Welcome to an
introduction to keying in fusion. In this tutorial,
I want to guide you through a end to end
process to take a, let's say, simple
to medium complex shot, and we'll do
all main aspects of the keying process
and compositing and integration
process, I will be using the Delta
Keyer and show you the most important
features there. I will show you how
to approach the shot in general, how to
work with additional masks and additional
keys, how to, do the despair and bring
it together in the composite thing
with a little bit of integrations,
it is more than. Throwing in the
keying tool. That's more
about the overall discipline at the
same time, I will keep it simple. I will keep the flow
relatively simple. so this should be
beginner friendly. I do expect that you
have some background with fusion. If you are
completely starting out with fusion, I
recommend my free beginner training
on my website. But if you can get
around and fusion in general, then
this tutorial should be fine for you. So, if that
sounds good to you let's have a look to follow along. Unfortunately,
I don't have permission
to share this particular clip. I have selected
it based on the complexity and some
varieties here I can use, I guess. Work on it still
could take a screenshot if
you want to follow along. But otherwise, if
you have any other material of your own
or if you have, if you're taking any of
my courses, so this shot, for example,
is in the fusion VFX calls, or if you're
in the advanced compositing course,
you would find this shot and you can use
also any of these to follow along. I will still give
you the flow here so you can, can apply
it to any other. Footage as well,
starting from the edit page, just
to give you a few quick hints, it's
not always the best approach to do like
the most advanced keying right away,
because it can take quite some
time to do a really good solution. So if you are
editing, you might either want to
edit on the green footage, or you
might want to edit with a like quick
preview solutions, something you can
do in 10 seconds and then later
improve on it. Once you. U which parts you
are actually using. So you don't waste
too much time on VFX before your edit is
reasonably final. If you want to do
this, my suggestion is just go to the
effects library under open FX. You can throw in a. From the key
category and you can use the 3d
Keyer for example, and just apply it
to the clip here. I have already
put it on top of a background and
the background is just a still, so
if I disable it D for disabling, you
see the background, but now let's do
a very quick key by using the open
FX overlay here in the viewer overlay. So this is the
color page, 3d Keyer, and you're
in the inspector. You have the
settings and you can just, you know,
Something like this to, to clean
out the background real quick and,
and able to disperse like this. And this is probably
already enough to get an idea for
the edit, right. To get a
first preview. Something like
this is very fast. but then when I
go to fusion, I must warn you. I do not. Recommend, or at
least not always to, to create a few
encrypt directly from the foreground
and background. So you could take
those two clips and right-click
and create a fusion clip. However, in that
case, you are limited to the
resolution from the edit page. So right now, for
example, I do have an HD timeline. That also means
that the keying processing from the
open FX effect here is happening on HD. But the. Key clip, et cetera. It's actually a
higher resolution. And in fusion, I
want to use that. So the kiosk can
use the additional resolution. So in this case it
would probably not be good to just
combine it into a fusion clip. Then it works
on the edit Patriot solution. In this case, I
will, first of all, remove my preview
again, and I would just head over to
fusion on the top level clip and
bring the background individually. So I have the full
resolution from the foreground and the
background in fusion let's get started. I have my
two viewers. That's good
for keying. I often tend to turn
on the game, gamma sliders on one of
them right away. This is also good
to analyze a bit of what's going on. So sometimes you see
more what's going on on the background. If you bring the
gamma a bit down or a bit up, and
you can see how even, or uneven the
background is, which gives you a first
idea, like how much work you might have. How difficult
it will be. So you can, can
see a bit this not, I mean, this is
obvious, like this is obviously uneven
here, but you also see if you bring it
down, that there's a bit of like a halo
here in the middle. And so backgrounds
are rarely really. Completely even,
even with the best lighting set up
there, usually as soon as someone is
standing in front of it, you usually
have a little bit of change in lighting
and a little bit of shadows and so on. So this is usually
