GreenScreen Master Class in Davinci Resolve | Nick Carter | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

GreenScreen Master Class in Davinci Resolve

teacher avatar Nick Carter, Videographer, Photographer and VFX

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

5 Lessons (28m)
    • 1. Course Introduction

    • 2. PART 1 - What is Green Screen

    • 3. PART 2 - Still Image ChromaKeying

    • 4. PART 3 - Moving Object ChromaKeying

    • 5. PART 4 - Moving Scene ChromaKeying

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

If you have been trying to learn how to work with Green Screen footage in Davinci Resolve then this is the class for you!

This MasterClass will cover the basics of Chromakeying (Removing Colour) and slowly move through more advanced examples as you progress.

The Class will start with basic Chromakeying principles in Davinci Resolve and covering how the node structure works when using green screen footage. From there we will move onto more complex scenes to chromakey, ending with a scene that will require tracking as well!

Some Prior knowledge of Fusion and Davinci Resolve is required!


Meet Your Teacher

Teacher Profile Image

Nick Carter

Videographer, Photographer and VFX


Hey Guys! My name is Nick Carter,

Im a Videographer, Photographer and VFX Enthusiast who spends his time living between Australia and Canada. 

I started my Editing journey over 10 years ago trying to achieve simple VFX shots at home (Lightsaber Effects, Sky replacement... Basically every tutorial on VideoCoPilot). From developing my hobbyist skills at home to learning from Industry Professionals at AIE out of Melbourne Australia, my passion for Video Creation and VFX continued to grow.

