Hello and welcome back to pulling the perfect key
in DaVinci Resolve
with me, Ben Brownlee from Boris FX.
And this is part two of pulling the key,
so if you are in any doubt about pulling the primary key
go back and watch part one now.
If you've already done that
and you're just interested in spill suppression
then let's get on with that.
(upbeat electronic music)
Okay, so I'm going to close up my nodes
to give us a little bit more space
and I'm going to zoom in on the hair
and move my hud over here a little bit because I'm going
to talk about a bit about spill suppression.
Now spill is what happens when we're filming
against a brightly color background
and that light reflects back onto the subject
always visible in semi-transparent areas
like sheer clothing or fine hair
and it can create this sort of halo
around our subject.
Now as we know, we shot this against green screen
and we're looking at this against green forest.
Now some people consider that cheating,
especially when I'm talking about spill suppression
because looking at green spill against a green background
is a little bit tricky.
The background can help to hide some of our sins.
So while you were taking a break in-between part one
and here, I actually came in and added another clip
in-between our background and our subject.
Just so that we can have a look at the spill
in a bit more detail.
So if we have a look at this now
you can still see that we're getting quite a bit
of green spill coming in off our background
coming in through the fine hair.
We're also getting it reflected in the sword
down at the bottom here
and probably over in this area
around the around the clothing as well.
So what can we do to help fix it?
Well there's one way to do it
using the tools we have in the UI
and the first one is a spill sponge.
So if I click on my spill sponge
and just go across some of the areas
that are causing us issues
we can try and use this to suck up some of the spill.
But as you can see in this case
it's being a little bit aggressive.
And if things are being a bit aggressive,
we have our spill plus and spill minus
down at the bottom here
to try and help fix that.
So spill plus brings our spill back
spill minus takes our spill away.
It's not spill suppression minus,
it's spill minus.
So it's trying to help to to get rid of some of that spill.
And as you can see I still have
some of that nasty pesky spill staying in.
So I'm going to show you another way of dealing with this.
And I'll just undo a few times
to take us back to where we started.
So let's come over to the settings in the open effects panel
and I'm going to come down to spill
and I have different ways of dealing with spill.
I can do things as a complementary color.
So what happens here is Primatte studio
looks at the color we've keyed out
and tries to put in the complementary color
back into the spill there.
We can base this on a solid color.
So finding a solid color that we like
and you can see the updating in real time.
There we go, let's just cancel that out.
And there's also an option for Softened BG,
softened background.
And unfortunately as the big thing says here,
if I hide my UI we can see this a bit better,
due to host limitations, Spill Correction
from Softened background is not supported in Resolve.
So we can't pipe in another source
directly into our plug-in.
That's not a big issue.
Uh, I'm going to take us back to complementary
and zoom us back in again.
Cause I'm going to take our spill replace amount
down to zero.
So this is no spill suppression
and this is with spill suppression.
So no spill suppression there.
And the reason I'm not worried about it
is because I have this secondary spill remover.
So if I turn that on,
take a look at what happens to my image.
That sucks out that nasty green
even from areas where I was having difficulty
getting it with the other tools.
And the secondary spill remover
has different removal methods
whether it's a channel limiter
or using the classic Continuum remover.
Generally speaking, I'd leave that at default.
Uh, screen type,
again generally speaking, I'd leave that at default
unless you're not getting the result you desire
and at that point you can then come in
and choose which channel you're going to start to effect.
And you stick with green, no surprises there.
I could also come in to my channel bias here
and mix that back until I find a result
that fits my subject.
But actually I quite like the bias being at 50 here.
Now the really cool thing about
the Primatte studio spill suppressor
is that even though we're using
the secondary spill remover
I can still mix in a little bit of the other
spill suppressor as well.
So this could be handy when we just need
to add in a little bit more color
into our fine details.
And generally speaking,
I I usually keep this between about 10 and 25,
but you know there's nothing stopping you
from taking it all the way out to 100
if you're getting a a better result there.
Uh, in this case I'm not
so I'm going to leave it around about sort of 14.
Uh looking, it's looking pretty good.
So without the secondary spill remover
and with the secondary spill remover.
It's a huge, huge difference.
And knowing that we can do so much with spill remover
is one of the big reasons why I wasn't so aggressive
with my key when we were pulling the primary matte
because I knew that when we played this back
we could actually afford to keep in
a lot of the hair details
that look sort of green and rope-y
because I knew I was going to be able
to fix those in the next step.
So let's see how that looks now
against our actual background.
So I'm going to turn off V2
and let's see the difference the spill remover makes
when we are looking at that.
Before
and after.
Before
and after.
I still think that's making a big difference.
And getting it with this sort of level of detail already
is going to help us in the next few stages
when we start to composite this in properly.
There we go
and that's starting to look quite nice.
So the next few steps when we start to look
at the compositing properly,
this is going to give us a lot more flexibility
than we would otherwise have.
Let's just zoom out, put us into primary matte
and let's play that back now just to see
where we are in terms of the key
and what we have left to do.
So as we left it in exercise one
our primary key is looking pretty good.
We can see that we still have a lot of stuff
on the right-hand side and the left-hand side.
We have the sword we need to sort out
and if we go forward over here
we have our shield to sort out.
We'll look at the final composite
you'll also pick up a few of the problems with the shield,
but turn our Primatte studio on and off
and you see because we haven't gotten a clean matte
on our shield, this is also going to get
uh, affected by the spill suppressor.
So we don't want that.
And this means that in the next exercise
we're in a good position to take a look
at another couple of things
we can do with Primatte studio,
The outside mask and the inside mask
to create hold in and hold out mattes.
So join me, Ben Brownlee from Boris FX
in part three of pulling the perfect key
in DaVinci Resolve
and I'll see you in the next video.
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