something to think about and
we can analyze this correctly,
but then I do want to start with the
keying right away. So let me bring
in the Deltek. And I bring it in
shift space bar data Taqiyya is the name. So the default king
tool, and it's okay to start with it
right away and just sample a color. And when I do this,
I tend to turn one viewer to alpha,
just click here, turn it to alpha. So that right
away, I see two images when I
start sampling. So I click. Drag the whip over
and let's see two images on the left
side, I see a black and white image,
which shows where I have transparency
in the black areas and full opacity
in the white areas. And gray is
like in between. So you can see
this right away and you can see how
different sample points have an
impact throughout this process. I would warn you not
to always look for the highest quality. But also think
about the details. So let me zoom in a
little bit and look at her hair detail. That's presumably
one of the most important and most
difficult parts of this shot. So if I zoom in on
this, you see if I sample here overall. You'll see this on
the right side, you see this quite a
lot of background left for now. If I sample
somewhere down here, it seems
clearer, but at the same time, you see
what's happening to the hair. So we really
are chopping in just by the
selection already. We seem to be
chopping in a little bit on the hair. So the sample point
I would select not based on getting the
highest contrast, but it based on
retaining the detail that is most
important to you. So in this. Probably the
head detail. I would also suggest
by dragging to press the control button. The sample, like
an area rather than a single point. So this averages
out noise a bit. So you're getting
a color that is somewhat
representative for the area. And then select
a point like here to get started,
where you can do, you can start with
a little bit of tooling here right
away if you want. So you can do a
bit of gain, which helps the keying
process a bit to, to separate out. You sometimes see
with the Delta here sometimes. Please ignore all
of them for now. This is something to
look at later, but at the beginning you
can safely ignore color completely,
and just think about a detailed that
you're retaining at this stage. I definitely don't
want to go too far because everything
I'm killing here will not come back. So I will, if
at all, I go very gently. Yeah, without
removing too much detail, there
are additional steps later to
crank it up. When I need to,
I start gender. I can also use
this balance slider here, which
is the next one. I look at
the balance. Slider is for
the debt TaKeyer. Specifically, the
Delta here does do a comparison
between, the group. or green channel
and the two other channels. If you're speaking
of channels, it's not strictly limited
to channels, but it's easier to
think that way. So if you have green
than the other two are red and blue,
and it compares both red and green
and blue and green in a way, and this
balance can, to the balance modules
and red or more towards blue, you
can use the data key on other colors. You can use it on
blue, et cetera. But just, this
is the generous thinking of
this balance. So when green is
your, my main color, if you have more
red content or more blue content
in the foreground, then shifting
this balance could help a bit. And you can see
if I, if I bring it like towards
the edge, this direction, you
see that like the jacket, which is, I
guess, a bit bluish. It's getting
more transparent. And if I bring it
in the other day, I, yeah, it's not
doing that much in the other direction,
but can get a little bit more possibly. You always have to
zoom in and look into all areas
for very detailed adjustments, but
this should be a decent start. I have. I skipped
the pre blur. This is often
something that you see better
once you have actually adjusted
a little bit. But let's see if
we do see a bit, let me zoom in on
an edge and see, do we have some
hard edge already? Not very much. I will skip
ahead slightly. And just for
demonstration, crank this mat up
a little bit with these thresholds in
the math section, I will do this
actually later, but now I would just
do like something brutal just for
demonstration. Now, if you
look at an edge. You see that? The edges often, you
see that it's a bit like the exac and
this is something that is mostly
coming from noise. So if you have the
noise impact on the footage, you may not
notice it much in the full footage. But the Keyer
notices noise when it looks
at the edges. So there, the
noise in the source footage does have
impact on the edge quality and doing
a bit of blur as a preprocessing
step here would. Possibly counteract
this a bit. So you see, if you
look at the edge on the left side, see
it's a bit jacket. And if I bring the
blur up a bit, you see it's getting
