Learn about fixing a bad key by adding a second layer and masking on a new layer.
- [Instructor] We've Chroma Keyed the unicyclist, so it looks pretty good over the red background, however we're still missing the spokes of the bicycle tire. And bringing those back, if we treat them separately, on a separate layer, with a different Chroma Key effect, let's give that a shot. This is saved as 4_3. I'll select the top layer, the unicycle layer, and go to Edit, Duplicate. On the new top layer I go to the effects and get rid of the old copied Chroma Key Studio. In its place I'll add the standalone, which is under Key & Blend, Chroma Key.
Now I don't want to apply this to the entire frame, so I need to mask this somehow. Now you can see that there's no built-in pixel cheeser for this particular effect. Even if there was, I would have to go through Mocha to track it. So a quick solution here is to simply use one of the standard After Effects masks, such as the ellipse. We'll draw that over of the center of the tire, so it doesn't go past the edge.
And then you need to quickly key that over time, time icon for mask path, and then I'll go ten frames forward, update the position, until I have the entire thing animated. Took a few moments but not too difficult. I'll need to bisect those key frames, I'll probably need more detail.
Every five frames or so. I don't want to go outside the edge of the tire. And let me play that back to make sure that's working. It's like it slips off in a few places, so probably a few extra key frames, do that very quickly.
Feel free to spend more time with this, make this more accurate. Alright, let's call that good enough. Also want to feather this though, to blend this result with what's below it, so I'm going to use a feather of 20, and then back to the Chroma Key effect. This is a standalone version, so I'm going to start with just choosing the color, and once again the spokes disappear. However, I can adjust the density, balance and lightness, try to get those back.
For example, if I lowered lightness, they come back. Let's try 20 lightness. You can also make slight improvements with the balance and density. Let's say 50 density and 50 balance. I can also use the color weight to try to keep the spokes but get rid of the green. Let's say higher green, just a little bit, maybe 130.
And higher blue, maybe 160. Now it's not a perfect removal, there is a bit of gray left behind the spokes, but I need to keep that in order for the spokes to be visible. Like right here is a bit of a shadow, it's not too bad, eventually this person will be put against a new background and I do need some type of shadow underneath him, so that doesn't hurt. Let's play that back.
Alright, so I think that's an improvement, spokes are back now. Alright so, by using a second Chroma Key effect on a different layer, been able to bring back a difficult portion of this particular green screen shot. Does require some masking but it's fairly easy to apply.
VFX expert Lee Lanier begins by exploring shared Boris Continuum controls, and then shows how to apply stylistic effects. He explains how to work with the PixelChooser and Boris Lights, and discusses how to color grade and warp footage. He also takes you through using the Boris Chroma Key Studio and working with Mocha Pro for motion tracking, as well as how to add particles and work with 3D text.
- Overview of Boris Continuum
- After Effects preferences
- Applying stylistic effects
- Relighting with Boris Lights
- Adjusting colors
- Changing the time of day
- Warping footage
- Keying green screen
- Motion tracking
- Adding particles
- Working with 3D text