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Color-correcting elements to match within a green screen composite

From: Motion 5 Essential Training

Video: Color-correcting elements to match within a green screen composite

Now if you're joining me from the previous video, you'll recognize what's going on here, but just in case you jumped right to this part, I want to kind of explain what's happening. We have a dancer who has been keyed off of a green screen and in addition to that, after the initial green-screen key, notice the green in her shirt was popping out, so we had to create a holdout matte to do that. So if you have interest in any of that stuff, jump back in the chapter and watch some of those, but we're going to continue on from here.

Color-correcting elements to match within a green screen composite

Now if you're joining me from the previous video, you'll recognize what's going on here, but just in case you jumped right to this part, I want to kind of explain what's happening. We have a dancer who has been keyed off of a green screen and in addition to that, after the initial green-screen key, notice the green in her shirt was popping out, so we had to create a holdout matte to do that. So if you have interest in any of that stuff, jump back in the chapter and watch some of those, but we're going to continue on from here.

Now I want to just stop for a second and explain something. First thing, the play range is really short because I've only done the holdout matte just for that one little section. But second thing, in general if you know you're trying to match something into the background of a scene, you want to pay attention to a couple of things first. First thing, that scene that you're shooting for, you want to make sure in the studio to try and emulate those colors as best you can. Also if you can shoot it with the same camera, that would be great, but as everybody who is watching this knows, optimum situations never ever really seem to always happen, so you need to be ready to be able to pull some tricks out of your bag and see if you can get things to be a little closer.

So if we're looking at our scene right now, we have a pretty decent key going on, and we have our dancer in the foreground. It looks kind of like she is dancing on the sidewalk, but if you look in the scene here, you'll notice that things are kind of soft and it's sort of sunset-esque and she's way too saturated. Yes, I could continue tweaking the green-screen key and you know double check the edges and do all kinds of other things, but like I said, we're just color- correcting right now, so let's select her and to color correct, let's go the Library.

There is a filter that I use to get things close really, really quickly and it's kind of a fast-and-dirty trick. If you go to Color Corrections, there is a filter called Colorize. Now if you just drag and drop this right onto our dancer, first thing you'll notice: the holdout mask. I'm just going to turn that layer off for now. Once we get our colors set then we can just copy those filters to the holdout. Now when you just apply this, it makes it look like back in the day dancer or whatever. I want to change this by adjusting the Remap parameters.

Now the reason I like using this; when you have a scene that's tinted with a color, black usually isn't black and white usually isn't 100% white. I mean yes, in certain areas things are white, but all in all there is generally a tint to the scene. So using Colorize allows me to pass that tint through the different luminance levels of the image with both black and white. Let's grab this little eyedropper here for black and choose an area of the scene more down here.

I'm not going to choose the black right here because that is pretty dark. I want to choose some kind of black that has a slight tint to it. So if I come down, maybe the edge of this guy shoe. When I click on that it's not very black. Let me zoom in here, Command+Plus. There we go, that's a little darker. It's kind of tinting it brown, but that's okay. We want to get relatively close. Now for the white I'm going to choose something a little more gold, so I'm actually going to click up here in the trees and just sort of really accentuate what's going on here.

Now with those two things selected, it still doesn't look anything close to what it needs to, but if you crank the Intensity down notice things are started to look a bit better and if you bring the Mix down, you'll mix in the background video layer just a little bit. So you can adjust the Intensity and the Mix and now all of the sudden--let's look at what we have--if I turn off the correction she's all saturated and pops out of the background, but if I turn it back on, she's definitely more muted into the scene. Like I said before, I can keep going back and adjusting the key and edge wrap and that sort of thing, but all in all I'm getting a relatively good tint.

There is another way to help blend things into the background, and that's taking into account the focus. So if we look at what's going on here, everything is a little bit soft. Even these leaves over here are little soft. So I'm going to select her video layer and go to my Library, and this time instead of Color Correction, let's go to Blur. And instead of just doing a traditional Gaussian Blur, I'm going to choose Defocus. See, Defocus will blur her out a little bit more like a traditional camera would blur something out.

So of course in the Inspector we want to go back and bring this amount down exponentially, but if we bring it down you'll notice now as we kind of look at things it's looking a little more natural and she starting to blend into the scene. Now let's turn our holdout matte back on. Now I'm just going to press Command+1 twice to close the browser, so I can show you the exact filter that we are copying: Defocus and Colorize. If you hold down Option with both of those filter selected and drag up, you can apply both of those filters to the holdout mask video as well.

So now things are getting very, very close. There's one other thing you can do to help blend things into a background, and this is a little-known trick that a lot of compositing artists do, and that's actually introducing grain back into the scene as a hole, because that is yet another consideration. Even if you're shooting digitally, when you have your ISO set at a higher level, it introduces noise back into the image. To stimulate that a little bit, we'll select our main group here, and you'll notice that group contains both the dancer and the background.

So if we go to our Filters, we can click and go to Stylize and choose Add Noise. And again, much like many other things, the default settings are not quite doing it. So press Command+3 to open up the Inspector and in the Filters here, let's first change this from Color to Monochrome, because I don't want to introduce any new color into here. And by all means, that's decrease the Amount, so it's significantly less in the seeing. Now you can choose White Noise or Gaussian Noise or Blue Noise.

