Advanced Green Screen Keying in After Effects

hey how's it going thanks for clicking on the video my name is leonard wilks i'm an independent filmmaker today i wanted to share some advanced tips and techniques for chroma keying and after effects i shot an entirely green screen music video last summer and that forced me to learn way more than i ever needed to about green screen and i thought i would share it with you so uh the shot that i'm going to cover is this one that you're seeing on screen here here's the original shot so this is kind of best case scenario this was shot on a red in raw uncompressed like you couldn't ask for better footage this is still difficult to key and so that's kind of what i'm going to be covering today uh in this tutorial here now i understand and i always get frustrated when i go to a green screens tutorial and i'm like yeah sure you can key ideal footage but what about problematic footage i actually ended up creating an entire two and a half hour green screen course showing you how to make something like this keyable inside davinci resolve's fusion tab this is very much a green screen no no fine hair detail especially in front of this foldy off colored cloth there's a much more advanced keyer in resolve so i've got a link in the description if you want to check out that full course on my gumroad page but short of that even the most ideal scenario footage isn't going to give you the best results right out of the can so there's a lot that you can do to improve keys like this right within after effects so let's get started with that just a real quick overview of what we're going to actually try and do here most people when they sit down to do a key in after effects they're going to try and get everything to work within one instance of key light it is a really complicated process that requires several steps and most of the tools that you're going to find in any software to help you deal with this try to oversimplify it they try to let you do everything in one single layer and effect and to degree yes you can do that and especially for things where you're not really looking at major edge details you can get away with it but if you're looking for that super pro level key like you see in the avengers movies or whatever the big blockbusters if you want it to not be a parent that you shot something on a green screen you really have to take things step by step and the two biggest steps and we're going to be covering all of this in detail you first have to generate your alpha layer which everyone's more familiar with which is getting that black and white matte that says hey everything that's green here should be transparent should be completely see-through everything that's not green in other words her should be completely opaque in other words you can't see through it and then along the hairline and the edge of the shoulders just around the edges there should be semi-transparent details so easier said than done really it's two pieces of the puzzle really you're creating that alpha matte and then you're also re-coloring your plate image so that these green pixels are matched with the foreground color so that when you apply that alpha think of it as a cookie cutter to your green screen then you are applying that cookie cutter over pixels that all match so here's what i mean by that let's call this one alpha and then we'll duplicate it and call this chroma let's leave the chrominance alone for a second i'm going to put that below and turn it off so you want to pick a couple of points so like this is a nice before she moves uh let's call that number one drag out a marker there and then right here we got a lot of motion blur on the arms there and then we've got this hair detail right here so that's probably another good frame to be looking at okay when a keyer is pulling a key it's actually doing math between the red the green and the blue channels and if i click between those really quickly you can kind of see you know what it might be doing in terms of you know those two seem like they're very contrasty towards each other and if you did some math between those three layers you could probably figure out what's green and what's not and actually if you look here on the scopes down here you can actually see that the green layer is very much separated from the blue and the red so what the computer is doing is using the math between those three channels to determine what should be removed and become transparent and what should stay solid so let's do what we normally do uh to get a good key we're going to throw a key light on there and then of course you would do your screen matte clip black clip light all that so let's pretend like this is a nice soft edge detailed alpha and we're good right using this track matte feature here whatever is the layer above what you choose in your drop down menu here is going to be treated as the alpha layer if you don't see this by the way you may just need to toggle this little clip down here to be able to see that so really quickly let's turn this off and let's look back at this let's not go in the alpha mode let's go regular rgb so this is an untouched just another copy of our plate right and then we have our alpha up here which is confusing because it's trying to do all the chrominance and the same thing so if i just throw a fill effect on this alpha layer what that's going to do is take the red channel the green channel and the blue channel and just fill it with a color so let's fill it with white so that looks like an alpha matte and we understand what we're dealing with here so now we've got this traveling alpha mat that goes with her right and that's what you want to think