GREEN SCREEN BOOTCAMP: Premiere, After Effects, Nuke, Natron, Davinci 15, Fusion, Avid, Blender 2.8 | Film VFX | Skillshare

GREEN SCREEN BOOTCAMP: Premiere, After Effects, Nuke, Natron, Davinci 15, Fusion, Avid, Blender 2.8

Film VFX

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11 Lessons (4h 51m)
    • 1. Introduction to Green Screen Bootcamp

      0:49
    • 2. Adobe Premiere Green Screen Keying Ultrakey

      38:27
    • 3. After Effects Green Screen Keying part 1

      46:21
    • 4. After Effects Green Screen Keying part 2

      10:12
    • 5. Nuke Green Screen Keying

      51:33
    • 6. Natron Green screen Keying

      40:35
    • 7. Davinci Green Screen Qualifiers

      24:42
    • 8. Fusion Green Screen Keying

      30:18
    • 9. Avid Media Composer Green Screen Keying

      21:49
    • 10. Blender Green Screen part 1

      12:13
    • 11. Blender Green Screen part 2

      14:07
12 students are watching this class

About This Class

(1) FILM IT RIGHT, (2) KEY IT RIGHT, (3) UPGRADE YOUR TOOL SET

Welcome, in this class:

1. You will learn what mistakes you should avoid when filming with green screen

2. I will teach you how to key a green screen in the software you are comfortable with, we cover 8:

  • Adobe Premiere

  • After Effects

  • NUKE Studio

  • Natron

  • Davinci Resolve 15 using color correction tools

  • FUSION, integrated in Davinci Resolve 15

  • Avid Media composer

  • Blender 2.8

3. I'll invite you to upgrade your tool set to add at least one more software (see Class Project for details)

For a richer tool set, you get to explore how to do green screen keying in other software which you can keep as a reference for the future.

You will learn different techniques, this way, what matters most is not the software, what matters most is the artist and filmmaker.