smoother, but this will also add
blue everywhere. So the high risk is
that you are ruining your head detail. And if I look at the
hair detail here, you'll see that
almost immediately. I'm losing
hair details. So you could do this
selectively, you could add a blurb
before the Keyer. You could select
a flea blur, like everything,
except the hair. For example, in
a more advanced flow, I will not
do that here. So here I would just
leave it off, but this is the idea. Let me undo the
threshold to you. I will undo because
I'm not there yet. This was just
for the monster. So after I have set
these parameters, I tend to ignore
the ones down here. It's a bit more
advanced towards these birds,
but typically not needed. The next step I
think about is thinking about
the background. I have shown you,
the background was quite uneven
and it's the, is now in the key. You see much more
how uneven that actually is, and
you can see where the problems are. There is a
pre-processing technique. Even out the
background before the actual king. In more
advanced flows. This has done with
a clean plate. And I can show that
in a separate video here, I will use
the inbuilt tool. So here is a tool
called pre mat. That is a good
starting tool designed for
pre-processing before the actual
keying takes place. And to use it
properly, I recommend that you
switch the view mode to pre-med then you
will see everything green and the alpha
solid right now. But once you
start selecting from the back. You can kind of
sample from the background and
yeah, then it kind of creates a heart. Matt, this is
very hard math. It doesn't have like
soft hair detail and so on, but it
protects the areas of the foreground
and cleans out the background,
so to speak. I don't completely
try to get rid of everything. For example, I
won't try to get up here to sample
here because up here I can easily
mask it out. There are other
techniques. So even here, let
me reset this again. Even here, I'm
careful to work in the areas which
are most important, so I'm make sure
that the subjects here that they
are separated and well depends
in some cases. Key the subject
in individually, but here I will
keep it simple. So I will just
make sure that the subjects
are separated, but the rest I
don't care about. So I care about
the subjects and immediately around
them that I, I have kind of separated
them and I care about not having
removed any detail if it happened. And sometimes
it's unavoidable by the selection. If you see like
hair detail gone. So then you have to
erode a little bit. And she, I should
probably do this to protect the hair
detail erode a bit. And you can, in
some cases do a bit of a soft range. So this makes
the mask here a bit softer. You can blur
a little bit. Yeah. This is like pretty
much the starting point here after
you have done that. So within the
green area is the part where
the actual keying will take place. And outside is
the part where the background is
kind of even out. Once you have set
this up and have made sure that you
are as close as possible without
destroying detail. After that,
I go back to final result. I won't really
use the other ones here in this
tutorial that can be helpful for some
purposes, but for. Keene workflow. It's not really
required. So this way I see
no, my final result and you see some
hair detail and so on, they're
still there. It can be quite
tricky to see, especially blonde
hair detail to really evaluate
it over this checkerboard. So I tend to
introduce an artificial
background color. I could use the
final background. In the beginning,
I tend to use something with
more contrast and to really see
everything and see all detail. So I see a lot
of detail in the black and
white image here. that's great. But sometimes I
want a color image. So I put the
background note and send it often. I use something
like this, just something very
different from the foreground and yeah. Merge this one in,
so let's merge it in just a merge node. Bring this up. So here we go. So sometimes this
can really help to evaluate the
hair detail and perhaps even see
more than with the final background,
but just in the beginning to set up
my keying, look at the edges it's on. I can evaluate
this a little bit. At some point
you could have done it earlier. You can do it later. At some point
you think about removing unwanted
background, like stuff that is array
from the subject. I use the Keyer
for the head detail for the most
important part. I don't need
the Keyer for things like this. Also in many other
cases, your green screen might not
cover the whole image or your. Other props in
the scene that are not, that needs to
be excluded, that aren't green at all. So anything
that needs to be excluded, but
then it's Ray from the subject. I can quickly
exclude with a mask. So here it's
super simple. I take any mask,
polygon, blind, whatever you
