1. Using Final Cut Pro's Native KeyerCreating a simple key| 00:00 | It's time to start keying in Final
Cut Pro and as a note, the process of
| | 00:05 | chroma keying inside Final Cut hasn't
really changed since about Final Cut HD.
| | 00:09 | So this technique will work with all
the recent versions of the software. Here
| | 00:14 | I'll show you how to create a simple
key and then I'll show you some things to
| | 00:19 | tweak. So let's open Final Cut
and create ourselves a simple key.
| | 00:23 | I am working with the project called
01 FCP Chroma-key and I am working in a
| | 00:27 | sequence called 01a Seq_simple start.
You will see the finished results over
| | 00:33 | here in the finished versions of the
sequence and then we are going to tweak
| | 00:36 | and the tweaking will be in sequence number 2.
| | 00:38 | All right. Here is Megan sitting on
the set that we just walked through and I
| | 00:43 | have added her clip 2 to the timeline
inside Final Cut. Now whenever we create
| | 00:48 | a chroma key we actually have two
layers to our key, we have got the foreground
| | 00:51 | layer and the background layer. The
background layer I have conveniently named
| | 00:55 | to Background and it's just
purple thing right up here.
| | 00:58 | First thing that we have to do is,
we have got to put our foreground and
| | 01:01 | background layers in the right spot
and a nice way to do that is to pull the
| | 01:04 | Option key down and click on just the
video clip. The Option key allows us to
| | 01:09 | select just video or just audio. While
holding the Option key down press the Up
| | 01:13 | Arrow key. Option+Up and Down arrow
allows us to move clips between tracks. So
| | 01:19 | I just took Megan's clip and I have
moved it up to V2. I will grab the
| | 01:24 | background clip and just drag it
underneath here. Shift+Z, so I can get the
| | 01:28 | whole sequence to fit in a window
and here is one of my favorite keyboard
| | 01:32 | shortcuts.
| | 01:33 | If you ever want multiple clips to all
end at the same spot. Select the clip
| | 01:38 | whose ending you want to move and type
the letter E. It does what's called an
| | 01:42 | Extend Edit and it automatically jumps
whatever edit points you have selected
| | 01:47 | to the position of the playhead,
provided you have sufficient handles.
| | 01:51 | Whenever you are creating effects
inside Final Cut you always want to make sure
| | 01:54 | that your playhead is inside of the
clip and in this case so that your results
| | 01:59 | can match mine, I will park it right on
this marker here called Start. In Final
| | 02:04 | Cut, whenever there is a clip on a
higher track, by default that clip on a
| | 02:08 | higher track is 100% opaque and 100%
full screen. In other words it totally
| | 02:14 | blocks all the clips below it.
| | 02:16 | So, the only way that I can get to see
the clip that's on V1 is to change V2
| | 02:23 | and the way we are going to change V2
is we are going to apply three filters
| | 02:27 | inside Final Cut. They will make the
green transparent and make it look like
| | 02:31 | Megan is sitting in front
of that blue background.
| | 02:34 | To apply those filters, make sure
your V2 clip is selected and go up to the
| | 02:38 | Effects menu, go down to Video Filters,
go to the section called Key and the
| | 02:43 | order in which you apply your filters
is critical. The first filter we are
| | 02:48 | going to apply will be either Colors
Smoothing-4:1:1 or Color Smoothing-4:2:2.
| | 02:54 | If you are working with DV material
or HDV material you would want to apply
| | 02:59 | Color Smoothing-4:1:1. If you are
working with Panasonic P2 material or
| | 03:03 | Digi-Beta material you would
apply Color Smoothing-4:2:2.
| | 03:08 | In this case we will apply the Color
Smoothing-4:2:2 filter because we are
| | 03:12 | working with footage, which was shot
with a Panasonic P2 camera, and we will
| | 03:16 | shot it in 720p mode. Now that we
have applied that filter we go back to
| | 03:21 | Effects, go down to Video Filters, go
to Key and we apply our second filter,
| | 03:27 | which is called the Chroma Keyer. When
you apply it, everything will look worse
| | 03:32 | don't panic. In this case it actually
looks pretty good but we will still give
| | 03:37 | ourselves sometime to tweak. Go to
Effects, Video Filters and the last filter
| | 03:42 | we apply is also in the Key category
and if you are putting your talent in
| | 03:46 | front of a blue screen you set it to
Spill Suppressor - Blue. If you putting
| | 03:50 | them in front of the green screen you
set it to Spill Suppressor-Green. In this
| | 03:54 | case we will do Spill
Suppressor-Green and click that.
| | 03:59 | Now we have applied our three filters
double click the V2 clip to load it up
| | 04:02 | into the Viewer and click the Filters
tab. Color Smoothing, we will open this
| | 04:07 | up just a bit here, Color Smoothing is
first, the Chroma Keyer second and Spill
| | 04:12 | Suppression is third. In our
particular case, I am going to turn off Spill
| | 04:16 | Suppression and I am going to turn off
Color Smoothing both of those will be
| | 04:20 | turned on a little bit later. You can
start to see that although the default
| | 04:24 | Keyer inside Final Cut isn't bad at all
just as its setting with that green, we
| | 04:29 | can still see a little bit of green
coming around the edges of the hair and we
| | 04:32 | will tweak this just a bit.
| | 04:35 | So to adjust the chroma key we go up
to the Chroma Keyer Filter. The Chroma
| | 04:39 | Keyer Filter gets adjusted from top
to bottom. This first line allow us to
| | 04:43 | adjust the Color Selection, the second
is Saturation, the third is Luminance
| | 04:49 | and then this buttons down here, like a
spice in a soup, you use just a little
| | 04:53 | bit to get the results that you want.
| | 04:55 | So, first these three buttons are what
we are going to start. The middle button
| | 05:00 | determines what we are looking at. When
it's a red key on a gray background it
| | 05:04 | shows us the finished result. When you
click it and it's a black key on a white
| | 05:10 | background it shows us the matte that
is to say what's transparent and what's
| | 05:14 | opaque. And when it's a red key on a
blue background it shows us our foreground
| | 05:19 | clip. Now you will notice that when I
look at the finished result it's kind of
| | 05:24 | hard to see her edges because they
blend in with the background pretty well. So
| | 05:29 | what we are going to do is we will
click on this clip down here on V1 and go to
| | 05:34 | the Modify menu and turn off Clip
Enable. Clip Enable keyboard shortcut is
| | 05:40 | Ctrl+B. It can also be toggled down
here by Control+Clicking on the clip and
| | 05:45 | unchecking Clip Enable.
| | 05:47 | When Clip Enable is checked, a clip is
visible. When Clip Enable is not checked
| | 05:53 | our clip is invisible, because I don't
want to get confused by looking at this
| | 05:58 | background clip, I want to make it
invisible at least initially. Now let's go
| | 06:03 | back to this V2 clip in our Key up here.
When I set this key to be a black key
| | 06:08 | on a white background it shows our
matte. That which is white is opaque, that
| | 06:14 | which is black is transparent.
| | 06:17 | Our goal in creating this key is to
have Megan our foreground person be solid
| | 06:22 | white, no shades of gray and our
background where we want to remove the green
| | 06:28 | to be solid black. So we want this
to be two choices either opaque or
| | 06:33 | transparent. We don't want shades. So
to set this I am going to click on a
| | 06:38 | foreground which is a red key on blue
and click my Eye Dropper and click right
| | 06:43 | here on green and when I do, that Eye
Dropper samples the green and loads those
| | 06:49 | settings directly into the Keyer.
| | 06:51 | Now that they loaded we will switch
this to a black key on a white background
| | 06:56 | and you can see we are getting some
grunge coming in here. Our goal is to get
| | 07:01 | the background and the edges of her
hair either solid black to be transparent
| | 07:05 | or solid white to be opaque. We adjust
each of these settings. This adjusts the
| | 07:11 | Color, this adjusts the Saturation and
this adjusts the Luminance has two set
| | 07:16 | of dots. The top set of dots are the
selection dots. The bottom set of dots are
| | 07:22 | the feathering dots. I want to adjust
these to keep them as close together as
| | 07:27 | possible and I make a small adjustment
and I look to see is there any change
| | 07:33 | here and right now what I am seeing
the change is in the hair, the top of her
| | 07:37 | head.
| | 07:38 | When I stop seeing changes I then grab
the next dot and move it and notice that
| | 07:42 | I am now seeing a reduction in the
gray dust that's in the background. When I
| | 07:49 | stop seeing changes, I stop moving
those dots, move the next set of dots, I
| | 07:55 | don't see any change, move the
next set up much better, much better.
| | 08:01 | Once I have gotten the adjustment made,
so it looks as good and clean as we can
| | 08:05 | get, solid white in the foreground,
solid black in the background. I turn off
| | 08:11 | my mask and I view the finished result.
Now we are going to see a little bit of
| | 08:16 | green around the edges, that's okay,
we will take care of that in just a
| | 08:18 | minute. The goal of this is to have a
clean key. If I Ctrl+Click on the V1 clip
| | 08:23 | and turn on Clip Enable and I put her
against the background we are seeing that
| | 08:27 | we are starting to get a really nice
looking key. Turn this back off again
| | 08:32 | Ctrl+B would get the same thing.
| | 08:36 | Edge Thinning will make the edges a
little bit sharper or a little bit --
| | 08:41 | notice how we are seeing more the
hair up here when we really pull Edge
| | 08:45 | Thinning down or we are losing the
hair, when we take Edge Thinning up. My
| | 08:49 | feeling is this varies on a key by key
basis. Sometimes you will like the look
| | 08:55 | and what I will do is, I will
radically go in one direction, radically go in
| | 08:59 | the other direction, and see which
direction I like better. I like suppressing
| | 09:03 | some of that stray hair up there and
having it look a little bit cleaner.
| | 09:08 | What Softening does is it softens the
edge of this key. The problem is if you
| | 09:14 | use too much softening, we are not
softening anymore. We are in X-Files
| | 09:18 | territory. Well I don't want to quite
soften it that much. So my recommendation
| | 09:23 | is that when you are working with
Softening, you use exactly one mouse click
| | 09:28 | with this arrow right here, and it
just cleans up all that stray hair, cleans
| | 09:33 | up the edge of it. But it doesn't run
the risk of causing our whole object to
| | 09:37 | go completely out of focus.
| | 09:39 | Back in the old days, with Final Cut 3.
0 and earlier, we didn't have some of
| | 09:43 | the filters that we have starting with
Final Cut 4.0 and we needed to use the
| | 09:47 | Enhance option. The Enhance option has
been completely replaced by a couple of
| | 09:51 | other filters and my recommendation is
that you don't use it. So we would again
| | 09:57 | toggle this middle button. Again we
see the source, we see the finish and we
| | 10:02 | see the mask and we will click it until
we get a red key on a gray background.
| | 10:07 | We turn on Clip Enable on V1 so we
can see her against the key and we are
| | 10:14 | getting pretty darn close. We still
have a little bit of green around her hair,
| | 10:18 | because this would
shorten HD, let's blow this up.
| | 10:21 | Let's go to View, Video Playback and
set it to Digital Cinema Desktop Preview -
| | 10:26 | Main. When we do that if we press
Command+F12, Command+F12 blows this up so we
| | 10:33 | can get a much better idea, there is
some green around her hair, green around
| | 10:37 | there, a little bit of green around her
shoulders. I just hit the Escape key to
| | 10:41 | get back out and we get rid off that
by going to the Filters tab, turning on
| | 10:46 | Spill Suppression and just drawing
Spill Suppression up and watching the
| | 10:50 | screen, Command+F12 to go back in and
notice how we are starting to lose that
| | 10:57 | green background on it but we are
getting a little bit of stair stepping around
| | 11:01 | her hair. So we are going to have
to just sort of find a happy ground.
| | 11:05 | What we have been able to do is to
create a very simple Key, very clean key
| | 11:11 | with Megan keyed against the
background. So we have applied three filters,
| | 11:15 | Color Smoothing, Chroma Keyer and
dialed out the spill using the Spill
| | 11:19 | Suppression filter. Your number is
going to be between 30% and 60%. So that's
| | 11:25 | the simple way of doing it. In the
minute, I will comeback, I want to sure you
| | 11:29 | some more things we can do, such as
making sure that the colors are correct by
| | 11:33 | using Scopes, adjusting colors with
the Color Corrector and changing her
| | 11:37 | position in the Motion tab. So there is
a lot more to talk about. But for right
| | 11:41 | now I think we will just take a
quick break. Give yourselves a chance to
| | 11:44 | reflect on this and I will be right back.
| | Collapse this transcript |
| Tweaking the key| 00:00 | So I have loaded a new sequence called
02a Seq_tweaking start and this is what
| | 00:05 | this looks like. I want to see if we
can make our key look a little bit better
| | 00:08 | by taking advantage of other tools
that we have available to us inside Final
| | 00:12 | Cut but the process of setting up the
key is the same. Hold the Option key down
| | 00:17 | and Option up arrow to raise our
foreground up. Remember foreground is always
| | 00:21 | the higher track; background is the lower track.
| | 00:24 | I will grab the background clip and
just drag it down to here. Use the up arrow
| | 00:28 | key to position my playhead to end of
the last clip, type the letter E and
| | 00:32 | Shift+Z to get our clips to align.