of as the cookie cutter that alpha and it is going to cookie cut whatever we put below it this chrominance so let's use that as an alpha matte cool so now you're seeing what's happening here is we're applying that cookie cutter and it is cookie cutting the pixels beneath it now those pixels because we haven't done anything to this base layer here if i turn that off it's just our regular plate you can see how the chrominance is actually affecting our edges here so in an instance like this a lot of times people are going to go back up to their key light and say well i don't want to see this stuff so i should just shrink this down a little bit and cool now that'll get rid of it it does uh to a degree get rid of that but what it also does is get rid of all the edge detail that you are trying to maintain right so instead put that back to zero instead what you would want to do and let's go to a hero frame fit this in here so let me take a quick screenshot here of what this looks like now and then turn this off for a second so we can see what we're about to do i'm actually just going to use uh lumetri color correction symmetry color using the curves and if we go to hue versus hue and i select the green hue now this is going to allow me to re-color those green pixels so obviously we don't need this to be a blue screen if we're doing this whole cookie cutter thing we want these green pixels to be indistinguishable from their foreground counterpart so we want it to be generally peach to deal with any section here that touches her skin or the dress and then we'll probably need a little brown and or red for her hair right so let's do a quick color correction on that get this closer to her skin tone and we'll make that a little bit softer so that we are getting some of this effect in the skin tones and then maybe bring this up just a little bit more because we want that to be closer to skin tones right in there cool so now those things are pretty close right much like the alpha we're going to do multiple chromas you know this worked pretty well for the skin tone but we'll probably have to do a duplicate of this and call this like hair chroma and then rather than color correcting it to peach we'll color correct it a little further to be even closer to maybe that hair color and then make it a little bit darker to kind of match closer to what we're dealing with with her hair right and then we would mask that out all this is going to be covered i just want to kind of give you a brief overview of essentially what we're going for here so that you understand the process as we get into it step by step cool so now we have this recolored chroma we would combine both of these things with pre-compose chroma we have our chroma we have our alpha and when we combine the two of those using the alpha matte feature now look at the difference if we go back to what it looked like when we had the green and now here obviously this is the wrong color and i did that really fast but this is the basic idea that we're going for which is you need to color correct your plate and then extract the alpha and combine the two things together so anyways that is a quick overview of the essential steps that we're going to be doing in this tutorial but now let's dig into the details so let's do a whole new instance there we go right we're going to throw a key light on there we're going to pick a dark-ish shade of green let's hop on over to our alpha layer so that we can see how much noise we need to get rid of one thing that i like to do is once you've got a good green selection if you mess around with the blue and the red sliders you can get kind of a nice threshold where it's like i'm trying to keep the detail of the hair i don't want to introduce too much noise over here or have any noise for that matter but i'm just getting this right on the level to where beyond that you're starting to get noise this i'll take care of in another pass but near the hair i think we're pretty good there okay you may be aware that you can combine keys because obviously we're getting kind of the best result there for the hair but obviously we're leaving this here and we don't want to crunch it too much and lose all of that detail so the cool thing is you can split them up right so let's do a real quick let's call this a hair and we'll duplicate and call this body put body down here i'm just going to do a quick garbage mat and this is going to just separate the hair from the body right and let's keyframe that really quickly you can be a lot more detailed than i'm going to be with this but basically what we're going for here is we've got two separate keys one that's perfect for the hair and then one that's going to be better for the body and we're just going to combine the two of them that's one of the tricks that you may or may not have already heard and get the best both worlds and that works well for a shot like this where it's very simple move and the green screen is relatively even so what i'm going to do i'm going to take this mask here i'm going to copy it since this is the body we want to subtract this here and then for the hair if i put that mask on there now it's add add subtract great right except uh-oh what's this without going into crazy detail what's happening here is because those alphas are literally one pixel on top of each other one for one that's what's causing this issue if you want to fix the issue make sure you have this guy selected here take your top layer and change the blend mode to alpha add that will get rid of that line and even if you take these and you add a feather of let's say 15 pixels to that one and then 15 pixels to that one as long as you're in the alpha add uh