like and just create a mask to
go like around. And I might just
do something like this to exclude
the background, make sure. The kids are
not moving in. You could go even
close and exclude here, but I think
the clean plate is working so well now. Or. Done it so
aggressively that this may be
enough for this particular case. I don't need to
animate this mosque in this case, and
I will attach it. If you all click,
you see the options. So attach it by alt
pressing all buttons while dragging. Then you see
the options. I will attach it
to the garbage. Which automatically
removes the part in the garbage mat. Just a tip. If you need to
animate the masks, which can often
happen, sometimes you mask around
the subject and need to animate. Keep in mind that
masks are animated by default. So when you bring
a mask in, you have a default shape
animation here, there is a key frame
wherever you drew the mask by default. This is great. If you need to
animate this mosque, let's say the, if
the boy is moving in the mosque
area, I might, you know, need to
animate this a bit. If you don't
need to do this, you can right. Click remove. Polygon one 40
line, which is just the name of the
animation path. So you can just
remove this and now the mask, if you do
any change, it won't be accidentally
animated. Right? So garbage mask
practically always needed in some form. I am not done
with working on the details. So I will go back
to my data Keyer and we'll work
myself through the tabs here and go
to the mat tab. Now, here you
have the threshold parameters. Generally, the
idea is that you can can see if you
have any holes. You can easily
verify if you bring the gamma slider a
little bit down as best way to see if
you have any holes in the foreground. Those. In principle food
by bringing the high threshold down, then
you can move in the opposite direction. See if there's
any garbage around any problems
around and go from the low side. If you do this,
like from this distance and do
that aggressively, you will totally
ruin all your. So right now I have
totally overdone it. I will reset
it again. Instead I really
need to be much, much, much
more careful. So I will really
zoom in on the head detail. And I even accept
that I won't be able to solve everything
right away, as long as I can
maintain the detail. That is
important to me. So here, the
head detail I want to maintain. It's okay. If I can food this
up a little bit here and here, but I
don't want to feel. Between the hair. Right? So overall the head
actually doesn't look so bad to start
from the little bit of this transparency
here I would want to get rid of. And I go very
carefully maybe dragging in the
number field, which is a bit more
sensitive dragging, very carefully ups,
one side, sorry, from the high end. Just a bit to
make sure, okay. That I'm filling
this, these holes without losing. Like, if I go
like this, you see all the heads. Immediately gone. So just little
bit, besides this, you can use the
clean foreground. The clean foreground
might work. If you have like
individual little dots in the white
area, little black dots, it kind of
fits them up again. If you do this
aggressively, look at the hair you see
immediately, like it fills up the holes
between the hair. So that would
be wrong. Let's do a
little bit less. And see this,
there's a bit of these holes left and
you can do a bit of combination of the
high and the clean foreground here. It can sometimes
work, but very, very, very gentle. Otherwise the holes
are you, you lose your head detail. You see, there
are still a lot of holes here, so that
didn't work, but I will do this in
a separate step, which is extremely. That you can't
solve everything with the same
contrast detail. Right? This is not about
the keying too is with every
king tourist. The there's
just very subtle differences in
the hair between the hair and the
green background. If I look again
at the original footage like here,
it's very, very soft semi-transparent
and this just requires a different
treatment than it's. Yellow sweater here,
the sweater yellow is close to green. So you might expect
some problems here, but here, the
semi-transparent is also close to
green, but in this case you wanted
semi-transparent in the other
case, you don't. So it's not a
problem of the keying tool. It's just a logical
problem of the shot, which just requires
different treatment in different areas
for a good solution. All right. So let me go back to
the alpha channel. For the alpha
channel and bring the Delta Keyer
back in and look a little bit from
the other side. So let me bring this
up and look a bit again at the hair
and at the edges. So there are a bit
of these speckles that come through on
the background here. So here on the
edges, you see also there's a bit of
like background coming through. So I do try a bit
from the low end. And once again,
