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matting concerns (suppress)

Sam Dlugach wrote:
> I have used in the past: the DDR method, the Ultimatte method, and in some
> simple cases, the DaVinci Key Output for the hicon.  

Dean Humphus wrote:

> If the foreground subject allows for this, it's possible to optimize the
> foreground subject to produce a clean Hicon through the switcher, lay it off
> to a DDR and then return this key signal to the daVinci key input as a
> "live" window.  The foreground can then be colored separately to subtract
> flare and spillage and the background suppressed to zero chroma.  This works
> best on pin-reg'd elements where you have to repeat the exact weave
> component on each pass.  Key timing is also an issue so the daVinci has a
> handle to retime the input key to lay it over the original.  It might be
> worthwhile to slightly defocus the original key record to produce a slightly
> softened window.  This can be done optically or through a switcher.


I have not heard the word 'simo' mentioned yet. With all of the other
associated color hassles isn't it hard enough to pull a halfway
respectable key in telecine without the above mentioned routing
gymnastics? I've experimented with the above mentioned methods and I'm
still a big fan of the DDR re-entry method. One pass to disk and then
generate all of the clients flavors as they roll off of his / her
tongue. I only wish the folks at daVinci could make the change of the
serial port a little more elegant. That video firestorm between film and
tape configs is messy. I'm always using this to create multiple power
window passed on the same scene by ping ponging my DDR through the DUI.
Judging by what I've seen of EDWIN, this ping pong method will always be
faster for un-articulated windowing. Perhaps the next generation of
daVinci will have more flexible serial port control like Pandora's
Bob Festa				festa at pacbell.net
Director of Telecine			festa at encorevideo.com
Encore Santa Monica			310 656 7663

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