Between working in the corporate world and creating content as a freelancer I slowly realised a gap in the Learning Market. Simple, easy to follow and straight to the point tutorials. So I took to teaching. Having found a voice that people seem to listen to, I focus ... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Course Introduction: Hey, I'm Nick and welcome to my class on green-screen visual effects into Vinci result 17. Although this will work in 1615 as well, this clause is going to be dedicated to working with green screen footage and using the visual effects cold chroma King, which is the removal of color. This technique is used in pretty much every feature film these days. Any sort of visual effects felt what you want to add and elements in or move elements out, the green screen technique is used. So how this class is gonna work is we're going to start with a little bit of a breakdown on, on the use of green-screen, why we use it, and why the colored green. Then we're gonna go on and just 23 practical examples. So the first example is going to be a still image where it's going to be very easy to pull the color out and I'm going to place a different image in that spot. So that'll be really easy to achieve. Then we're gonna move APA steps over them. I'm going to have a moving subject on a static background. So we're going to remove that Kola put a different background in and do a little bit of color correction. And then the third example is going to be, I guess a combination of all of it, which is going to be a moving scene so the camera is moving, so we're gonna have to track it. And then we're going to remove the color in the footage and play something else in that, sorry, by going through each of these different examples, starting from a real easy one and moving on over to hobbling, you're gonna get a really good grasp on how to chromosome eight green screen footage. So yeah, hopefully you enjoy this course. 2. PART 1 - What is Green Screen: So why do we use green screens? Well, the simplest answer is the fact that neon green, the color that they kind of use on the green screen, is just so vibrant and breach that it's very easy to pull the color out in post visual effects work in the past when we use film cameras that actually had a rolling film strip back in the early two thousands, nannies and OLAP, we actually used blue screens, which we do still use today. But the blue screens we used back then, because film was sensitive to that color, blue. Back then it was actually easy to pull the blue color out. And this is dating way back to when we even doing star was videos. They would film The spaceships and all that sort of stuff on a blue background. Now in the 21st century with digital cameras, green is the color that we use simply because of its vibrance and I guess the rarity of funding, that vibrant green colour in normal things like makeup, costumes and all that sort of thing. Now, in a sane way, he do have green on the costume or anything like that, then we would revert back to a blue screen. So you do not actually have to use a gray screen. In fact, you could theoretically use any color screen you wanted. The reason we do green is because it's just so rare in everyday life and that sort of vibrance. It's easy to pull the k from. But if you do have a scene that has green in it, you will want to avoid using a green screen and switched to a blue screen if you're going to be filming content yourself using these different colored backdrops that are a few things you're going to want to keep in mind. Obviously, if you're gonna use a green screen, then you do want to avoid the color green, like the plague. You don't want it on their clothing. You don't want to in the hair in anywhere in the backdrop because that column 2k get removed. So you want to avoid that. You also gonna want to use a bit of makeup on your actors because by pulling the colored green app, you're actually gonna make them look quite sick. So you're going to want to add a little bit more extra red in makeup and sort of like artificially enhance it so that when you remove all the grain from the footage that they don't look sick basically. Now, other things you want to get MAN glosses, glosses a terrible for King because you get this refraction that comes through as the light hits the glosses, obviously it balances out. And you can see here, even in this footage, he can see the color behind the glosses. So you do want to avoid glosses. Cos, you can always just use frames if you do need to have them in the scene. And now the thing with green screens, although not super important guests if you're filming at home, but you do need the green screen to be evenly lit. This often means multiple lot sources pointed from all different directions so that, that green is as uniform as possible. By having different shades of green through your grain screen is going to be a lot hotter the pool that color out because you're going to have to widen your parameters and we're going to look at that a little bit lighter. And by doing that, you going to be removing more color from the scene itself. So that is definitely something to keep in mind. Quite often if you're filming a subject on a green screen, we will use what's called a curved or COPD sort of backdrop. And the idea of that is being, it's going to remove that Hosh, shadowing that would occur in that corner had we had a green flaw and then a green wool. And that's quite common practice as well. But for these classes, we are going to be using just some free stock footage on the Internet and I'll have them all accessible for you full these classes. So let's jump into dementia, resolve and stop pulling the grain out, adding some extra things in and get started on your visual effects. Jenny. 