BEST GREEN SCREEN technique EVER!!!

[Music] what's up guys and welcome back so today we're talking about uh green screens yes we all love green screens and i've actually been told to uh review slash simplify slash explain a green screen video um that is actually quite awesome it is very useful information that you definitely need to know um so i will be reviewing that i'll be referring to the video if you want to watch the video it's like 13 minutes and it is really good i'll leave a link in the description below and um so let's go ahead and jump in uh we will actually not be viewing this one today as this was a pretty easy uh key we'll be doing a separate one same kind of scenario with matt damon but it is a little more sloppy and this is for real-life footage and foot the green screens are normally kind of messy they're not they're not perfectly lit unlike some stock footage stuff so uh let's go ahead and quickly discuss green screen what is purpose of green screen uh to get rid of the background of course but so we don't have to rotoscope and cut them out now oftentimes there will be hair or fluffy areas or reflective areas that will need a separate key and that's why you do multiple keys that's a whole entire purpose of it now we there is edge information and that is the important stuff that helps sell to help sell the effect and so we pull two keys we want one strictly for the edge and we don't care about anything else just the way the edge looks and i apologize already because it's such low res it's a little bit harder and then we do another key that is strictly for getting um a black background a perfect matte which is perfect black pixels and perfect white pixels so let's go ahead and do that now again keep in mind that the delta keyer is like the mother of all keyers there's a lot of tools in there that they purposely include to make things easier for your for your pipeline so um let's go ahead and dive into that so we've got our image right here i wish it was footage but unfortunately it is not so let's go ahead and grab our delta gear let's put our our uh our footage into this now what we want to do obviously is grab the eye dropper and let's make sure we're viewing our delta gear and um pull the key so let me just command z that and talk about one little thing and that is if your character is mostly dark then pull the information pull the key and the darker green areas closest to your character if they're mostly bright then a uh pull the key closest to them that's in the brighter green so we have brighter green right here darker green right here and also you're just going to move your eyedropper around just to figure out what works best so what we want to do grab the eyedropper he is he's a mixture of bright and dark so we're just going to go something over here and it doesn't have to be perfect now with the what the guy mentions is hey you want to use a clean plate because a clean plate helps normalize things it includes luminance values and it helps the key look better but also over the entire clip if you've ever done a key sometimes you can have one clip look perfect on one or sorry you can have one frame look perfect and then you go 30 frames later and it's not a good it's not a good clean key anymore so the delta key when you take the key it's focusing solely on color that's why we have all these weird luminance uh artifacts if we look at come to this little circle thing we've got all these luminance artifacts going on what we want is perfect black and perfect white but we also need the edge information so clean plate can help us with this whole situation so what we're going to do is take our uh footage our yeah our footage put it into the clean plate let's view our clean plate and you'll notice there's nothing really happening it's still the same everything so what you want to do is take your eye dropper and go as close to the the actor as possible and you want to take that information um like that now we want this to be a a nice clean clean plate so normally what you what you'll do is you'll take grow edges but we want this to be as green as possible and what it does when it grows the edges it takes the pixels and it just grows them so we've got a lot of pixels that aren't green we've got a lot of different color ones so what you do is erode and it kind of just eats away at it and then you hit grow edges and now you've got a lot better of a clean plate and if you've got any weird holes just hit fill and it'll fill it up now why do we do this instead of using like a background and just have a green and that's because it's all about the luminance values it's all about the luminance values and we want the luminance values accurate behind the behind our foreground so the edges look correct it's all about the edges so what you want to do is take the clean plate and pipe it into the clean plate input on this um delta keyer so now if you view our delta here um it's looking a lot better it's not perfect but if you compare our alpha it's significantly better so if we go to the clean plate shut it off oh yeah okay let's disconnect it got a mess and we put it in to the clean plate and it looks better now if