How to Remove a Green Screen in DaVinci Resolve 17 | 3 Different Ways

have you ever wanted to know how to remove a green screen in davinci resolve but never been quite sure how to do it well if that's you then stick around because i'm going to give you my three favorite ways to remove a green screen in the edit fusion and color pages of davinci resolve just before we get started guys if you're new around here welcome to the channel my name is alex it's great to see you i make videos all about davinci resolve here i'm a certified division of trainer so if that's of interest to you then please hit the subscription button and join our community it'd be great to have you along if on the other hand you're not new around here then hey welcome back i'm so glad to see you it's been a little while since i last posted and i really appreciate your patience while i took care of some productions and projects that were ongoing and equally we had a few things going on personally that i just needed to deal with and step away for a little while to handle but thank you ever so much indeed for taking the time to check out this video i hope it's really useful and you take away something that maybe you didn't know already but we're going to look at green screen removal here individual 17 and how we can do that actually very easily not only in the color page but also in the edit page and the fusion page as well and we might even have a little look at maybe which one is best but just before we get started green screen removal can be quite tricky and largely that's down to how well the image was shot in production so what i'm also going to do is put a little link to a pdf that i've got down below if you'd like to go and get it it's a little cheat sheet on how you can shoot more effectively with green screen so that you don't get issues when it comes to post-production so if that's of use as i say click on the link and hopefully that'll be a guide that you can have out with you on the field if you need it on your phone and you could refer to it really quickly if on the other hand you haven't got any green screen footage and you haven't got a green screen or anything to practice with then i would recommend heading on to an online site like storyblocks now this isn't a sponsored video or review of any sort just a good platform that has some good green screen footage available i've used them in the past and i'm going to use some of their content in this particular video so just a quick shout out to storyblocks definitely recommend going over there but there are other options lots of free images online so again check out any of those get yourself a green screen image and then we can dive on in with our first technique okay so here we are in davinci resolve 17 i'm in the edit page and all we have here is a very simple project open i've got some footage in that i brought in as i said earlier from storyblocks but wherever you have your green screen footage bring that in to the media pool and also i've got a background plate so it's just a generic office shot it's a still image work fine in the case we need to bring in our background i've got a basic timeline and just to get started we're going to use our very first technique inside the edit page so let's just bring down a clip onto the timeline i'm going to press shift z to make sure it's fit into view and then we're just going to review the clip as you can see it's pretty even green screen throughout there are some slight inconsistencies just as we get towards the edges certainly towards the edge of the frame so we're going to have to address those when we do our key but for the time being let's just get to a frame that we're happy with and we're then going to find our green screen removal effect which in this instance we're going to turn off the media pool we're going to bring up the effects library which is all where all of our transitions and things live and also our titles generators effects and our open fx as well so what i'm going to do if you're lucky enough to have access to these and not all of them you do have access to in the studio in the free version i should say some of them only work or at least work without a watermark in the studio version but very useful indeed if you've got them come down to the resolve fx key and the 3d key is the one we're going to be working with so let's drop that onto our footage and let go now nothing has happened at nothing has happened initially but let's close the effects library and open our inspector and we'll see that in our effects tab is lit up and we now have our 3d care controls all here now what we need to do is essentially select our green screen area we're going to do that using our eyedropper make sure it's on the leftmost eyedropper and we're going to start drawing some lines but you'll notice that nothing happens if you do that immediately and that may well be because you have your open fx turned off on the overlay here so what we want to do is make sure they are turned on if you can't find them press the drop down come down to open fx overlay make sure they're turned on now when they're turned on with that button selected we can now draw some lines to start removing our green screen so again we're selecting areas of the green that we want to have removed so again not too bad here we're going through and removing some of this different green there we go we're doing a pretty good job overall you can notice there's a little noisy chattery areas that we're going to have to take care of but that's done a pretty good job initially so there we go coming back over to the inspector what we want to do is because we're looking at our final composite it's often easier when we're doing this kind of work to look at our black and white image or our mat so we're going to come to the alpha highlight black and white select that that's down here in the bottom here with the output controls and