mode you're good to go normally it would look like that and then when you're in the alpha add it behaves how it should in that scenario cool i'm leaving these holes on the inside intentionally i'm going for a soft matte here and then we're gonna once we get this perfect we're going to uh duplicate it and use it as an inner mask kind of shrink it inward which again kind of a common thing to do promise there's there's more coming that you haven't heard before so let's deal with this body really quickly so we want to get rid of some of that kind of stuff let's let's go over here to to this part because i want to make sure we get all of that out of there honestly i think just dragging this down to a darker area is probably going to give us what we want i don't want to introduce too much more into that dress there but that looks pretty good let's check that earlier i don't see any any speckles on that side or on this side cool so let's call this our soft layer good to go on that one um i'm actually going to pre-compose these together one of the things we can do now that we have this nice soft mat is create a crunchier yet smaller version of this exact same thing on the inside that will cover up all of these holes and then we just worry about the transition between the two of them so let's duplicate this soft matte layer now one thing you might think hey what if i just keep going eventually it will fill up those holes but if you notice it's not really helping you on the edges so that's not the best idea in the world so what we're going to do is let's call this soft matte let's call it a hard mat you can also call these edge and core mats the hard mat would be the core and the soft mat would be the edge so let's just deal with this one for a second right now they're the exact same thing but what we're going to do is harden up the hard mat now yes we could go back in and individually mess with the screen gain controls on all that but another thing that you can do which is a bit easier is to throw a levels effect on there and rather than messing with the red green or blue channels we will adjust the alpha right so if we take that high end and just crunch this down until we don't have any more holes dial that back and see if we can't fill there we go fill in that hole so we want all this transparent detail but as soon as it gets to a 1.0 in the alpha zero being transparent the decimals in between being the varying levels of semi-transparency and one being fully opaque once we get here we want it to stay full inside because there should be no holes right but problem is look at these semi-transparent areas they get covered up by this hard mat now we kind of want that when it comes to the skin but not for the hair so how do we get the best of both worlds well let's start with uh using a simple choker and what the simple choker is going to do let me turn off the layer below so you get a full idea of what's happening here is it's either going to bring it out or in now if you go to too many of the extremes see this is obviously not retaining that sharpness so you want to keep this like within you know five to ten so what we're going to do is get this just inside the edge of the skin um so see how if we keep going we're revealing a lot of the semi-transparency we want this to be just inside so we can blur it a little bit and not go over we never want to go over we want that edge to always be bleeding on the outside so that maintains those nice soft fuzzy edge details because that's what's going to sell this is nice soft fuzzy edge detail so this might be a little much let's let's not go further than like maybe a 5. you just want to be right on the inside there which is going to cover up most of these things now obviously uh the falloff between them is a little jarring so your first thought might be well maybe i just gosh and blur it which is a good idea because this hard line here let me turn off the softman on the edge so this hard line you can soften it up by doing the gaussian blur right so now it might fade nicely into that bottom layer and in fact it does you could just leave it like this the problem that this is going to introduce is when you start to have things like here when her arm kind of opens up in the soft mat you can see all of this kind of semi-transparent detail right here especially right here where things get very close to each other this looks correct now when we apply our hard mat you can see the obvious problems with something like this right so we want a little bit more of an even fall off than even just that right so the blurring is helping but it's also adding to and covering up some other areas that we would rather have left opaque so in other words see all this black here that should be completely see-through when we get to the cormac we're covering a lot of it up and there is no gradual fall-off right right now this layer can blur outside of that original boundary box if it wants to right if we keep going with this eventually it will go outside of what our original plate is so you're going to get this halo especially in sharp corners here under the arms so you really don't want that per se but it is nice to get some softness so that it doesn't just seem like it rolls off in one pixel in other words let's get rid of the squash and blur here for a second this is too obvious like we can see the transition between these two things and it's it's it's not great it's not ideal i want to talk about track mattes we kind of briefly touched on this in the intro you can use any layer as an alpha matte for the layer below it so if we want to blur this but we want to make sure that we don't go outside of this bounding box that