All language subtitles for Nuke 102- CLASS 4- Advanced Keyer- IBK Colour_Gizmo In Depth

okay in this lesson

we're gonna talk about the IBK gizmo slash color

this is the most widely used Kia in the industry

both in commercial as well as film

so I wanna talk about a

couple of different methods that people

use when approaching it now

um when you're using this key or you have to choose

uh between this or usually key light

in regards to what'll be the key

uh for green screen type of work um

there's also of course

the luminance key or

and so forth uh

which is basically a key or so

I just type in

you know key or whatever

this key has

you know uh

you know green screen

it has a green key or so

there's a lot of keys there you could use as well

if you find that those are useful

but the most common ones obviously are key light

IBK color IBK gizmo so

um I just wanna kind of go through

um what I've Learned about the IBK through

a lot of industry folks

I'm gonna go ahead and type in IBK color here

now it's common

there's two different techniques when doing the IBK

gizmo and you'll see this a lot within tutorials

and that is

there's what's called the daisy chain operation

which involves a whole bunch of IBK colors

that are sort of

connected together

like this you know

and that sometimes work and sometimes it doesn't

it's really

I like to try both

whenever I get into a Kia

and this is a perfect example with Jack here

because you're gonna find

as I get to a certain situation

like right here

where we have this little hole here

and this is real

there's actually like

he's wearing a weird sort of a

thing I put around his neck to try to make

the scene look futuristic in my own pathetic way

but there is this hole here

as you can see

which is like green

and it's hard for

the Kia system

to get a hold of these little areas

so the sampled color

of the you know

of the difference of what's behind there

you know it's 50

50 can give you weird results when you're doing

the stack method

or the daisy chain method versus the regular method

so let's just try the first method

and we're gonna compare the two

so I'm gonna first start with the IBK color

obviously plug that in

put my viewer to it

and obviously once again

we gotta switch this over to green

and then here we have the default size 10

which is always a good start

and then we deal with the darks

so I'm gonna dictate

the darks here

and I'm gonna go ahead and

put a value of says point zero

one is usually what I like to start out with

and then I put my cursor on the one

and use my middle mouse

scroll wheel

to sort of uh

basically suck in the image until I start to

collapse everything

you can see what's going on here

as we do this

we're slowly moving in

and then eventually we're gonna have to a road

so if I go ahead and take a look at this

we're trying to encapsulate everything here

so you can see the size here is sort of like a

you know it's an extension of a

of a blurred

so to speak

so you can see if we put this at 10

kind of blurs the image a little bit

so we go all the way back down to zero here right

this is what we have

so we're gonna leave this at the default ten

and we're gonna do our best to deal with this

now like the common way

you do with the

Green Dark series

you'll you'll keep moving until

it starts to explode

so it's the explosion you're looking for

the explosion is when you

start to pull this back in a negative value until the

the scene here starts to

create this starry

you know green little dots and so forth

you see how it just explodes off the side and again

has to do with the luminance values from left to right

so I'm gonna go ahead

and just kind of do this until it gets

basically right there so again

I'm trying to get all that data in there

and again you can also bring this down

if you want

you know if you want to

if you find that

the value of 5 actually works pretty good

you know you can do that

but you can see how

the kind of artifacts were getting here

so this is sort of like pre blurring

uh the scene to a certain extent

so it's the color expansion

so I'm gonna go

and put that to 10

and now it's comes to

the fact that you know

we can come in here

and then start

you know eroding this

or we could do the patch black

we start doing the patch black

immediately

you're gonna see that where

we haven't engulfed

or you know

basically the parts of the image that we need to

because it's

taking this

pixel value here

which is black

and smearing it this way

I'm gonna talk about this before

where it's just smearing it towards the normal center

that's what's happening here

and that's why the value is darker

which you know

if we were to tell Jack to get out of the way

this is not the color

that would be back

there would be this color right

so I'm gonna go ahead

and just do

I'm gonna pull this back

on the patch black again

and I wanna continue to

encapsulate this by

using an erode

so you can see as the