let's look at the hair. Yeah. So just a little
bit, I might lose a little bit. I probably can't
totally avoid it without going
to extremes. And maybe also
a little bit of clean background
can help the hair. We don't see it
so much here. We might see if
there's noise. Let me undo this. No, there
isn't much. No, I don't
think, let me see the other side. Okay. Sometimes a
little bit of this noise can, yeah. Go away with
a tiny bit of clean background. Yeah. So we get a
bit of a better solution here. All right. So I keep
it at this. Let me bring
this back to the middle and also
review here. So great. A lot of
transparency here left. I'll keep it like
this for now. And I need to fill
the inner area. In some
simple cases. If you just have a
hole in the middle, you could just
quickly make a mask. That might be
the fastest way. So. The yellow arms, if
that was the only issue or let's say
the apple was green instead of red,
luckily it's not. But if it was, you
know, I would just quickly make a mask
in the middle, maybe animated, if she's
moving a little bit and attach that
mask to the solid mat in this case. The holes are
going to the edge. So I can't do
it that easily. I need to do a
little bit more. And my approach
here is actually to use a second Keyer. There are different
techniques, but this is a simpler
one that I want to show you. So I actually take
the Delta Keyer. I will copy it. Attach the same
government. So for now, if I
take this in the left view, this is
an exact copy of the exact same thing
that I have here. And I will take this
copy now and I would tune it differently
so that it works for the inner areas. And I re in this
case, I will just be much
more aggressive. To fill them. Now, if I'm
aggressive, then here at the hair,
you see I'm filling the hair as well. I need to
protect the hair. I only wanted
filled here. So what I will do
is I will, first of all, also go
aggressively from the other side and
you see that kind of counteracts this a
bit and I might even erode the dilate a
bit, bring this in. So this key I won't
use on its own. It is just for
the inner areas. Like. Perhaps a bit of
blur and we can see in a second,
so bit of blur. So I've made an
inner key, something that is very hot,
which is covering the inside. And I just need to
make sure that this inside key is not
interfering with the fine outside edges. And the way I want
to use this then is let me bring
this here to the side, the way I
want to use this. I want to plug
this key into the other key and plug
it into the solid. And the best thing
now is probably to show you both
alpha channel side by side,
just so you can see how it works. So this is the inner
key, very aggressive away from the edges. This is the soft
key, which gives great edges. And I do best of
both worlds by plugging it in. And now as I
plug it in, look on the right. And you see, I feel
the inner areas, but at the edges,
I keep the soft edges because I
have brought this key in, I have
eroded it inside. Um, I'm showing
it here. Separate Keyer. This is strictly
speaking, not necessary. It's also possible
in this case to start with the soft
key and then work on that via some mask
manipulations I'm showing that in my
training courses, I might show it in
a separate video. I just want to keep
things a bit easy and simple here. And sometimes
thinking about one hard key, one soft
key, it's like maybe easier than doing
a lot of additional manipulation. Even though the
flow might be a bit less efficient
from a processing perspective. I think it's a
simpler set up to get started with. All right. So this approach
sometimes it's called like hot
comp soft comp, because you do the
soft key for outside and then fill it
with the hot key. And you see, I can
attach a key to the solid mask input,
the same way I could attach a polygon. So in some cases,
a polygon will do. In other cases,
you might do this, how it comes off
calm or second key approach back to
the color view on the right side. So I, I see where. And now I have dealt
with the edges and with this, I might
have to really zoom in into every detail
to make it perfect. But for the
demonstration, it may be good enough. And now I will
think a bit about the color and the
Deltek here does automatically a
dispar invert. So if you compare
with the salsa. And I think I
won't need the gamma sliders. Now let's say my
key is good enough. So I removed
them for now. If you compare here,
you might see areas which are spurred. Actually let's do
an AB comparison. I think that's
even better. That's compare a B. So, if you look
closely, let's only look on
the foreground. Let me zoom in. So you're not
distracted by the background. You see that there's
a shift in color. So there's an
automatic dispar. The original
image had green spirit, which is
just green light falling back on the
subject from the green background. And this is being