Option+M to go back to a marker and now we
| | 00:38 | are reset back to here. We select our
top clip because remember until we change
| | 00:44 | the V2 clip, nothing we do on V1 can
be seen. So I select the V2 clip and
| | 00:49 | re-apply our standard Chroma Keyer
Filters. Effects, Video Filters, Key, Color
| | 00:54 | Smoothing-4:2:2 because I am
working with a 720P, 4:2:2 image shot on a
| | 00:58 | Panasonic P2 camera.
| | 01:00 | Effects, Video Filters, Key, Chroma
Keyer. Effects, Video Filters, Key Spill
| | 01:09 | Suppressor-Green. Double click the clip
to load it up into the viewer. Turn off
| | 01:15 | a couple things here. Turn off Color
Smoothing, turn off Spill Suppression
| | 01:18 | because those get added later. Click
the Visual tab or if you don't want to
| | 01:22 | click the Visual tab, you can
click the Chroma Keyer tab. Set this to
| | 01:26 | foreground which is a red key on blue,
that shows as our source, V2 Image,
| | 01:31 | click that, click our Color Sample tool
to select it and find a representative
| | 01:35 | green, let's say there. Now we switch
this to matte view, which is a black key
| | 01:41 | on white, and we will turn off the
background by unchecking Clip Enable.
| | 01:47 | Ctrl+click on the clip and uncheck Clip Enable.
| | 01:51 | Now, we will open this up a bit and
see if we can get a cleaner key. I am
| | 01:56 | looking at the top of her head and
watching how the hair on the top of her head
| | 02:00 | is getting a little bit cleaner and
then will stop. Then we will open the top
| | 02:04 | dot up. Remember the bottom dot refers
to Feathering and most of the time the
| | 02:07 | Feathering defaults are fine.
| | 02:10 | I am going to just move this top dot
ever so slightly until I stop seeing
| | 02:15 | changes in the image then I will go
down to the next row. If I did move a dot a
| | 02:20 | 16th of an inch and don't see any
change I will leave the dot alone. First
| | 02:24 | getting rid off the rest of that dust,
that garbage right there and that looks
| | 02:28 | pretty good.
| | 02:29 | Okay, so now we have got just a little
bit of her hair showing up here and a
| | 02:34 | nice solid key and we will grab some
Edge Thinning and move it quickly in one
| | 02:40 | direction that cleans up the top of her
head and add one click of Softening to
| | 02:45 | soften the edges and we will go back
to here. Click on this twice our red key
| | 02:51 | on gray indicates final source
and let's zoom this in to a 100%.
| | 02:57 | So we can see the edges of her hair and
notice we have got some stair stepping
| | 03:02 | going on. We have got some green
coming in on the sides of her head from the
| | 03:08 | green screen behind but other than that
work we have got a pretty good key. So
| | 03:12 | let's go over to the Filters tab,
watch what happens when I turn Color
| | 03:16 | Smoothing on, watch the edges of that
stair stepped hair, and two, one, woof.
| | 03:22 | Look at how that just smoothed it out.
It's dealing with the fact that video
| | 03:28 | does not give color to every pixel.
In this P2 format the color is averaged
| | 03:33 | between two pixels and Color
Smoothing tries to figure out what the color
| | 03:37 | should be if it was assigned back to
a single pixel environment. DV groups
| | 03:42 | pixels in four pixel blocks
horizontally and HDV groups them in four pixels
| | 03:48 | blocks, two pixels across by two
pixels high, so it is even harder to get a
| | 03:52 | clean key then.
| | 03:54 | Then we will add Spill Suppression.
I am going to just dial in some Spill
| | 03:57 | Suppression and what we are doing is
we are adding magenta, which is the
| | 04:01 | opposite color to green. We are
taking out all that green halo that we saw
| | 04:06 | around the edges of her hair and
getting a much cleaner key. Command+F12 to
| | 04:11 | take us to Cinema display and now
that's not too bad a key. It looks pretty
| | 04:15 | good. Hit the Escape key to get
back and Shift+Z in the canvas.
| | 04:21 | Now we have got two problems. Number
one when this was shot, we don't have any
| | 04:25 | headroom and I need more room for
graphics over here. So we have to change her
| | 04:28 | position and number two she is over
exposed and I don't like the color, it is
| | 04:33 | little bit over saturated. So let's
fix the position problem first. We have
| | 04:37 | already double-clicked this clip to
load it up into the Viewer. We have clicked
| | 04:40 | the Motion tab and clicked
the cross-hair for center.
| | 04:44 | Notice that the cross-hair has gone
dark and a small red x has appeared at the
| | 04:48 | center of our picture. I am going to
click and hold the mouse and when I do I
| | 04:54 | am able to drag the picture as long as
I don't let go the mouse wherever I want
| | 04:59 | it to go. In this case I am going to
put her a little bit more off center to
| | 05:02 | get myself more room for the graphics
on the camera, right side of the screen.
| | 05:07 | This left hand picture represents the
horizontal move. I have moved her 119
| | 05:12 | pixels to the left. I will just move
this to a 120 just because it appeals to
| | 05:17 | the sense of even numbers only but
here is the important one. When you are
| | 05:21 | shooting interlaced video which is any
NTSC video, any PAL video, any Hi-Def
| | 05:28 | video that ends with the letter I, if
you are keeping your source at a 100%,
| | 05:34 | this number must end in an even whole
number or your interlacing will screw up.
| | 05:42 | Now in this case I want to give her
some headroom. So I am going to just type
| | 05:45 | in a number. I want to move her down,
40 pixels to give me a little bit more
| | 05:49 | headroom. So she is a little bit lower
in the frame and looks a little bit more
| | 05:52 | pleasing than taking and squeezing her
head tight to the top. But notice that I
| | 05:56 | have selected a number that ends in an
even whole number. Had a client a couple
| | 06:01 | of years ago, was having a problem
because all their chroma key shots were out
| | 06:04 | of focus and we studied it and realized
that the interlacing didn't line up and
| | 06:09 | the way to fix that is to make sure
that your right hand box ends in an even
| | 06:13 | whole number.
| | 06:15 | Now we will just turn on this
background here. Turn on Clip Enable and we have
| | 06:20 | got her keyed against the background,
except we have got a little bit of color
| | 06:26 | problem here. Let's go up to Window,
Arrange, Color Correction and look at
| | 06:31 | where the Vector Scope is. Her flesh
tone should be right on the skin tone line
| | 06:36 | but it is really a little bit too much
toward red and it should be around the
| | 06:40 | second circle and she is pretty
saturated. She is way passed the second circle.
| | 06:44 | So I want to bring the saturation down
and I want to roll all of that color, a
| | 06:49 | little bit away from the magenta that
the Spill Suppression dialed in. Most of
| | 06:53 | the time when we are doing color
correction and if you haven't had a chance to
| | 06:56 | watch my color correction title you
should because it has got some really
| | 06:59 | helpful tips on how to
make your video look great.
| | 07:01 | When we do color correction normally we
would add the color corrector three-way
| | 07:05 | filter but because of the way the
Spill Suppression works we want to add a
| | 07:09 | different filter. Instead we go to
Effects, Video Filter, Color Correction,
| | 07:15 | Color Corrector, the nice thing about
the Color Corrector Filter is I still
| | 07:20 | have all the White, Mid-tone and
Black level control and Saturation control
| | 07:24 | that I do in the Color Corrector 3-Way.
| | 07:26 | But here I can adjust the Hue for the
entire image by simply rotating this Hue
| | 07:31 | command. For dealing with Chroma
Key, this is actually a very helpful
| | 07:35 | technique. First I am going to
decrease our saturation and pull her down to
| | 07:40 | about the second circle where she
looks a little bit less blown out, a little
| | 07:43 | bit more human.
| | 07:45 | Second we will do a quick color
correction, the White level is sort of been on
| | 07:48 | the higher side, we will pull those
down just a bit, take care of those
| | 07:51 | highlights that we have got out there
and the Black levels are a bit elevated.
| | 07:55 | We will pull the Black levels down just
a bit to pick up the shadows under her
| | 07:59 | hair and give her a little bit more
richness and make her skin tones look a bit
| | 08:03 | more normal.
| | 08:04 | But the final way that will adjust skin
tone is go to the vector scope and now
| | 08:08 | grab the Hue and just drop that Hue
right on the flesh tone line and now when
| | 08:13 | we look at it, now she has got a much
cleaner look, much more human skin tone,
| | 08:19 | as opposed to MGM over the
top over saturated color.
| | 08:23 | So we have adjusted her exposure, we
have adjusted her color to make sure that
| | 08:27 | the Spill Suppression didn't over
compensate towards magenta. We have tweaked
| | 08:32 | her position by adjusting it in the
Motion tab. We have cleaned up the Chroma
| | 08:36 | Keying and let's see if we can get
rid of that hair stuff right up here. We
| | 08:39 | have got a little bit of garbage at the
top of her head and we will just see if
| | 08:42 | we can open up the Luminance and
Saturation to pick that up, there we go.
| | 08:46 | Now we have got a much cleaner key,
much better position, much better color
| | 08:52 | look to her. And she is against the
background and I have got plenty of room
| | 08:57 | for my graphics. This is a highly
tweaked key but it looks a lot better. By the
| | 09:02 | way notice this Render Bar here, the
Render Bar means that we have added so
| | 09:05 | many filters, one, two, three, we
have got four filters added and Final Cut
| | 09:10 | can't play it in real time. We can
render this by going up to the Sequence
| | 09:14 | menu, Render Selection or Render All.
Render All means that you will be
| | 09:18 | rendering your entire project, which is
fine, but most of the time I don't want
| | 09:23 | to do that. Instead I will just want
to render the selections while I select
| | 09:26 | the clip that I want to render then I
go through here and make sure all of my
| | 09:30 | options are checked.
| | 09:32 | Once I have checked them all, I will
say Render and it goes off and it renders
| | 09:35 | our clip and makes it so that I can
play everything that I have just rendered
| | 09:39 | in real time. So what we are seeing is
we have got a simple way of doing a key
| | 09:44 | and we have got a more complex way
which gives us much greater results.
| | 09:48 | The problem is the Chroma Keyer
inside Final Cut has not materially been
| | 09:52 | changed for many versions and there are
times where we need an even better key.
| | 09:59 | What I have just done is I have
rendered this sequence because I want to show
| | 10:02 | you both the good news and the bad
news about the Keyer inside Final Cut. We
| | 10:06 | have got reasonably good key, but
notice that I have made the canvas bigger and
| | 10:10 | I am showing the canvas at a 100% and
notice this edginess that we have got to
| | 10:15 | her hair and we have got
some stair stepping in her hair.
| | 10:18 | Watch what happens as we play it.
Notice that we are seeing the hair at the
| | 10:22 | top, which is sort of the hair, is
appearing and disappearing and I am seeing
| | 10:26 | some breakup here as she is moving
her hair. The hair is appearing and
| | 10:29 | disappearing and we are still seeing
twinkling around the edges of her head.
| | 10:33 | Although this is an okay key, the
problem is as we start to make the image
| | 10:37 | bigger and bigger and bigger, then
it is going to become too obvious.
| | 10:40 | If you do a chroma key and then shrink
your video to go to the web the Keyer
| | 10:44 | inside Final Cut is going to be fine
to work with but as soon as you start to
| | 10:48 | move into high definition and you
want to make that Keyer bigger then this
| | 10:52 | edginess and the stair stepping is
going to make it objectionable, which means
| | 10:55 | we need to find a different way to key.
And that's what I want to talk about
| | 10:59 | next. How we can use the combination of
Final Cut and Motion, to create a much
| | 11:05 | better looking key and we
will talk about that next.
