hello
I have dpxs, I presume in cineon (it’s what Nuke detects)
all LUTs in Flame, I put on it, suck
do you have a miracle solution to see it corectly maybe ?
and second question - it’s a bluescreen and keying seems like hell. it gives me a very hard key and I can’t acheve any nuances. is that because it’s quite flat in cineon
or I’m totaly wrong ?
So you’re in log space, that’s my favorite space for keying actually. MasterKeyer seems to love log space in my opinion. Do you know what camera it was shot on?
It’s very unlikely cineon. The reason Nuke thinks its Cineon is that by default out of the box the System Settings (holding S whilst hovering over the right side of the screen) is set to tag dpx as cineon. Try tagging it as Alexa Log C Wide Gamut.
it was probably a sony venice
Right- so you’re in the Sony log space, known as SLog, if you’re in a colour management node, you can find all the conversions from SLog to rec709 or linear space or what have you under the cameras/ Sony subsection.
In terms of the keying issues, which keyers are you trying? Should be able to get a nice soft key on log stuff (depending on the green/ blue screen)
I’ll jump in to add that every keyer in flame is going to give you dogshit.
This is because keyers in flame are just “matte generators” and don’t do anything valuable to the fill. This makes all semi-transparent areas very hard to deal with and will thus give you shit keys. There are ways to deal with this, but they involve a lot of math, comp nodes, and general know-how.
instead of that use the logik additive keyer that @ivar and @joelosis built. It’s much better for most things. Ivars IBK keyer is also very good.
I would kill for any kind of software-native keying setup that was intelligent about fill colors.
Good points, a key is just a key, suppression and semitransparent edges are a whole different part of the ballgame. If you’re going to use the IBK though, need to be in scene linear space, if only just for pulling the key. I have a rig that is an additive keying method for edges/ semi transparent bits, but just on my suppression/ fill pipeline. I still pull as accurate a key as I can. Works great, especially for bright or dark phone screens, etc. Maybe I don’t get quiiiite as accurate of edges as the “Joel’s version” additive keyer hack (because of the limitations of whatever key I pull) but I have infinitely more control over my background color correction/ relighting, etc. for the inevitable notes.
ok, so yes it seems like working for Slog. thank you!
I will test that ivar’s built keyers and hope it can help
thank you so much!!!
and what is équivalent of despil from nuke in Flame?
You could use the MasterKeyer, set to front CC, AFX_despill matchbox, or if you really wanna go down the rabbit hole, colour curves.
thanks!
And if ya get really desperate….
Thats a little harsh no?
The 3d keyer and masterkeyer are far superior to anything Nuke has to offer. This may be anecdotal but the best compositor I know is a Nuke artist and he’s always saying how he would kill for Flame’s keyers.
I read it as “having a good matte is only half the battle”
Without knowing all the other tricks it will look shit!
Despill
Edge work
Fill mattes
I don’t think he was banging the keyers quite as badly as it sounded right @andy_dill ?
Hahaha. Yeah, but I stand by it. I’m salty because none of the keyers have good fill-creation tools.
The hardest part of a key is making a good fill. The matte is comparatively easy. Without a good fill you’ve got terrible edges. The software doesn’t offer great solutions (cross your fingers and pixel spread, or paint every frame’s edges). Even preset keyers like the Modular Keyer just say, “well have you tried suppression and eroding the matte?” with the tools they load up.
I’ve attached a very sloppy example, but what I did was make an element on green and then key it. If I can create a perfect fill akin to a CG render that’s been divided, then my work is basically done, but if I cannot create that I’ve got hours/days of nebulous work ahead of me.
And that’s why I say that the keyers give shitty results: they don’t help you deal with the fill and thus your keys will look bad.
I’m guessing these DPX files didn’t fall from the sky. You can’t ask your client what camera shot them, and who converted to DPX?
Have to give a big +1 for the MasterKeyer. If you think it doesn’t work, RTFM.
BTW Nuke doesn’t detect anything from a DPX. You are using Nuke that hasn’t been set up yet, so it defaults to the interpretation from the early ‘00’s when it was written.
what do you mean exacly by “good fill” - hove come you manage to deal with?
+1 in what ?
