i Primatte Hardware Assisted Keyer Plug

Primatte
Hardware Assisted Keyer Plug-in
Reference
Release 2.0
Notice
Quantel Limited accepts no
responsibility for the accuracy of the
information contained herein and
reserves the right to change the
contents without prior notice. This
document does not form part of the
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Specification and does not form part
of any contractual agreement.
This manual is a change controlled
document. Please quote the revision
status of this manual when reordering.
This Document is Revision “B”.
Copyright © Quantel Ltd 2008
i
Notices
Trade Marks
Most of the product names mentioned in this manual are manufacturer
trademarks and are used within this manual only for the purpose of
identification.
Quantel iQ and Quantel QEffects are trademarks of Quantel Limited.
Primatte is distributed and licensed by IMAGICA Corp. of America, Los Angeles, CA, USA
Primatte was developed by IMAGICA Corp., Tokyo, Japan
Primatte is a trademark of IMAGICA Corp., Tokyo, Japan
ii
About This Manual
The information for this manual was written by Scott Gross of Imagica Corp. of
America:
3113 Woodleigh Lane
Cameron Park, CA 95682
Phone: 1-530-677-9980
Fax: 1-530-677-9981
Mobile: 1-530-613-3212
E-mail: [email protected]
URL: http://primatte.com
Skype: scottagross
This manual was revised for Quantel by Barry Hicks of Video Design
Software (VDS), and published by the Quantel Technical Publications
Department.
This is a change controlled document. Each page of this document is given
an issue letter (shown at the bottom of each page with the drawing number
and revision date) which represents the status of the page. Revision A on
any page indicates that the page is the original.
Any changes to any pages will raise the revision status of the document.
When re-ordering, always quote the document type, the documents number
and revision status along with the unit’s serial number:
B 10/08 E32514 Release 2.0 All pages
iii
Contents
Keying Using Primatte Hardware Assisted Plug-in
Using the Primatte Hardware Assisted Plug-in
2
General Menu Operation
Selecting the Primatte Plug-in
Key Mode Selection
Select BG (Key) Color
Cleaning Foreground & Background
Removing Color Spill
Spill Process Functions
Fine Tuning the Composite
Make Foreground Transparent
Restore Detail
Spill Sampling Tools
Matte Sampling Tools
Detail Sampling Tools
Rendering the Whole Clip
2
3
5
6
7
9
9
11
12
13
13
13
13
13
The Primatte Algorithm
14
iv
Primatte
Hardware Assisted Keyer Plug-in Reference
Keying Using Primatte Hardware Assisted Plug-in
1
Using the Primatte Hardware Assisted Plug-in
General Menu Operation
Quantel offers two Primatte plug-ins, a Hardware Assisted Keyer Plug-in,
(found under the “Key” menu in Effects), and a Software Keyer Plug-in,
found under the “QPlugin” menu (also in Effects). The Hardware Assisted
Keyer Plug-in, discussed in this reference manual, has faster performance,
but fewer features and lower precision than the Software Keyer Plug-in.
The Software Keyer Plug-in, discussed in a separate document, offers
Primatte’s full feature set and precision, but renders in software and thus
may have slower performance.
The screen shot below shows the Effects menu when the Quantel Keyer is
enabled and the Primatte Hardware Assisted Keyer Plug-in is selected.
When the Primatte Hardware Assisted Keyer plug-in is selected, the menu area at
the bottom of the screen displays keying menus while the desktop provides a
visual representation of the keying process being performed at the current frame
position in the clip. The above screen shot shows a blue screen image, and this
document uses the term “blue screen” throughout. However, the foreground image
could just as easily utilize another key color, for example, green screen.
See the “Keyer” chapter in the QEffects Application Reference for further details on
general keyer operation.
2
Selecting the Primatte Hardware Assisted Keyer Plug-in
To apply the Primatte Hardware Assisted Keyer Plug-in to the current layer, turn
on the “Key” button (to the far left of the QEffects menu under “Stretch”), then
select the Primatte option from the blue scrolling list box to the right of the “Dve”
button. If “Primatte” is not available as an option in the blue scrolling list box,
please contact your Quantel representative about obtaining a Primatte license.
Press “reset” followed by “all” if you need to reset the plug-in to its default state.
During plug-in operation, you will see the composite displayed on the screen
when the “video” button is on. When the “key” button is on, you will see the
matte (alpha channel) generated by the keyer plug-in.
