USER GUIDE Keylight on Avid DS Visual Effects Software The Foundry
©2011 The Foundry Visionmongers Ltd. All rights reserved. Keylight User Guide This manual, as well as the software described in it, is furnished under license and may only be used or copied in accordance with the terms of such license. This manual is provided for informational use only and is subject to change without notice. The Foundry assumes no responsibility or liability for any errors of inaccuracies that may appear in this book.
CONTENTS Contents Introduction About this User Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Licensing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Other Foundry Products . . . . . .
CONTENTS Tutorial 3: Extreme Blue Spill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Tutorial 4: A Red Green Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Tutorial 5: Inside Mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Tutorial 6: Garbage Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Appendix A Release Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
INTRODUCTION About this User Guide Introduction Welcome to this User Guide for Keylight on Avid DS. Keylight is an industry-proven blue and green screen keyer. The core algorithm was developed by the Computer Film Company and has been further developed and ported to Avid DS by The Foundry. We hope you enjoy using Keylight. About this User Guide Use the Quick Key chapter to see how a simple key is pulled using Keylight.
INTRODUCTION Other Foundry Products The license key is a sequence of numbers and letters, stored in a plain text file, that unlocks Keylight. License keys can be created for a particular computer enabling the plug-in to run only on that computer. These are called node locked licenses. We also supply floating licenses that will unlock Keylight on any networked computer connected to a machine running the Foundry license server.
INTRODUCTION Other Foundry Products experienced by users of CMOS cameras. The plug-in will often vastly improve the look of distorted footage, by either minimising or eradicating image distortions. Unlike solutions tied to camera stabilisation, that stretch the image as a whole, the RollingShutter plug-in compensates for local skewing and distortion in the scene, by correcting each object individually. Visit The Foundry’s web site at http://www.thefoundry.co.uk for further details.
GETTING STARTED Introduction Getting Started Introduction Keylight was first developed by The Computer Film Company to help with difficult keys in feature films. Over the years, Keylight has been refined in production on hundreds of films to make keying quicker and easier while providing a depth to the tools that will tackle even the most challenging shots. Notation When we refer to blue screens throughout the text we mean, of course, blue or green screens.
GETTING STARTED Quick Key perform this quick key, do the following: 1. Download the Saint images from our web site www.thefoundry.co.uk. These are single frames called SaintFG.tif and SaintBG.tif 2. Import the SaintFG.tif and SaintBG.tif images and drag them onto the timeline. Put the SaintFG clip on the V1 video track and the SaintBG clip on the B1 background track as shown in Figure 3. Figure 3. Screen Shot showing clips on the timeline. 3. Select the blue screen clip (SaintFG.
GETTING STARTED Quick Key The Keylight effects dialog panel displays showing the Keylight property page. An example is shown in Figure 5. Figure 5. Keylight PPG 5. Before doing anything else you should select the screen colour. In this case it is the blue screen through the car windows. Click and drag a small rectangle on the blue screen. A good place to pick is the blue from the back windscreen as this has no reflections.
GETTING STARTED Quick Key Figure 7. Final composite. There are a couple of extra steps that can be taken to fine tune this key and these are discussed in “Tutorial 2: Fine Tuning a Key” on page 38. Picking the screen colour may be enough for a lot of keys, but there are many more tools within Keylight that can be used to tackle more complicated shots. These are described in later chapters.
BASIC KEYING Screen Colour Basic Keying The following section describes the parameters you need to do basic keying. This will give you enough to tackle most simple keys. A discussion of advanced parameters to fine tune keys and tackle complex keys can be found in the next chapter. Screen Colour The Screen Colour is probably the most important parameter and you should always pick the screen colour before doing anything else.
BASIC KEYING Status Figure 9. Render menu. The options you’ll use the most are: • Screen Matte - this renders the matte created by picking the screen colour. • Status - this renders an exaggerated view of the mattes so that minor problems are shown clearly. • Result - this renders the foreground composited over the background using all mattes, spill and colour corrections.
BASIC KEYING Screen Strength background in the final composite. White pixels show areas that will be pure foreground. Mid-grey pixels will be a blend of foreground and background pixels in the final composite. You need grey pixels around the edge of the foreground to get a good key at the foreground edge. However, if there are grey pixels where there should be pure background, you should try to remove these with the Screen Strength, Clip Min or Outside Matte.