erode hits it

then we get some issues here

right well it's

one of the ways to

kind of combat that is using the

green light

so I'm gonna

put a value of point one

I put 1.1 in here

there we go

and you can see

if I start cranking up

the value on a positive

number above 1 instead

we can start to back off that

explosion that's happening there

so I'm gonna go ahead

and kind of back it off

like that and again

I'm gonna start to increase my road

which I might over crank past the value

the highest

value goes to 5

but you can keep

cranking that

until just keeps going and going

and going and going

the problem with this

um is that if we take a look at

the original

what we want in an

ideal world is to have whatever value this is

um actually be

brought here

but what we're doing

as we continue to

erode further

and further

and further out okay

is we're using

we're gonna be

choosing this

value of green

and that value

green is what's gonna

get smeared in

and used in

the difference mat

so again in an

ideal world

this is where

the stacked

version of the IBK

color works in

it's to get as close

to the value

just before

the nostrils starts to

you know fade into say

the green screen here

which gives us a different variation of green

but we're basically

trying to recreate

the green that's behind

him in real life

okay on the set

when he was on set

what was the green that

was right behind it

well it's probably

the same value as this

right not this

so that's what's

important here

so again as

you can see

we crank this down

we've got you know

brighter values

darker values

around the edge

and so forth

but let's go ahead

and see what's going on over here

so right here

it's gonna take this value

of green and it's going to smear it

towards this area

and it'll be

whatever values here

which is probably true

the value that's here is probably

the value that's over here

and but the further you

get away from

uh what you're going to

smear over it's

the more variations

you're gonna start to lose detail

or things are

not gonna work

out too well

but again I

I had found that there

was a lot of

people in the

commercial industry

that were like

oh oh use the stack

stack method of IBK color

which I'm gonna show

you in a minute

and it works so much better than the

the just using

one IBK color

as opposed to a whole bunch of IBK colors

and we found that it depended on

the shot honestly

depended on the shot

if it worked

for the better or

for the worse

so I recommend

always kind of

experimenting with both methods

so here's IBK

color and I've

eroded it down

so that there is no remnant

of any you know

blurry edge

because this

guy is really

out of focus

we shot this

at like a 2.0

f stop so it was

pretty pretty

blurry along

the edge there

and now I could start

patching in

so now that I patch black

it's smearing in

that color in

and that's what's it

eventually gonna do here

so I'm gonna

just grab this

use my middle

mouse girl wheel

and just go ballistic on this

I'm gonna go do do

do keep going

till it just sucks it

all the way in

and there we go

now if we compare

the original to this

it's as if Jack got

out of the way

like we told

him get out of

the shot Jack

so the value here though

is most likely

that value there

I mean it's probably

not too far off

right again

this is the same color

all the way across

the board here

there is no gradient here

which probably existed

but because Jack is

uh you know

nowhere to be seen

in this shot

you know I mean

he's including

what would be

the background

um this this information

isn't too worrisome

that we have this sharp fall off here

as opposed to a gradient

but what's important is

you can see

if I just take this

the value is

the same between

here and here

see that I mean

roughly I mean

it's pretty

pretty rough

there is a variation of change

here you can see

as I scrub back and forth

the values of

red green blue

are changing

but in general

it's holding up

pretty good

so you just

you know keep it simple

you just gotta

go back and

forth between

your final IBK color

and your read

note and go

does it look like

I told Jack to

get off the screen

get out of the

way and it's

the background

and don't worry about this weird

sort of like

you know area here

that's you know

that looks kind of

you know it's a

kind of an abrupt

you know contrast between

two different

edges here but

you can see

it does look good right

okay so that's

one way of doing it

so let's go ahead

and I'm gonna show

you another way

so I'm gonna go ahead

and put IBK

color in here again

and I'm gonna do

the stack method

so let's go ahead and

put that in

again we gotta

switch this over to

green mode here

and then again

I do the same thing

again I put

like a point

one value in here

and I will start to

crank that up

get it as close as I can

and here's where things

can get messy

