IntroductionWelcome| 00:00 |
(music playing)
| | 00:04 |
Hi there.
My name is Maxim Jago.
| | 00:07 |
I am a film maker, writer, and Adobe
master trainer.
| | 00:11 |
I've worked for a long time with Premiere
Pro, developing my skills over a period
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of years to find a deeper level of
familiarity.
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With this course, I'm hoping to shortcut
much of that time for you, so you can
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dive into working with complex
multilayered sequences with confidence.
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Editors might well choose to use After
Effects for compositing, and there's no
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doubt After Effects is perfect for the
job.
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For me though, editing is about
efficiency.
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Why bother even using Dynamic Link when
you can achieve everything you need to
| | 00:43 |
with Premiere Pro?
As a colleague mentioned recently, if you
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can reduce your workflow from just two
clicks to one, it's actually 50% more efficient.
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In this course, we'll be covering some
core skills and understandings including
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opacity adjustments, blend modes, and
working without alpha channels.
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Beyond that we'll be learning about Luma
Keys, Chroma Kys, Premiere Pro's Standard
| | 01:09 |
Effect tools, and the powerful Ultra Key.
We'll also work with nested sequences and
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build compositions using track mattes.
These are advanced skills but as with so
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many aspect of post-production, once you
know what the buttons do, it all begins
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to make simple sense.
Understanding compositing can make a huge
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difference to the quality of your
finished work and I hope this course will
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help you transform your creative output.
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1. What Is Compositing? What Is RGBA?Introducing Premiere Pro: The compositing program| 00:02 |
Welcome to this workshop on using Adobe
Premiere Pro CS5.5 for compositing.
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Now it's quite likely that you have been,
using Premiere Pro for a little while, as
| | 00:12 |
a cutter and it's an excellent editing
system.
| | 00:17 |
But actually, Premiere Pro has got some
pretty advanced features as well, for
| | 00:22 |
compositing, effects work, and audio.
In this workshop, I'm going to introduce
| | 00:27 |
the key controls for you to be able to
use Premiere Pro to achieve the same kind
| | 00:31 |
of compositing results, that you'd be
looking to move into After Effects to achieve.
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And After Effects is an amazing
application and it has that dedicated
| | 00:41 |
detail designed interface, but Premier
Pro actually also has some really
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advanced features.
And you can achieve most of what you want
| | 00:50 |
to, just using the features inside your
editor.
| | 00:54 |
Premier Pro includes the Ultra Keyer.
And if I just show you on here.
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I've got an example of a piece of media
that has been keyed.
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Now keying just means replacing the alpha
channel information, that's the
| | 01:13 |
transparency information, with something
new.
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By default it's going to be fully on, and
there are different ways for saying that
| | 01:20 |
each of the pixels should or should not
be visible.
| | 01:24 |
Here the Ultra Keyer here is using a
color selection, to tell the alpha
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channel which bits of the image should be
visible.
| | 01:30 |
And so as a consequence I can get my
media.
| | 01:34 |
Just turn off the audio here, to layer
with a background.
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You can do this with color or you can do
it with luminance.
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In fact there is a whole bunch of
different ways of doing it.
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Another feature of the Premiere Pro
interface is that you can nest sequences.
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So if I have had several clips in a row
here, that I want to apply a single set
| | 01:55 |
of effects to.
I can just put that into another
| | 01:59 |
sequence, and I get the output of that
with all of the cuts as a single item
| | 02:03 |
that I can work with.
You might also want to use Premiere Pro
| | 02:09 |
to apply Garbage Mats, and if I just show
you here, so we've got multiple types of
| | 02:14 |
Garbage Mat.
Which simply allows you to specify a
| | 02:20 |
region of the image that you're going to
crop out.
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If I for example turn off the key on here
so you can see the foreground.
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And then also turn off the Garbage Mat.
You can see I just removed a part of this
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image, by using effectively an advanced
Crop tool.
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A lot of the advanced compositing that
you'll apply inside of Premier Pro, will
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be achieved by combining multiple effects
in exactly this way.
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Put them all together and you've got a
layered effect.
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Another thing you might want to do is
create blend modes, and here I've got a
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simple title which has a blend mode
applied to it.
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So you can see that the colors are
interacting with the background, in ways
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that wouldn't be possible if I were just
applying this text as an overlay, I'll
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just show you here.
You can see how a color inside of this
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text, it's actually doing something a
little bit more complicated than simply
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appearing in front of the background.
And this is achieved without me putting
| | 03:27 |
transparency into the letters.
This is done using the Photoshop style
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blend modes available inside of Premiere
Pro.
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Another feature of the way that Premiere
Pro works with transparency, is you can
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use the Interpret Footage command.
This is under the Ctrl+click or Cmd+click
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option in Premiere Pro.
To bring up the Contextual menu to go
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into the Interpret Footage controls.
And if I go down, down, down inside this
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panel, you'll see there's an option to
ignore the alpha panel or invert the
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alpha channel.
And again, the alpha channel is what
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defines the visibility of each individual
pixel.
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Effectively, it's another channel like
the red, green, and blue color
| | 04:09 |
information that defines the way the
colors are displayed.
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All in all, Premier Pro represents a
pretty powerful compositing application.
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And I hope you're going to enjoy
traveling with me as we learn about some
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of these advanced features.
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| Understanding transparency and alpha channels| 00:02 |
To properly understand what's going on
when you're working with alpha channels
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inside of Premiere Pro.
I think it's really important to get a
| | 00:10 |
clear sense of what an alpha channel
actually is.
| | 00:13 |
I find that when I'm teaching this kind
of stuff in the classroom, students very
| | 00:17 |
often have a mental block, in the way
that I did when I first started out
| | 00:20 |
working with that special fourth channel
of information.
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I think it helps if you begin by thinking
about color channels in the same way that
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we think about audio channels.
If you imagine when you're working with
| | 00:34 |
audio, you've got left and right channel
sound.
| | 00:37 |
And you get used to recording stereo
sound that way and playing it back in stereo.
| | 00:42 |
But the truth is that the left speaker
and the right speaker, those channels of
| | 00:45 |
sound information, don't have an
orientation towards the left or right.
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It's just that they happen to be recorded
from the left or right, and they have to
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be played back the same way.
It's kind of the same with channels and
| | 00:57 |
video, and graphics.
Now, I'm inside Photoshop here, and I've
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got an image that I've created that has a
clean red, green and blue set of color information.
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If I switch over to the Channels panel
here, I can see right now I'm looking at
| | 01:12 |
the composite of all three.
If I switch over so that I'm just viewing
| | 01:17 |
the red channel information.
You can see I've got light picture
| | 01:21 |
information in this splodge on the left
and dark picture information in these two
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other splodges, where the green and blue
are.
| | 01:30 |
The rest of this picture is just simply
absent, there's no pixel information,
| | 01:34 |
which means that it's transparent.
In fact, this means that, because
| | 01:39 |
Photoshop documents they innately support
transparency, they automatically have
| | 01:43 |
alpha channel information.
The alpha channel for this part of the
| | 01:48 |
picture, the outer region here where
there is no color information, that has
| | 01:52 |
an alpha of zero.
If I switch over to viewing the green
| | 01:57 |
portion, you can see a similar thing.
Let me just switch away from that
| | 02:01 |
Selection tool, and then you can see
again for the blue.
| | 02:06 |
So, just the blue has light information
for that channel and dark for the other
| | 02:09 |
two channels.
What you're seeing here is a gray scale
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representation of a color channel.
It just so happens that Photo Shop knows,
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and Premier Pro knows and After Effects,
and every editing system that you might
| | 02:22 |
ever have worked with.
They all know that this channel that we
| | 02:27 |
call blue should be displayed in the
color blue.
| | 02:31 |
The same thing for the red and the green.
There our special effects that you can
| | 02:36 |
apply that would allow you to migrate the
color information to one channel to another.
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And I guess here's the magic that you
need to understand to properly get what's
| | 02:44 |
going on with our channels.
It isn't really a blue channel, it's a greyscale.
| | 02:52 |
If I look at my blue channel here, what
I'm seeing is a light area that indicates
| | 02:56 |
a lot of that channel.
And then two dark areas that indicate
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none of that channel is totally dark, and
this is totally light.
| | 03:07 |
All of the color channels are actually
black and white gray scales, if you view
| | 03:10 |
them in this way.
In exactly the same way, that truly your
| | 03:15 |
left and right stereo recordings in audio
are not left and right, they're actually mono.
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All of the recordings that you make using
mono stereo microphones, or even fully
| | 03:26 |
surround sound microphone setups are just
a combination of multiple mono channels.
| | 03:32 |
And that's kind of what's happening here
with our color channel information.
| | 03:37 |
If I go over to my Layers panel in
Photoshop, I've got on my layer here, and
| | 03:40 |
if you're not familiar with Photoshop
don't worry about this.
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This is not a workshop on how to use
Photoshop but layer's in photoshop behave
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in very much the same way as tracks
inside of Premiere Pro, but of course I'm
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working with a single image instead of
whole clips.
| | 03:57 |
Here in my Layers panel, I've got a mask
that I've applied.
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Now, if I just turn this mask on you can
see if you look at the thumbnail for that
| | 04:08 |
mask, that I've got a dark region that
represents non-visible parts of my image
| | 04:13 |
and a light region, that line across the
middle that is the visable part.
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This mask combined with my original
image, tells Photo Shop to make some of
| | 04:25 |
the pixels invisible.
I can just toggle this off and on.
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I'm using the Shift key on my keyboard
here.
| | 04:31 |
With the mask not applied, there's all
the picture information.
| | 04:35 |
With the mask applied there's none of
that picture information.
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So hopefully what this shows you is that
the oppacity or transparency or
| | 04:45 |
visibility of each pixel in your media is
a channel as well.
| | 04:51 |
You've got red, green, and blue, plus
alpha.
| | 04:55 |
And the alpha is defining the overall
visibility.
| | 04:58 |
Bear in mind, of course, that a 50%
visible white Pixel is not the same as a
| | 05:04 |
50% luminous pixel.
50% luminous is gray.
| | 05:11 |
50% transparency at 100% luminous is 50%
visible 100% luminous.
| | 05:18 |
Put that in front of black and it'll look
gray.
| | 05:20 |
But put it in front of any other color,
and it'll give you completely different results.
| | 05:24 |
Because you'll be combining the luminance
with the background.
| | 05:28 |
Not all formats actually support Alpha.
If I pop back into Premiere Pro now, you
| | 05:35 |
can see that I've got multiple pieces of
media inside of my project.
| | 05:41 |
And if I click, for example, on this
piece of media, this Clouds No Alpha
| | 05:45 |
piece, you can see in the little
information display at the top of the
| | 05:49 |
Project panel.
I've got clouds no alpha is the name
| | 05:54 |
.mp4, it's an H264 file the video
resolution and the pixel aspect ratio,
| | 05:58 |
frame rate and duration but no mention of
alpha.
| | 06:03 |
If I select this other item, this is a
QuickTime movie rapper that contains a
| | 06:07 |
PNG sequence and PNG supports alpha very
nicely, thank you very much.
| | 06:13 |
You can see at the top of my \Project
panel I have alpha listed.
| | 06:17 |
So you can quickly see, by looking at the
Project panel, whether an item in your
| | 06:21 |
project has alpha or not.
Regular Windows AVIs, for example,
| | 06:25 |
they're not going to support alpha.
Regular H264 files, like this one, they
| | 06:30 |
don't support alpha either.
Not all of the codecs supported by the
| | 06:35 |
QuickTime rapper format will support
Alpha.
| | 06:39 |
So you may want to do a little bit of
research before you start generating
| | 06:43 |
files as I have done here in applications
like After Effects.
| | 06:48 |
Now that I have my files here, if I for
example, throw a piece of meat here into
| | 06:51 |
my sequence and put the No Alpha version
in front, well I'm just going to get the clouds.
| | 06:57 |
If I remove that and put the version with
alpha on, Premier Pro will honor it and
| | 07:03 |
I'll get my smokey room effect.
If a file type has alpha, Premier Pro is
| | 07:10 |
probably going to support it, and now you
know what that means.
| | 07:17 |
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2. Adjusting OpacityAdjusting opacity in the Effect Controls panel| 00:00 |
Making adjustments to the opacity for a
clip using the Effect Controls panel is
| | 00:05 |
very, very straightforward.
I have a clip here that already has a key
| | 00:11 |
on it so you can see that this had a
green background and I've taken that out
| | 00:14 |
using the old trick here.
But I'd quite like it to fade up at the
| | 00:20 |
beginning, just before this guy starts
speaking.
| | 00:24 |
So, if I zoom out of it you see what's
going on in this clip I'll just play a
| | 00:28 |
section of this.
> > Hey, I'm Hayden and my (INAUDIBLE)
| | 00:34 |
> > Okay, so he's introducing things in
the summer and there's a little bit of
| | 00:38 |
pause at the beginning I think it would
be nice if that faded up from invisibility.
| | 00:45 |
Probably the easiest way to use key
frames for this is to start by setting a
| | 00:49 |
key frame where you want things to be set
where they are already.
| | 00:54 |
So if I expand my opacitic controls in
the Effect Controls panel here, you can
| | 00:58 |
see I've got my a paste set by default
and I don't need the blend mood right now.
| | 01:04 |
But looking down at the wave form on the
timeline if I just zoom in a little bit
| | 01:08 |
using the plus and minus keys at the top
of my keyboard here.
| | 01:13 |
I reckon if we're, if we're fully visible
by just the very first part of his speech
| | 01:17 |
I think that will do.
And we can just set a key frame for this
| | 01:21 |
by using the Add or Remove key frame
button in the Effect Controls panel.
| | 01:26 |
I'm setting a key frame here first rather
than at the beginning of the clip because
| | 01:29 |
the settings are already correct.
I want things to stay this way as we go
| | 01:34 |
forwards into the clip.
And all I need to do to set an opening
| | 01:38 |
key frame so that this starts invisible
and I'll have the clouds visible in the
| | 01:42 |
background is to just set my play head at
the very beginning of the clip and then
| | 01:46 |
add another key frame.
In fact, I don't even need to add it,
| | 01:52 |
because once you turn key frames on with
the Premier Pro key frame engine, all new
| | 01:57 |
key frames are added automatically when
you make an adjustment.
| | 02:02 |
But still, no harm having it there and I
can just click and drag the opacity down
| | 02:07 |
to zero.
So now if I press the spacebar to play
| | 02:11 |
> > Hi, I'm here
> > We've got our speaker coming up from
| | 02:14 |
absolutely nowhere in front of our
clouds.
| | 02:20 |
If I expand the opasity controls in the
Effect Controls panel here.
| | 02:25 |
And I'll just maybe move things over a
bit so we can see what's going on a bit better.
| | 02:30 |
I can resize the join between the
controls and the mini time line here.
| | 02:35 |
And I think I'll do that just a little
bit.
| | 02:37 |
And we can see there's a nice Indication
of totally transparent at the bottom of
| | 02:42 |
this opacity control and fully visible at
the top.
| | 02:47 |
I'm going to use the navigator at the top
here to expand this a little bit, so we
| | 02:50 |
can see a little more clearly.
And there's our rubber banding if you like.
| | 02:56 |
It's pretty easy for me to click and drag
on the key frames that are here already.
| | 03:01 |
And because of the way the Effect
Controls panel works, I can't move these temporally.
| | 03:06 |
I can't move them earlier or later.
I can only move them up or down by
| | 03:09 |
clicking in this way.
If I click on the temporal key frame at
| | 03:13 |
the top here, I can make an adjustment in
time, but I can't change the setting.
| | 03:20 |
So by choosing whether you're clicking on
this key frame marker at the top here,
| | 03:24 |
which is the time key frame, or the one
underneath it which is the setting, you
| | 03:28 |
can be locked into one or the other.
I, I think this is a really big deal.
| | 03:34 |
I know it may seem like a minor feature,
but when it's two o'clock in the morning
| | 03:37 |
and you're in a hurry trying to make an
adjustment to an effect.
| | 03:42 |
It can be quite easy to accidentally make
adjustments to parts of the settings that
| | 03:45 |
you don't want to by locking down the
functionality and giving you two
| | 03:48 |
different kinds of key frame in the
Effect Controls panel.
| | 03:52 |
Adobe has made it a little bit easier to
avoid those mistakes.
| | 03:55 |
And again, you can see I've already made
a little bit of a mistake here, because
| | 03:59 |
I've moved my key frame earlier in time.
And I can't very easily see where it
| | 04:04 |
should have been because I only get the
wave form display inside the timeline.
| | 04:09 |
I'm going to need to line up my play head
again and then I can line up the key
| | 04:13 |
frame with it.
So you don't get such a clear indication
| | 04:17 |
inside the Effect Controls panels you get
it very clearly on the timeline.
| | 04:22 |
If I want to have this guy fade down
again towards the end I can just check
| | 04:28 |
where I want that to be.
(audio playing)
| | 04:32 |
Let's have a look.
> > Connor and I'll be showing you some
| | 04:35 |
things we like to do when it's summer
time.
| | 04:37 |
> > Now what I'm thinking is maybe as he
says summer time we'll fade out again,
| | 04:40 |
just so that we can see a bit more of the
sky and maybe we'll introduce an extra element.
| | 04:46 |
So again, I'll add a key frame for the
end of the section that I want to stay as
| | 04:49 |
it is.
And then maybe I'll move on a little bit
| | 04:53 |
and I'll adjust my opacity down to zero.
And so you can see again because the key
| | 04:58 |
framing is already turned on for this
effect, an extra key frame is added
| | 05:02 |
automatically when I change the settings.
Didn't want to change the settings for
| | 05:07 |
the first key frame I just applied
because I wanted it to stay at 100%.
| | 05:12 |
So let's just take a little look at this
from the start.
| | 05:16 |
> > Hey, I'm Hayden and my brother,
Conner, and I will be showing you some
| | 05:19 |
things that we like to do when it's
summertime.
| | 05:22 |
> > Okay, slightly weird transition in
terms of timing, but I think you get the point.
| | 05:28 |
These velocity controls that you'll find
under a lot of the settings inside the
| | 05:32 |
Effect Controls panel are to do with,
basically are key frame controls.
| | 05:37 |
If I select all of these key frames.
I'm just going to lassoo over them.
| | 05:42 |
And I'm going to right-click or control
click and switch them to Bezier.
| | 05:45 |
You can see right away that there's a
curve in the velocity of the change
| | 05:49 |
that's being made.
And if I just expand it this, I'll just
| | 05:54 |
make it full screen so you can see nice
and clearly.
| | 05:58 |
Okay, if I now grab hold of one of these
key frames, and take hold of the Bezier
| | 06:04 |
handle, and adjust the timing of this.
You can see that it's changing the
| | 06:11 |
velocity curves that are displayed.
I think you can see that reasonably well.
| | 06:16 |
And what's happening here is it's
adjusting the acceleration and
| | 06:20 |
deceleration into and out of these of key
frames.
| | 06:24 |
Now I have to say, if you're setting up
something like an opacity adjustment,
| | 06:28 |
it's going to be pretty tough for the
audience to detect what's going on.
| | 06:33 |
It might be that you want to create an
animation where your bouncing key frames
| | 06:37 |
and you want the implication that some
other element on the screen is affecting
| | 06:41 |
the opacity.
Maybe a bouncing ball is causing a light
| | 06:46 |
to flick or something like that.
But if you are making general adjustments
| | 06:50 |
of the kind I've just made, then you may
be happy enough with the linear changes anyway.
| | 06:56 |
Although the velocity control is included
to give you another visual reference to
| | 07:01 |
indicate acceleration and deceleration in
and out of these key frames, I find it
| | 07:05 |
personally, a little fiddlely compared to
simply grabbing the Bezier handles and
| | 07:10 |
using the curve that's displayed in the
regular key frame Control.
| | 07:18 |
But still, there you go.
You can adjust it with a velocity control
| | 07:21 |
if you want to.
These key frames, of course, are mirrored
| | 07:25 |
in the key frames that you have inside
your clip segment on the timeline.
| | 07:31 |
But whether you work on your opacity in
the timeline or in the Effect Controls
| | 07:35 |
panel Is really just a question of
personal preference.
| | 07:41 |
| | Collapse this transcript |
| Adjusting opacity on the Timeline| 00:02 |
> > Making adjustments to your Opacity
Controls on the Timeline is very
| | 00:05 |
straightforward and very similar to
applying inside the Effect Controls panel.
| | 00:11 |
All you need to do is make sure you're
looking at the correct key frames in your
| | 00:15 |
clip segments.
So here, I've got my introduction and
| | 00:18 |
I've got a fade out and I've got some
dialog and then fade out again.
| | 00:23 |
And that's okay.
I think it'd be nice if we had a bit of
| | 00:25 |
some kind of dynamic action going on in
the background of this shot.
| | 00:29 |
So, I'm going to move this clip up one
and I'm going to take this balloon shot
| | 00:33 |
that I've got and lay it over the top.
Now, this shot doesn't have any key on it.
| | 00:41 |
I'm just going to blend between the two I
think.
| | 00:44 |
So, I'm seeing the sky background and
then coming into the clouds.
| | 00:52 |
So, what I'm going to do is resize this
track a little, make it a little bit
| | 00:57 |
taller, so I've got a much better view of
the rubber banding.
| | 01:05 |
And then, I simply need to make sure I've
got the correct key frames displayed.
| | 01:09 |
Now, if you don't have opacity listed
here in this menu if you don't have any
| | 01:13 |
menu at all, it's perhaps because in the
show key frames menu that you've got set
| | 01:17 |
for your track, you've got it set to just
show Opacity Handles.
| | 01:24 |
Now, this is not the default so I'd
expect it to be showing you the menu.
| | 01:28 |
But quite a few people get confused about
what that menu is for and why it's there
| | 01:31 |
because it just seems to make it
difficult to click on the segment.
| | 01:35 |
But like so many display options in
Premiere Pro and all (UNKNOWN) editing
| | 01:39 |
systems, it's really just down to
personal preference and how clean you
| | 01:42 |
want the interface, or not.
In this case, I can set to have No Key
| | 01:46 |
Frames at all or to have Opacity Handles
because they're so commonly the
| | 01:50 |
adjustments that you're going to want to
make on your clips inside of the Timeline.
| | 01:56 |
Or I can set this to Show Key Frames,
which will just enable this menu.
| | 02:01 |
Now, with the menu enabled, I already
have opacity selected because it is the
| | 02:05 |
default option, which means that
functionally, it makes no difference whatsoever.
| | 02:10 |
If I have this set to Show Key Frames or
Show Opacity Handles, unless I go into
| | 02:14 |
this menu and choose something else, I
could perhaps choose to animate the scale
| | 02:18 |
controls or pretty much anything that you
can animate, you can animate with this menu.
| | 02:25 |
So, in any case, whether I'm doing it
with the menu or without it, making a
| | 02:28 |
change to my Opacity is very, very
simple.
| | 02:31 |
I'm just trying to resize this a bit so
you can see my results.
| | 02:37 |
All I need to do is either use the Pen
tool, or use the Ctrl or the Cmd key on a
| | 02:42 |
Mac to add a key frame to this rubber
band.
| | 02:48 |
If I just click on the rubber band
without the key frame, well, I'll show
| | 02:52 |
you what happens as I drag down here.
I'm making a flat level adjustment to my
| | 02:58 |
Opacity, and I'm going to start to see the
sky through for all of the clip.
| | 03:04 |
There's no animation.
This may be exactly what you want to achieve.
| | 03:08 |
If I just bring this up a little bit, I'm
getting a Blended Effect.
| | 03:13 |
And I could even go crazy and use one of
the Opacity Blend modes to create
| | 03:17 |
something really unique by combining the
pixel settings.
| | 03:23 |
This can produce some mixed results, of
course.
| | 03:25 |
You need to play around with the
different blend modes to see what works best.
| | 03:29 |
But if I set this to Normal and make an
adjustment, I can get something of a
| | 03:33 |
blended view.
You can make some great backgrounds this way.
| | 03:37 |
If I wanted to change over time, if I set
this back up to 100%, then it's just a
| | 03:41 |
question of holding down the Ctrl key or
the Cmd key on a Mac that adds a key frame.
| | 03:48 |
And then, Ctrl or Cmd again to add
another one.
| | 03:51 |
You can see I get a plus cursor that too
sure I'm going to add a key frame.
| | 03:55 |
And it doesn't really matter when the key
frames are because I can drag these in
| | 03:59 |
any direction I want temporally but also
in terms of the setting.
| | 04:04 |
And you can see, as I adjust this, I'm
getting a little tool tip that is showing
| | 04:08 |
me when, in terms of time code, and what
the setting is that I'm putting on.
| | 04:13 |
So, I can put this down to 0, and if I
just turn off the audio for a second here
| | 04:18 |
so we can concentrate on the visuals.
If I drag through, you can see as he
| | 04:25 |
fades away, the balloons are fading up
and we're getting a different background,
| | 04:29 |
which could be the continuation of our
program.
| | 04:34 |
And let's just have a little look through
and see how that comes out.
| | 04:38 |
Perhaps, if I put the audio on, so we can
hear what he's saying.
| | 04:44 |
Let's put this like this, unfortunately,
there's no easy toggle in Premiere Pro to
| | 04:50 |
toggle the audio off and on.
> > Hi, I'm Hayden and my buddy Connor
| | 04:55 |
and I will be showing you some things we
like to do when it's summer time.
| | 05:00 |
> > Okay, so we've got the sense of a
little bit more action going on in the background.
| | 05:05 |
And of course, if I move this Cloud shot
a little bit earlier, the key frames are
| | 05:09 |
going to move with the clip segment.
So, it doesn't really matter where the
| | 05:14 |
segment is, the key frames are relative
to it.
| | 05:18 |
And you can see I've got a bit more
action going on in the background there
| | 05:22 |
before our speaker disappears.
Just like the Effect Controls panel, the
| | 05:28 |
Timeline has a Previous and Next Key
Frame button and an Add or Remove Key
| | 05:32 |
Frame button.
This behaves exactly the same way as the
| | 05:37 |
similar buttons inside the Effect
Controls panel.
| | 05:40 |
This can be particularly useful if you
want to line up key frames on multiple
| | 05:43 |
tracks with multiple clips because it's
quite difficult to do that in the Effect
| | 05:47 |
Controls panel, you're constantly having
to click back to the clip, go back to the
| | 05:51 |
Effect Controls panel, and so on.
This way, you can line up and then expand
| | 05:57 |
out the track that you want to work on
and you can just see all of the rubber
| | 06:01 |
bands altogether.
Although my backgrounds here are both
| | 06:07 |
stills, because they were originally
quite high resolution stills, it'll be
| | 06:10 |
relatively easy for me to zoom in a
little bit, scale up this balloon shot,
| | 06:14 |
key it a little bit to get rid of the
blue sky and have the balloons track
| | 06:17 |
across my background.
Fairly straightforward to do if you've
| | 06:23 |
got high resolution originals because
Premiere Pro conforms at the point of
| | 06:26 |
playback, so it retains all of the
original image resolution.
| | 06:31 |
So, that's adding key frames on the
Timeline in Premiere Pro.
| | 06:37 |
| | Collapse this transcript |
|
|
3. Garbage MattesWorking with garbage mattes| 00:00 |
Sometimes, you'll have a piece of footage
where you just want to crop part of it out.
| | 00:07 |
And this might be because you're
combining it with a Chroma key, perhaps,
| | 00:10 |
and there's an element that you just need
to remove, or it could be something that
| | 00:13 |
you want to do for dramatic effect.
And the Garbage Matte Effect is exactly
| | 00:19 |
what you need for this.
And if we take a look here in the Effects
| | 00:23 |
panel, we've actually got three different
kinds of garbage matte that we can use.
| | 00:29 |
And essentially, they all work exactly
the same way.
| | 00:32 |
They're all coder enabled 32-bit YUV and
there's not really much going on in terms
| | 00:37 |
of an effect, it's just removing pixels
from the image.
| | 00:41 |
But you can combine this with any effect
that will recognize the edge of the alpha.
| | 00:46 |
And I'll show you what I mean.
Here, I've got a piece of footage of one
| | 00:50 |
kid throwing a ball.
And go, and underneath it, I've got a
| | 00:54 |
shot of the kid waiting, or he's, he's
about to throw a ball as well.
| | 01:00 |
So, what I want to do is layer these
together in an interesting way.
| | 01:04 |
If I throw the four-point garbage matte
on first, I'll just show you this as a
| | 01:08 |
really simple example.
I'm just going to resize a little bit so you
| | 01:12 |
can see what's happening here.
If I select the four-point Garbage Matte
| | 01:16 |
on my Effect Controls list, I've got this
clip selected, right away, I get handles
| | 01:20 |
displayed in the corner pins of this
image.
| | 01:23 |
And these are not scaling handles of the
kind you'd expect.
| | 01:27 |
If you select the Motion Options in the
Effects Control panel, these are actually
| | 01:30 |
going to crop.
Of course, I could use a Crop effect but
| | 01:34 |
it wouldn't give me this kind of control.
Now, you'll see that I can reset these
| | 01:41 |
handles if I resize down to 25% here.
You can see that I can set these handles
| | 01:46 |
off screen if I want.
So, you can be pretty lazy about the positioning.
| | 01:51 |
I can move these way out and as long as
the visible parts of the picture have the
| | 01:55 |
crop lines where I want them, that's
absolutely fine.
| | 02:00 |
If I just click away now and show you the
result of this, (audio playing) okay, well, it's
| | 02:06 |
something in the direction that I'm
after.
| | 02:12 |
Where the garbage mattes get really
interesting is as I said just now, either
| | 02:15 |
when you combine it with something like a
Luma Key or Chroma Key, or when you start
| | 02:19 |
using them to produce more complex
shapes.
| | 02:23 |
If I take the 16-point garbage matte, for
example, and then choose the heading in
| | 02:28 |
Effects Control panel, well, you can
begin to see right away there, just how
| | 02:32 |
much control I've got over the edge of
this foreground image.
| | 02:39 |
I can take these points in any way I
want.
| | 02:43 |
In fact, maybe what I can do is just pull
this right up and create a really
| | 02:49 |
interesting pattern around this guy, as
he goes to throw the ball.
| | 02:58 |
And I'm going to do this kind of randomly
but you could really take your time over
| | 03:02 |
this and produce something that relates
to the textures and the shapes in the
| | 03:06 |
image you're working with.
Let's see how's that looking.
| | 03:12 |
So, that's kind of interesting.
So, if I play this now, it's just over
| | 03:16 |
the beginning of the clip.
(audio playing) Looks kind of weird, but also
| | 03:22 |
kind of interesting.
It gets more interesting if I throw on
| | 03:27 |
something like the Radio Shadow effect
because although this effect is intended
| | 03:32 |
to put smooth edge on your content, you
see here I've got, I just go full screen
| | 03:38 |
with this, set this back up to fit.
You can see this is giving me a Shadow
| | 03:45 |
effect around my foreground element,
which could be interesting especially if
| | 03:48 |
I combine it with some color creation to
really bring out the fact that I'm not
| | 03:52 |
trying to pretend that these are part of
the same image.
| | 03:57 |
I'm showing this as an intentional
montage, if you like.
| | 04:01 |
But I can also use the Radial Shadow to
put a color on.
| | 04:05 |
If I set the opacity up to a 100% and
perhaps give this a color, like a, a deep
| | 04:10 |
red, maybe, you can see I'm beginning to
build something of an edge on this picture.
| | 04:18 |
And I can do things like change the light
source for this and you can see I'm
| | 04:22 |
moving where the edging is, so if I
center this up, I'm going to get a very
| | 04:27 |
even edge if I wanted and so on.
So, it's just a way of making your
| | 04:33 |
layered compositions a little bit more
interesting than just blending them in together.
| | 04:40 |
Garbage mattes are extremely useful when
you're just up against it and you need to
| | 04:44 |
combine two elements.
But don't be afraid to look at combining
| | 04:49 |
them with other effects as well to create
something really unusual.
| | 04:53 |
Again, if, for example, I throw in
something like the Fast Color Corrector
| | 04:59 |
and maybe just give this a bit of a, a
green glow, I'm creating something that's
| | 05:04 |
really a composition from layered
elements and effects.
| | 05:12 |
| | Collapse this transcript |
| Animating garbage mattes| 00:02 |
Garbage Mattes really come into their own
when they're animated.
| | 00:07 |
And though you may want to use something
like an Advanced Track Matte or even
| | 00:10 |
throw work into After Effects to do
really advanced compositing via
| | 00:14 |
rotoscoping where you're painting to
define transparency, you can use Garbage
| | 00:18 |
Mattes with animation to achieve some
really advanced effects.
| | 00:24 |
And here, for example though, a simple
example of that.
| | 00:27 |
I've put an 8-point Garbage Matte on this
layer, and I've got a Radial shadow on it.
| | 00:32 |
So, it's given me some edging as well,
and what I'm going to do is animate to
| | 00:36 |
follow the movement as our ball thrower
moves off the screen.
| | 00:42 |
You see the camera does a fast pan.
And what I want to do is clear him off
| | 00:46 |
the screen so that we see the ball get
hit and then, here we go, a bat's man is off.
| | 00:53 |
So, what I'm going to do is just scale this
up a little bit and open up my image a
| | 00:56 |
little bit and expand out my 8-point
Garbage Matte.
| | 01:01 |
There's a little word of warning here, as
well, I suppose.
| | 01:04 |
That, of course, the more points on your
Garbage Matte, the more animation you
| | 01:07 |
have to do.
So, try to go for the minimum number and
| | 01:10 |
only go for something like the 16-point
Garbage Matte if you really, really need it.
| | 01:16 |
So, I'm going to zoom out a little bit to
25%, so I can see all of the points on my
| | 01:19 |
Garbage Matte.
And now, it's simply a question of just
| | 01:23 |
zooming in properly on the Timeline so
I've got only the bit that I need to work on.
| | 01:29 |
This is going to give me a smoother range to
follow through with my key frames.
| | 01:34 |
I'm going to turn on Key Framing for all of
the nodes on my Garbage Matte.
| | 01:40 |
And then, having done that, I'm creating
automatically a key frame at the very
| | 01:44 |
beginning of my shot.
And I'm just going to start dragging through
| | 01:51 |
there, I want to start moving this up so I
can see his hand come back.
| | 01:58 |
Looking good, let's have a little bit
more.
| | 02:03 |
Maybe I can come back a little bit with
the top here.
| | 02:06 |
Come in with this knee.