we've already set we can actually use this hard mat as a matte for itself if that makes any sense so right now we're saying that anything that's below this we want this to be affected by this map so in other words effect everything in the white don't affect anything in the black so if we duplicate this layer and instead of calling it the hard matt this is going to be the let's call it the boundary for the hard mat so hard matt i probably spelled boundary wrong so right now these two things are identical they're the same thing right but if i throw this gaussian blur that we had talked about on on here and let's crank it up to something ridiculous something that we know is going to affect our edges right so clearly this is no longer going to have that sharp edge detail and if we apply the thing underneath we're going way over into the black right but if we limit this hard mat by itself essentially we're saying blur it but only on where there's white so let's go back to this and let's make this hard matte our alpha layer now you can see the blur happens inward just not outward so when we put the soft matte on the inside now you're getting kind of a nice fall off all right so that's a little crazy we don't actually want that to be that blurry really we probably want this to be like i don't know eight pixels just something with some nice falloff maybe a little bit more something like that right uh but then we have to deal with the harshness of this line so let's look at how much we've come in on the simple choker we came in five pixels on the simple choker with our mat here since we want this to not be quite so sharp i think we can throw a gaussian blur on here and just make sure that we don't go above five pixels so now we have a nicer softer edge that is defining our hard mat here so this is what we're looking at our actual hard mat and then this is the mask for the hard mat that we've applied this gaussian blur to so without that gaussian blur on the boundary layer we have still this harsh line if we apply the gaussian blur at only five pixels now we have this nice softer edge which if we put the soft matte underneath now we're not going over we have a nice easy fall off there and we're also maintaining that detail cool so now we have kind of a nice fall off now we are still going to have to deal with the inevitable which is there are some areas where this trick just doesn't quite work like we've got it working nice for the edges because your skin tone is only going to be a couple of pixels off from that but we know from experience that there's a lot more semi-transparency in this soft matte here that we want to maintain so really at this point we've automated as much as we could now we're going to have to go in and mask out the areas where we need extra detail in other words if we know we need the extra detail here i'll go to the hard mat i will click on my pen tool and i will start to mask out the areas that we still want semi-transparency in and then we'll animate those masks and if we make that instead of add we're going to do subtract so actually let's leave this at none right so right now we have our soft layer we have our hard mat that works pretty well except for the areas that we have problems so then we take that hard mat and we subtract the area that we don't want that detail in now what's cool about that is you're also maintaining that nice soft edge blur that we've already defined so that's really cool that's nice with that once you reveal the edge details underneath now you've got the best of both worlds you've got a nice solid interior you can have full customization over where you need more semi-transparency probably along the edges of the hair probably underneath the uh armpit areas and now you have total control so we're just going to cut away and cut into the areas that need more detail and i promise you it really is worth the extra time that you're going to do it so let me really quickly perform all of that and i'll see you on the other side [Music] so now we have the best of both worlds so let's actually pre-compose these together pre-compose cool so now we have our alpha let's go back to the project and drop another green screen plate in so obviously you're understanding what's happening there now if we just go ahead and apply that alpha using the track matte and again track matte is the layer above whatever alpha is contained here will be used as the alpha for its immediate adjacent layer so at this point obviously we haven't done any d spill because we cut that out of the process and you could very easily just add an advanced spill suppressor and that honestly looks pretty good right if we turn off the alpha really what it's doing is using the um let's turn it off the separation between these guys it's using math to determine when the green goes too far above these two what should happen to it and that's how spill is being calculated here now if you notice how drastically all of the greens not just the green screen itself in terms of levels how bright it is like we should only be adjusting color but notice when we do the spill suppressor it's actually bringing that green all the way down here and the same for the greens of her skin tones right it's really bringing all those greens down now it needs to because obviously there shouldn't be that much green present but this is kind of disingenuous in terms of its luminance values it wasn't actually this dark it became this dark when you removed some of those green pixels using some of that channel math and it's been replaced with more blue or red pixels from those other two maps so that's why they give you this ultra method here now again if i turn this on and