and that's where

you might wanna

maintain this area

because the green

that's behind him

might actually be

a darker green

but in this case

the hair from

the size is actually

causing issues

so I'm gonna take

the size down

to zero right

and you can

see what it's

trying to do

I'll probably add

let's add a value

one there so

you can see

it's a lot darker

so keep that in mind

as we go through this

process right

so I'm gonna go ahead

and try to get

as close as I

can and again

you can see

we lose it right there

so I'm gonna

go to my lights

and put a value of 1.01

and let's start to

crank that up

so we can clean

up that area

there we go

you're gonna

the more of a

badly lit green

screen you have

the more you're gonna

have to start

fiddling with

these two values

because there's

such a contrast

in luminance

um between uh

the greens here

and say if you

had a little

bit of a patch of

red like dark

red over here

maybe a flare

from that light

you have to

come over here to

um maybe the

the red lights

whatever the

color it is

that you see

is polluting

your green screen

that's the color that

you wanna actually

dive into so

in our case

we have very warm

light over here

and if we had a flare

we can you know

um fill with

the lights in

the darks of the

red and that

should start to

cancel out um

those areas

the same thing with blue

obviously we

don't have a blue

green screen

in this circumstance

but you could

also fit a little

bit with this

mostly you will

usually leave

these alone

but mostly you're

fiddling with these

guys right here

so now that we've

done this uh

you can see

the reason why we do this

is so that we can get

a closer value

as opposed to

having a value

over here smeared

all the way in

and sampled

as the as the

actual back plate

or clean plate

we wanna get a value

that's right here

a lot closer

it's gonna give us

a way more accurate uh

reality okay

so with that said

um you can see

that we have

this and again

I'm just gonna

go ahead and

bring this in

a little bit more

you can see

it keeps breaking

again I'll bring

this up again

a lot of your work

the quality

of work will

depend on how well

somebody lit

the green screen

I purposely

lit this like crap

and you can

see we got a hole here

so I'm gonna

go ahead and just

erode a little bit

try to roll that in a little bit and again

I'll drag it in just a hair

and you can see we've already lost this area here

you know which is not good okay

so now that I've done that

I'm gonna take this IBK color

copy it right and again

I could see I didn't do any patch black on this one

right I I did everything here

the size is very low

now I'm gonna take this guy

and now we're gonna patch black this at one

and you can see what happened

it has taken the values here and trunk them in

which is what we want right

so here you can see

the value here is gonna be the value here

it's not gonna be the value way out here zoomed in

so this is an incremental process

with the patch black and get them take the erode

I take it down to zero

so here's the first one

here's the second one

so you can see what has happened

we are introducing a gradient here because we didn't

get everything

so if you see a gradient happening here

which we can see here very subtly right

if I bring down the

slam the gamma here

you can see the gradient

so if I go back to my original IBK color

I might need to erode this a little bit more

you can start to see it go away see that

so again we're getting a little too crazy

but there now all of a sudden we don't

we don't have that contrast right

now we got to see if the screen explode

no it didn't

problem is this badly lit green screen is so bad

um that you know

you could like I said

you could come in here and fiddle with the blue

so you can come in here and do like

a blue lights

I'll do point zero one or something

and you kind of fiddle with that

and so forth

so you feel but anyway

uh with that said

let's go ahead and take that and again

we're gonna copy and paste this

this IBK color

and we're basically going to be

uh squaring the value here so

let's go ahead and put this to two

okay so here's the let's look at the progression 1 2 3

see how it's slowly getting sucked in and those the

why is this important well

if you did have little circles and holes in your scene

small little patches

it's gonna localize to that area

so that's why it's important

not so important on this shot

but if you had like like that little hole there

we managed to maintain that hole

so if I come back here

you can see I haven't maintained the hole at all

because we had to erode so much

but it would actually shrink it in

I'm gonna show you this in future examples as well

how it's beneficial

so again to the next one

we're gonna go to four

this is keeping everything localized in regards to

the localized sample of the green screen right

and then I'll take this again

copy and paste it