Transcripts

1. Introduction to Green Screen Bootcamp: whatever software you use, I will teach you how to keep a green screen in Adobe Premiere after effects Nuke Studio Nature on the venture is all 15 using color correction tools, fusion, integrated individuals or 15. Avid's Media Composer on Blender 2.8 For a richer tool set, I give you the possibility to explore how to the green screen Keen. In other software, which you can keep as a reference for the future, you will learn different techniques this way. What matters most is not the software. What matters most is the artist and filmmaker. 2. Adobe Premiere Green Screen Keying Ultrakey: if you choose to the greens cream keen in adobe premiere. You can do that with a little Truckee. All right, How do we do this? Okay, we come here to the effects panel and we choose ill trucky. But before proceeding any further, let me place it here on the foreground. Of course, the foreground is to be on top off your background in terms off tracks and let me go. Come here to the control effects and close in Truckee because we need to talk. We need to talk. Um, there are few things that we need to address before we proceed in your father there. I mean, tweak in para meters is something I'm going to explain. But there there's bigger is bigger than that, right before even reaching the point off first production, there's a few things are a few things that be I need to be wear off dream filming during production. I have chosen this footage, which is a stock footage. This is not our products. Just the stock footage which is available to anybody. I've chosen it because it's got a wonderful let arise. It's rich in errors in mistakes. Alright, It's got so many things going wrong that I thought that's a wonderful one to talk about. All right, good. But at the same time you notice that it's not as catastrophic as you would expect because there's a level of professionalism below which you do not want to go. Yes, there is worse. There are tissue style green screen backgrounds with wrinkles and stuff. That stuff is not even serious to talk about, Right? So this ometer level is I wouldn't even address that. So the person who wants to go that route, um I just think that person is not serious about Greece. Crete, Greece between Key little but at least removed green. If it's a tissue, think fine, no problem. But this remove the crypt at the wrinkles, having wrinkles there and say, Let me show you how to remove in post. That is definitely not the way to go, right. It doesn't matter what you have. If infusing prime at or I dedicate in yuk or whatever in a journal, it zero mindset. Okay, so what you see is professionally a catastrophe, but below this level, I wouldn't even want to discuss, right, Okay, So because there are things that need to be done during production to make sure that your post production is acceptable. Now we have five mistakes in here. Number one is what what's missing. Tracking markers. Greece green screen without tracking markers is not professional unless there are two exceptions. You to be careful here. Two exceptions. The camera is frozen. It doesn't move. Um, you don't need tracking markets because that's it. Well, what if you decide later to move the camera just like a little pound little tilled you've lost? If you forget to put a tracking markers, you you can't much move economic. All right, But second exception is if you're in a very big studio with that robot, the motion Control Robert that is operating the camera right. In that case, you do not need any track and Marcus for the simple reason that the whole much moving is happening in the background as it sink to Maya or to any other three d package. Okay, so that's number one. Number two Mistake Number two is the lighting. Lighting is poor because it is not uniformed because actually, it's not just a matter of uniform uniforms. Uniformity off light. It's a result of what you do. What? You What can you notice here? When you look at this stuff? What would you notice? They're just using the lighting on the ceiling. That's it Isn't just There's no light on the side. Right? Left. Oh, there's nothing. They just which don't allies in the room that it that's not lighting. Okay, Because you have the here light green. And you have here, Doc, bring mistake. Number three is these guys. These actors are too close to the background too close to the green screen. So you already have problems and you're creating more problems for yourself by getting the actress closer to the background screen. What kind of problems are these? Number one. The shadows. You're introducing another flavor of green on ever darker flavor of green, which is gonna make your Keir hate you. Okay, because you're asking too much from Were any here number two The fact that this not error number two the What does it mean for this error? Number three. What does it mean to be that close to the background? Not only this, the shadows, but also the reflections are going to be more sorry especially when you have reflective objects like phone headsets, glasses, probably shiny shoes. Then it's gonna be really a nightmare. Okay, but not also. Not only that, but also there is reflection under clothes. This stuff that you see here is not reflecting. You can find green screen green spell on it, which is darker than the green you would find in the reflexive walls. Number. Mistake number four. Because they are too close to the green screen background, you cannot have separate lighting, and you need to have separate light in the grease. May need to be lit separately from the, um from the rest from the From the actors. The actors are lit separately and agree screams, Let's separately. And this is only something you can do if you haven't made mistake. Number three, which is get them to close to each other and then mistake Number five is the worst. Like, seriously, this is the worst one you can possibly do. It's called compression. You can't see it clearly, but the four months of the file is age to six, for you don't want to hear this when you're impressed. Production. When you are doing vfx any kind of the effects on especially green screen key in compression is losing information is a choice. You have given priority to the size of the file over information for color. So you have decided to lose information just to get a smaller, smaller file size. Now let me clarify another point, especially related to this fifth, Mr. Generally, we may tend to think that if we use a rule footage, we think, Well, that's too heavy. That's big, man, that's that's a lot. No, I said, I don't know. I found it. Says if my software is gonna handle that, or even my computer is gonna be able to handle that you know what? Why don't we go with a compress footage with 86? Four. Sweet, quick and handy and well, guess what? It's the opposite. It's exactly the opposite off what you think, Because if this is what well, because simply ruled has not been encoded. Has it been compressed, whereas compressed has been compressed? So what does compress meat has been encoded when you give on that's also valid for editing we're not even talking about. We're not only talking about vfx or green screen keen it's also editing. If you throw something at Adobe pre a premiere or any addition software on, then that thing has been encoded. Do you know what's the first thing your software needs to do? Decoded first before even starting to work? You need to decode it now. The beauty would draw. You don't need to decode anything. Yes, the final sizes big, but that's a different thing. That's a different story. That's your ram. That's not Processor. That's the room. Okay, well on dumb. If you have an H 264 which is sounds so sweet. It's just 35. 40 megabytes. I dont be premieres. Gonna have any editing software is gonna have to work harder on that one. And there's more processing. It needs to decode it first before moving any further before doing anything. It needs to be decoded. So robe is first up, then compression compressed footage. It doesn't sound very. It doesn't sound intuitive. Sounds counterintuitive, but that's the reality, right? Okay, so in code in is a disaster for editing, not disaster, for it is just make sure it is on additional and necessary step. Why would you do that on for the effects. It is a disaster because you're losing information on people in the effects. That's all. They're big and for information. Okay, so I'm gonna have to close the bracket now for these five mistakes because we need to address them because guess what? When working with Truckee in Adobe Premier Premiere Adobe Premiere. If that's your choice, by the way, if that's your choice, cause our Greece pinky and generally tends to happen in compositing software with the tears that done to, they have to have a bit more functionality and give you more control. But if you choose to go on to be premier route with a tricky I will show you how to do that . I'll explain to you the party meters, and I will do that on a rubbish quality video with five mistakes. How about that? Okay, so but it's not an excuse so that that you allow for this mediocre quality toe happen during production. All right, but we are going to suffer during post production and show me how Teoh deal with these things so that if by accidents and stuff happens out off your control, you know how to deal with it okay? Lets suffer from the consequences of this poor filming. Let's look at this. Did I say that that's a stock footage available to anyone to download? This is not our product. We didn't feel this way. We didn't know. But it's great to have footage like this with so many mistakes. We need to have garbage. Matte. You hear the word garbage? Matte A lot, Uh, has being what? It's logical. It is the very first thing you need to start with. Of course, you need to start with garbage man. You got hold of them. That's for the amateur level, because generally green screen backgrounds tend to be rubbish. That's why we feel the need if you were obliged to have a green garbage mint, which is the case here, because poor lighten is part of having the rubbish background green screen. So we have to do it. The very fact that you feel you need to have a garbage man means something has gone wrong. Urine production on this something has gone wrong. Another bright open. Another are the brackets could be even a very professional level. Look at the Martian to film the Martian green screen set. These things are not errors. These are choices. Sometimes they come in the form of choice, not as an error. If you have a huge green screen set, you're going to be using different green screen on mills. And when you say different rescreen panels, this means the color is different. It's not just even the lighting. It's okay. You're gonna do proper work for your lighting. If you manage to live that feud set fine. Even the panels are look different. In that case, it's different story. But then those things don't get keyed in adobe premiere effects. So Adobe premiere with ultra key. They get kids in nuclei Decay I E. K is image. Miskin, which doesn't care about the color, just cares about the clean plate. It's recreated the whole creep. It's a different worlds, different stories, different leak. Your choice is to go the other way. Premier route with Kentucky. Fine. We'll make it work. OK, so no. Um but we are going to have to do the garbage. Matte. Let's do that before even 13 Ultra key. Yes, I footed there. I'm gonna touch it now. Need to go fix some problems. Issue number one. Yeah. Got the license. I need to commit a mental on the opacity on depending on the motion. Off the actors. Just check your whole video where they're moving on. Get away off! Get rid off the young areas that don't did not use because there's thing to be dark I'm going to stop here Enough Close it because I need to explain something. If I close it, I'm gonna get rid of the green and need explain some other things as well. Let's get a bit closer. Maybe I doctor, just fit. Okay. Um why Why do we Why do you think we talk about evenly lit? It needs to be evenly lit. Why? You have to have ah, color that is uniforms that the Keir picks just a corner. Yes, but why? Because there's a huge difference between light greens and dark greens. Light greens kind of okay to deal with the dark greens. Fuller that that's where the problem is hiding in the dark, right? That's where it's hiding. Why? The light greens can find themselves reflected in reflective objects, But the dark greens, you find them on the suits as well. You find them on the shirt. You find the dark greens in on the clothes on things that generally tend not to reflect because they absorb, they come as dark in here. You Can you find any any light green on this black suit? No, you can't. But you can find the green spill. It comes in what form as a dark dream. So we know you have this dark green here on this dark, this ugly, dark corner here. If I ask my Keir to remove this. Plus this this is a lot to ask. You need to take this very bright, saturated light green on this very dark and saturated green at the same time, which basically means it means to kill everything in between. And that means removing green from inside the mart. And that means creating transparency. You have just created a problem you d built. Want tohave you didn't have in the first place by having such a poor lighting. Okay, so this is why darker greens are your um I would say it means, but this is the problem. Is the problem area okay on? This is why they are going to there could influence our choice of color when we come to the color picker. Now let me go back to 25% on and close this close. It goes away just so we don't get distracted with the background. For now, I'm going to turn it off and a video track right. This part is done and because only were obliged to do it. But you know what? You could use a garbage matte, but when you feel you must do it, something has gone wrong. It's always easier to do it when you feel you must. That's a different story, unless it's a choice you have made with using different panels. But then you wouldn't be using a Qatar Ah color picker approach. Did I say color picker approach? Yes, there are fewer purchase increase. Kinky and I need to explain that Yes, I know you're working. Other we premiere. Yes, it's ill tacky, yet you have no options than the color picker. But there are other worlds outside. There's I D K, which is image based skiing, which is clean plate based, and you can find that in you can find that in a trunk and find out in fusion. They come in different flavors and different names. Um, infusion. It comes as I BK even basic. Here I be cake is mine to get color it to dio on that in nature when it comes as big, big color and then infusion, it comes as Delta Kier and Clean Plate, which is in English, sounds perfectly correct. It's clean plate loss here. That's very correct. Which is exactly the same thing as I became a dismal SBK color about just you think, What is gizmo? What is color on this stuff? Anyone? They do the same thing. This is a different approach it doesn't care about. So the advice Why why am I mentioning this while you might bothering you with this now, dark green, light green. This second approach, which doesn't exist in Adobe Premiere it doesn't care about that. It just does you. I don't care. It's giving. Give me your clean plate. I've got one. No, you know, I won't find I'll recreate one for you. It doesn't care about to light or dark greens at all. So just now, closing the bracket and give me a few information on all other purchases. Well, now this approach is a color picker approach. If you see something like this on a here, that here is a color picker approach. That's it. So we come here and we select a green. Well, hold on a moment. Is it? Just click on press on debts. Tweak. No, it doesn't work. How about it's not that simple. It's, um it your decision needs to be informed. It needs to be rationalized like Why did you click there? You have a reason for the hour Just met off. Yeah, Just put it somewhere that they say it. Mr. Beam it down. Who said it used to be Meter? Your footage is rubbish. You can't go meet Ona So Mitt down is when you have better life with your footage. But this one is like a catastrophe. This is a disaster you've got You've got shadows here. You've created problems for yourself a bit So we're going to go a route that is dictated by your footage. What do we do now? Because And only because we're working in Truckee. Premier, we are going to go. I don't with the closest to the dark than the light. I would go for 18 90% dark? No, the darkest 100%. With something like this, I don't explain to you why that's once you click. You just immediately moved to Alpha Channel because there's no work to be done on colors. Everything happens, What, 99% off the work happens. All the Alfa. Until we moved to the point, we wanted this bill. Okay, so we first choose the color on which is 80% 20% dark. Yes. Lets you go full rather for the dark. And then you come here on the you start weekend. Now the perimeters are organized in such a way that they sat the categories much generation , Matt. Cleanup, space, oppression, color correction in terms of sequence. If they make perfect sense until you give you dig in. I don't. You see a disorder. Now this makes sense. This is number one. You need to work on my generation and the one. But this is not even write all that. Number one. I let me give you a few hands. Here. Pedestal is the very first thing you want to start with. I mean, this thing, whatever. That thing is that it's called pedestal. Now we're gonna tell you why this thing? What? I know exactly what this perimeter does. I don't know exactly this apartment. It doesn't do. But I don't know why they have chosen to call it. But this topic, it is completely inappropriate. Yes, Pedestal is a term that used to be, um, used back in s prehistoric. It's prehistoric 20 v in TV's first steps as a baby, there was a black signal and stuff And what not And it there was something you used to call be called Pedestrian doesn't exist anymore. So the the name is no correct. But other than that, let me explain to you what this one does, and that's the first thing you start with. You start with what is called pedestal, which actually could have bean more appropriately called clip black, which is not an appropriate wording, but it's just going to find it in after effects Inky night. It's great black, and you find it in a few other keepers as well, so it makes better sense. This is nothing else than plea blacks. What does it really do? Whether it's called pedestal wrongly or Philip Black or whatever you wanna call it, it works on the blacks that actually doesn't work on the blacks. It works under Gray's to make them black. So this is because initially, what's the objective is to have all of this black on all of this white, and we call it a happy keen. Well, it this one. Make sure that deep, this outside area, where there are gray so it works on the grace and converts them to black. So and I increased this, I am asking the ill turkey to convert pixels with values. Let me explain values, Mary said, and explained the value because this is a prerequisite to talking about this. This this is outside the garbage mouth, which is like, fine, but it's black, right? It's transparent, it's black. So it gives us in this case, it gives us, for example, this is black. This is zero. A pixel like this zero. Okay, now this part here is white. This is one. It's very important to know the zeros and the ones, right, cause then you could go even to nuke to natural diffusion to aftereffects. Wherever you go, it doesn't matter what the Keir is. You could open a composite software for the first time in your life and use a cure for the first time in your life. And if you know this, you're able to get up to two to do it doesn't matter what that what they call it. You be able to use it because this is these are the basics behind, um, behind Greece. Cranky. This is one. Now that my A one off coral color correction, including in tracking key and is a form of contraction, is a form off color operation. Everything's mathematics. What does it do? Well, this is zero, and this is one. What is this on? These are gray values. Yeah, but what values on these? These are anywhere between zero and one. So it could be 01 0.1, and it could be 0.9 0.1 is closer to zero. Which means Dark Gray 0.9 is closer to one. And that is like, Great. Okay. Why are we talking about this? If you increase this value and then you think Well, this is the second thing I'm gonna have to come. What? Complaints? Like I find it irritating. This is named wrong. And under permit and the values, but I think you find it in some other key is as well. They put 0 to 100 0 to warn. These are the accurate numbers for white, black and white, so they start with them, whatever that is. Don't care about this one. When you increase it, you are asking to convert the greys with values that are close to zero into zero the soul is doing. But then the higher you go, the higher you go after above zero C 0.10 point two until he's you go, for example, Say you know what even those pixels with 0.5 convert them into zero, even the mid graze. Convert them into zero and you end up with a clean black y. It's now really green. We're going to see that later. Well, we're going to ruin it. It's It's clean now, but with another perimeter gonna ruin it. And that's a corrected again. Let's see that. So your first for a meter is this stuff they called pedestal, which is nothing else than clear. Black, which is often isn't asking to convert the pixels that are great into zero, not all the grace, not 0.9, because 0.9 is somewhere here. This one is inside amount. Okay, So have we worked on the blacks? Yes. Yeah, I would say yes. For now, let's go to step number two, which is transparency. I really would have wished that when I opened my generation, I find my this one called differently and put number one and find transparency. Oh, you could keep your transparency is fine. It's It's not horribly wrong, but it's like, um saying twice. No, it's like I do not want not to help you. How complicated. How heavy does it feel? I do not want? So you already have a negative thing not to help you. It's like negative and negative. It's like, what? Can't you make it simpler? Um, so transparency is it's named in such a way that they try, like to complicate. I don't know, um, what it really does. It's clean plate. It's converting the gray values of closer to 1 to 1 period. That's only does. It's nothing else. You could call it, and you could use any fancy word. And that's what it does. Yes, the work transparency is somewhere in the terminology. It's somewhere in the effects that happen. Let's get closer. I'm gonna get closer to that. To his shoulder. Right to the guy here on. No, you have to be in the one of the left seat. Okay. Why do have let me just cover both? Okay. You see, you've got the right in this this book, it's his left shoulder and he's right shoulder. Why do you have more problems than here? Because you have begged for trouble. You have looked for trouble if you wanted to have problems. You love problems by getting actors close to the green screen background. That's why you've got so much spell on an even even on a black suit. If you managed to back to have so much green spit on the black, suit him as you have horribly close to the to the green screen. Okay, this is this is what we've mentioned. These five mistakes. This is that you understand why you now you have to deal with them. I wouldn't have had to do that. Should should. Should they have gotten their mistakes fixed during production? I wouldn't have to work on this Now it's gonna be much easier for just two week. The black sun to me, the white removal unworkable it on the edges. Right? But now you have to deal with this. How do you do that? Okay, this is the effect of the spill, the alpha part of the effect of the spill. And then there's the color positive exposure. We will deal with you later. I am now to make this white. So these are gray values. Transparency? Yes. True. This is transparent. Translucent somewhat is not just about this Citrus blackest respond. Icis translucent. It would have made better sense if they call it translucent. But still, it would be I'm still a bit like a bit like I do not want, I do know trying to make it. I do not want not to help. Yeah, whatever. So transcendent translucent would have been more accurate because it's not fully transparent. Okay, enough talking about it. We need to convert it into white. How do we do that while you find another nonsense? Can you see this value here? I really fail miserably to understand. Why do they care of this part over here? For simple reason that it does not get used in any case whatsoever. You only need this part. Why don't they start with 100 give me the option to go as low as I want? Yes, it's a bit dangerous, but it's my choice. However, now this part tell me, is there somebody on the planet Earth? Probably in master made. You may have to do it differently, but on Planet Earth is that somebody who will want to have his Matt more transparent? No one. So this the Ford value is horribly wrong. Um, sorry to starting point off the default values horribly long. It needs to be somewhere. It's 100. And then this is all I can use now they have limited my choices to 45 only. So let's do that. I'm just gonna have to reduce transparency. This is accurate. Reduce interest currency. But I wish I could start from 100. Then what happens when I go down? Just be careful with this one. This can have nasty effects which come in the form off a white line because when you go, you start getting outside your mat. Fine. I'm just going to try to make sure that we go to fit. See everything? Okay, here we go. I've worked on the white. What did I say? I'm gonna ruin my blacks years because of works on the whites in this car. In this case of converted this when I convert this, what does it really do when we say convert? It adds. So if something has 0.9 and it's gonna add 0.1 to it Well, what if it adds 0.1 to the stuff that's in here? It's gonna become dark gray. So it has touched this one as well. I'm gonna have to fix it. And today that I'm going to go to the highlights. And then this perimeter initially conceived and designed and thought off to work on the whites. I'm gonna use it for different purpose. This Well, let's see the effect increasing. It is going to increase the white, sir, un reducing It is going to reduce the whites. That's exactly what I'm going to use it for. What's the default value then? Um, I wished it was 50 books for now. I can work with it. It's OK so I could remove this and what have I just don't have done the opposite off. Increase in four. Still got some stuff here in a moment. Let me go down. Go down, Go down. Ah, we have a little problem. OK, so I went down and then it didn't help that much. This is why it would have helped to start at 50 anyway. So what do I have? No, I'm gonna have to get rid of this stuff in here, right? What should we do? You can on. It's a choice. Come here. No, I didn't want to go on here first. I want to explain the problem. It is for you. Because if I come here, it is our presets. Relax, aggressive. If I started with these two, we would have been finished by now. And you wouldn't know what these parameters do and stuff. But if you come here to aggressive and you click is gonna clean everything. Um, yes. Use it. If you get what's when you use it. It's fine. It's not. It's not badly aggressive, does work. It does really work most in most cases. But I felt the need to stay on default and explain to you what the rest of the four meters are so we're going to work with default for now. Found tweak the sick. We get a little darker, not too dark just to get rid of that thing. So I didn't take it one at a person doctor for just 92. 93% off. Let's do the same things. Better style. Push it to 100 on. Bring the tolerance of the transparency. Damage, basically is nothing. Then converting whites. When I do that, I end up with some nasty words stuff in here, which basically means I'm gonna reduce it here. And I'm done. Yes, I managed to do it with the default without even touching. Aggressive. Cool. All right. Where is the wise guy? Could go whiter. Yeah. Cool. Okay. No, um, what do I have here? I have one, 23 shadow. Now, this is the one perimeter you are going to want not to touch. And I could even se never like. If you can get away with not touching this one, it's it would be great. What does this one do? It is going to help you just remove this. Let's say you have trouble reduce this one a bit. Let's say you have trouble here. You want to clean this? What? What does this one do? It does a little bit like Modesto. Likely Black does it so aggressively that it is going to hurt your edges of me. Show you let me get closer while you can already see this is pixelated because this is compression. It's mistake number five. This is heavily compressed and you find no is. And compression on color is wrong nation. A lot of stuff that doesn't work. But let's see, I come to shadow on I increase it days makes that big civilization that you find in compressed footage. Even worse, This show stuff you don't want to touch you. Why? Let me go back to my 100 go back here to zero onda my 50 year. Okay, cool. Let's go to fit. All right, now we have finished our tolerance. It's a waste of time. This one is just like a waste of space. Um, you could play with it and say that it actually doesn't, like, do anything. Yeah, I think they could consider this. Remember? So you have this my generation Step number one. This one black step number to walk on the whites with clip points on the step. Number three is used this refined white for your blacks battle. And then you move to Macklin up. Um, yes. You're gonna need some of this goodness we're gonna need to choke. It's a bit like my Children off their effects. What does this do? Let me come to compose it. I have a little bit exaggerated the white so that we can see what we're doing. Can you see here on his edges? See, there's a white made It may sound to be green, but it actually is not green. It's white because there are two problems in one green. Is this fail? And that's not something we're gonna handle this space oppression. Then there's a white line that's surrounding our our matter. Now, this is something you handle with with the choker. So, um, the values here are a bit different to other key years. So generally another keys would go. Something like one generally tends to be like minus one or minus. Human in this 1 10 and 20 are kind of Okay, so 10 should work for us. I could go toe something like 12 But try not to go any higher than 20 because it's gonna be , like making his nose look be too short and stuff. That's not good. Okay, so anywhere like 10. 12 just depends on your footage. Depends on how bad the line is. Don't make such a bad line that you're gonna have to took too much, because that's something you need to sort out the clip. White level. Okay, Don't go to don't go off into three parts, and then this is all you need. Now, you may need to soften it a little bit, OK? It's fine. You could add some. The largest for fun. Handsome, too. Something about the I just This is the edges, and this is we're talking edges here. Show the address, soften the edges, give a bit more contrast. Where I don't need it here. Um, and then there's the midpoint. I don't need to use this perimeter at all. You just need to choke. And sometimes that's often. Okay, so here, any three here, you need 1.5 1 just to on, then spit suppression. Well, you're gonna need to have you go into you to have to use this If you your actors are so close to the background, I even have a look. Um, I even have here see the difference being the screen, the screen, this blue on display. This one is Blair, and this one's got more green. It's because their shoulders are closer to the background school that we need to decide. Right? This problem meter here is quite funny, right? Yes, it does the work for the this part. If you push it between here and here, it does the work you need. And then if you push it beyond here, then it becomes, like, just funny eso Unless you want to go funny, you want to stay here? Um, for some utterly unknown. I'm big Chris. Obscure reason they have added this part, which does the following. Who on earth would want us part of his spiel? Suppression? Can you see that Xcor scale suppression, right? Who on earth would want as part of his spear suppression to make a footage black and white ? And we can do that separately. That's a different artistic choice. But that is not what you want. So it's somewhere like 50. It does the job properly in terms off changing greens, adding more magenta too. You reduce the green because that's actually what happened. You don't remove a green just like that. You need to add something else. But it's all color real based opposites in the gallery. Eso if you stay around 50 years, the moment to start going beyond 50 60 70 You start, you get up funny black and white stuff. Okay, Now I said compositing of green screen stuff happens in compositing software that happens with tears. Like Premier Li tears that if you choose to go other premier, we're gonna do it And guess what with a rubbish footage and we get there. So yes, we managed to get it. Even with this funny space oppression, we give way people get their range spare stuff. What not? We don't even need to bother about all of this color correction. 