I want the green shape to be replaced with video layer 2, and I want the transparent background (of that same SWF animation layer) to reveal video layer 1.Ĭurrently, when I pull the chroma key (with key light, by selecting the color of the green shape), this makes the green shape transparent, along with the background, so all I see is video layer 2. In the SWF Animation layer, there is a green shape on a transparent background. There are 3 layers, video layer 1, video layer 2, and 1 SWF animation layer. I hope this helps.Dave, thanks very much for your response I've done what you recommended, but this reveals all of the layer below, but I want to have the green area act as a mask rather than simply transparent. Just delete it and use your sample photo and some stock footage for the background. A couple of flags and a little more care with the lighting and most of the fooling around could have been avoided. These kinds of keying problems can be pretty quickly eliminated on the set if you have access to a calibrated or can even bring along a laptop and snap a couple of photos with a smartphone and open them up in AE. Dropbox - Keyilight as Track Matte.aep Just throw in your own footage for the background. If you want to play with the project here it is. This is what the Lumetri Curves panel looks like: That shows you everything I modified in Keylight. A couple more tricks to clean up the track matte and match the color of the background and your sample was almost done in about 5 minutes. I used the guy's shoulder for color balance sample, then opened up Lumetri Curves and set 4 points in the green hue and moved the center two toward the middle to pull out all of the green cast. Lumetri is the easiest color correction tool in AE's arsenal that can fix color balance almost perfectly with a single click and allow you to pick a specific color and desaturate it. I found some Adobe Stock footage that would work for testing. I usually like to put the background layer at the bottom so the color correction makes sense. The next step is to drop the original footage below the matte layer, choose Alpha Matte in track matte options and apply some color correction. It is usually easier to see what is going on if you switch the Replace Method to Hard Color. The next step is to switch to view Final Result and adjust the softness and mask expansion. You can open up the color picker and slide the selection around a bit to help clean up the matte if you are having problems. Then some white clip, in this case quite a lot, to get rid of most of the gray. Then you immediately check matte status and adjust the screen gain to get most of the background to turn black. Then you sample the green close to the actor that is a little brighter than average. I always start with a garbage mask because the less uneven greenscreen you have to worry about the easier it is to generate a matte. About 30 seconds checking the white balance in the shot convinced me that the only real option was to use Keylight to create a track matte for the original footage and then color correct the original. I spent about 15 minutes with your sample image and came up with this. Sometimes its best use is to create a track matte and worry about color and edges later. Most folks don't know the most efficient way to use Keylight.
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