And the beauty is that once you've turned
| | 02:10 |
on animation for your matte, you really
just need to find the points you want,
| | 02:15 |
and move them at appropriate moments in
time.
| | 02:21 |
So, that's looking pretty good.
I'll do this kind of fast, but (UNKNOWN)
| | 02:25 |
you'd probably spend a bit more time on
it.
| | 02:29 |
Okay.
Now, he's heading off, so let's pull this
| | 02:34 |
matte in.
And you can see how working with more
| | 02:40 |
than 8 nodes, it'd really be pretty time
consuming.
| | 02:46 |
And I guess it depends on if you're paid
by the hour.
| | 02:49 |
(LAUGH) Let's just pull this back, and
now I'm taking these right away out of
| | 02:53 |
the picture, because my subject is gone
from the picture.
| | 02:58 |
And as I'm making these adjustments, you
can see the, oh, that's me adjusting the
| | 03:03 |
Bezier handle.
Let's pull that back.
| | 03:07 |
You can see the motion paths being
created.
| | 03:11 |
So, as I drag through this, you should be
able to see each of those nodes following
| | 03:17 |
their own motion path.
Now, if you've worked in the Effect
| | 03:22 |
Controls panel before and you're used to
working with a Bezier handles for things
| | 03:26 |
like positioning.
This is where it can come in pretty
| | 03:30 |
useful because the Bezier handles will
give you a curved adjustment which is
| | 03:35 |
more noticeable where there's motion
involved.
| | 03:39 |
If I set the spatial interpretation to
Bezier, then I can, in fact, even if I
| | 03:43 |
set it to Auto Bezier, so it's a little
bit smoother.
| | 03:48 |
You'll see if you zoom in, and track it,
and follow it, you get a smoother curve
| | 03:50 |
through space.
It may not matter to you but this is
| | 03:54 |
where it can begin to make a difference.
Okay.
| | 04:00 |
So now, if I click away from my effects
and maybe go Full Screen, set this back
| | 04:06 |
to Fit, let's take a look at what we
have.
| | 04:11 |
It's pretty fast, but the result is
exactly what we're looking for.
| | 04:17 |
Our subject disappears off the screen.
And of course, I'm faking this a little
| | 04:23 |
bit, because in reality, the kid in the
background that is throwing his own ball.
| | 04:29 |
But we could easily do an equivalent
effect on the Background layer and have
| | 04:33 |
these two just floating in space playing
a game of baseball together in, in
| | 04:37 |
amongst the stars.
And this is the kind of detail work, even
| | 04:42 |
though this is only a few frames into the
shot.
| | 04:46 |
We're not even, how far are we, we're
about a second, not even a second and a
| | 04:50 |
half into the shot.
But this kind of detail work is what
| | 04:54 |
you're going to be doing when you're
working on advanced composites using
| | 04:59 |
Premiere Pro.
| | 05:01 |
| | Collapse this transcript |
|
|
4. Luma KeysUnderstanding luma keys| 00:02 |
When I use the word key or keying, what I
mean in this context is using some kind
| | 00:07 |
of reference to define the transparency,
or the opacity, or effectively the alpha
| | 00:13 |
level for pixels in my image.
A classic key is, of course, the Chroma Key.
| | 00:21 |
The traditional weather reporter in front
of a blue screen and anything bright blue
| | 00:25 |
is made transparent and you see another
layer of video behind it.
| | 00:30 |
There is also another system of keying
called Luma key, which works instead on
| | 00:34 |
the brightness, the luminence of
individual pixels.
| | 00:38 |
It's very easy to apply a Luma key inside
of Premiere Pro, and the results,
| | 00:41 |
sometimes they're great, sometimes
they're not so great.
| | 00:46 |
It's one of those effects where you get
the most magnificent results by planning
| | 00:49 |
for it and shooting, knowing that your
shadows, dark part of your pictures are
| | 00:53 |
going to become transparent.
If you plan for it, and you get nice hard
| | 00:58 |
lighting and strong shadows, you can get
some really powerful effects where
| | 01:02 |
content or subjects, performers seem to
emerge from another layer.
| | 01:07 |
Putting a Luma key on is just a question
of dragging and dropping.
| | 01:12 |
And straight away, you can see here in
the example, in my background, I've got
| | 01:16 |
some color bars and in the foreground,
I've got this black and white gradient.
| | 01:23 |
Putting the Luma key on immediately puts
some transparency into the gradient.
| | 01:28 |
You don't get that many controls.
You've got a threshold which will define
| | 01:32 |
at the point to which the foreground
becomes visible and the point at which
| | 01:35 |
the background becomes visible, that's
pretty self-explanatory.
| | 01:40 |
And there's also a cutoff so you can say,
beyond a certain point it's just going to
| | 01:44 |
be visible or invisible.
You can see I can even invert that by
| | 01:49 |
crossing my own threshold and that's
pretty much all you get.
| | 01:53 |
You can get some interesting results by
combining it obviously with more
| | 01:57 |
interesting media.
if I switch off my background here, for
| | 02:01 |
example, in my foreground now, I've got
my balloon shot.
| | 02:05 |
If I turn off the Luma key, you can see
here's the original.
| | 02:09 |
If I put on my background, so you can
see, I've got my color bars, and turn on
| | 02:14 |
my balloons.
There you go.
| | 02:18 |
You can see, I can layer these together,
and I'm getting a partial key here.
| | 02:23 |
I'm getting bits of the clouds, the
balloons, which are more solid shapes,
| | 02:27 |
and I'm using the fact that there's a
reasonable variation in the luminence
| | 02:31 |
between the clouds and the sky to create
the key.
| | 02:35 |
Now, if you color correct, you can
enhance the difference.
| | 02:39 |
You could always bring down the midtones
to get a stronger key, and you'd get a
| | 02:43 |
much better result with this.
But even with a partial key like this, if
| | 02:47 |
I put a regular sky pattern behind it
instead of those nasty color bars, you
| | 02:51 |
can see right away, I get a much more
interesting composition.
| | 02:56 |
Now, of course, these are still frames so
they are not quite as alive and
| | 03:00 |
convincing as they would be if they were
moving.
| | 03:04 |
But again, you can see there's my
original foreground and here is the background.
| | 03:09 |
But the two together create a much more
interesting, compelling image.
| | 03:13 |
Since we're working with luminance here
rather than chrominance, I can probably
| | 03:17 |
just get away with throwing on a Luma
curve.
| | 03:21 |
And then, if I just take away my
background for a moment so I can see
| | 03:25 |
what's going on here, just by turning off
the eyeball for the layer, I can switch
| | 03:29 |
my Luma curve output to Luma, which is
just going to give me a clear indication of
| | 03:33 |
what's going on without being distracted
by the chrominence.
| | 03:41 |
And then, maybe I can pull in the shadows
on this a little bit while keeping
| | 03:45 |
everything else nice and bright.
And what I'm looking to do here is deepen
| | 03:50 |
that blue sky while keeping everything
else looking fairly natural.
| | 03:55 |
And if I set this back to composite,
that's probably going to give me a, a
| | 03:58 |
much better key.
If I turn on my background, you see I'm
| | 04:03 |
going to get more of the sky behind this
way, because I've deepened the darker
| | 04:07 |
parts of my foreground image, but the
foreground, the brighter parts, are nice
| | 04:12 |
and clear.
So, combining the Luma key effect with
| | 04:17 |
something like a Luma curve gives you a
little bit more control, simply because
| | 04:21 |
the Luma key effect itself doesn't give
you any of that preempt color correction
| | 04:25 |
adjustment that you might need.
Still, using the Luma key is well worth
| | 04:32 |
the investment of your time.
Some of the looks that you'll get by
| | 04:36 |
using the Luma rather than a Chroma to
define your key are a little bit more
| | 04:42 |
subtle, a little bit more nuanced than
perhaps you'll get with Chroma keys.
| | 04:50 |
| | Collapse this transcript |
| An example luma key| 00:02 |
Sometimes you'll find that you've got
media assets that you perhaps would
| | 00:05 |
anticipate having an alpha channel.
And then, at the last minute, well it
| | 00:09 |
turns out you don't.
Here, for example, I've got some media
| | 00:13 |
that has no alpha channel.
This is just an animated cloudy, foggy
| | 00:18 |
area generated in After Effects.
But the file's got no alpha channel at all.
| | 00:24 |
And I can see that by selecting the item
in my Project panel.
| | 00:27 |
And looking up at the top.
Now, never mind that the file is called
| | 00:31 |
Clouds No Alpha.
If this had alpha, like for example, the
| | 00:34 |
other example of the clouds has, it would
say so in the information at the top of
| | 00:39 |
the panel.
So, let's presume we don't have an alpha
| | 00:43 |
version of this and we don't have access
to After Effects to go in and create some
| | 00:48 |
alpha, how can we get this to work in
front of our Background layer?
| | 00:54 |
Here, on the Timeline I've got a, a dodgy
bit of green screen that I created a few
| | 00:58 |
days ago.
And perhaps to make the picture look even
| | 01:02 |
worse, it'll be interesting to put some
smoke in the foreground.
| | 01:06 |
Well, this is exactly what the Luma key
is for.
| | 01:10 |
If I bring my Luma key effect, drop it on
the Foreground layer, right away, you can
| | 01:16 |
see I've got my effect.
If I play this through now.
| | 01:22 |
> > This is meant to by white, right?
> > There you go, that's my incredible
| | 01:26 |
stage performance.
So, you can see that it's done a really
| | 01:29 |
lovely job of putting the Luma key in,
instead of the original alpha.
| | 01:36 |
And I can still make some adjustments
here to change how much of the foreground
| | 01:39 |
and the background you get.
But the more that you reduce the thresh
| | 01:44 |
hold, you'll see, if I bring this in a
bit, we're beginning to get more and more fringing.
| | 01:50 |
We're getting more of the black part of
the image which looks less and less convincing.
| | 01:55 |
If I bring this in even more, we're
definitely getting into the Harry Potter
| | 01:59 |
territory of CG clouds.
Which is perhaps, perhaps not what you're
| | 02:03 |
really looking for.
It could be exactly what you're looking for.
| | 02:07 |
But bare way, you're going to start to get
this fringing if you depend on the Luma
| | 02:11 |
key by adjusting the threshold.
And of course, equally, we've got the cut off.
| | 02:16 |
So, if I really wanted to give this hard
edges, I could increase the cutoff point.
| | 02:21 |
So that it was very, very close to my
threshold.
| | 02:24 |
The threshold is just defining how dark a
pixel needs to be before it's interpreted
| | 02:29 |
as transparent or rather before that
luminance level is translated into the
| | 02:33 |
alpha channel level.
And the cutoff just give me no grey
| | 02:39 |
scale, if you like, no softening of that
adjustment.
| | 02:43 |
If I set the cutoff low, then I get lots
of subtle shades.
| | 02:47 |
If I set it closer and closer to my
threshold, if I, if I set this to a full
| | 02:51 |
37, just one point beyond my threshold or
below it, you can see I'm getting clouds
| | 02:56 |
that look almost like weather report
clouds.
| | 03:02 |
Again, that could be exactly what you're
looking for.
| | 03:05 |
This isn't a question of necessarily
achieving the most realistic results.
| | 03:09 |
It's about fulfilling your creative
aspirations.
| | 03:13 |
You'll notice, by the by, that the Luma
key effect inside of Premiere Pro, is not
| | 03:17 |
a coder enabled one.
So, even if you have the right graphics
| | 03:22 |
card, you're going to get a red line.
Saying that though, in Premiere Pro,
| | 03:26 |
nowadays the red line doesn't necessarily
mean that you'll have to render to play
| | 03:30 |
it back.
It just means that the quality isn't
| | 03:33 |
going to be that high.
Again, if I set my threshold up and I set
| | 03:38 |
my cutoff down.
I can get pretty convincing results by
| | 03:43 |
using original media that doesn't
actually have an alpha channel.
| | 03:49 |
| | Collapse this transcript |
|
|
5. Chroma KeysChroma key controls| 00:02 |
A chroma key is an absolutely standard
effect type and it's been in use for
| | 00:06 |
years and years, either using live vision
mixers or in post production in the way
| | 00:11 |
that we're working here.
The principle is extremely simple but the
| | 00:17 |
art and craft of getting a good key is
something that will take a little time
| | 00:22 |
for you to develop.
In particular, you'll find that really
| | 00:26 |
clean media will give you a good key
quickly, but if you've got more
| | 00:29 |
complicated, what should we call it?
Dodgy media that is perhaps badly lit or
| | 00:35 |
has some spill from the background into
the foreground.
| | 00:39 |
In these kinds of situations you'll need
to play around a little bit to get the
| | 00:42 |
result you need.
I'm just going to start off explaining
| | 00:46 |
Chroma keys using the regular Chroma key
effect rather than the more advanced
| | 00:50 |
Ultra effect.
Because the Chroma key effect is a little
| | 00:54 |
bit simpler to meet these settings.
And although this is Windows only effect
| | 00:59 |
at least you'll get an idea of what the
controls are.
| | 01:04 |
I've got a sequence set up here where
I've got a color wheel set up and there's
| | 01:09 |
a gradient along the bottom.
You can see as soon as I put the key on
| | 01:14 |
it's giving me some transparency on this
gradient.
| | 01:19 |
It's not doing a great job of it but
what's happening is because the color, by
| | 01:23 |
default, is white, and my gradient is
white, it's picking out areas of that
| | 01:27 |
gradient and thinking, oh, I suppose
that's supposed to be transparent.
| | 01:34 |
Behind this color wheel image I've got a,
an animated lightning bolt background
| | 01:39 |
generated in auto effects.
I just put this on here to make it nice
| | 01:44 |
and clear when we're making a hole
through our image.
| | 01:48 |
Essentially all you need to do is pick a
color range and in theory the Chroma key
| | 01:52 |
will do the rest.
So I'm going to either click on the color
| | 01:56 |
picker and manually choose a color or,
more likely I'm going to use the eye
| | 02:00 |
dropper and I'm going to click on
something that I think I want to make transparent.
| | 02:07 |
So maybe I'll go for the blue range of
this color wheel.
| | 02:10 |
Now you'll see right away that even
having clicked into the picture, haven't
| | 02:14 |
got much of a key.
There's a tiny little bit where I
| | 02:18 |
clicked, a little tiny tear that you see
inside my color wheel.
| | 02:25 |
I'm just pressing the grave key as it's
called, looks like a backwards
| | 02:28 |
apostrophe, to go full screen with these
panels.
| | 02:31 |
So what I need to do is expand the range
of colors that are used.
| | 02:36 |
Now more advanced keying applications
will give you plus and minus eyedroppers
| | 02:41 |
to add to the color range or subtract, or
you might get a slider control to choose
| | 02:45 |
from a range of hues.
Here, in this more simple chronic effect,
| | 02:51 |
I can just expand the similarity range.
And you can see, as I do so, it's tearing
| | 02:57 |
into my color wheel.
I'm just going to expand this a bit so
| | 03:01 |
you can see the image a bit more clearly.
Let me get rid of these other sequences.
| | 03:08 |
Okay.
So you can see in the background there,
| | 03:13 |
you can also see that the curve is still
applied from the color wheel.
| | 03:20 |
Of course I haven't chosen black as my
transparency color.
| | 03:24 |
If I choose my Eye Dropper and click into
the black background, right away, I'm
| | 03:28 |
going to get a massive, effectively a
lunar key, a large area key where the
| | 03:32 |
black background of my color wheel, which
is being used as my key color.
| | 03:39 |
And you can see because I've got my
similarity set quite high.
| | 03:42 |
I'm getting a big chunk of the middle of
the color wheel as well.
| | 03:45 |
If I drag this back out far enough.
There you go.
| | 03:49 |
That's the inverse of the selection I had
in the beginning.
| | 03:51 |
Whereas the beginning with white selected
I was getting these white areas
| | 03:54 |
transparent now I'm getting the black
areas.
| | 03:57 |
It's not doing a fantastic job of making
the selection either.
| | 04:00 |
So if I go in now and maybe choose the
green, you can see I can just expand this
| | 04:04 |
out and get a larger area and ordinarily
if you were filming somebody in front of
| | 04:08 |
a green screen or a blue screen you'd
have a solid area of color and you'd
| | 04:12 |
expect to get a pretty reasonable key.
Of course one problem with this
| | 04:19 |
particular effect is you can see this
tearing I'm getting in the image.
| | 04:24 |
This is just not a clean edge for my key.
And I might want to do some softening on
| | 04:29 |
there to make it a bit more acceptable.
If I adjust the blend controls, here, I
| | 04:34 |
am going to get that kind of softening
between the selected and unselected parts
| | 04:39 |
of the image.
But you can see, if I go beyond my own
| | 04:43 |
similarity setting I'm starting to get
even the black background there taken in
| | 04:48 |
and that's just no use at all I'm also
going to begin to get that would go at
| | 04:52 |
100% whole other areas of color not
because I've selected them as a key color
| | 04:56 |
but because I've blended so much on the
edges.
| | 05:03 |
Which is no use at all, so let's bring
that back down, and just have a little
| | 05:07 |
bit of smoothing.
