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Re: matting concerns (suppress)
I meant for this to go to the list but wasn't paying attention.....
On Mon, 23 Jun 1997 10:30:20 -0700, you wrote:
>But my crux question: is the suppress pass necessary in this day
>and age, with the color capabilities of the effects boxes (Flame,
It is my understanding that the object of the suppression pass is not
really to suppress the background color, but to suppress the backing
color's flare effect on foreground objects.
Once the suppression pass is done, it should not be possible to tell what
color backing was used on the original footage, even if the original
backing color has been replaced through the matting process with a perfect
rendition of the same color from some sort of background generator.
I have made this sort of suppressed-pass-fresh-color-background many times
(live) when the footage was going to a location with decent keying
capabilities but not the ability to handle background color flare on flesh,
hair, and sheet metal.
The Ultimatte with its patented flare removal is one of the better tools
around for accomplishing this in a single pass. Unless they are using the
Ultimatte plug-in, to my somewhat limited knowledge tools such as the Flame
are only able to touch up flare problems, not eliminate them simply in a
Thanks to Henninger Video for support of the TIG in 1997
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