shift the colour balance of the edges The Source Crops enable you to quickly cut out lighting rigs or other unwanted elements using vertical and horizontal lines Keylight requires access to source pixels that lie off the edge of the source image The cropping controls provide access to all the controls required for specifying how pixels are treated at these edges and where they appear The built in crop controls are also useful for removing unwanted black pixels at the edge of video footage X Y Method determines the behaviour of the image at the left and right crop boundaries Four edge methods are supplied Colour fills the area between the crop line and the edge with the Edge Colour Keylight 50 ADVANCED KEYING Inside and Outside Crops Note Note Inside and Outside Crops Keylight e Reflect reflects pixels about the current crop line In other words it copies pixels from the other side of the current crop line into the area between the current crop line and the screen edge e Repeat copies pixels on the crop boundary to the screen edge Wrap copies pixels from the area between the opposite crop line and its screen edge to the area between th
41. ource 35 Final Result 36 Inside Mask 36 Intermediate Result 36 Outside Mask 36 Screen Matte 36 Source 35 Source Alpha 35 Status 36 w watermarks 9 web site 10 white pixels See Status 22 www thefoundry co uk 10 Keylight The Foundry
42. provide The Foundry with a certificate signed by an officer of Licensee con firming that the foregoing destruction has been completed SECTION 12 CONFIDENTIALITY Licensee agrees that the Software and Documentation are proprietary and confidential information of The Foundry and that all such information and any communications relating thereto collectively Confidential Information are confidential and a fundamental and important trade secret of The Foundry Licensee shall disclose Confidential Information only to Licensee s employees who are working on an Authorized Project and have a need to know such Confidential Information and shall advise any recipients of Confidential Information that it is to be used only as authorized in this Agreement Licensee shall not disclose Confidential Information or otherwise make any Confidential Information available to any other of Licensee s employees or to any third parties without the express written consent of The Foundry Licensee agrees to segregate to the extent it can be rea sonably done the Confidential Information from the confidential information and materials of others in order to prevent commingling Licensee shall take reasonable security measures which such mea sures shall be at least as great as the measures Licensee uses to keep Licensee s own confidential information secure but in any case using no less than a reasonable degree of care to hold the Software Documentation and any othe
43. r Confidential Information in strict confidence and safe cus tody The Foundry may request in which case Licensee agrees to comply with certain reasonable security measures as part of the use of the Software and Documentation Licensee acknowledges that monetary damages may not be a sufficient remedy for unauthorized disclosure of Confidential Information and that The Foundry shall be entitled without waiving any other rights or remedies to such injunctive or equitable relief as may be deemed proper by a court of competent jurisdiction SECTION 13 INSPECTION Licensee shall advise The Foundry on demand of all locations where the Software or Documentation is used or stored Licensee shall permit The Foundry or its authorized agents to inspect all such locations during normal business hours and on reasonable advance notice The Foundry Keylight 78 APPENDIX B End User License Agreement SECTION 14 NONSOLICITATION Licensee agrees not to solicit for employment or retention and not to employ or retain any of The Foundry s current or future employees who were or are involved in the development and or creation of the Software SECTION 15 U S GOVERNMENT LICENSE RIGHTS The Software Documentation and or data delivered hereunder are subject to the terms of this Agreement and in no event shall the U S Government acquire greater than RESTRICTED LIMITED RIGHTS At a minimum use duplication or disclosure by the U S Government is subj
44. r Inside and Outside masks did not change the effect depending on the colour It should This has been fixed Known Bugs and Workarounds Final Cut Pro can set video processing to render in RGB 8 bit YUV or high precision YUV In the 8 bit YUV and high precision YUV rendering modes frames that are rendered offline by pressing Cmd R or by selecting one of the Render options in the Sequence menu will appear slightly smoothed when compared with frames that are rendered online by clicking on a position in the timeline This is not a defect in Keylight but rather applies to all plug ins in Final Cut Pro BUGID 8895 In some contexts Final Cut Pro does not seem to support the use of alpha images which have not been premultiplied We are investigating the issue As such the Unpremultiply Result option will therefore not yield useful images in Final Cut Pro as Final Cut Pro will interpret the resulting images as premultiplied BUG ID 8899 Use of the Screen Matte operations Screen Dilate Screen Softness Screen Despot Black and Screen Despot white can introduce faint interlacing fielding artefacts when the output sequence is fielded The extent of the artefacts are best inspected in the Status view The Foundry Keylight 70 APPENDIX A Release Notes Keylight 2 0v2 This is a maintenance release of Keylight on Final Cut Pro Requirements Final Cut Pro 6 0 4 or above on Mac OS X New Features There are no new features
