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USER GUIDE Keylight on Combustion Visual Effects Software The

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1. If the saturation of the pixel in the image is as strong or E a E Screen Colour Pixel Result Saturation l Figure 17 Blue screen pixel set alpha to zero greater than the screen colour then it ll be a pixel from the Keylight The Foundry ADVANCED KEYING 23 Screen Colour blue screen background and that pixel will be set to completely transparent and black See Figure 17 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 subtract some of the screen colour from the pixel de spilling and set the image to semi opaque See Figure 18 C 9 2 i N 3 g a Screen Colour Pixel Result Figure 18 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 The Foundry Keylight 24 ADVANCED KEYING Despilling foreground pixel and the alpha is set to completely opaque Saturation pa a aE Se Screen Colour Figure 19 Foreground pixel gives full alpha The pixel colour is not modified See Figure 19 Note You should note that the Screen Colour is a single colour You are not picking lots of colours that are keyed out Despilling Although picking the screen colour will remove blue spill it may not be enough To despill more use the Despill Bias control By default this is linked to the Alpha Bias In the rare c
2. Source Alpha a really harsh eroded matte that can be used to stop print through in a second key that concentrates on the edges Print through is where the background shows through the foreground in a composite Here s how you do it 1 Apply Keylight to your footage and pick the screen colour 2 Using Clip White Clip Black and Screen Shrink Grow while viewing the Screen Matte get a very harsh eroded matte as shown in Figure 56 Figure 56 Highly eroded matte 3 Switch the View to Intermediate Result to pass through the RGB channels unaffected with the screen matte in the alpha channel It looks a bit odd but don t worry 4 Now apply a second Keylight and pick the screen colour as normal Looking at the Status display as shown in Figure 57 you The Foundry Keylight 42 ADVANCED KEYING Source Alpha should be able to see the background showing through the foreground white areas Figure 57 Status for default key showing foreground transparency 5 To fix this we ll use the harsh matte we pulled in the first key In the Inside Mask group switch Source Alpha from Ignore to Add To Inside Mask The result is shown in Figure 55 Figure 58 Status showing improved foreground as a result of adding the harsh matte from the first key 6 With a good foreground you can now concentrate on pulling a subtle key for the edges without worrying about the background showing through the foreground You may also need to use
3. The Foundry Keylight 32 ADVANCED KEYING Status View Keylight Figure 35 shows the Status after the screen colour has been picked from the image shown in Figure 34 on page 31 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 Figure 36 Status showing Figure 37 Result showing Screen processing of the Screen Matte Matte Replace Colour Figure 36 shows black white grey and green pixels The 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 Replace Colour to put back colour in these areas Figure 37 on page 32 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 The Foundry ADVANCED KEYING 33 Screen Matte Similarly you may see blue pixels in the Status These Figur
4. the Schematic 68 REIGASE NOLES 14 5 a0 hated we UCR IGE AS eee eas 75 End User License Agreement 02 cece eee ce eees 8 1 PED nace R Cr ea Ce Ee RS 89 Keylight INTRODUCTION About this Manual Release Notes Example Images Installation on Windows The Foundry INTRODUCTION About this Manual Welcome to this User Guide for Keylight on Combustion Keylight is an Academy award winning blue and green screen keyer The core algorithm was developed by the Computer Film Company and has been further developed and ported to Combustion 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 tackle difficult keys For information on system requirements new features improvements fixed bugs and known bugs amp workarounds see Appendix A on page 75 Example blue and green screen images for use with Keylight can be downloaded from our web site www thefoundry co uk To install Keylight on a Windows machine follow these instructions Keylight 5 6 INTRODUCTION Licensing Licensing Keylight 1 Download Keylight1 2v1_AE7 0 win x86 release 3 2 Combus tion zip from www thefoundry co uk and extract the installer from the zip archive by double clicking on it 2 Double click o
5. 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 e Wrap copies pixels from the area between the opposite crop line and its screen edge to the area between the 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 Edge Colour Alpha sets the fill colour transparency 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 Foundry TUTORIAL Introduction Example Images Tutorial 1 Simple Key The Foundry TUTORIAL 47 Introduction We have included several tutorials with example images that you can use to practice Keylight e Tutorial 1 Simple Key e Tutorial 2 Fine Tuning a Key e Tutorial 3 Extreme Blue Spill e Tutorial 4 A Red Green Screen e Tutorial 5 Inside amp Outside Masks e Tutorial 6 Keying amp the Schematic The
6. 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 100 Figure 31 shows the original alpha of an Figure 31 Clip Black 0 Figure 32 Clip Black 50 image and Figure 32 on page 29 shows the result of clipping it 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 Keylight 30 ADVANCED KEYING View Keylight Note foreground are showing through The Clip White control on 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 THE SS FOUNDRY UU Figure 33 View Menu Menu shown here in Figure 33 Here s the complete list of options and what they do e Source displays the blue or green screen e Source Alpha displays the alpha channel embedded in the blue or green screen e Corrected Source displays the uncomposited source image with any colour correc