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|
|
2. Using Motion's Primatte RT KeyerCreating a simple key in Motion| 00:00 | One of the benefits of using Motion to
create our chroma keys is that we can
| | 00:04 | create a much better looking key. One
of the disadvantages to using Motion is
| | 00:09 | that you have got understand Motion to
be able to create the key in the first
| | 00:12 | place. We have here a conundrum and
I have given some thought to it and I
| | 00:17 | realized the solution to the
conundrum is to build the key inside Final Cut
| | 00:23 | then send just the foreground to
motion to pull the key to remove the
| | 00:27 | background and then send it back to
Final Cut for final compositing because
| | 00:32 | when you need do it that way, you
don't need to understand how motion works,
| | 00:35 | you just need to understand how they
do a key. And that is what I am about to
| | 00:40 | show you now.
| | 00:41 | So we have built our key. Notice our
foreground is on V2, our background is on
| | 00:45 | V1 and the to send it to Motion we
have got two options. You can select just
| | 00:50 | the foreground clip, just the part
to whose background you want to make
| | 00:53 | transparent, go up to the File menu,
go down to Send To, a Motion Project or
| | 00:59 | you could Control+Click down here
and Send it to a Motion Project.
| | 01:06 | Now we are going to call this Megan
and that's because it's her name Key, and
| | 01:10 | it's the first key we are going to
do 01 and I will store it inside the
| | 01:14 | Projects folder because this needs to
be stored with my Final Cut Project. It
| | 01:18 | will become a permanent part of my
Final Cut Project not just with this
| | 01:21 | exercise but whenever you are creating
keys in Motion you need to store them in
| | 01:24 | your FCP Projects folder.
| | 01:26 | Launch Motion and Embed Motion should
both be clicked. This is going to be
| | 01:30 | automatically start Motion when I click
Save and watch what happens right down
| | 01:34 | here when I click Save, it's going to
swap out that clip and put in the Motion
| | 01:39 | file called Megan Key 01. Ready watch,
boom, that was, and it was gone again.
| | 01:45 | Now this is Motion and if you have
never seen Motion before don't panic because
| | 01:49 | you are not going to see much of it
now either. Notice that Megan doesn't fit
| | 01:53 | inside the window. What's the keyboard
shortcut to use inside Final Cut to get
| | 01:57 | something to fit in the window? Shift+
Z. Now Megan fits. This is called the
| | 02:02 | Layers Panel. It's very useful, except
today, so we will hide it by pressing
| | 02:06 | F5. So there are two keyboard shortcuts,
one you know Shift+Z and one that's
| | 02:11 | new F5.
| | 02:13 | Now the number one interface rule
inside Motion is exactly the same as the
| | 02:17 | number one interface rule inside Final
Cut and that is, are you ready? Select
| | 02:23 | something and do something to it. So
we are going to click once on this piece
| | 02:27 | of video and select it. Notice that I
have got this white bounding box around
| | 02:32 | it that tells me the video has been
selected and because I want to apply a key,
| | 02:37 | we are going to go up to the Filters
menu right up here, it calls Add Filter.
| | 02:42 | So you add a Filter. Click on it and
go down to keying and there is only one
| | 02:46 | key we want to work with here. It's
called the Primatte RT Keyer. We will
| | 02:51 | select that and everything looks just
awful, but don't panic that's normal.
| | 02:59 | So we go over to the HUD, that's this
floating translucent thing in here. It's
| | 03:03 | called the HUD, stands for Heads Up
Display and if you are not seeing it this
| | 03:07 | is the other new keyboard shortcut
you have to learn, F7. F7 makes the HUD
| | 03:12 | appear and disappear and F5 makes
that Layer tab appear and disappear.
| | 03:18 | Step number one, we are going now
automatically sample this image and we are
| | 03:22 | going click Green and notice that it
makes our background disappear, that's
| | 03:26 | step one. Step two, switch the Output
type to Matte. Step three, drag Noise
| | 03:32 | Removal all the way to zero. Step four,
take Matte Density and drag it around
| | 03:38 | until the foreground goes solid white,
right there. Step five, drag Noise
| | 03:45 | Removal up until the background, watch
the corners goes solid black and then
| | 03:52 | switch this back to Processed
Foreground and adjust the color until Megan looks
| | 03:57 | normal, as opposed to purple. You
are now a certified Motion Power User.
| | 04:05 | There we go. Now brace yourself you
are ready for this. This is how we get it
| | 04:09 | back to Final Cut. We go File, Save,
poof! That's it. We then switch back to
| | 04:15 | Final Cut, I was doing that Command+
Tab and it instantaneously updates our
| | 04:20 | background and there is Megan keyed
into our background. This is very cool and
| | 04:26 | look at this, here I will just
zoom in and set this to a 100%.
| | 04:31 | Look at the smoothness of the hair,
look at the fact that we don't have any
| | 04:34 | stair stepping going on here of any
substance. We got a little bit of green on
| | 04:39 | here, little bit of green, we will put
our Fill Suppression filter on that in
| | 04:41 | the next section, I will show you how
to do that. But in terms of clean key,
| | 04:45 | avoiding stair stepping, making our
life easier and speed, it's a whole lot
| | 04:50 | faster to create this chroma key
inside Motion then it is to create it inside
| | 04:54 | Final Cut.
| | 04:55 | So, you build the key inside Final
Cut, you send the foreground layer to
| | 05:01 | Motion, you apply the key using the
steps we are just went through. You save
| | 05:07 | the file, the instant you save the file,
it's updated back in Final Cut. You
| | 05:12 | switch back to Final Cut and there it is,
perfect and done, cool. But there is
| | 05:19 | still more I want to show you and
I will show you how to tweak next.
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| Tweaking the key in Motion | 00:00 | We have got a problem here and let me
illustrate the problem. We have just
| | 00:03 | finished this and notice that the
hair is tearing out just a little bit.
| | 00:07 | Actually, depending upon your key, the
hair could be tearing out a lot and the
| | 00:11 | reason this is caused by this really
huge highlight here. We are having a hard
| | 00:15 | time holding on that highlight. So what
I want to do is I will get rid of these
| | 00:19 | starts, this is the one we just did
and this is what it looks like when I got
| | 00:23 | done with it.
| | 00:23 | So I have created a second project
called 02a Seq-Motion tweak and I have got
| | 00:29 | the starting position right here and
I am on the marker. I want to try to
| | 00:32 | figure how to solve this highlight
problem, as well we have got her Chroma
| | 00:36 | problem she is way over saturated,
she is leaning toward orange. It is
| | 00:40 | overexposed by a stop. This is not an
ideal piece of video, it is not bad but
| | 00:45 | it is definitely not working in our
favor. So, let's see what we can do to try
| | 00:48 | to improve the quality of this key
and there is a bunch of things that I'm
| | 00:51 | going to try to improve this key.
| | 00:53 | I don't use all of them all the time.
Most of the time when I key in motion, it
| | 00:56 | works great and it's like a 45 second
process. But in this case, we've got some
| | 01:01 | work to do. So, I want to send this to
a Motion project, we're going to call
| | 01:05 | this Megan Key 02 and we'll store
this in our Projects folder, if we want
| | 01:11 | motion to embed, then OK it's loaded.
We'll hit the F5 key, hide the Layers
| | 01:17 | tab. Type Shift+C to get it to fit. By
the way, here's an interesting keyboard
| | 01:21 | shortcut. Option+Z shows at a 100%,
Option+C is at a 100%, Shift+C is fit to window.
| | 01:28 | Click on the video to select it. Add
Filter, Keying, Primatte RT. Still looks
| | 01:35 | bad, so we'll click the green autosample,
set the process foreground to Matte,
| | 01:41 | drag Noise Removal all the way to zero.
Matte Density down until the foreground
| | 01:46 | is solid white. Now, here's our problem,
problem is as I move this up out of
| | 01:52 | the way, look at this here, that's the
highlight, her hair is not flying off,
| | 01:56 | this is that bright highlight from
the backlight that's hitting her hair.
| | 01:59 | Notice also where the Matte Density is,
it's moved almost all the way to the
| | 02:03 | far end of the spectrum.
| | 02:05 | I've started to use real control here,
Noise Removal can never be higher than
| | 02:09 | Matte Density, couldn't get about six
100s of the number away from it. So, I'm
| | 02:13 | working right down here where I don't
have a lot of room. So, here's tweak
| | 02:17 | number one, let's pull the Matte
Density more towards the middle, pull the
| | 02:22 | Noise Removal up just a bit. Now,
click on the Backing Color and tweak the
| | 02:27 | Backing Color just by dragging over
because all your results are real time,
| | 02:31 | until you see the foreground goes solid white.
| | 02:35 | We try to minimize that highlight in
her hair, try to make that hair highlight
| | 02:39 | as small as possible. Right about
there, looks like we've got it, so I just
| | 02:44 | click and now I'll take the Noise
Removal and see if I can dial it out by just
| | 02:51 | pulling Noise Removal up and then just
tweak these by adjusting the sliders up
| | 02:56 | on noise to just get the Spill
Suppression out of there and I'm trying to
| | 03:00 | adjust the background. So, it
goes solid black, which I can do.
| | 03:04 | And the foreground. So it's solid white.
I can handle everything except that
| | 03:08 | little bit of a highlight right
there. Now, when I switch this back to
| | 03:12 | processed foreground, she is a little
on a purple side, so I'll just drag Spill
| | 03:16 | Suppression until she starts to look
good. Now, notice right down here. Let's
| | 03:20 | zoom in, Option+Z. Notice this hair
right down here and that hair right down
| | 03:26 | there. As we adjust Spill Suppression,
what Spill Suppression is doing is it's
| | 03:30 | finding the edge of our object
and it's adding a magenta color.
| | 03:34 | If it doesn't add enough, we get a
green glow. If it adds too much, we get a
| | 03:39 | magenta glow. So, we're looking for
the spot where the green and the magenta
| | 03:44 | are close to in balance. So, it's not
going to give us too much, so it starts
| | 03:49 | to look normal. Most of the time,
you're not going to see problems, but in this
| | 03:53 | particular case, there's a bunch of
things that are causing this grief. Also
| | 03:58 | notice, I now have stair stepping in the hair.
| | 04:00 | Stair stepping is caused by Matte
Density being in the wrong position. So, if
| | 04:04 | you want to get rid of stair stepping,
watch out a 100% size, so you can see
| | 04:09 | what's going on, and notice that I'm
just adjusting the Matte Density until the
| | 04:14 | hair. It's the spot where the hair
has the least stair stepping before it
| | 04:19 | starts to change color that we're
killing that key or losing the opacity of the
| | 04:25 | foreground. So, I'll just adjust this
and now when I save this, Command+S,
| | 04:31 | switch back to Final Cut, we've got
a much cleaner key. Got good edges,
| | 04:37 | almost no green edges around here,
but we're still tearing out the hair.
| | 04:40 | All right, now this gets really tricky.
In the problem section, we're going to
| | 04:45 | be talking about how to create garbage
mattes and a garbage matte allows us to
| | 04:49 | deal with things like light stands
that are in the picture. By the way, if I
| | 04:52 | blow this up, you can see what it looks
like closer to full screen. Okay, this
| | 04:56 | is not a bad key. We don't have any
green to speak of anywhere, just that hair
| | 05:01 | tearing out at the top.
| | 05:02 | Now, we could let it go, Option+P+Spacebar.
Hid the background. Oh, we're at the end of
| | 05:07 | the sequence. No wonder it doesn't
play, okay, Command+F12, Option+P.
| | 05:12 | (No audio.)
| | 05:16 | OK. But you can definitely see the highlight is
definitely tearing out there. Well, I'm going
| | 05:21 | to show you one way to fix it and
whether you decide it's worth the time or
| | 05:26 | not, it's entirely up to you. Before
I do though, let's do one other thing.
| | 05:30 | Let's select this clip. Effects,
Video Filters, Color Correction and again,
| | 05:36 | normally when I color correct, I
usually color correct with three way filter.
| | 05:40 | In this case, I'm going to use the
Color Corrector Filter. Double click the
| | 05:43 | clip, load it up into the viewer,
click the Color Corrector tab, switch our
| | 05:47 | display to Window, Arrange Color
Correction. Let's take a look at the way for
| | 05:53 | monitor here, black level is especially
under -- we've got to look the shadows
| | 05:56 | here, we can pull those down just a
bit, add little bit of crispness there.
| | 06:01 | That is, white level should be around
60% there, pushing 75% and highlights,
| | 06:07 | which is just too much, pull that down
just a bit, open up to Mids and now go
| | 06:15 | back to the Vector Scope.
| | 06:17 | By the way we have got a whole tide
along color correction if this is of
| | 06:20 | interest to you and we can talk you
through it in more detail and let us make
| | 06:26 | her look a little bit more human less
over saturated MGM kind of colors, here
| | 06:32 | we go that looks much better, look how
clean our edges are. We have taken out a
| | 06:36 | lot of the problems and you could
even think of that as seeing through the
| | 06:40 | hair, loose and puffy and the top.
| | 06:43 | So depending upon what you need that
could actually work for you, Option+P to
| | 06:47 | play out. And if she is doing a good
job as acting you are not going to notice
| | 06:52 | the hair too much at all but it still
needs to get fixed. So how we are going
| | 06:56 | to do that, we are going to grab the
clip, make in the intro, the G5_Intro and
| | 07:02 | now I am going to select this top clip
Effects, I am in File Cut Video Filters,
| | 07:08 | Matte. A Matte allows us to select one
part of the image and not another and
| | 07:13 | add a mask shape and you
can see where the shape is.
| | 07:16 | If I double the clip to load it into
the viewer, mask shape we have rectangles
| | 07:20 | and we have rounded rectangles, then
we have ovals and diamonds. The one that
| | 07:25 | most closely approximates the top of
her head is an oval. So let us make out a
| | 07:30 | really tiny oval and let us see, what
I am doing is just changing the aspect
| | 07:36 | ratio of it and if I drag over till
here, you can see I have made a little
| | 07:40 | green oval.
| | 07:41 | Okay what this green oval represents
the source image, the image that is on V3
| | 07:46 | and let us just assume in here, it is
to 100% size and find the spot where we
| | 07:54 | look at the top of her head, click this
center cross here and now remember the
| | 07:59 | green oval is not a color, the green
oval is just the video from this top clip.
| | 08:04 | Click hold and drag and we will drag
the oval right on top of her hair right
| | 08:09 | there, and now we are able to do as we
are looking through and we just see the
| | 08:14 | top of her hair from this cleaned
unkeyed part, looking down to the key,
| | 08:18 | looking down to the background.
| | 08:20 | Now to get this to work, double click
to load it to the viewer, grab the Color
| | 08:24 | Corrector, hold hands with the hands
because Macintosh is a very friendly
| | 08:27 | computer, drag that right down till
there and notice that now I have color
| | 08:31 | corrected both of these V3 clip and
the V2 clip and you will never see that
| | 08:35 | that the hair tears out, absolutely
solves the problem. The difficulty as she
| | 08:39 | moves her head, so what I would need to
do now is to go through here and track
| | 08:44 | that oval, so that as she moves her head
that tracks with it and how do I do it.
| | 08:48 | Go up to, double click V3, go to Filters,
go to the Center tab and I would set
| | 08:55 | keyframes for center on that either
a frame by frame or every hue frame's
| | 09:00 | process, so that as she moves her
head that oval moves with it. Absolutely
| | 09:04 | doable, just time consuming and because
I want to show you the process and not
| | 09:10 | to have a spend eight and a half
hundred dollars watching me set keyframes.
| | 09:14 | You can understand how to do that
yourself and if you need help in
| | 09:17 | understanding how to do keyframes,
look up keyframes in our Final Cut Pro 6,
| | 09:20 | the essential effects and we will walk
you through that whole process. So when
| | 09:25 | we are done, Command+F12, there is our
key, clean edges, clean hair, no problem
| | 09:31 | up there. And it is good to go, lots
of very sophisticated stuff and it is
| | 09:35 | combining the power of motion with
what is powerful inside the Final Cut to
| | 09:40 | create something that is
simple and easy and looks great.
| | 09:44 | But there is more to do and the problems
are what make chroma keying age all of us.
| | 09:49 | So now that we have got a sense of
how to create a key, inside Final Cut
| | 09:52 | and create a key inside motion, we are
going to take a look at a whole bunch of
| | 09:56 | problem footages like this and see how
we can use the tools inside motion and
| | 10:00 | Final Cut to solve it and solving
problems is what we will do next.
