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In this video, we're going to look at how to use the key or the Chroma keyer as you might know it in Premier Pro. Now, we're really only going to look at that one filter. If you really want to learn about serious green screening in both the shooting, as well in the post processing. You can go ahead and look at another course on lynda.com called Green Screen Techniques for Video and Photography by Richard Harrington and myself. But now let's take a look how you can green screen very quickly with a well shot image.
So, if you look at your timeline, you'll see on the left side a before, and I've created an after just so you can see what you can do with Chroma keying. And reverse engineer a more complex composite. And what we've done is just put Vanessa over her magazine cover, we have a nice green background. And we have our credit scroll. So, if you're a premium subscriber, with the exercise files, feel free to dig deep into this area, and see how we built this composite.
Jumping back over here, we just want a green screen and remove the background from Vanessa so we can see through it to the magazine cover. The filter that you want to use is called the Ultra keyer. And if you type in Ultra, you'll see that there's only one keyer there and simply drop it on top of that upper clip which is the footage of Vanessa. And in our Effects Control tab, we'll see a bunch of choices and the first thing you need to do is tell it what color you want to remove from your image or key out.
So, you can grab the eye dropper and we're going to click on this green background. And very quickly, we can see it's a very clean key, and we can see right through the green background to the magazine that we put behind. There might be a couple of little problems here. For instance, it was successful in keying out the green, but we have the edge of the background and the wall in the left corner of the image, which is on your right. If I switch over from Composite to Alpha channel, what I'm seeing is a grey scale version of what's transparent and what's solid.
Anything that is white is solid. Anything that is black is transparent, and if it's grey it's translucent, and it could look kind of muddy. So, what I want to do is be a little bit more aggressive on my key. And Premiere by default let's you switch from its default setting to a relaxed setting if, for instance, your key is removing too much of the person. Or in my case, I want to switch to an aggressive setting and it really starts removing almost all of the black material. It hasn't fixed the problem I had over here when we shot beyond the green screen area.
But I'm pretty good if I switch back from Alpha channel to Composite and I can see the magazine really nicely. The other controls that you see below the swatch are all the little sliders that you can learn in the other course to really fine tune to make sure that you have solid blacks and solid whites. But for now, the one button solution works really, really well. The next thing I want to show you is how I can remove this edge problem and that's using something called a Garbage Matte. Now, a Garbage Matte is basically a mask that allows you to remove the garbage from the side of the screen.
And if I type the word garbage into my search box, I can see there's a four, eight, and 16 point Garbage Matte. The larger the number of points, the more complex the shape you can draw. In this case, four will do the trick. I simply throw that on top of the same clip that I have the Ultra keyer on. I can scroll down and see it right here in my Effects Control tab. And I'm going to click on the wire frame icon so, I can actually see those four points to adjust them. I grab the little circles.
And if you notice when I move this above it's actually cutting off part of Vanessa. So, I want to just move it over right to the edge here because now it removes that background and some of the translucent or gray scale material. And I'll slide this over here. If I turned off the actual Ultra keyer, you'll see what the Garbage Matte does is it just gives me a much more robust crop of my image. But with it turned on and I can hit play.
>> And we're so excited to let you know that. >> I have a wonderful key in just a couple of steps.
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