Join Richard Harrington for an in-depth discussion in this video Refining KEYLIGHT, part of Adobe Green-Screen Workflow.
By isolating the matte channel, it's a lot easier to see what's happening. I generally do this using Keylight's controls, but there are several ways to view the matte inside of After Effects. You'll notice that with the effects selected, you'll notice that under effect controls, you can choose to see what's happening. We've got our screen matte, and later on we'll end up making a new matte by combining things together. We can also of course toggle in between and see the source or the final result.
You'll also notice the ability here, to switch what you're viewing, and sometimes you can actually toggle things off and see just the alpha channel. If you get your layers set right. But, generally speaking, I'll leave this set to RGB, and I'll come in and use the View up here. Let's start with the Screen Matte controls, and really start to refine things. I like to view things at 100% to give me my most accurate judgment. And I can see some of the reflections are on the glasses, (no period) A little bit getting picked up in the teeth, and of course, the sweater itself.
I'll start by putting a little bit of blur into that screen to begin with. And, a value of 1 or 2 there did quite a bit to clean that up. Let's start with just one. Next are the Screen Matte controls, and this allows me to clip areas that should be black. Now, pulling this in, in this case, is pushing too much to black. So, I'll actually leave that alone. But instead, I'll start to clip some of the white. And you notice there, by lowering it, those values that were almost pure white, get pushed out.
Now, that's helping, and what I want to do is put just a little bit of softness in, about a value of a pixel or two there, and that's helping in the hair area up top. if I have some problem zones we can go ahead and de-spot them. What you want to avoid doing is softening too much. So if you pull back the soft thing but you still have some little black splotches, this is where the de-spot black slider comes in, and it allows you to clean up any little black splotches.
Similarly, the de-spot white can remove any little white splotches in the black areas. Let's switch that over and view the final result. And that's looking good. Now there are a few things we can refine here, and what I'd like to do is take a look at the edges a bit. I'm going to go ahead and improve the shrinking here. And what I'm trying to do is not eat away too much of the hair, but get a little bit of the shadowy area.
And by clipping the black there, notice how that shadow under the ear gets pushed away. That looks good. Little bit of de-spotting there to remove some of the white fringe around the ear. And that did a nice job. Hold down the space bar and pan around. Looks pretty good. Little bit of area there that could probably be cleaned up. And let's just de-spot a bit more. That looks good, you want to be careful not to tweak the balance too much or the color will shift.
And overall that's looking good. I'm less concerned about the small shadow under his arm than I am about getting a good key around the hair. Soft collar did the nicest job there of filling in some of the holes. And let's take advantage here of some foreground color correction. This allows me to easily get in there, and start to color balance. So for example, let's put a little bit more blue into the scene.
Don't want to go too far, but a little blue cast helps match that a bit. And, I'm going to pull the Saturation down a little, and lift the Brightness. And Contrast, just a bit. And if I toggle that off and on, you could see that that's a much better match to the outdoor lighting. A little bit of edge color correction, as well, allows me to clean up a little bit around the hair.
And that actually seems to have done the trick. Alright, I'm going to consider that a good example of key light there and I'm quite happy with it. But there are more advanced controls if the shot gets tougher.
This course was created and produced by Rich Harrington. We're honored to host this material in our library.
- Deciding where to key your footage: Premiere Pro or After Effects
- Importing footage to key
- Stacking layers in Premiere Pro
- Using the Ultra Keyer
- Using KEYLIGHT
- Enhancing a key with 3D lights
- Deciding when to use a third-party tool
- Processing backdrops in Photoshop
- Exchanging transparency data