![]() It may still leave you with a final 1% of green, and at that point you can either accept that 1%. In this case, may I suggest a double, if not triple, key attack! What does that mean? Well, just as it sounds really – use your first KEYLIGHT to remove 90-95% of your green screen to start, then zoom into your problem area and apply a second KEYLIGHT using the EYE DROPPER to select that specific green spill. You might be really picky and nothing I have taught you has resolved your little dilemma. Reduce the number next to CLIP WHITE until the whites in your image are pure white – NO GRAYS! To resolve this issue, simply go into your EFFECTS PANEL under KEYLIGHT – change the VIEW to COMBINED MATTE – twirl open SCREEN MATTE, and next to CLIP BLACK you will want to increase until the black in your image are pure black. In most cases, this is caused by a change in the shade of green or blue backdrop (maybe from uneven lighting or a cast shadow). When you play the footage, you might notice a clear haze of noise and grain playing along. Don’t go bananas with this setting as it removes the number of corresponding pixels from the outer edge of your keyed image. Whether it be green, blue, or gray – if it’s distracting in the final composite, it’s gotta go! To get rid of this annoying little halo, simply go into your EFFECTS PANel under KEYLIGHT – twirl open SCREEN MATTE, and next to SCREEN SHRINK/GRO, reduce the number from 0 to -1 or -2. Sometimes your footage has a distinct “halo” around it. If that’s the case, I have a few last “break glass” techniques that might be able to solve your dilemma. Sometimes that’s not good – you have more green (or blue)! And no matter how much you try to isolate the spectrum, you can’t make that color go away without degrading or distorting the source footage itself. The green spill in both the hair and armor has now been eliminated! Hooray for you! To wrap up this fix, simply CLICK AND DRAG the GREEN SATURATION bar all the way to the left to -100. Additionally, CLICK AND DRAG the first bar also to the left just before the green fades on the spectrum. To do that CLICK AND DRAG the outpoint arrow to the left just to where the green turns to yellow. You will want to widen the selection just a smidge. Now in your EFFECTS PANEL next to CHANNEL CONTROL, use the drop down menu and select GREENS.Īt this point you should be able to see selection bars appear on the color spectrum. To do that, with your source footage selected, go to EFFECT > COLOR CORRECTION > HUE/SATURATION. Now we just need to focus on that final 5% where I can still see noise and grain on the image, along with green spill in the hair and armor.Īt this point what we want to do is add in a Hue and Saturation effect, isolate the green spectrum, and desaturate that spectrum, thus taking the green spill in the hair and armor down to a neutral gray tone. Not bad! KEYLIGHT definitely takes away 90-95% of the major green screen we needed to key out. ![]() Then in the EFFECTS CONTROLS PANEL next to SCREEN COLOR, use the eye dropper tool and select the green background in the source footage. First thing is first, let’s key out the background using EFFECT > KEYING > KEYLIGHT. Immediately you are confronted with the issue of frizzy hair in addition to green screen spill on areas of the armor. Luckily, there are a few techniques that will help stop you from chucking your monitor out the window. The point is, regardless of background, we are all on the same playing field for this one. ![]() Regardless of your background, one thing remains true for all – green screen keying can be a major pain in the butt! Sometimes it’s frizzy hair, other times it’s lacy fabric, but a lot of times it’s just plain old motion blur. And some of you are working at a dead end soul crushing corporate job for over five years and are desperately learning a new trade as a means to positively change your course of life (I’m talking to you, Phil!). ![]() Some of you are dabblers who just enjoy learning the craft. #AFTER EFFECTS KEYLIGHT 1.2 WHITE PROFESSIONAL#Some of you are professional filmmakers, editors, and visual effects artists.
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