The complete solution from key to composite With the great color matching and alpha tools, you can blend your foreground and background plates to create an absolutely realistic composite. The suite comes with advanced features for cleaning up noise, evening out unevenly lit green screen, and remove noise and spill so that you can get a clean edge on even difficult to key shots. Keying Suite is an the fastest and easiest way to get professional chroma keys and believable composites from your green screen footage. The answer was to bounce back to video space for the keying and then back to linear right after.Red Giant Keying Suite 11.1.11 Full Version Free Download for Windows The Essential Toolbox for Green and Blue Screen, from Pre-processing to Keying to Composite! The 30 second Keylight demo worked great before we started introducing linear into the equation. I came across this on my first linear show in the new AE 7.0 at The Orphanage way back when. Keylight should retain all your 32-bit values. In After Effects you might sandwich your keyed footage between adjustment layers that go ACES->ACEScc below and then ACEScc->ACES above. So you convert from ACES/ACEScg to ACEScc or whatever, do the key, and then convert back, right? Not so fast! You also have to do the actual A-over-B composite in non-linear space as well or you’ll get the same problem with the artifacts being more harsh in the dark areas. This way the imperfections of the key are evenly distributed across perceptual space, which will look a lot better.
Probably the closer to your final display, the better. So what you want to do is key in a video space instead, or maybe a log space like ACEScc. Keying is all about managing imperfections, but if you key in a linear space the imperfections in darker areas will get amplified when the view LUT is applied. In my experience, you don’t want to key in a linear space like ACES/ACEScg. Oh wow, this is an important question that deserves an answer.