7. clips you will need for this task are called MerlinGreen tif and Curtain tif and can be found in the MerlinGreen archive on the Products gt For Combustion gt Keylight gt Examples page of our website 1 Start Combustion Create a new composite Load in the footage and wire them in so the green screen clip is lay ered over the curtain Figure 94 Schematic Figure 95 Output 2 Configure the viewport layout to give you multiple viewers On one view your schematic another your comp output and on the final one a copy of the source footage Keylight The Foundry TUTORIAL 69 Tutorial 6 Keying amp the Schematic Add a Keylight operator between the source footage and the comp node Figure 96 Viewer Layout 3 Bring up the Keylight control panel click on the source viewer then on the Screen Colour eyedropper Try picking from an area of screen colour on the source image and seeing how the final output looks If necessary switch the view to either status or screen matte to see what the alpha looks like Sample from a few different regions and see how the output looks then pick from the area which appeared best In many cases this can be the make or break factor for a key so ensuring you get a good initial key will make tweaking the matte a far easier process Figure 97 Output Figure 98 Status The Foundry Keylight 70 TUTORIAL Tutorial 6 Keying amp the Schematic Keylight 4 The matte generate
8. improvements to existing features Fixed Bugs 1 SSE2 BUG ID 801 the previous version of Keylight was compiled with a sse2 flag preventing it from working on very old hardware running Windows This version has been recompiled with sse 1 to fix this problem affecting a minority of customers 2 Seperator BUG ID 763 using the scroll wheel to select options in an option toggle would allow the selection of the seperator and this caused a crash The seperator has been removed to fix the bug The Foundry Keylight 1 2v1 The Foundry APPENDIXA 77 Release Notes Known Bugs and Workarounds 1 Multiprocessing BUG ID 194 There is a multiprocess ing rendering bug shown up as half screen renders Only seen on Intel PCs with dual core As a workaround you could temporarily set the environment variable FOUNDRY MAX_PROCESSORS to 1 This is the first release of Keylight to support Combustion Requirements Autodesk Combustion 4 on Windows only Combustion on Mac is not supported Release Date November 2006 New Features 1 FLEXIm license support for Combustion Improvements ls 2 The bias controls are now locked together by default The Keylight algorithm has been tweaked for improved floating point handling An environment variable FOUNDRY MAX PROCESSORS 1 has been provided to switch off multi processing as a temporary workaround for Bug ID 194 Keylight is now versioned by name This al
9. 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 Lic ensees requirements or that Licensees 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 84 APPENDIX B End User License Agreement ties may not be disclaimed under applicable law then ANY IMPLIED WARRANTIES ARE LIMITED IN DURATION TO NINETY 90 DAYS AFTER DELIVERY OF THE SOFTWARE TO LICENSEE SECTION 8 LIM
10. 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 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 See Inside Mask Tip on page 40 Screen Colour 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 View the Source image in the Composite window select the eye dropper and pick the screen colour Setting the Screen Colour will create a matte the Screen Matte and despill the foreground In some cases this is enough to get a decent key For more information on Screen Colour see page 21 The Foundry Keylight 16 BASIC KEYING View Figure 10 shows a well lit blue screen behind an actor You Figure 10 Blue Screen should note that repeatedly picking the Screen Colour will Override any previous selections It will not add to previous selections and key more of the image with each click Note 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 jud
11. shall Keylight The Foundry APPENDIXB 83 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 Licensees promotion or publicity without The Foundry express written approval SECTION 5 LICENSE FEE Licensee understands that the benefits granted to Licensee hereunder are contingent upon Lic ensee 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 free from errors that may arise from the electronic file transfer from The Foundry and
12. the Screen Matte Replace Method to pull some of the Original image through the composite This improves the Keylight The Foundry The Foundry TUTORIAL 61 Tutorial 4 A Red Green Screen apparent graininess in the foreground Figure 82 shows the differences Figure 82 Close up view The left image has Replace Method set to Source The right image has Replace Method set to None Keylight 62 TUTORIAL Tutorial 5 Inside amp Outside Masks Tutorial 5 Inside amp Outside Masks Keylight Using the 16 bit blue screen test card image you will learn how to e Use Inside and Outside Masks e Use the Replace Method to put back keyed out colours e Process the Screen Matte The clips you will need for this task are called TestCard cin and ColourGrid cin 1 Start Combustion Create a new 16 bit workspace Import the pictures TestCard cin Figure 83 and ColourGrid cin Figure 83 Test Card and put them into the composition layering the blue screen over the colour grid The Foundry TUTORIAL 63 Tutorial 5 Inside amp Outside Masks 2 Apply Keylight to the blue screen layer and pick the blue from the image Keylight will create a matte and despill Figure 84 Basic Key the foreground as shown in Figure 84 3 To remove the garbage around the subject we will use an outside mask Using Combustion s Draw Mask node draw a spline around the person and test cards This is shown as the yellow line in
13. the foreground object or to restore original subject colours In a similar manner to before create a new branch with a Draw Mask node and draw a vector around some internal detail Pipe this into the Inside Mask input and select Matte Layer Alpha from the Mask With drop down under Inside Mask By altering the Replace options in the same column you are able to set how the colours inside this mask are reproduced this comes in handy when Keylight is removing some foreground colour that is close to the screen colour when you do not want it too Figure 101 Inside Mask Figure 102 Output 7 You may notice that in the same Inside Mask column there is an option for using the alpha channel embedded in the source input for the inside mask This comes in very handy when setting up a multipass key For example imagine you have a problematic key whereby you can set Keylight up to maintain good edge detail at the cost of partially transparent inside regions or you have have a good solid inner key but where the edge detail has been destroyed Now you could manually draw in an inside mask and animate it however there is a far easier option which the following steps outline For this part of the exercise remove the matte nodes and reset Keylight to its defaults Keylight 72 TUTORIAL Tutorial 6 Keying amp the Schematic Keylight 8 Click on this Keylight node and pick a good colour region Switch the output to Status a