If I adjust the threshold, I'm going to
| | 05:11 |
get more or less, of the background
included.
| | 05:16 |
Now let me increase my similarity a bit
here, so you can see the results of this.
| | 05:23 |
As I adjust, it's pretty subtle, but you
can see, just in this area where the, the
| | 05:27 |
gray area of the key that I'm creating.
Effectively, the alpha channel that I'm
| | 05:33 |
creating is being affected by me
adjusting this threshold.
| | 05:38 |
What this is doing is adjusting the
subtle gray tones, or rather the
| | 05:42 |
selection of the gray tones from within
my key.
| | 05:46 |
That is, how much that's quite green or
not green.
| | 05:50 |
It's not a clean cut edge in this image,
of course, because my color wheel blends
| | 05:53 |
seamlessly from one color to the next.
If I were using a piece of media that was
| | 05:57 |
somewhat in front of a green screen this
would be quite useful for avoiding the
| | 06:00 |
kind of edging and fringing that you can
sometimes get.
| | 06:04 |
The cutoff adjustment, well you can see
for yourself if I increase the threshold
| | 06:08 |
a little bit here, this sets an absolute
cutoff for what is and is not keyed.
| | 06:14 |
I need to keep this below my similarity
threshold again, but you can see.
| | 06:20 |
What this is doing is finding areas of
the image, remember this is just an image
| | 06:23 |
of a color wheel, it's not an active
color wheel, and it's setting a point
| | 06:27 |
beyond which it's just not going to key
it at all.
| | 06:31 |
The Smoothing control is for dealing with
this aliasing, as it's called, these
| | 06:35 |
jagged edges in the image.
If I choose Low, you can see some
| | 06:39 |
smoothing occurs, if I choose High Quite
a lot.
| | 06:42 |
And if I really want to see what's going
on, I can turn on viewing the mask, and
| | 06:46 |
you can see what I've got here is a
pretty awful key.
| | 06:49 |
And this is partly because it's not a
great effect for the new ultra here,
| | 06:52 |
which is Mac and PC, does a better job of
it, and partly because this is completely
| | 06:56 |
the wrong kind of media to use.
For keying but it is very useful media to
| | 07:02 |
show you the core concept of a Chroma key
which is that everything I'm doing here
| | 07:07 |
could be applied to the Magenta the R and
G Red regions, the Blue regions.
| | 07:15 |
It doesn't really matter what the color
is.
| | 07:18 |
A Chroma key will be able to pick it up.
And those are the core controls of using
| | 07:24 |
a Chroma key with Premiere Pro.
| | 07:28 |
| | Collapse this transcript |
| An example chroma key| 00:02 |
The standard Chroma key effect in
Premiere Pro may not be that hard but you
| | 00:05 |
can still get pretty good results with
it, and I just want to show you a simple
| | 00:09 |
example of keying using this effect
before we get into looking at perhaps the
| | 00:12 |
Ultra keyer.
So, I've got an effect set up.
| | 00:19 |
Or rather, I've got the clip set up for
it.
| | 00:20 |
I've got my electric background, and in
front of that, I've got me saying hello.
| | 00:26 |
And you can see that this has been framed
badly.
| | 00:29 |
So, I'm going to need to incorporate a
garbage matte to get rid of some of these
| | 00:33 |
side elements in the original
composition.
| | 00:36 |
This is the studio we recorded in.
First thing I'm going to do is, I'm going
| | 00:41 |
to put that garbage matte on.
So I'm going to do a quick search for in
| | 00:45 |
it in the Effects panel.
I'll just got a simple four point matte I
| | 00:49 |
don't think there's that much movement in
this shot.
| | 00:52 |
Let's have a little look.
> > Hello.
| | 00:56 |
How are you doing?
We're going to show you some very cool
| | 00:59 |
stuff today.
> > Now I'm standing almost completely still.
| | 01:03 |
Now that I've got my garbage matte on, I
can pull this in, and this is going to
| | 01:08 |
give me a pretty clean edge to work
within when I'm creating my key.
| | 01:15 |
And what's particularly useful about this
is here, in this region, where there are
| | 01:19 |
some shadows Is particularly difficult to
key because the lighting is inconsistent.
| | 01:25 |
Just come out to about 10% here to make
sure that's all fine.
| | 01:29 |
It doesn't matter if my control points
are off the screen.
| | 01:33 |
Great, let's put that back to fit.
Now I can get my Chroma yey, and I can
| | 01:40 |
throw that on as well.
All I need to do to select my key is get
| | 01:47 |
my eye dropper and click usually
somewhere near to the subject.
| | 01:53 |
And you can see straight away a
completely Rubbish key.
| | 01:56 |
If I set this up to 100% so we can see
what's going one.
| | 01:59 |
The Chroma key has picked out a very,
very precise range of colors.
| | 02:06 |
So I'm going to expand the similarity by
clicking and dragging and we should be
| | 02:11 |
able to see a better key.
And let's go back to fit and that's a lot
| | 02:18 |
better already.
Now, if we go back to a hundred percent
| | 02:22 |
to view here, we can see we've got quite
a lot of this elacing, these jagged edges.
| | 02:29 |
I'm going to apply some smoothing, maybe
a little bit more smoothing to ease that off.
| | 02:36 |
And then maybe put a little bit of
blending in not, not too much.
| | 02:44 |
And then let's adjust the threshold a
little.
| | 02:53 |
And I don't think we really need to worry
about the cutoff because that's all fine.
| | 02:57 |
So the result of this key looks a little
like this.
| | 03:04 |
> > Hello, how are you doing.
We're going to show you some very cool
| | 03:09 |
stuff okay.
> > Okay.
| | 03:12 |
Not exactly naturalistic with the
electrical lightning bolts playing in the
| | 03:16 |
background, but you can see how fast it
is to layer content.
| | 03:20 |
Now the one thing that's missing from
this is color correction.
| | 03:24 |
It might well be that after you've
applied your key, you need to do some
| | 03:27 |
grading work to make your foreground fit
in with your background.
| | 03:32 |
In this instance, if you really wanted to
go crazy, you could do worse than build a
| | 03:36 |
composition using this lightning to
define a foreground element as well.
| | 03:41 |
And then you could have the impression of
light playing across the front of me as
| | 03:44 |
well as behind.
But just creating a simple key is very
| | 03:48 |
much a question of choosing a color and
specifying the similarity and hoping that
| | 03:52 |
you don't get too many interlacing
elements because of the quality of your background.
| | 04:00 |
In this case, I'm standing in front of an
absolutely clean green screen, which is
| | 04:05 |
set up perfectly for the purpose.
If you're in a situation where you're
| | 04:10 |
filming with a green cloth hanging from a
wall with inconsistent colors, you may
| | 04:13 |
have a lot more difficulty.
You may need to work on it a lot harder.
| | 04:18 |
The important thing when you're lighting
for the green screen, is to make sure
| | 04:22 |
that you have consistent smooth colors.
The more consistent you can make, the
| | 04:28 |
background, the more easily you're going to
find that you get a clean key.
| | 04:33 |
You also want to make sure that your
subject is not standing too close to the
| | 04:37 |
background because if they're standing
very close to the background, you'll
| | 04:42 |
begin to get some spill, some fringing
from the green on the subjects clothes.
| | 04:49 |
But there you are combining a garbage
matte and a chroma key gives you
| | 04:55 |
something of a key effect without even
using the advanced features of ultra.
| | 05:03 |
| | Collapse this transcript |
|
|
6. The Ultra KeyerPrimary Ultra Key controls| 00:00 |
The Ultra Keyer is advanced Chroma keying
filter inside of Premiere Pro with
| | 00:05 |
features including Spill Suppression and
Color orrection, both of which can make a
| | 00:10 |
big difference to problem keys.
Let's take a look at the core controls of
| | 00:18 |
this Filter effect.
I've got a sequence here which has got me
| | 00:22 |
in front of a green screen, and just
notice as well, I've got this tissue in
| | 00:25 |
my hand which is giving partial
transparency with the green screen behind it.
| | 00:31 |
Don't try to pay too much attention to my
dodgy ironing, or lack of it.
| | 00:35 |
Under this layer, I've got a park scene,
this is some kids playing baseball
| | 00:40 |
(UNKNOWN) and they're chasing after the
ball in the background.
| | 00:46 |
So, I'm going to create a simple layered
effect with me introducing the beginning
| | 00:51 |
of a program.
There's not much movement in the dialog
| | 00:56 |
here, so let's just have a look at it.
Hello.
| | 00:59 |
My name is Maxim and I'll be your host
today.
| | 01:04 |
Yep, so it's just me saying hello.
So, I'm going to go to my Effects panel and
| | 01:07 |
I'm going to bring up the Ultra Keyer and
drop that on the top layer here.
| | 01:12 |
And broadly speaking, I suppose you could
divide the Ultra key into three sections.
| | 01:19 |
We have the Ultra key main settings here
at the top, where you're going to choose
| | 01:23 |
your key and what's going to be displayed.
And then, we've got Matte Clean up and
| | 01:28 |
Generation, which defines the way the key
is interpreted.
| | 01:32 |
And then below that, we've got the third
section in my mind, which is where you
| | 01:35 |
can do some corrections and some
adjustment, this Fill Suppression and
| | 01:38 |
Color Correction which change the
appearance of the video that makes it
| | 01:41 |
through the key.
Telling the Alter key effect which color
| | 01:47 |
to key out is just a question of clicking
on the eye dropper and choosing a color.
| | 01:52 |
Now you can probably see that the green
screen around me is pretty good.
| | 01:58 |
The main thing with green screens is to
have smooth areas, not to have any harsh
| | 02:02 |
bits of texture on the wall to give you a
texture.
| | 02:06 |
But I'm going to click somewhere close to my
neck here where there's a slight
| | 02:10 |
darkening in the picture, and this should
give us a pretty good key right away.
| | 02:16 |
If you want to be certain of the results
that you've got, you can click on the
| | 02:19 |
Output menu and you can choose to view
either the composite, which is what I'm
| | 02:22 |
seeing here, or the Alpha channel or the
Color channel.
| | 02:27 |
If I see here the Alpha channel, actually
it's quite clear that not all of this is
| | 02:32 |
keyed very well.
If I just go Full Screen with this, you
| | 02:36 |
can see that around the edges of the
picture, because that green isn't a
| | 02:39 |
perfectly consistent one, I'm getting
some bits of the green in the foreground.
| | 02:45 |
It's very faint and against the
background that we've got, it's probably
| | 02:49 |
not that visible.
But once you know it's there, you really
| | 02:53 |
can spot it, and this is where these
secondary controls come in here.
| | 02:58 |
I've got a Matte Cleanup and Matte
Generation set of controls.
| | 03:04 |
And what's happening when I choose a
color with the Key Color control, is I'm
| | 03:09 |
creating a matte.
I'm creating a grayscale image that sits
| | 03:14 |
on top of the image of the original
media, frame by frame, that tells Premier
| | 03:18 |
Pro which pixels should be transparent.
It's just translated from one to the other.
| | 03:24 |
It's kind of like a garbage matte, but
it's generated on the fly from the green,
| | 03:27 |
in this case.
It's easier to see what these controls do
| | 03:31 |
by switching the Output to view the Alpha
channel.
| | 03:35 |
So, if I set that now and just go over to
these, I'll run through what they do for you.
| | 03:41 |
The Transparency control effects the
overall transparency.
| | 03:45 |
45 is the average.
And as you increase this, you can see
| | 03:48 |
that even the highlight regions, which
are meant to be in the foreground and
| | 03:52 |
opaque are becoming transparent.
If I scroll up and switch this back over
| | 03:57 |
to Composite, you can see what I mean.
Not particularly useful, but again, it
| | 04:02 |
always comes down to not whether you're
getting an accurate result but whether
| | 04:06 |
you're getting the result that you want
for your particular creative project.
| | 04:12 |
Then here, we've got the highlight and
this just specifies a cutoff point beyond
| | 04:16 |
which the image is definitely considered
to be white.
| | 04:19 |
This is a little bit like setting a
limiter on your video.
| | 04:23 |
If I drop this down, you can see that
we've got regions that are pretty much
| | 04:26 |
being seen as lit because of the very
subtle variations in the lighting on the
| | 04:30 |
back wall.
If I bring this down, I can drop this to
| | 04:35 |
Naught and clean that up.
I have the same result, but in reverse,
| | 04:40 |
by adjusting the shadow, and you can see
here, there's a slight problem because as
| | 04:45 |
I drop the Shadow level, I'm starting to
get some see through parts of my key.
| | 04:53 |
So, I've got a nice clean black around
the edge of me but I'm going to start to see
| | 04:57 |
some of the background through my waist.
And this is where we start to adjust the
| | 05:04 |
tolerance which filters out foreground
elements and the pedestal which adjusts
| | 05:09 |
the curve that's used to generate this
black and white matte.
| | 05:14 |
Now, even if I leave things as they are,
I've still got some more controls down
| | 05:18 |
here under the Matte Cleanup.
I can choke the matte so I just zoom in
| | 05:23 |
to 100% so you can see, if I start to
drag this up, the entire matte starts to shrink.
| | 05:32 |
Now, this can look pretty awful.
But you'll sometimes find depending on
| | 05:35 |
your source media that you get a kind of
a halo around the edge of your subject,
| | 05:39 |
where it's neither the background color
nor the foreground color.
| | 05:44 |
It just gives you it's almost like a suit
of armor around your subject and choking
| | 05:48 |
the matte can make quite a big difference
to that.
| | 05:52 |
If I switch back to the Composite here,
yeah, you can maybe see a little bit of
| | 05:55 |
fuzziness around the edge of my
shoulders, but if I choke this in a
| | 05:58 |
little bit, it just cleans that up and
helps to give me a sharper key.
| | 06:03 |
Equally, you might find, depending on how
clean your source is that softening the
| | 06:09 |
key will help to get a smoother finish.
One of the problems with a lot of the
| | 06:15 |
highly compressed video formats is that
they just drop color information.
| | 06:20 |
And if that happens, you can get quite
jagged edges around your key.
| | 06:24 |
Softening the matte will help to give
actually a cleaner looking key.
| | 06:30 |
The contrast adjustment is for adjusting
the key itself.
| | 06:35 |
And if I crank this up, we should be able
to see it cleaning up some of those spots
| | 06:40 |
that are in there, and it's not too bad.
If I now, maybe, adjust the midpoint, I
| | 06:46 |
can bring this back in and I've got a
much cleaner key.
| | 06:51 |
What I'm looking for here is an
absolutely white foreground that is the
| | 06:54 |
pixels that I want to be visible, and an
absolutely black background that are the
| | 06:59 |
pixels that will be transparent.
And I can maybe adjust this shadow a
| | 07:05 |
little bit, maybe adjust the pedestal
slightly to try to clean this up a little
| | 07:10 |
bit more but I think that's probably good
enough.
| | 07:16 |
Let's choke this back a little bit less
to lose some of those spots.
| | 07:22 |
And that should give me a pretty clean
Composite of my foreground over my background.
| | 07:28 |
Because the Ultra key is a CUDA-enabled
effect, I can play this absolutely fine.
| | 07:35 |
Hello.
My name is Maxim and I'll be your host today.
| | 07:39 |
And perhaps the only thing that remains
to be done is some Color Correction to
| | 07:44 |
blend this in with my background.
| | 07:48 |
| | Collapse this transcript |
| Secondary Ultra Key controls| 00:02 |
I have a simple composition set up here
with, actually, a still shot of some clouds.
| | 00:08 |
And in the foreground that's actually my
hand keyed against a computer screen.
| | 00:13 |
And I've done it that way so that I can
show you what Spill Suppression is all about.
| | 00:19 |
If I turn off this Ultra Key, you can see
this is just photograph.
| | 00:22 |
Pretty high resolution one, actually,
that has been taken with my hand actually
| | 00:26 |
touching the computer screen.
And the result of this is I get what's
| | 00:31 |
called spill from the computer screen.
You can see on the side of my hand there,
| | 00:37 |
there is a green glow on the side my
skin.
| | 00:40 |
And this is very, very common.
Where you've got someone standing a
| | 00:44 |
little bit too close to a green screen.
Fixing this is where the secondary
| | 00:49 |
controls, the Spill suppression and Color
Correction come into play with the Ultra Clear.
| | 00:54 |
First of all the Spill Suppression will,
hopefully, get rid of the green tinge
| | 00:58 |
around my hand.
And the Color Correction will help me to
| | 01:03 |
blend in this image with the colors and
the tonality of the background.
| | 01:10 |
I'm doing this with still images, but of
course it's exactly the same if you're
| | 01:12 |
working with moving images.
The only exception being that you may end
| | 01:16 |
up having to key frame some of these
adjustments if the lighting qualities
| | 01:20 |
change over time.
As you can see, I've already key the
| | 01:24 |
foreground and I got a pretty good Alpha
channel out of it.
| | 01:28 |
And it doesn't really matter that my
foreground doesn't reach the edges of my background.
| | 01:33 |
It's a different aspect ratio.
It's not important because these are
| | 01:36 |
empty pixels these are transparent
anyway.
| | 01:39 |
So if I go back to my composite, you're
not going to see the join, it's completely fine.
| | 01:44 |
So first of all, I want to see if I can
do something to clean up the edges of
| | 01:48 |
this hand using Spill Suppression.
The Desaturate control just removes the
| | 01:54 |
background color as I've selected it with
my key color.
| | 01:59 |
So, if I show you this zoomed in.
