Join Luisa Winters for an in-depth discussion in this video Tips for better matte keys, part of Premiere Pro Guru: Compositing and Masks.
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- It is better to create the Matte as simply as possible. If you have a complicated Matte of things that move on the screen at different rates, you are much better off having more than one Matte, and then key frame them individually. If you have a simple Matte like we did before, it is better to key frame at the beginning and then at the end. Have the interpolation of the clip start doing the work for you, so that you can track your clip the best you can.
Let's try that. Open sequence 3.4 and place your play-head so that you can see the first clip. Let's go ahead and create a Matte to highlight this young man doing a handstand. For that, I'm going to use Premieres Titler. I'm going to use the shortcut command T, and I'm going to name this clip hand stand matte. When I click okay, of course the titler opens up, and I'm going to create an oval that I'm going to use to highlight him.
Once I have it the size that I want, I will center it both vertically and horizontally. I can now close the titler, and I can drag the title to the timeline to video track three. Now, I can start key framing. I'm going to move my play-head all the way to the beginning of the clip. I will select the hand stand matte. In the Effect Controls panel, I'm going to key frame both Position and Scale.
I'm going to make the Scale a bit smaller, and I'm going to move the Position, so that the boy is covered. Now, instead of going little by little, I'm moving the play-head just a little bit. I'm going to move the play-head almost all the way until the boy disappears on the bottom left-hand side of the screen. I can now move the Matte like so, and I can make it bigger. I can now move my play-head towards the beginning key frame.
I can slightly adjust the Matte. What this does is that the interpolation of the key frame is all ready happening, and I need to adjust much less, therefore, making my job much easier. Towards the end now, and I adjust just a tad. Beginning in , beginning end. I'm almost done here. Now, I'm going to make sure that I'm always covering him.
That's pretty good. Maybe, I'll adjust it here at the end. There you go. All I have to do now is to blur the edges a little bit. I'm going to add a Fast Blur. For that, I'm going to go to the Effects panel, type the word fast in the search field, and add this Fast Blur here. In the Effect Controls, I'm just blur it a little bit. There you go. Now, I'm going to select the middle clip.
I'm going to add both a ProcAmp Effect and a Track Matte Key. I'm going to use the ProcAmp Effect to desaturate this clip, so that it is just gray scale. In the Track Matte Key, I'm going to tell the Effect that the Matte is on video track three. Now, as you can see, everything is in color, except for the boy who is in gray scale.
I need to invert that. To invert that all I need to do is go to the Effect Controls panel, and click on this check box right here. As you can see, now everything is in gray scale except for the boy who is in full color.
- Working with alpha channels
- Keying blue and green screen footage with Ultra Key
- Affecting a moving piece of video with Track Matte Key
- Creating a composite with the Difference Matte effect
- Using Luma key for a brightness-based composite
- Changing the character of footage with blend modes
- Masking effects to certain portions of your footage