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Getting started with Keylight


After Effects CC Essential Training

with Ian Robinson

Video: Getting started with Keylight

Getting started with Keylight provides you with in-depth training on Video. Taught by Ian Robinson as part of the After Effects CC Essential Training
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  1. 1m 8s
    1. What is After Effects?
      1m 8s
  2. 1h 5m
    1. Welcome
      1m 11s
    2. Using the exercise files (CC 2014.1)
      1m 57s
    3. Using the exercise files
      1m 19s
    4. Understanding and managing applications with Creative Cloud (CC 2014.1)
      2m 32s
    5. Which versions of After Effects CC does this course cover? (CC 2014.1)
      1m 40s
    6. Relinking missing footage
      1m 54s
    7. Working with keyboard shortcuts
      1m 23s
    8. Different ways to use After Effects
    9. Exploring the interface of After Effects (CC 2014.1)
      13m 22s
    10. Exploring the interface of After Effects
      12m 0s
    11. Exploring important preferences, and setting up the cache (CC 2014.1)
      8m 44s
    12. Exploring important preferences and setting up the cache
      6m 20s
    13. Video terminology (CC 2014.1)
      6m 19s
    14. Video terminology
      4m 24s
    15. Updating After Effects with Creative Cloud
      1m 25s
  3. 1h 0m
    1. The six foundations of After Effects
      11m 5s
    2. Understanding compositions
      10m 35s
    3. Creating and manipulating layers
      9m 49s
    4. Building animation
      6m 29s
    5. Working with effects
      7m 5s
    6. Introduction to 3D
      8m 45s
    7. Understanding how to render
      6m 48s
  4. 38m 54s
    1. Importing elements
      5m 53s
    2. Organizing projects
      3m 51s
    3. Building compositions with layers
      6m 17s
    4. Animating with keyframes
      10m 0s
    5. Adding effects and graphics
      8m 7s
    6. Output techniques
      4m 46s
  5. 44m 49s
    1. Exploring composition and project settings
      6m 48s
    2. Importing Photoshop files as compositions
      8m 39s
    3. Importing Illustrator files as compositions
      7m 41s
    4. Viewing files in the comp panel
      4m 42s
    5. Understanding Pre-compose
      4m 21s
    6. Positioning layers with snapping
      4m 55s
    7. Interpreting footage
      4m 0s
    8. Keyboard shortcuts for compositions
      3m 43s
  6. 1h 5m
    1. Defining layers
      5m 4s
    2. Creating type layers
      7m 38s
    3. Precise typesetting techniques
      5m 42s
    4. Creating layer solids and shapes with masks
      9m 6s
    5. Creating design elements with shape layers
      6m 10s
    6. Layer compositing: Masks, switches, and blend modes
      7m 35s
    7. Using track mattes
      4m 49s
    8. Precise compositing with variable-width feathered masks
      9m 24s
    9. Working smarter by swapping layers
      7m 6s
    10. Keyboard shortcuts for layers
      2m 35s
  7. 1h 36m
    1. Understanding animation
      6m 20s
    2. Adding and adjusting keyframes
      9m 52s
    3. Understanding keyframe interpolation (CC 2014.1)
      8m 52s
    4. Understanding keyframe interpolation
      6m 20s
    5. Adjusting keyframes in the Graph Editor
      8m 26s
    6. The power of parenting
      5m 27s
    7. Using null objects
      6m 46s
    8. Creating expressions with the pick whip
      6m 25s
    9. Creating and adjusting motion paths
      9m 56s
    10. Building complex graphics with Pre-compose
      4m 54s
    11. Preparing audio for animation
      8m 57s
    12. Generating graphics with audio
      9m 13s
    13. Working smarter: Navigating the Timeline
      4m 32s
  8. 58m 59s
    1. Understanding the order of effects
      5m 58s
    2. Generating backgrounds with effects
      5m 33s
    3. Generating a scribble effect
      8m 12s
    4. Animating strokes with effects
      6m 37s
    5. Using adjustment layers
      5m 52s
    6. Adding gradients and glows
      4m 30s