BASIC KEYING Despill Bias background showing through here. Also, some of the fine hair detail on the actor, visible in Figure 14, has been eroded in Figure 15. Figure 14. Screen Strength = 105 giving a good Screen Matte. Despill Bias Figure 15. Screen Strength = 150 giving background show through and over eroded edges. Although the foreground is despilled automatically, you may find the need to pull out a little more of the screen colour after picking from the image.
ADVANCED KEYING Screen Colour Advanced Keying The following section describes the parameters you need to fine tune keys and get the most out of Keylight. Basic parameters covered in the previous chapter may also be covered here in more detail. Screen Colour Background Pixel The screen colour represents the colour of the pure blue (or green) screen. The first thing you should do when pulling a key is pick the Screen Colour. This colour has a primary component, blue or green, and that has a saturation.
ADVANCED KEYING Screen Balance Foreground Pixel If the primary component in the pixel is not the same as the primary component of the screen colour we have a foreground pixel, and the alpha is set to completely opaque. The pixel colour is not modified. See Figure 20. Figure 20. Foreground pixel gives full alpha. Screen Balance Saturation is measured by comparing the intensity of the primary component against a weighted average of the two other components.
ADVANCED KEYING Biasing Biasing What’s biasing all about? Biasing in Keylight was originally developed for a shot in the motion picture "Executive Decision". The foreground consisted of reddish browns, but a combination of factors led to the 'green screen' being lit so that its primary component was actually slightly red. Figure 21.
ADVANCED KEYING Biasing Figure 23. Colour corrected image that would give a better key. The green screen is now strongly green and distinct from the foreground colours. Notice also the red cast on the pilots mask has been removed and turned into a neutral grey. This is effectively how the Keylight developers got around the problem.
ADVANCED KEYING Biasing The Bias Colours in everyday use It also turns out that the bias colour is actually useful for situations without strong casts, typically where there is some colour spill around the edge of keys. By setting the biases to the main colour that occurs near the edge of the foreground (typically flesh tones or hair tones), you allow Keylight to better discriminate between foreground and background.
ADVANCED KEYING Render If you then set the 'Despill Bias' to be 25, you will keep the nice alpha, and get a good despill as well (Figure 28). Figure 27. Poor despill. Render Figure 28. Final Key, Using Separate Despill and Alpha Biases. After picking the Screen Colour it’s useful to be able to view the key in different ways. You can do this using the Render drop-down menu, shown here in Figure 29. Figure 29. Render menu. Here’s the complete list of options and what they do.
ADVANCED KEYING Unpremultiply • Status - displays an exaggerated view of the key so you can make a more informed decision on how to improve the result. See “Status” on page 22. • Screen Matte - displays the matte created as a result of picking the screen colour. • Combined Matte - displays all the screen matte, inside and outside mattes and any Source Alpha added together. The combined matte is used to composite the foreground over the background layer.
ADVANCED KEYING Status to highlight any areas that are not pure foreground or background. Grey pixels do not mean the key is poor - the final composite may be fine. You may occasionally see other colours in the Status. Figure 32 shows black, white, grey and green pixels. Figure 32. Status showing processing of the Screen Matte. Figure 33. Result showing Screen Matte Replace Colour. The green pixels are a warning.
ADVANCED KEYING Screen Matte You may also see dark red pixels which indicate areas where an outside matte has been used to reduce the transparency of the image. Screen Matte The Screen Matte (Figure 38) is the result of pulling the blue or the green from the image (Figure 36) and making those regions transparent. Figure 36. Green screen. Figure 37. Figure 38. Screen Matte.
ADVANCED KEYING Clip Levels Source Alpha If your blue screen material has an embedded alpha channel, setting the Source Alpha to "Use As Inside" will add this matte to any internal inside matte. Figure 39 shows a Screen Matte that needs improving. The embedded alpha in the source clip is a rotospline around the inside of the woman. Figure 41 shows how this source alpha used as the inside matte has improved the screen matte. Figure 39. Screen Matte. Figure 40.
ADVANCED KEYING Clip Rollback Clip Rollback Pulling a Screen Matte (Figure 44) will typically produce lots of transparency (grey) in the matte at the edges. This is good since this is what you need to key hair well. You may also get transparency in the foreground as shown in Figure 45. This is bad as your subject will appear slightly see-through, and this should be corrected. You can do this with an inside matte, or you can use the Clip Max parameter to turn these grey pixels white.