You can use the undo and redo buttons to the lower left of the menus to undo
and redo each step as you adjust your plug-in settings.
3
By default, the Primatte library does all internal calculations in integer mode using 16-bits per RGB
component. Turn on the “Floating Point” box to do all internal calculations in floating point resolution.
Floating point precision can produce higher quality images and is faster.
You can also use the “garbage” button to enable and define a garbage matte, as shown below (see
the “Keyer” chapter in the QEffects Application Reference for further details). And, use the “rev”
button to invert the matte generated by the keyer plug-in.
Garbage Matte controls (when “garbage” is on)
4
Key Mode Selection
The basic functionality of the Primatte keyer plug-in is based around the
group of ‘mode selection’ boxes (Select BG Color, Clean BG Noise, Clean
FG Noise, Spill +/-, Matte +/-, Detail +/-, Matte Sponge, Spill Sponge, Make
FG Transparent, Restore Detail and Fine Tuning), and the image area of the
desktop. Only one of the mode selection boxes can be on at once, and this
determines how the plug-in operates when the user selects colors on the
image.
These different modes
represent the different
steps to be taken to
produce a high quality
composite image.
The four main steps required to produce a key using the Primatte plug-in start
with the Select BG Color button, which comes up highlighted as the default
selection when the Primatte plug-in is first opened.
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Select BG (Key) Color
Turn on the Select BG Color box, then pick the key color from the image area
using the pen (you will see a yellow box outlining the area you’re picking as
you drag, as shown in the screen shot below). When you release, you should
see the composite, with keyed foreground based on the colors you’ve picked.
Be sure that the “video” button (below the timeline and to the right) is
selected so you can see the composite.
When picking colors, position the cursor in the
key color of the image area near the foreground
objects and sample the targeted background
color. Hold down the pen and drag it within the
image area to select and average the key color,
or make a single pixel selection to sample a
single color. When pen pressure is released, the
compositing process will start. If the foreground
shot was made under ideal lighting conditions,
then 90-95% of the composite will be
accomplished in this one step.
TIP: If you dragged the cursor on the key color (for example, blue screen)
area, Primatte averages the multi-pixel sample to get a single color to adjust
to. Sometimes Primatte works best when only a single pixel is sampled
instead of a range of pixels. The color selected at this point in the procedure
is critical to the operation of the plug-in from this point forward. Should you
encounter problems later in the process after having selected a range of key
color shades, try Select BG Color again with a single dark key color pixel or
single light key color pixel.
TIP: If the foreground image has a shadow in it that you want to keep in the
composite, do not select any of the darker pixels in the shadow, and the
shadow will come along with the rest of the foreground image.
Median Sampling
The Median picking feature is useful to filter out noisy pixels when doing
sampling and picking operations. For example, if you have a noisy image
and pick a region to sample, then all the pixels in that region are used for
the processing. Now, you can optionally ask Primatte to apply a 3x3
median filter on the sampled input pixels prior to performing the sampling
operation. Turn on the “Median Sampling” box to enable this.
6
Cleaning Foreground & Background
The second and third steps in using the Primatte plug-in require the Key
(matte) to be displayed in the image area. Press on the “key” button below
the timeline and to the right to display the matte.
Press the Clean BG Noise box. If the “key” button is on, the image area will
display the current key. If there are any white regions in the dark “blue
screen” area, it is noise and should be removed. Move the cursor into these
areas and sample these 'white noise' regions. When pen pressure is
released, Primatte will process the data and eliminate the noise. Repeat this
procedure as often as necessary to clear the noise from the background
areas. Sometimes increasing the brightness of your monitor or changing the
screen gamma allows you to see noise that would otherwise be invisible.
Before Background noise removal
After Background noise removal
TIP: When clearing noise from around loose flying hair or any
background/foreground transitional area, be careful not to select any of
areas near the edge of the hair. Leave a little noise around the hair, as this
can be cleaned up later using the Fine Tuning tool.
TIP: Most pixels displayed as a dark color close to black in a key image will
become transparent and virtually allow the background to be the final output
in that area. Consequently, there is no need to eliminate all subtle noise in
the “blue screen” portions of the image. In particular, if an attempt is made to
meticulously remove noise around the foreground object, a smooth
composite image is often difficult to generate.
