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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.
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