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Freeze: Turning on this checkbox freezes the matte clip on a single frame. Adjust the
Offset parameter to choose which frame to freeze on.
Loop: Turning on this checkbox enables matte clips to loop endlessly, which lets
shorter matte clips cover longer durations.
Lock Matte: When turned on, locks the sizing of a matte to whatever changes are made
to the Input Sizing of that clip, so the matte transforms to follow the clip.
You can also use external mattes as creative tools. For example, you might use a more abstract
animated matte, or a grayscale film scan of dirt and dust, to apply correction for effect.
Using Mattes From the Fusion Page
If you’re grading a composite that’s been created in the Fusion page, you can feed mattes
created in different parts of a Fusion composition to the Color page to use in the grade as well.
For example, if you’re grading a composite of a foreground actor who’s green screen keyed
against a background layer, you might want to use the matte generated for the key to protect
the foreground subject from an operation in your grade that you only want to affect the
background. Happily, this is easy to set up.
In the following Fusion composition, two DeltaKeyer nodes (one to create an overall matte, and
one to create a solid matte protecting the core) and one BSpline node (to create a garbage
matte) work together to create a finely-tuned matte. This matte is used by the Merge1 node to
preserve the subject’s hair and composite them in front of a gently blurred (using the LensBlur
node) planet, with the final result connected to the MediaOut1 node, which feeds this image to
the Edit page and Color page for continued adjustment.
A greenscreen composition in the Fusion page, outputting the
RGB in MediaOut1, and the foreground matte in MediaOut2
Chapter – 126 Combining Keys and Using Mattes 2866