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|
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4. Special IssuesSpecial issues| 00:00 | For me this is the probably the most
fun section of the entire training,
| | 00:04 | special issues dealing with chroma key.
We will take it in three sections,
| | 00:07 | working with filters, dealing with
problem keys and some tips on color
| | 00:11 | correction.
| | 00:12 | When it comes to working with filters
I want to make sure you understand the
| | 00:15 | basics, how you change the settings of
a key, how you disable a key, how you
| | 00:19 | copy a key between multiple clips, how
you create a favorite key that you can
| | 00:23 | use again and again.
| | 00:24 | Creating a key template, which for me
is a much better way than a favorite key,
| | 00:28 | and I will show you how to do that and
how to delete a key from a clip. Most of
| | 00:32 | these you have probably learned by
watching our Final Cut 5 or Final Cut 6
| | 00:36 | Training on Effects. But in case you
have missed it, I just want to summarize
| | 00:40 | it here so you have got all the basics
well under control. Let's take a look
| | 00:44 | first at working with filters.
| | Collapse this transcript |
| Working with filters| 00:00 | Another way to think of this is
Filters 101. I have created a new project
| | 00:04 | called 04 Filters and I am inside a
bin called 01 Working with Filters and I
| | 00:09 | find a sequence there called 01
Filters 101 and that's where we are. I have
| | 00:14 | added three clips here, the first is
Megan already keyed, the second is Megan
| | 00:18 | not keyed at all and the third one is
Megan keyed via Motion. Let's just make
| | 00:22 | sure we understand how filters work,
so consider this a review of our effects title.
| | 00:26 | First how do you change a key,
whenever you want to change a key you
| | 00:30 | double-click the clip to load it up
into the Viewer, you click on the Filters
| | 00:33 | tab. Inside the Filters tab would be
all of your third party keys but when you
| | 00:37 | are working with Chroma Keyer inside
Final Cut you also have another tab called
| | 00:41 | Chroma Keyer. Click on the Chroma
Keyer tab and you can make whatever changes
| | 00:45 | you need. So what the secret rule is
double-click a clip to load it up into the
| | 00:49 | Viewer; if you need to disable a
key you uncheck this blue check box,
| | 00:54 | unchecking the blue check box will
turn on or off a key. So you can say yep
| | 00:59 | that's turned off or that's turned on,
so that disables it; leaves all the
| | 01:03 | settings in place so you can take a
look at it and see if you like it better
| | 01:06 | with or without the settings and then
you can turn it back on or turn it back off.
| | 01:10 | So the blue check box leaves it in
place because remember filters process in
| | 01:14 | order, the stacking order is important.
So the order in which you add your keys
| | 01:18 | is critical otherwise you are going to
get an entirely different effect. What
| | 01:22 | happens if you want to copy a key
from one clip to the next? Well, there is
| | 01:25 | actually a couple of different ways
we can do this and I have a second clip
| | 01:29 | here which has no filters attached to
it. Step number one is with the clip
| | 01:34 | whose filters you want to copy are in
the Viewer. Grab the filter and drag it
| | 01:38 | down and now quickly you have copied it,
either to the clip or you could select
| | 01:42 | the clips and it would be copied to all
the selected clips. This works great if
| | 01:47 | you have got a single filter.
| | 01:49 | Another way that you could do it,
that I personally like a great deal is to
| | 01:52 | select the clip, go up to Edit, Copy,
select the clip or clips you want to
| | 01:56 | paste the filters to and go to Paste
but not paste by itself, you do Paste
| | 02:01 | Attributes. What Paste Attributes
allows you to do is to say I want to copy all
| | 02:05 | the filters from the first clip to all
the selected clips. So you check Filters
| | 02:11 | and when you click Okay all your
filters are copied from one clip to the next.
| | 02:15 | To delete a filter by the way double-
click a clip, load it up into the Viewer
| | 02:18 | that's what you always do; you double-
click something and do something to it.
| | 02:22 | Double-click it to load it to the Viewer,
click the Filters tab and hit the big
| | 02:26 | Delete key. The reason I use the big
Delete key, the one that's two keys above
| | 02:31 | the Return key as opposed to the small
Delete key next to the End key is the
| | 02:35 | small Delete key doesn't exist on
laptops and I do a lot of editing on laptops
| | 02:40 | and I have looked all over
for that small Delete key.
| | 02:43 | But the big one I can always find so
that way I teach always using the big
| | 02:47 | Delete key. So to do delete a filter,
you double-click a clip to load it into
| | 02:51 | the Viewer, highlight the name of the
filter. Notice how I have clicked on it
| | 02:55 | right here, hit the name of the
filter here, hit the Delete key and if you
| | 02:58 | screw up you do Command Z and undo
that deletion. So we have seen how we can
| | 03:03 | change a key, double-click the clip to
load to the Viewer. How you can disable
| | 03:07 | key and check that blue check box, how
you can copy a key. But wouldn't be it
| | 03:12 | nice if we could create a favorite
key that we want to use over and over; I
| | 03:15 | have got this whole show of nothing but
Megan for hours on there talking about
| | 03:20 | gardening stuff and I don't want to
have to do this key manually over and over
| | 03:25 | again, be nice to copy it.
| | 03:27 | Well, we have got a couple of options;
one is if there is only one filter to
| | 03:30 | drag and drop, copying process works on
it. But in this particular case we have
| | 03:35 | got what's called a filter set, a group
of filters and the order of the filters
| | 03:38 | makes the difference. So I want to make
a favorite of that, to do that you make
| | 03:42 | sure the Filter tab is open, go to the
Effects menu and under the Effects menu,
| | 03:47 | you say Make Favorite Effect and when
I do; where did it go, no it's kind of
| | 03:53 | hidden. If you look down in the
Browser and you go to the Effects tab and you
| | 03:59 | twirl down the Favorites folder, you
will see that it's created what's called a
| | 04:03 | favorites group. All those filters are
in exactly the same order as they are in
| | 04:09 | inside the Viewer.
| | 04:10 | Now don't ever open this because if you
open it, this is what happens when you
| | 04:15 | open this; they are just automatically
alphabetized because the Browser always
| | 04:19 | sorts things in alphabetical order and
notice the alphabetical order is not the
| | 04:23 | order which I applied the filter. So
basically I just screwed everything up; so
| | 04:29 | got to do delete this, hit the Delete
key. Go up to the Filters tab, Effects,
| | 04:34 | Make Favorite Effect and I can twirl
it down so I can see what's in it. But
| | 04:38 | don't double-click it or you are going
to change the order. I want to click on
| | 04:41 | this and change the name, Megan's key
and hit the Enter key to keep the name.
| | 04:47 | So now here's the neat thing, whenever
I need that filter I can simply grab it
| | 04:52 | and drag it over and I have applied
all three of those filters to the same
| | 04:55 | clip.
| | 04:55 | There is only one problem with this
otherwise brilliant technique and the
| | 04:59 | problem is if I ever trash my
preferences everything inside that Favorites
| | 05:03 | folder gets lost. Additionally if I go
up to the Effects menu and go down to
| | 05:09 | Favorite filters, notice that it lists
the group called Megan's key but I can't
| | 05:14 | apply any of the filters inside it, I
can't apply the group, I have to do it
| | 05:18 | one at a time. What a problem; okay
double-click the clip to load it up into
| | 05:24 | the Viewer, hit the Delete key and lets
get rid of those filters. But there is
| | 05:28 | a double secret way of doing your
effect that solves the whole problem of
| | 05:33 | loosing them when you trash
preferences and here's what it is.
| | 05:36 | We will click on the Effects tab and
notice I have got this folder still called
| | 05:40 | Megan's key; I will drag the Effects
tab off so now I have got two separate
| | 05:44 | folders. Now I am going to grab the
folder called Megan's key and drag it into
| | 05:48 | a bin that I have already created
called Favorite keys and twirl down Favorite
| | 05:53 | keys and there is the Megan's key
folder. Now here is the secret, don't ever
| | 06:00 | open it up, Do Not Open because if you
do it's the same problem we have got if
| | 06:07 | we were to double-click this folder;
all the files are going to alphabetize and
| | 06:11 | I know it sounds weird. As long as
you don't open it the key is going to be
| | 06:14 | great. Grab the Effects tab, drag it
back, see that heavy black line by the
| | 06:18 | way; the heavy black line is when you
know that you are going to be able to
| | 06:21 | dock stuff because I hate having the
Effects tab on the left, it just spoils
| | 06:25 | the symmetry of the universe. I grab
the four filters and drag it off, create a
| | 06:29 | new window, drag it back on.
| | 06:31 | Symmetry is really important because
otherwise you could get lost; anyway I
| | 06:35 | want to grab this and drag it over. So
we grab the folder and if I had multiple
| | 06:41 | clips selected, we would apply the
multiple clips or we just, we apply to the
| | 06:44 | clip by drop it on top of and notice
when I do Color Smoothing, Chroma Spill,
| | 06:49 | everything is perfect in the correct
order just don't open the folder and if
| | 06:54 | you do open the folder just remember
that Color Smoothing always comes first,
| | 06:58 | Chroma Keyer is second, Spill
Suppressor is third. If you only have one filter
| | 07:02 | you don't have to worry about this
whole stacking business because one filter
| | 07:05 | can just be on its own and the nice
thing is we have one filter; it shows up in
| | 07:09 | the Favorites folder. You can just
apply it just by clicking on it, you could
| | 07:13 | do the same thing with this key
we have got all three of them.
| | 07:15 | Just got to remember to do one and then
two and then three, it's just too much
| | 07:18 | work; I like this stacking it inside
the Browser, its very cool and it get
| | 07:22 | saved with the project because the
Effects Favorites folder gets erased when
| | 07:28 | you trash preferences; project
folder is never touched when you trash
| | 07:32 | preferences. There is one more thing
you need to know. What happens if you got
| | 07:35 | a Motion project that has a filter?
Whenever we are sending a clip to Motion
| | 07:39 | the first time, we always say Send To a
Motion Project. But once you have sent
| | 07:45 | it, notice its go the extension .motn.
Means its Motion project. You can't
| | 07:50 | send the Motion project to Motion
already; it's been sent you can always send
| | 07:54 | the first time. What you do instead is
you Control-click on it and you Open in
| | 08:00 | Editor. First time you send, the
second time you Open in Editor, that then
| | 08:06 | opens up Motion allows you make to
changes in the project and we get it to
| | 08:09 | Final Cut all you have to do is go to
File, Save and then Command tab to Final Cut.
| | 08:16 | The first time you send, that sends
the clip to Motion for processing, every
| | 08:21 | time thereafter you Open in Editor. So
now you have a really good review of how
| | 08:26 | we deal with filters, you know how to
change a key by double-clicking the clip,
| | 08:30 | loading it up into the Viewer and
making the changes in the Filters tab or the
| | 08:34 | Chroma Keyer tab. You know how to
disable a key by unchecking the blue check
| | 08:38 | box either in the Filters tab or the
Chroma Keyer tab. You know how to copy a
| | 08:43 | key by either dragging it over or
selecting and using Copy and Paste Attributes
| | 08:50 | or by creating a Favorite Effect or by
creating a Favorite Effect and dragging
| | 08:55 | it to the Browser.
| | 08:55 | There is lots of different ways of
copying a key and creating a key template
| | 09:00 | and modifying a Motion setting by
sending the first time, and opening in Editor
| | 09:06 | thereafter and to delete a filter double
-click the clip to load it up into the
| | 09:10 | Viewer, highlight the name of the
filter and just hit the big Delete key until
| | 09:13 | you are done. With all that as a
background, now lets get to the really fun
| | 09:17 | stuff using all this knowledge and
all these tools to create solutions to
| | 09:23 | seriously problematic keys.
