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Transition Animations
A common requirement these days is to hide the transition between two sources with a brief animation. This can pose a significant problem for the unwary Kalypso User.
Two-Colour Chromakey Replay Transitions
Sometimes the artwork isn't a simple "hide the boring old Mix behind a jazzy flash and logo". Sometimes the artwork requires the outgoing vision and incoming vision to be on screen at the same time in different (changing) areas of the screen. Imagine, for example, a Formula 1 car tyre that rolls on screen with the new vision in the centre, becoming full-frame. (Twisted example? Maybe.) The artwork starts in blue, the tyre rolls in with a red hole in the centre and it fills frame, ending with red.
This presents a challenge, because if you chromakey on blue, you'll see the red, and if you chromakey on red, you'll see the blue. You'll need two keyers; One keyer does the Blue chromakey, and the other does the Red Chromakey. But it might appear that no matter which key has the higher priority, you'd see the colour.
The trick here is in the use of the "Key Invert" for two keyers. "Key Invert" can be thought of as "swapping the background and the fill".
In this example, the transition is conducted using M/E1, and the main camera cut is on M/E3.
- First Step: Do an inverted chromakey to cut with the animation and fill with the M/E. Because Inverting Chromakeys is so unusual, you have to jump through a few hoops.
- Turn off Source Memory.
- Select the animation Source (eg SS1) on M/E1 Key1.
- Do an Auto Setup on the chromakey of the first colour (blue).
- Select M/E3 on M/E1 Key1. Since Source Memory is off, the chromakey settings will remain unchanged.
- Hold down [Split Key] and press the animation Source (eg SS1) for Key1. You will now be cutting with the Blue and filling with M/E3.
- Invert the key. This may make Clip-Hi/Clip-Lo settings inappropriate (as well as some other adjustments), but the hue will still be right. If necessary, make chromakey adjustments to make it key OK.
- Select the animation Source on M/E1 Key2. Do an Auto Setup on the chromakey of the second colour (red).
- Select your second source (perhaps M/E2) on M/E1 Key2. Keyer settings will remain unchanged.
- Hold down [Split Key] and press the animation Source (eg SS1) for Key2. You will now be cutting with the Red and filling with M/E2. Likewise, Invert this key and make any necessary adjustments.
- All that remains now is the put the animation Source on the A-Background.
Let me explain what you'll see when the animation rolls. When the animation is parked on the first frame (Blue), you will have M/E3 (your main cut) fully-keyed over the animation wherever there is Blue (ie, full frame of whatever you cut on M/E3). The animation Source on the A-Background will not be seen.
When the animation rolls to reveal some graphic, the artwork (non-blue) will not key M/E3. Therefore, there will be M/E3 everywhere except where there is artwork. In these areas, you will see-through to the A-Background. It will look like the artwork is keyed over the M/E3 (whereas technically M/E3 is keyed over the "non-artwork").
When the Red appears, it will similarly only reveal your "replay" - M/E2 - wherever there is Red on the animation. In this example, using M/E3 and M/E2 as the Key Fills allows you to change incoming and outgoing sources to anything. You could of course program multiple effects to have separate Split-Keys for each source (each one cutting with the animation.
Once you have the basic principle worked out, you could try all kinds of variations: Bus Linking so that whatever you select on the B-Background is automatically selected on Keyer-2; Bus Linking A-Background to Keyer-1; Macro Attaching to the AutoTrans button with a Macro that puts the animation on the A-Background then runs the transition effect; Bus Linking so that when you "cut" to M/E1 on M/E3 (your main program cut), it puts M/E1 to line on PP (since you can't actually cut to M/E1 on M/E3 because M/E3 is a Source for M/E1). Experiment.
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