ADVANCED KEYING Grow & Shrink Grow & Shrink This control should not normally be used as eroding the edges can produce a very poor key. However, this parameter allows you to grow (if greater than zero) or shrink (if less than zero) the alpha in the Screen Matte. These controls are sub-pixel accurate. Figure 48. Screen Matte. Despot This controls how much to simplify the matte.
ADVANCED KEYING Inside & Outside Mattes will display which pixels use a replace method. Those pixels who use a replace method because the Screen Matte processing tools modified the transparency will be green, whilst those pixels whose transparency was modified by the inside matte will be blue. See the Status on page 23. There are four options to the Replace Method, these are: 1. None - the despilled image is left untouched if the alpha is modified. 2.
ADVANCED KEYING Inside & Outside Mattes add those pixels to the matte we’re creating. Switch Render back to show the Inside Matte. Each time you pick from the foreground you add to the selections you have made. Figure 54. Outside Matte. Colour Differentiation This determines how closely the matte can tell colours apart. If set to coarse then selected colours that are quite different will be lumped together to form the matte.
ADVANCED KEYING Cropping Note Cropping If you do use an externally generated mask, it is added to any inside/outside mask generated within Keylight. Figure 58 shows a lighting rig on the left side of the green screen. You can use the cropping controls on the Cropping PPG to quickly remove objects like this. View the result, switch on Blank Cropped Region and simply increase the Crop Left parameter until the rig is removed. If you prefer you can use the on-screen cropping tools to do the same.
ADVANCED KEYING Colour Correction X Y Edge Method - determines the behaviour of the image at the left and right crop boundaries. Four edge methods are supplied: • Colour - fills the area between the crop line and the edge with the Crop Colour. • Reflect - reflects pixels about the current crop line. In other words, it copies pixels from the other side of the current crop line into the area between the current crop line and the screen edge. • Repeat - copies pixels on the crop boundary to the screen edge.
ADVANCED KEYING Edge Correction component to. If set to 0%, it will be the smallest of the other two components, if set to 100% it will be the largest of the other two components. Otherwise, it will be to a balanced average. Colour Balancing Edge Correction These controls are used to alter the hue of the image. Choose a hue and saturation (either via the sliders or the colour balance wheel) to shift the entire colour balance of the image.
ADVANCED KEYING Edge Correction component to. If set to 0%, it will be the smallest of the other two components, if set to 100% it will be the largest of the other two components. Otherwise, it will be to a balanced average. Colour Balancing The Foundry These controls are used to alter the colour balance of the image edges. Choose a hue and saturation (either via the sliders or the colour balance wheel) to shift the entire colour balance of the image.
TUTORIAL Introduction Tutorial Introduction We have included four tutorials with examples images that you can use to practice Keylight. • Tutorial 1: Simple Key • Tutorial 2: Fine Tuning a Key • Tutorial 3: Extreme Blue Spill • Tutorial 4: A Red Green Screen • Tutorial 5: Inside Mattes • Tutorial 6: Garbage Masks Example Images The tutorial images referred to in this chapter can be downloaded from our web site www.thefoundry.co.
TUTORIAL Tutorial 1: Simple Key background shown in Figure 61. Figure 61. Background - SaintBG.tif 1. Download the Saint images from our web site www.thefoundry.co.uk. These are single frames called SaintFG.tif and SaintBG.tif 2. Import the SaintFG.tif and SaintBG.tif images and drag them onto the timeline. Put the SaintFG clip on the V1 video track and the SaintBG clip on the B1 background track as shown in Figure 62. Figure 62. Screen Shot showing clips on the timeline. 3.
TUTORIAL Tutorial 1: Simple Key 5. The Keylight effects dialog panel displays showing the Keylight property page. An example is shown in Figure 64. Figure 64. Keylight PPG 6. Before doing anything else you should select the screen colour. In this case it is the blue screen through the car windows. Click and drag a small rectangle on the blue screen. A good place to pick is the blue from the back windscreen as this has no reflections.
TUTORIAL Tutorial 1: Simple Key Figure 66. Final composite. There are a couple of extra steps that can be taken to fine tune this key and these are discussed in “Tutorial 2: Fine Tuning a Key” on page 38.