Solving key problems is next.
| | Collapse this transcript |
| Introduction to problem keys| 00:00 | If every time they shot for chroma key,
they did a perfect job then life would
| | 00:05 | be a lot easier. But somehow something
interferes with getting a perfect key,
| | 00:09 | the lighting isn't right, the
background is messed up, the foreground is messed
| | 00:13 | up and now we are dealing with
problems and here is some of the most typical
| | 00:17 | problems we deal with when
we are working with keys.
| | 00:19 | The foreground is in the wrong position,
we have got garbage like light stands
| | 00:23 | or bodies in the foreground that we go
got to get rid off, we have got green
| | 00:27 | edges around the foreground or just
strong edges around the foreground.
| | 00:30 | Foreground is out of focus or we
have shadows on the background and with
| | 00:34 | shadows we have two issues; sometimes
we want to loose those shadows, the other
| | 00:39 | times we want to keep the shadows
and make it look like our foreground is
| | 00:42 | throwing a shadow on the background.
| | 00:44 | We have motion Blur on moving objects
; this is a real problem when we are
| | 00:48 | shooting 24 frame material because
the motion blur is quite severe, we have
| | 00:52 | uneven lighting and we have got
wrinkled backgrounds. Lots of different issues
| | 00:56 | that make solving problems with Chroma
Key a real adventure; so we will get our
| | 01:01 | adventure started by taking a look at
what happens when the foreground is in
| | 01:05 | the wrong position, that's next.
| | Collapse this transcript |
| Changing the position of the foreground element| 00:00 | The first problem, I want to show you
how to solve is when the foreground is
| | 00:03 | out of position. Look at this handsome
guy; he is in exactly the wrong space. I
| | 00:08 | mean the bird is blocking his face. So
we either have to move the bird which is
| | 00:12 | not going to happen or we got to move
the guy, well, that's easy. We double
| | 00:16 | click our clip to load it up in the
Viewer. By the way I am in project 04
| | 00:21 | Filters. I have twirled down the bin
called 02 Problem Sequences and I have
| | 00:25 | loaded the sequence called 01 Seq -
Wrong position and if you get lost, I have
| | 00:30 | got the fixed version here as well.
Double click the clip to load it up into
| | 00:33 | the Viewer, click the Motion tab and
it's in the Center tab of the Motion tab.
| | 00:38 | Click this cross here and click, hold
and drag in the Canvas, until the talent
| | 00:44 | moves where you want him to go.
| | 00:45 | Now notice over here in the center, the
left hand box represents its horizontal
| | 00:50 | position, negative numbers move left,
positive numbers move right. The right
| | 00:54 | hand box represents the vertical
position. Now this one is actually pretty
| | 00:58 | important. If you don't want your
picture to shift vertically, make sure the
| | 01:02 | right hand box is set to zero. If you
do want the picture to shift vertically,
| | 01:07 | for instance here I will move it down
20 pixels or negative moves it up 20
| | 01:11 | pixels, the critical point is, when
you are dealing with interlaced video,
| | 01:16 | which is all NTSC, all PAL and any HD
format that ends with the letter I, when
| | 01:22 | you are dealing with interlaced video,
this second number in the right hand box
| | 01:26 | must end with an even whole number.
| | 01:30 | So anything that ends with zero, two,
four, six, eight, is okay. Decimals are
| | 01:35 | not okay, odd numbers are not okay, it
must be an even whole number. If you are
| | 01:41 | dealing with progressive images or you
are scaling to less or more than 100%,
| | 01:46 | then this number becomes much less
important, but 100% interlaced laid on top
| | 01:50 | of 100% interlaced, the interlaces
need to match and the only way they are
| | 01:54 | going to match is, if this right hand
number is an even whole number. In my
| | 01:58 | particular case, because I want to
hold the vertical position and not change
| | 02:02 | it, I want to set this to zero. Any
number on the left is perfectly okay. I
| | 02:07 | tend to be one of these people that
likes getting rid of decimals, but that's
| | 02:10 | just me.
| | 02:11 | So I will set that to -132. This number
can be anything it wants to be. This is
| | 02:16 | your horizontal position. Vertical
however, especially with interlaced be
| | 02:21 | careful, zero keeps it stationary so it
doesn't change vertical position and if
| | 02:25 | it does change vertical position, make
sure it ends in an even whole number.
| | 02:29 | Now you know how to change position.
By the way if you are worrying about the
| | 02:32 | bird and how that is set, we talked
about that, it's called Picture in Picture.
| | 02:36 | It's set in the Motion tab and we go
into a lot of detail on that in our Final
| | 02:39 | Cut Pro 6 Essential Effect's title, so
if you want to know, how we sized it and
| | 02:43 | positioned it and scaled it in out of
the drop shadow, all of that's talked
| | 02:47 | about in the Effect's title. Anyway,
that solves the problem position, double
| | 02:51 | click, load to the Viewer, click the
Motion tab and change the Center settings.
| | 02:55 | The next one is how we correct
garbage in the frame, that one is next.
| | Collapse this transcript |
| Removing garbage in frame| 00:00 | The two biggest problems that we have
with chroma key footage as either the
| | 00:03 | foreground in the wrong position or a
stuff blocking the shot, garbage in the
| | 00:07 | frame. For instance, here we have got
this light stand and light blocking a
| | 00:11 | portion of the frame that also
contains Megan. Well, there is a lot of
| | 00:15 | different ways that we can get rid of
garbage, but they all revolve around the
| | 00:18 | concept of Mattes, or Masks.
We use the terms interchangeably.
| | 00:23 | A Matte or a Mask both mean the same
thing. So naturally I am going to show you
| | 00:27 | a way to get rid of this garbage that
doesn't involve a Mask or Matte at all.
| | 00:31 | In fact, I am going to show you three
ways. One is a very simple way and then
| | 00:34 | two are less simple, but still very
powerful and easy to do. Let me show you
| | 00:40 | the first one.
| | 00:40 | Double-click the clip to load it up
into the Viewer. Now we haven't done the
| | 00:44 | key, because I wanted to clearly see
what we are deleting by having the green
| | 00:48 | screen disappear. Go to the Motion tab,
twirl down Crop. Because all of our
| | 00:53 | material that we want to hide is on the
right side of the frame, I am going to
| | 00:56 | put my mouse on the Right Crop and just
use the scroll wheel and scroll in, and
| | 01:03 | notice that I have cropped off that and
revealed the Abstract Glass shape underneath.
| | 01:09 | So here I have just done a very simple
crop and now we just need to chroma key
| | 01:13 | out in this part of the green and all
that garbage on the right disappears.
| | 01:17 | We'll also have that problem with
green screens that don't go high enough
| | 01:20 | so we'll need to crop the top. All the
same thing if you need to crop the top,
| | 01:24 | you put your mouse over in the top and
just drag that, goodbye Megan. No, no we
| | 01:28 | don't want this on Megan. So we will
just put it up there and we can change the
| | 01:31 | top, we can change the left side, we
can change the right, the top, the bottom
| | 01:36 | and just crop as necessary.
| | 01:39 | So way number one to fix the problem
with garbage is to crop. By the way if you
| | 01:44 | need to reset, click this red X in the
circle that automatically resets your
| | 01:47 | crop, back to its default settings.
Way number two. Double-click the clip to
| | 01:52 | load it up into the Viewer. Make sure
the clip is selected. Go to the Effects
| | 01:55 | menu and remember I said that when we
want to see a portion of the frame but
| | 01:59 | not all of the frame, we are
going to work with a Matte.
| | 02:02 | Final Cut calls sort of Matte for the
category and everything inside is called
| | 02:06 | a Mask, except when it's called a Matte.
Like I said, we are sort of conflicted
| | 02:11 | about this. So we are going to add a
Mask Shape and there are four Mask Shapes
| | 02:16 | inside Final Cut. There is the
Rectangular shape, there is a Round Rectangular
| | 02:22 | looks kind of weird. There is
a Diamond and there is an Oval.
| | 02:27 | So you pick the shapes that the most
representative of what you want to do. In
| | 02:30 | that case we want to do a Rectangle.
Then you adjust the Horizontal Scale and
| | 02:35 | you adjust the Vertical Scale until
you get the proportions the way you want.
| | 02:39 | Then you change its positions by
clicking the cross here next the center that's
| | 02:43 | how we move stuff.
| | 02:44 | You could type in numbers, but you
know frankly life is too short. Then you
| | 02:48 | click, hold and drag and don't let go
with the mouse and just drag this back
| | 02:52 | and forth until you get the
positioning where you want and you are done. Now,
| | 02:56 | here you don't need to worry about even
whole numbers that I was talking about
| | 02:59 | when you are changing positions because
you are just changing the position of a
| | 03:02 | Matte and that can go anywhere. It's
when you are moving video on top of video
| | 03:05 | you have to pay attention to that.
| | 03:07 | So now we have got rid of all the
garbage on the right. We could get rid of the
| | 03:11 | chair here, by cropping up. Let's make
our Vertical Scale smaller, a little bit
| | 03:16 | smaller and change its position and
crop up to lose the chair. But then what we
| | 03:21 | would need to do is we will then need
to go to the Motion tab, click Center and
| | 03:26 | put Megan back down on the baseline
because you don't want to see her body
| | 03:30 | floating in space that would be
considered inappropriate. So we will just put
| | 03:34 | it down here and now we have lost the
chair, we have lost the garbage and we
| | 03:37 | have taken advantage of something we
have already learned, which is how to
| | 03:40 | change the position of something.
| | 03:42 | So another way that we could do that
and here I have got video on top of video,
| | 03:45 | so my right-hand number needs to end
in an even whole number. So that's the
| | 03:49 | second way is using a Mask Shape.
Third way, go to Filters, hit the Reset
| | 03:55 | button. We will just delete that shape
by highlighting the name. Hit the Delete
| | 03:58 | key and we are back to our garbage
shot again. Sometimes, we don't have the
| | 04:02 | ability to work with clean Rectangles,
which is what the cropping requires or
| | 04:07 | we cannot fit it within a Diamond, and
Oval, a Rectangle, which is what Mask
| | 04:10 | Shape requires.
| | 04:12 | We need to come up with sort of
stranger shape. Well that's what this tool is
| | 04:15 | for. Select that clip, go to Effects,
go to Video Filters, go to Matte and I
| | 04:21 | have a Four-Point Garbage Matte and an
Eight-Point Garbage Matte. Seeing as I
| | 04:26 | could actually get rid of this light
stand with a crop. A Garbage Matte is a
| | 04:30 | little bit of an overkill. So I am
going to Eight-Point Garbage Matte just to
| | 04:33 | show you how it works, not that
I would use it in this situation.
| | 04:37 | An Eight-Point Garbage Matte puts
eight points around the frame. One at each
| | 04:41 | corner and one midway along each of
the sides. Everything that's inside those
| | 04:46 | numbers is visible; everything that's
outside those numbers is transparent. I
| | 04:51 | will go over it, double-click for clip
to load up into the Viewer, go to the
| | 04:54 | Filters tab and there is
the Eight-Point Garbage Matte.
| | 04:57 | A Four-Point Garbage Matte is just
like an Eight-Point except there is only
| | 05:00 | four points there. Here is how it works.