you can see that yeah sure enough it's not the cleanest of looking keys that we've got going on here a lot of noise and chatter happening so we're going to go to the map finesse tools which are again in the effects in the inspector and what we're going to do first of all is we're going to actually clean our black so what it says here the black regions absorb the gray or white noise so we're going to just change this by sliding it up and getting rid of some of those areas that are actually chattering away and essentially what we're doing is really telling it basically that all of these areas below this point are black so treat them as such so that's essentially what we're doing so we're just removing these blackheads these areas be careful not to do it too much because you can start eating into your overall mask but that's a much better looking result and then again we're going to do the same with the white to try and address some of these white areas in here which are sort of gray and not quite picked up so again we're just going to do that you can just see as i pull that up we start to get that back and we're now getting a pretty good result overall here we're generally pretty pleased with that you could use your blur radius if you'd like just to give some softening to the edges and the in and out ratio again if you just move that you can see what that's doing essentially is adding or including or subtracting away different areas of the mask again so what i'm going to do is just set that back to standard and then we're going to go back to our final composite and get a look at our result so there is a pretty quick result i would say the only problem we've got is we've got this horrible green fringing happening around the side of our talent and a little bit of a sort of spill where the green light from the green screen is being reflected back onto our talent so luckily we have a d spill option for that which we can just simply click and like magic it takes away the nasty green edges from our footage which is really quite cool indeed and actually looking in here it's not too bad the edge is a little bit hard so this is where adding a blur radius would just give us a little bit of softening in fact if i turn it all the way up you can see what's happening so we don't want too much so just subtle enough it's just starting to blur the edges a little bit making them look a little bit more natural so now we've got a pretty good result and we've got our talent isolated from the background quite nicely of course we need to add a background underneath this layer because if you remember everything from the top down is what you see in the timeline so if you're looking at it from the top layer down to the bottom layer we need to add this layer underneath this new layer underneath so we're just going to press option and the up key on a mac keyboard if you use the alt key and it's the same on a pc the up arrow as well and then we're going to go up to the media pool drag in our underlay or background now it could be video but in this case i've got a still and what i want to do is just turn off my open fx overlay so i'd lose the paths and don't see those in fact you can also keep them on and turn off those paths here as well but just for now let's turn off the open effects overlay and of course you'll see that what i also need to do is resize this background so i'm just going to come down to the retime and scaling controls in the video inspector and i'm just going to change the scaling and i'm just going to change it to fill in this case so now we've got that done we've got our talent brilliantly brought out of the background and she's now in our composite you'll notice that maybe the settings need to be tweaked ever so slightly in the matte finesse just to get a better result uh the blur radius seems to be a bit too big for me because it's actually starting to create too much of a halo effect in and around the sort of edges of our talent and i might actually change the in and out ratio just ever so slightly just to give us a slightly neater and tighter effort and there we go we've got a pretty good result there i think overall we'd be pretty happy with that of course these can now be treated like independent layers so if you wanted to jump into colors to grade the background or to grade the foreground you could certainly do that and again you can resize this as well if you need to so if we want to reposition this lady slightly differently you can do that you can reposition it however you need to inside the frame what you might also notice is that we've got some slight edges just appearing here which is from the very edge of the frame from the composite so let's get back to our effects and again keeping the composite open so the final composite looking at that what we can now do is we can either use a garbage mat which essentially is going to just not look at anything else but the area that's inside the mat that we can define i won't show you that just now because this particular option the lady's head is very very close to that top line so it won't do a particularly good job it would have to be very very tight to the top of her head so in this instance what i'm going to do is just use the mat finesse again and then using the in-out ratio i'm just going to come over the numbers so i hover and get a different cursor and now when i click and drag it's going to be a little bit more controlled and subtle when i make this change i'm just going to slowly drag this down until those lines disappear my talent it remains unaffected and there we are so now we just remove that little frame edge so if you get that that's how you can take care of that so now we have our talent in our composite quite nicely no green screen at all and we're good to go so that was quite a quick way of dealing with it without getting into too much technical detail and we've got a pretty good looking result