Assistance Required with Hair Color Retention and Blending Issue

I am currently facing an issue with hair color retention and detail loss after applying the de-spill process. Despite my efforts, the hair color doesn’t seem to match properly, and the fine details are getting lost, which is particularly noticeable after the additive keying process. Even though I attempted the additive keying approach, the background color is not aligning correctly with the original hair color, and the spill treatment seems to cause discrepancies.

I have attached the following images for your reference:

  • Foreground (FG): The original shot with the subject’s hair.
  • Background (BG): The background used in the composite.
  • Matte: The generated key or matte for the subject.

Could you please assist me in troubleshooting this? I need to ensure that the hair details remain intact, and the color consistency between the foreground and background is accurate after the keying and de-spill processes.

I would appreciate any guidance or suggestions on improving the keying process, preserving hair detail, and achieving the desired color match.



Hi Kishor. First thing to try is to darken the suppressed image. If you are using the Master Keyer approach you can lower the Luma value. See if that works, then we can move on to spill.

You might also need to brighten the footage outside of the car. If you are really driving a car in daylight and expose for the interior, the stuff outside the window will be pretty hot.

Once you get the despill issue sorted, you also might look at using Matte Curves (either on the Surface in Action or out in its own node in Batch) to adjust how the semitransparent hair bits are blending.

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colour correct the footage to match black and white levels of blue screen plate,
either despill or not whatever works best

add them together, colour correct result usually 50% gain, (check black and white levels match the orig blue screen plate) then tickle chroma, and soft matte in stuff thats not edges.

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do all the above, or use Primatte.

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So how much is Primatte? I’d definitely buy it once they fix the licensing system issue.

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I think there are two separate paths here.

The new Primatte node is a new AI enhanced version. That brings it’s own considerations, both positive and negative. And I have real issues with folks that don’t make their pricing public. Having to contact to find out pricing just smells like a used car dealership, at least in this day an age.

The other consideration that the classic Primatte keyer is part of Silhouette, even on Linux. Many already have a Silhouette license. Or if you don’t, and whatever the pricing of the new node is, consider that with the Silhouette license you get so much more than just a keyer, just not the new AI boosted aspects.

Here’s a super quick mock-up on my Linux Flame and latest Silhouette version. Don’t judge the key quality, I just picked BG and FG, no work on softness or despill. We all know how Primatte works.

Just use Silhouette via it’s plugin. It can return the matte and you can comp in Flame, but then you have to do your own despill. Or bring both parts into Silhouette and comp it there.

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You want to use the ProcessedFG output of Primatte too, not just the matte.

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Yes, as I said, you can do either one.

The point was we already have the option.

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Also

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How are you keying it? Have you tried the IBK? In my experience, most shots are not a one hit key.

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afetr despile process In the NUKE Comp artist using some nodes like killspil, color smear. is there anything like this in flame. flame color curves is not achieving proper result.

Yes, look for the Logik matchbox AFX_Despill. You can download it from Logik Matchbook, or install the Logik Portal.

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I’ve got a couple things here, both use basic nodes and basic math and are tricksy tricksy… Judge me not on the quality of this comp! This is just extremely fast, dirty and for technical example purposes only

1: A gnarly trick I swiped from @randy that I just refer to as brute force spill suppress. Input plate, separate out RGB, arrange like so (red and green channels into a comp node set to max/lighten, green and blue channels in a comp node set to min/darken) and then combine as shown for your suppressed plate. If you want to use this for green screen, keeps all inputs and outputs the same, just switch the comp node that’s receiving blue and green channels to max/lighten as well.

2: adaptive suppression swiped from Steve Wright and Victor Perez.



I go over how to build the adaptive suppression rig shown above in this episode of LogikLive. https://www.youtube.com/watch?v=tE3Hoao_Q6w Might work, might not, might be something you just split in to certain areas of the comp. There’s lots of thinks to play with and fiddle with but I like it as something to throw at this problem and see if it helps out any.

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