v 1.6.
Interface Overview The “Less” Interface 11 The “More” Interface 12 Common Features ––––– Saving Views ––––– View Selectors ––––– View Pop-up ––––– Snapshot Short Cut Keys: TABLE OF CONTENTS Quick Start 11 12 12 12 13 14 14 15 Sample the Backing Area 15 (FOREGROUND VIEW) Matte Correction (default ENABLED) 15 Enable Video Correction (if applicable) 15 Set Roto-Screen Correction Controls (if necessary) (suggested: Screen Overlay view) Set Matte Density Controls (if necessary) Set Spill Contro
THE “MORE” CONTROLS 22 Matte Density Controls for Print-Through, Dark & Glowing Edges Spill Controls for excessive spill & miscolored subject matter Shadow Controls for independent control over shadows 23 24 27 Clean Up Controls for unwanted anomalies retained as foreground detail 28 Color Conformance Controls for matching foreground colors to background colors Video Correction Controls for reducing the artifacts caused by color compression 30 32 TABLE OF CONTENTS Roto-Screen Correction Controls
Adobe Photoshop 5.5 to 6 Adobe Photoshop 7+ 47 49 Adobe Premiere 6+ (Note: Mac version requires Premiere 6.5) Adobe Premiere Pro 52 Apple Final Cut Pro 3+ TABLE OF CONTENTS Apple Shake 3.5+ 55 57 Avid AVX 1.
Introduction INTRODUCTION AdvantEdge is the culmination of over 25 years of bluescreen imaging experience by Ultimatte Corporation. AdvantEdge enables the user to quickly create and edit blue screen composites by simply scrubbing the cursor within different areas of the foreground, background, and matte. The entire image is then analyzed and AdvantEdge automatically calculates optimum settings for several different parameters simultaneously.
a particular operation. In this guide, we show one way to load and use the AdvantEdge plug-in within a particular environment, but other ways to perform various operations are also available. Please refer to the documentation provided with the host application for general operational information MINIMUM SYSTEM REQUIREMENTS Minimum system requirements OS: CPU: RAM: AdvantEdge Minimum System Requirements Windows Macintosh Linux Windows NT/2000/XP Pro Mac OS 9 (v9.2.2) Red Hat v6.
Customer Support and Feedback We think we’ve created quite a wonderful tool, but we were only able to do so because we’ve been working closely with artists throughout the Ultimatte AdvantEdge development process. We invite you to help us redefine and improve it in the future. We’d appreciate your feedback and suggestions, problems and observations. As the product matures, we’ll incorporate your requests to make Ultimatte AdvantEdge an even more exciting and useful product. You can visit our website at www.
Ultimatte Corporation Software License Agreement This License Agreement is your proof of license. Please treat it as valuable property. ULTIMATTE LICENSE AGREEMENT This is a legal agreement between you (either an individual or an entity), the end user, and Ultimatte Corporation. If you do not agree to t� other containers) to the place you obtained them for a full refund. ULTIMATTE SOFTWARE LICENSE LICENSE AGREEMENT 1. GRANT OF LICENSE.
4. LICENSEE’S SOFTWARE COVENANTS. You acknowledge and agree that SOFTWARE (whether delivered by tape, disk, electronic means or other reproductive media or device such as ROM, RAM or PROM) together with the ideas and concepts contained therein are, a� licensed such software, if any) and are proprietary to Ultimatte (or such third party). You further agree and acknowledge that neither you, n� right, to the SOFTWARE other than as expressly granted herein.
LICENSE AGREEMENT U. S. GOVERNMENT RESTRICTED RIGHTS The SOFTWARE and documentation are provided with RESTRICTED RIGHTS. Use, duplication, or disclosure by the Government is subject to restrictions as set forth in subparagraph (c)(1)(ii) of the Rights in Technical Data and Computer Software clause at DFARS 252.227-7013 or subparagraphs (c)(1) and (2) of the Commercial Computer Software--Restricted Rights at 48 CFR 52.
