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Re: layering vs. windowing

I thought it might be important to let you know about RSQ, as it was really the first colour 
corrector that went in this direction, and to this level.

Although RSQ has 32 windows arranged in layers, they operate in a different way than power windows. 
They are fundamentally there to geographically separate objects or colours from each other, if the
need arises.  Each layer has the following ability:

Selection of pixels based on Chroma and or Luminance (colour correction of greys, whites or 
Dynamic selection via a time line if the object that is being tracked happens to go into shadow.
A fully morphable mask of any shape with 28 sides, again dynamically controllable via time line.
Primary correction, including gamma and colour saturation control of the object or area concerned, 
and again dynamically controllable via a time line.  
Colour correction to full white or black with contrast controllable all the way to negative.  I 
sometimes use this to change a negative image from the telecine back to positive....  Gives a 
different look.
Ability to send a single Red, green or blue channel back into any of the other channels, ie it's 
the same as an old analogue encoder when you put the plugs in wrong and got an "interesting" 
A grad can be created using more than one layer if desired.

All the time lines are separate, yet can be copied from layer to layer as one wishes, as can colour 
balance and selection as well as the mask/window itself.

Layer one has the highest priority, followed by layer two, etc, etc.  Thus you can hide spills 
behind another selection, for example getting rid of blue spill from a chroma key.  Dynamically 
changing two objects colours in opposite directions.

Packs shots are easy with this machine as you can isolate every colour in the pack and change it a 
will, including its luminance value.

So long as you select the complete object you cannot see any edges, unless you go crazy with the 
gamma or luminance value.

Regarding selection of the colour object, all you do is move the rollerball until the object is 
covered in a white mask and there you have it.  The roller ball controls where you are looking for 
the pixels concerned, if they are grey, you limit the amount of contrast it looks for, and if you 
are looking for a blue you move the roller ball towards the blue on you vector scope and then limit 
the luminance to the lower greys.

I also run a Pogle, but without DCP or ESR.

I am not associated with the manufacturer anymore, I even had to buy my own!

Ken Robinson
Imagen Transfer
Av. Cristobal Colon 4733
Santiago de Chile

Tel: 56 2 207 9515
Fax: 56 2 228 5871

186,000 miles per second.  Not just a good idea.....  It's the LAW!

thanks to John Seberg, Howie Burch, and SMA Video
for support of the TIG in 1997
mailinglist digest available......posting guidelines on the webpage

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