3. PART 2 - Still Image ChromaKeying: All right, so here we are in DaVinci Resolve. All I've done is imported all the media we are going to be using in these classes. And just created a simple 1920 by 1080 P timeline down the bottom. Now the first thing I'm gonna wanna do is go to the effects library and undoes. Effects were gonna go fusion composition and just drag that down. And for the time being, we're just going to leave it at the stock time out five seconds. Now without playhead over it, let's click that and jump across into fusion. Alright, so what we're gonna wanna do is bring out immediate down. The first thing we're gonna wanna do those because we're using some media that isn't quite at the right aspect ratio and then actually drag a background dam and connect that to, well that's going to do is create a background at the timelines aspect ratio of 1920 by 1080 and false the composition to be that slides, if I was to bring this still image down, it would force it to be whatever this aspect ratio is, and we didn't want that anyway. The first one we're going to work on is the still image. So we're going to bring that in. And what we're gonna do is we're going to rename this one and we're going to rename it green-screen foreign and I guess just something so we can look at it and recognize it. And now we're going to merge shot down by dragging the output of the green-screen fund to the output of the background. It's going to merge it on top that. So what we need to do now is actually scale this down because holy helots too big. So by going to the merge node, we're just going to scale it down til we can see the whole phone. Now, what we're gonna do is add the delta C0, which is the king effect we're going to use inside of fusion. Alright, so let's just go to one. And what we're going to do is we're actually going to add it before the merge. Now the reason we do that as if we were to add after the merge in the hierarchy, then it would complicate everything before it. So we only want to chroma key and removed the color green from the still image. And to do that, we want it to be placed directly after it in the node hierarchy. So to do that, we're going to make sure nothing selected. I'm gonna hit Shift Space to bring up have Tool selected. I'm going to talk in delta. It's gonna bring in the delta k And we're just gonna add that. And what we're gonna do is hold that. And then with the shift case selected, we are going to wait until that line goes colorful like that and drop it in right now. And as you can say, the output of the green screen goes to the input and then the output of that goes to the merge. Alright? Now, with the delta qi is selected, we're going to head over to inspect them. All right, now, the first option is the background color, okay, and that is the color we are going to key. So what we wanna do is make that instead of gray, we wanna make it green. To do that, we're going to use the eyedropper tool, click and drag until it homozygote. And you can see as we hover over different colors, we sought to see a visual representation of what's happening. Pretty funky. I'm gonna hover over the grain and release. And straight away, I'll just see you see black because that's what these background colors, if I was to change the color of the background, to say transparent, you can see that we're going to change that and we're going to see the check patent, which finance probably want without looking at it. It kind of looks like a pretty good key. It's sort of hard to tell. I'm sure if you can see here, there is a little bit of something going on. So what we need to do is we need to refine what is called the mat, like, hey, the clean map than this is created by removing the color green. We need to refine it and removed these imperfections. But to do that, we're gonna go over to the mat option heal. And we can start playing around with the threshold. But we can't really see anything when we do that. And the threshold is going to be the difference between the green in the background. So what we wanna do is change the view mode, which currently now starting this the final result. And we're gonna change it to Matt. And basically everything black is going to be transparent. Everything want is a pay. Now, as you can see, if we were to zoom in here is a little bit of funkiness going on here, a little bit of funkiness going on there. So what we're gonna do is with a very highly tuned eyes is we're going to play around with the threshold. So we're gonna bring in them lower and that's going to bring the blacks back, okay? And you can, as you save, as I bring this in, have a look here. You will notice that start to disappear. Okay? Now that's brought the blacks in very good, but we can still say a little bit of artifacts around here and the wants, which is going to be the high threshold. So we're going to bring that in a little bit until that slots that disappeared. And now we've got a pretty good result. And that is the easiest way to, I guess play around with your key, is by fiddling around with the threshold. Now, when we have a moving object, we're going to play around with the fringe and all these other options here to fix the image, because we're going to need to do that. This is a very clean geometric shape, very hot edge boulders. It's not moving. So it's very easy to just adjust the threshold to get a good result. So now what we're gonna do is bring in an image to place in the background. To do that, we're going to grab our iOS screen grab, and I'm gonna draw that in here. And we're going to rename it for good, for good sakes, for keeping it nice and organized. Ios screen grab. So what we're going to do is we're going to add this in-between the delta qi and the merge one