Original subtitles

In this clip we're going to take a look at the advanced keying template.

So much like our last clip,

all of these tools have not been modified and rather just serve as placeholders.

Now the additions in this particular clip are going

to be added in the teal backdrops.

Those in the blue backdrops were still present or

basically reviewed in our last clip.

So let's take a look.

So inside this particular template we are working off of that original

footage again and we're going to build on top of it.

So let's take a look at the section that restores details.

So this falls between the background image and our original plate.

We're sourcing that preprocessed plate here and

we're going to build on top of it.

So the first thing that we're going to take a look at is a clean

plate that we're going to plug into our image.

So we're going to take our preprocessed plate that's going in

over here and then take our clean plate.

Now again,

this clean plate can be created just as a constant or as an

actual clean plate that you have completed in some other

way or in some other fashion.

So from there we're going to take the minus operator and we're

going to determine what the difference is between the

preprocessed plate and our clean plate.

We're going to desaturate it, if not entirely then to a really,

really low setting.

We're going to clamp the blacks and the whites just so that we can get those

values to add back the information with the additive keyer.

So remember, the additive keyer is not an actual keyer,

but rather an operation or some steps that we can

use to add back the information.

So restoring details, this step is for the additive keyer process.

So clamp the whites, clamp the blacks,

and then we're going to take our background image,

change it to HSL,

shuffle out the blue channel to the RGB and A and multiply it

against the clamp black and the clamp white.

From there we're going to modify the lights and the darks,

plus them together, and this is going to be plugged into down here.

So let's take a look at where we have gone.

So this is the additive keying workflow again.

Refer back to previous modules and clips if you need a refresher on that and

that's going to fall between where the final alpha is.

So we're going to plug that it in.

So again, this is just optional down here.

This is the pulled up matte,

just in case we had some extra information in our

backing region from the additive keyer.

This switch isn't necessarily,

but we're there just to turn it on and off just in case and

we're going to plus that additive keyer over top of our

background that has been prepped already.

So here is our background,

there is our additive keyer and this becomes our new background over here.

We're going to add in that noise just like we did previously and now our

background is ready to be plugged in to our final composite.

So now that our background has been prepped with our additive keyer,

let's take a look at how we can restore those details.

So back to where our final alpha was, so here's our final alpha,

we're going to despill the plate.

This is where we're going to add back that luminance.

So we're going to minus, so here's the original footage,

minus it against our despilled plate to get that information,

so where is that despill occurring?

Desaturate it entirely.

Now you can color correct that backing region.

Remember, that's going to add the spill, matte, or map to our image.

And here is another optional portion so again you can actually

multiply that final background over top of the spill.

So this will allow us to add those details back to our backing region so that

they are visible through our edges when we premultiply.

We're then going to take all of this preprocessing or this

processing that we've done to isolate the spill portion and

plus it over top of our despilled plate.

So again,

this is just so that we can color correct our backing

region so that we can add back our luminance to our

despilled image and also if need be,

we can add our background to the edges of our image and this

won't be visible until we premultiply.

So there's how we add back the luminance and the noise that

falls between the despill and our premult.

So here's where we premultiply in our edges or our image rather and this is

where we're going to fix those silly gray edges that we always have by

completing the despill and the alpha separately.

So that comes after the final premult.

This is where we fix our edges.

So we do the color lookup.

That allows us to rid of any of the gray.

That allows us to isolate just a hard matte out from our completed matte.

We premultiply our image.

We invert it so that our alpha is now only going to affect

our fringe elements rather than our core,

blur out our core matte or our core image.

This allows us to push out those extra pixels, un-premultiply.

Now our gray pixels are going to be the same color as our core image.

Copy over our original alpha and premultiply.

So now we're going to have no gray edges; we've resolved them,

they are fixed with our gray edge and motion blur correction over here.

So again, optional, optional, optional.

I would suggest this is a really great workflow up here.

This is a really great workflow up here,

and this, the gray edges are only needed if you're having issues with gray edges.

So from there, now we have, let's just do a quick overview.

So up here, our final alpha.

Prepping our background plate.

Down here is going to be prepping our despill where we're

combining a little bit of the background in there.

Final premultiplied image, fixing our edges,

and now we can do that final integration.

So foreground over background down here.

Here's an extra step.

It allows us to integrate those edges so we want to basically

just blur the edges of our image and smear them with the

background for lack of a better description.

So edge to text on our alpha.

That allows us to take our alpha and then smear where the

foreground edge meets the background.

It just blurs it ever so slightly, we're talking about a few pixels here.

Add our lightwrap over top.

So again, our lightwrap is taking our background image,

the completed background image with the alpha,

our completed alpha, putting it over top of our final,

final image, and outputting it.

So again, if any of these steps were a little bit confusing,

please go back to the previous modules and clips.

It will review all of these steps in more details.

This particular template is really for reference purposes only so that you

can see where these elements are plugged into the workflow,

where they appear, and how you can use them in your composite.

So you really can modify this as need be.

Some of these elements might be useful, maybe not to your comp,

or maybe you will have to add other techniques to your script to

make it work and take it through to final.

So now that we have reviewed the advanced template for the green screen keying,

let's take a look at the QC checklist in our next clip.