    7. Saving pan and scan presets
      5m 20s
    8. Fixing exposure with Levels
      3m 5s
    9. Fixing color casts with Color Finesse 3
      9m 57s
    10. Masking individual effects
      3m 55s
  9. 1h 17m
    1. Understanding 3D in After Effects
      9m 2s
    2. Intro to cameras (CC 2014.1)
      10m 50s
    3. Intro to cameras
      7m 51s
    4. Intro to lights and material options
      8m 56s
    5. Animating cameras (CC 2014.1)
      11m 11s
    6. Animating cameras
      12m 39s
    7. Creating depth of field
      6m 48s
    8. Exploring the ray-traced 3D renderer
      10m 8s
  10. 3h 40m
    1. Understanding CINEMA 4D Lite and After Effects (CC 2014.1)
      1m 53s
    2. Understanding CINEMA 4D Lite and After Effects
      1m 32s
    3. 3D foundations (CC 2014.1)
      9m 49s
    4. 3D foundations
      10m 43s
    5. Matching CINEMA 4D Lite and After Effects projects (CC 2014.1)
      7m 14s
    6. Matching CINEMA 4D Lite and After Effects projects
      8m 9s
    7. Understanding the CINEMA 4D Lite interface (CC 2014.1)
      9m 49s
    8. Understanding the CINEMA 4D Lite interface
      7m 31s
    9. Creating 3D projects from Illustrator files (CC 2014.1)
      7m 20s
    10. Creating 3D projects from Illustrator files
      7m 28s
    11. Exploring modeling in CINEMA 4D Lite (CC 2014.1)
      11m 7s
    12. Exploring modeling in CINEMA 4D Lite
      8m 8s
    13. Applying deformers (CC 2014.1)
      4m 50s
    14. Applying deformers
      5m 59s
    15. Understanding materials (CC 2014.1)
      10m 29s
    16. Understanding materials
      7m 32s
    17. Lighting your scene (CC 2014.1)
      11m 20s
    18. Lighting your scene
      8m 14s
    19. Looking at detailed materials
      7m 51s
    20. Working with presets (materials and lights) (CC 2014.1)
      7m 44s
    21. Animating in CINEMA 4D Lite (CC 2014.1)
      5m 52s
    22. Animating in CINEMA 4D Lite
      6m 51s
    23. Adjusting keyframes in CINEMA 4D Lite (CC 2014.1)
      7m 42s
    24. Animating cameras in CINEMA 4D Lite (CC 2014.1)
      5m 49s
    25. Animating cameras in CINEMA 4D Lite
      5m 45s
    26. Working with CINEWARE (CC 2014.1)
      8m 11s
    27. Working with CINEWARE
      9m 38s
    28. Render settings and the multipass workflow (CC 2014.1)
      7m 28s
    29. Render settings and the multipass workflow
      8m 38s
  11. 23m 35s
    1. Rendering with Adobe Media Encoder
      4m 45s
    2. Recommended settings for rendering graphics
      10m 21s
    3. Creating presets in the Render Queue
      4m 0s
    4. Prerendering with Import and Replace Usage
      3m 18s
    5. Working smarter: One render, multiple outputs
      1m 11s
  12. 36m 53s
    1. Creating type animators
      8m 52s
    2. Creating and animating type on a path
      5m 32s
    3. Animating shape layers
      8m 45s
    4. Animating brushstrokes with Paint
      5m 54s
    5. Animating text and prepairing templates for use in Premiere Pro (CC 2014.1)
      7m 50s
  13. 23m 31s
    1. Retiming with Time Remapping
      8m 56s
    2. Retiming footage with Timewarp
      9m 10s
    3. Smoothing shaky camera footage with Warp Stabilizer VFX
      5m 25s
  14. 16m 6s
    1. Getting started with Keylight
      8m 43s
    2. Refining your key with Keylight
      3m 42s
    3. Cleaning up keys with masks
      3m 41s
  15. 26m 47s
    1. Rotoscoping with paths
      6m 47s
    2. Introducing the Roto Brush
      5m 58s
    3. Refining the Roto Brush
      6m 12s
    4. Using the Refine Edge tool
      7m 50s
  16. 27m 13s
    1. Creating a single point track
      7m 38s
    2. Applying motion with Warp Stabilizer VFX
      4m 29s
    3. Warp Stabilizer VFX: Reversible Stabilization workflow
      7m 47s
    4. Solving cameras
      7m 19s
  17. 6m 30s
    1. Archiving your projects
      3m 50s
    2. Removing unused footage
      1m 25s
    3. Moving compositions between projects in After Effects
      1m 15s
  18. 2m 24s
    1. What's next?
      2m 24s

