- Hi, everyone. Welcome
back to the channel. In this video, we're gonna
be looking at my workflow to key out green screen footage and to compose that on a background, relight it within the edit
page and the color tab within DaVinci Resolve. (gentle music) Now, a lot of people think
that you need to go to Fusion, or you need to roundtrip out
to perhaps After Effects, Adobe After Effects, to get a good key. But this is not the case, you can actually use the 3D
keyer within the color page of DaVinci Resolve to get amazing results. So we're gonna look at that
in this video right now. (gentle music) Basically this composition
has three layers. We've got the background, we've got the green screen footage, and then on top we have
an adjustment layer to help both those layers
really gel together. So if we break it down, this
is the green screen shot and this is what we're gonna end up with, with the composited image
on the background plate. Now, what we can do is I
can show you the background. It's a 3D render, but it's
essentially a still image so as I play through this, there's no movement in
the background at all. Then on top of that, we have the green screen footage with the key and with the grade, it's gonna look like
that on the background. And then we also have an adjustment layer, which you can see this is
before and after the adjustment with the color grade. The reason I treated it like this is because the composition
was very simple, essentially. It's just those two layers
with a grade on top. So to begin, let's look
at the background layer. I'm gonna show you what each of these adjustments is doing. So this is an adjustment to the ground, which is just darkening it up. I'm adding a slight vignette
from the top left-hand corner, and this is to really motivate that light coming in from the
right-hand side of the frame. Then in the background, I've just added a slight blur just to help try and
sell that depth of field. Then the overall balance, I've just darkened the
image down slightly. And then finally just
reduced the brightness within that center point because this is gonna
be behind the subject. So if we look at all of
these before and after. This is before and this is after, so you can see it sort of just muted it, made it a little bit
more cinematic as well, and taken away that, I guess, photographic edge that it has. So now, if we move over to the next clip, essentially what's happening
here with these adjustments is this two streams that
I'm really focusing on. The top stream of the signal
is all of the color adjustments and the relighting effects. The bottom stream of the signal is all of the qualifier work. So the beautiful thing
about DaVinci Resolve is that I can break off the signal and essentially create two signal paths, one for the alpha channel down here, all of these adjustments
are to do with the keying and the qualify work to
remove the green screen. And then that signal simply
feeds out down the alpha output and this acts independently of the grade. So I can do whatever I want with the color and the saturation to create
a strong green screen key. And then above that I
can treat the color grade completely independent. And this is all of these
adjustments up here. So to begin, I've created some balance and saturation adjustment layers to the footage. So what this is doing is giving the image a nice Rec.709 look, and it's setting up the image so that the 3D keyer can do its magic. Now with the qualifiers, I'm starting to break down
the image into sections. I'm just doing that with
a mask and highlighting just as you can see in here,
the shoulders and the hair and then I'm going into the qualifier. And if you've never used
the 3D qualifier before you can find it on this fourth dot along or you can click this drop
down menu and click 3D. Now I'm gonna break down the 3D qualifier in heaps more detail in the future. But for the sake of this video, I've essentially just
used this eyedropper tool and clicked on a whole lot of
different areas of the green and it's automatically just
keyed the green out for me. Now there's a few matte finesse options in the right-hand side here, denoise, clean black, clean white, blue radius and in and out ratio and between this selection tool
and these five adjustments, I've created a profile within the 3D keyer and that's removed all of the green from this specific selection. Each of these qualifiers is looking at a unique individual section and the reason I've done
this is because, for example, the hair and the shoulder has
slightly different properties to a hard line of a desk and it's also lit slightly different and so by really focusing on
different areas of the image, you can create a really clean, strong key throughout your entire piece,
which you can see here. Now this black and white image is just a preview of the matte. And the white means that that
is gonna be the final image and the black is the area
that's gonna be cut out of the final composition. And again, this is streamed
out through the alpha output. If you don't see this blue output normally within your color page, you
can right-click and choose 'add alpha output' and drag
that alpha signal out to there. What this means is when
we go back to the timeline and add in that layer, the alpha output has now
removed all of the black areas from the screen and you can see here that the background is now sitting behind our A-roll footage. So now that we've got our matte, we can actually treat
the color of this image completely separate from the matte. So I'm adding some balance, removing the Apple logo
there on the computer screen, giving it some contrast and
hue and saturation adjustments to really bring it into the same space as what this background image is doing. At the moment this looks okay, but it's not really fitting
within the same scene. So we've got the light
coming in through the window on the right-hand side, but you can see this desk
area is really bright on the left-hand side, and then also the shadow
area underneath the desk isn't actually that realistic. I would think that this
desk sitting in this room would have a lot more
shadow under the desk. And so that's what I've done with all of these relighting effects. You can see now if I had on all of these relighting nodes all together, you can see what it
does to the final image. So this is without the relighting and this is with all
those shadow adjustments. So there's lots of
shadow that's been added to the left-hand side of the scene. You can see on the face and the shoulders. Also pay attention to underneath the desk, lots more shadow under the desk. And this whole front area of the desk has been darkened as well. It's really added a sense of realism to the foreground and the background. So now that the foreground
and the background layers are gelling together, they look like they're
part of the same world. Back in the timeline we can
add in our adjustment layer. So what I'll do is I'll just break down these four simple nodes that I've added to the adjustment layer and I've simply just added
a vignette using the mask to help pull the image together. Given it a little bit more contrast, and then everything is
happening within this look node, and that's giving it the nice warmth and color grade that I'm looking for for this particular job. And finally, just a glow effect, which you can see is just
giving a little bit of halation in the highlights of the window here. And finally, one last step
that I always like to do is just add a little bit of
grain to the overall timeline. And this is done on the timeline, which you can see up
here instead of the clip and this affects
everything on the timeline. Let's see if we zoom in, so
this is without the grain. This is with the grain. Now this is important, especially if you're
compositing on a still image, which we are in this case, because the still image
is generally very clean so just giving it a bit of film grain helps the image feel like
it's actually being captured with a video camera. And just to recap, before we finish, in the edit page, I've
created my background layer, my foreground layer, and an adjustment layer
for the final color grade. In the color page, I've
set up my background layer and created a few effects
just to help shape that image into the look that I want. And then I've added my second layer on top of my foreground layer. And I've split the node
adjustments of this footage into two sections. We've got the stream at the top, which is just focusing
on our color correction and our relighting effects
to help shape the image, to make it look good with the background. And down the bottom, we've got all of the
adjustments to do with keying the footage. So we treat the color grade,
the color correction and keying very separately within the color page. And this keying information
gets fed out of an alpha output. And then back in the timeline, you can see that the
adjustments of the key nodes have been translated. Finally, I make all of my color correction and relighting to make sure that the foreground image
and the background image look really great together. They look like they're
part of the same world. And then on top of that, I treat the color grades
separately on an adjustment layer. I could create any look I want on top because I've already done the hard work of making the foreground
and the background images look great together. (gentle music) So I hope that was helpful. I hope that you learnt a few
things about my workflow. If you have any questions, please drop a comment in
the comment box below. Make sure to hit the like button and subscribe to this channel for more awesome editing
tutorials just like this one. We'll see you in the next one.