Click the cross here for Point 1 and
| | 05:06 | click where you want to put the first
point. Click the cross here for Point 2
| | 05:10 | and click where you want to put the
second point. Click the cross here for
| | 05:14 | Point 3 and say where we want to put
the third point. What we are describing is
| | 05:19 | sort of Octagon, an eight-sided
shape that determines what's going to be
| | 05:24 | included in the shot and what's going
to be excluded in the shot and we are
| | 05:31 | just sort of building an
environment in which Megan can sit and do her
| | 05:36 | performing and not have to worry
about any of this of the garbage.
| | 05:39 | A Garbage Matte is designed to sort of
give us a rough space in which to work.
| | 05:43 | We would never use a Garbage Matte for
Rotoscoping, I wouldn't use the Garbage
| | 05:47 | Matte to try to carve and edge out
around her hair. The most number of points
| | 05:51 | that I have got is eight. So really
what I can do is just build regions within
| | 05:56 | which action occurs. If we have to do
Rotoscoping, which is well beyond what we
| | 06:00 | are going to talk about in this title,
you would move that to Motion or you
| | 06:03 | would move it to After Effects and you
would reserve yourself a very large pot
| | 06:06 | of coffee and several weeks
because it's going to take a long time.
| | 06:09 | Maybe I have got a mic that's right
here and some lights that are over here and
| | 06:13 | more lights that are over here. The
Garbage Matte makes it easy to get rid of
| | 06:16 | all this stuff because you are
creating strange shapes. So you can get rid of
| | 06:21 | garbage by cropping, you can get rid of
garbage by using the Mask Shape or you
| | 06:25 | can get rid of garbage by using a
Four-Point four-sided, or Eight-Point
| | 06:29 | eight-sided Garbage Matte.
| | 06:31 | The next problem that we have to deal
with is edges on our shot. Either green
| | 06:36 | edges or strong edges. We
will get the edge on edges next.
| | Collapse this transcript |
| Removing green edges| 00:00 | The secret to great chroma key is in
the edges. The transition between that
| | 00:04 | which is foreground and that which is
background. I mean making the background
| | 00:07 | transparent isn't hard. Making the
foreground opaque isn't hard, but getting
| | 00:11 | the edge to look great-- that can age you.
| | 00:13 | For instance here, look at the edges
of Megan's hair. We clearly have a good
| | 00:18 | key with her, we clearly have a good
key in the background, but the edges say,
| | 00:22 | Good Golly, what happened?! Well,
whenever you see this kind of stair stepping
| | 00:28 | this is a good indication of what
color sampling is about. On the computer
| | 00:32 | every pixel is a color value. But in
video, groups of pixels share the same
| | 00:36 | color value. That's what that 422, 411,
420 stuff talks about is, is how
| | 00:41 | many pixels are grouped together per
color. The best we can get in video in
| | 00:45 | general is 422. DV is 411 and HDV is
420 and suddenly these blocks of color
| | 00:52 | become like giant staircases
running up and down the edges of objects.
| | 00:57 | First thing you should do is select
your clip, go to Video Filters and make
| | 01:01 | sure that under Keying you have
applied some sort of Spill-Suppression.
| | 01:04 | Spill-Suppression allows us to get rid
of this green edging. Stair stepping gets
| | 01:09 | fixed in a couple of different ways.
First, inside Final Cut what you are best
| | 01:14 | off doing is going to the Chroma
Keyer and gently increasing Softening.
| | 01:18 | What we are really doing is we are
blurring the edge and in blurring the edge
| | 01:22 | we are decreasing the stair stepping.
Problem is we are also removing a lot of
| | 01:26 | the sharpness to the image itself. We
are not seeing strands of hair; we are
| | 01:30 | seeing sort of a blurred edge.
Then if we go to Filters and go to
| | 01:34 | Spill-Suppressor, turn Spill-Suppressor
on and gradually add Spill-Suppressor.
| | 01:39 | Watch this area right down
here where we have got the green.
| | 01:42 | We get that to about all, make sure we
double-clicked it here, there we go and
| | 01:51 | now it's starting to go away. See how
now the green is gone, because what we
| | 01:55 | are doing as we are adding magenta and
magenta cancels green and we are adding
| | 02:00 | a fare Amount of it, right around 61
%. We will go back to our full screen
| | 02:04 | image. We have got a reasonably better
key, where the edges are smooth and that
| | 02:10 | green halation is gone.
| | 02:11 | We smooth out the edges by increasing
Softening but only a little bit because
| | 02:15 | what you are really doing is
blurring the edge and we have added
| | 02:19 | Spill-Suppressor. The problem is if we
go to this at 100%, type H for the Hand
| | 02:24 | tool and click in. We are not getting
great that's what I am trying to say.
| | 02:31 | Look at that, we still see the stair
stepping that was mitigated. We are still
| | 02:35 | seeing the softness.
| | 02:36 | What we really need, is we need a
different keyer. So let's just keep an eye on
| | 02:42 | that. Double-click this clip, load to
the Viewer and just get that as a habit.
| | 02:45 | Turn this off. Shift+Z to get that
scaled. We have got garbage here, so I have
| | 02:50 | got here the crop in to crop out the garbage.
| | 02:53 | Effects, Video Filters and let's put
the dvGarage to the test and turn on
| | 02:57 | dvMatte pro and double-click the clip.
See if we have got it applied, there we
| | 03:04 | go. Click on the lightest, brightest
part of the image. Probably here, click on
| | 03:09 | the dimmest, darkest part of the
image there. Switch this to matte. Then we
| | 03:15 | will tweak our black point up a little bit.
| | 03:17 | Here is an interesting thing I
discovered. If I turn this off, so I see black.
| | 03:21 | You can see the difference in black
between true black on the right and this
| | 03:26 | elevated dusty black. Pull the end up
just a little bit, not too much and then
| | 03:33 | go down to gain, pull the gain down
and notice that now our black perfectly
| | 03:38 | matches so we have got a nice clean
key. The background is transparent and
| | 03:43 | Megan is nice and solid wipe.
| | 03:44 | When we go to the composite and zoom in,
hold our Hand tool down. Notice the
| | 03:51 | difference, I am seeing the actual
strands of hair here, I am just blurring and
| | 03:56 | I am not getting that hard line. Show
that to you more in just a second. If we
| | 04:01 | have a problem with spill, we would
add a little bit at the bottom a dynamic
| | 04:05 | spill which allows us to compensate
for the green, but notice that it managed
| | 04:09 | to catch most of the green there to begin with.
| | 04:11 | Another feature that we have that we
don't in the dvGarage product is we can
| | 04:15 | adjust our blur. We have a horizontal
blur, look at the edge of the hairs, I
| | 04:20 | increased this a lot. See how the
edge of the hair blurs or get sharper and
| | 04:27 | notice the shoulders, see this sharp
edge on the shoulders, which is not as
| | 04:31 | easy to say as you might think. Notice
that now I am blurring that sharp edge
| | 04:36 | or I can sharpen it up. So we can
control how soft or sharp our edges are. We
| | 04:42 | can also control the offset, if I grab
this there is the cutout formed and I
| | 04:47 | can slide the cutout to get the best
looking edge horizontally and I can slide
| | 04:53 | the cutout to get the best looking edge
vertically so that I am adjusting where
| | 04:57 | that foreground sets against the background.
| | 05:00 | To give a better example between
these two, let me turn this track back on
| | 05:03 | again, we can see again there is no
green spill here particularly. I have setup
| | 05:08 | a split screen. I have got dvMatte Pro
on the left and the Final Cut Keyer on
| | 05:14 | the right. The background is
transparent, that's perfect the foreground is
| | 05:18 | solid, that's perfect. That's all the
edges and if we zoom in, go to our 200%.
| | 05:27 | Notice how smooth and clean this edge
is and how we have got that black line
| | 05:32 | and the stair stepping on the Final
Cut side. The split occurs right here. So
| | 05:37 | on this side we have got a nice clean
smooth edge, on this side we have got
| | 05:41 | stair stepping.
| | 05:43 | This is an example of where you may not
be able to give the kind of clean key,
| | 05:47 | the clean edge that you want inside
Final Cut and you may need to resort to a
| | 05:51 | different keyer. And in this case, I
was using the dvMatte Pro keyer. And it
| | 05:55 | shows that it's really in the edges
where we got to concentrate and that is
| | 06:00 | what this exercise is all about.
| | Collapse this transcript |
| Fixing poorly focused shots| 00:00 | Now, really technically, dealing
with focus, we'd just go back and reshoot,
| | 00:04 | except about five years ago I had this
problem myself and well, it almost got
| | 00:09 | me fired. So I figured, I better show
you the solution to solving the problem.
| | 00:12 | You see, I travelled to France to do
an interview with a very high power
| | 00:16 | executive in my company. What I
didn't know is that the camera that I have
| | 00:20 | taken with me, which I did not
understand very well, had an autofocus, that
| | 00:24 | didn't like staying in focus.
| | 00:26 | So here I am interviewing this guy,
doing a great job and the camera is busily
| | 00:30 | rolling focus, past him on to the
background and when I got to the States;
| | 00:34 | well, it looked even worst in Megan
does now. Seeing as he was the boss of my
| | 00:38 | boss' boss and the entire company
was probably going to get laid-off if I
| | 00:41 | screwed this up, we had to salvage it,
but I couldn't run it full screen.
| | 00:45 | So what I did is I took the image, I
clicked on it, I went to the Motion tab, I
| | 00:50 | scaled it to 25%, took the 25% and
then repositioned it, so that we had a
| | 00:56 | little talking icon down there. And I
treated that as a full screen chroma key,
| | 01:01 | but more as a talking image, that I
added a ton of graphical information and
| | 01:05 | b-roll, which was in focus, and text
which describes it. One of the interesting
| | 01:09 | things about focus, is the smaller you
make your image, the more in focus it
| | 01:14 | appears and so, this is another
solution to a problem where you weren't paying
| | 01:18 | attention on set or if somebody wasn't
and they handed you a shot which was all
| | 01:22 | out of focus, but there are other
problems that we want to talk about and the
| | 01:25 | next one is Shadows, both shadows that
we want to keep and the shadows that we
| | 01:30 | want to lose. We will go
discover the shadows, next.
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| Keeping or losing shadows on backgrounds| 00:00 | Shadows are probably the hardest thing
we have to deal with inside chroma key,
| | 00:03 | because the shadow actually changes
the color of the green, it's not the same
| | 00:08 | color green here, where the shadow was
not, as it is where the shadow is and
| | 00:12 | what chroma key is trying to do, is to
find exactly that color green, that's in
| | 00:15 | the background and make it transparent
and keep all the rest of the colors the same.
| | 00:20 | So, it's not exactly sure, what do I
do with the shadow? Do I keep the shadow
| | 00:24 | or do I lose the shadow? Then all of a
sudden, edges become kind of muddy and
| | 00:28 | it's a mess. Clearly, the best thing to
do is to keep your talent to good 5-10
| | 00:33 | feet away from the green and that way,
you are able to make sure that there are
| | 00:36 | no shadows that fall on the green.
| | 00:38 | So the first issue with shadows is how
do we get rid of them. Well, let's take
| | 00:42 | a look at the Oak Street keyer, we
will go to Effects, Video Filters, Oak
| | 00:47 | Street and the key is so to speak, pun
intended, I will set this 4:2:2, because
| | 00:52 | it's 4:2:2 shot, take a look at the
output options. They key is to make sure,
| | 00:57 | that when you adjust your sequence,
that you adjust it to be tight enough, that
| | 01:03 | you don't see any of the shadows. In
other words, we are selecting a wide
| | 01:06 | enough range of green, that we are
seeing any of the shadow. It now is
| | 01:11 | perfectly gone and we would do that
inside the Final Cut's keyer by expanding
| | 01:15 | the green, so it covers a wider
range of the luminance information.
| | 01:19 | So, we could do it in dvMatte blast,
we can do it in Oak Street and we all we
| | 01:23 | have to do is just make sure that
our selection of the background is wide
| | 01:27 | enough, but what happens if we need to
keep the shadow? Well, that becomes a
| | 01:31 | whole lot harder, because most software
can't distinguish between the green of
| | 01:36 | the background and the green of the
shadow. For me, this is one of the
| | 01:39 | highlights of the Primatte tool. We
go to Effects, Video Filters, Primatte,
| | 01:45 | Primatte keyer Pro.
| | 01:46 | Now here, I have to make the Viewer
bigger, so we are going to squeeze this a
| | 01:50 | little bit smaller to make ourselves
some room and pull that to there, make the
| | 01:55 | Viewer bigger because I have got to get
more room to expand this column header,
| | 02:00 | so I can see the full interface,
because remember, we are clicking inside this
| | 02:03 | interface.
| | 02:04 | Instead of using the AUTO SETUP
button, this time I am going to set the
| | 02:07 | background color and to do that, I
drag a rectangle in the background, I need
| | 02:12 | to make this wider, that does not
include the shadow and when I do, I will drag
| | 02:18 | it right here, it samples all those
pixels, makes Megan look pretty sick.
| | 02:23 | So the next step is to tell it where
the foreground is and we will click here
| | 02:27 | and drag down and say, this is
foreground and look at what it has done. It has
| | 02:33 | kept the shadow information. Now, if I
want to lose the Shadow, I have to say,
| | 02:36 | Set BG Color and I drag across
including the shadow and then I will say, clean
| | 02:41 | the foreground area, draw a rectangular
around to keep the foreground area and
| | 02:46 | we would then tweak this to make the
shadow disappear. But notice what has
| | 02:49 | happened. Let's go take a closer look
at the canvas, because this is really
| | 02:52 | interesting. When we keep the shadow,
notice that what it is keeping is the
| | 02:57 | luminance information and the
luminance information is not just a shadow, but
| | 03:01 | notice it's also keeping, where the
creases are in the fabric. It makes this
| | 03:05 | look as though she is sitting in
front of a gray fabric, because it's just
| | 03:08 | mimicking the luminance differences in
her shadow and not just her shadow, but
| | 03:12 | the wrinkles, the folds as well. This
would be a really good time to stress,
| | 03:16 | that you want to try to have your
Green Screen background and be whatever
| | 03:19 | texture that you want to key them into
and having a smooth surface is always
| | 03:23 | better than having a rough surface
and stretch that puppy tight so you can
| | 03:26 | avoid things like wrinkles and folds
or remember, that when you are casting
| | 03:30 | shadows, you want to make sure, those
shadows are cast on a flat object, but
| | 03:35 | this is very cool and this to me
clearly distinguishes, why you would want to
| | 03:38 | use a higher end package like Primatte,
because it gives you the capability of
| | 03:42 | keeping shadows in a way, that the
other packages do not and look at it, we are
| | 03:46 | still keeping the hair, we've got all
the hair detail, we've got no green spill
| | 03:49 | going on here, this is just a really pretty key.
| | 03:52 | So when we've got shadows to deal with,
we have to questions, do we want to
| | 03:56 | lose them? In which case we make sure
that we sample in the shadow area, like
| | 04:00 | we did with Oak Street or like we
would do with Final Cut, to include color,
| | 04:04 | that luminance is part of the key and
if want to keep the shadows, we need to
| | 04:08 | make sure, we work with a package that
will keep them, but there is still more
| | 04:11 | we want to talk about and that's Motion
Blur and its corollary interlacing. We
| | 04:15 | will talk about Motion Blur and
dealing with that in our next movie.