automatically taken care of both on the
subject and on the transparent edges. So original. If you look in
transparent areas, the green screen
is shining through the edges that can
often be a problem, but it's kind of
taken care of to a certain extent
automatically. Now the edges are
actually grayish. If you look so these
edges here and the semi-transparent
edges are grayish by default. This is happening
by default. It doesn't always
work perfectly one problem with
the dental here. And let me undo the
AB comparison again. One problem can be. So sometimes I
think if you look into darker areas,
You sometimes see the things get a
little bit of noisy. It's not very
extreme here. So for this shot,
I might keep it. But sometimes
there is a problem with the Delta
here where you start seeing noise
in the disparate areas, the areas
where the debtor modifies the color. And sometimes you
see some awkward colors or something
where It's just not entirely working. In those cases you
can disabled this or disabled part of it. And a good start is
to think about this color replace mode. There's one here
in the match, refinement. It is basically
replacing the spirit color in the
areas where you are manipulating the
mask shrinking in shrinking out you
know, manipulating the mask with
these settings in this area. It is replacing the. Spill with a soft
gray approach. So soft color
is kind of the algorithm. If you, if this is
causing problems, you can set this to
source, which will keep the original
image in that area. That is one area. If you see those
issues, second place is in the mask. So also there,
if you're filling holes with. Solid mask here
also in those areas, a dispel
approach is done. And even here you
can do the same. You can turn it
off if you need to. So here in this
case, actually here, you might
see a difference. So if you see, if
you look at her jacket, so you
see this is the soft color, heart
color gets much brighter and saw. It is doing a bit
less of this spell color replacement. In this case, if
you turn it off, you might see
green edges here. Sometimes you see
them even when it's on and you can
apply additional dispel in this case. And a quick
approach, which often works is a
teaspoon, which is in this fringe taps
or fringe does sound like edge treatment. And that is what
it's mostly doing. But the first. Settings actually
are not purely for the edge, but they
are for this bill and you can do an
additional dispar right away here. And if you just
start by setting it to rare and
then go down in the list, how
far you think you might need to go. So I start with
rare go down, down. Okay. So you see green
in the hair. I go down
again, medium. Okay. Getting better,
getting better world underexposed. And then this
is like the most extreme, but
most likely that will hurt your
skin colors. So you have to also
go back to the skin colors and check
how that is going. So this is too much
so well done is the maximum, I think we
can, we can go here. It might still
be a little bit of greenish. So in some cases you
do additional color corrections and
other techniques. But on the
other hand, we are retaining
the skin color. So. This is like
the basic you can do for, for
these people. Try the internal
ones from the Delta care. What is happening
automatically. If you have
problems, you have to disable it. And this is an
easier approach to do some
additional despair. There are
more disparate techniques. You can do them
separately from the keying. I we'll look at it
in more advanced tutorials for this
one I will stick to. With the disparate. I think this is
a workable start. Let me now bring in
the background and do some compositing. I have a background
in the media pool. It is a photo
background, which I'm
bringing in here. Photos often
have a different resolution. So keep that
in mind. And that's good
because I might just use part of it. I want to align it
properly, make sure the perspective is
working and so on a quick way to bring
it towards amen. Resolution is to
actually merge it over another
background. So if you look
at the image tab of a background
note, it's takes a default auto
resolution here, which is matching
the resolution of the image
that I took from. Edit page. So in this case,
it's 3, 8 40 by 2, 1 60, which is the
resolution from my media in one,
from my original source footage. That is the default
resolution of the background note. And if I emerge
over it, the merchant always
keep the background. So in this case,
I have taken a bigger image and
merged that over a smaller, and that
rate I have directly taken care of the
resolution here. Maybe I want
to adjust the position a bit. Let's see. There's a bit of
ground, but the camera is looking. Probably relatively
straight. So I don't want to
see too much ground. How far, or how
close are they to maybe push it a bit
back like this so you can align it
