Chroma Keying and Garbage Mattes! Help please.

Chroma Keying and Garbage Mattes?

I am undertaking a serious evaluation and learning process of Chroma Keying and Garbage Matte processing in Resolve because ...

a. I do a lot of keying work.
b. I am currently building a dedicated Keying Studio for a client and developing consequential workflows for them.

I am very experienced in shooting and post producing Key shots with Compositing in Adobe Premiere and After Effects.

Seems to me that Da Vinci Resolve is overly complex, by comparison, in this process but I am hoping to be proven wrong...especially considering that I have relinquished my Adobe Subscription after many years as a USER.

I have viewed some YT tutorials that are staggeringly complex and fundamentally amateurish...and I have already been able to achieve reasonable results slightly less complex, even as a newbie to Resolve.

Can anyone point me in the direction of how to achieve great keys and garbage mattes...efficiently and quickly.

eg It surprises me that Keying seems to be done in COLOR and FUSION with Color being slightly less complex ( although not as simple as it should be).

Why does Fusion- Key, Matte and Mask work seem to have Gaussian Blur in its Parameters with not much else!!!!

Is it time for Feature Requests? ( I am too new in Resolve to presume)

I have worked it all out now.

Chapter 105 in the manual (starting on page 2056 in the v15 manual) on "Secondary Windows and Tracking" covers the subject pretty well, if you do the keying in Resolve Color. Fusion is an entirely separate operation.

A window can be a matte (inside the window), a mask, or inverted, and you can combine windows to create specific shapes. A mask would be used for occluded/garbage matte situations where you needed to exclude something from the key.

Chapter 105 in the manual (starting on page 2056 in the v15 manual) on "Secondary Windows and Tracking" covers the subject pretty well, if you do the keying in Resolve Color. Fusion is an entirely separate operation.

A window can be a matte (inside the window), a mask, or inverted, and you can combine windows to create specific shapes. A mask would be used for occluded/garbage matte situations where you needed to exclude something from the key.

Thanx Marc

I am exploring technique in both Color and Fusion.

Fusion is the answer and can achieve any key, complex or not... Add an alpha divide before the key node of your choice (delta, Primatte, ultra,...) and tick post-multiply on the keyer node parameters...
If you ever failed to key the way you would, add a parallel pipe with a chroma keyer node and merge in the end, just before the saver.
Tip : the matte control node is the king for fine tuning...

Thanx Sam

I have successfully found a few ways to "skin this cat" in Fusion and Color...so it is good to have different workflows and processes to call upon. Speed, efficiency and problem solving.

Interestingly...the process in COLOR is kind of dynamically linked to the EDIT timeline contents...eg the clip and the bg clip below it come through together. FG and BG

...and in FUSION...the process is more discrete and works with a single clip (FG) from the Timeline and the BG or other elements are inserted through the media pool. ie not directly off the EDIT timeline.

I have also discovered that I can share a set of Nodes from one keyed clip to other clips very simply in COLOR. Very handy and saves setting up the Key again and again.
Yet to discover if I can do the same in FUSION. ???

In this field even more, you can do a lot more stuff (eg share or re-use nodes) in Fusion