3. After Effects Green Screen Keying part 1: green screen came in after effects using key light. Now we have a green screen footage, All right, that I have chosen that is coming from a stock footage company. So this is stock for justice is not our project. What? It has wonderful characteristics. It has as many mistakes as I could find. So this this video has five mistakes. Now, you could find more mistakes somewhere else, but then we're talking about a minimum, be below which we should not go now. The only next mistake's gonna be your great your background with wrinkles and holes, probably or something. But this one has five mistakes that we would like tea. Quickly talk about number one. No tracking markers. Well, he just move the camera and you've lost eight match much moving. It's gonna be impossible. You need tracking markers. The only two exceptions are when you are using the robot, the motion tracking robot that, in that case, in a big studio, right in a big green screen studio with the robot, that is oh, operating the camera. You do not need to have the tracking markets for the simple reason that it does not need them. It is sinking in the motion of the camera with the three D package immediately. Actually, why do you need tracking markers to do too much? Move in to export it through the camera soul so that I can imported to through the package . That robot, not the robot, actually is the software that is connected to that takes care of that. So this is one exception. The second exception is the communist frozen. It's not gonna move. But if you decide midway during filming that you're going to move the camera and you don't have the tracking markers and you forget it with them there, then you're much moving becomes impossible and your shot is kind of lost. So this is about the first me six. Second mistake is the lighting is very, very poor. We have here light greens, middle grains of dark greens on it seems like they are only using one light. You see here on the under only, um, on the right and on the left, there doesn't seem to be any lies because it is darker and they just using something from the ceiling. This is absolutely not usable so which, as a result, makes a mistake. Number two is the uneven the uneven lighting of the green screen. Mistake number three is the lighting for the, um the actors is not Is not appropriate, is not independent isn't separate because when you have green screen light for being screen is different than light for like, as in the panels they're gonna use, they're not the same walls. So you I'm not saying different. All of saying is delights that you're gonna put for your green screen are for the green screen on Lee. The lights are gonna put for your actors are meant for the actors. That's what I mean meant for green screen and men's for the actors. I think this says this takes us to the mistake number. Other number shows it number four now number four. Mistaking before is because they're so close to the young Greece screen. Of course, they couldn't make that they couldn't have a separate lights. But this is the mistake itself. They are too close to the green screen. You need to be meters away on. That depends as well on how big your green screens the mistaken before something you can't see immediately. But something that I that we will talk about later. When we'll see, some probably will see some some victimizations. The compression this file is H 264 is as bad as it could get. When you're working on visual effects, when you're working on green screen compositing key and you want the best color information you want the best video quality. That means starting with rule. You can't get rope Fine. Go down to four is some high quality. You can't get that fine. Go down until you reached the minimum off. 4 to 2 10 bits Don't go any lower than 40 tooth and it's OK and you know any lower than that you're begging for trouble. So what have I done? I've just chosen the ah catastrophic video to work with. Why? Because I could have chosen the raw footage on everybody's life is gonna be easy, but that is not what I want to teach you. I want to teach you how you can handle Andi Address on approach mistakes. Now this is not an excuse for mediocre quality production on filament. Okay, it's not excuse for mediocre quality video. It's not excuse for having rubbish lighting or for having rubbish green screen or having reflection over the place, or getting your actors too close to the green screen background. So, yes, I'm taking the worst case scenario within certain limits. There are limits to what is acceptable. It is not, but yeah, this is This is the reason why I'm taking this. Okay? We close this bracket about the mistakes, and we go now to the key light. Let's see here. You see that have already typed here key lights because that's what we're going to use after effects is known for key lights. Good. And it's a very, very, very good care. By the way, you can find it again in New York, and it's using you can. It handles details very well. Okay. Now, when we type in key light in the ethics here on the right, we find two options. The 1st 1 is just delight. Like just getting on the 2nd 1 here on top is key, right? Plus, it seems like it's got a lot of stuff in there. Let's have a look. Okay. We're just gonna have a look at that and talk about it, that's all. I'm gonna drop that and see. What do I have here? I have key lights. Keep cleaner advice. Be a suppressor. What? It seems like a a group off FX that come together and wants to make our life easier. I want to believe that, but I find it difficult. Why? Because keying green scream happens one step at a time. You want one effective at a time. And within that effect, you want to tweak one para meter at the time. So bring in key lights, Persky cleaner. But most suppressor is illusion. That is an illusion off. It's like your you think? Yeah, I got the magic bill. This is not the magic pill, you know, this is what's gonna keep you. The other is already done. And you're still wondering why is it not working? But because you've got too many part of meters switched on, and we can already notice that when we bring them in by default. Evolvement suppressor is advance. Be suppressor is already does activated. So it's kind of adobes approach of ST or you know what? I probably don't activate everything. We agree. I don't be. We definitely agree. We're not gonna excavate anything at all actually just delete everything. We're going to work with key lights, and we're going to work with all of them. But then step by step. Okay? Not in that sequence. There's gonna be some other effects that we're gonna bring in on. No wonder sequence of the are suggesting. Okay, so number one, we're bringing key, like, hold on a moment. Do we need one here? What do we need to Kiir's for three years or more? Why am I talking about Mork ears? Is it not enough? Is one not enough? If you are going to make your key in with one here, you are asking too much. He is going to do the work that is absolutely certain, because that's what the effect is here for. But you are asking too much, and you're gonna push him to his limits on he's gonna come back, invite you. Why? Because you have asked him to take everything. And when he takes everything, is gonna hurt your edges because you have green spin on your edges. Now, green spill has two sides to it. The good side and the bad side. The good side is that well, not really the There's the bad side of the bed side, but there are two sides to it. The 1st 1 is the edges. Do you find green spell on the edges? That means that those edges you need to be careful. They we need to keep them the edge on the hair detail, the just literally, just just the edges of the map. We need to keep them. I'm talking about the mat, not the color. Yes, there's green spell, but it's it is on the edges. On the second aspect of it is the green spill, as in the color that needs to be removed. But when you are asking from one Keir to do all the work, this is what you're asking, really, especially when you have something like this and even lighten and you're going to have, even if it's the most professional film said that you could think off like say, for example, take the Martian film the Martian Um, just Google green screen set film the Martian. When you look at that, you are gonna find different greens. I'm not saying different light, and I'm even saying different greens being used well, the the wall, like just isolates the land to to make it look like Mars and isolate the land. That's a studio, but I say Dylan and be able to use that for the space that's one green. But when we see one of his shots where the camera is looking up to him, the panel that is used up behind his head is of a different color. Well, it's green. What is a different green? All I'm saying, Why am I talking about this? Is because you are going to have different variations of green sometimes, and that's absolutely fine. Do you know why? Because these guys work with nuke on Okay, it's not about new gets about the cure. It's not even about the cares about the method, because Kilo, it is a color picker approach and nuke nature on on fusion have another method, which is called are not saying they only have that metal. They have the color picker method, which basically just click under selected green and then starts increasing the variation. That's one method. Another method is I D K image based Keen. That's how it's famous from nuke. You find it back stronger in nature. You find it back infusion in plain English confusion, It's called Clean Plate. Brazil. Turkey posted the attack here in nature. On it's called the Color Plus Big and Sitting in a nuke. It is called what it's called, I think a color gizmo. It's a deal. This is why these people can get away with as many greens as they care assed. They have because they don't work with it would want to work with the clean place after effects. Key Light works with color picker. So we're going to work with the color picker approach now. Okay, good. Or it, um, I find it useful to open some brackets. Just give you more than just click in a few kilometers. OK, so now we let's go back and say, If you ask from your key light one Keir to do all of this stuff, you're going to select this dark green or this lines green or its's. A color picker approaches basically means if you sell it the lines dreams. It's not gonna include the docks, but you're gonna select the docks. It's gonna include the light, but it's gonna include as well degrees that you find on the person's clothes and effects and props and everything in your foreground that you want to keep your gonna find the dog greens. That's what you're gonna find lighter greens on the reflective object. But you gonna find the darker greens on the spill on the black suit, for example, it's in there. You just can't see it clearly. But it's in there. But what happens when you are when you ask from key night to take the night one that all of these values at once just one. Keir, why is gonna take everything at once, including what you have inside air, which gonna hurt. So you have some green spill around the edges. Gonna hurt the edge is gonna hurt that the mat. And it's gonna be horrible for the care horrible for you, Horrible for the results and you just begging for trouble. So give yourself the luxury off having more than one year because guess what? You don't pay for that. You already have it. So when you have one, Keir and you bring in a second here, Okay, they got to do two different things, OK, they're going to do two different things. But for now I'm gonna disable this one. All right. Well, you know what? Just this. Remove it. It's just the idea that we're going to use to. And we're gonna bring in the 2nd 1 the 1st 1 as you can notice, even if you work. If you work in a new infusion in nature, on in any other compositing software, the approach is always the same. We are heading towards the final destination and every one of those. It's like the Olympics. You know, the Olympic Games, where you have runners, they run and they hold something, torture something, and then they need to pass it to the next one. And the next one is an article. And then start running is exactly the same thing. That's what's going on in here with the two key lights. Now this one is gonna take some information. Some information. It's not the final destination. It's some information. I give it to the 2nd 1 This is why the approach for the first key light is going to be different than this than the one for the 2nd 1 Okay, because the 1st 1 has an objective, it needs to reduce the number off greens this now takes us to talking about reducing the number of greens, the variations of green. Generally, we do something called the Garbage month. Okay. Garbage Matte. How do we do that? There are three ways I'd like to address video, and I leave. The tour is up to you, but I'm gonna recommend one. Okay. So garbage mats are done with three ways. The 1st 1 which is commonly known, is he gonna pick the mental? I mean, just come here and reduce this just a bit. You picked the eventual on. You say OK, the motion of the actors. If I just go through your video on the mission of the actual stop somewhere here. Okay, Noise. So I'm gonna just relieve this do like this, and we're done cool. So this takes away the greens that are not needed because there's the actors, don't get any closer. That and that green is just there to complicate the kids. Like especially that the corners tend to be darker. Well, when it's the lighting that is rubbish like this when it's even, it's a different story. But still, even when it's even, you want to reduce the number of green stuff the Keir has to deal with. This is one approach. Well, this says something we may use, but what I'm suggesting is something different. Okay, let me just remove this stuff, okay? What I'm suggesting is I cannot suggest him. Sherry, the 2nd 1 we suggest that that one the second way of doing it is embedded in key light. So you come here down. It's a source. Crops. This is well, it's not as good as your mental, but it may very well work depending on the situation. If if that's if that's what works for you, then it works for you. Edge. You've got the left, the right, the top on the bottom. This is source crops. So you're going to crop? Say, for example, this is the spot we don't need. This spot we don't need On the top one. I always go overboard with the top while it's nice. That's okay. Okay. This one. Okay. This is another way of doing it. It comes a square. Fine. You could animate it. You can only make that just clicking on this stuff and then animated based on their movement. Find you can do that. This is another option. You may want to use it. You may not want to use it, but it's there for you. Okay, so this is another one. The 3rd 1 would do when I'm going to recommend on. You could make any combination of these if you feel like it. The other one that I want to recommend is that I'm gonna use key light as a garbage matte, and then use the second keynotes a secure this one and the soul also die. Die. I should reset this one. Yeah. Lets reset. Cool. Okay, Daddy and I was that I'm going to use the Keir capabilities to create a garbage man on the garbage. Matte is going to be, um, exactly round our characters up our, um, our actors. Okay, so it's gonna be something like this. Let me show you how we do that. Okay, Number one, I am going to create another. Um, I'm just click on that. Sorry. Uh, on we go into double click like this. Okay, double click on your footage down here on then it's may open on the in the same top, so you could have two top story. You could have it here. Just drag it and put it on the right because I've already done it. That's what remembers the default Greece cranky and records to viewers. Whether you're in nature or the nuke infusion in wherever you are, it means to screens. I start to viewers. Okay, What I've got to squeeze in about about you need to viewers. And this one is the layer. This one is a composition. Now we're going to work on both of them at the same time, looking at one treason from another one on. This is how we're gonna do it. But for now, the layer, please make sure that you are always one step behind for the layer. What does one step behind me? Okay, view. It shows you here everything that we've done so far. This uncle points path. Generally you want to be one step behind, so I'm abused delights. Now I want to be with using uncle Point back. And this one we keep it as is, or it So what do we do? Which is going to go to key light here on the selective color And I think we're all the moment it is that simple the information about the color. What color you're going to pick is gonna make a difference. This is why the approach gonna take is slightly different. So let's come here for picking the color. I'm going to select something, but the choice itself is going to depend on some other things. Uh, of course, Number one view is you change to intermediate result just so that you don't forget it now just to get in the habit of changing to intermediate results. Because what? Because when your key in your working on the Alfa right and final result works on the colors as well, I want to work on Leon en Timmy on the Alpha. And that's what intermediate result us. Okay, so Jimmy results and I come here and select my color. How do I do that? I click on the color picker and think, Oh, that's actually quite easy. Why is explaining this? You go to the layer you press on alta. I haven't even click with the mouse. I just press and hold, see and you're able to move with the mouse and select the white, the white, the green that you need. This looks like it's clean. Well, guess what? I'm gonna click. Their other moments are explained. But now, as we said, key in the green screen is all about the Alfa. Can you see an albino? Because we need to get the Alfa so we don't work with the colors. We work with the Alfa, so I need to change to see the on fire. There are two ways on. It's up to you. I'm gonna give you the options on. Then you choose which one works best for you or which ones you feel like it to take. So view, um there is scream that well, this one is quite traditional. Yeah, just click there and they see the Screen Mountain to keep working. Fine. But this screen Matt, is only for the effect that you have. It's only inside key lights. If you want to see the screen, Matt, for all the effects once we have done because we're gonna have quite a few, we're gonna have quite a few. What you could do is go back to intermediate result and come down here to show channel local amendments settings on you select Alfa. This is another way. I leave it up to you. Okay? I'm gonna use the 2nd 1 but it's OK, because now we always only have one effect. So you could go with with discreet Matt here and we're also going to be used in What is it ? The statues as well statues. But that's not for now. Cool. What do we have now? This selection of the green just for you to know when you select light greens, they do not include, um they do not include dark greens. When you select dark greens, they include my screens or if we see differently, if you select saturated greens So light greens saturated greens, they do not include darker greens and saturated dark wins. Sorry. In saturated greens. So if you take saturated, it doesn't include unsaturated. But if you take unsaturated, it does include saturated. Okay. Okay. Why am I saying this? Because it has an impact on how clean your black is gonna be sorry and is going to have an impact on the edges. So the cleaner, the black, the more you hurt your edges. But you know what It's let's see now. How are we going to do that? Because the purpose of key light. Now that number one is not to key is just to give us a wonderful garbage Matte, That's all. A very tight one. Very tight government, good government. So I'm going to go with this one. So I have just selected this. I could I could actually I could, um I could go drastic, actually, on this stuff, I could do it. Yeah, let's listen. What I could do is go very drastic, Which basically means select the darkest. Yeah, the darkest green I have, which is somewhere here. I remember we did not create with the mental. We did not create the, um, article that the government would it would depend. We created it now. So what I'm going to do is make sure that I'm not hurt in my bitches. Just select something that is almost clean or cling. Okay. All mostly okay. And then I come here to Are the perimeters screen gained? Just do yourself a big favor. Stay away from this one. Stay away from this one. Because this is, um, not going to say that it is clipped black. Um, it's an aggressively black. So you'd rather use clip black? Because black gives you The option to make a U turn Onda screen game does not give you an option to take it to make you turn. Okay, so you can you can cancel the work of clip black, but you can't conserve the work of screen Green screen gained basically just cleans the black and give it Looks like Whoa, that's one of the four. It's all clean. Yes, you've just heard your edges and you don't know. OK, so quick screen game you can go up to one, 103 105 Don't go any higher, please. Okay, I can do that just so that we keep in mind that it's not not using it because it's there, but it's not exaggerating it. Okay, right screen balance is basically changing the kind of screen you have. If you have yellowish, you're gonna attempt to push it to the right of you Got blue blue, is she? I'm talking about the green screen background. If it's blurry edged any push it to the left. But we have just selected are color we find with that fine gonna move now to do we need screen pre Blore problem. I don't think way do. But just since we're talking about the Blur, there are two perimeters, and I wish they have named them properly because screen dribbler actually is blur Preteen. Okay, Pretty Ambler, you get blurred before you start keen. Okay? And there's another one. It should be somewhere screen softness. This is exactly this one. But after Keane, So I would I would have wished to have this one called, um, creaky in blur on this one. Screen softness is first team there. That's what they actually really are. All right, you come down to the screen mat and start working on the click Black on the clip White. It's the traditional route off. Work off cleaning your blacks and cleaning your wife. So what does it mean? Cleaning your wife's cleaning box? Okay, I'm going to explain these two on. I want you to understand what happens in the background instead of just saying Okay, I just Let's just reduce this one because there's this reduce its Yeah is gone. That's not what I want you to do. I want you to look, I wanted to do it, but at the same time understand what's going on in the background and what is actually the impact. Let me disable this. I'm just put it back to what? It waas. I'm gonna change to another green. Um, which has a bit more noise to explain this these two. Because this clip black and clip point, you are going to be used in more than anything else and click on this press old, I'm going to choose choose world something like this just to explain this one is Just explain this to right. I'm going to explain them with another effect. I'm gonna tell you how what is really happening. It's exactly the same. Mathematics. The same algorithm behind I'm gonna go to clubs like don't need to do that is just explanation to curves on bringing this clubs. You don't have to your dream screen work off. Okay. Okay. See, every time you add something, it updates here. View. No, I need to go back to my aunt Comport Mike reports Okay? Yes, I know we should go one step behind, but curves is not here for our work is just here for explanation about this is right. Curves has rgb but has also if I were working on the far right? Let's go toe over. What is this? This is black. This is zero. What is this? This is white. This is one. Okay, let's come back. Clip black zero Philip White where they say 100. The accurate number is one because zero is one. And what? I'm sorry. This here is black on one is white and it's important to understand that there are values between zero and one And these values are not white and they're not black there. What? They are great on their different values of great. Let's come back to our curves now If I This is zero, If I start increasing from zero, I am asked him after effects a mask in key light to convert the big cells that have a value . As I decide here. So this is now zero. This is one. But you have See here this stuff in here. This is not zero on This is not one. This is like I don't know what the 0.70 point eight and this one here is probably 0.20 point one on when you increase this, you are moving from zero to say for example, 0 25 Something like this. What have I just done? What? I have just asked key light to convert the pixels up to 0.25 20 between zero and 0.25. Make them zero. Make them black. That's actually what is happening in the background of cleaning it. But what does stuff mean? There was values. Yes, they're going to find them everywhere in the black. But you are gonna find them in theaters as well. Right on. Sometimes you need some transparency around the hair. And when he starts increasing this too much, why he's got this? You can see some great here. If I start increase in this, See, you may be able to see that level of detail, but I am getting I'm removing some of his hair. That is the denounced impact off. Let's go back off. Exaggerating lip? Or is it? Where is my fellow screen? Month off exaggerating. Clear Black. Although did exactly this about the same thing. Scream gain is about the same thing as a script black. But this one is more aggressive. This one. Once you do it, you can't go back. You could go back if you reset it. But I can get away with high values off Black of Clint Black by using another perimeter. But that's something we're gonna use in the second key or not now, not explaining it into second gear. Cool. This is what happens when you do it with the black and same story with the white. When you come here, this is number one. Okay, let's go back to something that's reasonable. Something like here. Okay. And then this is one. When I ask when I move this I'm saying the value 0.90 point 80.75 make them one. So the values of great are closer to 10.9%. Make them one. Okay. This is what actually is happening in the background. This is exactly the effect of clip Wycliffe Black. All right? And this is what we're aiming for? A Memphis off the days clean. Cool. Let's remove these curves. Because this was only for explanation purposes on. Go back to our directly Blackley points. Where is it? Screen Matt. Okay, now I'm gonna go and select a gain. A color, something like this. Yeah, I tend to prefer to have some some noise instead of because it keeps the keep some details in the inches. Although, yeah, we don't care much did this time. But, you know, just keep something. The objective. We know, Kim. I'm just remember, to Ukiah key light number one is not Is not making the the key in for the compositing is just creating the garbage man. All of this just for the coverage month. Well, I'm taking time to explain, but once you're gonna do it yourself is gonna take you for a few seconds. Just create the garbage, mother. Move on. All right, so I'm going no, to clean a little bit. The blacks, okay? We don't have an issue here. Um, there is a way to see if we have really cleaned the black, which is basically come back on select statues. And when I select statues, remember, I wanted to go back to RGB because I had Alpha selected on this side. I don't concede if it's clean or not. Let's go back. See, there's a big sale here as a pixel here, So status does give you more information. We may want to switch just to see if you're clean has worked. That's it. Okay. And then go back to my, um, to your screen, Matt, if you want it is the word for fun. Let's for fun change to screen math here and instead of doing it here. Okay, um, and then we move now to clip y it's clip boy is gonna do the same thing. Converting the value used off great are closer to one. Andre, that's kind off. It's You can exaggerate a bit. It's a choice. Because guess what? I want to have, um, clean black in a clear point, but this is very drastic. But guess what? Key light number one is not a problem. The 1st 1 is on a problem. Let's come back now to our intermediate results. What do I see? Whoa. See some ugly edges here and stuff. Yes, yes, yes. Were not keen or just creating a garbage matte. What is the garbage month? You see, when we have eggs and I've done it on purpose to exaggerate the clip whites. Why? Because when you exaggerate the clip whites, you cover your mouth and you go beyond you go off board. This is going off and I want to go aboard. The objective of key light is to go off board on because using the clear point is not enough. I'm gonna do it with something else. Come here. I'm going to use. Where was that was a screen shrink and grow, which has basically Matt if he used in. If you use in, if you're working in New York is gonna be died. Eight on Erode. Same thing for something for fusion sin. Think for nature. Yeah, eso It's dilate and grow on the road, so grow shrink. Actually, it's more. It's more English. It's clearer in after effects shrink and grow Going to shrink the map or grow the mat, which is exactly the same effect as much choker. You see this much over here? It does just one side of it. It just does the shrink. OK, so what does it do? I Let's see if you increase it, it gives us more edges around our view edges. But if you shrink it, you're gonna start taking away from your character from your actors. Okay, let's now increase this a bit. Now this is the objective. Off key light number one which is to create this This This is a garbage matte different than the one that you would do with dependable. Why? Because now you have the green on the 2nd 2nd clear, that's gonna come. It's only gonna work on this green over there. Is this enough yet? I think enough, I don't increase a little bit. But, I mean, the more you increased mrs this. Yeah, that's nice. Actually, it's OK. I leave it up to you. Depends on your footage. But I think this is This is kind of enough. Now what have we just gone? This cell garbage matte. So as they move, it just keeps moving with them because it's automatically keyed with them rights. Because it's it's It's the hour month that we have chosen on it. We have grown to Matt, right? Have we finished working with this one? Yes. We have finished working with this one on. The objective is to give this smart to the 2nd 1 Now I'm gonna now bring the second key light. And here we will start working on the real key and let me go back. Let me go back here, okay? I just need to make sure. Always. I must have behind because I'm going to select here. It's the same thing. I want to select the green from here, but I need to be on one step behind, so you need to take it from this effect. All right. Same story. Now you get you get it. It just come here into immediate results. Made it results. Yeah, And then you click on this stuff on you press old without even clicking on you. Yeah, something pretty. Okay, But then guess what we should be working on there. Should be working on the mat screen, Matt. So the Alfa. Surely with this one under this way? Yeah, it's, um you know, what is this is very disappointed. So despite what for? Okay, now what do I need? Well, it seems like I haven't done a great job, because now I'm not Dean, we don't even need to look here. This this party is black. This is coming from the 1st 1 I'm only worried about this part, So the keen wasn't done properly for the black. I I'm okay okay with that, because I may be worried about that, but my age is but I still want to have a value off green that gives me most over the black . I'm not saying all of it because it's gonna be a game drastic, but most of it. So I'm gonna go back again and selector selective values, something like deers. You know, I'm getting too close. Be careful. If you get too close to the personal, the object, you may actually be standing on the object itself and feel it's OK secured. That's black. You know what I'm doing now? I'm standing on the reflective object and that green is on the only object. So I just need to be weighing something like this family. But here? Yeah, this sounds like a good spot. I guess. What? Let me get closer on. We see better what we're doing back again. I'm sorry. And yes. When we said like this, it gives us a much better. Okay, I'm going to stop here, okay? Why? I've gotten enough green removed. Do you know this part? What is this this additional stuff that we have here? This is not the normal green. This is the mistake that we have talked about. That these guys are standing so close to the background that to the green screen background that the shadows are on their shadows on the background. So these are their shadows. So this darker green is not was not even on the background. It came from the actors standing there. Okay, I'm not gonna push my tear too far in the first step to take this one as well. It's fine to take most of this. I'm okay with that. Yes. Here. You see, 4. After Effects Green Screen Keying part 2: Now, the 1st 1 is key. Cleaner key cleaner. Now this kid clean orbit is is kind of a nasty one. If you don't know what you're doing, see what happens. Let me get closer to this guy without with on anything cold in a moment. I thought we cleared our ages. And now key cleaner that is supposed to come and clean. It has just ruined it because the default parameters And that's something you find quite often in adobe product that the fourth parameters are not necessarily good. So the first thing you want to do is bring this to zero point something or one. Okay. No. What does Key cleaner do we need to understand? Key cleaner goes in the additional. Okay, you are going to create an additional edge radius. So you're going to create Let's put your 20. Just so you see what I'm talking about 20. OK, 20. So you have created edge rages and you're asking keep leader to go and look for details, hair details, whatever other details outside the mat. So it knows it gets the mat from key light. It was okay. I get it. I got your Matt, but I guess you have some here. Is that you want to get back some detail? Let me do that for you. Okay. Additional aid radius is your most critical perimeter. It's the one that's gonna scare you, is the one that's gonna help you by default. It's 10. It's May work then, actually, but you need to start very, very low with one, probably with three. And then come to the hair. Now he's gonna help you better. Let's have a look. 20. See? Now we get more information with 20. So it's not really dark, dark, bad, but probably I'm gonna end up with 10 it again. But it's just a matter off making sure that we start. Okay. What did I do? I have taken away some of the hair, but I will come back. I will come back. Key cleaner is something you work on twice. The first time you said something, that seems like Okay, it's a good starting point on. Then you move to the, um, to the second part where, after adding all the other effects, you come back to it and say, Now it's time to see how much more here can I get okay. Rights reduced chatter. This You always want to have its own. Because what it actually does is it takes care off the jagged edges. And second, that chatter that happens when you start playing the animation that is not good are far. Contrast is when you want to add more sharpness to your edges. And strength is by how much do you want to apply this effect? That So we're planets. 