45. re 79 Close up view The left image has Screen Replace set to Source The right image has Screen Replace set to None Keylight 66 TUTORIAL Tutorial 4 A Red Green Screen Keylight The Foundry APPENDIX A Release Notes Keylight 2 0v3 The Foundry APPENDIX A 67 Release Notes This appendix describes the requirements new features improvements over previous versions fixed bugs and known issues and workarounds in Keylight This is a maintenance release of Keylight on Final Cut Pro Requirements Final Cut Pro 6 0 4 or above on Mac OS X New Features There are no new features in this release Improvements The plug in now appears in the Effects gt Video Filters gt Keylight menu with the version number after its name for example Keylight 2 0 This allows you to have several different versions of Keylight available on one machine e The Help dialog now includes an Enter Serial Number button This opens a web browser and takes you to a page where you can activate the plug in For more information see Activating Keylight on page 6 The artwork for splash screens and dialogs has been updated The demo license that is automatically installed for this beta is valid until October 31st of this year Change to installation Keylight is now installed to the following directories Keylight 68 APPENDIX A Release Notes Library Plug ins FxPlug Keylight_2 0_FCP Applications TheFoundry Keylig
46. re background in the final composite White pixels show areas that will be pure foreground Mid grey pixels will be a blend of foreground and background pixels in the final composite You need grey pixels around the edge of the foreground to get a good key at the foreground edge However if there are grey pixels where there should be pure background you should try to remove these with the Screen Gain Clip Black or Outside mask If you have grey pixels where there should be pure foreground this tells you that parts of the background will show through here and you will The Foundry Despill Bias The Foundry BASIC KEYING 23 Despill Bias need to firm up the foreground with Clip White or an Inside mask Pixels that are a blend between the foreground and background are shown in just one shade of grey This is done to highlight potential problems with the key These grey pixels may represent a foreground background blend of 50 50 or 99 1 No distinction is made as to this ratio You may occasionally see other colours in the Status View and these are covered on page 37 in the Advanced Keying Chapter Although the foreground is despilled automatically you may find the need to pull out a little more of the screen colour after picking from the image You can do this with the Bias controls Figure 14 Exaggeratted blue Figure 15 Despill Bias used to spill remove the blue spill By default the Alpha Bias colour is used for Despi
47. reen matte This controls how much to simplify the matte It coagulates similar regions so that for example black specks in the white matte can be absorbed by the surrounding white areas Increasing the Screen Despot Black will remove isolated spots of black in the white matte Increasing Screen Despot White will remove isolated spots of white in the background up to that size Figure 48 Eroded matte Figure 49 Despot Some shots can be improved by softening the foreground image that is used to generate the key The original image is then used in the composite and colour corrections The Screen PreBlur parameter is used to do this DV footage or grainy shots may benefit from subtle use of this control The Foundry Tuning Colour Replacement The Foundry ADVANCED KEYING 43 Tuning Keylight creates the screen matte after the screen colour has been picked You can make fine adjustments to this matte using the gain controls Increasing the gain controls makes the screen matte more transparent by increasing the amount of screen colour showing through the matte This tends to tint the edges the opposite of the screen colour for blue screens edges become yellow Decreasing the gain makes the main matte more opaque by reducing the amount of screen colour showing through the matte The matte can be adjusted independently in the shadows midtones and highlights giving more control than the clipping levels The level of th
