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Using the keyer to composite green screen footage

Using the keyer to composite green screen footage provides you with in-depth training on Video. Taug… Show More

Motion 5 Essential Training

with Ian Robinson

Video: Using the keyer to composite green screen footage

Using the keyer to composite green screen footage provides you with in-depth training on Video. Taught by Ian Robinson as part of the Motion 5 Essential Training
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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. 20m 39s
    1. Creating 3D text
      4m 5s
    2. Working with 3D presets
      1m 59s
    3. Building custom materials
      5m 32s
    4. Modifying lighting
      4m 37s
    5. Refining looks with multiple materials
      4m 26s
  18. 1m 32s
    1. Goodbye
      1m 32s

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Using the keyer to composite green screen footage
Video Duration: 7m 28s 9h 1m Beginner Updated Aug 27, 2015


Using the keyer to composite green screen footage provides you with in-depth training on Video. Taught by Ian Robinson as part of the Motion 5 Essential Training

View Course Description

Learn how to create stunning motion graphics and animations for video production. Author Ian Robinson explains how to format and animate type with the Transform Glyph tool and explores Motion's real-time 3D tools. The course also covers working in 3D space, creating depth with lights and shadows, keying green screen effects, and working with particle systems. In addition, Ian offers practical advice on integrating Motion into a professional video workflow and explains how to work smarter using rigs and templates.

Topics include:
  • Getting started with Motion and setting essential preferences
  • Working with layers, groups, and blend modes
  • Animating and adjusting behaviors
  • Building custom presets to create a slideshow
  • Keyframing animation
  • Animating type along a path
  • Creating credit rolls
  • Understanding generators
  • Adding reflections
  • Controlling and animating cameras
  • Creating depth of field in a composition
  • Adjusting audio
  • Exporting, sharing, and archiving a project

Using the keyer to composite green screen footage

There's really nothing more exciting to new designers than the first time you pull a key. Being able to make a background transparent can really help you create all those fun effects, with people floating over colorful backgrounds, riding roller coasters, flying like Superman, you get the idea. Now if you're a long-time designer, pulling a key may not have been something you would've look forward to in previous versions of Motion, but I have to say in Motion 5 the Keyer is nothing short of amazing. Now before we get started with this project, let's actually see what we're dealing with. Press F5 to open your Project panel and I'm just going to close my File Browser by pressing Command+1 here, and you'll notice I have this GS-- green screen--Dancing QuickTime, and then I have these two backgrounds that are just generators.

They are different color solids, which you'll understand why I'm using these in a little bit once I pull my first key. Now with the green screen Dancing filter selected, let's go down in our toolbar and click on Filters. Notice there is a whole section for Keying, and now all we have to do is go to Keyer. And it's pretty amazing: the very first time you apply a key with Keyer, it almost nails the key just about every time. It's pretty insane. To look at some of the options with the Keyer, let's open the Inspector.

Press Command+3 on your keyboard, and you'll notice the Keyer has a couple of different sections here. Now by default, the Keyer will automatically pull a key based on whatever color it sees as most dominant. So notice there are no settings for green or blue key. It just looks at the image and then pulls a key. Now I have two different backgrounds that I like to look at keys with, and that's just because I found these two colors are pretty good in terms of contrast when you're trying to see how clean a key is.

Now if you're unfamiliar with exactly what I mean by clean key, let's just preview things here in a second, and take a look at things. I'm going to press the spacebar to begin playback, and you will notice okay, she's dancing around the screen and I'm still not seeing any green. If you Turn off the Gray layer, now you notice we can see red and if I stop playback here, you'll notice a couple of things. First thing, notice it actually keyed up the center of her shirt. Now we're going to deal with that actually in the next movie using something called a holdout matte.

Now for this movie, we'll just leave that alone and analyze something a little harder to deal with, and that's things like hair. Usually when you shoot something on green screen somebody has hair flying around and that sort of thing, you really need to make sure that the background-- here if we turn the Keyer off--that the background is nice and solid like this. The people I've shots this did an excellent job lighting the scene, because you notice, there's no shadows. It's evenly lit. It's a really nice situation. Now, when you first apply the Keyer, it does a great job in Automatic mode.

Now the way that that works is with this Strength parameter. See, if I drag the Strength parameter all the way to the left, notice the key is gone. This is how you can actually pull your own individual custom key, and the way we do that is using the Refine Key section here. So click on Sample Color and just draw a box over here on the right-hand side of the interface. Now notice as I draw this box, on this red background I'm seeing all this white that's going around here.

This is caused by the values of this green being slightly different than the values that I chose to key. Now if want to key let's say this and add that to this current key, all you have to do is hold down Shift and drag another selection area and then that refines the key. Now notice the edges of her hair still have this kind of white edge to it, so we can actually use the Edges selection just by clicking on Edges. And the way this works, you want to just click and drag over the area that is semitransparent, so the area that you want to be able to see through.

Now I'm just clicking and dragging and once I let go of my mouse notice I have the Adjust Items tool automatically selected, so I can click on the slider and adjust just how strong the transition is through this area and if I drag it too far to the left, notice it starts actually keying her out as well. So I just wanted to key out a little bit of the edges, but not too, too much. Now if you find that the exposure and your image changes slightly as you move down the timeline, you can add more keys just by making sure the Keyer is selected, click on Sample Color, and then click and drag.

See, when I do this, now notice I have jumped to sample, see I've two different samples because I sampled on one frame here at 03:15 and I sampled on another frame here at 05:08. So this is how you can refine your matte as you continue adjusting things. Now since we've keyed out the background, you'll find as you work you want to actually be able to view the mask that's being created. So, if we click on this View option here in the center, you'll see this is the map that's been created, and then if you click on the right button, this will always show you your original footage.

Now there are few more settings right here in the top section of the Keyer that I want to get through, and let's check them out. This first option here for Fill Holes, it'll be easier to see if you click on the Matte option. When you click Fill Holes, see what it's doing? It's actually filling in the areas that it sees as a hole and as it's filling those holes, it's making the matte more dense and it's just trying to fix any areas where it's supposed to actually be keyed out. Now if we go back to our composite image, notice as I crank this up it's generating a harder edge for the mask here, it's filling in some of the areas of her hair that I don't want filled in, and now it's not showing me the green that used to be there, but it still giving me these light pixels, so we'll leave Fill Holes deselected for now.

Now the Edge Distance is kind of interesting, because this works in conjunction with Fill Holes. See, as I drag the Fill Holes parameter here, the Edge Distance allows me to specify exactly how far from the edge I want this Fill Holes parameter to fill in. Now the last thing I want to cover here in this video is Spill Level. See, if I click on Spill Level and drag, notice I'm starting to see the green come back into our dancer. Notice the background is still keyed out.

Whenever you shoot anybody on green screen, typically what ends up happening, there will be a little bit of a green tint that bleeds into whatever it is. Now with our dancer here, it was just the edge of her skin tone and since I have a rather rough key applied with the manual key, notice it's given me kind of a strange effect. But if you ever pull a key and you notice somebody's skin tone has done this and it's turned kind of magenta, you might want to bring this Spill Level down a little bit and it should bring the natural tone back in.

Now there are many more options within the Keyer, but we will jump to those in the next video.

Find answers to the most frequently asked questions about Motion 5 Essential Training .

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Q: This course was updated on 08/27/2015. What changed?
A: We added a brand new chapter, "16. Creating 3D Text," which covers the 3D titles included in Motion 5.2.





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