14. 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 project other than a project produced by Licensee an Authorized Project e allow or permit any one other than Licensee and Licen
15. tutorial images referred to in this chapter can be downloaded from our web site 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 e Apply Keylight to a layer e Pick the Screen Colour e View the Final Result The clips you will need for this task are called SaintFG tif and SaintBG tif pictures courtesy of CFC and Paramount British Pictures Ltd for the film The Saint You should import them Keylight 48 TUTORIAL Tutorial 1 Simple Key into Combustion and create a new composition containing the blue screen of Elizabeth Shue layered over the road Figure 59 Blue Screen saint tif Figure 59 is the blue screen foreground that should be Figure 60 Background road tif composited over the background shown in Figure 60 Keylight The Foundry TUTORIAL 49 Tutorial 1 Simple Key 1 Create a new composition using SaintFG tif and SaintBG tif layer the clips with the blue screen over the background as shown in Figure 61 Figure 61 Screen Shot showing Saint blue screen 2 Select the blue screen clip SaintFG tif in the Schematic window and apply Keylight from the Operators Keying menu See Figure 62 Figure 62 Apply Keylight from the Operators Keying menu The Foundry Keylight 50 TUTORIAL Tutorial 1 Simple Key 3 The Keylight parameters are shown in Figure 63 Figure 63 Keylight Parameters 4 Sele
16. where there should be pure background you should try to remove these with the Screen Strength 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 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 32 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 The Foundry BASIC KEYING 19 Despill Bias 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 Bias controls are locked together which in the vast majority of cases is the best way to use them See Despilling on page 24 in the Advanced keying section for a look at a case where unlinking the bias controls is a good tactic Thus using either bias control colour dropper pick the predominant foreground colour In the majority of cases it s best to pick skin
17. 4 TUTORIAL Tutorial 6 Keying amp the Schematic Keylight The Foundry APPENDIX A Release Notes Keylight 1 2v7 The Foundry APPENDIXA 75 Release Notes This appendix describes the requirements new features improvements over previous versions fixed bugs and known bugs and workarounds in Keylight This is a maintenance release of Keylight to fix a bug Requirements Autodesk Combustion 4 on Windows only Combustion on Mac is not supported Release Date September 2007 New Features There are no new features Improvements There are no improvements to existing features Fixed Bugs 1 Background Rendering BUG ID 2293 background ren dering scripts with keylight nodes would use a Foundry FLEXIm interactive GUI license keylight_ae_i rather than a FLEXIm render license keylight_ae_r This has been fixed Known Bugs and Workarounds Keylight 76 APPENDIX A Release Notes Keylight 1 2v2 Keylight 1 Multiprocessing BUG ID 194 There is a multiprocess ing rendering bug shown up as half screen renders Only seen on Intel PCs with dual core As a workaround you could temporarily set the environment variable FOUNDRY MAX_PROCESSORS to 1 This is a maintenance release of Keylight to fix some bugs Requirements Autodesk Combustion 4 on Windows only Combustion on Mac is not supported Release Date December 2006 New Features There are no new features Improvements There are no
18. Figure 85 Put the output of the Draw TA G lg Figure 85 Outside Mask Mask node into the second Outside Mask input of the Keylight node The Foundry Keylight 64 TUTORIAL Tutorial 5 Inside amp Outside Masks 4 In Keylight check that the Outside Mask is set to the Draw Mask node and switch Invert on or you ll be a COE ni a a EBR BEET I Hape aon a Figure 86 Outside Mask removing the person rather than the unwanted pixels at the screen edges 5 You will have noticed in Figure 86 the dirt around the Figure 87 Status View subject s head Clearly we have to improve the key You can also see the faults in the matte if you view the Status as shown in Figure 87 Keylight The Foundry TUTORIAL 65 Tutorial 5 Inside amp Outside Masks 6 Increase the Screen Gain to 110 This cleans up some of the background as shown in Figure 88 Figure 88 Increase Screen Gain 7 Sections 7 to 10 will cover the changes to the Screen Matte that will improve the key In the Screen Matte parameter area decrease the Clip White from 100 to 70 Figure 89 Clip White This will improve the foreground as shown in Figure 89 However you will notice in the composite that the edges have become a little hard We can fix this using the Clip Rollback and Screen Softness The Foundry Keylight 66 TUTORIAL Tutorial 5 Inside amp Outside Masks 8 Increase the Clip Rollback to 3
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20. USER GUIDE Keylight on Combustion KEYLIGHT BY THE FOUNDRY Visual Effects Software The Foundry 2007 The Foundry Visionmongers Ltd All rights reserved Keylight User Guide This manual as well as the software described in it 1s 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 Combustion is a registered trademark of Autodesk Media and Entertainment All other products or brands are trademarks or registered trademarks of their respective companies or organisations Software engineering Ralph McEntagart Lucy Hallpike Andy Whitmore Bruno Nicoletti Simon Robinson Initial algorithm development Wolfgang Lempp and Oliver James Product testing Jack Binks Jonathan Barson Writing and layout design Jonathan Barson using Adobe FrameMaker Proof reading Jonathan Barson CONTENTS Introduction Getting Started Basic Keying Advanced Keyin Keylight About this Manual Release Notes Example Images Installation on Windows Licensing wink
21. Y 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 provide The Foundry with a certificate signed by an officer of Licensee con firming that t
22. a very rough garbage mask to improve the background particularly for unevenly lit screens Keylight The Foundry Colour Correction The Foundry ADVANCED KEYING 43 Colour Correction The Colour Correction parameters allow you to modify the foreground colours in your composite In particular reflected blues and greens from the screen can be suppressed 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 Colour Suppression 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 Keylight 44 ADVANCED KEYING Edge Colour Correct
