How to Use Advanced Chroma Key Controls in Final Cut Pro X

Chroma keying within Final Cut Pro is  easy but there are some advanced controls. We're going to go through each one  of them and show you what they do. If you haven't yet please watch our first  video on chroma keys before continuing. First we'll click on our foreground clip. Which has the keyer effect applied. Then we'll navigate to the  inspector on the top right. If the inspector is not showing click on  this icon and click on the video icon. We've already adjusted many of these controls  to refine our key but it's not yet perfect. So let's check out these more advanced controls. These controls are a little bit advanced but  we're going to take you through them one by one. Click on the arrow next to  color selection to reveal   a huge set of controls we can use  to refine our selected color key. We'll scroll down to see everything. Let's focus on graph first. We'll see two options here. Scrub Boxes limit these chroma and luma controls  to adjusting softness in the matte we're creating. Manual does the same but also gives us  control over the tolerance of the matte. It's a good idea to start adjusting in Scrub Boxes  first then switch to Manual for finer adjustments. Be careful because switching from Manual to  Scrub Boxes may mess up your key results. Chroma is a color wheel control  allowing us to adjust the selected   range of hue and saturation that defines the key. The goal is to make this range as narrow as  possible while keeping the key clean and accurate. Within this circle we can choose this outer  graph to control the softness of the edges,   and we can drag these outer handles to extend  the range of hue and saturation on the key. If we change it to Manual mode  we can access the inner graph   which controls tolerance or core transparency. If you're not careful this can  create holes in your subjects. Now let's check out these control  schemes starting in Scrub Boxes mode. Luma is a gradient scale that allows us to  change the luma or light values of our selection. In both modes we can adjust the lower  softness handles which adjust the   range of brightness and darkness  affecting the edge transparency. If we change it to Manual mode we  get these upper tolerance handles   which affect the core transparency. We can also adjust the luma roll-off slider   which will modify the softness of the matte around  the edges of regions affected most by luma... and adjusting the chroma roll-off slider does  the same for the edges of the key color range. If your keying compressed media and are  experiencing jagged edges in your selection you can use this Fix Video control to apply  subpixel smoothing to the chroma of the image. In general we recommend keeping this  checked on for smoother results. A little intermission break  for you (Sweet Guitar Solo). Now let's check out the Matte Tools which  control the transparency of the keyed object. These tools are helpful for more  translucent objects like water or hair. We'll switch to Matte View to get a better  example of the changes we're about to make. Levels will adjust the amount of contrast... these handles set the black point the  midpoint of the distributed gray values... and the white point. Shrink and Expand manipulates the contrast of  the matte adjusting the sharpness of the edge. Soften will feather the  edges by a uniform amount... and erode will increase or decrease  the transparency from the edge inward. Now if we switch back to Composite View   we might find that the adjustments went a  bit too far and revealed some green screen. So we'll take the Shrink and  Expand value back a notch. Next let's explore the Spill Suppression controls. Spill Suppression works best for  removing any fringe surrounding a subject that may be too close to the green screen. It's directly linked to the amount  of Spill Level we have active. So if our Spill Level is zero none of  these controls will create any changes. For demonstration we'll increase our Spill Level. Spill Contrast is a gradient that adjusts  the contrast of the color being suppressed. Which can reduce the gray fringe  surrounding the subject... because the keying may cause desaturation  in the keyed areas on the subject...   the tint control attempts to restore the  natural color of the keyed foreground subject. Overdoing it can result in over-tinting the  subject with the complementary color of the key. In this case it's red   and Saturation affects the saturation of the  foreground subject's suppressed color value, which in this example is green. We'll set our spill level back to zero. Remember to comment below if  you're confused about anything and we'll help you in the comment section. And finally let's check  out the Light Wrap controls which blends the colors of the  subject with the inserted background   to provide a sense that the  subject is actually in that space. In other words if there's light  in the background of your subject   that light will now wrap around it to create  a sense that your object is truly there. Amount lets us control the  overall effect which sets how far   in the foreground the light wrap extends. Intensity adjusts gamma levels to lighten and  darken the interaction of wrapped edge values   with the keyed foreground subject. Opacity fades the light wrap effect up or down. And Mode allows us to choose  the compositing method that   blends the sampled background values  with the edges of the keyed subject. Generally it's best to flip through  these and choose which one looks best... but we'll explain what each one  does to give you a better idea. We can choose Normal which evenly blends the  light and dark values from the background   with the edges of the keyed foreground. Lighten compares the overlapping pixels  with the foreground and background   then preserves the lighter of the two which  creates a selective light wrap effect. Screen superimposes lighter  portions of the background   over wrapped areas of the keyed foreground  which creates an aggressive light wrap effect. Overlay combines the background with  wrapped areas of the keyed foreground so overlapping dark portions become darker   light portions become lighter,  and colors become intensified. And hard light is the same as overlay  except the colors will become muted. Well hopefully you enjoyed that episode  of our latest Final Cut Pro tutorial, till next time stay healthy. Don't forget to check out Pixel Film Studios. Where you can find Final Cut Pro plugins  designed for beginners and professionals alike to take your projects to the next level!

Channel: Pixel Film Studios

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Id: OpfIFNEuA4w

Length: 8min 16sec (496 seconds)

Published: Wed Oct 21 2020