Interface Overview Diagram The “Less” Interface OVERVIEW THEINTERFACE “LESS” CONTROLS The “Less” Interface Q W E Q W E R T Y U I O P { } q w Settings Pop-up Menu Undo Button Redo Button Reset Pop-up Menu Automation Pop-up Menu Foreground Options Pop-up Menu Overlay Options Pop-up Menu Matte Options Pop-up Menu Composite Button Proxy Mode Pop-up Menu More Button OK Button Cancel Button Help Button e r t y u i o p [ ] A Single Panel Display Dual Panel Display Side by Side Split Screen Top/Bottom Sp
History Button History List History Bookmark Entry Field Controls Pop-up Menu Control Palette Advanced Control Palette U I O P { Inputs Palette Button Outputs Palette Button Color Palette Button Frame Jogger Palette Button Color Palette Q R W U I O P T { Diagram The “More” Interface Q W E R T Y Y E Common Features –––––Saving Views ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– To make any changes to the AdvantEdge interface persistent, choose Settings -> Set Works
–––––View Pop-up ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– View Tools Common Features INTERFACE OVERVIEW Clicking in the image display area will open the View palette allowing the user to choose which view to place in the image display area. This can also be used to switch between views on either side of the image display when in splitscreen mode or dual panel view.
–––––Snapshot –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Snapshot Use the camera to take a picture or snapshot of what is being displayed in the image display area. This will be recorded in the history palette and can be used to compare an image with one saved in the snapshot buffer. Short Cut Keys: Short Cut Keys Common Features INTERFACE OVERVIEW The content of the display window can be changed by using the short cut keys as listed below.
Sample Backing Quick Start Sample the Backing Area (FOREGROUND VIEW) When the AdvantEdge filter is launched, the foreground image will be displayed. With Screen selected from the Automation pop-up menu, use the Sample Backing eyedropper to select the backing color. Choose an area on the blue (green) screen near important subject detail that is not obscured in any way. The image will be rendered and a composite will be displayed. If further adjustments are needed, follow the steps below.
Video Correction Alternatively, by clicking on the Foreground pop-up menu above the Foreground thumbnail icon, the view can be toggled between Video Corrected Foreground and Foreground. You may need to zoom into an area to see the difference. Set Roto-Screen Correction QUICK START Set Roto-Screen Correction Controls (if necessary) (suggested: Screen Overlay view) Ultimatte Corp introduced a feature in 1990 called Screen Correction.
With Screen selected from the Automation pop-up menu, use the Add Overlay tool to scrub on areas that represent the blue (green) screen, including shadows. The overlay will be used in the final process to fully eliminate these areas from the final composite. Continue in this manner until the foreground subject and its shadows are surrounded with an overlay. Make sure the overlay does not cover any foreground detail that is to be retained.
Set Roto-Screen Correction QUICK START Under some circumstances, it may be difficult to completely cover the screen area with the overlay. This does not mean that the screen will not be removed in that area, but that other controls may need to be adjusted to help reduce anomalies in those areas that were not covered by the overlay.
Set Matte Density Controls (if necessary) (suggested: matte & composite views) Set Shadow + Clean Up QUICK START Set Matte Density Controls These controls are used to adjust the density or opacity of the foreground objects. The density of a foreground object is determined by its matte (alpha) value. A completely opaque object's matte will be white, a completely transparent object's matte will be black, and a partially transparent object's matte will be gray.
The density, sharpness, and tint of the shadow may be altered by manually adjusting the shadow controls in the More - Shadow controls panel in the Control Sliders pop-up menu. To learn which controls were automatically set by AdvantEdge, click on More and select the Shadow and/or Clean Up control panel and note the position of the controls. Set Spill Set Spill Controls (if necessary) Change the Automation pop-up menu to Spill.
Set Color Conformance QUICK START If the desired background color does not appear in the image, then a color may be chosen from the Ultimatte color palette by clicking on the color tool button to launch the Ultimatte color picker. The foreground color that was selected will be represented down the center of the color tool, with the other colors representing the range to which the foreground color may be changed.
THE “MORE” CONTROLS Individual slider controls can be found by clicking on and selecting the respective menu from the Slider Controls pop-up menu.
Matte Density Controls for Print-Through, Dark & Glowing Edges These controls are used to adjust the density or opacity of the foreground objects. The density of a foreground object is determined by its matte (alpha) value. A completely opaque object's matte will be white, a completely transparent object's matte will be black, and a partially transparent object's matte will be gray. With the Matte Correction process enabled (click the Matte button to enable), all kernel-based processes become available.
• Blur: (Only available when Matte Correction is DISABLED.) Use this control to blur the matte. • Edge Kernel: (Only available when Matte Correction is ENABLED.) Warning: Advancing this control too far, may cause too much print-through at the edges. Advanced Controls • Warm: Use this control to adjust density in warm colors (flesh tones). Warning: Reducing this control too much can cause print-through in reddish foreground objects.