23. actually a green Figure 77 Poor Green Screen 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 Pick the Screen Colour You should go for the slightly darker green patch to the left of the pilot Although feel free to experiment picking different parts of the green The Foundry TUTORIAL 59 Tutorial 4 A Red Green Screen screen The initial selection gives the result shown in Figure 78 Figure 78 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 mask for both the Despill Bias and Alpha Bias The result is shown in Figure 79 Figure 79 Despill Bias and Alpha Bias The Foundry Keylight 6Q TUTORIAL Tutorial 4 A Red Green Screen 4 If you look closely the background and foreground needs cleaning up Figure 80 shows the Status View We will use Pa E are b T i E A N are ie Bz G Figure 80 Status View the Screen Matte tools to make the cockpit windows black and the pilot white 5 Increase Clip Black to 20 to remove some of the foreground showing through the background Decrease Clip White to 70 to improve the opacity of the foreground Increase Screen Softness to 1 Screen Despot Black to 2 and Screen Despot White to 2 Figure 81 Composite 6 Use
24. 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 2007 The Foundry Visionmongers Ltd All Rights Reserved Do not duplicate The Foundry Keylight 88 APPENDIX B End User License Agreement Keylight The Foundry INDEX A Z A Advanced Keying 21 B Basic Keying 15 black pixels See Status 18 blue pixels See Status 33 blue spill 25 Brightness 43 44 C Clip Black 29 Clip Levels 29 Clip Rollback 34 Clip White 29 Colour Balancing 44 45 Colour Correction 43 Colour Replacement 37 Co
25. an 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 The Foundry ADVANCED KEYING 37 Colour Replacement White will remove isolated spots of white in the background up to that size Figure 48 Eroded matte Figure 49 Despot Colour Remember that Keylight does two things it removes the Replacement 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 Method instructs 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 whilst those pixels whose transparency was modified by the inside mask will be blue See the Status View on page 32 There are four options to the replace method these are 1 None the despilled image is left untouched if the alpha is modified The Foundry Keylight 38 ADVANCED KEYING Inside amp Outside Masks 2 Source the image will have a corresponding amount of the original pixel screen colour and all reintroduced removed
26. and the Screen Softness to Figure 90 Rollback and Softness 1 It s also worth trying to improve the key around the spiky flowers with a sub pixel erode of the edge Change Screen Grow Shrink to 0 5 9 To remove the foreground spots increase Screen Despot Figure 91 Screen Despot Black Black to 1 The result is shown in Figure 91 10 The composite is shown in Figure 92 You will see that the colours of the colour swatches have been altered by Keylight The Foundry TUTORIAL 67 Tutorial 5 Inside amp Outside Masks the Keylight algorithm This can be fixed with an Inside Mask Figure 92 Sanan 11 Draw a rough mask around just the colour swatches and Figure 93 Inside Mask and Replace Method Source feed this into the Inside Mask input of the Keylight node Set the Keylight Replace Method to Source to pull back the original colours 12 That s it The Foundry Keylight 68 TUTORIAL Tutorial 6 Keying amp the Schematic Tutorial 6 Keying Combustions schematic is a powerful and intuitive way to amp the Schematic build up keys using multiple passes In this tutorial we will take a simple key and use it to demonstrate some flexible node based keying techniques We will cover e Using multiple viewers for quick colour picking e Applying vector based Inside and Outside masks using Combustion s native masking toolset e Using a previous key as an Inside mask to prevent print through The
27. ase that the screen has been so badly shot that it s not really blue or green anymore the alpha bias can be used to get a good key Keylight The Foundry Despill Bias Alpha Bias The Foundry ADVANCED KEYING 25 Despilling Consider Figure 20 from the film Merlin Pulling a default Figure 20 Original blue screen Figure 21 Default key key from this will give the extreme blue spill around the edges of her hair as shown in Figure 21 To reduce this select the Despill Bias colour and pick skin tones from the foreground image This result is shown in Figure 22 The alpha channel is shown in Figure 23 Figure 22 Despill Bias Figure 23 Alpha You should not normally need to adjust the alpha bias seperately to the Despill Bias but on those rare occasions when your green screen is more red than green it can be used to put things right in what would otherwise be an un Keylight 26 ADVANCED KEYING Despilling keyable shot Consider the image shown in Figure 24 This Figure 24 Is this the worst green screen you ve ever seen shot from the film Executive Decision is actually a green screen although it doesn t look it The colour of the screen in the background is around 28 red 25 green and 8 blue This is in fact red but only just Note that the pilot in the cockpit is predominantly brown at around 42 red 25 green 15 blue So a default key from that screen colour would make the foreground tra
28. ask M Figure 42 Screen matte Figure 43 Close up screen matte highlighting 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 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 The Foundry Keylight 36 ADVANCED KEYING Grow amp Shrink Grow amp Shrink Despot Keylight This control should not normally be used as eroding the edges can produce a very poor key However this 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 ff s Figure 46 Screen Matte Figure 47 Eroded Matte There is however one circumstance where heavy eroding is useful and that is for producing a matte used as an inside mask See Inside Mask Tip on page 40 This controls how much to simplify the matte It coagulates similar regions so that for example black specks in the white matte c
29. 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 authorized to make copies of the Software or Documentation under this Agreement Licensee
30. ct the Screen Colour eye dropper and click on the blue screen in the composition window A good place to pick is Figure 64 Pick the blue from the back windscreen the blue from the back windscreen as this has no reflections See Figure 64 5 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 Keylight The Foundry The Foundry TUTORIAL 51 Tutorial 1 Simple Key matte and despills the foreground The final composite is shown in Figure 65 Figure 65 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 52 Keylight 52 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 tif and SaintBG tif Apply Keylight to the blue screen layer Select the Screen Colour eye dropper and click on the blue screen in the composition window These steps were covered in greater detail in the previous chapter 2 Before we do anything else we need to look at the quality of the key so far On first inspection the composite