And just come around to where it's
| | 02:04 |
absolutely the worst, which is the side
of the hand here.
| | 02:08 |
Make this a bit bigger so you can see.
If I start to increase the Desaturation,
| | 02:15 |
you can see.
The edges start to go gray.
| | 02:19 |
Now if you go too far with this control,
it starts to turn the whole subject gray.
| | 02:23 |
You can see the whole of my skin tone
disappearing there.
| | 02:26 |
So you need to balance this a little bit
to avoid it becoming to obvious.
| | 02:31 |
But this is a good way of getting rid of
tiny bits of edging if you get a, just a
| | 02:35 |
sliver of color spilled across into your
subject.
| | 02:40 |
You can often fix it but just
desaturating so that the viewer isn't
| | 02:43 |
distracted by it.
The range controls how much of the spill
| | 02:48 |
suppression is applied across the image.
And you can see as I increase this, it's
| | 02:53 |
completely ruining the color of the
foreground.
| | 02:56 |
And if I decrease it, it's going to do
absolutely nothing at all.
| | 03:01 |
50 is the default and I find that it's
really a question of playing around with
| | 03:05 |
the Spill control just below it.
Which adjust the overall amount to a
| | 03:10 |
scale of compensation that's applied with
the range control to get it just right.
| | 03:15 |
What you want is to try and blend in the.
Spill with the original subject, and
| | 03:23 |
that's probably not too bad.
Then you've got a luminance adjustment
| | 03:29 |
here, which works with the luma.
In the original source.
| | 03:35 |
And this is used to change the way the
key interacts with your foreground.
| | 03:41 |
This is pretty subtle but you'll know it
if you need it.
| | 03:44 |
Because you'll find there are occasions
when keying your media effects the
| | 03:47 |
overall luminance of it.
And you can compensate for that by
| | 03:51 |
adjusting this Lunar control.
It's not making any difference to this
| | 03:56 |
media because the key hasn't had any
particular effect in the foreground luminance.
| | 04:01 |
But what I do want to do if I set this
back to fit is work on the color correction.
| | 04:06 |
There's no reason why I can't use a more
powerful color correction tool as a
| | 04:09 |
second effect.
And especially given that the Ultra key
| | 04:13 |
is a CUDA enabled effect, you can see
I've got the switch listing there.
| | 04:18 |
So I can just combine this with something
last the Fast Color Corrector and tidy up
| | 04:22 |
the colors and make it fit a little bit
better.
| | 04:26 |
But I can also probably get away with
just dropping the saturation a little
| | 04:29 |
bit, maybe dropping the luminance.
I find very commonly if you're moving
| | 04:34 |
from Interior lighting to an exterior
background, just dropping those two can
| | 04:38 |
make a difference.
Maybe a little bit more still, we want
| | 04:43 |
this to move towards the blue.
And then maybe a very, very subtle
| | 04:47 |
adjustment to the hue.
Here adjustments tend to be really,
| | 04:50 |
really visible.
And what you want to avoid, is moving
| | 04:53 |
everything towards something like
magenta, which just looks very obviously false.
| | 04:59 |
If you are going to make an adjustment,
you really want to just be moving a few
| | 05:02 |
degrees around the hue wheel.
Let me go four, five, six, something like that.
| | 05:07 |
Nothing too severe, maybe drop the
saturation even more.
| | 05:11 |
You'll find because the human eye
perceives different colors at different
| | 05:14 |
levels of intensity.
Some colors will leap out at you, when
| | 05:18 |
you make hue adjustments.
Even though actually, technically they
| | 05:22 |
have exactly the same amount of
saturation.
| | 05:25 |
Perception is not just active in the
sense that we interrupt what we see.
| | 05:30 |
But at a very basic physical level, in
terms of the biology of your eyes.
| | 05:35 |
Different colors will stand out more than
others.
| | 05:38 |
Now I grant you it's not a particularly
inspiring image.
| | 05:41 |
But it's not too bad as an effect to
combine something that looks like this.
| | 05:47 |
With a background where you've obviously
got muted colors because the sun is going down.
| | 05:53 |
So that's the Secondary controls, as I
would call them.
| | 05:56 |
Inside the Ultra key as Spill Suppression
and Color Correction.
| | 06:03 |
| | Collapse this transcript |
| First example of using the ultra keyer| 00:02 |
Let's take a look at using the Ultra
Keyer to blend these two images together.
| | 00:08 |
In my foreground, I have this shot of
balloons.
| | 00:11 |
And I am pretty happy with the shot, but
I'd like to have the balloons and some of
| | 00:16 |
the clouds, but none of the blue in front
of my background, sky sunset shot.
| | 00:23 |
And I want the two to blend together
reasonably well.
| | 00:26 |
To do this, I'm going to use the Ultra Key
here to get rid of the blue, and I'm also
| | 00:29 |
going to use a Garbage matte to just kill
this cloud in the foreground.
| | 00:34 |
And I think it's a bit too dominant in
the image, so I'm going to select my
| | 00:38 |
Balloons layer, and I'm going to check on
the Ultra Key effect.
| | 00:43 |
I've just searched for it using the Quick
Search Box at the top of the Effects
| | 00:46 |
panel, and I'll just resize it so I can
see it a little bit more clearly.
| | 00:51 |
I'm going to pick my Eyedropper and
choose the blue.
| | 00:57 |
On first inspection, this seems to do a
pretty good job.
| | 00:59 |
If I toggle the visibility of the
foreground off and on.
| | 01:02 |
Yeah, it looks okay, but if I switch over
to viewing the Alpha channel, it looks to
| | 01:07 |
me like I'm getting actually quite a lot
of the blue still in my foreground.
| | 01:14 |
So, I'll expand down my Matte generation
and clean up controls.
| | 01:19 |
And just have a play around with these to
bring out the highlights, and adjust the
| | 01:25 |
shadows of this image.
There we go.
| | 01:29 |
Now, I don't mind losing some of these
clouds up at the top if we switch back to
| | 01:34 |
the Composite view.
They're actually very, very blue.
| | 01:39 |
And I think it would be a tough call to
get the Key here to pull them out at the
| | 01:42 |
same time as pulling out some of the more
extreme highlights, like the clouds and
| | 01:45 |
the balloons.
Then again, I think it's okay if I just
| | 01:49 |
bring the pedestal up a little bit.
The main thing for me is that I want the
| | 01:52 |
balloons and I want some of this cloud
detail in the foreground.
| | 01:56 |
It's going to be a pretty subtle
combination.
| | 01:58 |
And if I now maybe, I'll look at the
Contrast here.
| | 02:02 |
Maybe soften just a tiny a bit.
They are clouds after all.
| | 02:08 |
And I think that's pretty good.
I think that's going to work for me.
| | 02:13 |
I maybe bring some of the highlights in a
little bit more.
| | 02:17 |
And now, if I'm happy with that, if I
switch back to my Composite view, I think
| | 02:20 |
that's looking pretty good.
Now, of course, I'm working with still
| | 02:25 |
images here.
If you're working with video, it's quite
| | 02:28 |
possible that, particularly with sky
shots, this looks like dutch tilt to me.
| | 02:33 |
You can see the horizon line is over
there for the background, or at least, in
| | 02:36 |
my eyes, it looks like it is.
It may be that the lighting changes and
| | 02:41 |
you need two key frames, some of the
adjustments you've made to keep the key clean.
| | 02:46 |
But all I'm going to do now is go over to
my Effects panel, and I'm going to pick up a
| | 02:50 |
a Matte.
I'm just typing in Matt to bring out with
| | 02:55 |
the Mattes, and I think an 8 points will
do it.
| | 02:59 |
So I'm going to take the 8 point Garbage
matte and throw it on top.
| | 03:02 |
And I'm just going to select the Heading in
my Effect controls panel, and this will
| | 03:14 |
give me my control points to make the
adjustment directly in the image of this
| | 03:25 |
Garbage matte float off the edge.
It doesn't really matter at this stage.
| | 03:39 |
It's absolutely fine.
And if I now deselect the Garbage matte,
| | 03:43 |
you can see, I've got this nice
composition with the balloons as the
| | 03:46 |
foreground element instead of if I turn
it back off again.
| | 03:51 |
The cloud really taking over the
composition.
| | 03:54 |
The other problem, of course, is that the
other clouds aren't as vividly white.
| | 03:59 |
I'd end up having to layer them.
I could if I wanted to create a duplicate
| | 04:03 |
of this layer, and then reverse the
Garbage matte and use that to just target
| | 04:06 |
this foreground cloud, and bring it down
a little bit, make it softer, make it darker.
| | 04:13 |
Perhaps even color it a little bit, but
for now, it's absolutely fine to just get
| | 04:17 |
rid of it all together.
And then, I'm ready to move on with the
| | 04:21 |
next part of my composition.
Now, in this instance, working with the
| | 04:25 |
Ultra Key, I'll just turn both of these
effects off for a second.
| | 04:29 |
Was relatively easy, because I was not
being especially demanding.
| | 04:34 |
If I really wanted to pull out this
detail in the clouds, which I can show
| | 04:37 |
you just how much I've got by turning off
the Background layer and turning the key
| | 04:41 |
back on, you can see how much is missing.
If I really wanted to bring that out,
| | 04:48 |
then I would have needed to spend a lot
more time working on my Ultra key controls.
| | 04:54 |
Particularly working on things like the
Softening and the Choke, but just try to
| | 04:58 |
bring out the soft, wispy details.
You can see if I bring the image back in
| | 05:02 |
again, there is actually quite a lot of
detail there that we've lost through keying.
| | 05:08 |
Effectively, it's because the blue of
these clouds is so close to the blue, not
| | 05:12 |
particularly around those clouds, but
over towards the right here where we
| | 05:16 |
really need it to key.
You can see they're so similar.
| | 05:22 |
It's very, very difficult for the key to
support both.
| | 05:25 |
But nonetheless, if I put all this back
on again, turn on the Background layer, I
| | 05:30 |
think it's a pretty nice composition.
| | 05:34 |
| | Collapse this transcript |
| Second example of using the ultra keyer| 00:02 |
I've got a composition setup here which
could be potentially quite challenging
| | 00:05 |
for keying.
If I just bring up the foreground video
| | 00:08 |
nice and large for you, you can see that
although this was shot in front of a
| | 00:12 |
green screen.
In fact this is shot in front of the same
| | 00:16 |
green screen as all of my other green
screen media.
| | 00:19 |
The camera was completely miscalibrated.
And I've seen keying contents like this
| | 00:25 |
before where it seems like at the time
everything was set up fine but nobody was checking.
| | 00:30 |
And you can see this bright vivid green
in the background is completely gone.
| | 00:34 |
In fact the exposure is very low.
And the colors are totally off.
| | 00:39 |
If we look at this, for example, in the
Reference monitor we can see that the
| | 00:43 |
contrast range is very, very low for this
shot.
| | 00:47 |
And if we look at the vetroscope you can
see we're way over towards the red.
| | 00:53 |
We're not getting a very good source
image.
| | 00:57 |
I've layered this video clip over a
clouds layer.
| | 01:01 |
This is clouds that were generated inside
of After Effects.
| | 01:07 |
And all I've done is taken this black and
white procedurally generated cloud background.
| | 01:14 |
And I've thrown onto it the tint effect
in Premiere Pro which has allowed me to
| | 01:19 |
give it kind of blue cream sky like
effect.
| | 01:23 |
It's obviously fake but it looks a little
bit nicer than the black and white.
| | 01:27 |
So what I'm going to do is I'm going to start
by throwing on the Ultra key.
| | 01:32 |
And I'm going to see what kind of results I
can get with my foreground.
| | 01:38 |
So let's just throw it on and I'll pick
out a color.
| | 01:41 |
I'm using the eye-dropper here.
And actually it does a pretty good job.
| | 01:47 |
If I look at my alpha channel you can see
yup, I need some cleanup.
| | 01:52 |
So I'll perhaps work a little bit on the
pedestal, maybe bring down the highlights
| | 01:57 |
a little bit.
It's not great, but I might be able to
| | 02:01 |
work on the contrast a little, and before
you know it, I've got a pretty good key.
| | 02:07 |
Now there's some things I'm not going to be
able to help with.
| | 02:09 |
For example, if you look at the color
board that I'm holding in this shot,
| | 02:13 |
there are some dark colored sections.
Which, if I just come back out of full
| | 02:18 |
screen again, is because they're bright
blue.
| | 02:22 |
And so, it's going to be pretty obvious that
the key is probably going to pick those up.
| | 02:27 |
The other problem I've got is that I seem
to be pretty magenta.
| | 02:31 |
Now, if I want to, I can go down to my
color correction.
| | 02:36 |
And perhaps I can play a little bit with
the hue and try to bring myself back around.
| | 02:41 |
The problem with hue adjustments is that
they rotate the entire color wheel around.
| | 02:46 |
I can bring down the saturation a little
bit and I can maybe bring down the
| | 02:49 |
luminence or bring it up a little bit.
But there's a limit at how much I'm going
| | 02:53 |
to be able to acheive with this because
I've just been recorded at completely the
| | 02:57 |
wrong color temperature and in completely
the wrong way.
| | 03:01 |
So this is an example of where I think
you'd be better off using some color
| | 03:05 |
correction before you apply your key.
I'll just get rid of this Ultra key by
| | 03:10 |
selecting it and hitting the delete key
on my keyboard.
| | 03:13 |
Backspace key'll work too, and I'm going
to bring up just a simple fast color
| | 03:17 |
correcter, I'm not going to bother with the
more advanced 3 way or RGB color correcter.
| | 03:24 |
And I'm going to throw the color correction
effect onto the clip before I get to the keyer.
| | 03:30 |
Now, if I go to my Reference monitor.
I can see right away that I've got his
| | 03:34 |
very very strong color cost.
And what I'm going to do is start off by
| | 03:39 |
benefiting from the fact that I'm holding
this color chart.
| | 03:44 |
I suppose what I'm doing here is I'm
singing the praises of having these color
| | 03:49 |
charts on set.
Because, when it gets to post production,
| | 03:52 |
there's nothing quite like doing this.
I'm going to, just set these to 100% so
| | 03:56 |
you can see what's going on.
I'm going to select the white balance
| | 04:00 |
eyedropper inside of the first color
corrector and I'm going to click on the
| | 04:05 |
white square of that Color charts and
bingo.
| | 04:10 |
Instantly you can see that I've got much
more natural colors.
| | 04:13 |
And the green is now green.
And if you look at the Vectorscope.
| | 04:18 |
We've come way back over to the center.
We've got a massive improvement in color.
| | 04:22 |
And we can see just by looking at the
Effect control panel.
| | 04:26 |
How far off white was because of the
calibration of the camera.
| | 04:30 |
If I now switch over to looking at my
waveform display in the Reference
| | 04:34 |
monitor, I can see that I don't have a
great range here.
| | 04:39 |
We're use the millivolt scale here
because this is Powell Media.
| | 04:42 |
And power media goes from point 3 volts
to 1 full volt.
| | 04:47 |
And you can see that the shadows are
okay, but I really have a terrible
| | 04:49 |
contrast range.
So I'm just going to go into my input
| | 04:53 |
levels, and I'm going to pull this back up
to give myself some highlights.
| | 04:57 |
Now, I don't want to go crazy with this
because we are mostly looking at mid tones.
| | 05:03 |
We've got the green there, my skin;
there's a lot of mid tones in the shot.
| | 05:07 |
But I can bring this up a little bit to
try to make it look a bit more natural.
| | 05:14 |
And one of the problems that you'll see,
particularly with the heavily compressed
| | 05:18 |
video formats, is that the smaller
cameras with the smaller chips very often
| | 05:22 |
hide grain in the shadows.
And if I go full screen with this, you
| | 05:27 |
can probably see around the background of
the green there there's quite a lot of
| | 05:30 |
video grain.
And this I what happens in the lower
| | 05:34 |
lighting situations.
You might be able to get some results by
| | 05:37 |
using a median filter or something like
that to smooth it out, but we'll stick
| | 05:40 |
with this for now.
Now that I've got this much better look,
| | 05:45 |
in fact I might just...
Y'know, I might just go crazy and pull
| | 05:49 |
that over a little bit more to bring the
whites out in my shirt.
| | 05:53 |
I think that looks a little bit more
natural.
| | 05:55 |
If I now go back to my Ultra-keyer, write
this on to my clip, get my key color,
| | 06:01 |
click somewhere in, I can see there's a
bit of darkening here near my head.
| | 06:09 |
There's light pools here and over to the
right, but if I go for the, somewhere
| | 06:13 |
near my neck there, we get a pretty good
key.
| | 06:17 |
And if I go to my Alpha channel, not too
shabby, not too bad at all.
| | 06:22 |
I'm just going to maybe bring up the
Pedestal a bit...
| | 06:26 |
Maybe bring the highlights in a little.
Let's have the tolerance up, set the mid
| | 06:33 |
point, increase the contrast, and I'm
getting a pretty good key.
| | 06:40 |
There we go.
Now, there's not a lot that I can do
| | 06:43 |
about the board in the center, but if I
just take a look through this.
| | 06:49 |
Yeah, it does look like I'm not moving
around too much, so this might be a good
| | 06:54 |
opportunity for me to get a garbage map.
