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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.
The standard Chroma key effect in Premiere Pro may not be that hard but you can still get pretty good results with it, and I just want to show you a simple example of keying using this effect before we get into looking at perhaps the Ultra keyer. So, I've got an effect set up. Or rather, I've got the clip set up for it. I've got my electric background, and in front of that, I've got me saying hello. And you can see that this has been framed badly. So, I'm going to need to incorporate a garbage matte to get rid of some of these side elements in the original composition.
This is the studio we recorded in. First thing I'm going to do is, I'm going to put that garbage matte on. So I'm going to do a quick search for in it in the Effects panel. I'll just got a simple four point matte I don't think there's that much movement in this shot. Let's have a little look. > > Hello. How are you doing? We're going to show you some very cool stuff today. > > Now I'm standing almost completely still. Now that I've got my garbage matte on, I can pull this in, and this is going to give me a pretty clean edge to work within when I'm creating my key.
And what's particularly useful about this is here, in this region, where there are some shadows Is particularly difficult to key because the lighting is inconsistent. Just come out to about 10% here to make sure that's all fine. It doesn't matter if my control points are off the screen. Great, let's put that back to fit. Now I can get my Chroma yey, and I can throw that on as well. All I need to do to select my key is get my eye dropper and click usually somewhere near to the subject.
And you can see straight away a completely Rubbish key. If I set this up to 100% so we can see what's going one. The Chroma key has picked out a very, very precise range of colors. So I'm going to expand the similarity by clicking and dragging and we should be able to see a better key. And let's go back to fit and that's a lot better already. Now, if we go back to a hundred percent to view here, we can see we've got quite a lot of this elacing, these jagged edges.
I'm going to apply some smoothing, maybe a little bit more smoothing to ease that off. And then maybe put a little bit of blending in not, not too much. And then let's adjust the threshold a little. And I don't think we really need to worry about the cutoff because that's all fine. So the result of this key looks a little like this.
> > Hello, how are you doing. We're going to show you some very cool stuff okay. > > Okay. Not exactly naturalistic with the electrical lightning bolts playing in the background, but you can see how fast it is to layer content. Now the one thing that's missing from this is color correction. It might well be that after you've applied your key, you need to do some grading work to make your foreground fit in with your background. In this instance, if you really wanted to go crazy, you could do worse than build a composition using this lightning to define a foreground element as well.
And then you could have the impression of light playing across the front of me as well as behind. But just creating a simple key is very much a question of choosing a color and specifying the similarity and hoping that you don't get too many interlacing elements because of the quality of your background. In this case, I'm standing in front of an absolutely clean green screen, which is set up perfectly for the purpose. If you're in a situation where you're filming with a green cloth hanging from a wall with inconsistent colors, you may have a lot more difficulty. You may need to work on it a lot harder.
The important thing when you're lighting for the green screen, is to make sure that you have consistent smooth colors. The more consistent you can make, the background, the more easily you're going to find that you get a clean key. You also want to make sure that your subject is not standing too close to the background because if they're standing very close to the background, you'll begin to get some spill, some fringing from the green on the subjects clothes.
But there you are combining a garbage matte and a chroma key gives you something of a key effect without even using the advanced features of ultra.
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