48. replace colour added for any increase in alpha Soft Colour the despilled image has a corresponding amount of the replace colour added for any increase in alpha however it attempts to modulate the luminance of the resulting pixel so that it matches the original pixel This will give a more subtle result than the Hard Colour option If you can t adequately improve the Screen Matte using the Clip Levels you can input a mask that defines the foreground or background The Inside mask makes the foreground less transparent and the Outside mask is used to clean up the background that might have bits of the foreground showing through The Outside mask is often used to clean up screens The Foundry ADVANCED KEYING 45 Inside amp Outside Masks that are not a constant colour or have lighting rigs in shot Figure 50 by forcing the alpha transparent Figure 50 Green Screen with lighting rig visible The Inside mask can be used to keep elements in the foreground that you don t want to lose an actor s blue eyes in front of a blue screen These masks should normally be softened to blend into the Screen Matte Figure 51 shows a mask drawn around the lighting rig on the left side of the screen When this is used as the Outside mask clip and the View control set to render the Outside Mask you will see the image displayed in Figure 52 Figure 51 Mask drawn round the Figure 52 Mask used as an lighting rig Outside Mask and V
49. s you will need for this task are called SaintFG mov and SaintBG mov pictures courtesy of CFC and Paramount British Pictures Ltd for the film The Saint You should import them into Final Cut Pro and create a new sequence Keylight 52 TUTORIAL Tutorial 1 Simple Key containing the blue screen of Elizabeth Shue layered over the road Figure 55 Blue Screen SaintFG mov Figure 55 is the blue screen foreground that should be composited over the background shown in Figure 56 Figure 56 Background SaintBG mov Keylight The Foundry TUTORIAL 53 Tutorial 1 Simple Key 1 Create a new sequence using SaintFG mov and SaintBG mov layer the clips with the blue screen over the background as shown in Figure 57 Figure 57 Screen Shot showing Saint blue screen 2 Open the blue screen clip SaintFG mov in the Viewer and apply Keylight from the Effects gt Video Filters gt Keylight menu See Figure 58 Figure 58 Apply Keylight from the Effects gt Video Filters gt Keylight menu The Foundry Keylight 54 TUTORIAL Tutorial 1 Simple Key 3 The Keylight parameters appear on the Filters tab of the Viewer They are shown in Figure 59 Figure 59 Keylight Parameters 4 To view the Keylight parameters and the foreground clip in separate Viewers right click on SaintFG mov in the Browser and select Open in New Viewer This opens the foreground clip in a new Viewer as shown in Figure 60 F
50. sed Enable Colour Correction enables foreground colour correction and all the tools that control this feature Saturation this control will increase or decrease the colour saturation of the image making colours more or less intense Contrast the contrast is the ratio of brightest tones to the darkest Increase this value for a contrasty image and decrease it to wash it out Brightness the brightness equates to the overall luminance of the image Increase this value to make the image lighter and decrease this value to make it darker Suppress this controls colour suppression in the image You can choose to remove a specific primary either Red Green Blue or their complements Cyan Magenta or Yellow For green screens you may find it helpful to suppress green Suppression Balance determines what to reduce the suppressed component to If set to 0 it will be the smallest of the other two components if set to 100 it will be the largest of the other two components Otherwise it will be to a balanced average Suppression Amount determines how strongly you want to reduce the indicated component Balance these controls are used to alter the colour balance Keylight 48 ADVANCED KEYING Edge Colour Correction Edge Colour Correction Keylight of the image Choose a hue and saturation via the colour sampler the sliders or the colour balance wheel to shift the entire colour balance of the image The
51. still has a number of blue highlights that we should fix The best way to do this is using an Inside mask We have provided one for you so import the Mask mov clip shown in Figure 70 and drag it to the Inside clip well Figure 70 Inside mask 7 To remove the blue highlights on the cheeks Figure 7 1 make sure the Inside Replace is set to Soft Colour rather than Source Figure 71 Replace Source Figure 72 Replace Soft Colour Keylight The Foundry TUTORIAL 61 Tutorial 3 Extreme Blue Spill 8 View Final Result as shown in Figure 73 Figure 73 Final Key The Foundry Keylight 62 TUTORIAL Tutorial 4 A Red Green Screen Tutorial 4 A Red Green Screen Keylight Using the images from the film Executive Decision you will learn how to pull a key from a poor green screen using the Despill Bias control You will learn how to e Pick the Screen Colour e Use Despill Bias and Alpha Bias Produce a final composite The images you will need for this tutorial are called ExecFG 1 Load the pictures ExecFG mov Figure 74 and ExecBG mov Apply Keylight Figure 74 Poor Green Screen The foreground image is actually a green screen shot although it doesn t look it If you analyse the pixels it s slightly more red than green To key this we ll have to fool Keylight 2 Open the ExecFG mov clip in a new Viewer and pick the Screen Colour You should go for the slightly darker green patch to th