just going to take a really quick timeout here guys just to let you know that this is a perfect time to hit the like button if you've been enjoying the videos so far hopefully you're taking something away from it and you're learning something new if that's the case then go on pop that like button on for me let other people know that this video was also really useful and we can then dive on to the next technique let's try our next clip so what i'm going to do i'm going to take this shot of the lady doing yoga i'm going to pop it down in video track 2 and then i'm going to head over to the color page so inside the color page you can see familiar looking interface of course if you're being used to the color now if you are using the studio version of resolve you can absolutely come across to the open fx and you can come down to get your 3d keyer you can drop your 3d keyer onto your node and you'll have very familiar controls waiting for you there so you can then go ahead and do all your normal 3d keying in the way that you would have done normally but that would be sort of cheating and not really the same technique as we should and so i want to show you a slightly different way of doing it so let's remove this openfx plugin and get rid of the open fx as well so again so what we're going to do we're going to come across down to our toolbar and in our toolbar we have our qualifier and in our qualifiers panel we actually have four different buttons which give us access to some different options and controls so rgb luma the first one was hsl and the last one is 3d and funnily enough this is like the 3d keyer this is exactly what it is it has very similar controls you'll see and we work on the image in the same sort of way but this is not an open fx so we've got an actually a different way of doing this so what we're going to do this way we're going to make sure that our selection range is on the picker and we're going to again start drawing our lines and we don't have to do too many at this point just a few because this is a very evenly lit green screen you can see we've got three values in there all absolutely the same so really we probably only need one of those and in which case let's just get rid of the first two that i drew and we'll just leave this last one and what we can see if i look over here my thumbnail preview you can see that i've actually selected the green screen which is kind of what we're doing we're selecting that color yeah and we're using the the lady here is grayed out so if i turn on my highlight mode you can see what we have selected and what is not being affected and again if we were to do a color control change you could see that i'm affecting that area and nothing else but this isn't what we want because of course we want it the other way around if i actually were to turn on the highlight black and white icon here you can see that we've got the white area and the black area remember the black area is going to be transparent and the white area is going to be opaque so actually we need to flip these around well fortunately there is a inversion option just down here so we can invert this simply there and now what you'll notice is that we have the right way around if we come off the highlight black and white and come back just to the standard mode you can see that we have again successfully isolated our subject from the background but we still do have those slice control those slight issues with the green spill and the fringing going on here luckily the d spill option exists inside this panel and we can simply turn that on and we can start removing that spill what i might then just do is have a little fine tune of some of these controls here just to get a slightly better fit and again i'm just going to dial down some setting control there just so we get a nice looking edge to our image if i just have a little look around yep that started to look quite good and quite close indeed so let's just press shift z to zoom back out again and we've got a nice looking image there now the problem that we have now is if we turn off the highlight mode we'll see that our background's kind of gone blue and actually if i go to the edit page then again it's blue it's not sort of a black underneath but this is very odd looking image and we're not really seeing what we want to see necessarily what we need to do is we need to feed this new key that we've got back out to the edit page so to do that we need to take the key and we need to add it to a key output but we can't do that because there's not one there so let's right click in the node graph and then come down to add alpha output i'm going to click that i'm going to take the alpha output connect them together and now what we'll have is our lady beautifully cut out with a black background and that's being fed back to the edit page so when we come back to the edit page we now have our lady isolated perfectly from the background and then we can just simply grab our previous one that we had before drag that in and we will have as you can see our lady nicely composited onto our background in this case what i'm going to do is i'm going to choose a retirement scaling and i'm just going to use this stretch option just to fit it to the frame a little bit more neatly and then i'm going to add her by just repositioning her ever so slightly so i'm just going to do that but you'll notice that when i do that one of the problems i've got is i've got this black edge being introduced and that's the edge of the frame that she's obviously living in now one thing we can do to to get around that is we can actually just look at the area that she's using and then we can go into the color page and we can draw a mask around her by using one of the windows so if i take the windows and i just draw a very quick selection try not to include the black area there we go something like that then what we can see here is that now as we drag