Kayenne/Karrera/GV Korona
User Manual
79
2 Select Show Key in the Keyer menu and look at the M/E preview output on a picture
and waveform monitor.
3 Adjust Clip Hi so that all areas of the foreground objects are white. If Clip Hi is set too
low (too far clockwise), much of the translucent areas will be forced to be fully opaque,
hardening the key and darkening the transition area between background and
foreground.
4
Clip Low can be set accurately with Auto Setup. Adjust Clip Low so that all areas of the
backing color are black. If Clip Low is set too high (too far counter-clockwise),
translucent areas will be forced fully translucent, hardening the key.
Note: When adjusting clip levels, remember that areas on the edge of the
foreground subject should show as shades of gray. Gray indicates areas of
translucency, which is desirable in chroma keying.
5 Check the final results with Show Key off and the chroma keyer in normal mode (FG
Only
turned off). Note that incorrect adjustments can create a hard, noisy key.
6 If the chroma key now looks good, you are done. If dark edges are present, there may
be too much primary
Luma suppression or Clip Hi or Clip Low may be set improperly. If
adjusting these parameters fails to solve the problem, you should consider activating
the Reshape feature.
Apply Chroma Key Secondary Color Suppression
Secondary color suppression is intended to improve the color of translucent areas (e.g.,
glass or smoke) or fine detail near the edge of a foreground subject (e.g., hair). These areas
can be take on some of the backing color. Much less secondary suppression will be needed
than is used for primary suppression, because the foreground color is only partially
corrupted by the backing color. Because there is a mixture of backing color and foreground
color, the secondary suppression Hue and the direction (Angle) will be different from
primary suppression. Primary suppression removes the backing color, while secondary
suppression corrects the color in translucent areas.
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