52. t uncounted HOSTID 0022411 0759 ISSUED 7 aug 2009 SIGN 0118 0259 3106 D626 F32A 54BC EA70 EFC6 AC23 0575 BDO1 67F6 OD9B 9176 36A7 128A C706 C495 C017 34B8 8125 Once you have downloaded the license file proceed to Install ing a License on page 8 Keylight 7 INTRODUCTION Installing a License Activation by Phone Installing a License System ID Imhostid Keylight Call our London office on 020 7434 0449 country code 44 or phone our Los Angeles office on 310 399 4555 You will need your System ID System ID Imhostid on page 8 an e mail address for us to send the license key and if you have one a serial number Once you have received your license file you need to install the license The Foundry License Installer FLI application helps you with this You may have received this application in an e mail or downloaded it from http www thefoundry co uk licensing To install a license 1 Open the directory where you have saved the license file and the Foundry License Installer 2 Double click on the Foundry License Installer application 3 In the window that opens click Install This checks the license file and installs it into the correct direc tory You re good to go Start Final Cut Pro and check whether Keylight is licensed If it is not check that you have a foundry lic license file in the correct directory See Where Does the License File Go on page 9 The
53. tackle difficult keys For information on system requirements new features improvements fixed bugs and known bugs amp workarounds see Appendix A on page 67 Example blue and green screen images for use with Keylight can be downloaded from our web site http www thefoundry co uk Keylight 5 INTRODUCTION Installation on Mac OS X Installation on Mac OS X Uninstalling Keylight Activating Keylight Keylight To install Keylight on a Mac OS X machine follow these instructions 1 Download Keylight_2 0v3_FCP mac universal release 32 dmg from www thefoundry co uk and extract the package by double clicking on it 2 Double click on Keylight_2 0v3_FCP mac universal release 32 pkg 3 Follow the on screen instructions to install Keylight 4 Proceed to Activating Keylight on page 6 Keylight can be found in the Effects gt Video Filters gt Keylight menu lts parameters appear on the Filters tab of the Viewer If you at some point need to uninstall the plug in see Uninstalling Keylight below The following directories are copied during the default installation process to the following paths Removing these directories will uninstall Keylight Library Plug ins FxPlug Keylight 2 0 FCP Applications TheFoundry Keylight 2 0 FCP Once you have installed Keylight you will need to activate the product Successful activation gives you a license key that unlocks the software If you hav
54. te The Foundry ADVANCED KEYING 39 Unpremultiply Result Use this switch to set the premultiplication of the RGB channels in the output image If turned off the RGB values will be multiplied by the alpha channel thus transparent areas are always black and semi transparent areas are dark If turned on the RGB values of the output image will be not multiplied by the alpha thus semi transparent pixels will have full brightness in the RGB channels If colour correcting the image after applying Keylight you should switch on Unpremultiply Result The Screen Matte Figure 41 is the result of pulling the blue or the green from the image Figure 40 and making those regions transparent Figure 40 Green screen Figure 41 Screen Matte Once you have done this you will want to firm up the foreground make it more white and clean up the background make it more black This can be done by processing the Screen Matte Keylight 40 ADVANCED KEYING Screen Matte Clip Rollback Keylight Pulling a Screen Matte Figure 42 will typically produce lots of transparency grey in the matte at the edges This is good since this is what you need to key hair well You may also get transparency in the foreground as shown in Figure 43 This is bad as your subject will appear slightly see through and this should be corrected You can do this with an inside mask Figure 42 Screen matte Figure 43 Close up screen matte hig
