![]() ![]() NOTE: Fill Holes should be used when the body of the talent has holes or gray areas in it. While every key is different, when you are dealing with poor lighting, the Levels settings are the first place to try. What we are doing is separating the edges of the talent from the background. Watch the image, stop dragging when you have a solid black boundary around the edges of your talent. Then, drag the midtones Levels slider to the right a lot as well. Twirl down Matte Tools and drag the shadows Level slider to the right – a lot. Matte Tools are designed to compensate for lighting problems. This image is SO dark that we need more powerful tools to separate the talent from the background. Our goal is to get an area of solid black around the talent so that so we can use a mask to get rid of the garbage around the edges. But, the default settings were not designed for this shot. Normally, the default settings of the Keyer are good enough to pull a clean key from a well-lit shot every time. In other words, gray areas are the problem that you need to fix. Areas that are gray are translucent and need to be tweaked until they are either opaque or transparent. Areas that are pure black are transparent. Tweaking a key while viewing the matte is a very helpful technique. The reason for using an area near the face is that if the key around the face looks good, audiences will forgive problem areas elsewhere.įinally, click the middle View icon to display a matte of the key. NOTE: Be careful to only select colors in the background, avoid selecting any hair, skin or other objects. In the Viewer, drag a rectangle around a range of the background near the talent’s face to fine-tune the colors we want FCP X to remove. Then, click the Sample Color icon at the top. Open the Video Inspector > Keyer, then click the right (blue) View icon to display the original image (lower red arrow). The results are “better,” only in comparison to the original shot. From the Effects browser apply Keying > Keyer.I’ve found hiding the background helps during the initial setup.īefore we can clean this up, we first need to create the initial key. Then, select the background clip and type V to make it invisible. When editing clips for a chroma-key into the timeline, put the background into the Primary Storyline, with the foreground clip on a layer above it. Personally, I think I was wildly successful. And my story is that I did this as an example of what not to do. Oh! And did I mention that the lighting is awful? The background doesn’t extend the full width of the frame.Let me count the ways this shot is screwed up: In my world, I’m lucky if I can even see the green in the background. In an ideal world, all your green-screen source files are perfectly lit, with smooth flat backgrounds, well saturated with no gear visible. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |