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Blender Essential Training

Chroma keying with Matte nodes


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Blender Essential Training

with Roger Wickes

Video: Chroma keying with Matte nodes

Blender has a kind of awesome nodes that we can use to pull mattes from all sorts of different images. To start with let's just go ahead and press E to execute the noodle network and I have all of the different matte nodes configured for a whole bunch of different sample images that we can process here. First is a Half Moon by Samara Iodice and it's an awesome image of the moon taken with her camera, and it's against the black background. So, if I want to pull a matte from this, I say oh, black-and-white, I want to use the Luminance Key.
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  1. 12m 5s
    1. Welcome
      1m 16s
    2. Using the exercise files
      58s
    3. Using Blender's full capabilities
      4m 16s
    4. Getting and installing Blender
      3m 8s
    5. Mouse and keyboard differences on the Mac
      2m 27s
  2. 1h 6m
    1. Blender oddities
      7m 38s
    2. Introducing the User Interface, Console, and Render windows
      3m 8s
    3. Configuring the desktop for an efficient workflow
      6m 27s
    4. Using the mouse and tablet on a PC or a Mac
      5m 7s
    5. Acquiring keyboard skills
      7m 38s
    6. Window panes and types
      7m 53s
    7. Exploring the default scene
      5m 53s
    8. Setting themes, UI colors, and user preferences
      4m 0s
    9. Understanding how to safeguard your data with autosave and backups
      6m 52s
    10. Appending and linking assets
      7m 27s
    11. Using the open-source movies and assets
      4m 18s
  3. 2h 7m
    1. Working with objects in 3D space
      6m 24s
    2. Navigating 3D views
      4m 23s
    3. Understanding Blender modes
      1m 51s
    4. Understanding meshes
      2m 8s
    5. Editing a mesh
      3m 28s
    6. Using the Mirror modifier
      2m 55s
    7. Working with Vertex groups
      2m 35s
    8. Using Bézier curves
      3m 52s
    9. Working with text objects
      5m 23s
    10. Using reference images
      3m 38s
    11. Modeling boots by extruding circles and joining meshes
      8m 59s
    12. Applying the Mirror modifier to duplicate the boot and rotate
      1m 58s
    13. Modeling a helmet with NURBS and the Boolean modifier
      7m 14s
    14. Modeling a belt and pants by making a compound object from multiple primitive objects
      3m 51s
    15. Modeling legs by using edge loops and the Knife tool
      6m 9s
    16. Modeling a chest and arms using edge loops
      5m 30s
    17. Stitching the shoulders and neck
      5m 13s
    18. Modeling hands with the Proportional Editing tool
      9m 4s
    19. Linking vertices to create knuckle joints
      4m 7s
    20. Reinforcing modeling basics to create the face, eyes, nose, and ears
      13m 6s
    21. Appending and linking assets
      3m 54s
    22. Sculpting basics
      3m 3s
    23. Using the Subsurf modifier to smooth
      2m 34s
    24. Parenting
      2m 7s
    25. Working with groups
      2m 1s
    26. Understanding the endless possibilities for editing mesh with modifiers
      2m 37s
    27. Duplicating objects using the Array modifier
      1m 54s
    28. Modeling a set
      7m 52s
  4. 39m 41s
    1. Lighting overview
      4m 25s
    2. Using the Omni lamp
      4m 50s
    3. Working with the Area lamp
      2m 57s
    4. Using the Spot lamp
      4m 9s
    5. Using the Sun, Sky, and Atmosphere lamps
      4m 51s
    6. Using the Hemisphere lamp
      2m 3s
    7. Working with Ambient and Radiosity lighting
      7m 34s
    8. Lighting with three-point and other multipoint lighting rigs
      5m 30s
    9. Understanding shadows
      3m 22s
  5. 1h 21m
    1. Realism overview