through the black area has disappeared now she actually does push our hands off the top of the frame at some point so in this instance we're just going to ignore that but again you can see that now this time side the composite is working much better now and we're not getting those black edges when we've repositioned her there we go so that's the way to do it in the color page and i think that's quite a nice way of doing it it's also quite a neat way of doing it and again i think it's pretty clean it leaves you a good um a good and a good result without having to get into too much technical detail we're going to go into another option that we've got here for removing a green screen individual resolve and we're going to go into fusion to do that now this is quite a nice one because it actually does everything on the one clip without you having to have two layers and then comping them together and what have you and it makes it nice when you're still editing because you can then move that com that composited clip around without too much problem so let's dive into fusion make sure your playhead is over the clip and we'll dive into fusion and this is how our clip is represented in fusion so we've got media intermediate out there's our clip with a green screen we're just going to go to a single viewer for this for the time being and we're going to add a tool to help us with this green screen removal so we need to get our tool panel up so that's a shift and a space bar to get the tool panel up you don't have to do it that way you can also just simply go to the effects library under tools and then look under tools here and again if you're paying close attention you'll be looking for the mat option and we're looking for delta kia so i'm going to click delta here and that will bring up my delta key and now if i had media1 in media in one selected it's going to automatically add that to our pipeline which is just what we want i'm going to close the effects library and i'm just going to come over to the controls in the inspector now these are different to the controls that we've just seen in the other two examples but they do all pretty much work the same it's just a slightly different way of using them so with the delta k selected i want you to come across to the background color take the eyedropper click it and then click on the screen now i've slightly led you down the garden path because that's not the way to do it for this one you actually have to click and hold the eyedropper and then drag it over the color that you want to select so in this case our green has now been removed so that's all very well and good and almost straight away we've got quite a good result there but it may not be perfect and what we need to do is go to the pre-match stage just to double check how our key is looking now this key is a particularly trouble free key because the green screen is actually very well lit but it still gives us a little example of what things look like now one thing i want to draw attention to is the view mode here showing us our final results we can move this into the matte stage and we get a pretty good looking mat so that's quite nice another way you can view the matte is actually if i go back to the final results but now instead of doing it here come up to this option here in the viewer options and from instead of going from color click it to go to the alpha channel now we can see the alpha channel and again we've got quite a nice result one thing i want to do is to jump over to my pre-match is the next tab along and we're going to have a look at this just to make sure this is really looking quite nice now one thing we have to do in order to just double check that our key is really nice and clean is actually adjust temporarily our the gamma on this viewer so that we can make sure that we've got everything absolutely included so we're going to do this by going to the gain and gamma and clicking and we're going to temporarily boost the gamma and you can actually see that when we do that a couple little holes start to appear so what we're going to do is address that now and within the pre-map setting i want you to then drag a box around that little area and what it will do is it will remove that from our selection again i'm going to do a little bit at the bottom here try not to get too close to our talent and then we've got a nice clean looking result there what i might just do is throw in a bit of soft range as well probably about 0.03 and then the erode again if you watch when you move the road you can see how much that's affecting it if you look really closely in here when i do that so again these are to be used sort of sparingly so we've now got quite a nice sort of end result and i'm just going to temporarily or remove this temporary gainer gamma by coming up to the option menu turning that off there so now that we've done that we can now move over to our mat tab and this is the final sort of stage where we're going to say right this is you know the really important factor of whether our map looks good whether we've got a good clean key and the threshold slider is the main thing here what you're essentially doing is you're changing the threshold at which point anything below the threshold will just be considered black or anything above this threshold would just be considered white so in this instance we don't have to do an awful lot because we've got a pretty good key going on so in which case we are just going to leave it okay and there we have our result it's actually quite easy to do yes you have some further controls in here but for the time being i'm not going to look at those because they're not important for this particular example so now what we have to do is we can come back on and turn on our color we can see our final composite and we can actually add our background in at this stage so what we want to do come up to our media pool grab our background