31. d can be refined using the matte processing tools native to Keylight however for the purposes of this tutorial we are first going to investigate the use of inside and outside masks These are extra inputs to the plug in which limit the areas to which the key generated are applied First off lets try using an outside mask These are generally useful where the background screen has been unevenly lit or where lighting rigs have protruded into shot On the schematic drop a new Mask gt Draw Mask operator and wire it onto the original footage as shown in Figure 99 Now by setting your viewer to look at the Draw Mask operator and click on one of the mask creation tools you can draw directly onto the footage in question Draw a loose garbage matte around the subject and animate as required in this case animation is not necessary as the subject is not in motion Figure 99 Draw Mask Node Figure 100 Draw Mask Output 5 Pipe the output of the create mask node into the outside mask Keylight input drop over the blue strip and select outside mask from the drop down list Now from the Keylight control panel pick Matte Layer Inverse Alpha from the Mask With drop down under Outside Mask Now you have effectively told Keylight to ignore everything outside of the mask youve drawn The Foundry The Foundry TUTORIAL Tutorial 6 Keying amp the Schematic 6 Inside masks on the other hand are used to prevent unwanted transparency in
32. dropper and click on the blue screen in the composition window A good place to pick is the Figure 7 Pick the blue from the back windscreen blue from the back windscreen as this has no reflections Keylight The Foundry GETTING STARTED 13 Quick Key 5 Picking this blue will key the back windscreen perfectly leaving reflections in the side window Figure 8 Keyed foreground over the background 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 9 Figure 9 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 52 The Foundry Keylight 14 GETTING STARTED Quick Key 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 The Foundry BASIC KEYING 15 Basic Workflow BASIC KEYING 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 Basic Workflow The first step is always to pick the Screen Colour Then view the composite and the
33. e 38 Status showing how Figure 39 Final Result showing the Inside Mask will affect the the Inside Mask Replace Colour foreground represent processed pixels in the Inside Mask that affect the despill of the foreground The Replace Colour in the Inside Mask folder will be used to modify these pixels Another extreme example is shown in Figure 39 The Replace Colour is set to pure yellow and the Replace Method is 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 Screen Matte The Screen Matte Figure 41 is the result of pulling the blue or the green from the image Figure 40 and making those The Foundry Keylight 34 ADVANCED KEYING Clip Rollback regions transparent Once you have done this you will want Figure 40 Green screen Figure 41 Screen Matte 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 Clip Rollback 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 Keylight The Foundry ADVANCED KEYING 35 Clip Rollback this should be corrected You can do this with an inside m
34. ge the key View After picking the Screen Colour it s useful to be able to check the quality of the key by viewing the composite and the Keylight The Foundry BASIC KEYING 17 Status screen matte You can do this using the View Menu shown IE G FOUNDRY Figure 11 View Menu here in Figure 11 The options you ll use the most are e Screen Matte this renders the matte created by picking the screen colour e Status this renders an exaggeratted view of the mattes so that minor problems are shown clearly e Final Result this renders the foreground composited over the background using all mattes spill and colour corrections Status 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 13 L ae Figure 12 Green Screen Figure 13 Status The Foundry Keylight 18 BASIC KEYING Despill Bias Despill Bias Keylight 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 pure 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
35. he 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 Licensees own confidential information secure but in any case using no less than a reasonable degree of care to hold the Software Documentation and any other Confidential Information in strict confidence and safe cus tody The Foundry may request i
36. i FAR 52 227 19 June 1987 iii FAR 12 211 and 12 212 and or iv DFARS 227 7202 1 a and DFARS 227 7202 3 The Software is the subject of the following notices Copyright c 2007 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 87 End User License Agreement SECTION 18 MISCELLANEOUS This Agreement is the exclusive agreement between the parties concerning the subject matter hereof and supersedes any and all prior oral or written
37. if the alpha is changed 3 Hard Colour the despilled image has a corresponding amount of the replace colour added for any increase in alpha 4 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 Inside amp Outside If you can t adequately improve the Screen Matte using the Masks 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 that are not a constant colour or have lighting rigs in shot Figure 50 by forcing the alpha transparent The inside mask Figure 50 Green Screen with lighting rig visible 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 Keylight The Foundry ADVANCED KEYING 39 Inside amp Outside Masks screen These masks should normally be softened to blend into the Screen Matte Figure 51 on page 39 shows a Combustion Mask drawn around the lighting rig on the left side of the screen When this is used as the Outside Mask and the View control set to render the Outside Ma
38. imates correctly and the correct value is shown Known Bugs with Combustion and Workarounds 1 Colour pickers on the Combustion schematic BUG ID 733 when schematic selected activating and deactivat ing a colour picker occasionally results in the colour picker tool only being activated When this happens hit The Foundry The Foundry APPENDIXA 79 Release Notes F12 twice to flick the schematic to a viewer and then back again Parameter callbacks BUG ID 751 moving the crosshairs in the colour correction colour wheel cannot update both the hue and saturation parameter As a workaround only the hue parameter is updated The Saturation can only be adjusted with the slider Keylight 80 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 mutual covenants contained herein and for other good and valuable consid eration