100%. We're going to keep it like this for now as a starting point, because key clearing is one of those dangerous barometers. If you leave them to it. If you leave them at the fort is going to go to ruin your work on, then come back to something else now, which is a refine hard Matt. It wasn't in the combination, was it? No, but we need it. Okay. Refine hard month. We have a hard month here. Let me just apply this and then you think Well, got too many parameters here? Yes. And the good news is we don't need any one of them. Actually, you should turn everything to zero. Everything to zero use motion blur. It is able the only one who gonna keep is decontaminate ages edge colors and keep that to 100% or something you choose. Okay, so now let's disable. Andre. Nable disable. Enable. See? Now? Yes, I have some. It helps and doesn't help at the same time. But I'm kind off. Um, see the nose here. It creates a problem, but all the moments that's gonna be sorted in a in a while. OK, so that's number one. All right. You have three updates. OK, that's one refined hard Matt on. Then the next one is going to be to add the spill suppressor. You see that? We are like Logan thinks we still need to work on. I know. I need to get more hair detail. So in, ERM, coming back to key cleaner. I know that when I added refined had Matt has solved some problems, created some new. It's fine. I'm lugging this. I'm coming back to this and then we have what we have a divorce feel suppressor disadvantages suppressor Here on it takes away the additional green, which is generally to be found somewhere into reflective. See? Reflective. Yeah. Do you see her? This reflexive area here without with 12 all space. For something you need, you can choose between standard method and filter. What's the difference? Like the real difference, as in visibly is standard, this darker bill tries lighter. Now that depends on your background. Because my background is going to be, um, is bright. I'm gonna keep it bright. Okay? Because this background over here that we have seen project this one. This was quite bright. See? Okay. See how horrible it is now? We still it's what still work in progress. Still work in progress. All right, let's go back to our to our fine tuning off the edges. Okay. What do I have here? I have a key cleaner. I'm going to go. Weird seven. I'm going to reduce this one to 50%. Okay, I'm taking just 50% of the effect. All right? This solves the problem that we see here in the nose. I am going to let me see. Do I have just victimisation? That is just victimization. But I do have an extra edge here, which came from this one. So you know what if I had this running at more edges to see the her detail do I get the hair detail? Yes, but this is the problem with, um, Are you gonna compressed footage? H 264 footage. You you get closer and you see pixel ations everywhere because it doesn't have enough color information. Okay, so you don't have any green spill you don't have. Okay, We have a math problem here. I just have a look. I do have some issues with transparency around here on this comes from I'm good luck here. This comes from our clean key cleaner. See? So this is why it's important when you are too weak in this fellow that you actually pay close attention to your edges because it's about the edge. So I'm gonna need some details. But I warned the rest. OK, that is all for contrast. Let me increase this to have sharp edges. It's it's rendering here at the same time. It may not work, but it's an option we have. It's a bit too much. Maybe I'm giving here 20. Okay. All right. This is with a compressed footage as good as it can get. All right. So what have we done? We have, uh, used this. This should be you should go back to while just walks. Many's explanation, perhaps, is going back to the light one. So we have used this one only for garbage. Matte have used the 2nd 1 to key the additional green. We have, um, refined them out. Sorry, we have introduced key cleaner, but then paying very close attention to the edge and probably just using just some of it. Andi refining the hard Matt because the edges, we don't need all of these bells and whistles. We just need to decontaminate. And sometimes sometimes you may get away with refined hard, hard Matt without advance with suppressor. But because we have reflective objects, we needed to have advanced space oppressor as well. So this is what we have now. Now I don't Yeah, I know. I'm going to bring in my background and we all go into do some just one final step, which is what do you have? Well, im just close this one. Get this close. Okay? When you have a background in the foreground, you want to get them to match somewhat in terms off brightness in terms off. And you know that this video we talked about this one of the mistakes. Poor writing, but poor lighting on the character from the actors. No, I'm gonna have to add some brightness to this. So I come here now it's just a matter off compositing in match in brightness on check. You could choose any color correction effect you want, but I'm just let me see. Because I know exactly what I need. I need, um sorry. I need the brightness and just closed their stuff cause it's I don't want it to just the brightness. Okay? I need a branch test. Brightness in a bit of contrast. So brightness I'm gonna brighten the four ground parts. Too much thai is too much Now she is good. Is good. Okay, this is good. 20 is fine. 20 is good because otherwise it doesn't. It's not believable because this this background is really bright and probably I'm gonna add some contrast. Why? Because it Brinks Although to compressed footage, I may bring some details weighed. See, this is much better. This works much better for the for my colors. Okay, this is do in green screen key. And this one of the ways of doing grease cranking using key lies in after effects 5. Nuke Green Screen Keying: green screen keying in New York studio. OK, on the left. Here we have the tools on. We have the Keir tub. We have a few Keir options prime at key ites Ultimate. You've got also the I B K gizmo on I b k color the dio that works with the image based skin . Ok, now, which choice are we? Go now Because I want to get nuclear a little bit closer to the users off after effects. I'm going to use key light. Okay, but hold on a moment. Generally, when we make way have green screen Keen. We use several tiers and we ask each one of them to take care off a particular aspect off the image. Right on. This is exactly what we're going to do. But we're going to do it too wise, would key light. So we're going to combine to tears both of them key lights. One of them is gonna take care off. One aspect on the other one is gonna take care of the other aspect with generally. What kind of aspects do we care about when we want to split? There are different things you want to worry about in terms of split in your image. But generally, you tend to care more about the split core edge. Okay, so the core matt on the edges require different approaches, so you cannot do it with the same care. All right? If you can, you can try. You're gonna end up with something you don't want to see, right? Because it's a compromise. You're hurting the the matter the core, Matt. And you're hurting the edges. That's the final result. So why don't you just get you yourself to tears, even if this the same. And that's why we're going. What we're gonna do is I'm just bring them now. He likes him. That's number one on the brink. Key Light number two. Right. Okay, I just increase this a little bit on. We get key like number one. Killer number two. This one number one is going to take off the core. Matt, the core Matt is important because we should not have any transparency in there. What does that mean there, bro? Shefki, lighten. One is going to take it is going by drastic. It is not going to care about the edges. Actually, it's going even to remove the edges because we don't. We should not worry about the edges when we're working on the korma key Light number two has another task. It's only the edges. Only the edges, nothing else. Even if key light number two seized transparency in the core Matt, it doesn't care because it focuses exclusively on the edges. So this one is exclusively core. Matt exclusively edges where you add them together. You get what you get. A beautiful Matt with the edges under core together. Okay, let's do that. But the approach is an advice is gonna be different, actually contradictory. So the approach working right Number one is contradictory with the approach in here. So whatever advise you here for this one? I should note circumstance whatsoever. Be applied to number two on whatever advice you here for key light number two should in no circumstances whatsoever, be applied to key light number one. We are talking about two extremes. All right, so let's start with the light number one. I'm going to do something drastic here. Let's just connect the source and then press one to get the key like, Okay, where does key light between brackets, please? when you're working with two years off the same family have a key like number one and number two. The last one you add is the last one is the one that has the properties open. Now, you see that I have this one selected in here, and I was about to start weekend. But then hold on a moment. This is Kilo it. Number one on these hair. Say skill at number two. So I want you to get in the habit off. Close in completely the properties. Andi. Reopening. Yes, it looks like an additional step. But this way, safer than two week in all the stuff and then realize that you've just seen working on the role here. Okay, Because the node graph the properties under viewer our independence from each other. When you select something here, it doesn't update here, and it doesn't date here. Okay, so it gives you flexibility, but at the same time, you need to be careful with that. I close there, the brackets, and then I go back to my drastic approach for key lights. I'm going to start with something that generally is advised not to do well. Let's first key. Select the selective color. Okay, you click on this color picker hand, you do what you come Press control and click. Now you can keep clicking but while do now is just release I don't want you to get in the habit of just yeah descript click somewhere. That's not how we do it. We don't click somewhere just like that. We need to do it. We need to click No, in what we need. So because key and works with Al far let me switched off. How did I do that? It just best eight on the keyboard. Or you can come here on select Select the Alfa McCain set off rgb you just said OK, good. All right. What do we have it all? Sorry, this one since out of the RGB. Doubtful. Okay, What do we have now? So this is the selection that we have made? No, I did not make this selection. Actually, I just wanted to activate the Alfa. Right. What happened? But it's really good to see. Let me just increase this once that we see I know it's not high resolution Thing is just a thumbnail, but it helps to understand you see that I have chosen. Okay. Clearly, the footage is not that have chosen is a very big bad quality. It's a stock footage. This has five mistakes. Five phenomenon mistakes. This footage has been five alone mistakes. You know what? Let's talk about them quickly. And then we come back here and Mary said, this skier here and go back to the RGB very quickly. Phenomena mistakes in this one. That's a stock footage, just not our project. So I'm just chosen. I've just chosen this one to show you how hard it is when you make such mistakes. Number one um, it's not even in it. Right number to the actors are too close to the green screen. You should have a few meters away from the green screen to avoid watch of despair. But also the would they the shadows. So what is this you got? Shadows are endless. You. Your intention is to replace the greasy screen screen with a three d wall or something, and then you want to have the shadows. That's a different story, But still, when you are using a Keir that is different than I d. K on, you don't ask for it and you don't have And you don't have your own clean plate. Then you lose in the shadows anyway. Okay. Number three The we talked about the 1st 1 the lighting. But now the lighting for the actress is poor because they're using the same lighting for the green screen. As for the actors, if they don't have separate lighting because they are so close to the green screen, right, so normally should be far enough. And then the green screen is lit separately. The licensee use for green screen are not the ones that you're going to use for the for the young, for the for your access, you could even have different temperatures on the lights that you go. Where'd cooler for the green screen and warmer for the actors. But you're gonna have you need to have different lighting. So this is number three. Number four is what was there before the before is the compression. This footage is off. Rubbish quality. It is H 264 The effects green screen key and the biggest enemy of the effects and rescreen keen is compression. So when you're shooting, please these are role or Florence. High quality stuff. Don't go. Any word of 42 thin bits. Don't go anywhere than 42 to 10 bits. Okay? And there's another 50 mistake. I don't Yeah, the fifth mistake. Don't know Tracking markers. There are no truck in Marcus, but okay, we have close not the the square bracket for the the records for the five mistakes. But the idea is that I'm showing you and demonstrating a technique robots technique for rubbish quality video. But this is not an excuse that during your field, then you're gonna come with rubbish quality. Okay? You're inhuman. You are going to make sure that you have something off great quality because compression is losing caller information. Anteon is all about color. Okay, right. Let's come back here and do again. Our lovely color picker Control selector, Time control under select. Okay, you press control a new crescent color picker and then pressing here when I select a light . Um, I'm just press it again. This is OK, because it's not even real. It on. That's poorly. It actually not just evenly. It's delight. There's only one light here. We can see that this bright here and it's less bright. Here's let's right here that there are no lights on the right. No lights on the left, Its exact typical mistake you don't want to make. But it helps us understand a few things when we work on footage is full of mistakes. He helped us understand. If you thinks what did I select off selected the light green when I select a light green it select What? The light's green. Okay, that sounds like it's logical, But hold on a moment. Let me go back. I let me try something else. This is dark, right? Okay. Let me come back and select the stock one, uh, just control. I don't select this one one more time. Okay, let me select. This impressed me, right? We're just happened when I select a dark green it dense to include with it delight greens they so light green or saturated does not include dark and saturated but dark. Unsaturated, once elected does include light on saturated But of course. And when we selected here we have just selected one flavor off the green. We still have some noise. Okay, so let's go back now and say which one should we choose. So what we have we have here, Um, just moments. What, mark time. Okay, So what I'm going to do is come to darkest to the darkest green I have. I think it's somewhere. All right, when I do that, I have selected most off the most of the off the greens. But I still have some noise in there, right? Still, Absolutely. So I'm going to go to the advice number one, which is opposite all advice you've heard so far. Generally, my advice not to go too far with the screen game. Okay, screen gain is going to clean this black, but actually, you should do that. With what? With the clip Black. Well, I'm going to do is do exactly the opposite is ongoing. And exaggerate this one. Let's go away. Don't six increasing here. Increase the screen, gain to the point where it becomes crazy. Okay, so I got here, like one points 17 which is enormous. You should never go anywhere more than 1.3 1.5 to the maximum. Um, so but in this case, it's different approach. What did you say? Key light number one does not care about the edges. And what happens when you increased screen game? It gives you clean black, which, actually, you should have worked on using the clip black. But it gives you strictly clean black by hurts your edges a lot. The light number one, by coincidence happens and not to care about those ages. Okay, so we moved down here to the next our meter that we're going to tweak on. This is what this is the clip white Because we need to have this solid. Now. What is the mission? The reason off existence. What's the task Off key light. One is to make sure that this is solid. So, um, this is cool. Completely unacceptable. Having here his shirt with light greys are transparent. This is absolutely the mission of Kalak newborns to give us a solid white Not care about ages, yes, but solid white. So we're going to go to clip White this clip black, which cleans the blacks on clip point, which cleans the white stuff. What does it really do in the background? Because I need you to understand mathematically what happens? Not really, that I'm asking you to understand the mathematics behind it. But what are you really doing when you're pushing these sliders? What are you really doing? Now you notice this. There's a number here, black, and there's zero that wasn't theirs. One. Why? Because black zero and white is one. What does that mean? This pixel over If I just stand somewhere, this pixel is zero, right? If I go here, this is These are whites. This is white. Okay, so these are zeros and these are whites. If I then start going down from one, this is one. The spaces are one. Okay. Such sort of zero and one one means if I bring this one a little down, what am I actually do in? I'm asking Newkirk to go down to the pixels that have a value off Seo collect Mr Stop at 0.8 value off 0.8. What is your point? Eight? It's light. Gray is the greatest closer to the white. It's the greatest closer to the one. I'm asking you to go down from the one and go searching for those light grays that are closer on and convert them into one. So anything between 10 a to bring it down down, down, down, down Until until I don't care. I just needed to be a white. It doesn't mean I'm going to exaggerate. But all I need is a white that sense. Now we have gone way far, but not way too far. We need it. We're gonna keep it. Fine. We're going to find Can you see here this rubbish stuff over here working? This needs to be cleaned. But I'm not saying cleaning as in the edges on same cleaners in the board. The the background. Now this part of the edge I don't care about but I do care about this one which is floating in the background, cause this is gonna cause a problem. This is not edge because it's disconnected from the edge. This is edge. I don't care about it. OK, so we're going to need to clean that. Come away. Can you see this? This is a problem. This is a problem. That's what was said when we increased Greece screen game. Maybe it was not enough, but it's a good, good opportunity to use another bottle. Me tell it is clear Black on. We're going to do it right now. Okay, let's first make sure that our point is working properly. What? All these things I press on A These are reflective objects. Andi. Yes, even if you are far from what this one is even worse Very close to the green screen. But even if you're far from the green screen, reflective or breaks do reflect even if it's far. So if you have shiny shoes, if the actor has shined issues, it is going attractive. And if you're four meters away, it is going to reflect. Okay, So what is this stuff? This happens to be in the edges, so I do care. But not so much because it's in the edges. I can help a little bit like this before the rest. That said, anything closer to the edge is we have gone way for. But then I generally do not care because Collide number one OK, delight number one doesn't care because the edges are so know what I've done is really Can you look at these edges? They look horrible. Well, guess what? We just don't care, right? Because we care about the korma. This looks solid. This is good. No, this is no women. When I increased the white. I have started converting this well with this word. Is this one come from? Where did it come from? Because we thought we clean the black. There's a trick, actually, to see if you've really clean the black or not. You're going to activate this. Why? Which is toggle a gamma. And then when you start increasing it, you be able to see that. Actually, you have No. Okay, This this we should have done actually, even early after that. But now this is a what's left because of Kim, all the other grays. Um, this is one way, which is like, just to increase the gunman to be able to see what you have. You know what? Let's just just do it. Is doing what? I'm gonna reset all of this stuff because I need you to be able to work with this one. I just go back to normal. Grandma limits a selector. I'm going to select the same thing as quickly. No, go armed, select. Write something like this on. We go back to the offer. When we said we have increased the game, the screen get until it has become crazy and we said OK. Yeah, probably. It's came. Wait, Hold on a moment. Is it really green? This is why I said probably It's good to have a look at the Y in here when you start increasing it, you could end up with some Nazi things in your but it in this case 1.21. The last time I've stopped at 17. But now it's like I've cleaned it all. Okay, This is what you may end up, not see. And if you don't? Okay, let me just show you the example. 1 to 11. Something like this gives you the impression. Okay, this one 1.17 gives you the impression it's gone. But when I click on why and I increased the Gover, I can see that system stuff there. So this is a trick if you want to see if it's cleaned or not. Okay, so let's go back now and we're going to um Yeah, it's a good opportunity to work on the clip, blacks. But now let's bring in the whites again. Where were they were? Where they here. Okay, Then we increase the black. But what does that mean? Black. Same story same story. What do I have here? This is this. Pixels are here. Black, which is zero. I have light grays. I started darker grazing here, but these are not zero. I'm going to increase this a little. Which basically means I'm asking you to go to pixels that has your upon 06 has a value on convert Dementor zero make them black. Okay, so I have no taking care off this. Let me just go back to my wife's and make sure they're really, really, really white. Cool. Okay. Those edges, all inches. We don't worry about now. I really have very, very nasty edges. But that is not a problem. Okay, this is done now. Anything. Well, hold on a moment. You can't do this. Of course I can, because this is key light one. It has worked on the Alpha on the core, Matt. It has given us corps. Matt. That's it. The game is over. It needs now to give this information to key light number two to work on the edges now delights. Remember, it is gonna work on the edges independently, taking it from the source. But the offer, it will take it later. Okay, but before we proceed any further, there something else that needs to be done. OK, When he comes to given this Alfa, this is not This is not clean this. Yes, it has given us clean, clear core, Matt. But we're not going to give the rubbish edges to kill. At number two, we need to remove the edges. So step number one is get yourself a solid core, Matt Step number two because it's not kill its business, the edges, and it has ruined. Um, it needs to remove them. What does remove hedges mean? Okay, we come here down and there's something cold screen dilate. Okay? Screened. I laters, basically is dilate and erode, which is like macho career. If you're familiar enough, their effects my choker di late is inflate Theo opposite of dial. It is a road which basically means if I go down, that is a road and that's not violating. So let me show you. If I bring it down, I'm just eroding the mouth. I shouldn't be doing this. This is not taken off ages. Visiting a lot of your coma. Let me go back to zero and then we're going just to remove the nasty parts. Okay. Nasty cardamom. Got some floating pixels here. Designer like this. That's a big Sussman's. I need to go a little bit higher with my screen, Guynn. Good. Well, it's like this 1.21. Yeah, it was the magic number. Cool. I see these edges. We don't want them. What I'm going to do is erode. Don't go off Ward, please. With a road in? Yes, we need to remove the edges. But sometimes you hear people saying minus stand minus 30. That is, that is not gonna help you. That is not gonna help. You need just to relive those nasty edges. What's an edge? It is. Energy can't be 30% and edges, not 30%. So you don't want to go any higher than minus tree. So any lower which basically don't push further to the left Any lower than mine street. Let me see. Minus two. We may have some will see things. And especially this was making ministry make us minus um minus 2.5. OK, nice. What have I done? I have removed. Okay. Monastery. I have removed the edges. I have core Matt. It looks ugly in the edges because that's not what we care about. We just care about the korma. The edge is something that the other one is gonna have to work on. Cool. This is done. Step number two under step number three, Which is? It needs now to give that information to key light number two. How does it do that? Simple. Have you noticed? Remember, there are few advice spaces that you hear about key light on you. One of them is she should never work with the final result. We didn't even care about this when we were working. Did wait. We didn't care. We didn't care about it. Just wouldn't give up. The final result. Didn't care about the screen game would just increase it. Like how we did whatever we wanted. Because the approach is quite simple. Give me a core matter, period. Allow advice you've heard so far Does not apply. Giving the core math and that's it. But when it comes to lose in the off dd matt to another Keir Yes? You need to change from Final two intermediate Onley because you need to pass it over. All right? Yes. When you work on the key light number. So you're gonna work on intermediate, actually gonna work on different ones as well. But for the 1st 1 we didn't care. We don't care. We do now. We finished work. We need to pass that information. We need to select intermediate results. Okay, Not because no for key Light one, but to pass the information to kill that. Never. Okay, now that we have finished this part, let's come back and select what's elect source and connected. What happens? Actually, when we do this, when you gonna give you intermediate results and we connect this source to the key light here, let me just come over here and rest one and go back to all That's That's really nice. This white is really nice. Exactly what I wanted to explain. Okay. What happened when we connected the source? Did we not pass the information of the offer? What? We've just spent quite some time working on our Matt on. Do we have an Alfa? We have removed? Yes, without the edges. But we have a known for What is it gone? It is in a waiting room. You can look at it that way you can think of it that way. It's in the waiting room. Why is it in a waiting room? Because key light number two has never a knowledge received off any Matt for a simple reason that you don't only change the parameters in Keene. Lighten of the one you need to change the promises and kill a number two as well. So that get it? It's not just about giving. It's giving and receiving the given parameters. We've tweaked in kill at number one. But the receiving para meters have not been said in Collide number two. So what happens? It's somewhere in between. It is in the waiting room. It is. They're available for use as long as we change the parameters. And key Light number two. OK, so it isn't waiting room. We don't care now about this one. Kid. We got from key light number one. Leave it in the waiting room. Gonna work on that later. We come back here, press a and we are going to do the work as if we started from scratch. Because we need to start from scratch. Why? We're gonna work on the edges and only on the edges. All right, so now I'm going to close. Get in the habit of closing, cause otherwise gonna start to weaken your key light number one and ruining it. Close. DoubleClick. And now we're going to start working again. As if we've never worked on key light. Number one Control. Sorry. Keep control. Breast Onda. Uh, we're going to select what? Not the dark greens, but now somewhere softer somewhere. Like a little bit here. Okay, let me go today. This is a good start. White, when you select the dark greens were said that you heard the edges. The cleaner. You're black, The more you hurt your edges. That's a rule. So we don't want to start from the beginning by hurt in the edges. Because key light never to only cares about the edges. This is why we need to go a little bit softer. Go for Unterman. Idiot value. Where you think I have a lot of noise? That's a good news. You started. You see, you got a lot of noise in the black. But that's the good news. Tell you what, I'm going to make it even worse. But I'm going to make this war going toe work on the engine. See, I'm going to make it black going to make it black. But I'm going to do it in such a way that is so gentle. There's a gentle way. And as the key light one drastic way, let me show you the gentle because the generally works only for the edges. And it's not gonna help you for the corps, Matt. You're going to see we are goingto have lost the transparency, but