and drop this background in and then if what i'm going to do is go back to after 10 the media pull off go back to our two viewers and i'm going to just select media in 2 and i'm going to press 1 to bring it up in the viewer on the left which is the viewer number one currently the media out the final composite is in viewer two one thing you'll notice is if i just look at the size and resolution of this clip you can see it's way bigger than our comp size and the problem with this is that when we put this in we're going to get some resizing issues so for example if i was to just merge this simply into our composition well two things have happened first of all it's gone in as the foreground this green input suggests the foreground the yellow input is the background so currently our lady is composited behind this background that we want to be the background so what i want to do is actually switch the inputs around so selecting merge one i'm going to press command and t to switch them over now this has worked but the problem we've got now is that we have a clip that is far too big and not in our composite size so as you can see when i come back into the edit page it all looks a bit odd so coming back into fusion what i want to do is again have it as it is but i don't want this size so what i want to do is resize this to a composition resolution that's more suitable so there's another tool for that so let's get our tool and we're going to type in resize and sure enough it pops up i'm going to add that into the pipeline between the background and the merge node so now that the resize has happened look what we've got back here we've got another composition back to 3840 by 2160 and our image is looking correct if i was to turn off this merge you'd see that there's our background and if i put media one there's our lady and she looks exactly as she should in the viewer there we go so now we've done that resize we also have a bit options of doing transforms as well so if we wanted to move the position of this lady in the composition we can do that simply coming up to the toolbar and you'll find the transform bring the transfer in add it in after the delta keyer and now we can use the on screen controls or we can even use the ones in the inspector to the right and we can just reposition our lady in the frame however we want to which is really good and she's now composited beautifully into our scene if i now come back to the edit page you can see that we've done that all inside of one clip and she's composited him very well and we can now easily move this clip around and the composite stays together better than potentially having to compound clip lots of clips together and then moving that composite around this works really nicely and again you can see we've got a really nice clean result as well we could take this also a step further which is really quite interesting so this is for bonus credit but basically in the fusion page now we've got a small problem because yes we could color correct these in the fusion page absolutely we could add color correctors to each one like so and now we can color correct each individual background if we wanted to so let's just push the background blue and we make her a bit more orange and you can see we've now got some independent color controls going on which is absolutely fine i'm just going to reset those there we are and of course you've got full range of different controls here that you can use to play with so but again the great thing about davinci resolve is that you've got a load of great color controls in the color page and you might want to take the individual layer of the lady into color the color page and use it in a different way and work with it in the colors with the normal color tools and there is a way that you can do that so what we're going to do now is with this as it is i'm going to just right click anywhere and i'm going to add a tool and i'm going to add an i o tool and that's another media out so i'm going to add a second media out so there's our second media out so what i want to do now is i want to take the result imagine we don't got the color corrector in here because we're not color correcting inside of this i'm now going to take the output from the transform so the the node essentially before the merge i'm going to drag that down to the media out too so now it's selected like that and now what we'll do is we'll jump over to the color page so jumping into the color page what we want to do now is you can see we've got our main master sort of composited shot so if i change it it's going to affect you know any any moments i make it's going to affect both the two layers together the background and the foreground so let's not do that let's just reset everything so what we want to actually do now is we want to get an another layer in our second media layer in so to do that we right click and we add a source and then what we're going to do is we're going to create a new node so i'm going to add a correct node i'm going to link up the rgb to that there we go and you can see that we've got our background we've got our foreground if i press the highlight you can actually now see we've got her highlighted there and actually if i bring in the key you can now see that we've got her isolated against the background just exactly what we wanted and now what we're going to do is bring these two together using a layer mixer so i'm going to right click again in the space of the node tree add a node add a layer mixer and remember what we have to do is we have to bring them in as top and bottom but in this instance its top is is bottom and bottom is top so we're going to do that we're going to disconnect this one we're going to drag it into the top here and then take this one back to the out nothing's going to change but now what we have got is independent control so what's really cool here is if i want to boost the saturation