It's the other way around. Using a mask with color correction always has the potential for edges like this. It depends on the mask and that's true for any software. The difference here is Howards method, which did not use keying at all, but instead used simple math to breakup the image into primaries and secondaries. This however, does not allow for changes in the "width" of the hue you are controlling. I was mimicking the Adobe way completely. The Hue & Sat effect has a hue keyer built into it, and I use it often, and so it was important for me to keep it. I'm about to publish a new version that builds the various parts up in a different way and produces, what I think, are better, smoother results. If you can send me a frame of your car, I can take a look what it does to it first, and only then upload to Nukepedia.
Ron Ganbar email: [email protected] tel: +44 (0)7968 007 309 [UK] +972 (0)54 255 9765 [Israel] url: http://ronganbar.wordpress.com/ On 7 August 2012 14:34, irwit <[email protected]> wrote: > ** > You mentioned that the issue is not the hue keyer but it is the way the > mask is used? I'm not sure how else to use the mask except to plug it into > the mask slot? So my question is how would you use the mask to not leave > that type of edge when colour correcting using it? > > _______________________________________________ > Nuke-users mailing list > [email protected], http://forums.thefoundry.co.uk/ > http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users >
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