      2m 56s
    2. Creating a world in less than seven days
      6m 36s
    3. Applying ambient occlusion
      3m 47s
    4. Working with basic materials
      3m 24s
    5. Working with node materials
      4m 27s
    6. Applying Pipeline options
      2m 51s
    7. Painting vertices
      3m 13s
    8. Using shaders
      7m 59s
    9. Using mirrors
      4m 41s
    10. Working with transparency
      4m 28s
    11. Using halos
      2m 40s
    12. Simulating with Subsurface Scattering (SSS)
      4m 26s
    13. Applying textures
      9m 34s
    14. Mapping image textures to an object to create a decal
      4m 19s
    15. UV unwrapping
      4m 54s
    16. Applying multiple materials to a single object
      3m 31s
    17. Painting in 3D
      4m 14s
    18. Using bump maps
      3m 14s
  6. 1h 25m
    1. Understanding animation
      4m 14s
    2. Keyframing objects
      6m 15s
    3. Keyframing materials
      3m 14s
    4. Creating Shape keys
      2m 28s
    5. Creating Facial Shape key animation using reference video
      2m 12s
    6. Animating by combining Shape keys
      2m 53s
    7. Working with lattices
      3m 37s
    8. Using hooks
      1m 30s
    9. Working with Vertex groups
      2m 33s
    10. Creating armature objects
      3m 44s
    11. Mirroring armatures for bilateral creatures
      3m 43s
    12. Attaching mesh to the armature by way of skinning
      5m 7s
    13. Posing a character
      4m 43s
    14. Using inverse kinematics
      4m 29s
    15. Creating a walk cycle with inverse kinematics
      6m 34s
    16. Completing the walk cycle
      3m 49s
    17. Limiting range of motion and degrees of freedom
      3m 47s
    18. Managing actions using the Action Editor
      3m 52s
    19. Blending actions together using the Non-Linear Animation Editor
      4m 34s
    20. Tracking
      3m 2s
    21. Following a path
      2m 21s
    22. Mimicking an existing animation
      3m 47s
    23. Using the grease pencil
      2m 56s
  7. 50m 43s
    1. Understanding particle systems
      2m 20s
    2. Working with game engine physics
      3m 52s
    3. Spewing particles
      7m 25s
    4. Guiding particles
      3m 43s
    5. Creating reactions and collisions with particle systems
      3m 15s
    6. Creating hair and fur
      4m 25s
    7. Grooming hair and fur
      3m 26s
    8. Jiggling and squishing soft bodies
      3m 43s
    9. Simulating cloth
      6m 10s
    10. Simulating fluids
      5m 47s
    11. Using boids to simulate swarms, schools, and flocks
      6m 37s
  8. 21m 29s
    1. Using Render controls
      6m 18s
    2. Radiosity
      3m 31s
    3. Stamping text on video
      2m 32s
    4. Setting up test renders
      4m 43s
    5. Rendering image sequences
      4m 25s
  9. 1h 5m
    1. Viewing node thumbnail images on certain Macs
      1m 31s
    2. Overview and integration
      2m 12s
    3. Render passes and layers
      4m 27s
    4. Using Input nodes
      6m 22s
    5. Using Output nodes
      3m 54s
    6. Working with Color nodes
      4m 29s
    7. Color mixing and layering
      3m 27s
    8. Using Distort nodes individually and in combination
      7m 15s
    9. Using Vector nodes
      6m 46s
    10. Creating effects with Filter nodes
      8m 49s
    11. Using Converter nodes
      6m 7s
    12. Chroma keying with Matte nodes
      6m 15s
    13. Understanding node groups and reuse
      4m 17s
  10. 38m 43s
    1. The Video Sequence Editor (VSE)
      11m 47s
    2. Integrating audio
      3m 31s
    3. Using VSE Greenscreen and other plug-ins
      5m 40s
    4. Integrating the Compositor with the VSE
      7m 50s
    5. Layering and splicing video
      6m 18s
    6. Speeding up and slowing down sequences
      3m 37s
  11. 5m 26s
    1. Putting it all together: Captain Knowledge visits lynda.com
      5m 12s
    2. Goodbye
      14s

