Joshua Kirk

Thanks Lee, that sounds great I will give the Channel Booleans a go.

Hi, great series of tutorials thanks! Learning a tonne. I have an editorial background with little VFX knowledge so this has been really helpful. I have a question around the pipeline for Chroma key work on RAW / Flat Log footage. Is it best practice to use the color tools in Fusion to take your log footage into a Rec709 color space (Adding saturation, color curves/contrast etc) and then pull your key using Delta Keyer etc? From there do you then use a merge node to composite the keyed footage with a background plate and try to match the two layers within Fusion? I’m just finding the pipeline or signal flow from Edit to Fusion to Color confusing... If i’m making color adjustments in Fusion to help pull a better Key, how can I do that without baking in that color adjustment so that I have the RAW signal chain in the color page? I want to composite layers together in Fusion using the RAW original footage so that when I go to color tab I have full control from the original camera files. I do know you can send the alpha channel from a key through to color page which is great but it doesn’t seem to look as crisp as it does in the fusion tab. Sorry I hope that makes sense, any help would be appreciated! Thanks