off watch the greens here this this guy will still stabilize but look at the levels of the greens elsewhere they don't shift as much you don't get as much contamination in the luminance levels so all this is really good right and once we apply the alpha you start to understand oh well i'm starting to see you know the outline here especially when there's motion blur this looks a little odd right so maybe i just do go back even if i don't like it as much go back to that because that looks good well the problem is sure it looks good over this background but if you throw the actual background behind it and it'll be more apparent if i bring this a little bit lower and a little bit more over so i'm sure you've run into this in the past where you're getting these mixed pixels because all the alpha is doing is taking this original green screen plate let's turn off that effect so it's taking this and it's just remapping these pixels these green values and it's doing it you know using its algorithm and you have some control over it here and there but for the most part it's you know these sliders can only do so much so one of the other things that you can do is actually custom color correct your plate so let's get rid of this background i don't want that as a distraction right now and i'm going to remove this advanced spill suppressor because again i don't think we need it what i'm going to do is actually use lumetri because if you use the curves the versus curves you get q versus saturation q versus hue is the big one we're going to use here so let's go back to good hero frame right so what i want to do is i know skin tones live here and obviously it's a green screen so i want to make sure we capture all the greens i'm going to take the green slider and with the hue versus hue you can actually push it closer to her skin tone you actually make the entire screen closer to her skin tone so that's going to be helpful especially since she's wearing a skin tone colored dress most of these green pixels when they get cookie cuttered by this alpha are correct now so i've already done my color correction really quickly my advanced spill expression and i have control over it you know if i needed to be a little more a little less i can do that if i need to you know bring the actual skin tones and get a little bit of the green out of there i have a lot of control now one of the things that this is going to do is introduce some artifacts you will especially notice this if we turn off the track matte you can see what's going on here we're getting weird banding effects right here not 100 sure why lumetri is doing it exactly that there are other color correctors in uh different software that won't necessarily create these issues they're easy enough to fix so uh let's figure that out really quickly even before messing around with the lumetri panel i want to kind of show you the idea of what we're we're going for here so again if i apply the alpha matte here we've got the green halo that everyone's familiar with and that's because we haven't done any dspool right so let's turn that off for a second let's go full screen so one of the cool things that you can do is use blending modes to recolor the edge pixels especially where you're getting those those problem areas so to kind of show you what i mean if i actually just go let's go to our problem frame here where we're going to have some issues and again alpha matte but what if i actually went into the plate double clicked it pulled up my brush tool and rather than normal if i switch this blending mode down all the way down here to color and then i alt click to pick uh skin tone color and start painting with that and actually i would probably want to get a little bit closer to exactly what the skin tone is there do the same with the hair here and just kind of recolor and retarget those pixels to be closer to what they should be for the foreground pixels same with the red and this guy here now luminance is a whole other thing and i would use a multiply brush for that really we're not going to be using brushes we're going to be using shape masks wherever we can but check out how much better this looks we gotta go back after a cop that is much more appealing than what we had previously which was let me throw this plate in here set it to alpha so let's take a quick snapshot of that and let's look at the before and after so you can see just by getting the color right a lot of people think once you have this perfect alpha that you need to eat away at it and you have see-through issues like this like how do i get rid of this halo while i eat it onto the alpha mat no no no you're gonna want to color correct your base let's not do it that way let's do it with shapes let's turn this guy on no track matte go back to our beginning frame fit so what i'm going to do is i'm going to come over here to my ellipse tool and for the fill color i'm just going to pick a skin tone and create a shape and then this will be arms so let's do size or excuse me scale that's unlocked so really we want to get this close down here you want this to cover her arm i'm going to throw a gaussian blur on here because i don't want this to be nice and even i want this to be spread out quite a bit cool so i'm going to do the same thing using the color mode see now i'm already doing my color correction now again i forgot i had that lumetri on here so l-u-m-e lumetri curves hue versus hue let's put a skin tone marker there bring the blue back down to here green's going to go up here and skin tones right about there cool all right so again yes we're going to be doing some keyframes but it's really really really not that big of a deal to do a couple