we don't care. Okay, so let's work on this. Edges. There is a lovely perimeter. A wonderful that is your friend. That's the magic. That's your key. That's your secret weapon When it comes to edges, when you go this route, when you go this route, there's one that's called clip roll back. This is your friend. So what is it? What does it do? Let me explain. Once we start working on the stuff scream game. Okay. What do we do? We don't touch it. Okay? We don't touch it for fun. We're gonna go with 0.3 like the maximum. Just tell you, OK? You can do it. But you know what? Don't go any higher than three or five maximum. Like if even if you have nasty background. Um, I would even recommend you stay with one. Okay. About for fun. I'm just doing 10 for three. That let's move now to flip black. Now, we're not gonna do screen balance. You know what? Scream balances. You're actually changing the color that you have chosen, but we don't want to change the car with chosen. We have deliberately chosen a color, a particular green. That gives us a lot of noise, but at the same time keeps our edges. See how lovely the edges look. What? I know they're surrounded by noise, but they look lovely. You don't have those. There's okay when you get closer to see some big sales. But that's because it's a compressed footage. Right? I've given you this. This technique with a compressed footage was very backward. Is that you? See that it works again. Again. Not an excuse to work with bathroom. Right? So we're not gonna touch screen balance in any instant. Any circumstance whatsoever for key, Like the mature Well, clear Black. Yeah, we have to do that. The black is the ultimate unclip. Quite clear. Black under ultimate para meters when it comes to clear in your mouth. But now I'm gonna do it in such a way that I go a little bit like this. Go up, Go up. Yes, my hurt in my edges. Yes, I am hurting my edges. Beholder moments. That magic trick is still coming. It's no magic. It's mathematics, actually. So increase increase, increase, increase, increase, increase Until they lost pixel. And not more than that, the last pixel is gone Going okay, All right. What have I just done? Well, it's a little bit like what we've done for kill at number one. Yes, we've taken a different route, but would just underdog with something similar? Not exactly. When you work with clip black and even if you go that far, you have the option to roll back. What does roll back actually really do? While it's may feel like canceling what you've done and go in backwards Yeah, like making a u turn. It's making a U turn in a different way in a beautiful let me exaggerate clip roll back to show you the beauty of the work I'm gonna push it way hot. Can you see we are? Yes, Rolling back. It's like canceling returning on the work we have done in clear black. But where did we start? We don't start just anywhere. We start from the edges. What's the beauty of this trick? Is that okay? Now we need to bring it back to two. Ah, reasonable. Is that you can go back on leaf. Fold the edges on this way. That's it. 0.8. Sounds like enough for me. Okay, so this is how we preserve the edges. Basically, we're going to roll back. We've done. Wait. I've got to transparency here on the shirt. This looks nasty. It does look nasty, but guess what key, Like number two does not care because it's not his work. His work is only from the edges. Have you worked on the edges yesterday? Look gorgeous. Absolutely. What gorgeous means? Just up. What happened? Turned them basically. All right, So this old what is this? Well, this is part off the roll back. What have we done? We have used up to 0.8. Book qualifies. Not gonna help us enough to see what we're doing. So we're going to go a little bit down 0.7. We could end up with 0.45 for seven, 35 even. But the idea is that we all go into at what we could do. But we could absolutely do is, um, die late, erode. We could I'm resisting resisting the temptation to go way down on the roll back. But you could You could do that. But I really prefer not to. So I will do instead. Is staying on my 37 or four Onda erode instead. What have I don't What am I? Don? I've gone beyond the borders off the edge is now I've got more than the edges. That's what's going on when you work on all sorts like press a somewhere. Yeah, When you look at this, it looks great. We've just gone far beyond the edge. We've worked so good. So we're on the edge is that we have added more engines to the edges. That's not good. So what I'll do is yes. I want to roll back to the maximum I can, but the same time not, um heard the edges. I'll just do it manually with screen erode. Woodmont DiNozzo is gonna be like this one. That is way too much. Minus zero points. One. That's not enough. Minus 0.5 ish. Okay, I get the idea. Minus zero point eight. Probably was that one, maybe nine. Okay, let's go with the nine. Let's go with the with the one. Okay. What happened? Though? I have restored the edges and I have gone beyond my edges because I have to make sure I work on the edges properly Off. It's like I've covered them on, but I've gone even further, but to push myself a little bit back, I have used erode a rodent. Not touching the edge is just the white line. That is the nasty lines surrounding it. Well, what do we have now? Edges are clean. See the shirt here. That is really, really doctor inspire Insee. But you know what again? Yes, I know you know it by now. We don't care. Cool. Now comes the point where we are going with finished. We have finished working on the edges, right? We're finished. So the light number one has finished doing its work with step number one. Finished doing this work with school one cor Matt. Number two is removed the edges because dish tonight will be used. Number three is change View Teoh Intermediate that it goes to the key like number two now key light number two has step number one, which is work on the edges and has step number two, which is receive the other far from key light number one. Let's go and get that cool. How do we do that? Number one we need to go to here. Screen combined, Matt. So we're going to combine Demotte. That's combined, Matt. Okay, what just happened? Although the moment we have a few things that need to be tweaked because when you come down here inside mask source Alpha, they say ignore. Now I don't want to ignore its We've worked so hard and kill it so aggressively on killer number one, but we don't want to ignore it. This is why when you ignore the on farm the first key light output, what is coming out of key light? One is coming out opaque because we're ignoring their own followers. Should not do that. We should take into account off. So add inside mask when you add to the inside master, then what happens all in a moment. Let's meet Change this to compose it, right? Okay. No. When? When we work. Okay? Composite When we're going to come to To out both. Ok, we're going to however, now let me change for you. Source. BofA ignore after inside musk Ignore. Are you inside Mosque? See? What do we have? We have the core, Matt from key light. Remember that one? And we have the edges from from kill at number two. This rubbish work inside in the corps. Matt of Kill at number two does not matter anymore because we have gotten the mat from the Cormack from kill at number. This is now inviting that. Remember we put it in the waiting room. Now we have opened the door of the waiting room and say Come over here. We're using you. Okay. Now are we don't know there's another step. Step number three if you just keep it in mind. There are three step 6. Natron Green screen Keying: green screen keen in nature. On now, on the left. Here we have a Keir topped with a few notes. Now the question is okay, Which one should be used? The biggest question is, actually which method do you want to use? And I would like to address two minutes with you. The first Met. That is where you have chrome. A keer fuckir on the Keir. And you notice they have what they have a color picker. Okay, so this is generally one method. There's another method which is the pick and pick color. Now, this is a deal. You use them together. Okay? Sometimes you may end up using just big, but that's when you really have done great work during production. I'll explain why, but generally used these two together on this method is not based on picking a color but based on the clean plate behind the foot that the background behind your actors. Okay, let me explain when you have a green screen here, okay? When you use a kier or ah you care or chroma Here you are selecting a particular color, you say Okay, I want to sell like the green. Then you may be thinking. Well, that's is it not what we're supposed to be doing? Yes and no. Yes, we're removing the green and no is. What I recommend is something else. What I recommend is this method, which is the 2nd 1 which is quite brilliant. You can always go with those fuckir Keir and Kramek. You're fine. You could always go do that. This is a traditional way of just selecting a color and then increase in the variation using the perimeters. And then you start widening or narrowing the variation of green that you want to increase so that you want to include so that you cover the maximum green or all the green that you're having here. But what do you have here? You've got light green up here. You've got darker here. It's not really evenly lit. So this is closer to the young. Like this is a bit darker. This is a bit darker. What is this? This is shadows. We've got shadows in there. That is not good. I have chosen deliberately this footage, which is a stock footage. We haven't shot this. This is stock footage. It has got a few mistakes in there, but it's really important to address these. I think also, in terms of quality, I've chosen this really rubbish quality video. This is stock footage. Thing is not broadcast quality. And when you shoot your green screen, I know I'm often a few, um, brackets here, but it's really important to address them. And I'll be opening quite few brackets as we go along with the year Greece Creek in because some things are really critical when you come to post production. Now you've got shadows here. Not these guys shouldn't be got close to the, um, to the green screen. Maybe thinking we're OK. Should we just talk about keeping our to the green screen? This is the reason why I am talking about this, because when you are going to use pick on pick color, you it is gonna help you. Yes, but there are a few things that need to prepared your production. When you key using chroma key here, you care or care. That is. I wouldn't say it's gonna be a nightmare, but it's gonna be like, Okay, you're asking one Keir to take away this very light, bright saturated, one on this dark unsaturated one at the same time without hurting your edges. That is asking too much. Okay, right. So let's go back to the choice between the methods I'm going to recommend using pick and pick color. Okay? Why? Because most often the not during your production, you're going to end up with something that is even Lillet. Now, I'm not saying you're not gonna do you work properly. You're going to your best, but sometimes even. Have you seen the movie? The Martian, please. Google movie The Martian on Google, the green screens, green screen set on green screen stuff. They have a huge, huge green screen backgrounds and these are different now. This is the things like reality is such that you may be using different backgrounds because you have to feel the gaps. You are going to use the wall behind the Martian as a huge come into two key out the whole landscape behind him on to replace it with space, like just black stars. And stop. That is a huge thing. Plus, when he when you when you have the frame from the cameras down looking up to him, you have a completely different one on these Greason off the same. It's fine. So this is why I'm recommending this pick pick color method because it's fine because this is reality. You're gonna use different backgrounds, and so of those greens are gonna be different. And in one of our shots, we just had different green screens for the simple reason that these products are different . So what that is standing is in one color in a particular green on. Then you've got another one which is rolling in another green. And then I've got another one, which is handheld, which is another green. It's all green, but disk ear is gonna have a tough time a dot You could have asking too much. You are going to use the skier when it is almost perfect. No, let's face it. It's almost never the case in reality. So this is why I'm recommending and I'm gonna teach you this big unpick cholera. But which is not about selecting a color. You are not going to find this color picker anywhere. So when you when we start, you're going to want to find the color picker and then select you select the green. It's not there because it doesn't care about the color you selected. This tells you I am going to remove your whole background. It doesn't matter how rubbish is now. It's not an excuse to have rubbish backgrounds. Okay, You need to like them evenly. Need to do your proper work properly on proper work properly. You need to make sure that all what needs to be done during production has been met. Old conditions have been met. And then when he comes a post production, it is gonna help you. Now let's now come and bring this. Fellows, this is Do you know that they work together? Let me talk about these two, right? Okay, so you've got big color and pick. So why? What is this big car? If if we're talking about, we're going to remove the color, going to remove the background. So why is it called big color? Right. Okay, so this big is your normal cares So many arrows. Has it not plenty of arrows. It does brilliant work. I'm gonna show you why this is your role here. This is the one where that is going to remove what needs to be removed. Okay, I'm not saying really of the green. I'm seeing remove what needs to be removed. And I'll explain that when we come to the big color. Okay, what does this one do? Let's go one step before. Okay, once that before these two nodes are going to ask you a question, they're gonna tell you. Do you have a clean plate? You want awesome. Like these two thes two notes speaking now you want us to keep your green screen to remove your background? Fine. We're gonna do that. Do you have a clean plate? It's not a condition. This is not a bad news. This is not. Unfortunately, you need to have a clean plate now. It's great if you have a clean plate, then despicable tells you okay? You don't need me cause you already have your clean plate. Chances are you're not gonna have it, But please, when it's possible, do have you clean plate. Because this in that in that case, this method of big is gonna offer you stuff you will not find somewhere else. I'll tell you what that is. Imagine OK, imagine it was shot properly. This one shot properly. This is gonna have mock tracking markers, right? You got tracking markers. Plus it's human as human. The shot has the ground on the ground is in green screen and got the shadows. Right. So the shadow I'm not talking about these bad shadows. I'm talking about the good Chandor's because when you walk on the floor, on the ground, on the ground is green screen. Now, generally, I know that when we're shooting green screen, we try to have the maximum off the environment that the actor is going to interact with to be really, really as in as it's supposed to be in the film. So the ground needs to be created to match the world that you wanted to be in the film and only key the war Something like that. This is really preferred. Otherwise you're gonna ask too much from a cure. But still, if you have the ground as green screen and you have shadows, this method is gonna give you your shadows back. That's a gift. Why? Because they tell you, Thank you for giving us that. That is, if you bring the clean plate with you, right. Clean plate means you're gonna ask these gentle thes two people Can you please move to the side? And then whatever your whatever your background, is it gonna shoot it as clean? You need a clean plate. Why, That you're gonna feed this clean plate instead of this one. You delete it and you put it here. So this belongs here. Let me just put them where they belong. This one belongs here. Yes, I know. We're going to find some weird stuff going on. I'll explain. I'll explain with all this stuff. What I do now, I will connect those notes and keep explaining, because it will make better sense for you. Right. So let me connect this. This one is going to be connected to this. And then you got a background here. Got a foreground. Okay. Don't worry about this one. This stuff is about the frame rate difference between the project on GM on the foot is that we have brought in stuff that we should change in the project settings or change the frame rate of this one. That's a different story, right? So we got the foreground in here. Same thing in here, Okay? And then I've got a merge node because what? Because this key year is a cure. It doesn't compose it. So we need to have emerged. No two composite, this stuff and then I've got my be here, Alex, by Novell's don't worry, but I'm trying to set up things in such a way that we have a clear workflow. And then I tell you what each one does and why it is better for you to have a clean plate, not always possible, but it's great to have it. Now, what I'm gonna do is come over here and split horizontal. When you work on green screen, give yourself the luxury of having to viewers because you can. Okay, so split it and come here and get new viewer. This is your viewer number two connected here. Nice. What? Do we have a big mess? Why? Well, because the settings by default are for blue screen. Haven't you noticed? His suit is blue is it was kicked out but the green still there? Because these are by default. Screen time blue. I just changed to green on this big one changed to green as well. Now something else I'd like you to do is because Depends on how many you're gonna having the properties here. When you work with green screen, have to viewers when you work with green screen, have two properties, perhaps on then, Especially when you're working with this pick and pick color and then have this big like this. Big color number one Big number two Here. This is gonna be a little more structure down your steps. They're gonna be very clear, right? This is I would like to work and it's going to make your life much easier right now. We have this. This is not finished. I mean, we're gonna have a bit more, but let's let's see what it would do or dio this big color. What does it do now? Have you noticed? Can you find any color picker here? Nothing. Why? Because we don't make any color. We're going to change the background Now. The method off big is a little bit similar. If you're familiar with nuke, it's exactly the concept off Big. Sorry, I DK DK image based Kian I became a nuke. That's what's going on here now in NATO on, you're gonna be happy to learn that the big method is the more robust done. The I d came it that in yuk Well, it came after it. So it has to conduct robust stuff that you find in you can hear has added to it. What? Some wonderful functionality from key light. Let me open another bracket. And it's all for the purposes that you get as much knowledge and techniques as possible instead of just sharing your logic. Liquor bottoms. All right, You know that green screen keen Generally we don't use one here. Yes, we use something called an uber king. And Uber key is a combination of tears. So you bring for example, in you you would bring key light prime at on dumb for fun. Let's add the decay as well. So three cares are going to work on one image key allies gonna take care of the hair. I BK is gonna take care of the solid Matt on, Then prime. It's gonna take care of some of the stuff. Whatever. And then you combine these in one keer called over key. Ok, now, this concept was, um I think embraced somehow by the developers of nature on when they worked on pick Big is supposed to be. I became a nuke. Right? But big is REM or a bust and stronger than I became. Why? Because it has added functionality off key light. So it's a little bit like you have two in one. It's big is a little bit. Lloyd, You have I BK and key Light in uke in one. Kier, this is really robust. This is really good. Okay, Now I'll tell you what functionalities. I'm not saying exactly the combination, but I'm changing. I'm showing you the mindset and the functionality that they have added. I shall be these. Now let's close the bracket and come back again. This one is telling you. Listen, if you don't have your clean plate fine. I'm going to recreate it for you. Recreating it means it is going to look behind. Well, it's not magic is just trying to re calculate the green values behind these gentlemen. All right, so whatever you have in the foreground is going to be removed on is going to re calculate your clean plate. What is the purpose of this big color? It is not to remove the green. It is to add the green. So it is completely different moments and That's why when we talk about tears on you, come here. And if the key I want to remove the green, which method do you want? When I recommend these two is because it's completely different route completely different weight. You are adding green. You're not removing it in first step, and then in the second step, you remove everything that's behind you. Remove the whole Bagram. Doesn't matter what's in there. You've got shadows is gonna be removed. You got tracking markers, it's gonna be removed. And this is one of the great things that I wanted to talk about. And then we open. Another bracket is what do you get for free with this pick and pick call omitted. Is that when you have when you bring Sorry when you bring your creep late when you have tracking markers started talking about this when you have start tracking markers, let's say tracking markers here over over the place and you bring your clean plate and you put it instead of this one. This is where it needs to be longer, right? You just read node on. Do you bring it in and it put it here. You clean plate. What this myth that is going to do for you is it is even going to remove the tracking markets for you. You don't need to do manual painting. Well, it's not really manual. You don't need to work on the track in markets. They're gonna be released by themselves. Now assume indium. Um, actors do not overlap with the tracking markers. Right on. Even So, it really does great work. So tracking markers are gonna be removed for free. Case number two is the shadows. As I said on the ground, you get them back. Why? Because it is going to remove the clean plate on the clean plate when actors are not there , the shadows another. So whatever you add to it is gonna re lane. The shadows would stay. Okay. All right. So these two very, very good advantages off having your clean plate. If you don't have it, then this pick a lot as you Okay? Don't you worry. I am here just to recreate it. Recreated by going to help you with a few perimeters. These are the perimeters. 1234 Now I've got size. Have got this level stuff. Don't worry. about these were not gonna worry about that. These one's gonna work with darks, lights erode and much black, very, very structured steps. And then this one will take over. Once this one recreates the background, it is going to ask this one to remove the background. That's not asking to remove the green, remove whatever you see in the background and then put the key in there. Right? So let's do it. Step number one is, of course, making sure that you have properties with number two here showing two of them in sequence. Pickler and pick one. Number one, we come here. And the purpose is to do what is to have this as a clean plate. We're like recreating it. Okay. For its clean plate, you shouldn't have these two gentlemen here. So basically the final results off. The work of this note is not to have them there. Okay, so it's not doing that. Number one, we're going to make sure that our green is net. So we don't have any problems? No. So we're going to start reducing this a little bit on. Sorry. The ministry said something quite important. Okay, I reset to the blue as well. Something unimportant. I really wish the programmers have started amending. Give us a different values with their since that click, please on the street, Click on the three because we're going to work on the green. Only if it was blue, you would work on the blowing. OK, so this is click on the street. And three because I'm going to reduce just the greens. And the idea is to reduce the docks and reduce the lights to the point where we have a rather more uniform, not really uniform, but just, like clean up the background, right? How do we do? Without comfortable contamination, we reduce it without contamination. I'm going to exaggerate. Just for the purposes of showing you what contamination is something like this. This is contamination. This black stuff that shows up this is contamination. We do not want to have that. So we go in something like 0.5 We're gonna have some contamination seat. We still have it here. Should go away. 0.2 or three gone. Okay, but I need to remove the lights. That would reduce the lights as well. So I'm going with 0.9. So I'm going down from one. And the other one. The drugs. I'm going down from zero. So if I do like this, it brings it back again. No, I should go higher. Probably XYZ, but seven. That is not enough. Ecstasy, something. They're probably go here with 27 No, I still see a few pixels there. That is not good. Tell you what, Um, I really got 0.2 on drink this 1 to 8. I think it's done. Wait is done, Coop. All right. So minus 0.2 and 0.98 Now, the idea is not to remember these numbers because the point of his just clear your own background. And is it? And the values are irrelevant. Just go very, very, very slowly down on their dogs, on on the lights, only in the green. I know you're gonna forget. You're going to forget to click on those three, But please make an effort to are Just remember in your checklist that you need to reduce Onley the greens. All right, so this is the phone number two is okay. Let's have a look here. This one worked on. We worked on outside now works on outside. Now let's it closer to these guys. What do you see here? This is a blurry edged. You've got some blurry things in here. Now, this is a problem. Because if I already ask the node now to take away these gentlemen we are gonna live with, we're going to stay with this. This is going to stay there. I don't want you to stay. I need this to be removed. So this is why we have this erode. Have three steps in this Pickler number one, reduce the docks. Number two allies in Britain is erode, which basically means not erode the black of a road. A green. This means I'm going to increase the blacks to cover. This is well because I want to remove this as well. So erode. I'm going to go up. Okay? I have a little problem, which is very good to highlight. Basically, when you see that a node is yellow, it means it's rendering. But what it's rendering for it too Long time. Chances are you got a problem like a book. So instead, off deleting everything, what I would do So this one doesn't have a problem on this one is not responding at all. What I do is just very, very, very simple. Just click on it. Deleted on, um, ab viewer, bring in the new viewer. I know it's called number three. It's no longer number one, but whatever. And then let's connect this here. Right? Okay, let's bring this erode back here so that we see what we were doing. It's good that we have this kind of problems that you know what? I have to deal with them now, erode when I increase it, see what happens. I'm increasing the black to cover on. Don't be trying to go beyond three C. No more blurry edges because I have covered it with the black. That's now center. I'm gonna press Let h sorry. Let f to center this for framing. Um h is And yuk So it f is in natural now. And I have what I only have the green, which is net now. I'm not saying that, like, perfectly lit Know you've done some work in production. Whatever you have deer in production is what we bring in. We were going to reconstruct it, as is all right So we just cleaned it a little bit and done. Remove the blurry edges. And now comes the point where we're gonna ask these gentlemen to Gentilly, leave our clean plate. Okay? How do we do that? Step number three is patched. The Black Bastable. I could just increase it till they vanish. Okay, Good. Now we come to keep this in here. Onda, we may come back to tweak something we may need to, right? But if we don't find what we prefer to leave this one in here. What just happened? We have added more green. Then we had before because we have just re calculated, like, mathematically estimated. What kind of green we would have behind these two gentlemen. And this is the clean plate. Now we're saying or guess what? We have a clean plate. Yeah, it's not real one. It's a calculated one, but we've got clean light. This is your calculated clean plate, which goes as clean plate to the big color and started to the pig notice. Now comes the lovely, wonderful job off the pick. By the way, when I connected all of these things, you see that there was already the result. Looks already kind of good. Uh, we had not even started when When we got this. We haven't even started. So there's a lot of work to be done to get to the result that we're aiming for. Don't get fooled by don't. Lovely. Um, look, that you would have here because it's really we had already started. Take note. Now, what does it do? Something wonderful. Okay, it does keen, but the wonderful part is that it takes three inputs. I got a few other things as well. The main inputs are it takes a clean plate. It doesn't take a color. That's the main advantage. Number two, it takes the foreground. And you think, Yeah, it needs the foreground Now. The rial bit is it also takes the background. That Why would a big note need the background for I know it needs to clean plate because it needs to remove it. I know it needs to fraud the foreground because then it can say foreground minus clean plate equals these two gentlemen without the green screen. Cool. I understand this one, but why do we have the background here? Why does it need this background if It's not doing compositing. Compositing is happening in this one. It needs the background because I'll show you what We're gonna move now to this in here. Just hold on a moment. I'll explain to you Avoid the background is needed because going to use some para meters someone some characteristics from the background for our foreground. Okay. And I'll reach that point. But that's the one of the last steps in here. So we finish this one. Let's move to big. No, sorry, I just double click on this one to make sure I have this one first. This one second now the first things are this is just our like a quick warn you reduce the red weight on the blue. Wait, it was If it's green, it's blue. Wait. If it's blue, it's green weight. That's why it's blue strip slash green. Okay, so just ever so slightly like 4.84 point nine. Something like that. Just to make sure that we don't have in the edges the red sole greens. Okay, Nice. The next bit is going to be to work on the screen matter, and then you think Well, this is what the programmers in natural have added to what is traditionally known as I d k in nuke, which is now think now you don't find screen map functionality in I b k in yuk, But you do find it here. Why? Because they've taken these functionality from key light. So you've got the key light similar functionality that off key light inside the I be committed method inside the pick method. Okay, collect black and clear point. I guess if you've already worked on green Screen key and before days are very familiar, if not, well, clean black cleans the black. Keep quiet, please. The white much of your heart. When you start working on this node going to have to switch to a far right and then you see how messy it is. Now this needs some work, but the most important is not to have any hard whites in the edges. What? We called back the contamination. Right. So this is why we had to work with the darks and lights and, um, to make sure that we really reduce. Yes, but at the same time, make sure we have no have no contamination. Now the first thing is collect the black because we've done some work off cleaning in here . We don't need to go way high on the cliff. Black in it. Black basically means something quite simple. What does it do? Really? Mathematically, what does it do in the background? But you may not be interested in the mathematics behind it, but it's good to understand the logic. When we say clear Black and I increased this one say yeah, it become clean its net. What does it really do? What does the computer really do? It's nothing else but, say telling the pixels Oh, okay. What? What is this? This is black. What? What are these values? Is this