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Re: matting concerns (suppress)



At 05:02 PM 6/22/97 -0700, Rob wrote:
>I'm called upon occasionally to do transfer of bluescreen or
>greenscreen shots for which I am asked by the compositor (Flame or
>Henry artist) to provide the following for each scene:
>
>1) 'native' color with regard for later matte of the blue or green
>
>2) matte (hicon)
>
>3) 'suppress' 
>4) beauty pass --
>
>Is anyone aware of any other methods for deriving the 'suppress' pass?
>Is anyone besides me even doing this at all?
>

>
>Can anyone commiserate, or instruct me a bit in this?  thanks.


When I was at Editel Chicago (Rest its soul), some of compositors used to
make requests like these. At the time I had an Alphie switcher which
everyone agreed had better keying capabilities than our D1 switcher or our
Flame (at the time - 2 years ago). I used to use the Alphie to pull a
supressed pass, it was a real easy thing to do, as well as it had a second
layer of supression for changing spill or an undesireable color (like you
were seeing) to the future background color. While some compositors may not
want the colorist to pull a key to supress, it was a very soft kind of key
without infringement to the original image, and the Editel compositors at
the time liked the option better. Other than that, I've had the same
experiences. If I run supression as a tape to tape pass (DDR to tape), I
sometimes experience the same kind of color selection problems. I don't like
taking the matte output of davinci as my matte, But I should say that I have
an old 888, and no DUI nor Edwin. I hear that they make things a lot easier
on those fronts. Where I'm at now we have a Flame and a Henry and the
compositors I work with now feel like they have enough power and control
within their tools so that they just ask for a straight beauty pass. If the
screen color is really bad, or poorly exposed, then I do a pass for that only.  

Not great advice -- but you've got my emotional support -- I've been there
too.....

Best,

Craig Leffel
Colorist
Optimus, Inc.
Chicago

+++
Thanks to Hans Lehmann and Fred Goodich for support of the TIG in 1997
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