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After Effects CC Tutorials | Essential Training
Video Duration: 8m 43s14h 52m Appropriate for all Jun 17, 2013 Updated Nov 03, 2014

Viewers: in countries Watching now:

View Course Description

Delve into the world of motion graphics, keying, and compositing in After Effects CC. In this course, Ian Robinson lays out six foundations for becoming proficient with After Effects, including concepts such as layers, keyframe animation, and working with 3D. To help you get up and running with the program, the course begins with a project-based chapter on creating an animated graphic bumper. Next, explore the role layers play in compositions and find out how to add style to your projects using effects and graphic elements. Last, see how to build 3D objects with CINEMA 4D Lite, as well as stabilize footage, solve for 3D cameras, and paint in graphics with the Reverse Stabilization feature.

Topics include:
  • Video terminology
  • Creating your first composition
  • Using layers, masks, blend modes, and track mattes
  • Parenting objects
  • Building complex objects with Pre-compose
  • Exploring the ray-traced 3D renderer
  • Understanding the order of effects
  • Creating 3D projects from Illustrator files
  • Lighting a scene
  • Animating type on a path
  • Using Keylight for green-screen footage
  • Rotoscoping
  • Archiving projects
After Effects
Ian Robinson

Getting started with Keylight

The process for creating a successful green screen key has definitely gotten a little bit easier as time has moved on. In, this video and, actually the next few videos for this chapter, we're going to use three effects to actually pull a very clean green screen key. And we'll start by applying those three effects by using one of the effect presets. So let's select layer 1 in the timeline and go to the effect and presets panel. In that panel I want you to open up the options for the animation presets and then scroll down to the Image utilities folder.

In there, if you scroll down, there are several different keying options, and the one that I want you to choose is this Key Light option. Now since we can't read it, I'll go ahead and just make it a little larger. See it's going to apply a Key Light, key cleaner and advanced spill suppressor. So to apply all we have to do is just double click on that preset. As long as we have layer one selected it'll automatically apply that preset in the effect controls panel. Okay I'm just going to make the right side of the interface a little smaller here so we can see what's going on. Now the beauty in using this preset is the fact this screen color is automatically linked through these two other effects.

Through expressions and they're already set up. So all we have to do is click on the eye dropper for the screen color. Now, usually when I'm keying a color, like green or blue in the background, what I like to do is find the darkest area. So down here I'm just going to click, not right next to her body but, pretty close to her left arm here, so I'll just go ahead and click on the green, and that will go ahead, and pull the green key. Now you might think this looks pretty good straight away, but what you need to do is change the magnification up to 100% in the lower left corner of your composition panel, and then just press the space bar to kind of move around.

In here, you can see it's a little soft up here and I have a little bit of a green bleed that's happening here and it's a little soft in the, in the right area here. Since we have three different effects applied, if you want to toggle the original footage on and off, I would just suggest going to the timeline and toggling all of the effects off and on. So here, you can see that her hair is right here in this one, a little area. So. I'll just go ahead make sure my effects are on. Now another way to view how this key is happening is to click on this view pull-down.

Now, I'm going to make my effect controls panel a little larger so you can see all the words. Notice, the first option is intermediate results. And this is actually what we're going to use to have the information flow through the effect control panels, and go to the key cleaner, and then down to the advanced. Spill suppressor which notice isn't currently active. Though, I always want to switch back to the intermediate results if you click on that pull down and change it to Screen Matte, this will give you a black and white representation as to our key and if you look up here, you can see it's total really good job getting the fine details of her hair.

But on the lower left side over here you can see I've got some gray areas and that means they aren't going to be completely opaque they are going to be semi transparent and if we scroll down to the lower left corner here if we zoom in I'm just scrolling on my mouse wheel. You'll see that there's a little bit of noise here in the black area as well. In order to adjust this since we're viewing in the screen mat, we want to go to the screen mat area and Key Light. So let's open up screen mat and we want to adjust the clip black options and the clip white options.

So we'll work from the top down. I just want this to be a minute adjustment, so I'm going to go ahead and change clip black to a setting of about 12. Notice that got rid of all of these options, these little extra grey pixels over here. Now notice when I press the spacebar and move up, now you can really see that the grey pixels on the other side. So let's go ahead and decrease the value for clip white to around 94. Notice that's going to do a pretty good job of clipping off a lot of these grey values. You may still see one or two in there. You could clip it back just a little bit more.

Here, 89. That gets rid of that last one. Now notice the edges are a little bit what I would call chunky. So we need to actually make some minor adjustments to this, now in the past I would suggest making all of the adjustments within Key Light filter. But since we have this wonderful preset. All we have to do is switch our view back from screen map to intermediate results. It will take a second but it will refresh the scene. And I'll just go ahead and change my magnification back to 100% so I can get a more accurate representation as to what's happening. Now let's scroll down and instead of making adjustments in Key Light.