come over here

make it an 8 right

and then we're just doubling it each time

so again this one's gonna be sixteen

Creative Lions Tutorials

is a great YouTube site

if you I'll put a link in the YouTube for this

check it out guys

I'm telling you

this guy is a genius um

he's a he's worked at almost every studio

I mean he's an absolute genius

and he's been really kind to put training videos online

and you could almost say that what I'm showing

you here is a certain extension

in the future episodes of this

of what he did

but I'm kind of showing you what

I Learned in the industry

which is a combination of that and what he has done

so you can see this one is 8:16

and now the final one we can go ballistic with

we can take the final one and close

close up shop

so I'm gonna take this and just keep

pulling this until we get

uh you know

this thing you know

squeezed in

like that there

so let's take a look at the different variation

between the two

so we have and again

I'm gonna try to organize this a little bit nicer

for the sake of presentation

there we go

just kind of move these up

stack them nicely okay

so here's the difference 1

2 do you see a difference there

there is a luminance difference here

here and here

and then over here you can see

due to the fact that we probably didn't rode enough

we're getting the arts artifacts

and when you see this and this is hair

and this is why I always say there's another method

I'm gonna show you

when you're dealing with hair

with lots of transparency in the hair

such as somebody

such as Jessica here

Jessica has

you know all these little details in the hair

that's gonna be very difficult to erode

not get these weird smearing artifacts

so you can see like

what's this all about right

well we let's investigate

let's go over here

it's probably the fact this is a very blurry edge

and we didn't erode enough

so if we go back to our first color

you can see we did get it

but I don't think we got everything

so you can compare the two

see there's still some

slight influence of this right here

okay so again

I can come back to my first IDK color

put my viewer here

and see if I can kind of get rid of that

oops actually

it's this area right here

let's go and take a look at it

there we go

so there's the issue right

so the the the

the problem child always be your first IBK color

so if we go and take a look

compare cross compare this

IBK color with this IB color color

you could see we still have

the influence of the gradient

of the you know

visor glasses coming out too far

so I may have to come into this first IBK color

take the erode and just

crank it up just a little bit more

and then you'll see this

as I kind of

look at my last IBK color

it's gonna propagate down

and again I'll take my road and

pull it back just so you can see see it

go ahead and kind of act some contrast here

so you guys can

kind of see that

so you can see it there

and it's good to slam your gamma a little bit

you'll be able to see this

so as I increase the erode on the first IBK color

you can see what's happening here

the key and all of this is to have your IBK color

your first one as close to the edge as possible

but still encapsulating all the goodies

now as we increase this

you can see that we're really starting to reach out to

uh points that are further away

and here's where problems occur

along the edges here

because now we're having an issue where

um you know

we've encapsulated this area

so this color is what's gonna get finally brought

way up here

which we know the luminance difference between

here and here is very

very different

uh so that's the only bad thing

so let's go ahead and see what we get in the end

go ahead put this back

so here's the first

here's the second

let's take a look at the two

they're not that far off actually

they're not far off and again

the benefit of using this

technique is if you have a lot of Swiss cheese holes

and whatever you're dealing with

whether it's a it's

a set where there's a million pieces running around

you know in your set

and there's like little tiny holes in between

uh the different things that are being green screened

that's when you wanna use this

whereas this uh

again works pretty good as well

so let's look at the cross comparison between these two

and again it's apples and oranges

you're gonna find that um

it's gonna work or it's not gonna work

so I'm gonna go ahead and

create a switchnote really quick

and I'm gonna plug this one in here

and this one in here

and I'm gonna use my foreground object um

as the original plate

which we're gonna go ahead and

uh we we should have done was

we should have denied this

but that's okay

let's go ahead and put that into the color

and now let's go ahead

and just take a look at the difference

so this is our first one set up

and again we need to set this to green

so I'm gonna hit a for alpha and just see it first

what we have

so this is actually a

