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Using masks to refine a green screen composite

From: Motion 5 Essential Training

Video: Using masks to refine a green screen composite

In working with green-screen footage you'll find that there will be plenty of occasions where you'll need to actually use masks to aid in the process of cutting out your subject from its background. Now I want you to understand there are two different kinds of masks that you can create to help with this process. In this example here, you can see we've got our subject and a beautifully lit green-screen background and if we press the spacebar, we can see that it's an interview and she's talking, but she's not jumping around the screen or anything like that.

Using masks to refine a green screen composite

In working with green-screen footage you'll find that there will be plenty of occasions where you'll need to actually use masks to aid in the process of cutting out your subject from its background. Now I want you to understand there are two different kinds of masks that you can create to help with this process. In this example here, you can see we've got our subject and a beautifully lit green-screen background and if we press the spacebar, we can see that it's an interview and she's talking, but she's not jumping around the screen or anything like that.

If you look over on the side, you can still see part of the studio. This is quite common. A lot of times you may not have the time, the space, or the budget to actually have somebody rent a full-screen green-screen studio, but that's perfectly fine. As long as you can get a piece of green that's just large enough to fit behind your subject, you can pull a beautiful green screen in Motion and actually use masks to create something called a garbage mask, which is the first out of the two kind of masks I want you to learn about.

So first thing, let's go ahead and key her out of the background. Select the Video layer and go to the Library. See in Motion when you're going to be combining keys as well as masks, you want to make sure to apply the Keyer and adjust the Key settings first before you add your masks. It's just how Motion processes things, and it's the recommended workflow. So I'm going to take the Keyer and drag and drop it right onto this piece of footage, and sure enough she is keyed out of the background. Now we can see all of our other footage that's moving around, so I'm just going to turn off the footage that we have from the other day. And I'll leave this background on for now, but obviously you can see you know we could put whatever background want in here.

Now I could go through the Key settings and make adjustments like we've gone through extensively in the previous videos, but this is about masks, so let's add a mask to this clip. Now before we do that, I want you to select the video layer and then come down to your toolbar. Just to the left of the timing window choose Rectangle Mask. Now you could choose any of these masks, but since she's not really moving around, you can just use a simple rectangle mask. Make sure to draw a rectangle large enough around the subject, so as she continues to move, she's not going to get cut off by the edge of the mask.

So when I let go here now you'll notice the edge of that mask is cutting off the extra piece of studio that was there. So if we press play, you'll notice she's moving right along, and we don't have that extra piece of studio. Now if I select the footage here, you notice it disappear just because the length of her clip was only four seconds and the length of the entire compose a little bit longer. So before we move on, let me show you what would happen if we actually turn off the key. See when I turn off the key, only the area that I drew with a mask is now visible in the scene.

So even though I applied the key first, it really doesn't matter because the mask is cutting off a section of the image and the key is cutting off a section of the image and they're both completely independent of each other. So if I wanted to, I could actually keyframe the position of this mask, or I could apply this filter to another clip that we shot with this person, but you get the general idea. Now that's how we create a garbage mask, but let's turn this Video layer off by a collapsing the layer and turn off its visibility.

I want to turn on this next layer here. Now you may recognize this from the previous videos. If we go and scrub with our playhead here, you'll notice there's a large section that's missing out of the key. So if we open the disclosure triangle for the video layer and disable the green-screen key, you'll notice her T-shirt did originally have a big green circle on it. Now obviously, if you know you're going to be shooting somebody on green screen, you want to make sure that they don't wear any green articles, but as everybody knows, more often than not things typically don't quite happen the way you are expecting during a production, so sometimes you'll have to "fix it in post." So let's do that.

Enable the Keyer, and now if we go down to our Mask tools, go ahead and choose Circle Mask and make sure we have her video layer selected and just draw a circle mask. And actually, I'm sorry, I should have selected this first and then gone down to grab the mask, but you can see now we've got the video layer selected and our Mask tool selected. So if we click and drag, you'll notice, well, the mask has cut or out, and that's not exactly what we want to do, so let's go to Mask settings in the Inspector and change the blend mode from Add to Subtract, and that's still not what we want to do.

We could try Replace and Intersect, but really those are designed to function when you have more than one mask on an object and since the key isn't a mask, these won't work either. So what you need to do to create a holdout mask--okay, this is the second kind of mask that we're to be talking about-- what we need to do is actually start by deleting this mask-- okay so we've our original video footage--and duplicating this keyed footage. So with it selected just press Command+D under keyboard to duplicate that layer.

Now we can delete the key off of this upper layer just by selecting the Keyer filter and pressing Delete in the Layers tab, and now we can go down and grab our Mask tool can create a circle mask around our logo. I'm just going to go ahead and click and drag to draw the circle, and now check this out. It works perfectly, because this video layer now is only this one circle. See if I solo this layer by pressing Ctrl+S, you'll notice the mask is cutting out this one area, but since it's over top of this other layer, if I press Ctrl+S, you'll notice this layer has the key on it and we have our holdout mask on the layer above.

So obviously this is moving footage, so if I press the spacebar to try and play, you notice this isn't quite working, what you need to do is animate the mask, so if we move our playhead back to kind of where we created the original mask, here we go, we can animate the mask by selecting the mask itself, going down to our Transform tool, and make sure we have Edit Points selected. Now with Edit Points selected press A on your keyboard to turn on automatic keyframing.

Now just click on one of points to set your first keyframe for the control points. Notice how it automatically created the keyframe here. Now to be very precise, what you can do is actually move up and down the timeline. So I'm using my right arrow to move down the timeline. So I'm just going to keep clicking until I know this mask isn't working. So now I'll just move this control point over and adjust the mask accordingly. So if I use my arrow keys to move back through, you notice now the mask is tracking along.

This process is actually called rotoscoping where you're going in and cutting out a specific area of an image, but since we're using this as a mask on the duplicated layer, we are rotoscoping a mask to create a holdout mask. So when you go to create your masks combined with keyers, just pay special attention so you can determine whether or not you want to create a garbage mask or whether you want to create a holdout mask. And by all means, if you think you're going to be animating your masks, make sure to pay attention to whether you have Automatic Keyframing turned on.

Show transcript

This video is part of

Image for Motion 5 Essential Training
Motion 5 Essential Training

77 video lessons · 25891 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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