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This course introduces Adobe Premiere Pro CS6, using a project-based approach that introduces video editors to all the skills necessary to cut their own program. Using a short commercial project as an example, author Abba Shapiro walks viewers through a complete and logical workflow that begins with importing media, creating a basic rough edit, and then refining the cut with music and sound effects, transitions, visual effects, and titles. The course also includes troubleshooting advice, such as reconnecting offline media and using the History panel to undo multiple actions.
In this movie we're going to look at removing the green background using the Ultra Key filter. So if you take a look at our Timeline, we actually have two sets of clips. We have the nice easy one to work with, which was shot perfectly, and then we have a little more challenging shot. Let's start with the easy one, because I know that you are going to shoot your video perfectly. Now, what I want to do is I want to select the upper clip, which has the Narrator, which we shot on a green background, and I'm going to apply the Ultra Key Effect.
I'll go into the Effects tab and simply type in ultra, and there you go, the Ultra Key Effect, grab it, and drag it onto the video with the green background. Now, at first it doesn't look like anything happened. Well, if we take a look in our Effects Control panel, you'll see there's an Eyedropper, and I'm going to simply click on the Eyedropper and tell the application what I want removed. Boom, it was that easy.
If you shoot your video well, the Ultra Key will work with a single click. Now, if you need to push it a little bit, you can go ahead and underneath Setting, there is an option for Relaxed and Aggressive, so if I click on Relaxed, it won't try as hard, and you see that it doesn't really pull the key. And if I didn't shoot it that well, I can switch over to Aggressive, and it's going to really work hard to remove all the green. Sometimes it can overdo its work and so really the default is best.
Now, before we jump to the next clip, I want to show you what you are really ultimately trying to do when you create a green screen matte. I'm going to switch from Composite to Alpha Channel. So if the green screen matte is done perfectly, when you switch to the Alpha Channel, everything that's black is transparent, and everything that's white is solid. So this is where my Narrator will be solid, and I'll be able to see through the green to the background. I wanted to show you this because that's our objective on the next clip.
Let me go back, switch this to Composite, and move my playhead over to our challenging clip. The problem with this clip is is we didn't light it right. It's too dark here, it's too light here, and I have a really dark blob of green. So if I go over and drop on the Ultra Key on this clip and say, what do I want removed, what do I pick? If I pick the light area, well, I have this shadow here that's problematic, and this is not really translucent, see? When I look at my Alpha Channel, it's not pretty.
And if I go back, and I choose the darker area, it fixes that problem in this area here, but I have a big white blob. So I'm going to add one more filter to help me with this key, and that's a Garbage Matte. I'm going to go ahead for the moment and turn the Ultra Key off, so we are back to our original image, and let's go ahead and find the Garbage Matte in our Effects panel. Now, it's called a Garbage Matte because we're trying to remove the rest of the garbage from the outer edges of our screen.
Now, there's three different options: there's a Four-Point, Eight-Point, and Sixteen-Point Garbage Matte, which means you have that many points of control to draw your shape. For what we need here the Four-Point Garbage Matte will work perfectly, and you can probably figure out how the Eight and Sixteen could work to your advantage. I'm going to grab the Four-Point Garbage Matte and drop it also on the green screen clip. If we scroll down, we see the Four-Point Garbage Matte has been applied. By selecting it, I now see little dots in each corner that I can adjust.
And my goal is to simply drag this so that I can remove as much of the image as possible before I start my Chroma Key. Now, this would look great, but I realize as soon as she moves her hands, it's going to go off screen. So you need to be sensitive to where your talent might move if you create a Garbage Matte. I think we are pretty safe here. So the good thing is I removed that big dark blob and the shadow here, and now I can go back and start working with my Ultra Key and really focus on this small area here.
Now, to best do this I'm going to switch back to the Alpha Channel so I can see exactly what I need to remove. Remember, black is transparent, white is going to be translucent, or in some cases solid. So there's a few sliders I can work with here underneath Matte Generation. I can play with my Pedestal a little bit and bring that up, and you see it gets rid of some of it, but what I really want to do is start playing with my Highlights. And look how quickly I can get rid of that bright spot right there.
And now, if I switch back from my Alpha Channel to my Composite channel, it's a much cleaner key. Let's go ahead and hit Play and see what it looks like. As you see, with just two filters and a couple of sliders, I was able to turn a really challenging green screen into a really clean green screen. I want to add one more piece of information that I find really useful when working to create a really nice looking green screen, and that's at the very bottom of the Ultra Key filter, it's something called Color Correction.
Now, the point of this part of the filter is not so you can color correct your image, it's so that you can tweak your image so the foreground matches the background. Sometimes when people do a Composite, the background looks so different--it's such a different color, it's such a different luminance level--that you see it's fake. Here I can tweak it just a little bit to make sure that she looks like she really was over the background. Now, there's a little bit of irony there because she is actually standing in front of a graphic, so it's not necessary, but this is a really important final step to make your green screen or your key work.
So just to show you what happens, there I can play with her luminance, also work a little bit with the saturation, and remember, a little bit goes a long way. So the trick of getting a good key is use the Ultra Key filter and a Garbage Matte to remove the really hard stuff.
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