white? No, this is not why this is great. Okay, so by clipping the black, you are kind of redefining the black values or asking not really redefining, but asking the big souls asking natural or any application. Actually, when you keep the black, any obligation on it's it's this functionality is implanted applications. You find it in dementia, find it in the fusion of finding in new, confined and after effects. You want everywhere. So the logic is the same. You're asking for these pixels any picture that is close to the black to become black but close by. How much? Close by this value in here. So you say. OK, let's bring what do we were converting the greys into? Blacks were not converting the whites into blacks were maybe thinking, Well, what is this one I impacted because this is white and we touch in the gray values starting by the left, the shade of great that they have. Okay, so under new move a little bit like this. Fine. We have a little dot here. Just move it just a little Fine. I'm gonna get me closer to his hand because traditionally, changes need to be worked on in a little more detail. Let me see. We've got another problem of this viewer. See? A bit stuck here. Not a problem. Um, Teddy, What? I'm just gonna delete her don't create a new one. Big color is is also stuck. I okay. Render is not responsive anymore. It's good to have this problems when we recorded one of multiple renders. Seems to not responding anymore. Often numerous stamped made by Nate Toronto aboard them for the last five seconds. That's a long time. This is likely due to render taking too long in a plug in. We're not using the plug in yet. Um, list of stolen renders? No. The color. Okay. Okay. Cool. Cool. Would you like to kill these renders? No. No. So what I'm gonna do, because initially, I'm just bring another viewer. Okay, well, this stuff doesn't happen that often, but it does happen. This is number four. I just remember this one. Those fortunately doesn't happen that often, but when it when it happens, you just remove your viewer. Now. Yes, I know this one is stuck. But guess what? I don't need to change it anymore, because I've already made my already worked on everything on By the way, the good news is is that nature works in such a way that whatever has been done the moment you change, a perimeter in here gets cached. So now this node is not read is not reading from this note re time. It's reading from the cache of this note. Right? So when I'm working on this one, it's reading from the cache of this one. It's reading from the cache of this one. It's reason of from the cache of this one. So if this is stuck on, I don't need to change you. Fine. We can move on. Well, um, it doesn't happen that often, but when it does, it can be a bit annoyed. All right. It's really good to have this kind of problems when we're and related problems that at least we get to cover them. All right, What do we have? Decay. What have I done? So I just typically could just want to get to get the order. Right. I have worked on the roadway to have walked on the green weight on. I have started clipping the blacks, and I was supposed to be on the olive fire, was I not? Yes. And I've clicked, cleaned, cleaned the black, and we were here over. Hey, working on our, um are clear black. And I think we have another problem. Tell you what has happened three times. So I think there is a 40. Okay, that's killed under it's It's now happening too often, which is on invitation to reconsider, which I would like to. All right. Thank you. Um, what I'm thinking of doing is recreate this whole stuff quickly. I ever created another file and put the note with the para meters. So Pickler is exactly what it waas Probably a bit of difference with erode or patch black. But the idea is just to remove, actually the the black good. Okay, so I have not stopped at the pick parts where we need to work on this. Andi, it's boy, reducing the slightly and reducing this one slightly. Again. Good. Okay, this is just so reduced. The weight off the reds and the blues in the edges. Okay, Nice. Okay, this is Pakistan. Now we come to the of course, we need to work with unfound. We come to the clip black and clip y item. Now what we said is that clipping the black means we're inviting the grey pixels to become black. So increasing they live in such way that when a pixel matches this value or gray, it becomes black and same story about here when a great is closer to the wise. But that's within the map. We are making it white, and we don't need to push more than necessary. But when it comes to the arms, I need to get the closer to the edges Because for the black I need a bit more work in here . That's it. The last pixel has gone, and now I'm gonna click on F to frame. This looks like a clean black on the clean white. This is a clean but all right, good to start working with. I am going to press on a on the keyboard to get back this and we have some other things to do. Of course, there's a dis feel. But before that before that, you know what? Let's bring in a dispel and then I'll show you something else. Let's bring in a dispel. So top on this bill is this one. So you can just very simply come closer. Let's say come over here. You see some green here? Okay, We just want to get rid of that, not don't push too far. Please. Expense film up. You don't push it too far. Just ever so slightly east that will make sure that the green is almost gone. Yeah, because green does belong in the colors. It's not all gone. So almost gone. Because when you say all gone, you're removing it and you're puttin magenta instead Rights. We don't want that. So just almost gone is about enough. Okay, let me just say closer. Yeah, we're good. We are good with this. Bill will find court press stuff again to frame. And now I'm going back to the pick color to show you something Fantastic. You remember I told you that this big eso no pickle of this big note are this big note. It takes foreground. It takes clean plate. But what does it take? Background. Now is the time to tell you why. Just produced off in order, right? This here use back ground limitations, background chroma. Let me get closer to this guy. Show you something really cool. You see the edges here. This is dark. This is some other color on. This is like it just doesn't belong. There is, like, got some edge it us. Well, I know you could tweak the clear, black and clear point. We're going to start touching your edges and a harsh way sometimes detail, especially for hair for hair detail. I know C. This is one of the things I'm open. Another bracket. That's one of the things wouldn't you, Working with rubbish quality video. This is rubbish video. I'm giving you the worst you can possibly have. Hopefully, this is the worst you can possibly have a za video to make to show you that the technique works even on rubbish ones that it's not an excuse to work with rubbish video. Please go with at least 40 to 10 bit, uh, work with broadcast quality. Starting withdrawal, of course. Then if not, then go with progress for four for four, and then it composite in green screen needs great quality images, right? So and I'm going here. I'm going to start using the background information used by grand women issues back on chroma. This can either make your compose it better or worse, That is goin 7. Davinci Green Screen Qualifiers: green screen keen in DaVinci resolve using color correction tools. Now, first of all, in the timeline in the editing workspace, we're going to make sure that our footage is there with the green screen footage on top off our background. Okay, now we move to the workspace for color correction. Now, there are few things that we want to talk about. Number one, the quality off your green screen footage. Now, this one that I have chosen is a stock footage. Okay, on this one, I've chosen it because it has barely into mistakes. It has stuff that you want to avoid. When you're shooting, what do we have? We have a screen screen that is not evenly lit. Last number one, number two. The actors are too close to the green screen. That's why you got the shadows. Number three. We don't have, um, tracking markers, because when you are using green screen, and if the camera is going to do you need to have tracking markers, otherwise you won't be able to do any much moving. All right, Good. Okay. There are a few other things that we want to talk about, but these are the three mistakes that I have selected in this stock footage that we talk about. And the 4th 1 started as 1/4 1 The 4th 1 is the quality of the footage is rubbish. What I mean by quality of the footage is compression. Now the end me off green screen keen is compression. You want to start withdrawal on go down to the money to the minimum acceptable, which is 40 to 10 bits. Right? Start withdrawal can You should withdraw. That is gonna be brilliant. Can you? Can't. Okay, fine. You can go down to something. Progress. Good quality. Breast off. But don't go any lower than 42 to 10 bits, please. Because that anything lower than this you're asking for trouble during postproduction, Okay? Because color information is gonna get compressed. And now we're asking a care to look for for color. If the color confident information is compromised. Yes, compressed and compromised. Then in your case, is gonna have a tough time on. Do you are gonna have tough time. Okay, So this footage has these four bad mistakes too close actress. Too close to the green screen. Greece, please. Not even really not tracking markers. on the footage is horribly compressed. Okay, but I've chosen to show you that this technique works even with bad ones. But this is not an excuse to go and should would whichever quality wants, right? I really needed to be. I really need you to consider having the highest quality. Okay, So having talked about this stuff now we're going to move to the selection off green. And I think we're holding a moment before we started selection. Can we limit the variation of green? Why? Okay, in reality, in film insets, okay and film it's that's you are going to end up with different variations off green. Why? Because it could be just what the septic dates. Because it's too big. And maybe you have different products of pre screen from different manufacturers that have different variations of green. That's fine. It's OK. Just Google, the Martian, the film green screen, the Martian, and you will see that they have different panels with different greens. It's okay. It's all right because there are different techniques to deal with these. But when it comes to limiting the number of variations you can use a garbage about. Okay, so in node number one on you guessed it when I say no Go. No, no, Number one. I mean, I'm not gonna use on. I'm not going to work on only one note. We need to structure our work so that we work on one node. One technique. Okay, here, we're going to note label on the garbage garbitsch. Okay, we're gonna create government. How do we do that? With the power windows, which is nothing else but a masking tool. So you select the shape that works for you. I'm going to select this one on. Of course, we check the motion off the actors, right, And we are going to select the movement area because I do not need to have other greens. Why? No. The corners down to the dock right down to the dock on when we remove the dark, um, corners. We Actually, what we're doing is we are getting less issues. Why, If we are if we don't do a garbage man, if you keep it like this, my selecting this as well If I ask my kier if I asked Mike here to select this dark green as well what is going to happen is it's going to remove it. Okay, Now that's looks very logical. But what also go into happen is going to remove the green to similar green on the clothes in here. Now, this is a problem. Why? Because generally what you tend to find as spill on the actors on objects is the dark. Agree, not delight. One. Yes. You find some light green on reflective objects like this. Like the fun like the glasses, like the shining too shiny shoes on clothes like these there is fairly just can't see it. But that spill is dark green. So if you remove this one, you're removing this one. What happens if you may be thinking What? That's good news, and I wanted to be there. Well, you can create transparency in your mouth, and that is not good. Okay, so I'm gonna give you a few options when it comes to removing the variations of greed which variations of grease you should you should aim for. But number one is we make the garbage matte, and that may or may not be necessary, right? You may or may not need to do it, but I give you this step okay. You think maybe nothing happened? Because I just see my mosque here, and then my still concede the green. Well, if you look here, something has happened. So you didn't. There is a mosque here, but if you want to see this in here, you just select click on this. All right, I have this already activated the alpha. I'm going to disable it, Right. So, yeah, Just going to work on this spot now. Good. OK, so this I have I'm gonna work on that. Father Alpha is the next step. This is off garbage matte. All right, so the next step is the one final. If we're going to create, I'm going to let me create another note on this is going to be key in. My eyes were going to work on key. And now, before key And, like Clean is basically working on the mat on the mat, weakening the alpha. So our family to create enough out because the visuals off does not have an r for output by default. Creative. So it needs to be a blue dot Here. So that is right. Click at off, out. But this is the one and What do we have going to connect this to here? And then if I go to my alpha, what do I get? I mean, just click on it one more time. Yeah. Yeah, that is it. Come back. Yes, this is it. Okay, this is the alpha for the garbage man. But this is just midway with. You need to do the Keen. All right? So I'm gonna move this here, and it just passed the offer to the keen and then bring it here. What just happened? Let's have a look. Okay. What happened? Let me disable the background so that it doesn't distract us. And we work only on the green screen footage. It got inverted. Yes, in the injuries. Wolf, when you pass, when you move on other, far from one note to another one automatically it gets inverted in the movement. Okay, So simple. How do we deal with this? Just come back to the source and inverted, and that's it. Okay. So, twice inverting is like nothing inverted. That's just something to be aware off. Okay, For the key and bit. Now, the keen we're going to do with a qualifier when we go to three d select here three D on. You're going to select the colors. Okay, just bear in mind that when you select light colors and dark colors, you can end up when it's like dark colors. You're gonna end up selecting some stuff that is on the clothes, but it's it's a fine line. Okay, I'm gonna show you what I mean. So what you could do is select a variation like this because it's ah, it's a plus. So just adding everything. If you do like this, he's gonna be quite harsh. It's OK, It's fine. You can add as many greens as you possibly can by doing so. Actually, what's happening now is the opposite. It's like what? We got the opposite. Fine. I can click on this invert and get just what I would need. Okay. This invert here under diem barometers. But for now, let me just work on the greens. What happened? I have selected the just a few greens here as well. Not this. Say what I'm doing now is too harsh is too drastic. You should not be doing this. Why? Because by definition now, I've already asked the Keir to do too much. It's fine. You can go this route if you want, but I'm just telling you these other consequences, Your edges are gonna be too harsh. Yeah, so that could be what you will, but you, except if you're edges are fine. You don't have any fine details of hair stuff. But it's up to you, right? What I going to do now is just inverted. And then look at the alpha. Now, you have two ways to look to the Alpha. You can activate this one and activate this, right? It's either this or this right click on the unfunded. You look at here. What happened? What did we say? We said if you select the dark greens, you gonna have transparency on your mouth. They say is what happened. This is what I meant. You got transparency here on the shirt. Now it's a fine line. If you select just the yet just the bright green. You're gonna have more noise in here that you're gonna have to deal with later. But you can have a cleaner, Matt. So do you go for a cleaner, Matt? Would you go for a cleaner black or you go somewhere in between I leave that up to you. What you could possibly do is reset their snowed Recep, Not grade. Andi, look at it this way. It's like, OK, come back on. Let's do it again. Let me come here and select just the bright ones. Okay? Just the bright ones. All right. So on, I'm gonna go for the Alfa. What is going on? Something weird is going on here. I'm just gonna reset this whole thing on. Um let me just see. Yeah, that should be fine. Okay. Three d. Okay. Maybe I used the wrong girl. Ki Ok, I I'm going to go with light ones first. The light stuff. See what happened. Let me just look at the Alfano. Okay? I have cleared. Oh, let me inverted first, see what happened. Okay, so I don't have a problem with the mart. Another transparency issues room, but we have transparency here. When we selected the darker green and we had to expenses on his shirt, it's all gone. But it's telling you okay, what do you want to prioritize? Which is one do you want to? What's your preference? To have a clean I'll find then work on clean, Matt. Then work on the blacks on the transplant bath. Or do you want me to do somewhere in between or so it's a choice. What I'm gonna do is probably somewhere in between so that I show you all the techniques possible. I'm going to reset this. I'm just reset. Preset. Not great on. Let's go back to this and then three D. Yeah. I'm going to select somewhere in between, which is a bit like this. Now, let me just go back. Sorry. I'm working with the wrong we sent note. Uh, three d OK, three d. I'm going to select this, which is a little bit in between. Write something like this on. Let's look at the Alpha showing. I mean about this. Okay, So what do I have? I still have a problem of the blacks finals. I'm aware of this, but I have prioritized somewhat the whites because the mat is actually your final product. Is the mat. Yes. It needs to be black. The black needs to be clean, but the final product is the man. You can't afford to have transparency in the matter. Okay, so now we can, um, work on cleaning this bit. Okay? When we clean it, yes, we're gonna the attack in the edges as well. But let's see how we can do it without hurting the edges. Let's come here down to the perimeters and we have tap one and tap to I recommend you go straight to top to write, because I would really have wished that this clip black and three points beyond the first. Because these are one of the first things we want to tweak on. Yes, they are dangerous. Yes, they're quite understand. Drastic. If we don't pay attention, we could end up very easily ruin our edges. But the's other that the big steps and that these are like the small steps clean, black, unwanted, like for minor adjustments. So we come here to clear black. And what does clear Black really do in reality, in the background? What really is going on? What is this? This is zero and white is 100. I really have wished that the programmers, individuals off have put the right numbers there because the right numbers are zero and 10 on 100. Okay, zero. That's something you find in new confined in NATO NIH funding. And I guess in after effects as well because it found that ever everywhere zero is black, that's the definition of black black zero. And what is one? This is how it's defined. Okay. What does that mean? Clear black when I increase. So this is black. This is white. And what is this? This is not black. This is not that I'm not white. This is great. Well, have you notice of this? Gray is different of these. Gray is different. Yes. We got different variations of gray. Got dark grays, lighter graze, darkest grazes the Okay. What is this mathematically? What if I say that black 02 means that this part is zero and white is one. So this one is one. So this must be somewhere between zero and one. This is exactly what's happening mathematically alike or a correction. Stuff is a mathematical operation. All right. And in this case, because you were using color correction tools for Greece cranky and clip black. Basically, what I'm asking the venture is off to do is pixels the r zero make them zero. Ok, well, I have not been yet. If I increase it that I'm saying and I move up a little bit and why I'm asking as big cells that have zero point to let me go to 20. Okay, 20 Something like 20. Okay, What I have just asked division to do is big cells that have value 0.2, which is closer to zero than closer to one. We're starting from zero, and we're going up any big so that have up till zero point to make it zero make it black. All the greys that have 0.2 make it black. Well, it's not about remembering the numbers. It's basically being aware off what is going on. So when you go up, you're going to start changing. Why is this not affected? Why is this not affected? Why is this not being converted to black? Because this is one. I'm just still a 0.27. See? So this is this is the logic behind Onda. We take it. Live it up. Yes. This is now a little bit drastic. This is the downside off its old choices. Just like compromises. Yes, this is clean. But guess what? From the very beginning, we did not even need to touch the white clip. What's clear is gonna be the same thing. You know, when you're gonna need need white clip when you have messed up with your initial cannot miss stuff. When you have chosen dark greens in your selection, choose dark greens basically means Oh, we've got transparency in our map. That is a problem. Then you go and do the same. What is that white clip is gonna start from one. It's exactly the same work with just done for black lip instead of starting from zero and converting, the values of grated are close to zero, which are dark raise. You're gonna start from one and convert the light grays that are close to one toe white asked exactly what's happening, and you tend to find them inside them out here, all right. And they could be in the edges as well. But this is what we start with. Black first, right? So this is one safe method off starting. Take sorry. Take somewhere in the middle not to not delight ones, because you're gonna have a long way to go with the black lives, not the dark ones, because then you're gonna have too much trouble with cleaning your alpha. And sometimes you gonna have to push the cleaning. The matter please click quite so drastically down that you're gonna have that you're going to end up with ugly edges. Ugly edges. Meaning, in this case, ugly. Just gonna go beyond the edge of the alpha and have some white lines surrounding it. See, this is under the nasty effect off not choosing somewhere in the middle. It's a choice. It's up to you. You want to go dark greens? Fine. Clean your mat. You wanna go light greens? Fine. We're gonna go a long way with the back live. You want to go mid midway? It's OK. That's that's what I recommend Midway. And then you go use a bit of the off the okay. Not abate. In this case, we've got up to 0.447 basically, is almost half gonna depend, actually. So I'm not saying almost half off the pixels, but it's the values. OK. 47 0.47 OK, this is clean. This, for us, is a clean matter we can work with. All right, so now what I can do is go back to my normal color on. Yes, We still have stuff to work on. I can just remove these lines because I just I just come here and say off and we need to work on the edges now. Two things to care about here. The edges. We still have that line on. We have green saw two elements green on the line. Right. I need that needs to be dealt with separately differently. Now, the green is simple. There's a dispel fit the this bill functionality, which is here. Just click on this bill and that removes the green. Okay, it's on automatic from automatic it. It's a handy functions that you find it all the key years. Okay. And, DaVinci resolve. Color correction tools are no exception. Right? So this is one. And then I end up with what would stuff that I don't want to see. What is this? This is an energy s have works in my mouth, but it seems like when I selected the mid greens, I ended up with more a mask that I need where this is something to be aware off. Okay, fine. So if this is the case, then what? I can do is use this and tap number one. Use this in alteration. They call them differently in different Softwares. It is the exact same thing in after effects in Nuke in May. Tron Infusion In what It's a rodent. It's eroding dilate for some utterly unknown reason. It's cold here in out ratio, I would really have, which that we standardized these a t least. How would they call? Because it's exactly the same thing. It's dilate on Erode. Erode means you're gonna choke. Yeah, the match choker that's my choker, like in after effects is it's the same you're going to remove from the mat, but starting from the edges, what is exactly what we need? Or if you have a problem going to, you're going to dilate, which means inflate. Increase it now. We don't need to increase. It would have a problem with the line here, so we're gonna go down minus minus. What? Always exaggerate to see what it gets. Minus 50. That's not really OK. Minus 100. I'm trying to exaggerate here, but it's not all right at me. See what I think I will need to do because this is too much I'm gonna go back to my minus 50. I'm going to tweak it differently. Then I'm going to use my clean, black, clear black. Here is a little bit like clip black, but goes smaller steps. Ah ha. See the difference in Israel, Amiri said Amiri said, See this bit here? Okay, I'm going to move it. Just a 0.2. And that's how we remove it. Right? So what happened? I have used birth erode, which could actually misses it. Could be a bit too harsh. Let me just see on this trip Reset. It could be a little too harsh. That fellow was minus 30. That should be enough. That should be kind of enough. Yeah, I should be enough. All right. And then, yes. Use a little bit more on the clean Blacks, Probably 35 minus 35. Yeah, minus 35. Something like that on you. May You may want to on just a tiny bit off the noise in those edges and probably probably very, very, very, very mine up. Um, blur Minor. Because this can be really dangerous to the block. Then dress. Meaning not realistic. Okay, so now what do we have we have a jealous fit. This stuff? We have a clean martyr, clean martyr, clean blacks, clean colors. Just remember this stuff. Clean colors. Now I could go back on. Bond activates my background. Why? Well, because this is a green screen, Keone and compositing, not just key. And basically they need too much for these guys. If I put them in the background. Andi, it doesn't look realistic. Then it's a problem. All the work that we've done is in vain. We want to get that footage, the foreground footage closer to the background for this. What difference do you notice? Okay, of course. There's all the sweet off color correction tools that you can use, but the first thing we notice is there's a difference of light in the background is brighter than the foreground. Well, initially, yes, when we looked at the footage and probably this is a mistake. Number five end in that stock footage. We had four, and this is the fifth is the talent. The actors are not properly lit. There's no there's not enough lighting on them. Okay, because there were too close to the two degrees cream. So if any light you're gonna put on them. I'm gonna teach the green screen as well. Is this why you need to have some distance? Lights for the actors are different. Delights for the green screen. That's why you need distance as well. Okay, so how do we fix this now? Well, we're gonna work on the foreground alone and at a color correction bit. But actually, this is not a color correction course. Sorry. That's not called correction section this lecture. I'm not addressing color correction, but I do want to address the elements that are going to make a composite realistic on viable. Okay, So I'm gonna need to make at least one step work on the brightness and contrast, because this is not good, right? So let's no label and brightness and contrast that sets contrast. That's it. That's what I need for now and then if you want to treat colors, that's a different story all together. Okay, for now, what do I have? I'm giving to live. Um um, let me see. You know what? You could work. It could work on the brightness on separate on, like the shadows, meters and highlights. But in this case, the problem is like everywhere. So we're not gonna do is just simply and Krys the brightness on everything like up to 30. Some finish. And because this is like starting to wash out the whole foreground, I'm gonna add a bit off. Um, contrast. This is too much. This is way too much. Some going with 1.1 rights. 