Join Mark Christiansen for an in-depth discussion in this video Evaluate and adjust Key Cleaner results, part of After Effects Compositing 04: Color Keying.
- Having seen some nice initial results with Key Cleaner,…let's examine some of the trade-offs of relying…heavily on any automated tool set…before we move onto methods to help…improve your matte without relying…on automation as much as you do with Key Cleaner.…Now this is a problematic matte and I've solved…some of the problems with it by just raising…the screen softness setting somewhat in Keylight…under the screen matte controls.…I'm going to take a snapshot of that…and then reset screen softness to zero.…
You can see how chunky, chewy, this matte edge really is.…Now I'll apply Key Cleaner and as before…the edge radius setting is too high.…We can see if we look at the alpha channel…that things are getting a lot messier…along this side of the foreground.…And things are happening like this hole is getting…filled in that we really don't want to be filled in.…You also see some haloing around the phone.…
As before, I will lower that edge radius…down to two or three, go with about two and a half.…And you may note that those same problems…
Beginning with a brief explanation of the keying process, Mark takes you through the steps involved in creating a perfect green-screen key: generating a rough matte, eliminating color spill and matte lines, and refining problematic edges. He shows how to work with Keylight and Primatte—two indispensable keying tools in After Effects—and explains when to use one over the other. And for times when green screen won't work, he shows how to generate high-contrast mattes, or luma keys, based on the luminance data in your footage. Last, learn about compression and how to prep a shot for keying.
- What is color keying?
- Using garbage mattes
- Getting started with Keylight
- Understanding the Screen Color, Clip Black, and Clip White adjustments
- Eliminating spill with Advanced Spill Suppressor
- Using Key Cleaner to refine edges automatically
- Dividing a matte with holdout mattes
- Breaking down a complex color key
- Creating a luma key with Extract
- Setting up sky replacement
- Using Refine Soft Matte to improve edge detail
- Feathering edges with Channel Blur
- Knowing when to avoid green screen
- Prepping a shot for keying
Skill Level Intermediate
Q: How do I locate the exercise files for chapter 5, 6, and 7 of this course?
<div>A: The exercise files are found in the After Effects project that matches the one seen in the movie (named along the top bar of the After Effects interface). Two caveats apply:</div><div> </div><div>1) The latest version of After Effects (CC) shows the full path, including the project name, whereas when the class was recorded only the project filename itself was displayed by default.</div><div> </div><div>2) Source files <strong>do</strong> need to be relinked. </div><div> </div><div>Each project contains individual compositions whose names match those shown in the movies, and whose state, when opened, should match the state of the comp at the start of the movie, as well.</div><div> </div>
After Effects Apprentice 12: Tracking and Keyingwith Chris Meyer3h 54m Intermediate
VFX Techniques: Crowd Replication with After Effectswith Lee Lanier2h 54m Intermediate
VFX Techniques: Tracking Objects onto a Facewith Lee Lanier2h 42m Intermediate
1. Work with Keylight
2. Manage Edges and Spill
3. Divide a Matte for Best Results When Keying
Add a holdout matte1m 38s
4. Solve Problematic Edges
5. Complex Color Keys and Primatte
6. High-Contrast Mattes (When There Is No Green Screen)
7. Prep for Success When Color Keying
Prep a shot for keying3m 4s
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