on just the lady by herself i can do that without an effect in the background as you can see and again if i wanted to reduce the saturation in the background just by itself then i could and then we've got our shots as you can see with a bit more control and now we can actually use all of the color controls that we want to as we would normally using the mask output and layering it back together and actually if i turn this one off you can see that what we're actually doing is just literally putting our isolated lady layer over the top and there we go so that's another way that you can get a little bit of control and take it into the color page there's lots of different applications for this as well so of course i've showed you a couple of options there already where we had again some very nice evenly lit green screens with no major problems so the one final thing i want to show you is one where we have a little bit more of a problem so here we are we've got this lady here and again we've got some imperfections on this green screen there's a lot of noise and uneven lighting which is a bit more real world as an example for us so what we're going to do we're going to look at this and we can do it all of the different ways so just very quickly let's run through them all together so go to the effects library find our 3d keyer drag our 3d keyer on and now we go to our effects tab and we've got our 3d key controls remember what we have to do is turn on our open effects overlay and then we get our picker and we're going to draw our lines as we did before there we go and it started starting to do a pretty good job i'm just gonna make another little selection here there we go not too bad overall it's done a pretty good job let's just check our black and white and yeah there's a few little small control issues that we've got here but let's use the map finesse to fix those again what we can do is just de-noise them slightly but we're going to clean them up as well and again you've got to be a bit careful because this is where you can start to remove hair and fine details if you're just a bit too aggressive with these controls but again on the whole we've got a pretty good result there and again pretty very really very quick so you can see it does work on really any type of you know green screen you've just got to finesse it and control that but of course the better you can light it on set and the more evenly you can get that distribution of light and that green color the better results you're going to get this obviously would work on a blue screen as well so let's put that back final composite there we go d spill and we're looking pretty good already there and i'm going to put the background in underneath like we did before there we go and i'm actually going to come back in and just turn off the paths there we are we again need to just resize our background layer so i'm just going to stretch that into the background and again not a bad result for a very quick bit of work with a green screen there if you didn't have much time then you could certainly do this and get a very good result with it again you could even go a bit further and really work on the blur and the in-out ratio to get a really good result there again let's just copy this over and do it again so i'm actually going to bring it in again all together again into the color page same sort of thing but we're going to go to our key 3d key and this is where the 3d key on the color page works in quite nicely because it can actually select the different variations very well so let's just show you what that looks like so one two and actually what i'm going to do in this instance is going to highlight and i'm going to turn on my black and white and i can start to see the areas that we're selecting there we go and we've got a pretty good result straight up just by selecting a few different hues a few different greens in there and now if i turn that back off again need to obviously invert that so now we've got our cutout and again our lady is cut from the background and again we're going to press our d spill and we're going to get our d spill back so that's quite again quite quick quite neat and actually a really good way of separating our background again once you've done that simply get your background copied across remember there's a step we've forgotten what i do need to also do is add my alpha output bring that there together and then come across into the edit page and you'll see it's all back to normal and where it should be and again we've got another result there slightly different to the result that we just had in the edit page and again working quite quickly but again we can further finesse that back in the color page if we need to by changing some of these controls so let's just do that very quickly let's just maybe add a little bit of blur and again just for a very quick result that's not looking too bad at all there we go so the final way we're going to do it is back in the fusion page again like we did before so i'm going to drag in another instance of this clip i'm going to jump into the fusion page and we're going to take care of it in here so just running through this again quite quickly but this is a little bit more involved this one so let's bring in the delta keyer and the delta keyer is now in the pipeline come over for the key we're going to click and drag and bring it over and find a spot quite close to our talent and let go and now we're going to turn on our alpha as you said the map's not particularly written so we're going to have to do some work on this so let's come to the premat area and this is the area remember where we can sort of click and drag on the image and start selecting certain parts that were missed in the first instance so now we've done quite a good job at getting all of the other bits of this green screen removed quite nicely but sometimes you can be looking at it thinking