you know we want this mucky

Erie here probably

the degrain will take care of a lot of this noise

um but you can see if I kind of sample this all down

uh control and shift

you can see the values here are point zero

zero I'm sorry

point zero one

this is actually acceptable to put on a backplate

believe it or not

despite the fact that it's

very noisy here um

because the reality is

any value of between 0

and 0 point

basically point zero

five or lower

is acceptable

and usually won't hold a trace in your final footage

um in the sense of

you know your

what's kindly called your fringe mat

which this would be your fringe mat

a core would fill in all the holes

you can see

we're having issues with this highlight here

on the nose uh

we're having stuff here

here going on against

it's really important for you to look at your footage

and examine what is going on

like why is that and play

play through the footage

see where you're getting holes

and you can start to see where your problems are

and I hear you can see all the hair detail

I'm gonna go ahead and put my viewer

to this and you can see

we're getting all this hair detail

and sometimes to check this

I will add a shuffle node

just like sort of like a quality assurance check

and I will take the shuffle node

and flood my alpha channel to my RGB

so now as I'm looking through this shuffle node

and I go to RGB

I'm looking at the alpha

and now I can go

and look at the original

so you can see how much detail I've lost

how much it may be going a little bit overboard

look at the matte line

you know this is the gradient here

that looks about right

but it probably could be crest a little bit

because you can see the

actual luminances

a little bit further out here

so if I go to my IBK color

there's a couple options here

you can play with

one is the red weights

and this is

the red bias here

you can see

if I kind of go back and forth

you're getting

you know back up

it's usually

you leave these by default

most composure tell you to not really touch these

if you do you maybe move them about this far

you don't go any crazier than that

um so let's go ahead and play with the blue

uh blue green

which basically means that if

you're dealing with a green screen

you're only usually adjusting the blue weight

and if you're using a blue screen

that means you're using the green weight

so this is not blue and green

this is actually just whatever

the opposite of

your screen is

so in this case

we have a green screen

hence this is

dealing with the blue weight

so you can see

as I kind of refine this

it's looking good over here

let's see how it looks

over here is

we're bringing back all of the

reflections here

so it is a double

can be a double

edged sword

we have a luminance match which

which we can click

and that'll start to restore areas

such as where there is

the highlights of the nose

you can see right here

so for instance

if I go back to

in here and I

can play around with this

um you can actually take your

luminance match

and you can start to

bring it up and down

so you can see

if I just you know

kind of bring it back

and luminous level

usually don't wanna fiddle too much with this

you can see how it

can be used to kind of

somewhat bring back the detail there

but it also introduces some stuff

so I'm gonna go ahead and leave that off

and you can see luminance match

can work in bringing back areas of bright highlights

so let's go ahead and just see

the influence of that off and on

always look at the off and on

see what you've gained

see what you lost right

so it's looking pretty good

um you also have auto levels on here

this has to do if you have a highly saturated colors

such as highly saturated yellow

cyans or magentas

in our case

in this specific case

that actually might work to advantage

um again we can come in here

and just play with these

the more you fiddle with

the more you again I use the word quoting

tampering in God's domain

the more you're going to have a lot of issues here

so if I turn this to yellow right

um you can see that it's trying to do its best

but you start to get a harder edge in the midst of that

so again I could use magenta

and you can kind of see

if it's really

kind of bringing back all those heavily saturated areas

and again I would say we just leave it off again

you could try try yellow

something a little bit but yeah

you gotta fill it with it

now screen subtraction uh

use background luminance

use uh background chroma

I don't wanna get into this

there's other tutorials that go over this

this is more long lines

if you do all of your composing within this one

composing node

just go online and look up a tutorial on IBK Gizmo

and you'll find out how to do this

Steve Wright is a great reference for that um

but again you

I I we're creating the mat here

we're not worried about anything else

although these are you very

very useful tools on their own um

if you composite straight in