TUTORIAL Tutorial 2: Fine Tuning a Key Tutorial 2: Fine Tuning a Key Note Using the images from the film The Saint, you will learn how to fine tune the key pulled in Tutorial 1. You will learn how to: • Use Status to judge the quality of the key. • Use the Screen Strength to improve the background. • Use the Despill Bias to remove more blue spill. 1. Drag the SaintFG.tif and SaintBG.tif pictures onto the timeline. Apply Keylight to the blue screen layer.
TUTORIAL Tutorial 2: Fine Tuning a Key 4. Finally, if you look closely at the composite you will see a tiny amount of blue spill on the woman’s hand and in her hair. This was from reflected light from the blue screen. By increasing the Despill Bias to 18 we can remove it. Use the Comparison Buffer to see the difference. Figure 69.
TUTORIAL Tutorial 3: Extreme Blue Spill Tutorial 3: Extreme Blue Spill This is a really interesting clip from the film Merlin. The results with Keylight are certainly not perfect, indeed it is unlikely that you will ever end up with a truly realistic looking shot. However, there are some interesting things to observe. You will learn how to: • Reduce the blue spill using Screen Balance and Despill Bias. • Improve the foreground opacity using Alpha Bias. 1. Load the MerlinBlueFG.
TUTORIAL Tutorial 3: Extreme Blue Spill 4. Alter the Screen Balance from 95 to 0 as shown in Figure 72. This step is a bit subjective, but improves the blue spill. Figure 72. Adjust the Screen Balance 5. Now let’s try and get rid of that blue spill. Increase the Despill Bias to 40. When you do this the image and the screen colour will have the blue component scaled up before the key is pulled so that more blue is removed. You will have noticed that the foreground has gone quite transparent.
TUTORIAL Tutorial 3: Extreme Blue Spill 7. The final composite is shown in Figure 74. Figure 74. Final Composite.
TUTORIAL Tutorial 4: A Red Green Screen Tutorial 4: A Red Green Screen Using the images from the film Executive Decision, you will learn how to pull a key from a poor green screen using the Despill Bias control. You will learn how to: • Pick the Screen Colour. • Drop the Screen Bias. • Produce a final composite. The images you will need for this tutorial are called ExecFG.tif and ExecBG.tif 1. Load the pictures ExecFG.tif (Figure 75) and ExecBG.tif. Apply Keylight. Figure 75. Poor Green Screen.
TUTORIAL Tutorial 4: A Red Green Screen Figure 77. Decrease the Despill Bias. 4. If you look closely, the background and foreground needs cleaning up. Figure 78 shows the Status. We will use the Screen Matte tools to make the cockpit windows black and the pilot white. Figure 78. Status. 5. Increase Clip Min to 20 to remove some of the foreground showing through the background. Decrease Clip Max to 70 to improve the opacity of the foreground. Increase Screen Softness to 1 and set Despot to -2.
TUTORIAL Tutorial 5: Inside Mattes Tutorial 5: Inside Mattes Using the blue screen test card image you will learn how to: • Process the Screen Matte. • Use Colour Differentiation to pick a very specific inside matte. • Use the Replace Method to put back keyed out colours. The clips you will need for this task are called TestCard.tif and ColourGrid.tif 1. Load the pictures TestCard.tif (Figure 81) and ColourGrid.tif and put them into the timeline layering the blue screen over the colour grid. Figure 81.
TUTORIAL Tutorial 5: Inside Mattes 3. You will have noticed in Figure 83 the background could do with cleaning up. Figure 83 showing the Status clearly shows this. This can be fixed by processing the Screen Matte. Figure 83. Status. 4. Increase the Screen Strength to 110. This cleans up some of the background as shown in Figure 84. Figure 84. Screen Strength. 5. Sections 5 to 7 will cover the changes to the Screen Matte that will improve the key.
TUTORIAL Tutorial 5: Inside Mattes Figure 85. Clip Max. However, you will notice in the composite that the edges have become a little hard. We can fix this using the Clip Rollback and Screen Softness. 6. Increase the Clip Rollback to 3 and the Screen Softness to 1. It’s also worth trying to improve the key around the spiky flowers with a subpixel erode of the edge. Change Screen Grow/Shrink to -0.5. Figure 86. Clip Rollback. 7. To remove the foreground spots set Despot to -2.
TUTORIAL Tutorial 5: Inside Mattes The grey squares in the foreground, where the colour swatches are located, tell us that the background will show through here The green pixels are a warning. Figure 87. Despot. They are showing us the parts of the Screen Matte that we have changed due to processing the matte in steps 5 to 7. These areas have had the correct amount of spill removed, but the alpha has subsequently changed and the composite may no longer look right.
