[Mark Gin]

Thank you Dave.

I wasn’t happy with the result after multiple spill suppressor instances.

But I made it in other way:
Since I work in 16 bit environment and the footage is 8 bit – I built a non-destructive S-curve LUT.
8->16 bit conversion gives me additional 256 values between each step, so I just need to verify that every X value has different Y value.
So I apply this LUT, then KeyLight and then the inverted LUT. I got a perfect result without any data loss.

Another way that I haven’t tried (but I think would work) is to use the “CC Composite” effect.

Thank you for your time and help!

P.S. I was wrong; I actually can pull a pretty good key in Log Gamma.

[Mark Gin]

Actually it is CS5

[Mark Gin]

Hi Dave,
1. Canon 550D
2+3. Even in ISO 160 it is noisy because of native pixel noise that doesn’t get mediated (a problem caused by line skipping). In addition the ability to gather more dynamic range using the temporal space (with temporal noise filter algorithm).
4. I believe so
5. Baseline IP-only H.264 (Canon’s)
6. No transcoding
7. I usually work in Log gamma (CineStyle). At least 2-stops more DR, greater ability for color correction and grading.

Could you please take a look on the original issue-
Here are only layers [1] and [3] (both visible):
https://img576.imageshack.us/img576/68/keyissue.jpg

Here what happens when I add layer [2], alpha track it to [1] and turn off visibility in [1]:
https://img4.imageshack.us/img4/8982/keyissuespill.jpg

It just looks like it blends it with the green screen instead of layer [3].

Thanks

[Mark Gin]

Hi Chris,
Tried your suggestion with no luck.
Pre-composed layers 1&2. Added Red Giant’s Spill Killer on the comp – doesn’t work at all.
I’ve tried to add Keylight on the comp, but it re-keys the footage without the ability to separate only spill suppression.

Please take a look on the original issue-
Here are only layers [1] and [3] (both visible):
https://img576.imageshack.us/img576/68/keyissue.jpg

Here what happens when I add layer [2], alpha track it to [1] and turn off visibility in [1]:
https://img4.imageshack.us/img4/8982/keyissuespill.jpg

It just looks like it blends it with the green screen instead of layer [3].

[Mark Gin]

Thank you for your respond

The NR (noise reduction) is needed to eliminate noise from the green screen.
Lut buddy is needed to restore proper Gamma – otherwise it is just impossible to key.
The layer below won’t pass color correction – I should leave it in Log space for now. This is actually the reason why I track matte.

The key is pulled perfectly but instead to be semi transparent over the background layer; it is semi transparent over the green layer. It leads to a green tint on the background and a green spill on edges.

If I turn layer [1] visible and layer [2] invisible, the result is perfect – but it is no longer a log space and I can’t go back to log in non-destructive way.

How can I force the layer or KeyLight to peak layer [3] as background for transparency transitions?

[Mark Gin]

Fantastic! Thank you Andrew!

[Mark Gin]

This animation should describe the issue:
https://imageshack.us/f/20/animationcanon601709.gif/

[Mark Gin]

Hmm, good idea.
I haven’t done this before because I didn’t know the anomaly’s name. 🙂
Great stuff can be found here

[Mark Gin]

Hi Joe,

My footage comes from the t2i with Technicolor CineStyle picture style.
https://www.technicolor.com/en/hi/cinema/filmmaking/digital-printer-lights/cinestyle
It passes Technicolor’s LUT in AE and then I add edge enhancement.

I changed it to 16bpc and the result is great! Unfortunately, final encoding will pass through 8bpc.

[Mark Gin]

Great plug-in! Seems to be not too filtered and has good edge preserving (at the right settings of course).
Thanks!