Just a four point I reckon should do it.
| | 07:04 |
Throw this on and, if I now, rather than
setting this as including parts of my
| | 07:11 |
media, I'm going to want to set it to
exclude.
| | 07:17 |
I want to just have this board.
And the only way that you can do that in
| | 07:22 |
Premiere Pro is, if I just get rid of
this, is to select your clip.
| | 07:27 |
Ctrl+C or Cmd+C to copy it.
Cmd+V or Ctrl+V to paste and make a copy.
| | 07:33 |
Let's put this over on top, there we are.
In this instance I will get rid of the
| | 07:40 |
Ultra key because I don't need it and
I'll put my 4 point garbage mat on.
| | 07:48 |
Here we are.
And just set that for my board.
| | 07:55 |
And this way, I'm using one instance of
my media to get my background visible.
| | 08:00 |
I just set this screen so you can see
what's going on.
| | 08:04 |
And I'm using a second instance,
perfectly lined up to give me this
| | 08:08 |
foreground element.
And because this is in front its going to
| | 08:13 |
be ignoring any kind that I've created
using the ultra effect in fact its not
| | 08:18 |
using the ultra effect at all.
Right now click away and play through
| | 08:25 |
lets see what we get.
> > So this is meant to be white, right.
| | 08:32 |
Now, to my eye, there's still a little
bit of a tint on that and I might want to
| | 08:36 |
do a little bit more color correction
work.
| | 08:40 |
But by Duplicating the Layer after I
Apply the Fast Color Corrector, I'm just
| | 08:44 |
getting a pixel to pixel copy and it
works just fine.
| | 08:48 |
| | Collapse this transcript |
|
|
7. Nesting SequencesWhy nest sequences?| 00:02 |
There are many reasons to nest your
sequences inside of each other.
| | 00:07 |
And each of them gives you a new shortcut
a new way of getting from A to B in your
| | 00:11 |
edit that is more efficient than the
repetitive editing that you'd have to do
| | 00:15 |
keeping the clips separate on their own.
Essentially, nesting is putting one
| | 00:23 |
sequence inside another sequence.
And the kind of things you can do are,
| | 00:27 |
for example here, I've got several clips
one after another and they're from the
| | 00:30 |
same location.
They're from the same scene.
| | 00:34 |
And let's say that I'm happy with the
general look of them, but I want to apply
| | 00:38 |
an overall look change.
I want to do something to them that's
| | 00:41 |
going to look unique to the program I'm
working on.
| | 00:44 |
So, I can just put this sequence inside
another one and then I can throw on an
| | 00:48 |
effect that applies to all of these one
after another.
| | 00:52 |
And I make one set of changes instead of
multiple changes I'm creating an overall
| | 00:56 |
look for my program perhaps even a grade
and perhaps even doing some color
| | 01:00 |
correction effects to make sure my levels
are legal.
| | 01:05 |
A big benefit of nesting is if you have
multiple layers in your sequence, here
| | 01:10 |
for example I've got a background layer
and I've got a foreground intro with an
| | 01:14 |
ultra key on it and then later on I've
got a title over the top I've got a
| | 01:17 |
graphic over some of this media.
If I take this sequence and nest it
| | 01:25 |
inside another sequence and then maybe
put an effect on here I've put a tint
| | 01:28 |
effect onto this sequence.
Then included in that single segment in
| | 01:34 |
my master sequence as it were is both
layers of the video, the foreground and
| | 01:38 |
the background.
Both effected by the same effect.
| | 01:43 |
And even titles.
I've got a title here.
| | 01:46 |
And that's affected by the effect as
well.
| | 01:49 |
Nesting my sequence in this way allows me
to treat all of these clips inside my
| | 01:53 |
baseball intro sequence.
I've got that in my project just as any
| | 01:58 |
other sequence here.
It allows me to treat this as a single
| | 02:02 |
segment in multiple sequences together.
So for example, here I've got an episode
| | 02:08 |
one, episode two, episode three, I
haven't put an effect on the episode two
| | 02:11 |
and episode three openers yet, but I can
very easily.
| | 02:16 |
If I go back to my intro and perhaps open
up this title and maybe go into the title.
| | 02:24 |
Select this word and maybe change this to
sport.
| | 02:29 |
Sent to that back up again, close the
title, and then look in my master sequences.
| | 02:37 |
You can see, there is the we love sport,
sport, sport, is updated in all three episodes.
| | 02:45 |
And this means that you can generate a
very complex multi layered introduction
| | 02:49 |
to a TV series that you're cutting inside
one Premiere Pro project, throw that into
| | 02:54 |
every episode.
And if you then find later on that your
| | 02:58 |
commissioning editor, your director, your
producer whoever say oh no, we need to
| | 03:02 |
make some changes to that.
It's no problem.
| | 03:05 |
You can make changes once, and it'll
update everywhere that that sequence
| | 03:09 |
appears inside of your project.
Although, Premiere Pro doesn't really do
| | 03:13 |
media management in the way that, for
example, other editors like Avid do.
| | 03:18 |
It does do a very good job of managing
the relationships between the media and
| | 03:22 |
the sequences that you include inside the
same project.
| | 03:26 |
And this is a perfect example of that.
So there's lots of reasons to want to nest.
| | 03:31 |
Apart from anything else it helps you
keep your timeline nice and tidy.
| | 03:36 |
Including your titles inside a nested
sequence is a really good way of
| | 03:39 |
achieving things like picture in picture
effects, where the text is included in
| | 03:43 |
the effect.
If I select this segment, go to my
| | 03:48 |
controls, scale this video down, you can
see quite clearly the text is
| | 03:53 |
incorporated in my picture in picture
effect.
| | 03:59 |
You can do this of course by selecting
the individual parts and scaling them separately.
| | 04:04 |
But it's pretty efficient to to have it
nested inside a single segment.
| | 04:09 |
Any changes that I apply to my nested
sequence will be applied on mass and it's
| | 04:14 |
just a very quick and easy way to work.
| | 04:19 |
| | Collapse this transcript |
| Nesting sequences and working with effects| 00:02 |
Creating a nested sequence in Premiere
Pro couldn't be simpler.
| | 00:05 |
And in fact, with the latest versions of
Premiere Pro, there's now a way of
| | 00:10 |
nesting inside of your timeline.
I've got some clips right here, I've got
| | 00:16 |
my four baseball clips.
And if I want to put these inside another
| | 00:21 |
sequence, all I need to do is take the
sequence itself from inside of my Project
| | 00:25 |
panel and drag and drop it into the
sequence I want it to be embedded inside of.
| | 00:31 |
Now, the way that Premiere Pro treats
sequence, clips as it were, is like any
| | 00:36 |
other piece of media.
So, you can see that on the top of the
| | 00:40 |
Project panel, I've got the dimensions
1920 by 1080 for this sequence.
| | 00:45 |
I can see that the video is being used
already because I've already nested this
| | 00:49 |
in other sequences, and I've got the
frame rate and so on.
| | 00:54 |
Because Premiere Pro will treat the, if
you like, the conforming settings, the
| | 00:59 |
settings for the sequence itself, as the
media interpretation, I can use exactly
| | 01:03 |
the same shortcut to generate a new
sequence from this as I might do with any clip.
| | 01:10 |
So, if I don't have a sequence to put it
inside of, I can just drag and drop, and
| | 01:14 |
there's my sequence ready for me to work
on as a single segment.
| | 01:20 |
Another way I can do this is to simply
select the clips inside my sequence just
| | 01:24 |
so you mean a little bit.
Right-click or Ctrl+click on them, and
| | 01:30 |
choose Nest.
And if I do this, I'm going to get a new sequence.
| | 01:34 |
Now, the name of the sequence isn't super
helpful.
| | 01:37 |
It's called Nested Sequence Number 1, and
this is not based on the original name of
| | 01:41 |
my sequence.
And if you look, of course, when I
| | 01:45 |
dragged and dropped to create a new
sequence by dragging onto the New Item
| | 01:49 |
button, I got my nested sequence there
from the bin.
| | 01:53 |
But this now means I've got two sequences
called Baseball Clips, and one called
| | 01:58 |
Nested Sequence Number 1.
Not very helpful for staying organized.
| | 02:03 |
So what I will probably do is call this
new nest two, just so we know what it is.
| | 02:14 |
And if we look at the original sequence
that had those four clips in it, those
| | 02:17 |
four clips have been replaced by that
Nested sequence number one.
| | 02:23 |
You can see here, that's now new nest
two, and there's a bit of a break here
| | 02:27 |
between the names of these items.
I've just renamed the item in the bin but
| | 02:33 |
it's not updated the segment in the
timeline.
| | 02:38 |
However, if I go into that sequence, as
I've done by just opening it now.
| | 02:43 |
And maybe, I'll just drag one of these
items out so you can see there's a gap.
| | 02:48 |
Right away, you can see that gap has
appeared.
| | 02:52 |
So, this definitely is the sequence.
It's named in the bin, it's named in the
| | 02:57 |
tab on the Timeline panel, but it's not
updated in the nest.
| | 03:02 |
Moving on, of course, I've got a second
Baseball Clips sequence which is the one
| | 03:07 |
I created by dragging and dropping my
original sequence into the New Item button.
| | 03:14 |
I'll call this New Nest 1, because it's
the first one that I made.
| | 03:19 |
It makes it easy to work out what's going
on.
| | 03:23 |
Now again, if you look at the New Nest 2,
I've introduced a gap between the second
| | 03:28 |
and third clips.
If you look in our Baseball Clip's
| | 03:32 |
original sequence where a nest now
appears, there's the gap.
| | 03:38 |
If we look in our New Nest 1, I'll just
zoom in a little bit here.
| | 03:42 |
This is the one I created from this
Baseball Clip sequence.
| | 03:46 |
Again, as I drag through, there's the
gap.
| | 03:49 |
And the reason the gap is appearing is
that nests that are inside nests that are
| | 03:54 |
inside sequences all update
automatically, it's like a cascading fountain.
| | 04:00 |
What's happening is this New Nest 2 as
it's called is filled with four clips
| | 04:05 |
with gaps between them.
This sequence is inside the Baseball Clip sequence.
| | 04:12 |
Here's the gap, and the Baseball Clip
sequence is inside New Nest 1.
| | 04:17 |
So, ah-ha, perhaps you're wondering what
would happen if I made changes to the
| | 04:22 |
Baseball sequence which contains the New
Nest 2 sequence.
| | 04:28 |
Well, let's go to our effects and let's
just do something really obvious.
| | 04:32 |
I'll grab the Fast Color Corrector and
I'll go to my Effect controls, and I'll
| | 04:37 |
make this super green.
If I know go to my New Nest 1 sequence,
| | 04:42 |
lo and behold, it's super green.
So, I've got New Nest 2 which is clean,
| | 04:48 |
original media but with gaps, nested
inside of Baseball Clips.
| | 04:54 |
Which means that it appears as a single
segment and that has an affect on it.
| | 05:00 |
If I now go to my New Nest 1, there's the
results of the effect.
| | 05:04 |
But if I click on this segment, there's
no effect.
| | 05:08 |
And the reason there's no effect is that
this item is the output of this Baseball
| | 05:13 |
Clip sequence.
It's a segment inside that sequence that
| | 05:18 |
has the Fast Color Correction effect.
So, I'm getting the culminating output of
| | 05:24 |
this sequence.
In fact, let me drag these around a
| | 05:27 |
little bit so you can see these more
clearly.
| | 05:29 |
New Nest 2 with the original clips is
inside of Baseball Clips as a single segment.
| | 05:37 |
That segment has an effect on it.
The Baseball Clip sequence is inside New
| | 05:41 |
Nest 1, and that appears as a single
segment but it does not yet have an effect.
| | 05:47 |
If I put an effect on it, let's have
let's have a Fast Color Corrector again.
| | 05:52 |
I can, for example apply maybe a Hue
Adjustment, bring this around to the
| | 05:56 |
blue, and I'm now applying that to this
single segment.
| | 06:00 |
Now, there's just one thing you need to
know about working with sequences in this way.
| | 06:06 |
And that is, that the settings for any
sequence that's nested will be based on
| | 06:11 |
the original sequence settings.
And therefore, if you have a low
| | 06:16 |
resolution sequence and you put it inside
of a high resolution sequence, scaling it
| | 06:21 |
up will look blocky, and I'll show you
what I mean.
| | 06:26 |
This is NTSC 23.976 media.
So, I'm going to make a new sequence
| | 06:34 |
manually, and I'm going to make this DV,
maybe DV NTSC.
| | 06:43 |
In fact, why don't we go for DVC Pro 50
for AT24P Widescreen?
| | 06:49 |
So, it's 23.976 frames per second.
It's the right frame size and let's call
| | 06:57 |
this Standard Def sequence.
Okay.
| | 07:03 |
So, there's my Standard Def sequence.
I'm going to take New Nest 2, there it is.
| | 07:08 |
And I'm going to drag and drop that
inside my Standard Def sequence.
| | 07:13 |
Right away, you can see it's way too big.
So, I'm going to right-click, or Ctrl+click.
| | 07:18 |
I'm going to Choose Scale to Frame Size
and it looks fine, although I'm getting a
| | 07:21 |
little bit of black edging.
I'll probably need to scale that up to
| | 07:25 |
get rid of it because the Pixel Aspect
Ratio don't 100% mix.
| | 07:30 |
So, let's fit that in there.
Now, I'm going to make a new HD sequence.
| | 07:36 |
And let's do this by nesting again in a
super cunning way.
| | 07:40 |
I'm going to drag this full HD sequence
onto the New Item button.
| | 07:43 |
And I'm going to call this High Def
sequence.
| | 07:49 |
So, my High Def sequence contains a full
copy of New Nest 2 and a full 1920 by
| | 07:55 |
1080 resolution.
My Standard Def sequence actually
| | 08:00 |
contains the same thing, but scaled down
to standard definition.
| | 08:04 |
This one is just 720 by 480 pixels.
If I put my Standard Def sequence inside
| | 08:12 |
my High Def sequence, which is fine, I
can do that look what happens.
| | 08:18 |
It's massively tiny.
Now, this is because in my User
| | 08:21 |
Preferences, there we go, General.
I have default Scale to Frame Size turned
| | 08:27 |
off, which simply means that if I
right-click and choose Scale to Frame
| | 08:31 |
Size, I'm going to get the same result
again.
| | 08:36 |
You can see now I've got very, very fine
letter boxing because the pic's last pic
| | 08:41 |
ratio doesn't quite match between the
Standard Def MTFC and widescreen.
| | 08:48 |
Now, take a look at this.
Even though Premiere Pro conforms at the
| | 08:52 |
point of playback or at the point of
export, because I've put this high
| | 08:56 |
definition media inside a Standard
Definition sequence.
| | 09:01 |
What I'm getting inside this New High
Definition sequence is actually a
| | 09:05 |
Conformed Standard Definition output.
What does that mean?
| | 09:11 |
Well, if I go to a section of the video,
just here's a good example.
| | 09:16 |
And I set my media to 100% resolution
instead of scaling it down, and you just
| | 09:20 |
take a look at these railings on the side
of these steps.
| | 09:26 |
Compare that to the same media earlier
on, let me get the same moment, it's
| | 09:31 |
actually a lot sharper.
If I just try, can you see that?
| | 09:38 |
I just get the point, that's the HD,
that's the SD.
| | 09:42 |
There's the HD, there's the SD.
What's happening is that Premiere Pro is
| | 09:47 |
having to scale up from Standard
Definition media to a High Definition image.
| | 09:53 |
You're actually losing image resolution
by putting HD media inside a Standard
| | 09:57 |
Definition sequence.
Now, why am I telling you this?
| | 10:01 |
I'm telling you so that you get a clear
sense that each time you nest a sequence,
| | 10:05 |
what you're nesting, this single segment
that you're putting inside another
| | 10:09 |
timeline, will have the specification
that you give that sequence.
| | 10:15 |
In this case, it's going to be 1920 by
1080, and so on, and so on.
| | 10:19 |
But the Standard Definition sequence, no
matter what media you put into it, it's
| | 10:23 |
going to output Standard Definition.
For this reason, it's usually better if
| | 10:28 |
you're working on a mixed resolution
project to start with the highest resolution.
| | 10:34 |
And then, put that into a low resolution
sequence and not the other way around.
| | 10:40 |
| | Collapse this transcript |
|
|
8. Blend ModesUnderstanding blend modes| 00:02 |
Blend modes were a feature of Adobe
Photoshop for ages before they came to
| | 00:05 |
Premiere Pro.
And you'll find now that quite a lot of
| | 00:10 |
third party applications have support for
the concept of Blend modes as well.
| | 00:16 |
The way that it's implemented in Premiere
Pro is very, very simple.
| | 00:20 |
For example, I've got a sequence here
where in the background, I've got some of
| | 00:24 |
this baseball footage and in the
foreground, I've got this incredible
| | 00:28 |
lightning bolt array going on.
