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Removing green screen

From: Premiere Pro CS4 Beyond the Basics

Video: Removing green screen

Once you've created your Garbage Matte, it's time to actually start keying. Now the bummer of the matter here, in Premier, is that the keying tools are really antiquated in Premiere. They're not that awesome. But the good news, actually, good news for Windows users, is that Premiere comes with a program called Adobe Ultra, and there's actually great training on lynda.com in Ultra CS3. So in that training series, in less than three hours, we go through and we talk about all the things you can do with Ultra.

Removing green screen

Once you've created your Garbage Matte, it's time to actually start keying. Now the bummer of the matter here, in Premier, is that the keying tools are really antiquated in Premiere. They're not that awesome. But the good news, actually, good news for Windows users, is that Premiere comes with a program called Adobe Ultra, and there's actually great training on lynda.com in Ultra CS3. So in that training series, in less than three hours, we go through and we talk about all the things you can do with Ultra.

I think of all the Keying tools that I've ever used, Ultra is probably my second favorite. It's amazingly easy to use. It works very well. So even though Premiere's tools, as we're going to look at here, aren't the best, Ultra is amazing and compensates for that. Those of who that are Mac users, you can use Ultra successfully by using Boot Camp. Now my favorite keying tool of all time is made by Primatte, distributed by Red Giant Software. It's called Primatte Keyer Pro. Unfortunately, it doesn't really work in Premiere, but it does work in After Effects, if you work with that, but that's my favorite keying tool to use.

Nevertheless, since we are here, let's look at how Premiere deals with removing green screen. We remove that with an effect called Color Key, so I'm going to apply the Color Key effect to our footage, open up the parameters. It's very simple here, so it's fairly easy to master. If I click the Eyedropper tool, we can get a visual readout, over here this little color swatch, we get a visual readout of the color underneath our eyedropper. Now you want to be careful, because even though at first glance, this may look like all the same shade of green.

You'll notice, as I move my cursor in the corner, and then in the center, you can see this color swatch updating right here. You can see how dynamically that's changing. There is a lot of different shades of green here. So we want to pick a green shade that's kind of like an average, a good balanced green that's not like from the shadows and it's not the brightest part of the highlights, kind of like a mid-range green, and I'm going to click on that. Most keying solutions these days will automatically update the second you choose the Color Key, not the Color Key effect though.

So you've got to go in and adjust the Color Tolerance, I'm actually going to click this little icon to give us some more room here, increase the Color Tolerance, then we start removing some of that green. As we keep tweaking this, we'll see one of the problems with most keyers. With most keying tools, including Color Key, it's really not that hard to remove the green screen. It seems like it would be, but it's actually quite easy. So, as you can see here, the green screen is gone. So the problem is not in removing the green, the problem is getting the edges of the object to look good.

That is the ultimate challenge. So we have some tools here, we have Edge Thin, which will thin those edges a little bit, kind of constrict the alpha around the subject. Then we could also feather that edge a little bit. We kind of want to be careful with that Edge Feather though, because if you take it up too much, those edges look soft, and you're going to have like a bad key in the first place, doesn't matter how much of the green is removed. So be careful with that. We could keep fiddling with the Edge Tolerance, the Thin and the Feather, until we come up with a fairly decent key.

If your edges are eaten away too much, you may want to take down the Color Tolerance, which, as you can see, it's kind of restoring some of the edges, but we can't have too much, because we can't have these extra little corners here. So I might want to take down the Feather a little bit from there, maybe thin the edge some more and maybe take up the Color Tolerance a little bit more, blur it. Now this is not the best key. We still have a few rough edges, but in this case, for a bouncing basketball, I think it's going to work. You want to be careful too, as these things get closer to the center. Then we have this.

This is because of the edge thinning. So we've actually cut away so much of our edge that we've actually removed a lot of our basketball. So again, we want to be careful with things like that, because those can be dead giveaways that we have keyed things out and not done the best job in doing so. So as I play with this effect before I recorded this movie, that's about as good as I can get it with this effect in Premiere, and again, you want to be careful with things like this. So here is this gaping hole. It seems like for many of these frames , that we did a fairly decent job in keying it up, but then as you go to certain frames for whatever reason, there is a big gaping hole that shows through the surface beneath, which is a really bad sign.

It's a really bad no-no for a keying. So then you have to go back, upon seeing mistakes like this, you have to go back to the Color Tolerance and restore those colors and play with Edge Thin, Edge Feather, and keep adjusting those until you get the key you want. That's really the challenge of keying. Again, it's not really removing the green screen. That's the easy part. It's getting good edges. That's where you have to keep fiddling and fiddling and fiddling with settings, and it can be a real challenge. So that is why I recommend checking out Adobe Ultra. Again, if you have Premiere, you already have Ultra as a Windows user.

Mac users, if you could find it, then you could use it with Boot Camp.

Show transcript

This video is part of

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Premiere Pro CS4 Beyond the Basics

82 video lessons · 20047 viewers

Chad Perkins
Author

 
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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