7
If there are darker or gray regions in the middle of the mostly white
foreground object, that is, if the key is not 100% in some portion of the
targeted foreground, select the Clean FG Noise mode. Use the same
techniques as with the Clean BG Noise mode, but this time, sample the
darker pixels in the foreground area until that area is as white as possible.
Again, stay away from the edges of the foreground object.
Before Foreground Noise Removal
8
After Foreground Noise Removal
Removing Color Spill
The previous steps are necessary to create a clean 'matte' or 'key'. With this
key, the foreground can be composited onto any background image.
However, if there is 'spill' on the foreground object from light that was
reflected off the original background, a final operation is necessary to
remove that background spill to get a more natural looking composite.
Before Spill Removal
After Spill Removal
After the first three steps mentioned on earlier pages, there may still be
some blue fringing on areas around the hair or a blue tinge to the face or
clothing caused by light reflecting from the physical chroma key
background.
There are two ways to remove the spill color in Primatte. The simple
method is to select the Spill Sponge mode (ensure the “video” button is on
so you can see the composite) and then sample the spill areas away. By
just positioning the cursor over a bluish pixel on the foreground object and
selecting it, the blue will disappear and be replaced by a more natural color.
You can also drag on the screen to select a region of pixels containing spill.
Note: This operation works on foreground 'color regions'. In the image
above, samples should be made on the hair fringes, and also on the inside
of the left arm below the sleeve.
Spill Process functions:
The Spill Process boxes, to the right of the Primatte plug-in menu, control
which colors replace the foreground areas with spill.
When Complement is on, Primatte replaces color spill with the background
color's complementary color. For a spill (key) color of blue, this is usually a
yellowish color. Complement is the default setting.
9
The Solid Replace function replaces color spill with a solid color, selected
in the Palette menu (shown below). The replacement color in this mode is
by default gray (R128, G128, B128). When Solid Replace mode is
selected, the Palette menu is displayed to the right of the Spill Process
buttons, allowing the user to select a color other than gray.
Note: If the foreground object was a person wearing a red shirt and the user
was having difficulty removing the blue spill from the shirt, he could use this
feature and select a color close to the red shirt color to replace the spill. This
sometimes results in a better edge around the foreground object.
The Palette menu allows the selection of and displays the current Solid
Replace color (by default, it is gray; R128, G128, B128). By clicking on an
area of the color wheel, the user is selecting a color (other than the
complement) to be used in replacing color spill.
The Grey button positions the color selector cursor at the center of the
palette color wheel, where shades of gray will be found. The gray scale
value can be controlled from the gray scale bar (to the right of the color
wheel).
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Fine Tuning the Composite
If the spilled color was not totally removed using the above procedure, a finetuning operation should follow for more subtle and sophisticated removal of
the spilled background color.
Select the Fine Tuning mode, then using the cursor, sample a small range
of the pixels exhibiting color spill that you want to remove. When you lift the
pen, three fine tuning number boxes will appear: Decolor, Clip Hi, and Clip
Lo. At this time, Primatte will display the selected color in a color swatch box
(just to the right of the number boxes).
For most images, the Decolor function (which affects the Large Polyhedron,
further details in the next section) is all that is required to remove any
remaining color spill. Cursor movement on the Decolor control performs a
color adjustment of the sampled color against the background. The more to
the right the cursor moves, the less of the key color component (or spill) will
be included. The more to the left the cursor moves, the closer the color
component of the selected region will be to the original foreground image. If
moving the control all the way to the right does not achieve the desired result,
re-sample the color on the monitor image and again move the Decolor
control to the right. These operations are additive and can be repeated as
necessary to get the desired results.
Note that when using the Decolor control in Fine Tuning mode to remove
spill, spill colors will be replaced based on the setting of the Spill Process
boxes (Complement and Solid Replace).
TIP: It is better to make several small adjustments to the spill areas than a
single large one.
The two other Fine Tuning number boxes can be used in the same way
for different key adjustments.
The Clip Lo function controls the matte softness for the color that is closest
to the background color. For example, you can recover lost rarefied smoke
in the foreground by selecting the Fine Tuning operational mode, clicking on
the area of the image where the smoke just starts to disappear and moving
the Clip Lo control to the left.
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Note that the Clip Lo control shrinks the small polyhedron and releases
pixels that were close to the background color (the small polyhedron
contains all the blue or green background colors and is described further in
the next section). The Clip Lo Control is useful for restoring foreground
image pixels that were lost in the original sample because they were so
similar to the background color.
