Lyric Matte Filters Common Controls
Most of the Lyric Matte filters have a set of common controls in separate sections at the bottom of their control panels. The Matte Control section contains controls for tweaking and adjusting the matte and is usually present in the filters that work by extracting their mattes from the video material. The Output section lets you define how the matte produced by the filter should interact with any existing alpha-channel and control how the matte is output and previewed.
The Choke/Expand slider can be used to shrink or grow the egdes of the matte. Dragging it to the left shrinks the edges in, reducing the area exposed by the matte; dragging to the right adds to the edges, exposing more of the image at the matte edges.
Edge Harden controls the rolloff at the matte edges; drag it to the right to harden the edges and make the matte crisper. This is effectively a variable rolloff threshold.
The Feather slider can be used to add a feathering blur to the matte.
Invert flips the matte so that those parts of the image that were visibile are now transparent and vice versa.
Crossfade provides a way to fade the matte either to all white (whole image visible) or to all black (whole image transparent). Moving the slider to the left reduces the transparency of the transparent areas of the matte, moving it to the right increases the transparency of the opaque areas.
The Matte Mixing menu lets you control how the filter's matte is combined with the clip's current alpha-channel. See the Matte Mixing section below for details. The Matte Output menu controls what channel(s) the filter's matte is placed in. See the Matte Output section below for more details. Ticking the Show Matte checkbox shows the original clip with the filter's matte shown overlayed in translucent red. This is similar to the matte display mode in Photoshop and can be used to check coverage as you adjust the matte's control while still being able to see the original clip frame. Ticking the Show Source checkbox shows the original clip without the matte applied. Clicking this on and off several times is an easy way to do an A-B comparison of the filter's effect.
Replace Alpha simply inserts the filter's newly-created matte into the clip's alpha-channel, overwriting any existing alpha information. Add To Existing Alpha combines the new matte with the existing alpha-channel such that the visible areas in the new matte become additional visible areas in the combined alpha-channel. Subtract from Existing Alpha combines the new matte with the existing alpha-channel such that the visible areas in the new matte become transparent areas in the combined alpha-channel. Finally, Intersect with Existing Alpha combines the new matte with the existing alpha-channel such that only areas that are visible in both the new matte and the existing alpha are visible in the combined alpha.
Matte-mixing Menu Examples
Add To Existing Alpha
With a GridMatte filter applied and Replace Alpha selected
Subtract from Existing Alpha
Intersect with Existing Alpha
The Matte Output menu controls how the filter's matte (after any mixing specified in the Mixing Menu) is applied to the clip. Alpha mode simply inserts the filter's matte into the clip's alpha-channel, replacing any existing alpha information.
RGB places the gray-scale matte into the RGB channels, replacing the clip image itself, and resets the alpha-channel to all-white, so that the matte is completely visible in the clip. This is useful if you wish to extract the matte as a gray-scale clip and render it out for some purpose or use it as a travelling luma matte for some other clip. The gray-scale images in the examples above were produced using this RGB output mode. It is also often used temporarily as an alternative to the Show Matte display mode, in cases where the clip has a lot of red and so makes viewing the red matte overlay difficult or if there are subtles grays in the matte that can be seen more clearly in grayscale.
R, G, and B modes place the matte into either the red, green or blue channel, leaving the other channels untouched. These modes are most often used for stylistic color special effects and also reset the alpha-channel to all-white, so that the entire clip image is visible.
Original clip and its alpha-channel