39. ion Edge Colour Correction Keylight Colour Balancing These controls are used to alter the colour balance of the image Choose a hue and saturation either via the sliders or the colour balance wheel to shift the entire colour balance of the image The Edge 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 Saturation these controls determine how much to scale the saturation of the image Contrast this control increases decreases the contrast on the region considered to be the edge Brightness this control brightens the region considered to be the edge The Foundry Source Crops The Foundry ADVANCED KEYING 45 Source Crops Edge Colour Suppression Controls the colour suppression in the image Suppress Choose to completely remove a specific primary either Red Yellow Green Blue or their component
40. 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 66 Here we can see that the windscreens E Figure 66 Status showing grey pixels in the background 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 and background pixels What we want is a clean background showing through the windows but with The Foundry TUTORIAL 53 Tutorial 2 Fine Tuning a Key some reflections in the side window preserved In other words we need mostly black pixels with a few grey ones 3 Figure 67 on page 53 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 100 to 112 Se 74T T rr Figure 67 Improved background with Screen Gain 4 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 68 Final Composite The Foundry Keylight 54 TUTORIAL Tutorial 3 Extreme Blue Spill Tutorial 3 Extreme This is a really interesting clip from the film Merlin The Blue Spill results with Keylight are certainl
41. lour Suppression 43 Computer Film Company 8 Contrast 43 44 Cropping 45 Crops 45 D Despill Bias 18 Despot 36 E Edge Colour Suppression 45 Edge Correction 44 The Foundry End User License Agreement 81 Erode 36 Example Images 47 eye dropper 15 F Framestore CFC 8 G Getting Started 9 green pixels See Status 32 grey pixels See Status 18 Grow 36 l Images Downloadable examples 47 Inside Masks 38 Installation Windows 5 L Licensing 6 M Matte Combined Matte 31 Erode 36 Grow 36 Processing 34 Rollback 34 Screen Matte 30 33 INDEX 89 A Z Shrink 36 Status 31 0 Outside Masks 38 R red pixels See Status 33 Release Notes 75 Render Controls Colour Correction Edges 30 Combined Matte 31 Corrected Source 30 Final Result 31 Inside Mask 30 Intermediate Result 31 Outside Mask 31 Screen Matte 30 Source 30 Source Alpha 30 Status 31 Replace Method 37 Requirements 75 76 77 Rollback 34 S Saturation 43 44 Screen Balance 24 Screen Colour 15 21 Screen Matte 33 Shrink 36 Source Alpha 40 Status 17 Status View 31 Keylight 90 INDEX A Z Suppression 43 45 T The Foundry About Us 7 Tutorial 47 images 47 Introduction 47 Tutorial 1 47 Tutorial 2 52 Tutorial 3 54 Tutorial 4 58 68 Tutorial 5 62 V View 16 30 W white pixels See Status 18 Keylight The Foundry
42. lows multiple versions of the plug in to coexist on a single host 3GB Switch the plug ins have been compiled to take advantage of extended memory available in this mode Keylight 78 APPENDIX A Release Notes Keylight Fixed Bugs 1 Inside Mask Source Alpha set to Add To Inside Mask When viewing the Status with the source alpha added to the inside mask the combined mattes were not drawn on screen even though the matte had been added This has been fixed so that the Status correctly shows these com bined mattes Source Crops BUG ID 224 changing the left crop value from O when X Method is Colour produces a rendering error in the colour correction edges This has been fixed Installer BUG ID 223 Keylight could only be installed to the default directory This has been fixed Colour Correction Clipping BUG ID 225 colour correction of the foreground or edges is incorrectly clipped between 0 and 1 for floating point images This has been fixed Known Bugs and Workarounds Ip Multiprocessing BUG ID 194 There is a multiprocess ing rendering bug shown up as half screen renders Only seen on Intel PCs with dual core As a workaround you could temporarily set the environment variable FOUNDRY MAX_PROCESSORS to 1 Colour Wheel BUG ID 732 after setting keys for the huw the colour wheel crosshairs do not update correctly when jumping along the timeline However the parameter an
43. n Keylight1 2v1_AE7 0 win x86 release 3 2 Combustion exe 3 A window will appear welcoming you to the Keylight Setup Click Next to continue to the end user license agreement 4 When the end user license agreement appears please read it If you agree click Yes to continue the installation 5 Choose the location to install Keylight on your hard disk To accept the default location and it is strongly recommended that you do just click Next to continue 6 The Keylight plug in will be installed but not licensed Click Finish to quit the installer Keylight can be found in the Operators Keying menu Keylight for Combustion is licensed using FLEXIm from Macrovision A node locked license will enable Keylight to work on one particular machine It is locked to a unique number Imhostid on that machine Node locked licenses do not require additional licensing software to be installed In particular you do not need a FLEXIm daemon running You just need the Keylight plug in and a text file containing the license string Your license key will look a little like this INCREMENT keylight_ae_i foundry 1 2 05 jul 2007 uncounted HOSTID 000ea641d7al START 8 nov 2006 SIGN 03C7 5A34 BDE8 D421 6C2B 8111 8151 972A 14E2 C143 4C00 741F 730D 784A D392 B1D9 9C3F O3FC DB2A E432 5EA7 This license string should be put in a text file called foundry lic in the same directory as the Keylight plug in The Foundry Important Imhostid Furthe
44. n 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 86 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 subject to the appli cable restrictions of i FAR 52 227 14 ALTS I Il and III une 1987 i
