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Re: matting concerns (suppress)

> > The Ultimatte with its patented flare removal is one of the better
> > around for accomplishing this in a single pass.  Unless they are using
> > Ultimatte plug-in, to my somewhat limited knowledge tools such as the
> > are only able to touch up flare problems, not eliminate them simply in
> > single pass.
> 	Most modern nonlinear compositing systems such as Flame and Henry
> include supression controls as part of their standard complement of
chroma key
> tools. Add-ons such as the Ultimatte plug-in for FFFI offer enhancements
> different algorithms, additional controls, masking, etc. but the standard
> keyers are quite capable today compared to just a few years ago.

Actually, I find matte cleanup to be very tedious in Henry, far more time
consuming than it should be, although quite effective. On Flame/Inferno,
there is a spark version of Primatte that is quite remarkable, simpler and
more discriminating than Ultimatte. Now having said that, as a former
colorist and as a current visual effects supervisor, I can't think of any
circumstances under which I'd want to perform multiple passes in telecine,
given a shot that will be composited in Henry/Flame/Inferno/After
Effects/placesoftwarenamehere. As a matter of fact, use of secondary color
correction to suppress backing screen colors usually causes more trouble in
compositing than simply leaving it alone, due to the nature of any keyer to
leave transitional pixels that must then be cleaned up. The result is that
the matte must be choked even more than would have been necessary had the
secondary/keyer not been used prior to compositing.

Mike Most, Encore-Hollywood

Thanks to Henninger Video for support of the TIG in 1997
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