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Compositing with Premiere Pro CS5.5

Secondary Ultra Key controls


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Compositing with Premiere Pro CS5.5

with Maxim Jago

Video: Secondary Ultra Key controls

I have a simple composition set up here with, actually, a still shot of some clouds. And in the foreground that's actually my hand keyed against a computer screen. And I've done it that way so that I can show you what Spill Suppression is all about. If I turn off this Ultra Key, you can see this is just photograph. Pretty high resolution one, actually, that has been taken with my hand actually touching the computer screen. And the result of this is I get what's called spill from the computer screen. You can see on the side of my hand there, there is a green glow on the side my skin.

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Compositing with Premiere Pro CS5.5
2h 18m Intermediate Oct 06, 2011

Viewers: in countries Watching now:

Adobe Premiere Pro CS5.5 is primarily a nonlinear editing system designed for fast cutting of multiple media types, but it is also an advanced special effects and compositing tool. In this course, master editor Maxim Jago describes the tools and options available to create complex compositions using just Premiere Pro, without involving After Effects or Photoshop. Learn how to adjust opacity, use garbage mattes and track mattes, and create nested sequences, as well as how to work with chroma keys, luma keys, and the Ultra Keyer. Maxim shares all the techniques necessary to layer multiple media elements and produce advanced sequences as compositions.

Topics include:
  • Introducing Premiere Pro: the compositing program
  • Understanding transparency and alpha channels
  • Adjusting opacity
  • Working with garbage mattes
  • Luma keys and chroma keys
  • The Ultra Keyer
  • Nesting sequences
  • Understanding and using blend modes
  • Creating track mattes
Subjects:
Video Video Editing Compositing video2brain
Software:
Premiere Pro
Author:
Maxim Jago

Secondary Ultra Key controls

I have a simple composition set up here with, actually, a still shot of some clouds. And in the foreground that's actually my hand keyed against a computer screen. And I've done it that way so that I can show you what Spill Suppression is all about. If I turn off this Ultra Key, you can see this is just photograph. Pretty high resolution one, actually, that has been taken with my hand actually touching the computer screen. And the result of this is I get what's called spill from the computer screen. You can see on the side of my hand there, there is a green glow on the side my skin.

And this is very, very common. Where you've got someone standing a little bit too close to a green screen. Fixing this is where the secondary controls, the Spill suppression and Color Correction come into play with the Ultra Clear. First of all the Spill Suppression will, hopefully, get rid of the green tinge around my hand. And the Color Correction will help me to blend in this image with the colors and the tonality of the background. I'm doing this with still images, but of course it's exactly the same if you're working with moving images. The only exception being that you may end up having to key frame some of these adjustments if the lighting qualities change over time. As you can see, I've already key the foreground and I got a pretty good Alpha channel out of it.

And it doesn't really matter that my foreground doesn't reach the edges of my background. It's a different aspect ratio. It's not important because these are empty pixels these are transparent anyway. So if I go back to my composite, you're not going to see the join, it's completely fine. So first of all, I want to see if I can do something to clean up the edges of this hand using Spill Suppression. The Desaturate control just removes the background color as I've selected it with my key color.

So, if I show you this zoomed in. And just come around to where it's absolutely the worst, which is the side of the hand here. Make this a bit bigger so you can see. If I start to increase the Desaturation, you can see. The edges start to go gray. Now if you go too far with this control, it starts to turn the whole subject gray. You can see the whole of my skin tone disappearing there. So you need to balance this a little bit to avoid it becoming to obvious.

But this is a good way of getting rid of tiny bits of edging if you get a, just a sliver of color spilled across into your subject. You can often fix it but just desaturating so that the viewer isn't distracted by it. The range controls how much of the spill suppression is applied across the image. And you can see as I increase this, it's completely ruining the color of the foreground. And if I decrease it, it's going to do absolutely nothing at all. 50 is the default and I find that it's really a question of playing around with the Spill control just below it. Which adjust the overall amount to a scale of compensation that's applied with the range control to get it just right.

What you want is to try and blend in the. Spill with the original subject, and that's probably not too bad. Then you've got a luminance adjustment here, which works with the luma. In the original source. And this is used to change the way the key interacts with your foreground. This is pretty subtle but you'll know it if you need it. Because you'll find there are occasions when keying your media effects the overall luminance of it. And you can compensate for that by adjusting this Lunar control. It's not making any difference to this media because the key hasn't had any particular effect in the foreground luminance.

But what I do want to do if I set this back to fit is work on the color correction. There's no reason why I can't use a more powerful color correction tool as a second effect. And especially given that the Ultra key is a CUDA enabled effect, you can see I've got the switch listing there. So I can just combine this with something last the Fast Color Corrector and tidy up the colors and make it fit a little bit better. But I can also probably get away with just dropping the saturation a little bit, maybe dropping the luminance. I find very commonly if you're moving from Interior lighting to an exterior background, just dropping those two can make a difference. Maybe a little bit more still, we want this to move towards the blue. And then maybe a very, very subtle adjustment to the hue. Here adjustments tend to be really, really visible. And what you want to avoid, is moving everything towards something like magenta, which just looks very obviously false.

If you are going to make an adjustment, you really want to just be moving a few degrees around the hue wheel. Let me go four, five, six, something like that. Nothing too severe, maybe drop the saturation even more. You'll find because the human eye perceives different colors at different levels of intensity. Some colors will leap out at you, when you make hue adjustments. Even though actually, technically they have exactly the same amount of saturation. Perception is not just active in the sense that we interrupt what we see.

But at a very basic physical level, in terms of the biology of your eyes. Different colors will stand out more than others. Now I grant you it's not a particularly inspiring image. But it's not too bad as an effect to combine something that looks like this. With a background where you've obviously got muted colors because the sun is going down. So that's the Secondary controls, as I would call them. Inside the Ultra key as Spill Suppression and Color Correction.

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