Choose Spill Suppression from the Slider Controls pop-up menu. • Cool: Use this control to adjust the amount of spill in cool colored foreground objects. Used to • Warm: Use this control to adjust the amount of spill in warm colored foreground objects. Used to reproduce pink, purple and magenta colors for bluescreen, or yellow and orange colors for greenscreen that changed through the spill suppression algorithms.
• Darks: Use this control to adjust the amount of spill on dark foreground objects. • Ambience: Use this control to choose a color to subtly influence the foreground objects in areas that • Strength: (Only available when Matte Correction is ENABLED.) Use this control to adjust the intensity of the chosen Ambient color. • Veiling: These controls are used to override the automatic suppression of the backing color.
Advanced Controls Spill Controls increase suppression of red content in the blue (green) screen and can cause foreground edges and transparencies to turn cyan. • Green: Use this control to override the automatic suppression of the green channel. Increasing this control will increase the amount of veiling (residue) left in the backing area. Decreasing this control will increase suppression of green content in the blue (green) screen and can cause foreground edges and transparencies to turn magenta.
Warning: All preserved shadows will be lightened. • Low: Increase this control to restore the density of the darkest part of the shadows that are to be retained • Density: Use this control to change the density of the shadows that are retained to better match Shadow Controls Clean Up THE “MORE” CONTROLS shadows in the background scene.
Choose Clean Up from the Slider Controls pop-up menu Choose Clean Up from the Slider Controls pop-up menu to reduce noise in the backing. Warning: Advancing this control too far will result in a "cut and paste" look with a hard, unnatural edge. Background noise (as well as some foreground detail) will be reduced. A better method for dealing with blue (green) screen imperfections is the use of Screen Correction. • Shrink: (Only available when Matte Correction is ENABLED.
Color Conformance Controls for matching foreground colors to background colors Set these controls while viewing the composite. A flawless composite requires matched blacks, whites, and gammas between the foreground and background elements. Color Conformance with Ultimatte Intelligence allows for the selection of blacks, whites, and gammas and will automatically match the foreground to the background (or vice versa if composite is chosen as output selection).
> Blue: Use this control to increase or decrease the blue influence in the bright areas of the image. • Mid-tones: These controls are used to mostly influence the mid-range parts of the image. These are global controls which will affect the entire image, but the greatest effect will be seen in the mid-range areas.
> Green: Use this control to increase or decrease the green influence in the dark areas of the image. > Blue: Use this control to increase or decrease the blue influence in the dark areas of the image. • Hue: This control will change the color contents of the image without changing its brightness or color Advanced Controls Color Conformance Controls Video Corr. THE “MORE” CONTROLS Advanced Controls intensity (purity) values. At default setting (0), the image hue is not altered.
capable of auto-detecting which type of compression artifacts have been applied to the image as long as there have not been effects or transformations applied to the image prior to entering AdvantEdge. The results of the Video Correction algorithms can best be seen after a matte has been generated. To see the effects of this process, enable and disable the Video Correction process by clicking on the DV LED in the right hand section of the AdvantEdge control panel while viewing the matte or composite.
Video Correction Left: use the leftmost pixel from a 4-pixel array to restore the correct color information. Right: use the rightmost pixel from a 4-pixel array to restore the correct color information (may be common when an image format "flips" the image). Average: use an average of the 4 pixels to restore the correct color information. • Low Luminance Noise: Use this control to adjust the amount of correction that will mostly affect the dark areas of the screen.
Choose Roto-Screen Correction from the Slider Controls pop-up menu to refine the settings. Roto-Screen Correction Controls THE “MORE” CONTROLS Set these controls while viewing the Screen Overlay. • Screen Tolerance: These controls are used to adjust the color range or tolerance to be included or excluded from the screen overlay.
• Darks (G>R) {for bluescreen}: Use this control to include or exclude dark areas from the screen overlay in those areas where the Green Value is greater than the Red Value in the original foreground image. • Darks (B>R) {for greenscreen}: Use this control to include or exclude dark areas from the screen overlay in those areas where the Blue Value is greater than the Red Value in the original foreground image.
overlay in those areas where the Green Value is greater than the Red Value in the original foreground image. • Brights (R>G) {for bluescreen}: Use this control to include or exclude bright areas from the screen Advanced Controls Roto-Screen Correction overlay in those areas where the Blue Value is greater than the Red Value in the original foreground image. overlay in those areas where the Red Value is greater than the Green Value in the original foreground image.
the Foreground pop-up menu above the foreground thumbnail icon, the view can be toggled between Film Corrected Foreground and Foreground. You may need to zoom into an area to see the difference. Choose Film Corrected from the Foreground pop-up menu to compare the corrected and uncorrected foregrounds. Film Correction Controls THE “MORE” CONTROLS Set these controls while viewing the Composite.