to your preference. And then I need
to start thinking about how things
integrate. My first thought
is probably. Overall color and
see if black points and white points
are matching those kinds of activities. I tend to do it
directly in fusion. There are tricks
to do it in the color page as
well, but here, let me show you a
fusion workflow. So you have like
everything you are adjusting like in,
in one area, which can be helpful. So let me bring in a
color corrector and I bring it in on the
foreground because I need to do something
to the foreground. Now I will, first
of all, give it a good amount. Again, to
bring this up. So the background
is much brighter. I assume the
background is the style I want. Right. If not, you
can of course color, correct
the background before the merge. So bring this up,
pay attention. If you are
working with color correction on images
with alpha channel, you have to go into
the options and enable pre divide
post multiply. Otherwise you might
get edge artifacts. I did a separate
video explaining this checkbox and
what what's the mathematics behind
it, but just. Yeah, for this
color correction. So I make sure
the brightest is matching. This is quite
contrast in the background. So let's see in
the shadows and it might even
do side-by-side, you know, look at
some, some dark areas here, dark. Oh, this is like
really, really dark, maybe too dark,
but let's bring the lift down here
to, to make a good dark black shadows. And then how's
the overall feeling maybe. Gamma tiny
little bit. Don't this it's a
good, good contrast. Same color,
quite warm. So think about black
and white point then I think about color. So in this case
definitely want a bit more saturated. Like bring the
saturation up a bit, just the tip. If you need to
do additional spoon, removal or
suppression, you can also use the
suppress option in the color corrector
where you can. I'm not sure if I
don't think it's really necessary
here, but you can bring the green end,
things like that. But. Yeah, no, that
will just ruin the lovely hair detail. So here there is
actually no real full green component
anymore, but this brings green
towards neutral. So in some cases
that can, can help instead of,
or in addition to the dispo that I
showed you in the data here, it's
not necessarily, I stick to colors. Maybe you need
to make it a bit warmer so you
can push this. Towards yellow
orange, and then we have the color
integration look at the edges again. So I didn't do
everything possible on the edges before,
because it often depends on the final
background, how the edges should
integrate here. The background
has very different colors in
different areas. So there's probably
nothing major I have to do in this case,
but you can go back to this fringe tab
here and you have a fringe gamma. Let me just
exaggerate. So if I bring it
all the way up, you see that the
semi-transparent pixels on the edge
there, you can do a gamma correction. You can make it
brighter or darker. You see here, the
impact, there is a fringe size,
which removed like. So sometimes if you
have color problems on the edge, you
can bring this bit inwards like this,
and then even you can shift the, the
color between like the primary and
secondary colors. So if you have a new
background, which is dominant towards
one color, like if your new background
is blue sky or so then you can do some
color correction on the edges
towards shifting the overall edge. Buick tone. In this case,
the background has all kinds of
different colors. So one single
color correction will probably
not help much. There are more
advanced options for edge manipulation. You can mask
them off, do it separately. There is an a
technique called adaptive dispar. That's really a
bit more advanced. I am showing it
in my compositing course. It's a bit more
technical to set up, but there are
additional ways to, to manipulate
the edges. So here in this
case, I probably don't need. Inside edge here,
so can leave it like this and the gamma. I think the
default is even looking fine. And the default
color is the neutral gray from the data
queue, which in this case is as an
overall solution, probably the best. There's a bit of
a risk with the data key, because
there are so many features inside
the keying tool. Not all of them have
actually anything to do with the king. So the edges, I
tend to look at it later because
they relate to the composite thing. How does it
fit at the end? How does the color
fit at the end? And they are
also impacted by additional. It's like what I did
on the foreground to bring the foreground
up in general, this has an impact on
the edges as well. So if you just use
the Delta Keyer, go through all
the settings, do everything with
the edges, but then you put in
the background, then you change the
color and so on. It may not
fit anymore. Right? So that's why I'm
separating in my mind, the actual