If I want to combine these with Effects,
| | 00:34 |
I could, for example, go over to my
Effects panel, bring up a Luma Key throw
| | 00:39 |
that on to the top layer here, and I'll
have a combined composition based on the
| | 00:44 |
luminance values of this lightning bolt
foreground.
| | 00:51 |
And that's fine although it just means
I'm making a selection on the basis of
| | 00:54 |
the luminance and there may be other ways
that I'd like to combine these layers.
| | 01:00 |
So, if I take that Luma key off for a
moment and expand down my Opacity
| | 01:04 |
controls as well as the regular Opacity
that I can drop and blend the two layers
| | 01:09 |
together, I also have this Blend mode
option.
| | 01:14 |
Now, Blend modes are what Adobe would
classify as a fixed effect.
| | 01:21 |
So, here I've got my motion, opacity, and
time remapping.
| | 01:24 |
These apply to every single visual clip
that you have on your Timeline.
| | 01:28 |
So, the Blend mode is always going to be
there.
| | 01:31 |
You don't have to add it from the Effects
list.
| | 01:35 |
If I want to choose a different Blend
mode, then I just pick an item from the menu.
| | 01:41 |
Say, for example, I choose Multiply or
Lighten might make better sense.
| | 01:46 |
What each of these blend modes does is
rather complex and it can be quite hard
| | 01:51 |
to remember what each individual kind of
blend mode does.
| | 01:57 |
If I describe, for example, the Lighten
Effect from the Adobe Help website, it
| | 02:02 |
says that each result color channel value
is the higher or lighter of the source
| | 02:07 |
color channel value and the corresponding
underlying color channel value.
| | 02:15 |
Essentially, what this is saying is that
Premiere Pro is going to compare each
| | 02:20 |
pixel of the foreground with each pixel
of the background and whichever is
| | 02:24 |
brighter, that's the pixel you're going
to see.
| | 02:29 |
Effectively, this is giving me something
kind of like a Luma key.
| | 02:34 |
Each of these different Blend modes are
very suddenly divided into categories.
| | 02:39 |
You'll see at the top, I've got Normal
and Dissolve and then we got darkening
| | 02:42 |
effects and lightening effects, and
various different kinds of combining
| | 02:45 |
effects including ones that we'll do
things like combine the hue values.
| | 02:51 |
Essentially, what's happening here is
that Premiere Pro is looking at the
| | 02:55 |
values assigned to each pixel and doing
some maths with it.
| | 03:00 |
So, for example, if I take the Hue
option, this is going to give me the
| | 03:04 |
luminance and the amounts of color
saturation of my background but, it's
| | 03:09 |
going to take the precise hue, the color
from the foreground.
| | 03:16 |
So, if I choose this option, you can see
it's pretty subtle.
| | 03:19 |
But perhaps if I make this full screen,
I'm getting the colors from the
| | 03:23 |
foreground, but no color in the
background, well, I am getting color in
| | 03:26 |
the background but it's being replaced by
the color in the foreground.
| | 03:32 |
And of course, the foreground is black
where these areas are black and white,
| | 03:36 |
I'm getting the amount of saturation, I'm
getting the brightness from the
| | 03:39 |
background, I'm just changing the hue in
a pattern.
| | 03:44 |
Now, I think you would agree that that
looks pretty awful, but if you combine
| | 03:47 |
this Hue option, for example, with
something like a graphic or an animation,
| | 03:51 |
you can get some really spectacular
results.
| | 03:56 |
The key to using the Blend modes, I
guess, there's two keys really.
| | 04:02 |
The first key is to go to the Adobe.com
website and look at the list which
| | 04:06 |
describes every single Blend mode
available.
| | 04:11 |
And just be aware that what's happening
here is, like so many effects in Premiere
| | 04:15 |
Pro pixel by pixel.
Simple math is being done to combine each
| | 04:19 |
of the pixels in your image based on the
numbers assigned to the two layers of
| | 04:24 |
video that you're working with.
This screen mode, for example, multiplies
| | 04:32 |
the channel values, that means that when
ever you see or hear the word channel,
| | 04:36 |
we're talking here about the red channel,
the green channel, and the blue channel information.
| | 04:42 |
It combines the two together and the
result is a brightening effect which is
| | 04:45 |
a, a nice blend of the different luminous
levels.
| | 04:49 |
Well, all the RGB levels for the pixels
in the foreground and the background is
| | 04:53 |
described on the Adobe website as being
very similar to projecting multiple
| | 04:57 |
photographic slide simultaneously on to
the same screen.
| | 05:01 |
So, it's like combining images from two
video projectors.
| | 05:06 |
So, the first key is to take some time
look over the Adobe website and find out
| | 05:10 |
the descriptions.
And the second key, as with so many
| | 05:15 |
effects, is to put stuff on your
Timeline, combine them with blend modes,
| | 05:19 |
try them out, and get a sense of the ones
that you like the most.
| | 05:25 |
And it's a very, very, versatile effect,
but to really unlock the power of it, you
| | 05:29 |
need to be planning ahead and shooting
for it.
| | 05:32 |
You need to be thinking about your
lighting, thinking about how you're going to
| | 05:37 |
combine your post production workflows
with your production workflows.
| | 05:43 |
| | Collapse this transcript |
| Using blend modes with titles and graphics| 00:00 |
Working with titles and graphic media in
combination with blend modes is very very straightforward.
| | 00:07 |
You apply your blend modes with that kind
of media in exactly the same way as you
| | 00:12 |
would with any other kind of media.
I've got a simple sequence here where
| | 00:18 |
I've got this intro video and I've
applied some secondary color correction
| | 00:22 |
to this via the three way color
corrector.
| | 00:26 |
So this has given me a kind of a
turquoise background rather than the
| | 00:30 |
bright green from the original green
screen that was used to record it, so it
| | 00:34 |
just means that I've got some texture
here in the background rather than the
| | 00:38 |
empty space.
And this is an introduction to a video
| | 00:43 |
about activities that these guys like to
engage in, so I'll just play you the
| | 00:47 |
audio for this.
> > Hi I'm Hayden, and my buddy Connor
| | 00:52 |
and I will be showing you some things we
like to do when it's summertime.
| | 00:57 |
> > Okay so its things that Hayden and
Connor like to do in the summer.
| | 01:00 |
And I just want to have a simple title
that shows that they feel good about this
| | 01:04 |
so I've made a title that says Happy Days
and this title is a very simple standard font.
| | 01:12 |
It's the Cooper Standard and I've made
it, relatively large and I've given it a
| | 01:17 |
texture in the Fill settings and in fact
Premier Pro comes with a lot of textures
| | 01:22 |
built in with the application and you
just need to browse to them their inside
| | 01:27 |
the program directory under Presets and
you can choose any texture you like.
| | 01:36 |
let's have a look now.
We've got blue on blue, so maybe if I go
| | 01:40 |
for whatever this is, a scrap of PNG, or
maybe, here we go, this PNG, which is a
| | 01:45 |
blue texture.
So I'm putting that inside the text, just
| | 01:50 |
because it's going to give me something more
interesting to work with when I'm doing
| | 01:54 |
my blending.
So I'll Close the title too I'll throw my
| | 01:59 |
title onto an upper video track on the
timeline.
| | 02:03 |
And by default it looks okay but if I
really want to pep it up a bit I can go
| | 02:07 |
to my opacity settings and just choose
something other.
| | 02:12 |
And it really does vary.
I'm going to put this up to 100%.
| | 02:16 |
So you can see the texture a little
better, and I'm going to move the graphic.
| | 02:23 |
Let me go full screen with this for a
second.
| | 02:25 |
I want to move the graphic so that you
can see the impact of using this blend mode.
| | 02:31 |
If I bring the title down in front of
this guy's shirt just so you can see what
| | 02:35 |
happens with a background texture and a
foreground texture.
| | 02:41 |
Just see how that looks.
Yeah, well, it looks pretty awful.
| | 02:46 |
But we'll get the position some,
somewhere inside the safe title zone.
| | 02:50 |
Okay, so, now that I've got that, it's
just a question of trying out the
| | 02:54 |
different blend modes.
And if I set this back to 100% again,
| | 02:59 |
let's see, I've got some fringing from
that secondary color correction, and this
| | 03:04 |
is kind of an interesting result, the
screen mode.
| | 03:09 |
This gives me a nice blending of the
colors that are there without influencing
| | 03:12 |
them or changing them too much.
Some of the, lower options here are a
| | 03:19 |
little bit more unusual, shall we say?
You can see here with the luminacity mode
| | 03:24 |
this one is giving us the Hue, the color
of the background and the amount of
| | 03:28 |
saturation of the background but the
luminance of the foreground.
| | 03:33 |
If you switch to color this is the
opposite.
| | 03:36 |
But I think on balance the screen mode
will probably, probably work about best
| | 03:40 |
for this.
And that's really all you need to know
| | 03:43 |
about combining graphic media.
The really interesting bit about this,
| | 03:48 |
the positive thing is, that if you do lay
out your graphics, using a blend mode
| | 03:52 |
rather than just having it a certain
amount of opacity, you get the texture
| | 03:56 |
showing through the text.
The texture actually engages with the
| | 04:02 |
foreground text and creates new textures
combined with either the new colors or
| | 04:08 |
the texts you've put into your fonts to
create a much more engaging result.
| | 04:15 |
| | Collapse this transcript |
| Using blend modes with video clips| 00:00 |
I've got a piece of media here of someone
playing baseball, and I quite fancy the
| | 00:05 |
idea of having some clouds of smoke
appear at the point of hitting the balls.
| | 00:12 |
Let's just take a little look at this
media first of all.
| | 00:16 |
Okay, and he's off.
So what I'm thinking is, it would be nice
| | 00:25 |
to lay down some smoke on there, and see
if I can use a blend mode and a few other
| | 00:29 |
effects, to create a, a bit of a look of
a cloud of dust.
| | 00:34 |
I don't think it's going to look perfectly
realistic, because we've got a camera
| | 00:37 |
moving, and we'd need to animate that
into our layer to blend with it.
| | 00:41 |
But let's see how we get on.
I've got a couple of pieces of media here
| | 00:46 |
that have clouds that have been generated
inside of After Effects.
| | 00:51 |
There's one.
I've got two, one with alpha and one
| | 00:53 |
without alpha.
I'm going to use the one with alpha.
| | 00:56 |
I could use the one without and put a
luma key on it, but It's just an extra step.
| | 01:00 |
And since I have the version with an
alpha channel, I might as well let
| | 01:04 |
Premiere Pro do the work anyway.
And right away, we can see, I'll just
| | 01:08 |
turn the audio off on here so we can just
see the visuals.
| | 01:14 |
well, it's massively foggy.
And the first thing we're going to need to
| | 01:19 |
do is just crop this in time, so I want
this to be just after the slip there.
| | 01:25 |
He loses his step but he, he rallies
really well, soLAUGH I just want to get
| | 01:30 |
about there.
I'm just going to trim the clip back to
| | 01:34 |
that point, then I'm going to Zoom out a
little.
| | 01:38 |
And let's see now, just as the camera
moves there, I really want the smoke to
| | 01:42 |
disappear because I don't have the fog
animated to fly off screen.
| | 01:48 |
I could do that in After Effects, it
would take a little bit of time, but
| | 01:51 |
that's definitely something that could be
achieved.
| | 01:55 |
Now, what I'm going to do I think, is throw
on a little bit of warmth.
| | 02:00 |
So I'm going to go to my Effects and I'm
going to get my Fast Color Corrector.
| | 02:06 |
Throw that on to my Fog layer.
And in my Effect controls, I'm just going
| | 02:11 |
to warm this up.
I want this to be similar to the color of
| | 02:16 |
the dust and dirt down on the floor
there, so it looks like it could have
| | 02:20 |
been thrown up into the air.
I think around about there looks okay to
| | 02:27 |
me, not too much green.
Now, if I'm going to make this look a
| | 02:31 |
little bit more like part of the scene,
I'm going to want to turn on the Blend modes.
| | 02:38 |
And I think something like Lighten or
maybe Screen will make a good job of this.
| | 02:43 |
If I set this screen a little bit larger
so you can see what's going on.
| | 02:49 |
Let's just Zoom in a little bit.
Maybe if I set this to 50%.
| | 02:53 |
So you can see that's the Lighten mode.
If I set this to the Normal mode, which
| | 02:58 |
is using the alpha channel set by the
original media, it's a little bit too
| | 03:02 |
dusty, I think.
If I set that to Fit, it really does look
| | 03:07 |
like a massive cloud.
And I'm going to use some very simple
| | 03:11 |
opacity key framing to have this cloud
fit up and fade down.
| | 03:17 |
I think that's just a little bit too much
dust.
| | 03:20 |
So maybe if we go for something like
Lighten, that just softens the impact a
| | 03:24 |
little bit and that makes it blend a
little bit better with the background.
| | 03:28 |
The lighten blend mode just selectively
picks out which of the color levels to
| | 03:33 |
use whether it's going to be the foreground
or the background.
| | 03:37 |
And it just means you get a little more
action between those two layers.
| | 03:42 |
If the foreground pixel is lighter,
you'll get that pixel color and if the
| | 03:45 |
background is lighter you'll get that
one.
| | 03:48 |
It just means in the duller shades of the
foreground we're going to get a more
| | 03:51 |
natural interaction.
And of course, the next thing I'm going
| | 03:54 |
to need to do is limit this to perhaps
the ground.
| | 03:58 |
It's not as if suddenly out of nowhere,
we're going to have dust and clouds up in
| | 04:01 |
the tree tops.
So I'm going to pick up the Garbage Mat.
| | 04:07 |
I'm just going to take 4.0 Garbage Mats, put
this on as well, and I'll just select the
| | 04:11 |
Garbage Mat, Zoom out a little bit, and
pull this down.
| | 04:16 |
I'm just going to get the control handles
here, and pull this down to around the ground.
| | 04:22 |
I'm not going to be too careful I think
that'll do okay.
| | 04:25 |
And I guess you're maybe wondering if I'm
going to leave this with this hard edge
| | 04:30 |
along the bottom of the screen.
That's very, very easily fixed by
| | 04:35 |
throwing on a Fast Blur, and there's
loads of blurs available in Premiere Pro,
| | 04:41 |
and the Fast Blur works just fine for
things like this, if I crank up the
| | 04:45 |
blurriness, really bring that up.
Not too much and about there I think.
| | 04:55 |
This gives me the animation and the
movement from that original fog.
| | 05:00 |
Image, but I'm getting softening that
makes it look like it's just out of
| | 05:03 |
focus, perhaps coming into the
foreground.
| | 05:06 |
You can see just how different this is to
the original media.
| | 05:10 |
If I bring up my Clouds with Alpha you
can see the sharp edges in there are all
| | 05:14 |
gone because of the blur that I've added.
All that remains is for me to Zoom in a
| | 05:22 |
little bit ,and use my alpha rubber
banding on the timeline to have this fade
| | 05:28 |
up and fade down.
So, I think by about now, we should have
| | 05:34 |
all of the smoke in the air.
So I'm going to hold the Ctrl key down and
| | 05:39 |
click on this yellow opacity band here on
the clip.
| | 05:42 |
Just make this a bit taller so you can
see.
| | 05:44 |
And I'm just going to click and click again.
And I'm not worrying too much where the
| | 05:48 |
first keyframe is because I'm just going to
pull that down to the bottom corner anyway.
| | 05:53 |
There's our fade up.
And then I think perhaps around about
| | 05:56 |
here, quite early on, I'm going to add
the next key frame.
| | 06:00 |
So I've got 100%, 100% and then here
we'll bring this down.
| | 06:04 |
It's got a nice smooth gradient out,
let's take a look at that.
| | 06:11 |
Yeah it's not perfect maybe a little bit
quicker coming in at the beginning.
| | 06:16 |
Now let's take a look at that Full
screen.
| | 06:24 |
Not perfect but not too bad and I think
with a little bit of work on the Garbage
| | 06:28 |
Mat there, a little bit of work on the
key framing, we can get something that
| | 06:31 |
looks just about right.
Perhaps if we bring that Garbage Mat down
| | 06:37 |
just a bit towards the floor, looks a
little bit crazy at the moment.
| | 06:43 |
Let's see, that's a little bit better.
So this is really a combination of
| | 06:49 |
several filter effects, including making
use of the blend modes.
| | 06:55 |
I've put on, and if I select my clip
here, I've done nothing to the background
| | 06:59 |
layer at all.
I've put on a blend mode.
| | 07:03 |
I've done a color correction so that I
can blend in the colors a little bit, I
| | 07:07 |
could maybe do with a little bit more
work there.
| | 07:11 |
I've put in a Fast Blur and that's helped
me to get around having this Garbage Map
| | 07:15 |
which gives me such a hard edge.
if you put the Fast Blur on the end of
| | 07:20 |
the list, it will always give you a nice
smooth finish on any effects bit with
| | 07:25 |
what you're doing.
| | 07:28 |
| | Collapse this transcript |
|
|
9. Track MattesUnderstanding track mattes| 00:00 |
Track Mattes are one of those Filters
Effects that, once you get to know, you
| | 00:04 |
really fall in love with because it gives
you just another level of control over
| | 00:08 |
where your Opacity is going to be on a
video clip.
| | 00:13 |
The principle is very, very simple.
Instead of using a particular color or a
| | 00:17 |
particular amount of luminance from your
video clip to define what's visible and
| | 00:21 |
what's not visible, the Track Matte takes
the luminance or the alpha channel from a
| | 00:26 |
completely different clip and uses that
to define what's visible or not.
| | 00:33 |
Let's just take a look at a simple
example of how this works.
| | 00:37 |
I've got a video clip here that I've put
an Ultra key onto so you can see this was
| | 00:41 |
originally green screen and now, it's
just me standing in the empty blackness
| | 00:45 |
of space.