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| Handling motion blur and interlacing| 00:00 | Probably the hardest challenge we face
inside chroma keys is the whole idea of
| | 00:05 | blur, whether it is caused by Motion
Blur or by interlacing. For instance here,
| | 00:10 | we have got Motion Blur. This is a
progressive image, which we shot and notice
| | 00:13 | that we have lost the actual
definition of the fingers. They are all blurred
| | 00:17 | together. Or here is another example.
This is about the worst you could
| | 00:21 | possibly imagine for a chroma key. We
have got wild loose hair flying around as
| | 00:26 | Catie is spinning her head. Whereas
Catie shot is done in HDV, whereas this
| | 00:31 | shot is done in DVCPRO-HD,
which illustrate the difference.
| | 00:35 | If we go up to a 100%, this is the
only way that you can ever see interlacing
| | 00:39 | inside Final Cut. Notice that when I am
at a 100%, I have these thin horizontal
| | 00:45 | lines that radiate off all moving
objects, well that's interlacing. You can see
| | 00:50 | it on her teeth, and the edges of her
nose, her hair, and her cheek. We can see
| | 00:55 | those horizontal lines depending upon
how quickly it's moving those lines can
| | 00:58 | be short, if it's not moving very
quickly or quite long if it's wiping around.
| | 01:03 | So not only do we have to worry about
creating a green screen, we have got to
| | 01:06 | try to keep as much of this hair
detail there as possible and we have got to
| | 01:10 | lose the green. Not just in the
background, but as this object is flying
| | 01:14 | through it.
| | 01:15 | Same thing over here, look at her hand.
There is clearly a green element that's
| | 01:21 | flying through here, but I don't have a
solid green, it's sort of a translucent
| | 01:25 | green. This is a really difficult
challenge for us to be able to fix. So let's
| | 01:30 | take a look at each one of these in turn.
If I start with her hair and I apply
| | 01:36 | the Oak Street filter just to compare
and contrast. Double-click this to load
| | 01:43 | it to the Viewer. We will turn off this
track. Switch this to Grayscale. Set it
| | 01:48 | this is HDV, so because it's HDV it's
420 sampling and we will click AutoAngle
| | 01:53 | to have it give us a hand and
we will pull this MaxLumin up.
| | 01:58 | When I see this -- let's turn this
back on again. See how I have lost the
| | 02:04 | softness of the hair as I start to
dial out some of this background to try to
| | 02:09 | make the hair look better or worse. We
are starting to get it, it's clear, but
| | 02:15 | it's looking artificial. I mean this is
clearly a worst-case scenario where the
| | 02:19 | hair just does not look natural. It
looks all computerized. If we do the same
| | 02:24 | thing over here, grab this key or just
copy it over, double-click, pull it up,
| | 02:30 | change it to 422. Click on Auto Select
and see if we can get this dialed back
| | 02:35 | in. Do our quick adjustment here.
There we go. Again, we are holding the hand
| | 02:56 | but we are starting to lose-- now this
is a very rough key. I haven't roughed
| | 02:59 | it in. What I am just trying to show
you is how the hand is now acting in an
| | 03:03 | opaque fashion as opposed to
acting as individual fingers.
| | 03:07 | This simply illustrates how bad the
situation is. So let's try something
| | 03:11 | different. Let's go back up to this
standard keyer inside Final Cut, Chroma
| | 03:17 | Keyer, double-click. Okay, the
Chroma Keyer inside Final Cut has the same
| | 03:22 | problem again, and we are still getting
little bit of green coming through. All
| | 03:24 | right, let's try something different.
Now, let's try the Primatte Keyer and
| | 03:34 | let's click AUTO SETUP. Take a stab at
it. All right, so we still have again,
| | 03:40 | notice the blockiness that we have
got here and as this hand plays through,
| | 03:44 | Option+P. Well, first the edging is --
be at a 100%, as you can't judge
| | 03:49 | anything until you see it at a 100%.
So we still have some clean up to do on
| | 03:54 | the edges because that's look pretty blocky.
| | 03:59 | So that looks a real mess and there is
no one perfect way to solve this. What
| | 04:03 | you are going to have to decide is
how much of the blur you need versus how
| | 04:07 | much of the fingers you need because
there is not perfect answer. That's one of
| | 04:10 | the reasons that I don't like
particularly shooting video at 24 frames. I much
| | 04:13 | prefer to shoot 60 because I minimize
to Motion Blur. But if go back over to
| | 04:17 | here with Catie, we can get a cleaner
effort on her hair by switching out to a
| | 04:22 | different keyer. Shift+Z so I can see
the entire image, select your clip, go to
| | 04:28 | Effects and we just apply the Primatte Keyer.
| | 04:31 | But here is another real reason that
you don't want to have folds in your
| | 04:34 | background. Can you see the folds in
the background? Watch what happens. First
| | 04:38 | I am going to set the background
color and I am going to draw a rectangle,
| | 04:42 | excluding the fold, and excluding her
hair. Okay, nice, we have got that keyed
| | 04:47 | out. Clean up the foreground area by
drawing a rectangle to include her face,
| | 04:52 | her hair and her shirt.
| | 04:55 | Little bit ugly, let's try that again.
To reset, click this circle back button.
| | 04:59 | Set the background color and set the
foreground color. Good, now notice what's
| | 05:09 | happened. We have got a nice clean key;
we have got really pretty hair flying
| | 05:14 | around here. None of the electronic,
none of the edginess but you see where I
| | 05:17 | have got these folds in the back. It's
thinking those are shadows or in fact
| | 05:21 | the Grayscale is very, very similar to
the hair, it thinks it's hair, it's just
| | 05:25 | not attached to the head. So one, we
have got a really nice key, but we have
| | 05:29 | got the problem with the background.
If I clean up the background area by
| | 05:33 | clicking clean up and draw a
rectangle, dragging around, there we go.
| | 05:38 | Notice that, the shadows are not gone
on the background but the hair has gotten
| | 05:42 | really whacked out. Again, it just
gets back to -- yeah, you can try to save
| | 05:46 | keys, but you are much better off
trying to get clean, clean solid backgrounds
| | 05:51 | because I could have keyed her hair
perfectly if the background didn't have
| | 05:54 | those folds in it. As soon as I have
to get rid of the folds, then I start to
| | 05:58 | lose a lot of the detail on the hair
because the keyer isn't sure is the hair a
| | 06:02 | fold or is the hair hair? And it
automatically assumes that the hair is a fold
| | 06:06 | and makes it disappear.
| | 06:08 | This is just a strong pitch to make
sure that when you are doing chroma key
| | 06:11 | and you have got a lot of movement and
you have got loose things flying around,
| | 06:15 | you have got motion blur. The
cleaner, the solider, the more
| | 06:19 | unshadowed, unwrinkled, your background,
the better off you are going to be.
| | 06:23 | So here I would love to say there is a
magic bullet that absolutely solves this
| | 06:27 | and all questions, but if isn't. It
really is a trade off of how much you want
| | 06:31 | and how much you don't and so I just
want to show you the different tools react
| | 06:35 | to it differently and you can decide
which tool most closely resembles the
| | 06:39 | effect you are trying to create. But
this more I want to show you and that's
| | 06:42 | the issue of uneven lighting and
wrinkle backgrounds, we will talk about those
| | 06:46 | next.
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| Working with uneven lighting| 00:00 | First, if you ever run into a problem
like this, you and the lighting director
| | 00:04 | need to have a serious conversation,
but the background is really badly lit.
| | 00:10 | Notice how light it is on the camera
right side and how dark on the camera left
| | 00:13 | side. Just to illustrate the kind of
problem this presents for us, let's send
| | 00:17 | this over to Motion to day a key.
| | 00:19 | So, I'll Ctrl+Click on it, Send To a
Motion Project and we will save this as
| | 00:25 | Megan key 05, I think. Click Save and
Shift+Z to scale our picture to fit,
| | 00:33 | select the picture, add the Filter, we
will go down to Keying, Primatte RT. Now
| | 00:38 | this is the filter that's bundled
with Motion and we select the HUD, F7 and
| | 00:44 | will switch this to Foreground and
will sample our color, which color do we
| | 00:52 | want? Well, let's sample right in the
middle, right here and I will switch this
| | 00:57 | to the Matte and we drag Noise
Removal all the way to the left and we drag
| | 01:02 | Matte Density down until it goes solid
white and then we drag Matte and it's
| | 01:08 | not quite solid white, I still have
some transparency on her neck, but I can't
| | 01:12 | go any lower. This is the lowest that
we can go and I can't drag Noise Removal
| | 01:16 | up.
| | 01:16 | So, I can make the right side of the
picture clean, but I can't make the left
| | 01:19 | side of the picture clean. Alright,
let's try and experiment; reset this stuff
| | 01:23 | up closer to the middle like in there
and then click on the color and let's
| | 01:27 | dial in a color, so she is as close
to solid white and the background is as
| | 01:32 | close to black as we can get. Right
about there is at least an attempt to get
| | 01:36 | it there.
| | 01:37 | So, let's take Noise Removal and drag
it down a bit and adjust just this, so
| | 01:42 | she is solid white and she is now
solid white and we pull this up until the
| | 01:46 | background goes solid black and we
can't get there. We can get close, but we
| | 01:52 | can't get there, we've got that little edge.
| | 01:54 | Now, we could garbage Matte that out,
but again, what I am trying to do is show
| | 01:58 | you the different keys achieved,
different results and we are still losing the
| | 02:01 | top of her head, because there is a
highlight that's there. So we switch this
| | 02:05 | to Processed Foreground, it's going to
give us some grunge over here, which we
| | 02:09 | can see leaking through when we are
tearing up the top of her head. Time to go
| | 02:13 | to plan B, switch over to Final Cut.
Just take out this Motion project and it
| | 02:20 | just happens to have
hidden the key for us down here.
| | 02:22 | So we will go back to Uneven
lighting and edit our clip in, take that up,
| | 02:29 | switch it down. All I did is, I just
copied and pasted, until I got back to the
| | 02:33 | original one and now, I will select
this clip and will go to Effects and let's
| | 02:39 | -- oh! We haven't done this one for a
while. Let's do Video Filters, dvGarage
| | 02:43 | and let's do the one that puts text
all over her face, dvMatte Blast, double
| | 02:47 | click the clip, click on Filters,
click on the Sampler and find the brightest
| | 02:51 | color, probably over here, click on
the Sampler for low color, I found the
| | 02:55 | darkest color over there and select
Composite, look at that, a clean key,
| | 03:01 | absolutely no tearing, in two mouse
clicks. We've got a little bit of an edge
| | 03:06 | up there, we could get rid of.
| | 03:07 | So let's just hide that, try one more.
Go back up to Effects, go down to Video
| | 03:13 | Filter, go to Primatte, Primatte Keyer
Pro and I will just click AUTO SETUP.
| | 03:20 | AUTO SETUP only got us half of her
background. So let's clean up the background
| | 03:25 | area by drawing a rectangle over here
and then let's clean up the Foreground
| | 03:32 | area. All right, just saying, this is
the foreground, right there, that would
| | 03:39 | help if I guess, if we set the
Deartifacting and get this to work. But notice
| | 03:46 | that even so, we are still able to get
the background. I want to tweak this a
| | 03:49 | little bit to get the hair to look good,
because when I was practicing this,
| | 03:55 | the hair looked darn near perfect.
| | 03:56 | All right, okay. So what I've just done,
I turned on some Matte Controls inside
| | 04:04 | Primatte RT. What the matte controls do,
is they allow me to control the edges
| | 04:10 | and one thing I can do, is I can
Defocus or blur the edges and I can blur in
| | 04:15 | one of two ways. I can blur the edges
out, so they blend in with the background
| | 04:20 | or I can blur the edges in which
means they shrink, which is a much better
| | 04:23 | choice, it's like print term called
choke. I can determine how far in I want to
| | 04:28 | choke this and notice as I do, I am
still getting a clean key across the
| | 04:31 | background and if I go back up to this
Clean BG Area here, we will just get rid
| | 04:37 | of, some of this stuff here, get rid of
some of this stuff here and just try to
| | 04:42 | select the background to
get it to be even cleaner.
| | 04:45 | Although, I had a much better response
with the dvGarage, I still have a better
| | 04:50 | key with the Primatte than I have with
Motion or with Final Cut itself. Here is
| | 04:54 | another example, if I go to Wrinkled
backgrounds; this is one where we didn't
| | 04:59 | stretch our fabric very tightly at all.