keying and the compositing and
edge quality, edge, color, brightness,
et cetera, as part of the composite. Okay. So this is pretty
much it from a color perspective. Now the background
is very sharp, very detailed. So that's probably
not what I want. It's it's like
more detailed than the foreground. So I will definitely
blur it a bit. You can use a blue
or a D focus or from the results
I've asked this lens blur effect. A simple blur is
for me now enough, but if you want
to try a bit more. Things, you can try
the de-focus notes. So here let's just
add a bit of blur so that there's
a depth of field perception here. And then I. Practically
always think about noise, especially
when working with photographs
because your, your footage always have
animated noise and a photograph doesn't,
it might have noise from a still camera,
but not animated. Right? So that's something
that is often noticeable. If you know,
to look for. You kind of feel
it if it's missing in many cases, even
if it's not like super noticeable to
evaluate the noise. What I tend to do
is I take just a few frames, which
I can can loop. Let's see. Yeah, maybe here
and just take a few frames, maybe
10 frames or so, and I control
drag here to limit my render range. And even if it now
takes some time to compute, especially
with two data cures, you know,
it might take some time, but I can
loop through those. And then I set both
of my viewers to a high zoom level
and I set them to the same school. So I can compare so
zoom in and let's go to some dark area
in the foreground. So here I have some
dark area in the foreground where I
can see the noise. So for digital
footage, usually you can see it better
on the dark area. And then I go
on some similar colored area in
the background and I try to get
a matching noise. The background and
the foreground and the tool for this,
there are different tools, actually
shift space bar. If you just enter
grain, you see grain film, grain
to film tools, one from fusion, one
from results of X. I tend to use the
fusion run, but both are good. So I add the film
grain, and now you see there's
now grain applied, and I can just
see that this is. The experience is
matching that it's not too strong. This case. It feels stronger
here than here to my appearance. So I might reduce
the strength of let's just the
strength, sometimes the size, but
often just reducing the strength of
it might get you something that's not
executive matching, but yeah, it might
get you something very similar. So I think
that's the spoon. Okay to go back, you
can control a double click and it will
extend the render range again to the
full render range. Okay. So this is the
grain not super obvious, but you
will feel it. So this is
pretty much it. Let me once again,
have a quick look at the overall
flow, just to get the workflow in. I started by looking
at the original footage, see where
the problems are, but then really
focused on first a little bit of
pre-processing. Cleaning out the
background and only at the end,
refining the mat on green, very gently,
always focusing on the head detail. At the same time, I
realized this won't fix everything. So I need a
garbage mats and solid mats for
additional areas. In one case I
could do with a simple polygon
mask to get rid of. Of this area. And in another
case, I used a second Keyer to get
rid of the inside. So this was the hot,
calm, soft, calm, a soft key outside
for the hair. Hard one to fill
in the holes. I do color
correction on the foreground to
match it with the background I brought
in the background separately made
sure it's on a matching resolution. That's why I
did this merge. And then blue and
green are like some of the most
common things you do the blue first. So. Blow the
grain, right? First, the blue,
then the grain. If I need to do
color correction on the background, I
would probably do it even before that. And then everything
comes together and you have hopefully
a decent reside depending on how
much you do it might take a little
while to render, especially now
here with the two dedicate years. It does take a
little while. So if you're on
the edit page, you should have
your fusion, cache and abled. So playback,
render care. User or smart in
both cases, fusion tips would be
rendered and the background and
the news I don't need anymore. This clip is now
being rendered. And after a while,
I can play it back. I hope you like
this introduction. If you want more,
let me know. I will probably
do a few more key in tutorials
on YouTube. There is a whole
chapter on keying that like four
hours of detailed discussions on
every aspect in my composite. So there are more
advanced techniques that you can do,
but I'm happy to cover a few on
YouTube as well. So let me know
in the comments, what you need and
what you think and otherwise see you
again in one of the next tutorial. It's cheers.