of key frames in the long run here uh let me also throw an hs hsl hls hue saturation lightness just so that i have some key frameable adjustable parameters for this so i can kind of really fine-tune what i'm looking for with this anyways uh so let's keyframe this bad boy and in fact i'm also going to rotation scale cool alright let's go [Music] especially here i know we're gonna need to do uh hair uh for that one i might actually just draw a shape [Music] the anchor point with these shape layers are a little more difficult to deal with i'm actually just going to correct the anchor point and reset it back to where it should be because i don't want to deal with that later and now i can still use my size scale and rotation bits for all of this and i might even put that anchor point a little more to the sides here so now if i mess with the scale like the width of the scale or the height i'm doing the whole shape like that and i may have to go in and actually adjust those those pins but i'm going to try to not have to do that so let's do that okay here's a good example where her head her red hair is kind of down here and not up into this so it's going to be important to have your hls on this one for sure oops not zone color balance thank you bring this back a little bit i will mark that and then i think by this point we should be back up to probably our full opacity so it'll just slowly lose opacity as it gets over there but it looks like it's staying relatively where it should for this [Music] this looks pretty good now i do know again from experience that this top is a little bright uh so actually underneath these two i'm going to create one more little garbage layer for the hair because i know the hair in general just needs to be a little darker so i'm going to create so i do want this darken to apply before those two reds so i need it to be underneath the red because i'm not going to use color i'm actually going to use multiply cool and then i'm going to use the opacity here to drive that darkness there um one thing again let's center this up and i think my anchor point needs to be realigned so let's do that [Music] all right so now we've got all these traveling mats and yes that was a bit to do but you can kind of understand the science of what's happening here in terms of if you apply the cookie cutter alpha on top of that with all of the correct colors precompose that and if we apply the alpha now we've got kind of the best of all worlds going on here so if we put that over our background now we're really in good shape um now there are a couple of other compositing things that i would still do to this obviously i'd throw uh you know a blur on the background like a camera lens blur and actually at five percent is pretty good um another thing that tends to give away uh green screen is if you look at actual footage of people in front of real backgrounds it takes three or four pixels of fall off uh because you're never fully in focus on exactly that edge there you're usually in focus on their face and there's a little bit of fall off so these two need to be pre-composed we're going to call this leah because that's the uh dancer's name so now that this is pre-composed now on top of this i can put my um edge blur and the edge blur is not applying a blur all to everything literally just the edge pixels and in fact you can tell how many of them there should be so let's just do three pixels and i think that's probably too much two is probably because like look at the difference what we're doing here you know it's very very very subtle but it ties the footage back together like that looks more like a real picture now the other thing is because we filmed this at a pretty high shutter speed it's a little bit jittery we did that so we didn't get a lot of motion blur but it is nice to put that back with say a pixel motion blur and obviously it's going to start out probably way too extreme um like just for instance when we're this is the most motion that we have that's obviously way way way too much so maybe we put this down to like a 90 degree shutter maybe even a 45 that to me feels a little more natural and that just adds a little bit more of that natural motion blur back to the image so that when it's mixing with those background pixels it looks more authentic light wrap is another thing where edge pixels especially near highlights are going to kind of bloom over the edge red giant actually makes a really good compositing uh script called supercomp and it has a lot of streamlined built-in effects here's that edge blend that i was telling you about you can see there the blur is only being applied exactly right at the edge by how many pixels you uh determine so we already did that so i'm going to get that out of there but light wrap is a great thing uh let's zoom in over here so you can see it and in fact i'll turn it up the amount up to 50 so you can really see what's going on that's what light wrap is right there it's taking blurred pixels from the background and softly wrapping it around your subject now this tends to happen a little more uh most pronounced near brighter things like this this is really gonna sell sometimes i'll actually put two light wraps i'll put a standard one that just brings a little bit of the color in around the edge to kind of marry this all together and then i'll throw one on that's limited by the highlights so again this one is not really throwing it anywhere but the highlights and then if you want it to be you know a little bit bigger you know encroaching on a little more actually i think it should probably be smaller and more intense so that's going to tie that in much better and if we go ahead and render