45. nd using the Clip Black and Clip White make the matte virtually binary i e either in one state or another so each pixel is either black or white find a Clip Black of 47 and a Clip White of 60 is adequate As we want this key to be solely for the hard inside areas shrink the matte using the Screen Shrink Grow control 15 is a good rough value For some keys you will also need to employ the despot controls to remove any remaining grey holes in the matte Figure 103 Heavily eroded Figure 104 Intermediate Result Screen Matte Switching to Intermediate output renders the input RGB channels with the matte calculated in the A channel It looks a bit odd at this point but you have to bear in mind that Combustion is showing you the RGB multiplied by A in actual fact the RGB data in regions of zero A still exists its merely not being shown Wire in a second Keylight directly on the output of the first and pick a good green for the screen colour from the source viewer Switch the Inside Mask Source Alpha drop down to Add to Inside Mask We are now using the matte created in the first Keylight as the inside mask for the second Keylight The second pass Keylight can now be tweaked to The Foundry TUTORIAL 73 Tutorial 6 Keying amp the Schematic give optimal edge detail without the worry of losing full subject opacity in the inner areas Figure 105 Schematic Figure 106 Final Output The Foundry Keylight 7
46. nd and edge detail will be destroyed Figure 30 on l aj a Figure 29 Screen Gain 100 Figure 30 Screen Gain 150 giving a good screen matte giving background show through and over eroded edges page 28 shows this quite well 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 100 means that the saturation will be measured against the smallest of the other two components in the screen colour The Foundry Clip Levels The Foundry ADVANCED KEYING 29 Clip Levels A balance of 0 means that the saturation will be measured against the larger of the other two components A balance of 50 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 95 and green screens with a balance of around 50 If the key is not working too well with these settings try setting the balance to about 5 50 and 95 and see what works best The clip levels are
47. nsparent Figure 25 as it is a more saturated red than the red of the screen colour Figure 25 Default key showing the transparency of the foreground Keylight The Foundry ADVANCED KEYING Screen Gain In this situation the Alpha Bias can help View the Source unlink the Bias controls then select the Alpha Bias and pick colours from his mask Now pick the same colours for the Despill Bias This gives the result shown in Figure 26 Figure 26 Alpha Bias and Despill Bias The screen gain controls how much of the screen colour is Screen Gain removed to make the screen matte Increasing this value will Figure 28 Status showing the the Screen Colour increase in Screen Gain key more For the most part a 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 Keylight The Foundry 28 ADVANCED KEYING Screen Balance Screen Balance Keylight 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 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 foregrou
48. r Reading About The Foundry The Foundry INTRODUCTION About The Foundry The really important bit is that the file has a lic file extension make sure there is no hidden file extension has been added for you that it is a plain text file not rich text and that you put the file in the correct directory Put the license key in this directory C Program Files discreet combustion 4 Plugins Keylight 1 2 foundry lic You can get a temporary trial demo or permanent license from our web site www thefoundry co uk or contact The Foundry directly To display this number click on the banner Figure 1 in the Keylight plug in The Imhostid is displayed THE FOUNDRY ULC TTT Figure 1 Click this for Imhostid For more information on licensing Keylight moving the license file or working with floating licenses read the Foundry FLEXIm Tools FFT User Guide available to download from our web site The Foundry specialises in developing plug in visual effects for compositing platforms in the film and video industry Based in London s Soho the Foundry has tailored its image processing tools to the needs of post production Tinder plug ins have been developed by the Foundry and Keylight 7 INTRODUCTION About CFC About CFC Keylight have been sold to hundreds of users throughout the world They are available on the leading compositing platforms including Discreet Frame Avid DS Shake and Adobe After Effects F
49. s lt About The Foundry About CFC CON OU MN Ln Ln a DEE ste rag Fe wie seca Saavedra ca hg a ac ee ee e teas 9 s Ine Kefren TTT 9 Basic Workflow Screen Colour VIEW vse esac Ta AE A SADI 43 sa 0 Ta aE ees Despill Bias Screen Colour L L L L L L L L Despilling Screen Gain Screen Balance Clip Levels VIEW aeee naea Status View Screen Matte Clip Rollback Grow amp Shrink DESDOl oreken a brad Colour Replacement eae R lt EEEE Es seas 4G ea E ea E ere E 24 ere a 54 O Raa d a 0 a S E E at tee ick OO poet 0 eee 9 The Foundry Tutorial Appendix A Appendix B index The Foundry Inside amp Outside Masks ee eee ee ee ee nee 38 SOURCE APIT arai des Cate ace L R eb eras beers Bay See a 40 Colour COMPECHIO Mss Ea E seat he eon ee Se eee Owe 43 Edge Colour Correction ce eee ec ee ee ee eee 44 SOUC ChODS e E 4 A a A os ae oe eee E 45 MEN OOUCTION T ccc sak acne ace oe ae tie ee eee awa ads 47 Example Images swt thy a a a eee eee EEEN 47 Tutorial Ts Simple lt T 47 Tutorial 2 Fine Tuning a Key eee eee ee eee 52 Tutorial 3 Extreme Blue Spill 0 2 0 eee eee 54 Tutorial 4 A Red Green Screen cee ee ee eee 58 Tutorial 5 Inside amp Outside MasksS 00 e ee 62 Tutorial 6 Keying amp
50. s Cyan Magenta or Yellow 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 Colour Balancing These controls are used to alter the colour balance of the image edges Choose a hue and saturation either via the sliders or the colour balance wheel to shift the entire colour balance of the image 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 Keylight 46 ADVANCED KEYING Source Crops Keylight Note Note X Y Method determines the behaviour of the image at the left and right crop boundaries Four edge methods are supplied e Colour fills the area between the crop line and the edge with the Crop Colour e Reflect reflects pixels about the current crop line In other words it copies pixels from the other side of the
51. s honoured with a Technical Academy Award in 1996 When we refer to blue screens throughout the text we mean of course blue or green screens Keylight is available from the Operators Keying menu in Combustion Consider this shot from The Saint pictures courtesy of CFC and Paramount British Pictures Ltd Figure 2 is the blue Figure 2 Blue Screen Keylight 9 10 GETTING STARTED Quick Key screen foreground that should be composited over the background shown in Figure 3 Figure 3 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 47 Throughout this user guide we assume a good understanding of Combustion To perform this quick key do the following Keylight The Foundry GETTING STARTED 11 Quick Key 1 Create a new Workspace and import SaintFG tif and SaintBG tif Layer the clips with the blue screen over the background as shown in Figure 4 Figure 4 Screen Shot showing Saint blue screen 2 Select the blue screen clip SaintFG tif and apply AE Keylight 1 2 from the Keying menu of the Operators tab See Figure 5 Figure 5 Apply Keylight from the Keying menu The Foundry Keylight 12 GETTING STARTED Quick Key 3 The Keylight parameters are shown in Figure 6 Figure 6 Keylight Parameters 4 Select the Screen Colour eye