Advanced Controls Film Correction Controls Set the following advanced controls while viewing the Subject Overlay. • Shrink: Use this control to shrink the subject overlay. • Brights: Use this control to include or eliminate bright areas from the subject overlay. • Darks: Use this control to include or eliminate dark areas from the subject overlay.
image. • PFG+Alpha (4-channel): This will output the foreground subject against a black background Output Module THE “MORE” CONTROLS • PFG (3-channel): This will output the foreground subject against a black background as a 3-channel (transparency) with its corresponding alpha (embedded) in the fourth channel. This is used to composite with the background using the host application’s layering tools. • Composite • Matte (3-channel): This will output a “merged” layer or image without transparency.
Black and White Logic In some cases, it may be desirable to shoot the foreground imagery in front of a black or white screen. These are typically used for product shots that do not contain the color of the backing. Black or white logic is not recommended for shots that contain people. Many people will choose to shoot fire against a black screen. However, if there is dark smoke or dark sections of flames, then shooting against a green screen would be a better choice.
Matte Density Choose Matte Density from the Slider Controls pop-up menu. • Subject: Use these RGB controls to adjust the opacity of foreground subjects • Screen: Use these RGB controls to adjust the transparency in the screen area. • Edge Kernel: Use this control to adjust number of pixels to use as a kernel to reduce dark edges that may exist in transition areas due to an over-dense matte.
screen overlay Advanced Controls Advanced Roto-Screen Correction for Black and White Logic BLACK AND WHITE LOGIC • Screen: Use these RGB controls to include screen areas (or possibly exclude subject areas) from the • Overlay Color: Use this control to change the color of the overlay. • Overlay Opacity: Use this control to adjust the opacity of the overlay.
Setup Adobe After Effects 5+ (Windows) Adobe After Effects 5+ SETUP 1 • 5.5+ (Mac): Place the foreground, background, clean plate (if available) and holdout matte (if available) footage in the Timeline window. Make sure the foreground footage is above the background footage. In order to use a HoldOut Matte within After Effects, the HoldOut Matte must exist in the fourth channel of its own layer within the composition timeline window.
Adobe After Effects 5+ SETUP 4 In the Effect Controls window, set the Clean Plate pull-down menu to the corresponding layer in the Timeline which is the clean plate. Set the Holdout Matte pull-down menu to the corresponding layer in the Timeline which is the holdout matte. 5 Use the BG Preview pull-down to select the background layer from the Timeline if you want to see the background within the AdvantEdge interface.
• The BG Preview, Clean Plate and Holdout Matte images, footage or compositions must be the same size as the foreground layer. 6 Click on the AdvantEdge logo in the Effect Control window to launch the AdvantEdge interface. • Within the AdvantEdge interface, you will be able to preview the frame at which your time marker is set within the After Effects Timeline window.
Adobe Photoshop 5.5 to 6 1 AdvantEdge functions on Layers, so the first step is to convert the "Background" into a "Layer": Double click on the "Background" layer, and a "New Layer" dialog box opens, with "Layer 0" highlighted. If you like this name, simply click "OK" to accept. You can change the name of the layer at any time in Photoshop. Notice that you now have "Layer 0" in the Layer List. 2 From the Filters menu choose: Filters->Ultimatte->AdvantEdge The AdvantEdge interface will be launched.
4 Click the folder icon next to Background, Clean Plate, Garbage Matte and Holdout Matte to import and enable the appropriate files. Note: The Background, Clean Plate, Garbage Matte and Holdout Matte must be the same size as the foreground. 5 The default output for Photoshop is PFG + Alpha. SETUP Photoshop 5.5 to 6 Toggle the eye to select an alternate output.
Adobe Photoshop 7+ Since Photoshop 7.0 allows a plug-in to have access to multiple layers, the layered document may contain additional inputs to AdvantEdge. Previous Photoshop versions required the additional inputs to be imported from within the AdvantEdge interface. Adobe Photoshop 7+ SETUP The Photoshop 7 document must be created as follows: 1 The foreground must be the the top-most layer 2 The background should be immediately below the foreground.
