All language subtitles for 3. Pulling a Key

In this clip we're going to look at pulling a key.

So the first image that we have on screen here is the

pre-processed image from our previous clip.

So the green screen has been evened out,

it has no noise, and it has been white balanced.

So we're going to take this image sequence that has been

pre-comped and bring it into this new script.

So let's take a look at that script.

So inside of our script here you will notice that here is our precomp.

And so we have disabled all of the tools.

So box select the tools, it D to re-enable and D again to basically disable.

So it has a little black X through it,

which means it will not process these tools in this script.

So let's go down to our workflow here, where we can begin.

So I have a bit of a cheat sheet here to the top

left hand corner of this backdrop.

And we can use that to really refine our key.

So I'm going to hook up my pre-processed green screen

footage to the source and put in my Keylight.

And the Bg to my Bg image.

So let's take a look at that Bg image.

So over here to the left hand side, so here is my Bg image.

And it has been color corrected to match my foreground image.

Now it is a little bit smaller because this is a large piece,

so let's add a reformat.

So tab, reformat and reformat it down to 1280X720.

So let's take a look at my Keylight, which we will use to pull our key.

So my default it's not showing us the Bg because we don't have an alpha yet.

Or rather it's a solid alpha.

So here we have no alpha, we could always shuffle in an alpha.

It's not necessary, but we can here, so we have that solid alpha.

And we can begin with our key.

So inside of the Keylight,

select the eyedropper for the screen color and on frame 100,

I'm going to select next to our character's cheek.

So control, shift and drag.

Let's take a look at that Keylight.

We're pulling that initial key.

Let's deselect the eyedropper, deselect the red box, take a look at our alpha.

So at first glance, it's not bad.

But if we take the gamma down, it's not looking so great.

So we will have to refine it.

Before we do that, let's take a look at A Over B Composite.

So in the Keylight tool, if I go to the top under view,

final result shows me the pre-multiplied foreground image by itself.

But composite will show me it overtop of the background.

Now you can notice that there is quite a lot of green

spill still in the character's hair.

And also in his edges.

So we're going to fix that.

So in our cheat sheet, the next thing is the green,

or sorry the Screen Balance and that's going to be to

get rid of that spill on his cheek.

So we're going to take the Screen Balance,

if I increase it, it adds more green, so we definitely don't want to do that,

so we want to bring it down until it rids of that green.

Now if I bring it down too far, completely changes his skin tones,

so we don't want to bring it down any further than we have to,

so somewhere around there is probably really good.

Now the only issue is that we still have a bit of a

halo down here on his clothing.

So I'm going to do the next step, and that is to sample the alpha bias.

So click on the eyedropper and I'm going to click over here on his shirt.

Now watch this edge over here.

Control, shift, drag and it has color corrected it.

So deselect, and deselect, control, shift, click.

And he's looking a lot more integrated into the background.

So he fits the space, he has no more spill on him.

But he's pretty transparent, so we're going to have to fix that alpha.

So let's go back up to final results and take a look at our alpha.

So remember we have to fix this after, in our next clip,

it has a bit of a hole from the extreme reflection,

but the rest of it we should be able to fix.

So down with the gamma and we are going to work

with the Screen Matte Clip White.

Let's bring this down, keep going, keep going.

And about there is good, but look what happened to my edges.

So let me just take that off for a second.

It's actually, it dilated my edges, so it's not doing very good there.

So let's just double check this.

Let's go full frame, F for full frame, bring this back down to where we had it.

And around there should be good and we're going to Roll

Back so that we can reintroduce that edge.

So don't Roll Back too far,

just enough so we reintroduce that nice edge and

soften our edge just a little bit.

So we don't want to do it very much.

I'm going to put it at 0.

5 and that should be good.

So let's take a look at our final composite.

Looks like we need to bring down our Clip White just a little bit.

There we go, that should be good.

Back to full color, A, back to regular LUT and let's look at our final composite.

So that's looking pretty good for us.

Again, we'll fix this and this in our next clip,

but overall this is looking like a really great start

to our initial key and composite.

We will refine those edges, make sure that they're integrated well,

add some light wrap and fix this hole from the reflection.

Now before we wrap this clip,

let's just make sure that our edge detail is being retained.

So here is the before and here is the after.

You can see that even this little highlight here is being retained,

which is really good.

A lot of times we accidentally erode away too far which isn't good.

So there were, we've got a little bit of transparency on that edge,

so we can refine that.

Maybe we did the Roll Back too much.

So we can Roll Back to maybe one, that's a little bit better.

We can also bring down our Screen Softness just a little bit.

That will add back some detail too.

Make sure that's working up here for the top of his head.

And it's working great.

So now that we have a really great initial key,

let's work at refining that key in our next clip.