The Clip Hi function controls the matte softness for the color that is closest
to the foreground color. For example, if you have thick and opaque smoke
in the foreground, you can make it semi-transparent by moving the Clip Hi
control to the right after selecting the pixels in the Fine Tuning mode.
Note that the Clip Hi control affects the Medium Polyhedron (further details in
the next section) and adjusts the transparency of the matte against the
sampled color. The more to the right this cursor is moved, the more
transparent the foreground object becomes in the selected color region.
TIP: If the foreground image changed color dramatically during the finetuning process, you can recover the original color by re-sampling an area
of the off-color foreground image and moving the Decolor control slightly
to the left. This may introduce some spill back into that color region.
Again, use the Fine Tuning option to suppress the spill, but make smaller
adjustments this time.
If these final 'spill suppression' operations have changed the final
compositing results, you may have to return to earlier operations to clean up
the matte. If the Composite view looks good, but a 100% foreground area
has become slightly transparent, you can clean those transparent areas up
by using the Matte Sponge function. After selecting Matte Sponge, just click
on the transparent pixels (gray on the white foreground object when viewing
the key), and they will become 100% foreground (or white). All of the spillsuppression information will remain intact during this operation.
Alternatively, using the key (matte) view, select Fine Tuning mode, then
select those transparent areas in the image and move the Clip Hi control
slightly to the left. This will move that color region from 0-99% foreground
with spill suppression to 100% foreground with spill suppression and should
solve the problem.
Make Foreground Transparent
When this mode is selected, the opaque foreground color region sampled
in the image window becomes slightly translucent. This operation is useful
for making foreground objects that are otherwise 100 percent covered with
smoke or clouds visible. To use this mode, select the “Make FG
Transparent” box then drag on the image and release to select the desired
color region of interest in the foreground that you want to make
transparent.
12
Restore Detail
With this mode selected, the completely transparent background region
sampled in the image window becomes translucent. This operation is useful
for restoring lost hair details, thin wisps of smoke and the like. It shrinks the
small polyhedron slightly. To use this mode, select the “Restore Detail” box,
then drag on the image and release to select the color region of interest that
you want to make translucent.
Spill Sampling Tools (Spill + and Spill -)
Using the Spill(+) and Spill(-) modes, you can gradually remove or recover
the spill intensity on the foreground object by sampling the referenced color
region repeatedly. The conventional Spill Sponge tool removes the spill
component in a single action at one level and does not allow sampling the
same pixel a second time. Even though just a small amount of spill needed
to be removed, the Spill Sponge removed a preset amount without allowing
any finer adjustment.
Effect of Spill(+/-) Repeatable Sampling
The Matte Sampling Tools
The Matte(+) and Matte(-) modes are used to thicken or attenuate the
matte information. If you want a thinner shadow on a foreground object, you
can use the Matte(-) mode as many times as you like to make it more
transparent. On the other hand, you can use the Matte(+) mode to make the
matte thicker in that color region.
Effect of Matte(+/-) Repeatable Sampling
The Detail Sampling Tools
The Detail(+) and Detail(-) modes are a refined version of Clean BG Noise
and Restore Detail. For example, when you see some dilute noise in the
backing area but don't want to remove it completely because it affects some
fine detail in a different area, try using Detail(-). It will attenuate the noise
gradually as multiple samples are made on the pixel. You should stop the
sampling when important fine details start to disappear.
Effect of Detail (+/-) Repeatable Sampling
Rendering the Whole Clip
When the desired composite has been achieved, the whole clip needs to
be processed before it can be used elsewhere. Select the Render box to
start the rendering process. When complete, the resulting composite will
be available in the library. See the “Using QEffects” chapter in the
QEffects Application Reference for further details on rendering.
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The Primatte Algorithm
Explanation of how Primatte works...
The Primatte chroma key algorithm is a sophisticated method of color space
segmentation that can be easily explained to help a user achieve maximum
effectiveness with the tool. Basically, Primatte segments all the colors in the
foreground image into one of four separate categories. The result is a 'spill
suppressed' foreground image and a matte which is used to apply the
modified foreground to a suitable background. Primatte works in 3D RGB
color space. Here is a visual representation of the Primatte algorithm after
an image has been processed.
By operating the Primatte interface, the user essentially creates three
concentric, multi-faceted polyhedrons. These can be pictured as three
globes (polyhedrons or polys), one within the other, which share a common
center point. The creation of these polyhedrons separates all possible
foreground colors into one of four regions; inside the small polyhedron (1),
between the small and medium polyhedrons (2), between the medium and
the large polyhedrons (3) and outside the large polyhedron (4).
14
The four regions created are described as follows:
Region 1 (inside the small polyhedron) - This region contains all of the foreground image colors that
are considered 100% background. These are the green or blue or whatever colors that were used as
the backing (key) color of the foreground image.
Region 2 (between the small and medium polyhedrons) - This region contains all the foreground
colors that are at the edges of the foreground object(s), in glass, glass reflections, shadows, sheets of
water and other transparent and semi-transparent color regions. These color regions also have spill
suppression applied to them to remove color spill from the backing screen.
Region 3 (between the medium and large polyhedrons) - This region contains all the foreground
image colors that are 100% foreground but have spill suppression applied to them to remove color
spill from the backing screen. Otherwise they are 100% solid foreground colors.
Region 4 (outside the large polyhedron) - This region contains all the 100% foreground image colors
that are not modified from the original foreground image. There is no spill suppression applied to
these colors.
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In the first step in using Primatte (Select BG Color), the user is asked to indicate the backing (key)
color on the original foreground image. The sample should usually be taken from a 'medium shaded'
area near the foreground object. By 'medium shaded' area, it is meant that if green is the backing
color and the green area of the foreground image has many shades of green ranging from very pale
green to almost black, a shade of green in-between these extreme ranges should be chosen. If good
results are not obtained using this sample, Primatte should be reset and another sample taken using
a slightly darker or lighter shade of green. The first sample of Primatte often determines the final
result as the center point of all three polyhedrons is created based on this first sample.
A single pixel may be selected or a range of pixels (rectangular sample). If a range of pixels is taken,
the sample will be averaged to get a single color sample. This single pixel or averaged color sample
then becomes the center of the small polyhedron. A few other shades around that color are included
in the original small polyhedron.
NOTE: It is recommended that a single pixel be selected as the first sample as you then have some
idea where the center point of the polyhedrons is located. If a rectangular sample is made, you can
only guess at the average color that ends up being the center point. You can get an idea how this
sample affects the algorithm by resetting the Primatte plug-in, going to the Matte View (“key” button
on) and clicking around on the green or blue screen area while in the Select BG Color operation
mode. You can immediately see the results of the initial settings of the polyhedrons in this way.
After making a sample of the backing screen (key) color in the first step, the result is a small golf ballshaped poly as shown in the following image.
The second step in using Primatte is to clean up the backing color area by adding additional shades
of green or blue to the small poly. This second step (Clean BG Noise) is usually executed while
viewing the black and white Matte (Key) View.
Before BG Noise Removal
16
After BG Noise Removal
While in the Clean BG Noise sampling mode, the user samples the white milky regions as shown in
the left-hand image above. As the user samples these regions, they turn to black as shown in the
right-hand image above.
What is happening in the Primatte algorithm is that these new shades of green or blue (the white
milky areas in the matte view) are added to the small poly. The left hand image below shows the new
pixels sampled (white dots) in relation to the small poly, and the image next to it shows how the small
poly extends outward to encompass the newly sampled colors into the small poly.
The advantage of this technique is that the polyhedron distorts to enclose only the shades of blue or
green that are in the backing screen. Other shades of blue or green around these colors are left
undisturbed in the foreground. Other chroma keyers expand from a golf ball-sized shape to a baseball
to a basketball to a beach ball. Since it expands in all directions, many shades of color are relegated
to 100% background making it hard to get good edges around the foreground objects.
Now that the user has created a small polyhedron, they must shape the medium and large polys. A
default medium and large poly are both automatically created and are then modified based on the
next couple of Primatte operations. The third Primatte step (Clean FG Noise) is to sample and
eliminate gray areas in the 100% foreground area of the image.
Before FG Noise Removal
17
After FG Noise Removal
Again, the user makes several samples on the dark, grayish areas on the foreground object until it is
solid white in color. Primatte is shaping the large polyhedron with each color region that is sampled.
Care should be taken in both this and the previous steps to not sample too close to the edges of the
foreground object. Getting too close to the foreground object's edges will result in hard edges around
the foreground object. Primatte uses these samples to modify and shape the polys to the desired
shape. At this point, the matte or key has been created and would allow the foreground objects to be
composited into a new background image.