Adobe Premiere 6+ SETUP Adobe Premiere 6+ (Note: Mac version requires Premiere 6.5) 1 Place the foreground image or sequence on Track 1A in the Adobe Premiere timeline. Place the background image or sequence on Track 1B in the Adobe Premiere timeline. 2 From the Transitions menu within Premiere, select and drag the Ultimatte>AdvantEdge plug-in to the Transition track (between the foreground and background images).
additional inputs must be the same size as the foreground and must be single frames (not sequences or movie files.) Enable/disable the use of the addtional inputs by clicking their respective eye icons in the Inputs palette. The following screenshot shows the Input palette with all inputs loaded and active. Adobe Premiere 6+ SETUP In this example, all inputs are being used. Toggle the eye to select an alternate output. 5 The default output is Composite.
Adobe Premiere Pro SETUP Adobe Premiere Pro 1 Place the foreground footage and the background footage on the same track. Make sure there is no gap between them on the timeline. 2 Drag the Ultimatte AdvantEdge transition out of the Transitions folder in the Effects window and onto the tail end of the foreground as shown above. 3 Drag the left edge of the AdvantEdge transition all the way to the left edge of the foreground as shown in the following screenshot.
Adobe Premiere Pro SETUP 4 Leaving the AdvantEdge transition selected, go to the Effects Control Window and click the Custom button in the AdvantEdge entry. This will open the AdvantEdge full-screen interface. Note, when you first enter the AdvantEdge interface, you will see the first frame of the current clip. To see other frames, use the Frame Jogger 5 or More, then the Jogger tab.
Adobe Premiere Pro SETUP In this example, all inputs are being used. Toggle the eye to select an alternate output. 6 Set the output to Composite.
Apple Final Cut Pro 3+ SETUP Apple Final Cut Pro 3+ 1 Add an additional track to the timeline by performing a right-click above video track 1 (V1) and selecting Add Track. This will add video track 2 (V2) to the timeline. 2 Place the foreground image or sequence on V2 in the timeline. Place the background image or sequence on V1 in the timeline.
Apple Final Cut Pro 3+ SETUP 3 Select the Foreground layer (V2). 4 Choose Effects -> Video Filters -> Ultimatte -> AdvantEdge. 5 Doube click the Foreground layer to load it into the Final Cut Pro Viewer window. 6 Select the Filters tab in the Viewer window. 7 Drag the background footage or image from the bin to the BG Preview icon in the Viewer window. Drag the clean plate footage or image (if available) from the bin to the Clean Plate icon in the Viewer window.
Apple Shake 3.5+ SETUP Apple Shake 3.5+ 1 Before launching the Ultimatte AdvantEdge interface, be sure to enable autoAlpha by clicking on the LED in the node view of the foreground footage.
Apple Shake 3.5+ SETUP 2 Click the AdvantEdge tab and then the AdvantEdge logo to create an AdvantEdge node. Connect the foreground, background, clean plate (if available), and garbage matte (if available) footage into their corresponding inputs on the AdvantEdge node. Use Shake’s Over node to composite the AdvantEdge processed foreground (using its alpha channel) over the background.
Apple Shake 3.5+ SETUP 3 In the AdvantEdge node interface, click on setup to launch the Ultimatte AdvantEdge interface. 4 The default output is PFG + Alpha.
Avid AVX 1.5 (excluding Avid DS) The AdvantEdge AVX plug-in can accept up to 4 inputs. To use all 4 inputs with AdvantEdge, the following images or sequences are needed: foreground, background, clean plate and garbage matte. The images must be placed on the timeline in a specific order for AdvantEdge to have the proper inputs: • Foreground • Background • Clean Plate • Garbage Matte Avid AVX 1.5 SETUP If the footage is not placed in the above order, AdvantEdge will not receive the proper inputs.
Avid AVX 1.5 SETUP 1 Locate the Effect Palette, choose Ultimatte AdvantEdge and drag it onto the foreground footage in the timeline.
Avid AVX 1.5 SETUP 2 The AVX Optional Inputs dialog box will appear. Choose the number of tracks appropriate for your AdvantEdge inputs. Note: if you have left a track blank but are using the track below it for AdvantEdge, be sure to include the blank track in total number of inputs. 3 Launch the AdvantEdge interface by clicking on the Other Options button next to the effect in Avid’s Effect Editor palette. 4 Open the Inputs palette by clicking on or click on More and then the Inputs tab.
