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Motion 4 Essential Training

Pulling a chroma key with Primatte RT


From:

Motion 4 Essential Training

with Ian Robinson

Video: Pulling a chroma key with Primatte RT

In Motion, there are a couple of different ways to pull a key, a Luma Key or a Chroma Key. So in this video, we're going to use Primatte RT to pull a chroma key. The reason I chose Primatte RT, it like Motion works in real time. So as you pull your key, you can just press Play and get direct feedback. Press F5 and let's look at what we have. And you'll notice we have background video of a bunch of camels, and we have this green screen footage that we need to key out. Even though our composition is at an HD resolution and our green screen footage is at a nasty resolution, Motion will still handle it just fine.
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  1. 6m 52s
    1. Welcome
      1m 0s
    2. Important definitions
      3m 5s
    3. What's new in Motion 4
      1m 51s
    4. Using the exercise files
      56s
  2. 45m 38s
    1. Launching Motion for the first time
      2m 20s
    2. Understanding the Motion interface
      4m 43s
    3. Understanding the Utility window
      5m 50s
    4. Understanding the toolbar
      1m 57s
    5. Navigating the Canvas
      4m 37s
    6. Working with layers and layer groups
      4m 52s
    7. Using the Project pane
      2m 42s
    8. Transforming objects
      3m 41s
    9. Controlling the Timeline
      4m 27s
    10. Using the HUD
      1m 27s
    11. Essential preferences
      2m 37s
    12. Customizing the keyboard
      4m 14s
    13. Getting smooth playback with RAM preview
      2m 11s
  3. 28m 52s
    1. Adding assets to Motion
      3m 12s
    2. Adding QuickTime movies to Motion
      3m 30s
    3. Adding still images to Motion
      3m 23s
    4. Adding image sequences
      3m 23s
    5. Adding layered Photoshop files
      2m 40s
    6. Adding Illustrator files
      2m 12s
    7. Using the Library
      3m 14s
    8. Understanding and using blend modes
      5m 39s
    9. Adding text
      1m 39s
  4. 13m 19s
    1. Creating and adjusting shapes
      7m 41s
    2. Creating simple masks
      2m 36s
    3. Creating masks with objects
      3m 2s
  5. 42m 24s
    1. Adding and adjusting behaviors
      5m 49s
    2. Adding parameter behaviors
      4m 2s
    3. Applying behaviors to layers and groups
      5m 16s
    4. Adding multiple behaviors
      7m 39s
    5. Exploring the power of the Link behavior
      5m 2s
    6. Trimming and sliding behaviors
      5m 18s
    7. Saving custom behaviors to animate stills
      4m 24s
    8. Using shape behaviors
      4m 54s
  6. 25m 3s
    1. Adding keyframes manually
      6m 10s
    2. Using the Record button
      6m 38s
    3. Manipulating keyframes with the Keyframe Editor
      6m 59s
    4. Combining keyframes and behaviors
      3m 33s
    5. Working with recording options
      1m 43s
  7. 26m 38s
    1. Adding and formatting text
      5m 35s
    2. Using text styles
      4m 33s
    3. Formatting text with the Adjust Glyph tool
      4m 8s
    4. Animating text with the Adjust Glyph tool
      4m 23s
    5. Creating text on a path
      3m 35s
    6. Using text behaviors
      4m 24s
  8. 22m 4s
    1. Stabilizing shaky footage
      4m 7s
    2. Match moving: Transform
      3m 56s
    3. Match moving: Four-corner pin
      4m 44s
    4. Retiming video in the Inspector
      5m 49s
    5. Using retiming behaviors
      3m 28s
  9. 11m 41s
    1. Applying and adjusting filters
      2m 46s
    2. Applying multiple filters
      8m 55s
  10. 8m 13s
    1. Pulling a luma key
      2m 42s
    2. Pulling a chroma key with Primatte RT
      5m 31s
  11. 11m 29s
    1. Applying and adjusting generators
      3m 25s
    2. Using the text generator
      4m 15s
    3. Generating a background
      3m 49s
  12. 19m 9s
    1. Creating basic particle systems
      10m 58s
    2. Using particle presets
      1m 51s
    3. Creating an advanced particle system
      6m 20s
  13. 13m 25s
    1. Replicating objects
      4m 52s
    2. Animating a replicator
      4m 53s
    3. Replicating a video file
      3m 40s
  14. 49m 46s
    1. Working in 3D space
      5m 11s
    2. Working with cameras
      8m 6s
    3. Viewing a 3D scene in different layouts
      2m 56s
    4. Creating depth with lights and shadows
      8m 22s
    5. Simulating depth of field
      3m 54s
    6. Using camera behaviors
      4m 7s
    7. Animating cameras with camera framing
      6m 8s
    8. Create interest with the Focus behavior
      1m 52s
    9. Using reflections and highlights
      5m 13s
    10. Creating particles in 3D
      3m 57s
  15. 20m 31s
    1. Using the Paint tool
      6m 1s
    2. Using advanced paint tools
      8m 9s
    3. Applying paint presets
      1m 51s
    4. Sequencing paint with the Stroke behavior
      4m 30s
  16. 9m 3s
    1. Adding and adjusting audio
      4m 37s
    2. Animating to music with the Audio Parameter behavior
      4m 26s
  17. 11m 52s
    1. Sharing files
      3m 36s
    2. Exporting files
      3m 15s
    3. Creating an export preset
      3m 0s
    4. Archiving your project
      2m 1s
  18. 15m 30s
    1. Round-tripping between Final Cut Pro and Motion
      4m 24s
    2. Sending your project to Compressor
      1m 59s
    3. Creating drop zones
      3m 0s
    4. Creating templates for Motion and Final Cut
      5m 2s
    5. Importing Motion projects into DVD Studio Pro
      1m 5s
  19. 22s
    1. Goodbye
      22s

