Graphics Reference
In-Depth Information
Fig. 5.11 Matte Preview buttons show you what has been selected by the qualification.
button and displays the isolation as a black and white matte image, with
qualified portions in white and unqualified in black.
Click on the icon to see the black and white matte on the second
monitor. The display is white, indicating that the entire image is selected.
Start by selecting only the hue slider and drag the small white lefthand
line above the hue bar towards the right ( Figure 5.12 ) to narrow the hue
selection, and pull in the small white line on the righthand side to the left
and equal amount. Then drag the white line inside the hue bar so that it
is over the bluish green area of the hue bar. Now use the white lines on
top of the hue bar to adjust the width of the hue selection. Moving either
white line will move them both. If you want to move just one side of the
hue selection, hold down Shift while you drag. The smaller white lines
above the hue bar control the fall off of the selection and will be crucial
to creating a nice matte. If you can't see the fall off controls, then use the
eyedropper and click on the lion. This will add two little gray triangles
with gray handles above the HSL bars. You can adjust the fall off in the
same way as the hue selection.
Disable the luminance and saturation controls, if you used the eye-
dropper. Just adjust hue until you get the best selection possible. Use that
focusing analogy. Try to get the greatest amount of the lion selected with
the least selection of other picture elements. Some of the things to look for
in this particular image when selecting with hue are the sky and the ban-
ners in the arches of the museum. Even the grayish shadows on the inside
of the lower arches have some green in them. They can become qualified
depending on the angle and spread of the hue, but you should be able to
do a good job of isolating just the lion. Here's my isolation ( Figure 5.13 ).
This correction is not perfect. We want to see if we can isolate the lion
more and get less of anything that is not the lion. Also, we need to soften
this matte or the correction will look very nasty ( Figure 5.14 ). In Color,
choosing a Key Blur of about 1.0 or 2.0 is a good starting point. Key Blur
is located just below the HSL selectors.
 
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