there's not anything flying by in this footage which there isn't um because they're on mars then use garbage mats garbage mats are awesome and you can add them after doing everything or you can add them like um adam right now which is what i always do so what you want to do is um here give me a second these adorable dogs oh you guys want a treat hey you're cute you're cute okay so where were we oh yes okay so let's go ahead and add our garbage mat uh so you just got a polygon or whichever one you want put into the garbage mat and go as close to the actors as possible and if there's movement you may have to animate it a little bit and that is okay so boom don't need that stuff sweet just zoom in make sure we're not clipping anything okay just like that okay so now we've got this goodness down let's go ahead and oh yes yes okay so we do want to clean up the edges and make them look better a little bit harder because it's such a again it's low resolution but one of the ways to do that is all in the delta gear the delta cure is beautiful um and one thing that the guy talks about is uh we want a clean mat but we want to keep the details of the edges and you can't do that if you have the threshold up like crazy which cleans the mat but it gets ruins the edges now that's why we do a edge mask or an edge matte an edge key and we have a core mat or a core key because the core is this this is the core matte where everything is perfectly black and white whereas the edge is not the edge does not it can't you don't want it black and white perfectly you want to keep the edge information that's why you don't really want to tweak the threshold that much so keep that in mind so here we are um looking i mean it's all about the edges the edges on here are really that are easy so there's not really much to look at but what you do is you'd find with reflective things there's a lot of green reflecting and you'll find you'll go you'll check the luminance value of the green and you can find the luminance down down here and i believe it is the rgb a one you can see what the alpha values are then i believe x one i believe one of these are the luminance down here i think it's i think it's one of the middle ones that are just kind of a number 42 there's no way i don't have to think about it figure that out but what you do is you come to the tuning um once you find the luminance value um you you you pull it down to it on the uh to it okay so for like we're on the x right here oh yeah yeah yeah that's right okay xy so for right here the x is 0.36 so what we want to do is bring oh no sorry we're going to look at the y the y is 0.84 so no no we do want the x i'm sorry i'm getting everything mixed up um the x is 0.37 so what we do is we take it and we want to bring it down to 0.37 right here bring this down to 0.37 and then what you can do is you can fine tune the edges better so what you do is zoom in check out the edges then you can start tweaking things like oh hey the shadows i want down maybe i want the mid-tones up and the highlights looking like that i don't know so now our edges are looking significantly better um and obviously these aren't solid values uh yes you can hear those dachshunds running around i love them but they are crazy um so that's it that is it for our edge for right now so what we want to do is do the solid matte or the core matte to get all these areas white and then what we do is we combine the keyers to make things simpler so we come up here hit command c command v i just make our lives easier i take our footage the clean plate and we want to put it into the delta gear boom just like that now what you can do and what the dude does have is he's really good at keeping things organized i'll admit i'm not the uh the most uh yeah i'm not the best with that so what you do is grab an underlay and you can rename it um just like that and come on you can rename it you can recolor it so you go to underlay right here change the color oh yeah i want to orange like that yeah and then if you hit it and hit f2 well my thing doesn't won't work uh you can rename it close other control okay if you have your keys on you can you can rename it uh which i do not i guess but um so that is our edge our edge mat our edge key this is going to be our core so what you do is you come to the delta gear and you can um you can either fine tuning the same honestly you just go to the uh the mat and then we this is where we crank the threshold so make sure you're viewing it so you can see it and we're looking good if you see little dots somewhere then we can always clean those up later uh so you got your threshold it's looking good but you don't want to be clipping detail so sometimes it's like okay you want to have your threshold where it gets everything white that needs to be white but it's not clipping other initial oh crap uh we're not clipping detail in these areas so we'll what's in this video we'll just call that good for right now and of course we've got some things over here that need to be cleaned up and we'll go over that in a second so that is our solid map super fast super basic super easy so then what we want to do is we want to combine it with