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+Green Screen Despilling Tips
+============================
+
+This tutorial project was filmed in the One Button Studios at University at Buffalo, NY. I am sure that I have posted this technique or workflow before but I wanted to show more screen shots in a little more detail as to how I use Natron’s green screen Dispeller nodes. Thanks to Frederick and other open source community plugin developers, we have about 3 Dispeller nodes. We all know what the dispeller node does but each one of these nodes has features called " Spillmap to Alpha , Shuffle Spillmatte to Alpha and Output Spill Matte in Alpha ." These are from 3 different nodes but they all do the same thing. These nodes are named Despill, lp_ChillSpill_smp and DespillMadness.
+
+In the image below I had connected all three despillers in the node graph to create a mini pipeline for basic visual references.
+..figure:: _images/dispell1.png
+
+As you can see each despiller gives you a different suppression result but the matte outcome will be the same, but it’s contingent upon the Algorithm used(Avg, Max, Min). The next image is the spillmatte before using a Colorlookup node to crush and expand the black and white using the ChillSpill node.
+
+..figure:: _images/dispell2.jpg
+
+The next image is with the Colorlookup node crushing and expanding the black and white using the ChillSpill node.
+..figure:: _images/dispell3.png
+
+..note:: NOTE: When using the Colorlookup to crush and expand your matte, be sure to have the black clamp and white clamp activated or use a Clamp node. Some of you can push to far and your matte values can generate negative values and etc.
+
+The image below is all three Depiller nodes with their spillmap mattes crushed and expanding with the Colorlookup nodes. Also the far left viewer node shows the result of a node processing my Color.RGBA image. You will have to use an invert node to reverse the matte so that it shows the green as the black and the talent (Me) in white. Now I am using the Despillers as an alternative keyer processors. I still have to add another Depiller node because the first spillmap processor performed an Avg algorithm and because this footage was converted to a highly compressed .MP4 format, artifacts on my edges were evident. Follow my node graph pipeline and you can see how powerful Natron’s spillmap matte generators can be having to use any color difference keyers, chromakeyers or color keyers. This workflow does not replace those colorspace designed keyers but it can be added or used as an addition to the professional keyers to help keep your edges and edge mattes smoother.
+..figure:: _images/dispell4.png
+
+Then you can apply color corrections and etc to finish your shot.
+..figure:: _images/dispell5.png
+
+These are just some of my workflows that I use Natron for in my daily green screen productions.
diff --git a/Documentation/source/guide/Tutorial_MultipassKeyingPipelines.rst b/Documentation/source/guide/Tutorial_MultipassKeyingPipelines.rst
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+Multipass Keying Pipeline
+=========================
+
+
+This response may be an overkill of information but here goes. Most chromakeying or pulling keys issues will have to do with lighting and channel noise. Noise is most apparent in the Red and Blue channels. Like I had posted before, using nodes like lp_CleanScreen1 or PxF_ScreenClean1 can help flatten the color range of the green screen. Now there are times when your green screen surface is noisy because of bad lighting period. Then the DenoiseSharpen1 node will come in handy the smooth out the channels to get a decent key. After you have done all of that, applying a multipass Chromakeying workflow should follow in the pipeline. See attached image for visual reference. I had used the screen clean node, DenoiseSharpen1 node and 3 ChromaKeyer nodes in a multipass piping.
+
+..figure:: _images/MPKeying.jpg
+
+The Chromakey nodes needs to generate inner core mattes and then additional keys. Each time you need to apply an additional ChromaKeyer node, the Output Mode needs the "Intermediate" option selected Source Alpha "None" selected. This generates the Core Matte (AKA Hard Edges). The second ChromaKeyer Output Mode can be premultiplied if it is the last keyer in the chain or Intermediate for more multipass keying. Rather ChromaKeyer node is the last keyer or use for more multipass keying, the Source Alpha "Add to inside mask" must be selected. Every ChromaKeyer node after the first ChromaKeyer in the pipeline for multipass keying must have these options selected: Output Mode needs the "Intermediate" option selected Source Alpha "Add to inside mask" selected. Only the last ChromaKeyer node in the chain Output Mode should be premultiplied.
+
+Sorry for the redundancy. Multipass keying gets a little complex once you need to go pass 3 layers.
diff --git a/Documentation/source/guide/Tutorial_colorlookup_tidbit.rst b/Documentation/source/guide/Tutorial_colorlookup_tidbit.rst
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+Keyer Node or Chromakey Node: Colorlookup node tidbit
+======================================================
+**Using the ColorLookup node for better screen matte control,**
+
+This is concerning pulling a key using the Keyer Node or Chromakey Node. I have been practicing using the **Colorlookup node** curves to adjust my keys instead of using the *Key Lift* & *Key Gain* when pulling my keys. I find sometimes on certain material you have to crank the acceptance angle higher than I want to and trying to find the best center position in the *Keyer node* to get that good high contrast matte. Sometime the edges may suffer based on the hue you have to pull.
+
+The **Colorlookup node** curves offers you more control over crushing your blacks and expanding your white to get that perfect contrast. You can create anchors and pivot points in the curve to limit which range you want to adjust, rather it be *shadows*, *mid-tones* or *highlights*. The attached image shows a very basic screen shot of what it looks like in action.
+
+..figure:: _images/keyergraph.jpg
+
+The Key Lift & Key Gain performs great but you don’t have that extra control on the mid tones that may effect your edges. Just remember to insert the Colorlookup node after your keyer/chromakey node and use the Alpha Channel curve to finesse your matte.
+
+..Note:: Also use your *gamma* switch control at the top of the viewer to do a final check and pass on all your keys. This process is called slamming your *gamma*. Most times to the necked eye we can’t see our *mattes* properly if our monitors are not calibrated for the right *gamma* display. This is most useful when using the curves from the **ColorLookup** node for final adjustments.
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diff --git a/Documentation/source/guide/huekeyer b/Documentation/source/guide/huekeyer
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+Hue Keyer
+=========
+
+The images below are exports from a PDF document.
+
+..figure:: _images/huekey1.png
+
+..figure:: _images/huekey2.png
+
+..figure:: _images/huekey3.png
+
+..figure:: _images/huekey4.png
+
+..figure:: _images/huekey5.png
+
+..figure:: _images/huekey6.png
+
+Stay tune for more keying and despilling tips