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These days the majority of blue (and green) screen material that I
transfer, usually pin-registered, goes to Henry or Harry for

Often I don't transfer a matte at all any more, just the blue element,
and a suppressed pass (or is that suppress pass? what is this
lexicography?), in which the blue is removed.  To explain for anyone
unversed in keying ways, this is to provide cleaner edges at
compositing time.

There are at least three ways to remove the blue, that I've used:

1) Ultimatte--
	 using background veil, adjusting the master veil control
	 to bring up the background level, matching the luminance of
	 the original blue screen (with black as the background input)

2) Alphie Switcher--
	 using the chroma keyer, blue suppression, and turning the key
	 mask off

3) Color Corrector--
	 using very clean secondaries, pulling the blue back to zero 

...of these three, I've used #1 the most, even though we convert and
reconvert to get in and out of the analog Ultimatte.  

But I'd like to use the Alphie more, because I think its key is close
to if not the equal of the Ultimatte's (except perhaps for subtleties
like shadow detail).  Trouble is, the Alphie's keying handles are very
different from anything I've ever used, and I don't quite have it
mastered, as regards blue suppression, anyway. 

Does anyone have some tips on doing suppression in the Alphie?

Does anyone do suppression differently than I've mentioned?


Subj:	Re: suppressed passes: which device?
Date:	95-03-25 07:38:15 EST
From:	telecine at xyzoom.alegria.com
To:	telecine at xyzoom.alegria.com