TUTORIAL Tutorial 5: Inside Mattes Remove to put the black back. You should end up with the matte looking something like Figure 89. Figure 89. Inside Matte. Now make sure the Replace Method is set to Source so we pull back the original colours using this inside matte. 10.That’s it! Make sure Enable Inside is switched on and look at the composite. You will see that the swatch colours are now correct. Figure 90. Final Composite.
TUTORIAL Tutorial 6: Garbage Masks Tutorial 6: Garbage Masks Using the green screen merlin image you will learn how to: • Use Keylight in a graphics container. • Apply a garbage mask to remove a lighting rig. The clips you will need for this task are called MerlinGreen.tif and Curtain.tif 1. Load the pictures MerlinGreen.tif (Figure 91) and Curtain.tif (Figure 92) into Avid DS. Figure 91. Green screen with lighting rig. Figure 92. Background picture. 2.
TUTORIAL Tutorial 6: Garbage Masks 4. Add a Matte node and pipe the output into the Outside Mask input of Keylight 2. Edit the Matte shape to garbage out the lighting rig. Figure 94. Screen Shot showing yellow garbage shape from a Matte node. 5. In Keylight, pick the green screen colour. 6. In the Outside PPG set the Outside Mask to Use Luminance to remove the lighting rig as shown in Figure 96. That’s it! Figure 95. Green Screen. The Foundry Figure 96. Composite with lighting rig removed.
APPENDIX A Release Notes APPENDIX A Release Notes This appendix describes the requirements, new features, improvements over previous versions, fixed bugs and known bugs and workarounds in Keylight. Keylight 2.2v4 This release fixes one bug. Release Date 20 November 2009 Requirements 1. Avid DS 10.2.x, 10.3.x, or 10.5.x. 2. Foundry FLEXlm Tools (FFT) (5.0v1 or later) for floating license support. New Features There are no new features in this release.
APPENDIX A Release Notes New Features There are no new features in this release. Improvements There are no improvements in this release. Bug Fixes BUG ID 9423 - Wrong version number in Help page in Keylight 2.2v2. The correct version can be viewed in Windows by clicking Start > Settings > Control Panel and opening Add/Remove Software. Known Bugs and Workarounds There are no known bugs. Keylight 2.2v2 This release introduces one improvement. Release Date 9 October 2009 Requirements 1. Avid DS 10.2.x. 2.
APPENDIX A Release Notes Keylight 2.2v1 This is a maintenance release to support Avid DS v10 Release Date October 2008 Requirements 1. Avid DS v10 2. Foundry FLEXlm Tools (FFT) (4.0v8 or later) for floating license support. New Features There are no new features. Improvements 1. The Keylight pulldown menu on the Inside PPG has changed to "Add to Inside", "Remove from Inside" and "Reset Inside". 2.
APPENDIX A Release Notes Requirements 1. Avid DS v8.0 2. Foundry FLEXlm Tools (FFT) (4.0v1 or later) for floating license support. New Features There are no new features. Improvements 1. Support for 64 bit machines running Avid DS v8.0. 2. Support for keying 32 bit images. 3. FLEXlm licensing. Fixed Bugs There are no fixed bugs. Known Bugs & Workarounds The ability to undo parameter changes will occasionally fail. There is no workaround. Keylight 2.
APPENDIX A Release Notes 6. Edge Correction PPG has been added with controls to colour correct and suppress colour spill at the edges. 7. Render controls now includes the ability to view the Combined Matte. 8. Colour Differentiation added to inside matte to control the ranges of colours used to generate the matte. 9. There is a new 'Outside Matte' tool which allows you to exclude arbitrary ranges of foreground colours when creating the matte. 10.Licensing.
APPENDIX A Release Notes 2. Dongle. Keylight 1.0v8 for DS 6.0 can be licensed to the Dongle ID or the System ID (Physical Address). Previous versions of Keylight will only lock to the System ID of the machine. Improvements There are no improvements. Fixed Bugs There are no fixed bugs. Known Bugs and Workarounds There are no known bugs. Keylight 1.0v7 This is a maintenance release to fix some bugs and support Keylight 1.0 on Avid|DS 5.0. Requirements Avid DS 3.0, 4.0, 4.01 or 5.0.