Let's choose Film Grain Gaussian Noise. It's set to Autoanimate. You can adjust the Mix by bringing this up or down. It's very subtle. But let's see what's going on. I'm going to press F8 to show you full screen, and we'll preview this first one second. And as you can see, yeah, it's not quite perfect, but it's definitely infinitely better from where we were, and with the noise added back into the scene it's definitely helped things.

So just to show you the before and after, let's open our Layers panel and open our Dancer group and just turn off the Colorizer and the Defocus and the Add Noise and as you can see, relatively quickly we have definitely made quite a difference just by using a couple of filters and taking a second to analyze the scene.

Show transcript

This video is part of

Image for Motion 5 Essential Training
Motion 5 Essential Training

77 video lessons · 25563 viewers

Ian Robinson
Author

 
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  1. 14m 18s
    1. Welcome
      1m 6s
    2. Learning important definitions
      8m 13s
    3. Using the exercise files
      1m 37s
    4. Relinking missing media
      3m 22s
  2. 49m 41s
    1. Launching Motion for the first time
      4m 3s
    2. Navigating the interface
      9m 27s
    3. Creating and transforming objects in the Canvas
      6m 9s
    4. Controlling the Timing pane
      6m 29s
    5. Setting essential preferences
      6m 41s
    6. Customizing the keyboard
      5m 5s
    7. Using RAM preview and audio controls to get smooth preview playback
      5m 26s
    8. Introducing markers and audio
      6m 21s
  3. 26m 9s
    1. Adding assets to a project
      7m 56s
    2. Using the Library
      6m 4s
    3. Working with layers and groups
      6m 9s
    4. Understanding and using blend modes
      6m 0s
  4. 31m 15s
    1. Adding and adjusting behaviors
      7m 5s
    2. Adding multiple behaviors
      6m 31s
    3. Trimming and sliding behaviors
      8m 40s
    4. Using custom presets to create a slideshow
      8m 59s
  5. 29m 49s
    1. Animating manually using keyframes
      7m 49s
    2. Using the Record button
      6m 28s
    3. Manipulating keyframes with the Keyframe Editor
      10m 9s
    4. Combining keyframes and behaviors
      5m 23s
  6. 52m 33s
    1. Adding and formatting text
      7m 50s
    2. Using text styles
      10m 36s
    3. Formatting with the Transform Glyph tool
      5m 33s
    4. Animating text
      11m 17s
    5. Working with text on a path
      8m 16s
    6. Creating credit rolls
      9m 1s
  7. 31m 19s
    1. Match Move: Four-corner pin
      7m 25s
    2. Match Move: Transform
      11m 27s
    3. Stabilization
      5m 4s
    4. Retiming footage with behaviors
      7m 23s
  8. 16m 42s
    1. Applying and adjusting filters
      4m 18s
    2. Applying multiple filters
      7m 32s
    3. Timing a style with filters
      4m 52s
  9. 33m 35s
    1. Creating and adjusting shapes
      10m 7s
    2. Using shape behaviors
      7m 40s
    3. Creating and adjusting masks
      10m 47s
    4. Creating masks with objects
      5m 1s
  10. 34m 3s
    1. Using the keyer to composite green screen footage
      7m 28s
    2. Refining a key
      11m 6s
    3. Using masks to refine a green screen composite
      7m 54s
    4. Color-correcting elements to match within a green screen composite
      7m 35s
  11. 50m 2s
    1. Understanding generators
      4m 52s
    2. Applying text generators
      5m 41s
    3. Creating particle systems
      5m 49s
    4. Making adjustments to a particle system
      7m 33s
    5. Using particle behaviors
      5m 18s
    6. Creating paint strokes
      6m 58s
    7. Animating paint strokes
      4m 57s
    8. Using the Replicator
      5m 1s
    9. Replicating video
      3m 53s
  12. 47m 28s
    1. Viewing a scene in different layouts
      7m 17s
    2. Working with lights
      8m 12s
    3. Adjusting lighting and reflectivity
      9m 13s
    4. Creating and adjusting shadows
      4m 3s
    5. Creating replicators in 3D
      7m 50s
    6. Creating particles in 3D
      5m 7s
    7. Creating text in 3D
      5m 46s
  13. 42m 14s
    1. Working with cameras
      9m 3s
    2. Creating depth of field in a composition
      4m 55s
    3. Using camera behaviors
      9m 53s
    4. Create interest with the Focus behavior
      7m 26s
    5. Animating cameras with camera framing
      10m 57s
  14. 16m 36s
    1. Adding and adjusting audio
      9m 29s
    2. Adding audio markers
      7m 7s
  15. 17m 37s
    1. Sharing files
      6m 58s
    2. Creating a pre-render
      7m 5s
    3. Archiving a project
      3m 34s
  16. 26m 5s
    1. Creating drop zones
      4m 21s
    2. Setting up rigs: Slider rigs
      6m 56s
    3. Setting up rigs: Pop-up rigs
      4m 49s
    4. Making templates for Motion
      4m 3s
    5. Making templates for Final Cut Pro
      5m 56s
  17. 1m 32s
    1. Goodbye
      1m 32s

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