1.15. That is enough. Okay, Now we have additional lighting and contrast on the foreground. At least we managed to match in terms off lighting the foreground to the Bagram. Okay, Now, if you want to start tweaking colors like this is a completely different story. Now, if you want to work with color correction, that's another thing. But this is how you do. Green screen keen on compositing induction sure is all the using the color correction tools 8. Fusion Green Screen Keying: green screen Kian infusion inside Davinci resolver Okay, Now the first thing is to come to your timeline in the workspace editing on. Make sure that you have your green screen footage on top off your background. You select everything on the you right click on create a new fusion clip. OK, now this is don't come here to the fusion workspace. Okay? The first thing you get is media in media media in one media into and merge note and stuff and what not? You know what? Let's disconnect all of these things. You could even our delete this merge note. Let's put media out here on. Let's look at our media ins. Okay. What is this? This is the background. Okay? We don't need to work with that yet. Let's movies here. What is media into? That is are green screen okay, moving up here. That's the one we need. All right. What is the method? What are we going to do? We're going to do green screen Keen. What is green screen? Keane? I'm asking the question because I have two methods in mind that I'd like to address video. It is the method where you're going to select a corner of green with the color picker and say disappear on. Then somehow it disappears. Why not? Somehow, actually, it's it it it removes that green and it starts. And I didn't more much on top. Anyway, the other method which I would like to demonstrate now that this is what I'd like to teach you is the image image based Kian right? Image based skin is a word actually that you find back in nuke. This is why the Keir in UK is called dbk and you find it back in nature. Um, on the Keir, a matron is called the I k, whatever they're called and then and this one is called Clean Plate plus Delta here. Okay, so in this case, what are we going to do? Are we going to remove the green in step number one? Actually, not. We're gonna do the opposite. We're gonna add green. Why? Because the idea is not to remove the green. The idea is to remove everything behind his two. Gentlemen, the mindset is such that I don't care what you have in the foreground. Just give me your clean plate on. This is one question that these two nodes are going to ask you. I mean, we bring them in first, let's get introduced. These two notes control spacer on clean plate. That's number one. What can you disconnected for now on a clean plate, Earth and control space. And then we bring in Delta Kier Delta here. OK, so these are the two. This is the deal that you're going to have it in. Yuk is the same thing. It's I BK color Andi I became in the nature on it is a big color on pick infusion. It's green light on detail here, which actually makes much better sense because it just reach in English clean plate, and that's what he does. Okay, so this is like a key are cool. This is what it does in two steps. Step number one. We're not going to remove any green. We're going to add it. Why? Because the purpose is to recreate a clean plate that you should have heard during filming . I'm saying you should have had I know in most cases you will not be able to, because it's not practical gives you have control because but if you can, if you can do yourself a big favour off having a clean plate, please. Okay. If you have a clean plate like you've shot it, you're going to bring get in instead of this one. Don't use this. No, this notice here just to save you in case you don't have a clean plate. So if you manage to ST a clean plate, then bring it in as media in and bring it in here. Right? So that is the clean plates. Why did White in What's the advantage of having Clickbait? Why don't you just rely on this one and say where? Whatever. Why should we even bother shooting a clean plate when fusion has a magic node that is called clean pain is going to recreate the whole stuff for us, where he's got advantages, realism always has advantages. Why? Well, these clipped I have chosen has five mistakes. Okay, I've got plenty of other stop, but he's got five mistakes I would like to address with you in here. I've chosen this stock footage which is not ours. Like just chosen to stock footage from stock footage company Onda. Let's talk about the mistakes and one of the things why I'm talking about the mistakes because the clean plate is got to do it. Sounds Got something to do with that mistake Number one When you should green screen, you always need to have where endlessly using another technology you need to have You need to have ah, tracking markers. Okay, Now, in this you are in, but that's another a northern square brackets open in a few scrapes. Rockets here just to explain a few things your green screen needs to have Tracking Marcus endless. You are in a space like in a place like in a studio where using motion control robots like when you have a robot for motion control, that is a different story. It does not need any tracking markers because it does the whole work. Okay, because it's it's the match. Moving is actually with motion controlled Robert, so that is needed. But guess what? Most cases got no robots. So we're gonna be using what that green screen and sort of degree screen with to tracking markets now tracking markers I needed when you're going to you to move the camera and if you're not going, it's not gonna move. You can get away with not having them. But if at some point in time gonna move the camera when shooting, then chances are you better have them from the beginning. OK, so that's number one. Number two is These gentlemen are too close to the to the green screen. That's why you see their shadows. You should be further from the green screen A few meters, OK? Number three is It's not even real. It can you see this is bright and this is dark. Which basically means that it didn't even have light in on the right and another left. Number four is the, um actors are not independently lit. The same lighting is being used for both the green screen on the actress. Well, because they're so close. Of course, they can't like them separately because they have made the first mistake that the second mistake is also there. You need to have lighting. You need to like your, um your, um actors separately. Meaning there are further from the green screen and rescreen has got separate. Lloyds and the actors have got separate lights. Okay, Good. Now the last mistake is what This is rubbish video rubbish video is defined as hte to 64 That's compression Now the effects and compression don't go together. The enemy off green screen keen the enemy off visual effects Individual effects is called What? Compression. So when you are going to shoot, please shoot in role if you can. If you cannot, you could go down or problem for as a higher quality of for is fine. But don't go any lower than 42 to 10 bits. Okay, I said again, 42 to 10 bits Any lower you are begging for trouble. Okay? And what is trouble? Trouble is what we have in front of us, and I have chosen this one to demonstrate. The technique does work on miserable quality videos as well. But trouble is such that you don't have information to work with. Kian is key in color, right, and also clear plate is reproducing color. But what if your images compressed, compressed, mean meaning You have lost color information and that's not good. OK, that's not what this is why you need to start Withdraw if you can. If you can't, don't go any lower than 40 to 10 minutes. Okay, we've closed. Now the bracket for the five mistakes. And let's see why we're talking about this for the people. It we mentioned the tracking markers. Okay, you know that the truck and mark is gonna have to remove them yourself manually. Okay? Not really. Manually tracking markers. You can do it manually for one frame and then ask fusion or any composites. After that you're working with. Ask it to do it for the rest of the frames. But if you have like 35 35 marcas tracking markers, don't get surprised. You can have. You can easily add Have 35 40 45 tracking markers, depending how big your set is. We've got a few on the ground. Got a few on the left. I've got you on the right. I've got few under on the on the on the city and got a few on the in the wall in front of you. You can easily adopted a few to 2030 40 sometimes 50. That means you're gonna have to do it manually for one by one. Now, I know there's techniques for a number of already demonstrated for fusion to technique for removing tracking markers, but this doesn't take the fact that you're going to do it for one frame. So it is 30. You're gonna do it for 30. Now, why are we talking about tracking markers when we don't have them here? Because, Well, because number one, you should have them here. This number one. And if you have them here, we're bringing your own thing plate. You get them removed for free. That's the beauty you don't need to work about. Why? Because it is not about key and out degree. It's about removing the whole background behind these two gentlemen. So when you tell them, can you please move to the side? I'd like to shoot a clean plate. When? When they moved to decide the track. And Marcus, stay there. Right? Okay. When you should that clean plate, it becomes what? The clean plate with tracking markers. When you ask fusion to remove it, it removes the tracking markers all 50 at once. Okay, clear. So this is why you should shoot. Shoot your own clean plate as much as you can. Second advantage is shadows. Well, independent situation. If you have the on the ground green screen and you've got If you're using the green on the ground. And, um, people are moving. You're gonna have shadows. Okay? Generally, it's another bracket here, but I need to mention these things. I need to mention these things. So when you're shooting, of course, the environment with which your actor is going to interact need to be realistic. Meaning in this is the part of the world that you are creating. So the background, if they're walking, better not have it in green. It needs to be whatever. Is it another planet? You need to sort out this ground to look like that other planet. This is better. This I'm saying. Better not. You should or must. I'm just saying this is better for your risk, Winky. I only live the wall or the upper part of a kid. All right, but if you have no choice but to have everything on green screen Fine. Then when you have shadows on the ground, the shadows logical. They move with your actors, right? They moved here. So when you ask your actors to get out off the clean plate so you shoot it, The shadows are not there. Right? Okay. So what does that mean, that means the shadows are not part of the clean plate, so they don't get removed. So when you bring in the actors again, they come up with their shadows. Yeah, I know. I'm saying something that looks weird talking about come backward shadows. But I just need you to focus with me here. This clean plate stuff is going to give you back of shadows for free. That's what I'm telling that that's what I'm saying. So when you bring in your own clean plate, you're gonna get your shadows for free on the ground. It keeps the whole thing. Why? Because it knows that that shadow is was not in the clean plate. So that's that Shadow was not in the clean plate. So that's part of the film. I'm gonna have to keep it there. That's what fusion is thinking. That's the beauty of the work, right? And this is why. Please make sure that when you are shooting, you get your clean plate because no more working on tracking markers on do you get your shadows for free. Now we close this whole big bracket about getting your own clean plate, and we say you don't have your came plate, right? Fine. OK, You don't have it because you don't have it. If you have it, you put it in place instead of this one. But if you don't have, it's fine. Let's right. Click on this one and connect input. Okay, lets, um let's put this one in here and start working. Clean plates basically means one. Think I'm not going to do something that I should have done during production during filming. I should have shot the field. The clean plate. Now I'm gonna I'm going to have to do it right now. What? Yes, We're going to remove these two gentlemen and have clean plate. We're going to add green. We're going to remove green. Going to add green. Okay, so how do you do that? So the final result, the ultimate goal and mission on reason for existence of this note is that you get mortgage green like the green, plus everything that's behind these guys to get this stuff as if you have shorted yourself deeply, you come here. Method step number one. Is this change into ranges? It's just worry better, and it starts electing how you do that you come here on you select this like this. Probably want to do. Just come over here and drag this one to the left. To the right. Um, on dumb you start. Elect him. Yeah. You select all the green. The idea is that we are not selecting what needs to be removed. Now we're selecting what needs to stay. It's a different way off doing things right come to select in a few values here and there. Because I know they're gonna cause some trouble. Let me get closer to his head. Two hundreds. I have got some noise in here. That's not good. Let me get closer on select some of that stuff. There's one right there. Good. Why am I doing this? Because I don't want to push the second step Two for two to too far further. Um So what I'll do now is just just re Septus, stop. OK, fine. It looks okay. It looks okay. What is OK? Ok means I have regained my whole green. That's the purpose. And let me now get even more green behind these two. Gentlemen. How do we do that? Step number one was methods and selection. Your greens to bring them back. Step number two is going to be a road. A road. What? Generally when you hear around, you think road the map? No, no, no, no, no. Road in everything is opposite. Now everything is opposite. So we're not removing green were had agreed. We're not around in the mat. We're eroding the green. Why do we erode the green? Because we have removed some of them nasty detail in here. Okay, around that the some noise here around the edges. But this may not have covered everything we need to wrote it the green to cover mawr. So we need we don't to cover more here, So let me just explain how this works so you could make it bigger. You make those two gentlemen thinker that the math is thicker. So, like dilated, actually, you know, really? Did your eroding the green by dilating the jama'at or it? We're not working on the matter yet. We're just now worried about one single thing getting back our clean plate. So step number two. Is this dilate actually not erode. Okay, Rhoda Green on. Then grow edges grow edges. Which basically means actually, it's got better. It's men. It's worded. Better in nature. On in yuk much black. She's removed black, But you don't have any black in here. So one of us. So you're going to remove these two gentlemen? So you do like this and they're gone. Guess what you have. No, I clean plate. Well, you see the difference. This is an estimated clean plate, and you're clean, but it's gonna look much nicer. Okay, But you don't have it. Find no problem. Let's look at the clean plate. Now. Here on, let's connect. What? Okay. How do you connect it? While depending on whether you're new to fusion or I'm gonna consider your new I'm gonna take you by the hand on this one. And you have yellow being quiet. Gray, blue on very quickly. I'm gonna tell you. Don't you bother about any of these colors? Please don't try to remember. Yellow is for input. Pink is for this. White is for dark. Don't worry about that. So how do you know which one you gonna connect? Well, it's quite simple. You're right. And you drag on you release and then Okay. What? What is that? What was dark? I was a clean plate. Cool. Okay, let's select a clean plate. Ask selected now. We don't only need to clean plate the Kieran. It's more than clean plate. It needs the original footage as well. Which is this? Right? So right, click and release. What is this? This is an input. Okay, that's anybody. And if we had the garbage matte, we would have a garbageman. Let's just I'll just bring in here if you have the garbage. Matte, if you have to use the roto on the new garbage mount stuff you would have gotten that brought a note as a garbage month. We haven't done that. Okay, nice. Good. OK, so this is your key are? No, I'm gonna do is clean plate here on dure deal. Doctor, you're here. What do we have? We start working on the mud. What this means is gonna have to move to a view mode, Matt Mark. And then we come here to the third section, which is Matt, right? What do we do now? We have black and white with some great Why is the black so clean? Because we have used the clean plate. That's why it's so clean. But what is not clean is the right is the nut itself. Got some light gray values in here and that's transparency and that's something we should not have. Now the first perimeters wanna work with are the clear, black and clear points and were thinking, where where are they are considered? If you are familiar with clip Blackley parts from after effects key lights or from nuke killers off from the from NATO on big on big color, clear black and clipboards are other most like re known para meters for tweak in rescreen. Keen for the matter for the answer, It's exactly the same thing in here. Its threshold. Actually it's laid out of really beautifully here because it gives you zero here on the white here, it gives you in one problem eater. It gives you the clip Black and Nicolle Point. But what What does that mean? If you don't know it, what's clear? Black and what's clear? Points What's happening? The background when you're asking sleepwalk with black include point. Let me just do it and show you what it does. Okay, when you bring it, Yeah, became white Cool. Ok, but what are you really doing in the background? What have you just asked fusion to do? What is one One is white. Zero is black. It is not only infusion, it's everywhere. Right? Is everywhere. Color correction. Zero is black, one is white. You have minus values. Self, Blacks. We have more than one values super whites. But this should not be in your footage. What? It should stop at zero and still but one called zeros. Black one is white. All right? No. When I bring it down, what do I say? I say, What is one? Actually white. What does that mean? What does that mean? The pixel value is one. Okay. And here, when it's black, the pixel values are zero. So what are these values away? This is not one. If it was, one would have been white. So what is this? Is this your appoint one was 0.9. That's the idea. Okay. When you bring it down to 0.9 something like this, it gets cleaned. But what have you really done? Not this part seems to go down. You have asked fusion toe convert to convert pixels with value 0.9, which is like very, very light gray to convert them into white. Make it one. If you come across anything between one and 0.9, make it one. That's what you're seeing on your brigade even farther down until we get rid of most of this stuff. Michelle, why I'm saying most because this is a reflective thing. Okay, let me go back to not and say that this should be kind off fine for us. OK, but what's the downside off pushing this too far? Well, I'm gonna show you. I'm gonna show you. Is the edges gonna have white line around the edges? But for now, let's keep it as is This is clean because we've got the black. Well, it's not really, really clean. We're gonna see it later. I'm gonna have to tweak it. But for now, this is clean. Let's call it clean for now. Um and then what we need to do is just go back to the to the final result. Okay, final result on we get closer on. We see something we don't want to see. Two things generally two things you find, of course, the green spill, which is always there, depending on how close they are on in this case. It's a it's a disaster because there are so close to the green screen. Eso we're gonna have to take care of this. Plus, there is a white line. See this one? Well, this has taken too much care off our far sort of our mouths that we have this line around our our actors. Okay, so what do we do now? The first step is are two separate things. And if you see a green line, it's not green. It's actually white. So you need to sort out the green fast separately on assault down the white separately. Okay, so the green bet is quite simple. You come to the fringe tub, which gives you the spell, this bill method status. Just dispel. And then you select one of the modes. That's a rare medium well done. Well, you have the luxury of using rare when you are far from the green screen. But when you're that close, their noses are almost in the green screen. You're gonna have to go with the well done so well done. Burns is a disaster. I'm just Have you burned this disaster? You can't use this one. Well done is like pushing it, Teoh. Yeah, It's like removing the green on, pushing it to the maximum you can without on. You can still if it's if it's some exaggerated spill suppression. This is one I wish they said 100% that you can say. How much do you want to apply? 50%? 1%. You could go. You could go burnt. Andre, Use it. Yeah, go burns and reduce it. Fine. Just see which one works for you. Reduce its meaning. You're just using 37% of brands. You could do that. Absolutely fine, but you're when you're eyeballing just using your eyes to look at this. You may not pay attention that you have just introduced too much magenta magenta in there because remove the green, Add magenta as the color wheel. Okay, let's go back to the will. Drop to well done and use all of it. Okay? Yeah, that's kind of OK. We could go. The burnt London. 20% of something. You could do that if you want. You could do that. Let me see. I think I got some transparency. There have. Look, Matt. Matt Matt. Oh, I see. Okay, this is beautiful. No, you don't have to experience in here. This is just the rubbish compressed footage that we have. Yeah, you lose information, color information, get six elections. What is this? This was a noise in Nice, actually. Transition to our next step, which is taken care off the edge is taking care of the edges. We have two things on the go back to the final result we have here this white line. But we also have these, um, this noise around around the edges now what? How do we do that? It's come back to the mat and there is a clean background because this is my grandson, foreground. A soccer unity of background. Hungary just a tiny bit. Just be careful with these parameters. Used them sparingly. Just when the last picture is big. Pixel is gone. We stop. That's it. Okay, So I mean to see if I've stopped too early or too late. Just a little bit like this. That is it. OK, this is for the noise around our actors. Now, let's go back to the final result in See if the line is gone as well not. The line is not gone. We have two things to work. We've got the four clear but clean background basically is taking care of the values between zero and the one. So anything that finds itself between zero and one gets crunched. That's going back on. And then you have the option now because we worked so hard on our map that we've got it so solid that we have gone a little bit beyond the edges that we should have. This is why we have this line here. So what we do is erode from this one. Be careful. If you go like this, then you end up really eating up too much of fewer off your um Yeah. Say so. I'm just really, really, really tiny bit. I should know this is too much. This is too much. Sorry. Since Sistema 0.7 ish nine. Okay, six. Um, probably eight. No, I usually go to nine. Okay, that is kind of it. That this is the maximum I can use. This is the maximum. I can use this Now. Go back to fit. And what do we have? We have No, we have not finished. We have worked on the mat. That's all we've done. Works in the man. Have we worked with colors? No, I'm not saying color correction. Restoring the colors. Let's have a look. Let me show you what I mean. This is the original footage on this is the result of our deserts off Arquin. I'm gonna show you. Um how, um, the result of key in there. Some negative effects, some side effects on Don't. The more me Joker like the lower the quality of your video, the more pronounced these side effects are going to be. The more problems there going, you can tell because this is compressed HD six for rubbish video. Let me get closer to the source. Not fit. Let me get Let me get closer to the result. 200. Can you see the shoulders here? Can you see the pics? Elation difference between this part on this part? Well, because this one was closer to the green screen when we have removed the green, it has messed up the color information because it didn't have enough color information anyway because it was compressed. Okay, so let's have a look closer to the source. This is the source file. We have brought this stuff in. And now do you want me to get out with this stuff? No way. This this is the result. This is what I say in the enemy off vfx on on a green screen. Kian is compression now. Is this only due to compression? It's the natural work of the Keir. It takes away information, color information. But when it doesn't find enough information, just start running things. Okay, let's look down. Let's look further down here and see how disastrous this result is. See, this is well, I'm tempted to say clean, though it's a compressed footage book, but you can see for yourself here that there are some daughter. We didn't have that stuff. Let's look at Travis's even get See this is this is this is rubbish. This is stuff you don't want to have this. Now how do we sort out this problem? Simple. Let's go back here. You could do it manually if you want, but I I felt to show you the automatic way of doing it, which is the replacement replace method. You come here and you go to your source. You click on source and you get this source footage. What am I doing? Actually, when you say source replacement that colors used the colors from the source. Actually, I'm bringing back again the same colors through the alpha, which may have introduced on need to look again, which may have introduced some green, some some spill. No, it did not. Because we have this embedded inside it. If it was another note off this bill, this is the beauty of having the discipline inside. Did like here there was another note. It would have been different story. But for now we have see titties, these edges here. This has got nothing to do with gay. And now now it's all about the quality of your footage. It's It's bad inside. It's bad outside. We've gotten rid of them off the off the nasty line. The white line, Okay. With using by using clear foreground started clear background in here. Where was up? Clean background on dilate. Just very, very small. Fit on fits on what we have now we can bring in the background. So now we use them control space and bringing emerge bringing the Marge. No, thank you. Anything that gets connected, just disconnected. You want to have the luxury of pushing with the right, Select with the right button on the miles. And then you're bringing here and then you release What is this? This is a foreground. Cool master foreground. What is this? This is a background. Cool. I don't care if it's blue, green, yellow, whatever color that is. This is how I recommend that you are okay. Now when I bring in this to the viewer, then we have what we have. The colors that we had initially we have a clean Matt. We have a clear a clear edges. But now we have finished. Oh, sorry. Not finished everything. We just finished a key in part not the composite, in part because there's no way I'm going to send this as a result. Can you Can you have a look at this? The background is bright and the full ground is. We said that they made a mistake during shooting. They didn't light the actress separately. Basically, they have. They were sharing like that was coming from very far for the green screen. Otherwise it would be too overexposed. You have over. You have properly exposed the great screen on under exposed the actors mainly in the lighting is rubbish in the actors, we need to fix this. So what I'm going to do, I'm going to add a node, which is color, Correct. No, I'm not gonna call. Correct. I'm just gonna brighten this whole thing, right? Not whole thing. Just the foreground. Just two. Gentlemen, I'm gonna come just straight to the game on work on. That's different ways. You can work with this. Sorry, I didn't mean to reduce it. 1.1, right. So this is a bit brighter on I go to the contrast was my contrast on 1.1 and probably Yeah , we're gonna get more pronounced colors than we had in our owner Original footage. Now, this is a artistic choice, because in this case, I do have this contrast in the background. So I want to have something similar in the foreground. Okay, so this is how you do. The keen infusion individual is over using the Delta Kier Onda clean plate. What you need to do now is simply connected to your media output writer, media. But once it's connected to the media, awkward, then you can go back to your timeline and what you're going to find, you're going to find the result off what came out of fusion. Okay, so this now it's fusion clip. It doesn't matter what's inside in here. What matters is what happened. Infusion in here. That's exactly what you find back in your timeline. 9. Avid Media Composer Green Screen Keying: green screen keen on compositing in avid media composer This is the ultimate version on we're going to use here. Affect by it will, of course, in the year tracks every video attractive in track one, the upper one is the foreground, and the lower one is the background. Okay, we're going to come to the ethics palette and choose here from the key. We're going to go for this spectrum at okay, Would just drag it and drop it on our foreground. Once we do that, we then are able to open the, um effects here. The effect mode. We click on that. And then what happens is well, by default, it is set to blue. Remember, this gentleman's suit was blood. All right, so by default, it takes the color blue. But we're going to change this before we talk about any to weaken off four meters. What spectrum outdoors and how to go about it. I'm going toe have to open a bracket to talk about a few mistakes in this video. This is a stock footage that is available to anybody. Download right from stock footage company and I have chosen it for a particular reason because it has a wonderful A plethora off mistakes because we are going to have to deal with these mistakes. But just number one, the lighting is uneven, so you can notice that there's only one light of the season on. This is why this part is bride. The sport is mittens it it's part is dark. You can notice that this is darker. Okay, Number two is there are no tracking markers. If you're going to move the camera, then you have a problem with much moving. Number three. The actors are too close to the background. You need to have them meters away. Number fool is because they are too close. We have our shadows in here on. You can not have separate lighting. You have year a mixed light like the same lighting is applied to the green screen. Doctors, you can't. They need to be separate on number five. And the most important is that this footage is comb arrest. This is the enemy number one off. Visual effects aren't off grid screen keen on compositing compression because when you compress, you encode when you encode, you're going to lose information, especially when you do it h 264 That is heavy compression stuff that you find in online media. It's compressed heavily so that you, the constrain it with a small file size compression is basically you're losing information . How on earth can you afford? Can you choose to lose information when you need it desperately for visual effects? And for Greece, cranky. So always go with role as the first choice. If you know Cooper is high quality if no, then you go on. But you don't go any lower than 42 to 10 bits. Four to to 10 bits is the absolute minimum. Now have we now? Is this footage quarter to 10 bit minimum? No, this is compressed H 264 This is a disaster situation, but I am going to show you how to do it. Even with a rubbish quality. This is not an excuse to set the bar. No word urine production. I need you to arrange a good quality footage for your grease, Greinke. And okay, so having now talks about this, I'm going to move to the next step which is basically working on the effect editor here as too weak in the perimeters. off course, we're going to have to choose a value off the green. So I'm going to collect on this one, and then what ligatures anybody whatsoever? Because I know I have very poor light in here. I'm going to go where? Something that is a little on the dark side. Okay. Why? Because if you if you select the bright ones, they don't include the docks. But if you select the darks, they are going to include the bright ones. Let's click somewhere here. Okay, Now, let me first moved to the Alpha Show Alpha here week lecture offer. Yes, I know. I have my background. Let's say show Alpha can you see before we move to the Alpha. Can you see his? His shoulder, his left shoulder? Well, why do you think I opened the brackets off the five mistakes in the video before even starting this? Because we are gonna have to deal with this. Having the actress so close to the background means you can have green spill even on a black suit. Okay, so there are some things that you really need to pay attention to doing, filming. All right, Let's now move to Alfa show Alpha because all the work okay, most of the work. 1995 cents of the work off Greece cranky and happens on the Alfa. So what is What is that we need to do? Have you noticed that when I have selected the here that we have clean blacks? Well, when you select a dark green, you're go into include all the bright ones. But you won. You select the bride greens. It does not necessarily include the dark ones. Shall we demonstrate this? Let's no demonstrate this punk. I just click here and then, um remove shofar and click on the bright one. Here. I have said exit the brightly moved here. Well, I have included the bright, but I couldn't get the the dark ones. Okay, the doctor, the dark greens. So this is something to pay attention to when you are selective. Yes. When you select the dark green, you're going a little bit aggressive. Armed by that, you are taken the dark green that you find even on the suits. Because when you have reflection on reflective objects like phones, shoes, shiny shoes had sits here and exact, for example or glasses, you are gonna have rather bright green when you have clothes year Can you Can you notice? This is blue and this is like greenish glow because his shoulders close very close to close to the background. And you have this spirit. But this is dark. So when you're selects a darker green, I mean, you're still fighting. Um, when you select a dark green, I mean correctly, go back one. Select a Doreen. When he selects a dark green, you give yourself the advantage off, including the bright ones. But at the same time, you may be hurting your edges. Let's have a better look. A best buy now. Selection. Um, let me let me show you what happens if you just select somewhere. It's something somewhere. Have you noticed this thing here, Here on the left? Well, this provides us with the What kind of color has been selected, by the way. So let's let me just go for the blue. For example, If I go blue, have you notice has moved to the blue Got the blue You've got the green And it was some of the stuff we don't care about right? So what? The green and the blue. This is generally what we tend to use for green for four key, and it's either blue screen or a screen screen. Now, this is what's been removed. Now I am now going to back. Let me go back to the green. Just select somewhere. What does it say? Well, it shows me from the Alfa here because it did not include those dark agrees which you find here, but we can. We can include them later. I'm going to play with discovered quite a few to call quite quite a bit so that you understand them. I'm gonna select and then re selecting the results that you understand what each permitted us actually, the most important barometers because some of them are kind off like just look youthful. So the most important bit is to understand this color bit. This is just like you go. You're green before your blue. I've got a great screen. You pay attention here, I've got blue screen. You look at this part on it is a matter now