node. So essentially everything before this merge one is Al Green Screen KD footage. To do that we can literally just click and hold shift until we get the colored lines again and drop. But we don't want it to be on top. We want it to be underneath. Pretty easy fix all we need to do is right-click on the node and goes swap inputs, and you'll have the shortcut therefore as well. Now it is underneath a couple more things we just need to do. And then we're pretty much set. We're going to add a transform node. So Shift Space, Transform node in-between. And that's going to allow us to move this image around. So we're going to rotate it a little bit. And we're going to line it up and just play with the angle a little bit too. We've got it physically locked off and then we're going to bring the size up and dung. That's exactly it. And obviously it's a still image. But as you can see, we have Kermack aid that. So before we move on to the next project, let's have a quick recap of what we did. We grabbed the green screen fun footage and then we applied the delta keel to the green screen footage to remove that green insert on that foreign that with the delta Kiel, We use the background color to remove, do a very quick key of the green. And then we moved on over to a map tab and played around with the threshold so that we had better control of the blacks and highlights. And once that was done, we were able to bring in our image underneath IOS screen grab, which would give us our final result. Lack SART. Honestly that was pretty easy, very rare that you get very clean geometric shapes. In the next chapter, we'll be looking at a moving object and we'll definitely have a better look at how to clean up the green screen footage. And this was just an introduction on how the delta k a, what 4. PART 3 - Moving Object ChromaKeying: Alright, and welcome to a second green screen test. This time we're going to be using this piece of moving footage. So we have this girl on a green screen background. And this is going to be a lot better to demonstrate the powers of the delta k because y going to be paying out head, which is one of the hottest things to key out really effectively. So what we're going to do is we're going to drag a great screen footage down onto the timeline. And with that playhead over the top, we can jump across into fusion. All right, so here we have a composition in fusion, we're just gonna go to a single view of for this one. And like our first, what we're going to do is add out delta chaos. So I'm going to rename them maybe in node I like to rename the nodes, keep it organized. So we're gonna go green screen and I'm going to call it the rural footage. And then with that selected, I'm gonna hit shifts spikes to bring up that tool, select it and taught in the Delta keel. All right, so now we have the delta k are applaud and just like in the first example, we're going to use our little i picky here, click and drag to select the main color we want to keep up. And you know what? It does a pretty good job of getting rid of majority of green. But if we were to zoom in and you can see like we have this really weird artifacts in here. You can see going on. Then there's a little bit of green fringing going on, especially around the arm and the hair is just all over the place, especially if we go over here that's, you know, it's always so we need to start to clean it up. So if you remember from the loss clause, we're going to head on over to a map control here and change the B-mode from Fano result to map. That's going to give us a much better representation of what this is supposed to look like. And as you can see, her body is not completely what we want it to be completely what the hair is, just all kinds of blurry and even this black section, he is just not very good. So the first thing we're gonna wanna do is play around with the threshold, but we're not gonna wanna touch it two months. So I'm gonna bring the blacks in ever so slightly. You'd say it makes a little bit of a different specially if you look the arm, but you don't bring it in too much because you can see it starts to bring in too much detail. So it just don't wanna lose too much head, just want to bring it in just a little bit. And then I'm gonna do the same with the high. It's going to bring in a little bit more. But we don't want to again, no one got too much goes in the wrong direction. So we want to keep it probably to a bat that I'm just sort of keeping an eye on our little fringe here. Now, what we can do is play with the restore fringe. And what that's gonna do is bring in the mosque from the outside. And you can see that does bring in some more of the hair. So I'm gonna bring in to us a little bit, but not a lot, because as we bring it in, you'll notice we get some more odd effecting on the side here. And this is going to be just a very touching goes situation to restore offerings. He's going to bring the fringe in. Eroding dilate is kinda like the opposite, so is going to bring it out. All gotta bring it back in. And obviously we don't want to do it too much. In fact, I don't even really light using the erode dilate option. Not much. One thing I do like using is the clean foreground and background, so we can move that up. And you're gonna notice that's gonna give us a little bit more information in the foreground. Cleaning the background is going to definitely help a lot with this darkness. He, it is still quite hilarious. We might bring that fringe back. And as we're playing around with these slides, we are going to want to go back to the final result and play it through just to make sure we're getting an OK result. So it's not too bad, but there's definitely some things going on here with the hair. So I'm gonna go back to the