this out i'm going to do it at half you can see how much better all this kind of marries together especially when she kind of goes over the brighter areas of that and especially when she hits right yeah right in there that's that's how light behaves in a in a lamp okay so this is all fine and dandy right but if we were gonna do something more complex like one of those other shots that i showed you this gimbal shot for instance it would be a pain in the butt even if the camera wasn't moving right you'd have to mask out all of these uh individual trackers put a key light that affects that particular shade of green put a key light to get rid of this bright green you need one for the medium green probably one for this area down here one for down here one for over here these folds everything would be a nightmare right well there's actually a different way to key altogether you don't have to necessarily just use the channels you can also do a difference mat at the end of this play she walks all the way off right so let's duplicate this time freeze frame so this whole thing is going to stay where it is now this is our clean plate let's drop that beneath this guy here if i set this to this is actually more of a technical mode this difference mode right if you've ever used the difference mode in photoshop it's really helpful for aligning layers that are supposed to be pixel for pixel exact and basically what happens is if it is exactly a pixel match it will show up black it won't show up at all and will only show where there is a difference so it's showing me that all of these side pixels those are all great the difference is in her kind of see how the difference is working so you can use that for a keyer in fact so let me reset our position here let's not use difference like this let's use it as normal so if you have a clean plate in other words a map saying at this pixel use this screen if this pixel uses screen at this pixel use this screen over here use this screen so put the clean plate down there we're going to apply the difference matte effect so we want it to use the clean plate as the layer so you can actually get a decent hard mat just by using the difference now other software has way more powerful difference mats and actually that's what my super in-depth tutorial is all about so davinci resolve has a compositor built into it called fusion and with infusion they have a keyer called the delta key which is like this but on steroids it is the best of key light and this difference matte technology all built in and what's really cool about that it also comes with a clean plate generator that will create a clean plate for you when you don't have one rather than do a key on your actual green screen it will take those colors and do a reverse key in other words it'll cut her out and leave a hole where her body is and then it will smear those edge pixels inward to fill in that hole with adjacent green screen so it will actually generate its own clean plate for you so when you feed it back into this now it knows this screen here this screen here the screen at this pixel the screen at this pixel of the screen at this pixel so if you're interested in keying something as impossible as this for your own projects let's say you're trying to get out of a jam or just in general you want to know you know what the limits of green screen are check out the course it's on my gumroad page you can do secure checkout right from there anyways guys thanks so much for tuning in hopefully you learned something i'm probably going to do some more tutorials up here so don't forget to hit that subscribe button leave me a comment leave me a like do all that youtubey stuff otherwise uh i will see you on the next one thanks guys you ever wonder how hollywood vfx studios pulls such amazing chroma keys from such uneven green screen footage well if you've ever tried to find the answer in online tutorials you know just how frustrating it is to hear them all claim that it's impossible after seven months of hard research trial and error i'm happy to tell you i've designed a comprehensive course that'll show you how to pull this key from this footage in a few hours with free software i boiled everything i learned down into easy to follow 10 minute lessons covering the extraction process from start to finish including camera and lighting tips and tricks denoise techniques using the free version of davinci resolve for its awesome delta gear node-based compositing in general which is not as scary as it sounds i promise and i bet you end up preferring it using or generating clean plates to tell the keyer which shade of green to use at which pixel even with moving cameras generating detailed edge mats and inner core mats for the perfect alpha extraction custom d spill and edge smearing techniques to get balanced realistic colors compositing tips and so much more there's over two and a half hours of material plus you get the footage to follow along and the beauty is once you know how to do chroma key right you can take on way more ambitious projects on tiny tiny budgets plus you'll find yourself using it to get out of all kinds of storytelling jams because pickups and insert shots are so much easier once you know how to chroma key so if you're ready to expand the scope of your filmmaker toolbox tenfold click below for secure checkout on my gumroad page for a limited time i'm offering the course for just 99 dollars

Channel: Advanced Green Screen for Indie Filmmakers

Views: 3,000

Keywords: keying, green screen, chroma key, chromakey, after effects, tutorial, keylight, advanced, hair, hair detail

Id: K-uOFPoIm6U

Length: 34min 20sec (2060 seconds)

Published: Tue Sep 07 2021