For over 15 years, node-based compositing applications were the backbone of a film pipeline. These days, we rely on procedural-based software to create both visuals and audio effects in just about any creative industry. To better assist the art of color correction and keying, a method of channel extraction was created (Sometimes known as M-Key or Modular Key). This workflow relied on node-based software exclusively in order to achieve the goal of combining various channels into solid-object extractions which would work with semi-transparent areas. Many keyer tools have come a long way since the beginning. In some cases they can handle an entire key all by itself without needing to do any extra work. The problem that still exists is that not all shots have good lighting and reduced noise. This Keying solves ANY SHOT you can throw at it because it allows you to build areas up and combine them with logic and math so you can combine excellent contours and semi-transparent areas. However, back just a few years ago, SGO was releasing Mistika without a node tree to work from which made this keying technique nearly impossible to achieve. Thanks to this new version, both Mistika and MambaFX can now perform these procedural workflows allowing for the most complicated VFX problems to be solved. Take a fun journey through a legendary technique applied to yet another high end compositing software in this video.
This video is dedicated to just a handful of users who are now confronted with a brand new method of thinking inside of Mistika and MambaFX. Those users coming from other software can apply this knowledge to their new workflows, however, the only true constant in compositing is that channels are the only way to get an accurate representation of pixel based semi-transparency and object edges. For more information, you may always contact us at email@example.com for one on one time with a mentor.
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