mountain. Let's have a look what we can do to fix it. So we play around with this slide. So I'm actually going to bring that moral back a bit more. We want to be pretty careful with it. Alright, and clean foreground. Play around. Let's go back to final result. See what this is. If I clean the foreground, is that going to want to play around with it too much is pretty good that we're gonna do a Blair as well. That's going to blur the edges. We never want to do a big blow when literally talking when new eye 0.1, it's just going to really help us to not have such a Hasse Hosh, edge. Let's have a look of it played restore fringe. Probably not. And let's play around with a threshold again, bringing that back in a bit more than the full. Let's have a look at our final result. Definitely getting there if we press Play. Definitely getting there if we press Play. And as we go through, you want to pick different points to go back to your map. So you can see it's not too bad, is definitely getting there, but it's certainly not as crisp as we'd want it to be. O, right? So now we've done out delta k. We played around with the settings. As you can see, it's a lot of fiddling around just to get the brightness settings. Sometimes you can add an extra care in if you need to get rid of a little bit of extra green. But I think it's not too bad. There is a little bit of fringing. Then we can kind of go to the fringe option here and kind of change the cholera. But a little bit if we need to, just to sort of match the skin. So even that makes a little bit of a difference. There. It's a little bit green, bring them red and we don't wanna get too hot. Just a little bit just to remove that green there. But it's not too bad. Next, what we're going to want to bring in is AB background. So to do that, we're going to bring them Media pool and we've got these Boca here, which I'm going to drag down into node tree. Let's rename this. And obviously we're going to drag that out, put that to the output of the Delta K, And that's going to chuck it in the foreground. We don't want it in the foreground, we want it in the background. So we right-click the merge node and we can go swap input's size. You can see because of this image is much higher resolution than the video. We need to add a re-size node in between these two. So Shift Space typing resize, and it's automatically going to conformant to the space that the video applies. And if we were to play this back in, say that we go to moving on the boca background and it doesn't look too bad. But the thing is, is this bokeh is blue and orange, and she doesn't have any of those colors applied to us. So we're going to want to colour grade the image. To do that, we're going to add a color correct? Denote after the delta k but before the merge node so that it color corrects everything prior to merging with broken node. But because it comes after the delta keel, it's going to affect the result of the KD footage, not the grain beforehand. Pretty simple. Select the delta k. We're going to shift space typing Kola, and we're gonna go to color, correct? And we're gonna go add and now we can go ahead and play around with the footage. So what we're gonna wanna do is we're gonna change the hue a little bit. So we're going to want to change the Q to be a little bit blue. So I'm going to move it just a little bit cool or something like that. Smoke too bad. And this is the mostest would just cooled it down a little bit. Now what we're gonna do is the Shadows. I'm going to make quiet blue. And the highlights. I'm going to make orange at least a little bit anyway, highlights and make them more orange. And I'm just sort of eyeball in this one. He looking at this, it's very well-lit Samadhi and bring the gain down a little bit. That's going to dock in the image ever so slightly, not a whole lot player with that. Yeah, I think that's starting to look pretty good. And the I think that's looking a lot better. We could even like artificially enhanced this if we really wanted to do like a little bit of a lens flare in the front, but I think this will do. And I think it's definitely starting to fit the same. A little bit better up. Sorry. That's how we green screen, I guess current McCain footage where it's a little bit harder to do with head. In the next lesson, we're going to be doing it with moving footage. So we're gonna have to add some track is in there as well. So hopefully you enjoyed this and yeah, we'll see you in the next clause. 5. PART 4 - Moving Scene ChromaKeying: Alright, so welcome to pop three way. We're going to be taking this piece of footage heal and removing the green screen. I'm putting something into place now what you'll notice with this bit is it combines everything. We've got the green screen and the footage is now moving. So we're going to add a tracker as well. And yeah, it's just like that next step up. So what we're gonna do is with the footage in our timeline playhead over it. We're gonna jump over diffusion. And we're just going to single view of this one. And as always, I do like to rename my nodes, would just gonna rename this one. Cool, this green screen role. And the first step, just like the other two, is adding the delta qa. So he ships space to bring up a tool selected at the delta keel. And then with the delta K selected, let's grab a main column and get rid of it. Now you would think with this relatively well lit scene, that that would be a really good case straight off the bat. But if we do go to our view mode and change it to map, you can see that it's actually not as good as we'd like. So let's go to our shins under the inspector. Let's bring the low threshold and a little bit she noticed it's probably not gonna do much in this case, so we're gonna bring the