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4-39
Chroma Keying Operations
2. Turn FGD RESHAPE off.
3. Optimize the CLIP and GAIN. Refer to Step 4 under Basic
Manual Adjustment on page 4-37, but do not start from
scratch settings. Remember, adjust CLIP first, then GAIN.
4. Optimize SELECTIVITY to obtain as much foreground as
possible looking closely at areas which contain some blue
fringing (for example, hair or glass). Observing the SHOW KEY
display may help this with adjustment.
5. Optimize CHROMA background suppression to eliminate the
color of the background. Too much suppression results in the
background taking on its complementary color. If a vector
monitor is available, the correct adjustment places the
background “dot” in the center of the display. The initial
adjustment usually produces the correct setting, but it is
important to verify it now.
6. Evaluate the Key and make the following adjustments
depending on the amount of lighting variation visible in the
background. Large lighting variations make luminance
background suppression difficult or impossible without
darkening the foreground.
Decrease the
LUMA background suppression (on the panel)
and observe the Key in the picture and the waveform monitor.
As suppression is decreased, the background begins to
lighten. If the background shading does not remain relatively
constant then excessive lighting variation may exist. You may
wish to correct this by adjusting the set lighting.
If the background luminance is reasonably flat, readjust the
LUMA background suppression slightly to eliminate shading
in the background signal. (In this mode, the foreground signal
is not really keyed. Instead, the suppressed version is added
to the keyed background signal, producing very natural
looking keys, especially when keying glass or hair.)