APPENDIX A Release Notes returned). Removing the Hotfix Security Rollup would fix the problem. However, Keylight 1.0v7 now licenses correctly to the System ID even with the Hotfix Security Rollup installed. 2. The check-boxes that indicate whether the sliders are ganged or not were not saved as part of the plug-in data. This has been fixed. Bug ID 187. Known Bugs and Workarounds There are no known bugs. Keylight 1.0v5 This is a maintenance release for Avid DS 4.01 Requirements Avid DS 4.0 and 4.
APPENDIX A Release Notes 2. The orange "unlicensed" dots have been replaced by coloured dots. Fixed Bugs There are no fixed bugs. Known Bugs and Workarounds 1. Displaying the System ID Number (Physical Address) using the Foundry utility "System ID" will return an incorrect number on Windows 2000. To display this number correctly use ipconfig /all from a command shell. Keylight 1.0v3 This is a maintenance release that fixes a bug. Requirements SOFTIMAGE DS 3.0 only.
APPENDIX A Release Notes Improvements No improvements over Keylight 1.0v1 Fixed Bugs No fixed bugs. Known Bugs and Workarounds There are no known bugs. Keylight 1.0v1 Requirements SOFTIMAGE|DS 2.0 or 2.1 New Features Keylight - a radically different compositing tool that accurately models the interaction of blue or green light with the foreground elements and replaces it with light from the new background.
APPENDIX B Third Party Licenses APPENDIX B Third Party Licenses This appendix lists third party libraries used in Keylight, along with their licenses. Library Description License Boost Source code function / Boost Software License - Version 1.
APPENDIX B Third Party Licenses Library Description License FTGL OpenGL support FTGL - OpenGL font library Copyright © 2001-2004 Henry Maddocks ftgl@opengl.geek.nz Copyright © 2008 Sam Hocevar sam@zoy.org Copyright © 2008 Sean Morrison learner@brlcad.
APPENDIX C End User License Agreement Appendix C End User License Agreement IMPORTANT: BY INSTALLING THIS SOFTWARE YOU ACKNOWLEDGE THAT YOU HAVE READ THIS AGREEMENT, UNDERSTAND IT AND AGREE TO BE BOUND BY ITS TERMS AND CONDITIONS. IF YOU DO NOT AGREE TO THE TERMS OF THIS AGREEMENT DO NOT INSTALL, COPY OR USE THE SOFTWARE. This END USER SOFTWARE LICENSE AGREEMENT (this "Agreement") is made by and between The Foundry Visionmongers Ltd.
APPENDIX C End User License Agreement Finally, if the Software is an "Educational Version," Licensee may use it only for the purpose of training and instruction, and for no other purpose. Educational Versions of the Software may not be used for commercial, professional or for-profit purposes. SECTION 3. BACK-UP COPY.
APPENDIX C End User License Agreement ABILITY OR FITNESS FOR A PARTICULAR PURPOSE, REGARDLESS OF WHETHER The Foundry KNOWS OR HAS REASON TO KNOW OF LICENSEE'S PARTICULAR NEEDS. The Foundry does not warrant that the Software or Documentation will meet Licensee's requirements or that Licensee's use of the Software will be uninterrupted or error free. No employee or agent of The Foundry is authorized to modify this limited warranty, nor to make additional warranties.
APPENDIX C End User License Agreement The Foundry, Licensee shall provide The Foundry with a certificate signed by an officer of Licensee confirming that the foregoing destruction has been completed. SECTION 12. CONFIDENTIALITY.
APPENDIX C End User License Agreement SECTION 16. SURVIVAL. Sections 2, 4, 5, 6, 7, 8, 9, 10, 12, 13, 14, 15, 16, 17 and 18 shall survive any termination or expiration of this Agreement. SECTION 17. IMPORT/EXPORT CONTROLS.
INDEX A-Z INDEX A-Z A Alpha Bias 20 B Blue Spill see Tutorial 3 40 Brightness 31 C Clip Levels 25 Clip Rollback 26 Colour Correction 31 Colour Differentiation 29 Colour Suppression 31 Contrast 31 D Despill Bias 15 Negative 18 Despot 27 E Edge Correction 32 End User License Agreement 63 Erode 27 Executive Decision see Tutorial 4 43 F Foundry, The 6 G Garbage Masks see Tutorial 6 50 Getting Started 8 grain 24 I Inside Masks 29 Inside Mattes 28, 49 see Tutorial 5 45 K key more 14 The Foundry L Licensing 5 M