52. see s authorized employees to the extent they are working on an The Foundry Keylight 81 82 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 Software on workstations or otherwise in a user interactive capacity Licensee shall
53. sk you will see the image displayed in Figure 52 The outside mask forces that part of the image to Figure 51 Mask drawn round the Figure 52 Mask used as an lighting rig Outside Mask and Viewed be in the background thus keying out the rig The Screen Figure 53 Screen Matte Figure 54 Combined Matte 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 The Foundry Keylight 40 ADVANCED KEYING Source Alpha Source Alpha Keylight Figure 54 Here you can See the change in the matte that will result in the lighting rig being keyed out in the final composite Figure 55 shows the Combustion Schematic Figure 55 Schematic showing Outside Mask input to Keylight This parameter determines how to deal with any embedded alpha in the original image e Ignore this will not use any embedded alpha in the key e Add to Inside Mask the embedded alpha is added to the inside mask e 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 Inside Mask Tip An alternative and very powerful use of the Source Alpha option is to provide a Solid inside mask pass through in multipass keying In other words you can use Keylight to pull The Foundry ADVANCED KEYING 41
54. the face as shown in Figure 73 and using it Figure 73 Inside Mask spline as an Inside Mask Refer to your Combustion guide for more information on masks however add a Draw Mask node and draw a bezier spline around the face on the first frame Connect the Draw Mask node to the Inside Mask input in the Keylight node in the Schematic Edit the Keylight parameters and check that the Inside Mask is set to the Draw Mask node and the Mask With set to Matte Layer Alpha You should also soften the mask slightly by setting the Inside Mask Softness to 5 This fixes the background showing through The Foundry TUTORIAL 57 Tutorial 3 Extreme Blue Spill 7 To remove the blue highlights on the cheeks Figure 74 you need to set the Replace Method to Soft Colour rather than Source Figure 74 Replace Source Figure 75 Replace Soft Colour 8 View Final Result as shown in Figure 76 Figure 76 Final Key Keylight 58 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 e Produce a final composite The images you will need for this tutorial are called ExecFG 1 Load the pictures ExecFG tif Figure 77 and ExecBG tif Apply Keylight The foreground image is
55. tions applied e Colour Correction Edges displays the foreground edges as a matte that will be colour corrected using the controls in the Edge Colour Correction folder e Screen Matte displays the matte created as a result of picking the screen colour e Inside Mask displays the mask that firms up the foreground The Foundry ADVANCED KEYING 31 Status View e Outside Mask displays the mask that cleans up the background e Combined Matte displays all the screen matte inside and outside masks and any source alpha added together The combined matte is used to composite the foreground over the background layer e Status displays an exaggerated view of the key so you can make a more informed decision on how to improve the result See Status View on page 31 e 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 See Inside Mask Tip on page 40 e 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 Status View 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 a more informed decision when fine tuning the composite a a F d B e Figure 34 Green Screen Figure 35 Status
56. tones from the foreground actor as viewers tend to be most tuned to colour shifts in these areas The Foundry Keylight 20 BASIC KEYING Despill Bias Keylight The Foundry ADVANCED KEYING 21 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 with different screen colours if your initial pick didn t give a good key The Foundry Keylight 22 ADVANCED KEYING Screen Colour Workflow Tip It can also be useful to view the Status and Source side by side as shown in Figure 16 so that you can repeatedly pick from one while viewing the result in the other window Figure 16 Two Views Background Pixel
57. urnace is a rich collection of image processing tools using motion estimation technology to help compositors tackle common problems when working on films Plug ins include wire removal retiming rig removal texture plug ins grain management steadiness and deflicker Anvil is a set of colour correction and colour manipulation tools It was originally developed by Paul Grace at First Art and is now available on a variety of platforms Visit The Foundry s web site at www thefoundry co uk for further details 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 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 CFC s web site at www framestore cfc com for further details The Foundry GETTING STARTED Introduction Notation Quick Key The Foundry GETTING STARTED 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 This pioneering work on digital compositing wa
58. y 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 e Reduce the blue spill using Screen Balance and Despill Bias e Improve the foreground opacity using Alpha Bias 1 Load the MerlinBlueFG tif Figure 69 and MerlinBlueBG tif clips and apply Keylight Figure 69 A tricky blue screen 2 Pick the Screen Colour using the eye dropper Figure 70 Serious blue spill Pick a pure blue pixel away from the hair Keylight The Foundry TUTORIAL 55 Tutorial 3 Extreme Blue Spill 3 Increase the Screen Gain from 100 to 105 This will clean up a little of the background d Alter the Screen Balance from 95 to O as shown in Figure 71 This step is a bit subjective but improves the blue spill Figure 71 Adjust the Screen Balance 5 Now lets try and get rid of that blue spill switch off Lock Biases Together and 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 72 Despill Bias The Foundry Keylight 56 TUTORIAL Keylight The Foundry Tutorial 3 Extreme Blue Spill 6 You will notice that Miranda Richardson s face now has a number of blue highlights due to the transparency that we should fix The best way to do this is by drawing a Spline round

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