off. When you tweak, you actually even see the changes that happen here. Let's go to the I've just texted somewhere here. I just six of the green. But for the purposes, off explaining things. If I wanted to keep this one quickly, I would have done it with a different green. Okay, I want you to when you move to the part where you it's talking about him. The chroma control that now we need to tweak para meters. I wished those two inner softness and Arthur softness were number one, and number two tiers have a certain number four meters. They may give you the impression, and you may be tempted to start by the first bar meeting that is listed there. There. Stalin's There's key sat lined as key situation. There's no softness. This is not the order. The order is inner soft Islamists. It seems this is yourself. This other softness. You know your stuff. Okay, This is the older inner softness First, because what does he do? I'll explain to you exactly what this fellow does. Have you noticed what happens? I explained, even in matter, Matt, Normally mathematics spot mathematically what happens in the background? What actually avid's media composer does when spectrum at increases this perimeter. Have you noticed what happens? Both notice what happens both in here in the black on what happens here to the edges, inner softness and then reduce it. Increase. Reduce. So I, um, including the dark greens. Okay, so I'm expanding the selection of the green to the dark greens. Which basically means the result is going to be black. Annettor a cleaner. Black? No. Let's talk about inner softness and artist softness. I really don't know why they wanted to call it inner softness and artist office. It doesn't make any sense whatsoever. Responded like this. Yeah. It doesn't make any the They call it in a way, that is. Yeah, it doesn't. It doesn't match anything. It doesn't tell you anything. Let me tell you what it should be actually on the outer softness before explain out of softness. If I increase it. If I reduce it, you increase. You got more transparency. Rule on Earth would want to have more transparency. That shouldn't be the case. If you decrease it, you're gonna have less transparency in in here. Which basically means you get clean white and green black now, inner softness after softness, we're gonna now get deeper into these two fellas because the art these are your very, very, very first barometers to work with. Just ignore the tolerance bed stuff forever. I know there don't have the number four and five. Actually, they should be number one and two. And these are the first ones to start with. Mathematically. What is going on? What is this? This is black. Well, this is value zero a big soldiers. Black is zero, but Mexico's white is one. Okay, so the values are between zero and one on anywhere between the black and white, in between black and white to get what you get. Gray, different flavors, different flavor, different shades of gray. Okay, you have dark grave, got lines. Greg made a great look, and they come in values. So 0.1 is what? It's a darker gray. Why? Because it's close to zero. You are going to understand. I need you to understand this part because this is the These are the basics off Greece cream keen in any software or key or what? So ever. Okay, you need to understand this spot, zeros and ones. This is what I'm not. So I'm not saying zeros and ones like the ones that are in the computer I'm saying the bits and bites itself. No, I'm talking about color information out. Um, 0.1 is dark grey. 0.2 is also dark gray. But it's lighter than 0.4 0.3 is a little bit lighter until you come to 0.9, which is closer to one. What was one? It's a white. So zero point on is light grey. Well, it doesn't come just 0.1. That's all the values in between. Is there a point to three. To 4445 It's It's all sorts off. It's plenty of them. Plenty of grace. Okay. All right. Why are we talking about these Grace? This is exactly what these two fellows, your most important perimeters. This is what they do. Let me with them back. Is this check? This is my artists off the soil in a softness. Bring it back down. Down knows Jake. Yeah. Okay. Good. Um, what I was trying to pretty back to Was it a default? I don't remember. It was before value actual was zero. Okay, let's say that that's a very good starting point. Actually, it's brilliant. I like this. Um, so you have white, which is one that doesn't mean everything is white. His shoulder. He is here. It's about transparency. So this basically means this is great. This is light Grey closer to the white. So it's gonna be like the report. Nizer report 80.7. And were you finding here? What is this? What? We wanted to become zero to become black. All of this needs to become black about these are now, like 0.1. And some of them are even closer to this. They go as far a 0.6 to appoint. Whatever. So what do I need to do? Know when I increase when I'm sorry? What is it in her softness? When I increased this one, I actually I'm simply asking from spectra matter, too. Convert the big souls that have gray values as I go. I'm saying, comrade 0.1. Now go to zero point er now go to 0.3 now covers their point for as well. Can you go to support five? I also want 0.6 and all of them convert them back to zero. This is what's happening exactly. The same thing happens with what is called out of softness. Um, I really, really don't want them to be calling like this likes it doesn't make any sense whatsoever. This is clip of black. This is clip White. It's This is how it's meant to be called or, um, convert Greater black convert. Convert greater black comfort greater whatever they want to call it. But it can't be softness. It's got absolutely no single nothing to do with softness. And even inner doesn't make any sense whatsoever because we're working on the outer space on the outer part and the other one doesn't make any sense whatsoever because he was working on the inner one. It's so get used to the fact that the default values in Kiir's on the way there called can be utter nonsense. Okay, um, because if you understand the mathematics behind the operations, then you start thinking we'll call this stuff. Okay, So, um, out of softness, which basically is nothing else than convert great into white when you are going to reduce it, you are pushing from one two down to 0.90 point or whatever, and the values here don't make any sense whatsoever. just for just It doesn't make any sense whatsoever. I wish they had zero in one. Because that's what the pixels are. Zeros between zero and one on the grace. But you cannot as you can notice. You can only use this part of the left part off this one. If you go any higher, you're gonna find something really weird. Like who? As I said, who on earth would want to increase transparency? No one. So why do I have this part here? I wished I could start from here. This is how it's meant to be. Um, Black clip Black should start a year as just as the default value. This once you started here is default value on. I should go down. Okay. So did you bring it down? Basically saying make all delight, Grazer Um, white. The result is, then you have zeros and ones. You have zero pixels, black pixels and ones. Okay? And you do have sometimes some transparent areas around here around the reflexive areas. That's fine. So what we have no is, um, clean off Now that we have this clean often we were thinking OK, so what are the other perimeters Oh, how can I possibly say that in most cases and utter waste of space? Right. So this is not the only Keir. This is not the only software. You're gonna find it back in Adobe Premiere. Gonna find it in few other applications that some perimeters are a waste of space. Right? So you want they are going to do some things, right? So if you are going to tweak keys saturation line Okay, can you possibly explain to me why the hell would it even exist? Like if this is a default value on, I'm going to increase And what it's doing is introducing noises in the background. Is this what Greece Creaky knees, men? Is this what it's about? I thought it was the opposite. So this for a meter here is an utter waste of space. Tolerance is another guest of honor, which definitely does increase the reduced the the color you select. But I would strongly recommend Just don't waste your time with it at all. When you make your selection off the green, you make an informed selection. You come here, you work your inner softness out of softness, which is called wrong. So you work on your Black Sea working awards, and that's it. Like that's it Basic. So this is This is the I mean, from the core part. That's it. We just put this one back to him. Yeah, you could open this stuff and then, Ah, get some more control. But that's not what I'm looking for. It was 50. I guess I was Go back. Ciders. It was something like 100 year 100. OK, keep it where it was. Don't touch it. So I save space. Okay. These are the two main parameters you want to play with. Let me now come to the, um um disable this one. Show Alpha, disable it. And now I have the key in you have a clear black. You have clear and clean white you have done. You have no problem with edges. You have. Um, that's it. That basically is it. Right? So you close this chroma control. So I really wish Is this having just have local is nonsense show are far. Okay, this capacity here And what a waste of space. Why would you What would you include on a positive about a meter in that would make that would make the foreground transparent. The whole for Gran Tristan like, is it not something that is independent from Greece? Cranky. I just feel they they may they may have felt the need to make it look like overloaded with para meters And just added stuff is all you need Chroma control. You have your blacks any whites, period. Um, that's when you make the right selection here, right? Otherwise, going after to equal this case hotline and consideration. I just look at this one. What does it take? Say it is quantum anyway, whatever. But I'm just explaining that if you choose to make your key green Chris Keown in Avid's media composer and use spectrum that it does work, just choose your part meters spoke carefully. OK, No much processing and spill this bill. I, um Let's have a look at this. Let's have a look at this. I'm going to remove the Alfa aunt when you increases five. Increased angle Offset. See what happens. Okay, it is operating as a hue shift kind of cause it's it's working on on go itself. I wouldn't want to go off board with this. One is spelled saturation this. If you increase it, it does impact the spirit saturation. But when I play with this one, do you notice any difference? Okay, so when it comes to spill suppression, I would draw the go where slightly with this spirit offset because I'm saying slightly for the simple reason that if you go off board, it is going to So what's the is completely complete nonsense. But this part over here, however, is quite interesting, because when you go just between five and you go a little bit up, what happens is that you are then addressing some of the greens like when you shift, it dresses the greens. Okay. And this is without any further tweaking off any other perimeters whatsoever. This is how you can make your clean, black and clean white matter with clean edges on. Do your compositing off. Not really compositing this green skin Keen in Avid's media composer Ultimate version with spectrum Matt 10. Blender Green Screen part 1: green screen compositing in blender 2.8. Blender is a three D package and it does have compositing capabilities. And if this is your choice, I would show you how to do that. Well, we come here first Plus to add a compositing work space that has click and then moved to the composite workspace. What we will do is we need two things. The 1st 1 is click use. Now it's on. The 2nd 1 is backdrop because we need to work with nose on. Number two is we need to see what we're doing. So click backdrop. These are two important things. Okay, this is before moving in a father. But when you use the notes of what you actually get in here is the run the layers. What we want to do now is compositing green screen soapy in it, which basically means we're gonna be working with rendered on three D images and stuff with wi will be reused in shot green screen footage. So the render layer note is not needed. The composite we're gonna need later once we want to connect it for rendering. But we want to bring in the footage first So we shift. Click, click on with that one shift a and then I have input on movie clip. So we bring in our footage Open on. That's gonna be a foreground. Rescreen open. All right, so it's in here, but I'm gonna have to create a viewer node of shift a output viewer, but there are a few ways to do it. But I'm showing you the menu. Wait right when we connect. Image to image. Okay, Now we want to see everything in the screen, so I'm gonna click unfit here. All right, So this is our footage. We would like to, um, removed the green screen, and we would like to add a number background, and that's gonna be movie clip. So another movie clip. We put it somewhere in the back here because we're not gonna be using it right now, but would like to bring it in first. So that is gonna be our that ground, But it looks like this. Okay, it looks like this. Good. Okay. What do we want to do now? Right. There are a few things that I want you to take into account when compositing green screen. When key in green screen before compulsive YankeeNets. Okay, The video that I have chose that I have chosen has a few mistakes in it. This is stock footage video on. It has a few mistakes. There are five mistakes. The 1st 1 is it doesn't have any tracking markers. But I'd like to talk about these things because, yes, postproduction. When it comes to key key and green screen, there are a few things that need to be done. But they depend on what has already been done. Your production. So if you don't have tracking markers and you want to matchmove, that becomes impossible. Okay, There are only two exceptions to this rule. Number one, the cameras frozen doesn't move. But if you choose, if you choose to move it later and you forget to add the tracking markers again, the much moving becomes impossible. Just a guess work. And it's gonna be like, really unprofessional Exception. Number two is if you are working and a big agrees. Chris did you with the robot motion control robot with the camera. So the camera is not operated by a person but operated by robots, and that's tied to motion control. So that actually is a next option. Where the rope It does not need any truck in Marcus because it sinks the motion off the camera directly to the three d package. OK, so these are two exceptions. Mistake number two is that the lighting is actually quite unevenly. It's quite for quite for its uneven front. From the look of things, there's just one light on the ceiling like this is really not up done properly. There's a light on the seeding, and so this is lighter. Bright. This is like middle values of green. And this is Dr. You can tell there's no light on the right. There's no light on the left. Mistake Number three is the actress are too close to the green screen. Mistake number four because they are too close to the green screen. You can see the shadows and they can't have separate lighting. So the lighting is poor on the actors. You need to have light in separate for the green screen than the one for the for the actors . Okay, on the number five, we have rubbish quality video. This is H 264 which is heavily compressed. Compression means you have decided not to do visual effects. That's what it means, actually. But I have taken this to show you that this technique works even with rubbish quality videos. It's not an excuse to have rubbish cultivate years. It's that I'm sure need to technique. Okay, compression is the enemy off Visual effects is the enemy off green screen key in Because compression Lou, with compression, you lose image information. You lose color information on key. And here's all about color. Right? Okay. So because this bracket about the mistakes I have the liberty chosen to stock footage because it has is rich in mistakes. And that's something that we may be facing once we talk about this. Okay, First step when we key, what do we do? Okay, because we have taken this video that has this full of mistakes. One of the mistakes is the fact that you have uneven lighting. We are going to have to deal with different types off green. This is bright. This is like middle values. Plenty of islets under this is dark. This is dark. This is shadows. I have to deal with all of this. If I'm going to ask my Keir in blender to do everything. It's gonna be asking too much. So if I'm gonna ask the Keir to remove all sorts of grain, it is going to do it. But it's gonna do it from the map as well, because guess what with all sorts of mistakes, the fact that they are very close to the dress green background, that means they're spill on the spell on, for example, this black costume is not bright green. It's dark green. So if I take with this, I'm gonna take a wait color information from here. Creating transparency on it is going to be more obvious when we look at the shirt with white shirt is taken some of the colors. This is like brighter reflection, but it's something we need to weigh need to take into account. So again, back to that one off five mistakes where they get their too close to the background. You need to be meters away from the but from the year agree screen so that you avoid spill . Yes, it's not even when you're shooting, you're not going to avoid it. 1% like eliminated, because if the shoes are shiny, so you're gonna have it. Even if it's six meters away, it's gonna be shiny and is going to reflect, right? So it does reflect some objects do reflect. We have to live with that. So it's gonna need to be roldos code or garbage matte or whatever it needs to be worked out separately. So in this case, what do we need to do? We need to address the variation off green. The motion off these actors needs to be defined. So what are the areas they need? What are the areas they don't need? Well, in this case, the camera doesn't move, so we know that they are going to be using just They're just standing where they're okay. Cool. This means I'm able now to create a garbage matte. This is step number one. Why do we create a garbage matte? It's a mosque. We're going to mosque to eliminate degrees that we don't need and we tend to. If it's poorly lit, we tend to have dark, agrees in the corners. So what we need to do is create a garbage man. How do we do that? Well, that's come down here, and we're going to choose from in here. We have run the result. We don't want to have to run the result. We have to want to have the viewer notes. So now I am creating the garbage Matte step number one is come down here and select the viewer. Know so that we get this the feed from the viewer Note from this view or not. Okay, we get it here. Once we have it here, we are going to change this from view to mosque. Okay, Once we have it in here, we create a new mosque and we can call it garbage Matte garbage, But okay, without enter and we're going to breast control and start draw in the shape that we need. Okay. In this particular case, I'm going to use the area where the going to live. Now, Once you're done, you just need to press Why you gotta be closer and you press outta, see? And that closes your mosque. What have you just done? We have created a mosque. Have recreated the garbage. Matte? Yes. And now yes, we created the mosque. That is the the input for the garbage. Matte. But we haven't really created the government of such. So let's come up here and create the garbage man based on this mosque. So we come here and shift a we come. You could go to search and just go straight to Mosque Mosque and we click here. This is one mosque. Okay. From here, we can easily tell that when we click on this, we have from the drop down menu we've caught already. The mosque we have created. It's called garbage. Matte writes. We click on this one on, we're going to connect it. Connect image. Sorry. We need to connect a different going to bring a mixed note. So shift a and click on such mix makes. Okay. I need to mix this original image with my mask so that I'm able to see the masked output. The garbage man. Okay. How do we do that? We connect the mask to the to the F A. C to the factor, and we conduct the image to the image. Now I get this results connected to the viewer on what do you get? This isn't what we want to say. I actually want to see the people, so we just need to invert it. Five. We are going to invert it. Let me invite this. I'm gonna show you. Click Shit upshift A search under look for invert. So this is our inverts. We put the mosque too. Come the spring in the inverted. Okay, Once we bring it in, it connects the color color to to the factor on. We have inverted it. Now what is this in here? I'm gonna show you later. This is green on. What is this? This is no mask out. But to be effectively a proper Alfa like transparent, it needs to be part. We need to use an alpha note. But for that way, come in will come into that. What I will do next now is to make sure that I have, um my garbage matte is Let me just see. You could You could, by the way, any time. Come on, adjust your cabbage man. And it is automatically updated here because well, it's It's the source for the garbage man. The mosque is the source for the government. This is closer. Here. Click anyone. That's Boyens on. Say we don't need all this space. Oh, sorry. Okay, good. All right. So this is how you create a garbage matte in the next part where I'll go into moved to the key in step. Okay, 11. Blender Green Screen part 2: Now we're going to move to the keen part. We have already created our garbage. Matte the mask air that is feeding on garbage. Matte inverted. Now we create a key. Your node. Okay, that's his shift. A When we come to Matt and it is keen. Okay, We are going to just put it somewhere for now, and we will connect it to what? We are going to connect it to the final result off the mix. Right. So we're bringing in the spirit here, Okay? When I do like this, now you see that the, um, garbage matte is actually turned into an alpha like the it's we have a proper, um, a proper garbage matte. Okay, so I need to work on the Alfa. Let me first select the proper value. I click on this key color. I get these color picker and comes select something that is reasonably dark. Not too dark but reasonably, Doc. It could be safe, For example, vase value or they're okay, right? I immediately turn into unfair. So how do I do that from Matt? I come and connect it to the image. So now I'm able to see what to see my Alfa. Okay, this is garbage Matte on. This is now the black that needs to be cleaned in the warden's meekly. Let me get this Keir note bigger, and we need to work on a few parameters. The viewer can get a little bit of decider on. Let's get them to work. Okay. Now, the next part is actually to clean the black and cleaned white. I would recommend you start with the white first right clip in the, um the white creep white and click back. What does Klay poetically back really mean in the background? Like, what's what are you asking blender to do? What is black? What is white? This is zero, and this is one. This is zero, and this is one black zero. That's the value. A pixel that house values. Zero is black pixel as a value, if one is white. So this stuff over here, what value does he have? It's not zero. It's not one. It's a gray. So it could be zero point zero point. What? This is dark. So it's gonna be 0.10 point two. This is a bit brighter. So could be 0.60 point seven The closer to the zero, the darker the great. The closer to the one that duck down there. Sorry. The doctor, The gray. The closer to the zero. The lighter, the gray, the price of the gray. The closer to the one. What are we then? Why am I explaining all this? Because this is exactly what you will do when you come here. And Sacred Point. What are you doing? You are actually asking from blender to convert those big souls that have 0.9 closer to one . Make them one. So if this bright those bright ones over here that you see on his shirt that are this is very bright, it's not white is very bright grey. When you reduce, you are actually asking blender to make all the pixels that are between one starting from one up till 0.5, for example, in this case, and you could go a bit lower down here. You're asking to convert all of these between one and 0.36 to 1. Make the white right and then what you were going to do when you do like this is sorry. It's clear. Black, clear. Black. When you're increasing this heat, this is gonna disappear. But what am I really doing? Because their values are closer to zero. Um, asking blender, too. Look for those, um, here. Look for those, um, pixels that have values closer to zero up to or this is the level. So I'm saying 0.3 up 2013 Make it what? Make it back. Make it zero. So I can, but the moments you start, I mean, you need just to be careful. You don't exaggerate too much. We do have the intention to make sure we do not. Um we just Okay, there's another thing. Have you noticed we have some stuff over here that we can't get rid off these pixels? There's another trick. There's a trick. Not once. We clean everything and you are So you're struggling with some pixels. This is a mistake in filming. See why now? We are struggling with something. Initially, we shouldn't have a problem at all for simple reason. And you see, is there some light grays? This is why we're talking about mistakes Syrian filming. Because these two fellows are too close to the background. Green screen. You have too much reflection on these on this object. Okay? Plus, because they are too close to the print screen, you have the shadow off this man. You have his shadow here on the green screen, so this is darker than necessary because you've made a mistake you're in filming. This is stuff that you want to take into account during filaments that you don't, um, struggle during postproduction. Okay, so but now we have to deal with this. How do we do this? By the way, this is stock footage. She's are protected to just have chosen this stock footage which has which is rich in mistakes so that I can illustrate the point. I am now going back to see I'm going back to this key color and I'll do something that could be a bit dangerous, but it's only don't just like it's the last resort. This is a shadow shadow means is darker. It's the darkest green we can have. So why don't I come and make the green off selected a bit darker. So I take this issue to a little bit down. Be careful if any further gonna start rolling in everything else. Just about enough for us to remove those nasty pixels that we were struggling with. Off the shadows. Don't finished. Okay, now we're going to come back. Said now we have the Alpha is Okay, So clip White. I think what I'm gonna do is just push it even further. Like this, right? So what I am going to do now is come to the composite inside of things where I bring where is my background? Okay, now we need to combine these things. My background is this on the compose it inside, remember, it's always to be done with your bag. Grab anything? Yeah, that is logical. It needs a background. Oh, no, no. I mean your background compositing is getting the foreground closer to your background, Not to any background. Right? So this is why, when I know I've done the key in part which is getting a clean, alfa and clean Matt, what with the garbage, of course, have helped. Now I'm going to add the background so that the work is going to be done based on the grab background. Okay, So the idea is not to create a matter that is workable and that can be composed with any background on the planet. It's compositing it with your background. That's the idea. And you will notice that also, when we moved to the brightness and core correction part, we're gonna be doing it based on your background. So in this case, we have this background. We are going to connect it. But hold on amendments. How do we connect this? We need a node that is going to merge. Everything okay? How do we do that? Shift a on we go to color and there's alpha color. So we select for color will put it in your this image. We're gonna connect in here, and then we get the results of the keen. We haven't finished with keen yet. We're gonna do this, Bill. Yes, but we are going now to move to composite in parts where we start working on the colors and everything else image here. And then I gets my image from here to the viewer. Right. Okay. That does not look good. Does it know all of the moments? Why is this washed out? Why is this my What is my background washed out? Well, for a very simple reason. We need to click here on convert Primo. Okay, When we do that, then the background is properly done. Hold on a moment. Why do we have this issue? Offer this issue off the garbage? Matte. That's not getting through properly. Like okay. I want the garbage man to work just for the foreground, Not for the background. Well, it's quite simple. There is here a in the input. There's a garbage matte. So I'm going to come here and say Connect the girl, Bitch. Matt, This one, this converter invited, of course. Garbage matte invert cooler collect connected to the garbage. Matte. Once we do that, what do we get? We get our composite him now. We work on a few tweaks. Generally, when you have a problem when you have, especially in this case, he there, gentlemen, are too close to the to the green screen. We are going to have green spill, so we need to have a dispel operation. So this shift A let's bring from the matter a caller spill. I do at this, and I put it in between. So what happens is well, what does really happen in the background when you say? Color spill. You are removing the green. Okay, so what does? Removing the green mean mathematically color grading and playing with colors and changing tweaking. Adjusting colors is all mathematics. You remove green, you've got to add something else. And what is that thing? It's what's the what's opposite in the color wheel. So let's green more magenta. Okay, so this is why you find this effect over. All right, So what you may find is that okay? I may tweak a little bit the edges Boy, come in here and say actually, because I have pushed my walking white my white, a little bit hard to make sure that the shirt is not transparent, I come to erode, dilate on. I could do something like minus 0.5, depending on your something. Just a gentle didn't work or this one minus one probably. Okay, this is just to make sure that any yes, the green is gone. But you may end up with some sort of a white line. And if that's the case, you use erode okay to erode the mat. Well, in this case, we don't need it. But I just added, therefore used that you remember. You can use that. Okay. How are we done? Not yet. Why? There's a simple reason. Okay, let me just add a little bit more off that sleep. Whites. Okay. On reduces with all the clip block. Okay, So what do we have in here? We have is because there is a problem in the U. The lighten doesn't match. But it was a very poor lighting. The there was just one light in the city on the sea, in right, so on This background is quite bright. What I would like to do is match delight in between the back the program on the background . We do that with a clear correction node. So a pretty sorry press shift A on I come to color on color correction on you bring in a huge node which cuts loads off bells and whistles. I mean, it's topped off. Remember, this is not the right place. This is not the right place. Just jumped. Needs to be somewhere else. It needs to be here. Let's put it here. Well, it's a huge one. You could choose another color correction node. Oh, I just done to bring in this one because it gives me a lot of control highlights meter and shadows work separately on these ones. In this case, I just wanted to show it is snowed. But I only need actors work on the monster on the brightness, which is gain. So probably one point. Let's go with two. Just to see the exaggerated What? Can I testify? Actually, one point is not bad is no bad, but for the contrast, I want to bring the colors to life a little bit. So I'm gonna add 0.5 contrast. That is a lot zero 1.0. How? 1.0 one Duds. Okay, probably 1.2 1.2 Okay, so I'm not sure you were able to see everything properly with the compression, but this is what we have now. We have managed to make green screen key and inside Blender composite er, okay, if this is your choice, okay, there are composited. Software's would have dedicated Kiir's, but if you choose to do it here, fine. You have the possibility to do data taking into account also the fact that we have brought a really rubbish quality video that is heavily compressed and this is why we have to struggle with so many things. And we still managed Triple A key on This is how you make a green screen keen on compositing in blender to Court eight.