high in a bit. It's definitely helping. And if we zoom in here, we can see that we have a little bit on that screen, them bringing a little bit of the law to get rid of that. And we're going to play through the footage. You can notice that part of the arm there is just constantly coming up block. So to get rid of that, we're actually going to use the foreground, going to bring that in until pretty much, you'd say it's almost disappeared, but not quite. Now if this, if you find you need a little bit more room on this slide, you can always manually type in a value and it will change the value. And now if we scrub through, looks pretty good. I'm gonna zoom in on the black screen. They're still a little bit going on the somewhat bringing the low threshold just a little bit and make sure it hasn't affected the rest of the image. Looks pretty good. So there we go. We've removed the screen. Next thing we wanna do is track the image. Now there are a bunch of different types of track has in Fusion, the one we're going to use for this is the planar track of the Plano tracker is a patent based struck us. So we draw a box around an object. We tell the self-weight to recognize that object and then it will track it through the entire scene. When you are tracking objects like this, I find that the plaintiff tracker works battle. The point track our foreign works better when you're tracking the same and you have a real clear, distinct position that you can track. This is a lot hot. Obviously the keys are very close together. And honestly, playing ground plane not tracking just seems to be the best for this case. So what we're gonna do is we're going to track this screen as our objects. So we're going to move to a point in time where we can see the whole screen. So random out here, the 225 frame mock roughly and often Delta K. So shifts space. We're going to talk in the play not trek up, hit Enter and add it down. So it gives us a little green box and we have this Crosshair. Now what we wanna do is draw a box around. Screen of the laptop, and it doesn't have to be very precise. Just around the screen will be enough. Oh, right. Now, before we go ahead and track it in the inspector, you have a few options. So the patent and this is basically white plans to track. So motion taught perspective. We can probably just leave it on the perspective to be honest, crackup point. We could probably just leave it on point. Hybrid point in area is going to give you a more accurate truck. And the rest of this looks pretty good. All we need to do now is set the reference time to the framework currently on. All this is, is, but now we are telling the tracker to use frame 227 in this box as our reference for the patent. With that done, we can track back and then we'll get to the end. Cool. So that's tracked back for my original point, you can say He every watt mock is now keyframe fold that tracking information. What we now need to do is head back to that first one I'm going to track in the other direction so that the whole thing is trapped. All right, so now the whole scene is tract. You can see this by all the white dots along the whole timeline. All we need to do now is strange Plano tracker into I play not transform, which is just this single button here in the inspector clicking that will create this new node down in the node tree called the plaintiff transform. This node holds old tracking data, which means we can now delete the track up. So we're going to delete that now. So this plane not transform is going to act as the gateway for whatever object is going to fit in this screen here and then merging with the original footage. So what we can do is drag the output down onto the delta q, that's going to merge it straight away. And then we can grab some media to put in place of the screen. So I'm actually going to import this footage that I quickly recorded on my desktop. And I'm going to bring it down here and I'm just going to rename this and to have this plugin to the rest of the footage, we're going to connect the output of the screen capture node or the new media in node to the input of the Plano transform. And it adds itself into the Seine. And if I play this through, you can see that it moves with the same. But, you know, it's Conda weed the way it's working currently, it's on top of the footage not behind it, which is where we want it. So what we're going to do is right-click on the image and we're going to swap the inputs. So that's going to put the media footage behind the screen. But as you can see, but doing that it's now change the aspect ratio of the whole footage because now the screen capture is the background, I guess. And so it's taken the aspect ratio of a screen capture. We can change that just like we did in the past, by putting a re-size node in-between the Plano transform and then merge. So it shifts spiced with the Transform selected and then typing and resize. Boom, fixes it straight away. We now have our original aspect ratio. So now we need to resize the screen capture to fit the dimensions of the laptop with a really nice sort of rectangular object like this. We can just use the corner positioning tools similar to like in Photoshop. So with the screen capture node selected shifts space, and typing corner, get the corner position. And it's as simple as dragging these corners to the corner of the laptop on it will automatically resize this whole thing to fit the dimensions of the laptop screen. Very good. And now what we ended up with is a laptop screen in place. And if we play, you can see it sticks to the footage and stays in place the way we want it to, which is really good. It's exactly what we wanted. And so that wraps up this masterclass to green screening footage inside of da Vinci, resolve.