We end up with the wrinkles. Well, here
| | 05:03 | even Final Cuts keyer can deal with that.
We go to Effects, Video Filters, Key,
| | 05:09 | Chroma Keyer and notice that,
although we still have little bit of tearing
| | 05:13 | around the hair, because we've got a
broad selection of the background, we can
| | 05:17 | make that disappear. The key is in
making sure that you've got a broad enough
| | 05:21 | background and luminance, because
it's the luminance that's determining the
| | 05:25 | wrinkles, it's not the green. The
color green is the same and it's not the
| | 05:28 | Saturation, the Saturation is the same.
It's how you adjust the luminance to
| | 05:32 | make sure, you see I drag luminance
down and we start to see the falls of the
| | 05:35 | fabric.
| | 05:36 | So we want to make sure, we pull that
up to the point that we have a nice,
| | 05:40 | clean key and just see this here. What
I did is, I have adjusted this between
| | 05:45 | clicking under three stages, memory of
three stages; this shows us the source,
| | 05:49 | red key on blue, this shows us the
result, red key on gray and this shows us to
| | 05:55 | map, black on white, black key on
white background. We want to make sure that
| | 05:59 | our background is solid black and it is,
we don't see any other wrinkles. Our
| | 06:03 | foreground is solid white, which means
it's completely opaque and then we look
| | 06:07 | at the finished, we just to need add a
little bit of softening to take out that
| | 06:10 | edge detail, right there and know we
have got a nice clean key, even though we
| | 06:17 | have the wrinkles in the background.
It all comes down to making sure your
| | 06:21 | lighting is even, your background is
just absolutely smooth as possible, you
| | 06:26 | keep your talent away from the
background to make sure you have got 5, 10 feet
| | 06:30 | of clearance, you don't have
shadows appearing on them. All these are
| | 06:33 | relatively simple to accomplish during
production, but the problems they cause
| | 06:37 | during post can be, as you see, is
significant and there is no one perfect tool
| | 06:42 | that meets everybody's keying needs.
Everybody is a little bit different.
| | 06:46 | So I hope this problem solving section
has helped you to understand a little
| | 06:50 | bit more of how to work with the tools
inside Motion and Final Cut and some of
| | 06:54 | the third party tools that are out there,
but there is one more section I want
| | 06:57 | to talk about and that's Color
Correction. No, we are not going to cover the
| | 07:01 | whole Color correction issue. I've
already got a title on that which takes
| | 07:05 | hours, but I do want to give you a
couple of tips as your colors shift during
| | 07:09 | chroma key, because you have
got all that blue or green spill.
| | 07:11 | So, I will give you some suggestions
in the next movie on how you can improve
| | 07:15 | the color of your keyed subjects.
| | Collapse this transcript |
| Working with gamma settings | 00:00 | Before we leave the issue of solving
problems in keying altogether, there is a
| | 00:04 | couple of more things I would like to
talk about specifically related to Color
| | 00:07 | Correction and the first is, you
might want to consider changing the gamma
| | 00:10 | setting in Final Cut to blend the
foreground better with the background and
| | 00:15 | then I will show you how to use the
Color Corrector filter to compensate for a
| | 00:18 | green or a blue color cast caused
by all that green light or blue light
| | 00:22 | floating around the set. Keep in mind
that for a complete tutorial on how to
| | 00:25 | color correct in either Final Cut Pro
5 or 6, because it's the same in both
| | 00:30 | versions, take a look at our title on
Color correction in Final Cut Pro 5.
| | 00:35 | Let's start by taking a look at what
gamma setting is and why it makes a
| | 00:39 | difference. So, let's just switch
over to Final Cut and we see here Megan
| | 00:43 | against the black background. By the
way, if you're ever interested in seeing
| | 00:46 | this against a different color, go up
to this third pop-up menu inside the
| | 00:50 | canvas and you can select the white
background, so you can see how your edges
| | 00:54 | are doing or if you are trying to see
where your alpha channels are, you can
| | 00:57 | select checkerboard 1 or checkerboard 2.
The only difference between them is
| | 01:02 | that the dark gray and the light gray
trade places. In this particular case, we
| | 01:06 | go back to black.
| | 01:07 | Now, if all we are doing is looking at
Megan against the background, that's one
| | 01:11 | thing, but what becomes interesting
is what happens as we start to put
| | 01:14 | different color backgrounds behind her.
For instance, if we turn on track one,
| | 01:18 | she is now against a green -- bluish-
green background or here, if we go to the
| | 01:23 | second marker, she is against the
darker background and if we go to the third
| | 01:26 | marker, she is against a lighter background.
| | 01:28 | Notice how her color and her gray
scale changes apparently as we put her
| | 01:33 | against different backgrounds. Here,
she looks pretty good, here she looks too
| | 01:38 | bright and there, she looks too dark.
So how do we tweak that? Well, clearly,
| | 01:46 | we would not have the same key
against all three different backgrounds. You
| | 01:50 | would just pick one, but I want to
show you how you will adjust the key
| | 01:53 | depending upon what the background is
using a technique called changing the
| | 01:57 | gamma. Select the clip, go to the
Effects menu, go down to Video Filters, go to
| | 02:02 | Image Control and you will adjust Gamma.
Gamma, which starts with a G, is the
| | 02:07 | gray scale setting. It adjusts the 50%
gray level. When we double click this
| | 02:12 | clip to load it up into the Viewer,
not only do we have all of our chroma key
| | 02:15 | clips, I didn't include the Color
smoothing, because it didn't help the shot,
| | 02:19 | just in case you were worried about
that, but when I have gamma setting here,
| | 02:23 | look here what happens to Megan as I
grab this and drag it up and down. As I
| | 02:27 | drag it up, she gets lighter; as
I drag it down, she gets darker.
| | 02:32 | So what this allows me to do is to make
small changes to the gamma setting. For
| | 02:36 | instance, here she looks fine. We'll
do Shift+M to move to the next marker.
| | 02:40 | Here, she looks too bright, so we will
grab the gamma setting and just make it
| | 02:44 | a little bit darker.
| | 02:45 | So she blends in better with the
background. We are changing the mid-tone gray,
| | 02:49 | the white level and the black level
don't change; but the mid-tone gray does
| | 02:54 | right here. Now look at how dark she is
against that background. So we grab the
| | 02:58 | gamma setting and we will open it up
and we make her just a little bit lighter
| | 03:01 | and now, it looks like she is being
well-lit, that's all that light bounces
| | 03:05 | around from all that amber material behind her.
| | 03:08 | So the gamma setting allows you to
adjust the mid-tone gray of an image in the
| | 03:13 | foreground. So it blends in and fits
better with the background you are using
| | 03:17 | and sometimes, it is just a question
of how does it look comfortably to your
| | 03:20 | eye as opposed to is there are specific
numeric value to use, keeping in mind,
| | 03:24 | a very small change in gamma can make
for a big change in picture. So don't get
| | 03:28 | carried away in moving that slider too
far, but sometimes we need more control
| | 03:32 | than just a gamma setting. We want to
be able to do Color correction. Well, we
| | 03:36 | are doing chroma key, the interesting
thing is most of the time our colors are
| | 03:40 | all screwed up by the same amount
caused by that spill light that's floating
| | 03:43 | around.
| | 03:44 | So in the next movie I want to show
you, how we use that different Color
| | 03:47 | Corrector that you might at first,
expect to be able to control gamma and to be
| | 03:51 | able to control the color.
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| Using color correction | 00:00 | Sometimes however, we need more control
than simply changing the gamma setting
| | 00:04 | to adjust the mid-tone gray.
Sometimes, we actually need to do color
| | 00:08 | correction. For this, we need to add a
color correction filter. Now beyond a
| | 00:12 | doubt, the best color correction
filter to use inside Final Cut is the Color
| | 00:16 | Corrector 3-way filter. This gives us
complete control over the colors and the
| | 00:21 | Blacks, the mid-tones and the highlights.
But when I am working in chroma key,
| | 00:25 | there is a special inside the Color
Corrector filter, that I think makes it
| | 00:29 | very valuable and I will show you why.
Let's select that. Double click our clip
| | 00:33 | to load it up into Viewer. Click the
Color Corrector tab and notice that we
| | 00:37 | have the exact same amount of control
over our Whites, our Mids and our Blacks
| | 00:41 | and Saturation as we have with the
Color Corrector 3-way filter. What's
| | 00:45 | different are these two color wheels.
| | 00:47 | Instead of being able to control the
colors for the Blacks, the Mids and the
| | 00:50 | Whites, I am now controlling the hue of
the entire clip and the balance of the
| | 00:55 | entire clip and I am going to give you
two examples of where this filter can
| | 00:59 | bail us out of some tight spots.
| | 01:01 | Let's start here with this shot of me.
Now when you look at me against the
| | 01:05 | black background, I look a little bit
green. Let's take a look by going up to
| | 01:09 | the Window, Arrange, Color Correction.
Take a look at our Scopes. If we look at
| | 01:13 | the Waveform Monitor, flesh tone is
between 40% and 60%, that's above, what you
| | 01:17 | expect. We have got nice Black sitting
right on the black line here, the shirt
| | 01:21 | is well exposed. It's not about
exposure at all. We look at the Vectorscope
| | 01:24 | however, and while my skin tone is
right on the flesh tone line, that's pretty
| | 01:28 | under-saturated. We need sort of pump
the Saturation up to make it look like I
| | 01:31 | have actually got blood in my face
somewhere as opposed to just a pale ghost.
| | 01:35 | All right, so we need to do some
Saturation changes. However, things get really
| | 01:39 | weird when we turn on the background.
Watch this. Wow! All of a sudden I got
| | 01:44 | dark and all of a sudden I got even
paler, because we've got this vibrant color
| | 01:48 | radiating behind me and so we
use the Color Correct filter.
| | 01:51 | The first thing that we will do is
we'll pump the Saturation up to make it look
| | 01:54 | like I'm likely to live until next week
and the second is, we are going to pull
| | 01:58 | the mid-tones up and this is like
changing the gamma setting. Gamma and Mids
| | 02:02 | are almost synonymous. When I pull this
up, look at how my face lightens up and
| | 02:06 | it looks like it's being illuminated
by all this White, Amber, Golden light,
| | 02:11 | flowing all over the place and all of
a sudden it looks nice as opposed to,
| | 02:15 | boy, he looks dead.
| | 02:16 | So, if I turn the filter off, this is
where we were before, gray, near death
| | 02:21 | and this is where we are now, lively,
vibrant engaging - well, I don't want to
| | 02:26 | go there, because anyway --what we
want to show here is that we can use the
| | 02:32 | Color Corrector filter to really tie
the foreground and the background together
| | 02:36 | and let's try this. Take
a look over here at Megan.
| | 02:38 | So we'll double click on sequence
number three, Megan, okay! Look where is she
| | 02:42 | on the Vectorscope. One, she is way over
-saturated. Number two, she is a little
| | 02:46 | bit more toward red than she needs to
be and when we turn on this background
| | 02:50 | and chroma key here in front of the
background and turn on Clip Enable by
| | 02:54 | Ctrl+Clicking on the clip and going
down to Clip Enable and she is against this
| | 02:58 | dark green background.
| | 02:59 | So one, she is way too over-saturated.
Two, she is too bright. Three, she has
| | 03:03 | the wrong color, but other than that,
she looks great. Select the clip, go to
| | 03:08 | Effects, add the Color Corrector,
double click the clip to load it up into the
| | 03:11 | Viewer, click the Color Corrector tab.
| | 03:13 | The first thing we want to do is this
where that hue, it's just so wonderful.
| | 03:18 | We are going to grab the hue and watch
the Vectorscope as I drag the hue, right
| | 03:23 | there. We just took that whole video
and dropped her right on the flesh tone
| | 03:26 | line, then we will decrease the
Saturation so it doesn't look like she is in
| | 03:30 | middle of an MGM movie anymore, pull
that down, right to the second circle 40%,
| | 03:34 | right where she needs to be and we'll
darken her mid-tone and make her look
| | 03:39 | like she is a little bit less jumping
out at your face, kind of too bright for
| | 03:44 | that background. See, the background is muted.
| | 03:47 | Now, she is a bit muted. This hue
change is almost impossible to inside the
| | 03:51 | Color Corrector 3-way filter, but
makes it very easy to just roll the whole
| | 03:56 | clip from somewhere over -- not where
it needs to be, down to right where it
| | 04:00 | has to be.
| | 04:01 | So, what we have seen, is while this is
not a perfect example of complete Color
| | 04:05 | Correction, by the way, let's see how
she looks like in full screen. Wonderful!
| | 04:08 | Look at that, that is just gorgeous
and now, I will hit the right key this
| | 04:13 | time, don't back out.
| | 04:15 | So, what we've got, is we've got a nice
way of using the Color Corrector filter
| | 04:20 | to have our images look better and
blend the foreground and the background and
| | 04:24 | still make sure our flesh tone stay
legal, our White levels are fine and
| | 04:27 | everything looks great. This is a
wonderful way to end our discussion on
| | 04:32 | dealing with problems inside Chroma keys.
I will be back to wrap everything up
| | 04:36 | in the next movie.
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