but we wanna make a separate mat for the actual mat

and we have a separate area for the d spill

which is the RGB information

and we usually combine the two

so that'll be in the next video I'm gonna talk about

but anyway so with that said

we can come in here now

I'll go ahead and get rid of this shuffle note

actually I'll leave it in

I'll wait the bottom is a cute quality assurance test

and let's go ahead and again

I'll switch

switch back the alpha here

and now I can come in here

and then go ahead and just do a simple

grade node here

so take a grade node

I'll set this to alpha

and we can go ahead and start to crush the blacks

now there's a big debate on the alpha

that precedes the IBK gizmo

some people like using crushed

and black points to get rid of some of the noise

right again

you you're winning the battle

but losing the war

as you can see

as I crush this

the hair is getting chopped right

um there's also the option to uh

click on such as white clamp here

and kind of fiddle with

the gamma a little bit

that's another option

right and also

some people sometimes play with the multiply option

bring back details

so those are the three biggies that you'll

commonly see within this great note

another option you can do

and I'll go ahead and just leave this on

I'm gonna offshoot this

and I'm gonna go ahead and choose what is uh

the color lookup

so the color lookup will allow you to

and there's a whole bunch of other tools you can use

here is if I go to my alpha channel here in here

and again I'm going to affect the alpha

is I can take this here and hit H to make it horizontal

and I'll put this and make this H

make it horizontal okay

so now what you can see is we are crushing the whites

up to a point nine value

and crushing the blacks at a value of point one right

you can kind of imagine this is being a zit

zit zit like a Z shape

but it's having a fall off of a gradient

which gives you a nice more pristine look than say

if I come in here and crush the blacks

which is more linear in nature

not long rhythmic

so you can see the difference between the two

so let's go back to the color look up

go to back the old finger

and what you can do is

you can slowly start to inch this by clicking

grabbing it and right click

left click and dragging it over

you can see we're sort of dragging in cleaning up

but we are cutting off his hair right

so there's all types of things you can do in here

you can actually come in here if you want

and you can go ahead

and click your left mouse button and drag this up

and this is giving you a log rhythmic fall off for

you know for the crush

so you can see it back and forth

so that is an option that you can use um

let's talk about the switch in between

the two different versions here

I'm gonna go back to my IBK gizmo here really quick

and I just wanna show you the difference between

the old version

the new version right

so let's go ahead and click it

and give it a minute here

you see a difference

most people would tell you

that this method is always use this method

don't use this method oh

no no no no

always use this method uh

don't listen anybody that has you

you know it says this always works

it always works

it always works

you know um

not everything works in every situation compositing

so just be aware of that

do you notice that there is a loss of hair detail

look at that dramatic loss of hair detail

now why is that

well let's take a look at the two different versions

here is um go ahead and go back to RGB

there's this version and this version

we have artifacts here

you know in the

in the process we didn't erode further enough out

as you can see

that is one possibility

so if you see any weird artifacts here

that are gonna be an issue

the other thing is there is definitely

might be a little bit of a

luminance change in between the two

variations and that is because in this gizmo

take a look at it

we are sampling a value

that come down here

kind of move through this

um you're gonna find that

we're gonna be sampling this value all the way up here

so you know

it's it's the distance

of a different variation of color

that gives us a little bit of a difference so again

you can see the difference here right

and then anytime you see this kind of stuff

is a big warning sign okay

that's what's gonna probably cause issues

and a lot of has to do with your first IBK color

we go back to it

you can see it doesn't include this hair material here

so one of the ways around that is by introducing

um a sort of inclusion of the mask

all this is doing

if I put my viewer to this color node

and hit a for alpha

is it's basically defining an alpha edge

that's all that's going on here

so you can see this area right here

is black right

so what I could do is I can create a

I can come in here and artificially introduce more

of a cut out mat

so I can go ahead and add a merge note here

and this is common when you're dealing with

people with heavy