our delta keyer and when you combine it with the delta keyer it goes into the solid matte input so this is our solid map we've got solid white solid blacks and that's what we do that's what it is you put it into the solid input and then this delta cure becomes our primary here that we want to look at now if you look at it it just overlaid it it just put it right on top that's all it does it overlays it but we want our edge information because the edge is what really sells the green screen effect so what the guy has us do is he has us put in a blur down here and before it we do an erode slash dilate now rhodium dilate is pretty awesome just takes the mat and it can expand it or it can eat back at it so what we want to do is keep our um our edge information so make sure we're viewing our delta gear and we went to dial or i believe it's road the uh the solid map so if we erode it you can see hey look at that check that out we've got insane erosion going on but we only want that like the very very edges like the the blur right there this stuff still needs to be solid white so you just tweak things until you get what you want probably like right there's looking good and boom you've got the edge information and the solid mat that's the whole purpose of this and what and okay so what you have the blur to smooth it out so if you don't have the blur it's really like choppy like this yeah the blur smoothes it out it kind of adds a little bit of a roll-off on there if you'd like if you will i should say and that's looking really good so then what the guy has is the floor for him is really shiny and the key for the person doesn't work for the floor so you have to do a whole another key for the floor and you just it's the exact same process you do this for the edges and you'll do this um let me add an underlay you'll do an edge mat but then you'll also do a core mat or the solid mat for the ground as well and for every key that's what you do you always do an edge to save the edges and you need the solid mat or else you're going gonna have see through pixels and and then once once you've gotten here you've got in here let's view the colors we're looking good actually what the heck happened here what in the fresh hail okay let's take that off lasers got our clean plate and the clean plate we have our inputs yeah and our solid matte there and what is up with this is this delta cure the same oh man so when you get weird stuff like this is probably because uh it's probably from the fine tuning sometimes it can really crunch stuff but go to the key no no don't bark don't bark hey hmm why is it being weird sometimes weird stuff happens guys and i'm going to bet it's because of the tune no it's okay it's okay but you you do really want that tuning on there though man you do want the tuning on there but you do have to be cautious of the colors no it's okay it's okay they're so cute i love those songs oh yeah so yeah when you're treating these things just be cautious of everything let me leave the highlights alone i wonder if there is a pre-divided post multiply okay we'll just leave it like that i think our edges are still looking good kind of no it's okay it's okay okay so yes yes let's just keep a heads up with that um yeah we'll see like that okay so now we have our delta keyer and at this point we want to add our background so you can add a merge and we stick that right here now you can see the background um but we need to invert it so we hit command v or sorry command t and we've got this going on here and we'll probably add a transform node oh gosh here we go she wants something no no it hurts uh sorry i want to add add transform node above it it's okay it's okay let's reach here okay and so let me just uh that i basically went over everything that you really need to go over what you do is obviously you'd want a better background than this this one doesn't match but then you would come right here and you do a color correction node uh and then make sure you do the predivide post multiply and then one thing that is important is going over to the fringe now you can add a uh you you can color these and you can bring the fringe all sorts of places um just uh watch out for stuff because you have to add the fringe to what the heck fringe should not should go to rare tweet things so when you do fringe to the edges uh you'll want to do that up in here as well so you don't get weird shifting like that um but you can just do that honestly with the light wrap and you'll use instead of a merge i created a light wrap node not that one and i'll do a video on that so you just pull things in and then you view it and you've got light wrap going down um okay so that is about it for this video um i hope that answered some questions about the saving the edges but then merging on top essentially the solid mat so you don't have invisible pixels anyways i yeah i hope that answered your question and i will see you guys in the next video

Channel: RESOLVED

Views: 859

Keywords: Davinci Resolve, Fusion, CGI, Compositing, 3D animation, Black Magic Design, Filmmaking, Camera, VFX

Id: 5Mh22UB1d-k

Length: 20min 17sec (1217 seconds)

Published: Mon Oct 18 2021