I'm going to make a very simple title, so
| | 00:50 |
I'm pressing Ctrl or Cmd+T, and I'm going to
call this square effect let's take off
| | 00:56 |
the Caps Lock there, and open that up.
And this is going to be a very simple item,
| | 01:05 |
I'm just literally going to draw a round
cornered square, there we are.
| | 01:12 |
I'm not sure technically what you'd call
that, an oblong perhaps.
| | 01:16 |
I'm sure there's another word for it,
oval maybe.
| | 01:19 |
So now in my project, I've got my title,
and I'm going to layer this above my video.
| | 01:26 |
So far, so normal.
And now, I'm going to go to my Effects
| | 01:29 |
list and I'm going to get my Track Matte.
The Track Matte key, it sits under the
| | 01:36 |
keying category in the Video Effects.
I'm going to throw this not onto the square
| | 01:41 |
but onto the green screen video layer,
It's the video layer that I want to
| | 01:46 |
affect, and the Track Matte key effect
has very, very few settings.
| | 01:53 |
Essentially, it just let you choose which
layer you're going to take the key from.
| | 01:59 |
In this case, we've only got two video
layers available, so I'm going to choose
| | 02:02 |
video 2.
Right away, you can see the result of the
| | 02:06 |
matte key.
And then under, let me resize this a
| | 02:09 |
little bit for you, under Composite
Using, we can either use the Alpha of
| | 02:13 |
that layer or the Luma.
Now, if you look carefully, I'll just set
| | 02:19 |
this to 100%.
It's going to make absolutely no
| | 02:22 |
difference in the case of this title
whether I use Luma or Alpha.
| | 02:28 |
And that's because the alpha channel in
my title is exactly the same as my Luma.
| | 02:33 |
It's fully visible and fully white.
If I were working with an image that was
| | 02:39 |
a grayscale and had no Alpha channel or I
had Alpha channel information but didn't
| | 02:44 |
fancy the luminance ranges in it, I can
choose accordingly.
| | 02:49 |
And obviously if I choose reverse, I get
the opposite.
| | 02:53 |
I get a hole.
Now, where this gets interesting is not
| | 02:56 |
so much that I have successfully shown
you how to, let me just turn off the
| | 03:00 |
audio here, how to just display my
shoulder.
| | 03:04 |
But instead, let me turn that back a
little bit, because anything I now do
| | 03:09 |
with this title is going to change the
visible part of my video, so if I go back
| | 03:14 |
to the start, roughly, and open up my
motion controls, I can, for example, turn
| | 03:19 |
on key framing for position.
Put on a little bit, maybe move up here,
| | 03:28 |
move on a little bit, pull down a little
bit, get my elbow, move on a little bit
| | 03:33 |
more, and maybe, okay, then back to the
shoulder.
| | 03:39 |
And now, if I click away, go full screen
with this, I've cut the audio off just so
| | 03:44 |
you can see the visuals.
The result is something akin to a curvy
| | 03:50 |
cornered rectangular search light.
And I guess it wouldn't be all that
| | 03:57 |
difficult to also lay on there a blur and
a glow so it looks very much like I'm
| | 04:01 |
being targeted by a bulb.
And that really is all you need to know
| | 04:07 |
to start working with the Track Matte
Filter Effect.
| | 04:13 |
It's one of those things that if you get
the right source media and connect it to
| | 04:16 |
the right track matte, you get some
really spectacular results.
| | 04:21 |
The only thing to be aware of is in
Premiere Pro, if you're going to use the
| | 04:25 |
Track Matte key, it has to go in an upper
video track.
| | 04:30 |
You can, for example, put your source
media above the Track Matte, and then
| | 04:35 |
you'll notice, well, I can't even choose
the layer underneath it.
| | 04:42 |
The video 2 and video 1 are just not
available.
| | 04:44 |
You must have your Track Matte above your
source media.
| | 04:49 |
And you'll notice also that as soon as
you tell Premiere Pro to use a layer as a
| | 04:53 |
Track Matte for the duration of your
source clip, and by source clip I mean,
| | 04:58 |
the one I've got the effect on, that
layer becomes transparent.
| | 05:04 |
If I pull this out so that you can see
the title now extends beyond the end of
| | 05:09 |
my clip, as soon as the video runs out,
(UNKNOWN) I'm back to see with title again.
| | 05:17 |
And that is working with Track Matte keys
in Premiere Pro.
| | 05:23 |
| | Collapse this transcript |
| Creating video fill titles with a track matte| 00:02 |
It's a pretty common request to put video
content inside of titles.
| | 00:06 |
And this is something that is very, very
easy to do using the track matte effect.
| | 00:12 |
I've got a video clip here of some
baseball and you can see from the action.
| | 00:18 |
You've got this guy hits the ball and
then he runs and makes it to first base
| | 00:22 |
and it'd be nice if we could embed that
inside a moving title, it just so happens
| | 00:25 |
that I have a moving title I've got this
We like baseball crawl.
| | 00:33 |
I've set this up using the regular
Premiere Pro Title tool.
| | 00:38 |
And I've just configured it to have a
crawl to the left, starting and ending
| | 00:41 |
off screen.
So, all I need to do is put this title
| | 00:45 |
onto my video.
There it is and I'm going to crop off the
| | 00:50 |
beginning of the video here cause I
really want to have this passing by as
| | 00:54 |
we've got some movement.
So that's just fine, and let's trim that
| | 00:59 |
back as well.
Next I'm going to go to my Text panel,
| | 01:04 |
browse to the.
Track matte key.
| | 01:09 |
Drop it onto the video, not to the title.
And then in the track matte key effect
| | 01:15 |
controls, I'm just going to specify to
use the video two track as my Matte.
| | 01:21 |
And right away, if I play this
full-screen.
| | 01:30 |
There's our animated title with our video
inside.
| | 01:34 |
With this particular title, if I used the
luma instead of using the alpha.
| | 01:41 |
We're going to get a slightly different
result because this isn't just a clean
| | 01:44 |
black and white image.
We've got some color inside the text and
| | 01:49 |
that's being translated directly here
into luma for this video.
| | 01:54 |
And although it looks like I'm getting a
black background, if I just grab these
| | 01:58 |
two and move them up a track, and let me
see if I can find a piece of video with
| | 02:02 |
some vivid color in it.
Maybe if I make this really obvious and
| | 02:09 |
choose our intro video.
Put this underneath.
| | 02:13 |
(audio playing) And then go to my effect controls
and reset the track matte.
| | 02:22 |
I have to reset this because I've just
moved everything up a layer and video
| | 02:26 |
three is no longer the source of the key,
and here you can see if I go full-screen
| | 02:30 |
exactly what is going on here.
We're still getting our foreground video
| | 02:37 |
embedded inside of the letters.
But depending on the brightness of the
| | 02:42 |
original text, we're getting more or less
visibility.
| | 02:46 |
It's pretty subtle.
You can perhaps see a little bit here
| | 02:51 |
where we can see the same guy in fact, in
our foreground, where the original text
| | 02:55 |
has a white edging, we're getting a lot
of the original video.
| | 03:00 |
Effectively it's been translated directly
into alpha.
| | 03:04 |
And where it's darker in the center,
we're getting less of it.
| | 03:07 |
You can see that over this green.
If I want to change that, it's very easy.
| | 03:12 |
I can go into my title.
I can make sure I have my title selected,
| | 03:17 |
go to my Fill color and make it a bright
color.
| | 03:21 |
I click OK now, close the title and look
back, you can see we've got a lot more
| | 03:27 |
visible detail inside this text.
So what's happening with my track matte
| | 03:34 |
key in this instance, is it's creating a
new layer where the visibility is defined
| | 03:38 |
by the luminance of whatever layer I've
set as the track matte key.
| | 03:43 |
In this case, it's my baseball reframed
shot.
| | 03:46 |
I'm just going to clean up the view a little
bit here, so you can see another way of
| | 03:50 |
doing this.
I'm going to set this back to matt alpha,
| | 03:54 |
and if I go full screen again, you can
seeSOUND now, because the alpha channel
| | 03:59 |
in the original title is solid, I'm
getting solid video.
| | 04:04 |
But just to clean it up even further I'm
going to move this background video out
| | 04:08 |
of the way.
And I want to show you a way of combining
| | 04:12 |
one track matte key with another.
I'm going to do this fairly roughly.
| | 04:17 |
So, I'm going to get my titles.
I've got a title here that says happy days.
| | 04:23 |
And I want to leave that as it is in the
corner, so I'm going to duplicate it with
| | 04:27 |
Ctrl+C or Cmd+C, and then Ctrl+ V or Cmd+
V.
| | 04:31 |
And I'm going to call this happy days
re-framed.
| | 04:36 |
And I'm going to lay this on my timeline as
well.
| | 04:40 |
Right now it's just in a lousy position
right in front of my original composition.
| | 04:46 |
So I'm going to go into that title by double
clicking on it, and, I'm just going to
| | 04:49 |
just re-preposition this somewhere down
to the middle of the screen, using the
| | 04:53 |
center alignment button here.
Okay, that's good.
| | 04:59 |
Now all I need to do is find a way of
duplicating my video.
| | 05:03 |
And here's the thing, if I move my video,
back to video one, just to clean up the
| | 05:07 |
time line just a little bit, then pull
down my baseball re-framed and select my
| | 05:12 |
video and re-select video two.
So I'm getting that embedded inside the
| | 05:18 |
alpha and then move down my happy days
video or rather my happy days title and
| | 05:23 |
position it ready for using as a track
matte.
| | 05:28 |
One can be forgiven for thinking that the
next step would be to go to my effects to
| | 05:32 |
put another track matte key onto my video
and to specify in there that I'm going to
| | 05:36 |
use, in this case, video three.
Because this is where my happy days title
| | 05:42 |
is, but you can see right away I've got a
problem here and the problem is that the
| | 05:46 |
function of the track matte key.
Is to define which parts of the video are excluded.
| | 05:54 |
And this means that I've got one track
Matte key that's telling me to use the,
| | 05:59 |
happy days title, and I've got another
track matter key that's telling me to use
| | 06:03 |
the we love baseball title.
But combine them together, and no two
| | 06:10 |
parts of my media share areas in the
screen so, I've got a blackened area at
| | 06:15 |
the top and a blackened area at the
bottom.
| | 06:20 |
These two track matte keys are excluding
each other, and they're creating a
| | 06:24 |
completely invisible video.
The solution is to get rid of the second
| | 06:29 |
track matte key, move everything up.
One layer.
| | 06:36 |
I'm going to select my video clip and I'm
going to again copy.
| | 06:40 |
Ctrl+C or Cmd+ C and paste Ctrl+ V or
Cmd+ V.
| | 06:44 |
And layer that above the original clip.
So if I turn off the track matte key on
| | 06:50 |
both of these for now.
So you can see what's happening.
| | 06:55 |
There we go.
So I've now got my background video with
| | 06:57 |
the rack matte button turned off, and my
foreground video, with the track matte
| | 07:00 |
button turned off.
You can see now, I've got the same video
| | 07:04 |
lined up.
Let me just re-size this, and in fact I
| | 07:07 |
might as well get rid of that green
screen.
| | 07:10 |
And I've got two instances that are
sharing the same space.
| | 07:16 |
So, for the first instance, I'm going to
turn on the track matte and I'm going to
| | 07:20 |
tell it to use video three to define the
track matte.
| | 07:25 |
The second instance, which is this one
right here.
| | 07:28 |
Again I'm going to turn on the track
matte.
| | 07:31 |
And I'm going to tell it to use video four.
And now, because the track matte key is
| | 07:35 |
defining transparency it's not setting a
black area, it's actually setting
| | 07:40 |
transparency, I'm going to see both parts
at the same time.
| | 07:45 |
And if I now just go full screen you can
see what I mean.
| | 07:57 |
So, it's not exactly high art, but you
should hopefully be able to see how
| | 08:03 |
flexible the track matte key is for
achieving these complex animated sequences.
| | 08:12 |
| | Collapse this transcript |
| Layering video with a track matte| 00:02 |
I've setup a simple sequence here with a
bit of my green screen presentation, in
| | 00:07 |
front of some swirling electrical
activity in the background.
| | 00:13 |
And this is just a simple intro from me,
if I just play this for you.
| | 00:17 |
> > Hello.
How are you doing?
| | 00:20 |
We're going to show you some very cool stuff
today.
| | 00:23 |
> > Well, there it is.
We're going to show you some really cool stuff.
| | 00:27 |
So, what I'm going to do is see if I can
blend this foreground in with the
| | 00:32 |
background using the Track Mat key, based
on a bit of fog media that I've got here.
| | 00:40 |
So, I've got some cloud media that
already has an alpha channel.
| | 00:46 |
Or I might have a try with a version
without an alpha and see how it compares.
| | 00:50 |
So, the first thing I need to do is sort
out the key on this shot.
| | 00:55 |
And I've already got an effect preset
using the Alter key here, that I know
| | 00:59 |
works with this media.
So, I'm going to put that on, and just
| | 01:03 |
straight away we get a nice key.
But of course, I've got a problem because
| | 01:08 |
of the size of this scene are not keyed
at all.
| | 01:12 |
So, I'm going to get the corner pin four
point garbage mat.
| | 01:18 |
And I'll put that on just before the
Alter key.
| | 01:22 |
And it doesn't really make a huge
difference.
| | 01:25 |
Now, I'll just setup these control
points, so we'll lose the edges of that set.
| | 01:32 |
Next up, we need our Track Map.
So, I'm going to go to the Project panel.
| | 01:36 |
And let's have a go with the clouds
without our first, first of all, I'll put
| | 01:39 |
that onto my video 3.
The Track Mat Source needs to go above
| | 01:44 |
the media.
So, I'll just Zoom Out a tiny bit and
| | 01:47 |
draw this back, so it's nice and tidy.
There we are.
| | 01:52 |
Now, let's find our Track Mat Effect.
Here it is.
| | 01:57 |
I'm going to put this onto that green screen
media.
| | 02:00 |
And it's just a question of setting up
the Track Mat key to use video 3, to use
| | 02:05 |
the clouds.
And if we take a look at this, it's okay,
| | 02:09 |
but I think it's a little bit dark.
> > Hello, how are you doing?
| | 02:14 |
We're going to show you some very cool
stuff today.
| | 02:17 |
And what's happening here is the Track
Mat key is giving me so little opacity,
| | 02:21 |
that you're easily seeing this lightning
effect through me.
| | 02:26 |
And I think that's kind of interesting,
but we could do is see me a little bit
| | 02:28 |
more clearly.
So, I'm going to pull up the Fast Color
| | 02:32 |
Corrector, and I'll put that on the end
of the effect stack here.
| | 02:39 |
Let's pull up this version.
And with this, I'm just going to alter
| | 02:40 |
the levels.
I'll just set my display to 100%, so we
| | 02:47 |
can see my face there.
And just bring up the levels a little bit.
| | 02:56 |
I don't want to lose the contrast in this
clip.
| | 03:00 |
So, I'll bring up the shadows a little
bit as well.
| | 03:02 |
But hopefully, this will help to pull the
image out.
| | 03:07 |
And let's take a look at that.
> > Hello.
| | 03:12 |
How are you doing?
We're going to show you some very cool stuff today.
| | 03:15 |
> > And that kind of works.
And you can see that my machine is
| | 03:18 |
stuttering a little bit to play this
back.
| | 03:20 |
Possibly, that's partly because of doing
screen capture at the same time.
| | 03:24 |
I'd expect this to play just fine
usually.
| | 03:27 |
And you can see from the other line at
the top of my Timeline that this is all
| | 03:29 |
using the CUDA support.
So, it should be okay.
| | 03:33 |
So, to achieve this, I've set my
background up and I've set my foreground up.
| | 03:37 |
And on my foreground, I've used a four
point garbage mat.
| | 03:41 |
I've keyed out the media.
I've put a Fast Color Corrector on to
| | 03:45 |
brighten up the media and attract mat
key.
| | 03:49 |
And if we change the order of these it's
not making too much difference.
| | 03:54 |
Let's see what happens if we try
different media for our clouds.
| | 03:58 |
If I take away our clouds with alpha and
replace them with clouds without alpha,
| | 04:04 |
and then check my Track Mat key, and make
sure that it's using the correct track.
| | 04:14 |
But I'm going to need to take the Luma,
rather than the alpha because as you can
| | 04:17 |
see, it's having no effect, whatsoever at
the moment because there is no alpha on
| | 04:21 |
that clip.
If I take the Luma.
| | 04:27 |
It looks to me like there's a little bit
more visibility.
| | 04:31 |
> > Hello, how are you doing?
We're going to show you some very cool stuff today.
| | 04:37 |
And I think that works pretty well.
If you compare the original with the
| | 04:41 |
alpha with the new item that has no
alpha, there's just more bright pixels in
| | 04:45 |
that clip, I think it will makes for a
more compelling finished composition.
| | 04:52 |
So, just as with after effects,
compositing inside Premiere Pro benefits
| | 04:57 |
from the magical combinations of
different effects in your Effect control stack.
| | 05:05 |
Put them all together and you get layered
nuanced media.
| | 05:08 |
And that's compositing video using the
Track Mat key effect in Premiere Pro.
| | 05:17 |
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