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Motion 4 Essential Training
6h 21m Beginner Sep 11, 2009

Viewers: in countries Watching now:

In Motion 4 Essential Training, Ian Robinson shows how to start building outstanding motion graphics and animations for video production. He demonstrates how to build custom text animations with the new Adjust Glyph tool and explores Motion’s amazing real-time 3D tools. Ian highlights working in the 3D space, creating depth with lights and shadows, and using reflections to add realism. He gives practical advice on how to integrate Motion into a professional video workflow, round-tripping with Final Cut Pro and sending a final project to Compressor. Exercise files accompany this course.

Topics include:
  • Understanding the toolbar and setting the essential preferences to get started
  • Adding .mov files, still images, and Photoshop and Illustrator assets to a project
  • Animating with behaviors and keyframes
  • Creating 3D animations with lighting accents, shadows, and reflections
  • Creating simple and complex particle systems
  • Creating real viewer interest with Focus Behavior and the 3D Camera Framing behavior
Subject:
Video
Software:
Motion
Author:
Ian Robinson

Pulling a chroma key with Primatte RT

In Motion, there are a couple of different ways to pull a key, a Luma Key or a Chroma Key. So in this video, we're going to use Primatte RT to pull a chroma key. The reason I chose Primatte RT, it like Motion works in real time. So as you pull your key, you can just press Play and get direct feedback. Press F5 and let's look at what we have. And you'll notice we have background video of a bunch of camels, and we have this green screen footage that we need to key out. Even though our composition is at an HD resolution and our green screen footage is at a nasty resolution, Motion will still handle it just fine.

Since we're going to be shrinking our reporter down anyway to go into one of the lower corners, this will work out just fine. So let's get started pulling a key. If we select our Newsreporter footage, we can go and close the Project pane. If your canvas didn't resize, press Shift+Z on your keyboard. Since I don't want to see this anchor point in the center of this shot, I'm just going to go up under View and get rid of the Handles, by deselecting that option. Now, since I still have the footage selected, we can apply the filter.

If we go up to Add Filter, go to Keying and you notice there are a couple of different keyers we can use to pull a chroma key. We could use blue or green screens, since this is a green screen shot, we could use color key which would just key on any specific color. We couldn't use Luma Key because this isn't based on luminance where keying based on color. So, like I said, let's choose Primatte RT. Go ahead and choose that and you notice immediately it's pulled a key. If we press the Play button, you can see there are a lot of issues with this shot.

Let's stop playback for the second, just so we can make some adjustments. Let's open the HUD and let's look at the options for Primatte RT. Let's start with the popup menu at the top of the HUD. Click on it and you notice, by default, it switched to Processed Foreground. If you click on Foreground, you can see our original footage. Now you have to understand when Primatte RT is applied originally to the footage, it does an auto-sampling where it looks at the overall shot and then automatically keys out whatever color is the most dominant.

