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After you have the overlay adjusted for the best coverage of the backing screen, the next step is to use the Matte tools to adjust the matte density. The matte density is adjusted with the Matte tools and the Density tab. The Matte tools allow you to select pixels from the screen while the Density tab allows you to adjust the density parameters. We'll start by setting the viewer to the alpha channel so we can see our matte, and turn the viewer again way down. So we can see we've got some transparency here. This should be a solid matte.
So, the way we fix that is we come up to the Matte Plus tool, meaning increase the matte density, and do an Alt+ Command, click and drag, and viola! Next, we'll turn the viewer gamma up, so we can take a look over here at the umbrella, which we wanted some transparency. So, if I'd like to increase the transparency, I will then select the Matte Minus tool and again Alt+Command+Click in order to say reduce the density of the matte in this area.
Okay, I'm going to undo all of that and home the viewer, so that we can take a look at the Density tab itself. Here's the Density tab, and this allows you to adjust the density of the matte in different parts of the picture: bright, dark, warm, cool. For example, the white shawl. If we look at the RGB we can see this is a very bright object. Oop! Let me put the viewer again down. This is supposed to be a very bright object, and it's terribly transparent. So I'm going to adjust the brights up and fill in the shawl. I'll undo that.
Now, down here is a Warm parameter. So, if we look at our original picture, we can see this red shawl, which is a warm color. Watch how it responds to an adjustment of the warm matte density. I can bring it up or down. I'll reset that. And similarly, the cool over here, the umbrella, you can see has very cool colors. So, I can lower and raise the density of the matte in the cool parts of the picture.
So, we'll home the viewer, undo all those adjustments, and set it back to RGB so that we can take a look at the edge kernel next. Let's zoom in to the picture and look at the dark edge along side the skirt. Very often you're composite will have these dark edges from light objects, so the edge kernel can help with that. Watch what happens with that dark edge as I adjust the edge kernel. See, it pulled it out. Now, let's take a look at the alpha channel to see what's going on.
The edge kernel does a density change along the edge here-- I'll exaggerate it, so that you can see-- does that density change along the edge to help tuck in those dark edges. We'll put that back to RGB and re-home the viewer. Now that the matte density is set, the next operation is the shadows. The Shadows tab is only enabled when there are shadows to process. Now, in this particular clip in order to actually capture these shadows, you're going to have to split the key, because this blue screen down here is a very different color than the blue screen up there. Back to our story.
To activate shadow processing, you select the Shadows tab and turn on enable. Let's set the viewer to the alpha channel, and we'll zoom in here to see some shadows. We can dial in the shadows first by increasing the low value up like this, and that brought the shadows in. And just to show you why you have to have this enabled, you can see the difference in the matte when the shadows calculations are enabled and disabled. Another adjustments you have is the blur, which softens the shadows. And to see the tint, we're going to have to go back to RGB.
By the way, you can also adjust the density while you're looking at it in the RGB mode. And the tint will give it a color. So, we'll pop up the color chooser, and we'll just select the nice red, and there you go. And I'm going to disable the shadows calculations and reset the Viewer. In the next video, we'll see how Ultimatte handles spill suppression.
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