5 The default output is Composite. SETUP Avid AVX 1.5 Toggle the eye to select an alternate output.
Avid DS 6+ SETUP Avid DS 6+ (Note: there are many ways to setup this type of compostie in Avid DS. This is just one example.) 1 Switch to Compositing mode. 2 Activate the Avid Explorer subpanel. 3 Drag the Foreground to C1 in the timeline portion of the composite view. 4 Drag the Background, Clean Plate and Garbage Matte into the Effects Tree panel. (Note: Four inputs must be present.
Click Open Effect UI to enter the AdvantEdge interface. { Open the Inputs palette by clicking on or click on More and then the Inputs tab. Enable the input images/footage by clicking the eye icon next to the appropriate images to be used by AdvantEdge. Note: Avid DS does not allow for a Holdout Matte input.
Avid DS 6+ SETUP In this example, the extra input is turned off. Toggle the eye to select an alternate output. } The default output is Composite. Open the Output Palette tab if an output other than the default is desired.
Autodesk Combustions 2+ SETUP Autodesk Combustion 2+ 1 Create a combusiton composite workspace that contains the foreground and background footage. 2 Select the Foreground layer and then click the Operators pane tab. Choose Ultimatte -> AdvantEdge. 3 Click the twirl-down triangle next to the Foreground layer. This will reveal the AdvantEdge operator. 4 Select the AdvantEdge operator. This will activate the combustion tabbed pane for AdvantEdge.
7 The default output is PFG + Alpha. Open the Output Palette tab if an output other than the default is desired. or click More and then the Outputs SETUP Autodesk Combustions 2+ Toggle the eye to select an alternate output.
Autodesk IFFFS 4+/7+ SETUP Autodesk IFFFS 4+/7+ 1 Once all necessary footage is loaded and visible in the Desktop, click the Effects button in the Main Menu. 2 Click the AdvantEdge button. 3 At this point the cursor will change into the arrow cursor. 5 inputs must be selected in the following order: • Foreground • Background • Clean Plate • Garbage Matte • Holdout Matte If any input is not being used (i.e. no Garbage Matte will be used) then click on the previous input twice.
Autodesk IFFFS 4+/7+ SETUP 4 When 5 inputs have been chosen, the arrow cursor will turn white. Click anywhere in the grey area of the Discreet Desktop to confirm the operation. 5 The AdvantEdge module appears. 6 Click the AdvantEdge Setup button to enter the AdvantEdge interface. Open the Inputs palette by clicking on or click on More and then the Inputs tab. Enable the input images/footage by clicking the eye icon next to the appropriate input to be used by AdvantEdge.
In this example, the Clean Plate is not being used. Autodesk IFFFS 4+/7+ SETUP 8 Open the Output Palette or click More and then the Outputs tab if an output other than the default is desired. The default output is Composite. Toggle the eye to select an alternate output. 9 Click OK to accept the current settings and return to the flame interface.
eyeon Digital Fusion 3+ SETUP eyeon Digital Fusion 3+ 1 Connect the foreground, background, clean plate (if available), and garbage matte (if available) loaders into their corresponding inputs of the AdvantEdge node. 2 In the AdvantEdge node parameters box, click on Setup to launch the AdvantEdge interface. 3 The default output is PFG + Alpha. 4 Use Digital Fusion’s Merge tool (set to additive) to composite the AdvantEdge processed foreground (using its alpha channel) over the background.
media 100i 8+, sw 10+, Producer SETUP media 100i 8+, sw 10+, Producer 1 Place the Background material in Track B. Place the Foreground material in Track A. 2 Extend the OUT point of Track B past the end of Track A. 3 Goto the Transition Tab of the Edit Suite Window and select AdvantEdge from the pulldown menu. 4 Move the Green Triangle that marks the transition IN point, all the way to the left. (NOTE: The green triangle may be hidden behind the red initially.
media 100i 8+, sw 10+, Producer SETUP media100’s Edit Suite window. Transition Settings shown. 7 Open the Inputs palette by clicking on or click on More and then the Inputs tab. Import auxiliary inputs by clicking on a folder icon and then browse to the file. Enable the input images/footage by clicking the eye icon next to the appropriate input to be used by AdvantEdge.
media 100i 8+, sw 10+, Producer SETUP In this example, a Clean Plate is being used. 8 Open the Output Palette or click More and then the Outputs tab if an output other than the default is desired. The default output is Composite. Toggle the eye to select an alternate output. 9 When finished, click OK to return to the media100 interface. 0 Click Apply in the Transition panel to use the AdvantEdge settings just created.