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Blender Essential Training
9h 54m Beginner Jul 15, 2009

Viewers: in countries Watching now:

Blender is a powerful open-source tool for 2D and 3D graphics, full-on animation, compositing, and post-production. It is used to create movies and special effects, even in HD. In Blender Essential Training, Roger Wickes offers new Blender users a thorough explanation of its interface, tools, and features. He also demonstrates practical techniques and shows how to access the online and openndash;content resources of this amazing tool. Specific 3D techniques covered include navigating in 3D space, using cameras and lights, and rendering. Roger demonstrates how to rig, animate, and composite a character over live action. Exercise files accompany the course.

Topics include:
  • Navigating Blender's user interface and accessing open assets
  • Modeling with vertices, Bézier curves, and NURBS surfaces
  • Lighting and using multi-point light rigs
  • Working with cameras in a 3D environment
  • Painting and shading 3D objects
  • Creating realistic hair, smoke, and swarms
  • Animating objects and characters
  • Compositing rendered layers
  • Sequencing video strips with audio into a final product
Subjects:
3D + Animation Modeling Rendering Character Animation
Software:
Blender
Author:
Roger Wickes

Chroma keying with Matte nodes

Blender has a kind of awesome nodes that we can use to pull mattes from all sorts of different images. To start with let's just go ahead and press E to execute the noodle network and I have all of the different matte nodes configured for a whole bunch of different sample images that we can process here. First is a Half Moon by Samara Iodice and it's an awesome image of the moon taken with her camera, and it's against the black background. So, if I want to pull a matte from this, I say oh, black-and-white, I want to use the Luminance Key.

The Luminance Key is added here just by pressing Space, Add > Matte and here's all the Matte Keys that we are going to be going through. For the Luminance Key we have two controls, one is the control, where we are going to pull the matte from? So, any pixel value that has a value somewhere between in this case 000 and .002 is going to be translated to Alpha 0. So, actually we are going to pull, then if we click on the matte we see the matte for that.

So, Alpha 0 or black for anything within that value. And notice I have scrunched it down so low and so narrow that I'm even pulling the glow from the moon. So, if I wanted to pull this in, and let's say use this as 1 and then subtract off another one where it's a really hard crisp edge, I can then composite in a different glow to the moon. Another kind of unexpected result is pulling a matte from an image like this.

You wouldn't think that just because it has this terrible white background with a crinkled shape and wrinkles and all sorts of different colors that you could pull a good matte, but by just adjusting the Low and the High values you get a pretty good matte from this one image. Moving onto the Chroma Key, the Chroma Key is the green screen node within Blender, pulls a key from the green screen. And just like the other Luminance Key it has a kind of a display here, a little mini display showing you what it's pulling from and with most green screens, the green screen doesn't cover the entire camera width so you are going to have to run this through a Crop node and then Alpha over it onto whatever background you want, in this case a nice neutral white. For this node what you want to do is you want to sample a Key Color so that it knows how to pull the matte, and it's a Color Swatch so you just click on the Swatch, and then what I do is usually sample using the Eyedropper sample from the actual image in the Input Image node.

Once I do that then it uses that Key Color, and then we have a bunch of other controls here to say okay, within variations basically variations of that green, what am I going to translate to Alpha 0. Moving on down the line and I'm holding Shift and middle mouse button, Mac users hold Shift+Option and then click-and -drag to do the same mouse action. What we have here is a Difference Key and this is me standing in my blue-shirt wagging my finger. What we are going to do now with a Difference Key is it takes the difference between two images or between your image and a particular color and pulls a key from it.

It is actually four nodes in one where you can make the choice of which channel set to operate on. And then within each channel set what the deviation is from that particular value to pull the matte. So, in this case I'm using Hue Saturation and Value, and so the first box here is the Hue, the second is the Saturation and the third is the Value. If I was using RGB channels, then it would be Red values in here, Green in here and Blue over here.

So, when we do that and we pull the key from that, we can look at the key. What happens is it's going to take all of the blue, that's that particular shade of blue, out of the picture. We can then Alpha Over and put me in a pink shirt if you want, or we can, let's be even a little more creative. If we take a background plate of the same shot without me in it, then we can use the Mix node with pulling that matte and erase my body. And so now I don't have a body and I'm just a talking head.

That's the Difference Key, and the Channel Key is a little much the same and that it uses the same sets of channel selectors available to select RGB, HSV, but it sort of combines the other node and that you get now arranged. So, what I have done with this very red car and I want to pull a matte from the car body, if you will. What I can do is select the Red Channel and then work on the Red Channel, and anything in the image that has of red value between these two values will be matted out, and you can see the matte that we have pulled.

The neat thing about this too with the Channel Key is that we can set up a range of values. So, if I pull this Low down what happens is I start getting a gray-scale of the matte, which is really cool. Because then if I want to blend in a different color and change the color of the car, I can do that and then shade that based on the amount of red that was originally in the image. So, if I want to come over here and I wanted to make my car pink, there we go.

Now, I have a pink Viper. The other kind of a neat thing to do, I just was doing this and you can download this image from NASA if you wish. This is a picture of a spiral galaxy and what I have done is I have selected yellow. I wanted to do some research on where there are yellow stars in this galaxy. And so by setting this value to .301, that's a particular shade of yellow, I can pull the matte and see where the yellow stars are in the galaxy, and we can see that they are in the center of the galaxy, they are kind of spread out.

So, kind of different ways that you can use all of the different matte nodes within Blender to pull a key so that you can then use that as a mask to mask over, whatever you want to do.

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