55. thorized to make copies of the Software or Documentation under this Agreement Licensee shall Keylight The Foundry APPENDIX B 75 End User License Agreement reproduce in and on all such copies any copyright and or other proprietary rights notices provided in and on the materials supplied by The Foundry hereunder Nothing in this Agreement shall be deemed to give Licensee any rights in the trademarks service marks patents trade secrets copyrights or other intellectual property rights of The Foundry or any Third Party Licensor and Licensee shall be strictly prohibited from using the name trademarks or service marks of The Foundry or any Third Party Licensor in Licensee s promotion or publicity without The Foundry s express written approval SECTION 5 LICENSE FEE Licensee understands that the benefits granted to Licensee hereunder are contingent upon Licensee s payment in full of the license fee payable in connection herewith the License Fee SECTION 6 TAXES AND DUTIES Licensee agrees to pay and indemnify The Foundry from claims for any local state or national tax exclusive of taxes based on net income duty tariff or other impost related to or arising from the transaction contemplated by this Agreement SECTION 7 LIMITED WARRANTY The Foundry warrants that for a period of ninety 90 days after delivery of the Software a the machine readable electronic files constituting the Software and Documentation shall be fre
56. tual covenants contained herein and for other good and valuable consid eration the receipt and sufficiency of which is acknowledged by each party hereto the parties agree as follows SECTION 1 GRANT OF LICENSE Subject to the limitations of Section 2 The Foundry hereby grants to Licensee a limited non trans ferable and non exclusive license to install and use a machine readable object code version of this software program the Software and the accompanying user guide and other documentation col lectively the Documentation solely for Licensee s own internal business purposes collectively the License provided however Licensee s right to install and use the Software and the Documenta tion is limited to those rights expressly set out in this Agreement SECTION 2 RESTRICTIONS ON USE Licensee is authorized to use the Software in machine readable object code form only and Licensee shall not a assign sublicense transfer pledge lease rent share or export the Software the Doc umentation or Licensee s rights hereunder b alter or circumvent the copy protection mechanisms in the Software or reverse engineer decompile disassemble or otherwise attempt to discover the source code of the Software c modify adapt translate or create derivative works based on the Software or Documentation d use or allow the use of the Software or Documentation on any proj ect other than a project produced by Licensee an Authori
57. und shown in Figure 2 Figure 2 Background If you want to have a go of this shot you can The images can be downloaded from our web site and this quick key is also covered in the Tutorial Chapter See Tutorial 1 Simple Key on page 51 Throughout this user guide we assume a good understanding of Final Cut Pro To perform this quick key do the following 1 Create a new composition using SaintFG mov and SaintBG mov Layer the clips with the blue screen over the background as shown in Figure 3 Keylight The Foundry GETTING STARTED 15 Quick Key 2 Open the blue screen clip SaintFG mov in the Viewer and apply Keylight from Effects gt Video Filters gt Keylight gt Keylight 2 0 See Figure 4 Figure 4 Apply Keylight from the Effects gt Video Filters menu 3 The Keylight parameters appear on the Filters tab of the Viewer as shown in Figure 5 Figure 5 Keylight Parameters 4 To view the Keylight parameters and the foreground clip in separate Viewers right click on SaintFG mov in the Browser The Foundry Keylight 1 6 GETTING STARTED Quick Key and select Open in New Viewer This opens the foreground clip in a new Viewer as shown in Figure 6 Figure 6 Opening a new Viewer 5 In the Keylight controls select the Screen Colour eye dropper and click on the blue screen in the new Viewer A good place to pick is the blue from the back windscreen as this has no reflections Pi
58. zed Project e allow or permit anyone other than Licensee and Licensee s authorized employees to the extent they are working on an The Foundry Keylight 73 74 APPENDIX B End User License Agreement Authorized Project to use or have access to the Software or Documentation f copy or install the Software or Documentation other than as expressly provided for herein or g take any action or fail to take action that could adversely affect the trademarks service marks patents trade secrets copyrights or other intellectual property rights of The Foundry or any third party with intellectual property rights in the Software each a Third Party Licensor Furthermore for purposes of this Section 2 the term Software shall include any derivatives of the Software Licensee shall install and use only a single copy of the Software on one computer unless the Soft ware is installed in a floating license environment in which case Licensee may install the Software on more than one computer provided however Licensee shall not at any one time use more copies of the Software than the total number of valid Software licenses purchased by Licensee Furthermore the Software can be licensed on an interactive or non interactive basis Licensee shall be authorized to use a non interactive version of the Software for rendering purposes only i e on a CPU without a user in a non interactive capacity and shall not use such
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