you've got a good key and this is where we need to turn on our gain and gamma and then temporarily just increase the gamma and you can actually see there's a few other areas that we've missed that would certainly need to be taken care of so again we can click and drag around those and that's now doing a much better job careful not to go too close to the talent at this point because going too close to the talent can actually mean that you end up taking away some of the fine details things like hair and so forth but this is for the most part doing quite a good job so what i'm going to do in this instance now is just come back to my delta keyer i'm just going to now turn off the gain and gamma and i can see my composite here by taking on turning on the final result and again we're getting quite a good result there i think overall we're actually retaining a lot of the fine detail in the hair which we kind of lose when we do it through the other two quick methods that i've already shown you in the edit page and the color page let's jump over to the mat and have a little final look again i'm just going to jug up my black and white alpha and what you can see here is the threshold here we need to do fiddle with because there's a little bit inside of the actual mask that needs to be white so what we're going to do is we're just going to slowly bring that down ever so slightly until we get all of the areas that we need there we go and i think the black layer level is pretty good so i'm not going to play with that too much there we are and now we've got a pretty good looking background and a good key overall i think there so with that in mind now what we can do is bring in our background so up to the media pool in comes the background layer we're going to merge that in to our composites remember it's going to jump into the foreground but we want to switch that around so command t to swap the inputs you could of course just disconnect them and reconnect them but now we've got the problem of the sizing issue so we're just going to resize that by adding the resize tool and now we've resized the background so it fits inside of our composite which is great because here's the result of our key and it looks absolutely identical and it's now back in the uhd resolution that we want it to be in so now we can actually reposition things if we want to in this instance it looks quite good one thing that we can also do is add a blur to our background if we wanted to so you can actually just come up here and add the blur tool and then you can just add a fast blur in this case we could make it a bit better but you could add a sort of a slight depth of field effect potentially you could do a lot more sophisticated things but this is going to get us pretty close which is quite good and then if we wanted to we can also feed this out to the color page remember as before again we can add color correctors in here if we wanted to so if we wanted to color correct separately one color creator here for our foreground one color corrector here for our background and then we could again make different changes depending on what we were looking to do but just here's a couple of very exaggerated ones for you just to show you what we can do but let's take those out for now again if i wanted to feed these into the color page then what i would need to do is right click without anything selected add a tool add an i o tool of the media out and then simply connect the last node before the merge there we go and then in the color page what i would need to simply do is add a source add a serial node i'm just going to disconnect that add this together bring in the mat and then we're going to disconnect this i'm going to add a layer and we're going to mix that onto the top mix that into the background and now we should have those all hooked up for us so that i can now grade those independently so let's knock the color off the background and keep our lady on the top in color there we go so there's a few different techniques and it does work on a multitude of different green screen clips as i said the importance is to try and get that green screen lit nice and evenly but if you don't davinci resolve 17 has you covered so there we go three different techniques that you can easily and quickly remove a green screen in davinci resolve 17 and hopefully not have too many nightmares in the process so was that useful to you do let me know down in the comments below which was your favorite technique and which one you think gives you the best results is it the edit page the color page or the fusion page also which one is less hassle and easier to do i'd be really interested to know your thoughts anyway that's enough for me guys do remember that we also have some courses launching very soon i am still working on them they've been a little bit delayed but they are coming very very soon and you can currently get those for 50 off if you would like to support the channel in any way then you can also head over to buy me a coffee dot com for slash alex cameron that would be greatly appreciated if you are able to follow along or help out in any way it means that we can make the content and keep bringing you more more videos so that's it from me hope you're well stay safe and i'll see you in the very next video [Music] you

Channel: Alex Cameron - Depiqd

Views: 2,987

Keywords: how to remove a green screen in davinci resolve, how to remove green screen, davinci resolve 17 tutorial, green screen tutorial, remove background, davinci resolve 17 tutorial for beginners, davinci resolve 17, how to use davinci resolve 17, davinci resolve 17 for beginners, resolve 17 tutorial, davinci 17, davinci resolve 17 new features, resolve for beginners, green screen remove, remove a green screen, remove video background, remove green screen, chroma key, Green screen

Id: AeBRojOTTyo

Length: 37min 35sec (2255 seconds)

Published: Wed Sep 22 2021