fluffy hair like Jessica you know

with holes in it

and the erosion process and the keying process

because they

the Kia or the background color is so different in

the variation again

if you have

you'll have to do this

most likely if you have a poorly lit green screen

um is to come in here and manually cut that stuff out

so I'm gonna go ahead and hit 0 for roto

plug that in right

so let's go ahead and look at our viewer here

and I'll go back to my RGB

and I'm going to

purposely cut out

this area here oops

no one use a bezier cost

but it's going to use a bezier

and I'm gonna go ahead and get as much of this crud

out of here without affecting the original piece

so now you can see

if I take a look at my Alpha edge here

I have to put my merged mode to um stencil

and now you can see I've cut out or added to this

this is the defining line that's going to be used as

the smear line

so whatever pixel value

that is here in the green is gonna be smeared in

so again I come into here now

and you can see it's doing just that right

and in this case

obviously it's grabbing this value

which is if we Denise

this would probably have a better

better deal here

um but again

I might need to take my Roto node

push it out even further

and doesn't look as doing much

so you can see

in this case

now we're getting this

interesting artifact

and the reason why this is happening

is because this is not alias

so you can see um

it's anti alias

we have this kind of hard edge here

so one of the ways you can do that is

you can add a grade note in here

and you can go to your alpha channel

put it to alpha

if I put take my white point

and I drag it to zero

I get absolute hard edges

now let's take a look at what we get now

gonna go down the pipe here to this color node there

you can see that's gone

so you see without it

we're getting an artifact because of the alias aliasing

or antiliasing

but once it's a hard edge

we're good to go

so that is proper now

so let's go ahead and look at the final results

and again I'm gonna go back to my alpha

and look at that

now again we probably could denoise the plate

but you can see an introduction

it's different

let's go ahead and turn this stencil on and off

we'll see what what has happened

now we've retained

these new hair follicles see that

and that's all because of the fact that again

we can clean this up if we can't go down the chain here

get to this stage

and these values

if we sample them are actually point zeros or two

which are acceptable to be laid onto an

actual backplate without being visible as noise

so just keep that in awareness as you kind of do this

so this is a great technique um for um

taking into

taking out stuff and so forth so again

this is the different methodologies that you can use um

they work really well

obviously we need to create a film at

for this area here

or a format

I should say

that actually

fills in these areas

there will come a time though where

we will probably have to come in and do a little

bit of paint work or animated rotor work

specifically maybe around the edge of his head here

so if we go to the original footage here

you can see we have this green influence here

on his you know

it gets pretty close

see if we can find a good

good frame here yeah

so this stuff

this stuff can be tricky obviously

so you can see if I put my viewer to the gizmo here

and go to a for Alpha

you can see this sort of work in here

and that's where we do some riddle paint work

so we're gonna get into that but again

I just wanted to show you the

you know of all of these different realities

what it best works and then you can decide

maybe I gotta use the key light for just

one little segment here

one little segment here

sometimes you will wanna use the key light um

just to be aware

so as I was talking about this stencil method

if I was say doing an example here of uh Jessica

so I'll jump back to RGB here

and you know

in Jessica's situation

she has these

you know hairs

hair that are all over the place

you will never be able to

get a hold of that information

you can see there is a variation here right

there's this green is different than this green here

that's why it's so important to light your green screen

really well

and I purposely made this green screen lit

badly so that we can do this example

um because if

even if you tried

if you get a little sample of color here

there's gonna be pollution by your hair in the shot

due to the blur so it

you're gonna have to sample way out here to bring it in

for this and the best way to do that

would be again

use that stencil method

and come in here and just maybe chop out this hair here

and put a stencil in

um you could even go as far as

out here um

that way you maintain the

erodes slash settings

but you're extending it manually with this

and of course

you're gonna have to animate this as well

so in the next tutorial

we're gonna talk about d spell

and before we get into our Uber key