So sometimes it may not pick the right color, but just in case that's not the case for your specific shot, go back and change your Output Type to Foreground. Click on the Eye Dropper and just click to sample the background. Now with that sampled, go back and switch Processed Foreground. We'll be coming to this popup menu quite a bit, because sometimes, you'll have to click and look at the Matte, which is where the key signal is actually generated. So whatever is white, will allow the image to show through, and whatever is black, gets cut out of the entire shot.

You can auto-sample with red, green or blue just by clicking these buttons and the replacement color is the color that Primatte RT will automatically put in. If it doesn't have a pixel it can paint in all the way. So let's drag the Noise Removal down, so we can actually introduce some more softness back into the Matte. I'm just going to drag it back up a little bit more here, so we can get rid of some of this noise that's going on, on the upper edges. Let's keep it a really low setting. The Matte density will adjust this area inside the Matte itself.

Let's drag that down so we can increase the number of white pixels. Let's set that around 0.27. In order to see the Spill Suppression you have to be in the Processed Foreground. Let's go ahead and click on that and drag that back down a little bit to reintroduce some of the skin tones. If we drag this all the way to the left, you will notice this will have a green edge on our news reporter. So just drag this back up to around 0.35. All right, let's press Play and check out our key.

This is actually pretty darn good. One of the things I love about Primatte RT is the fact that Spill Suppression is built right in. If you're using one of the other green screen keyers in Motion, you'll need to apply a second filter to adjust for Spill Suppression. All right, now that we have our footage keyed, let's go ahead and reintroduce our background. Press F5 to open up the project and select the Background layer turning on its visibility. Now you'll notice we have a slight issue here with this dark line and if we turn off and on the visibility of our news anchor layer, you'll notice that's just the edge of the image.

So we need to apply what's known as a Garbage Matte. If you just click on the Newsreporter footage and go up to the Rectangular Mask tool, we can click-and-drag a mask just around our news anchor. When you let go, now you'll notice that we've cut out the edge that was causing the problem. Now since we covered a basic Garbage Matte with this shot, let me just explain, sometimes you'll be in a situation where you'll receive some green screen footage that was shot where the green screen actually doesn't go all the way to the edges of the image.

And in that case, that's when you'd want to use a Garbage Matte as well, just drawing a box around the edges of the green screen. So when you pull the key, everything else in the image is cut out. Now that we have our footage all clean and keyed with our Garbage Matte, go ahead and select the news anchor, drag her down into the corner of the image and feel free to create a new layer between the Background and the keyed footage to layer in your graphics between the reporter and the story she is talking about. To see our final key, press F5 to close the Project pane and press Play in your Timeline.

So that's keying with Primatte RT in Motion 4.

Find answers to the most frequently asked questions about Motion 4 Essential Training.


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Q: In Motion 4, is it possible to create an intro with multiple pictures, where some pictures enter from the left side and some from the right side of the frame, with all fading as they approach the center of the canvas?
A: The effect described is a very specific move utilizing 3D space.  One effective method is to work in true 3D space, instead of trying to use a behavior, by keyframing the animation. Try these steps:
  1. Place a camera in the scene and switch the scene to 3D. 
  2. Rotate the first image to an angle that achieves the desired effect, and slide it on the X axis until it is out of the scene on the right of the stage. 
  3. Turn on Auto Keyframing and make sure a keyframe is recorded for the rotation and position. 
  4. Move the playhead down the Timeline and move the picture to it's ending point and adjust the rotation a little for the end. 
  5. To get the image to disappear, adjust the camera's far plane of view, making sure to soften it so it has a smooth transition into oblivion. 
    Then simply duplicate the picture and change the rotation and position keyframes to the exact opposite values for rotation and position. 
Q: When attempting to change views as the instructor demonstrates in the “Viewing a 3D scene in different layouts” video, I only see the text in the Perspective view. When the instructor uses the Top and Bottom screen split, and uses the Top view, my screen does not show the four horizontal lines that represent the four words used in the tutorial.
Are there settings that need to be changes in order to view all the objects as demonstrated in the tutorial?
A: It’s possible that when viewing the project from different?angles, the letters may be sliding way out of the view area.
Here’s how to fix it: Whenever you can't see your objects in the?scene, select at least one of them in the Layers panel and then press?F or Command+F to frame the selected objects in the scene.
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