Let's go ahead and look at the key cleaner adjustments. If I toggle key cleaner off, and then on. Now if you look closely it looks like it's actually adding noise in the shoulder area, and at the top of her head. But if I turn that on, and you look closely, what it's actually doing is bringing detail back into the edges of her hair. So I'm going to change the magnification back into 200%. And just space around so you can really see the difference. If I turn that off and on, here you can see all that detail around the edges. Now I know I'm seeing some of this green, but that's where the advanced spill suppressor comes in.

And one of the things we can do is harden up the transition that happens between the key and the background, and the way to do that is to increase the alpha contrast in the key cleaner. So this is going to be another minute adjustment. Just click and drag to the right here and I'm going to increase this up to around 15%, and notice just making that one adjustment I've got a little bit sharper edges through the edges of her hair here. I do want the strength to be a little bit less cause it is kind of harsh. So I'll go ahead and decrease the strength down to around 81 percent.

And now if we look at her shoulder region, you can still see some of that hair that was there but it's not super noticeable. If I turn it off and turn it on, you notice this did a really good job of smoothing out that chunkiness. Using the key cleaner now another way to smooth out the is to enable reduced chatter this increases the render time a little bit but it does a good job of making the edges not sort of vibrate as we move. Through the different frames, so go ahead, and enable reduce chatter.

Now in order to remove this grain around her hair what I'm going to do is just move up to the top of her head. That way when I enable advanced bill suppression you can see her hair actually comes back to her normal color, and things look a lot better in terms of the key, because I've got all that detail back in, and it is the proper color. Now render shoulders, it is a little bit wider, the mat's a little bit wide. So we could shrink the mat just a little bit. I could say, minus point five and shrink that down just a little bit by pressing enter.

And that's just going to tighten up the edge just a little bit there. And that is one last adjustment I did within the key like effect. So, let me go ahead and click on the magnification pull down, change it to one hundred percent. And I'll just go ahead and preview what we have, after I make the screen a little bit larger so you can see everything that's going on. There we go. So let's go ahead and load up a RAM preview. It may take a second to load the RAM preview, and actually, I had Skip Frames on, so let me change that back to 0, I'll go back to the beginning and load up a RAM preview here.

There we go. So when you're doing a preview you want to make sure your viewing things at 100% magnification at full resolution and your not skipping any frames. That way if there is some weird chatter or advance movement that's happening around the edges, you will be able to see it before you go to render your project. Now up here in my info panel I can see how many frames have actually loaded. And once it gets up to around 30 frames. I'll just go ahead and press the spacebar. So we can preview. And as you can see the key actually looks pretty darn good.

And the detail I'm getting around the edges of her hair is excellent. Now in my personal opinion this is an amazing key because it's actually keying on H264 footage. Which is much harder to key, because of it's high compression ratio. It's really important to consider the quality of the footage that you're going to be keying when you go to actually pull a green screen key. You'll want to work with as little compression as possible. So definitely try to get an uncompressed format like Pro-res or Avid DNX HD or Apple lossless Quicktime.

Something that isn't as compressed. Obviously, if you can get a raw footage, that's even better. But once you have considered the footage that you are going to be working with. When you go to pull a key don't just slap Key Light on there and try to do it all in one plug in go ahead and go to your effects and presets panel and use that Key Light preset that will automatically load Key Light Key Cleaner and advances spill light suppressor

Find answers to the most frequently asked questions about After Effects CC Essential Training .

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Q: This course was updated on 6/18/2014. What changed?
A: We added new movies to the "Fundamentals of After Effects" chapter, reorganized and re-recorded the "Up and Running" and "Keying Green Screen Footage" chapters, and added new movies on Color Finesse 3 and masking individual effects.
Q: When I try to open a project file, After Effects tells me I need to update my system, since the file was made with version 13.0. But I already installed the most recent After Effects update. Why can't I open the project?
A: In the latest round of updates, Adobe chose to create a completely new installer for this latest version. While you may have updated the version of After Effects CC you have installed (12.x), there is an entirely new After Effects install for 2014 (13.0). Check for an After Effects CC (2014) item in the Creative Cloud app and download and install it from there. 
After you install the new version, you should be able to open 13.0 projects. After Effects CC (2014) will coexist with the older version of After Effects on your machine. If you currently have any shortcuts on your computer to launch After Effects, you may have to go back into the Programs folder and create a new shortcut to the newer version, After Effects 2014.
Q: This course was updated on 11/03/2014. What changed?
A: We updated 25 movies to reflect changes to the Creative Cloud 2014 release of After Effects. This includes the new optimized user interface and enhanced Cineware and CINEMA 4D Lite pipeline. The new movies are labeled with the "(CC 2014.1)" tag.
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