If the user changes the display mode from black and white Matte View (“key” button on) to color
Composite View (“video” button on), there is usually 'color spill' on the edges (and sometimes the
center) of the foreground objects. When on the edges of the foreground object, this spill comes from
where the edges of the foreground object blended into the backing color. If it is on the center of the
foreground object, it usually results from reflected color from the backing screen. The next Primatte
step, either Spill Sponge, Fine Tuning or Spill(-), can now be used to eliminate this spill color.
Let's take a look at what is happening in the Primatte algorithm while this next step is performed. Here
is what the various tools in Primatte do to the Polyhedrons when they are used:
As you can see above, the Spill Sponge bulges the large polyhedron in the color
region specified. A color region is specified by clicking on the image in a particular
area with spill present. For example, if the user clicks on some spill on the cheek of a
foreground person, Primatte goes to the section of the large polyhedron closest to
that particular flesh tone and bulges the polyhedron there. As a result, the flesh tones
move from outside the large poly to in-between the medium and large polys. This is
Region 3 and, if you remember, is 100% foreground with spill suppression. As a
result of the suppression, the spill is removed from that cheek color and all other
shades of that color on the foreground. The user would then continue to sample
18
areas of the image where spill exists and each sample would remove spill from
another color region.
When all spill has been removed, the user should have a final composite. As a last
step, the user should go back to the Matte View (“key” button on) and make sure that
gray, transparent areas have not appeared in the foreground area. If there are any,
the Matte Sponge operation mode should be selected and those gray pixels should
be sampled until they have all turned white again.
The Matte Sponge and Spill Sponge tools bulge or dent the polyhedrons a preselected amount. If the desired results are not achieved or the results are too
extreme for the image, a manual method can be applied. The user should choose the
Fine Tuning sliders, select a color region of interest and then move the appropriate
slider to get the desired results.
For example, to remove spill, select a region of the composite image with spill on it.
Move the Decolor (large poly) slider to the right a little bit - the large poly will bulge
and the spill should disappear. Move it a little more, if necessary. Moving this slider to
the right removes spill (moves the colors from outside the large poly to between the
medium and large polyhedrons), and moving it to the left dents the large poly and
moves that color region to outside the large poly.
If the user samples a foreground object shadow and then moves the Clip Hi (medium
poly) slider to the right, the shadow will become more transparent. This is useful for
matching composited shadows to shadows on the plate photography. It can also be
used to make clouds or smoke more transparent.
If some foreground detail disappears during the composite, the user can select where
the detail should be and then move the Clip Lo (small poly) slider to the left. This
dents the small poly in that color region and releases the detail pixels from the small
poly into the visible region between the small and medium polyhedrons.
The Spill Sponge and Matte Sponge tools are 'shortcut tools' that automatically
move the sliders a pre-selected amount as a timesaving step for the user. Other
'shortcut tools' include the Make FG Transparent tool and the Restore Detail tool.
19
These 'shortcut tools' are one-step operations where the user clicks on a color region
of interest and Primatte performs a pre-calculated operation. Hopefully, most
operations using Primatte would only require these tools, but the manual operation of
the sliders is always an option.
The Spill(-) tool bulges the large poly a small amount incrementally in the color
region that is clicked on and the Spill(+) tool dents it a small amount with each click.
The Matte(-) and Matte(+) tools do the same to the medium poly and the Detail(-)
and Detail(+) do it to the small poly.
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21
Index
Clean BG Noise
Clean FG Noise
Clip Hi
Clip Lo
Complement Replace
Composite View
Decolor
Detail +, Fine Tuning
Floating Point
Garbage Matte
Grey button
Hardware Assisted Plug-in
Key button
Make Foreground Transparent 12, 19
Matte +, Matte Sponge
Matte View
Median Sampling
Palette Menu
Polyhedrons
Redo
Reset
Restore Detail
Select BG (Key) Color
Software Plug-in
Solid Replace
Spill +, Spill Process
Spill Sponge
Undo
Video button
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7, 16, 17
8, 17
12, 19
11, 19
9
18
11, 19
13, 20
11, 18, 19
4
4
10
2
3
13, 20
12, 19
16, 18
6
10
14-20
3
3
13, 19
6, 16
2
10
13, 18, 20
9
9, 18, 19
3
3