Return-Path: Received: from mout.perfora.net ([74.208.4.194] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 5044773 for AE-List@media-motion.tv; Sat, 20 Apr 2013 21:51:33 +0200 Received: from [192.168.0.5] (CPE-72-135-122-86.new.res.rr.com [72.135.122.86]) by mrelay.perfora.net (node=mrus3) with ESMTP (Nemesis) id 0MDQkX-1UJylJ0Tz3-00H6bc; Sat, 20 Apr 2013 15:59:45 -0400 From: Steve Oakley Content-Type: multipart/alternative; boundary="Apple-Mail=_24E36360-2E8C-41D9-8381-01433E0177EA" Message-Id: Mime-Version: 1.0 (Mac OS X Mail 6.3 \(1503\)) Subject: Re: [AE] Keying and other things Date: Sat, 20 Apr 2013 14:59:43 -0500 References: To: "After Effects Mail List" In-Reply-To: X-Mailer: Apple Mail (2.1503) X-Provags-ID: V02:K0:fGtOA/c/mEpW4q5a7+QJxD6bGnvyPgU9XK470jIrwo4 BmO5+I3drGGmblJ4o0+Vz6/pMwt8ytpVJrAWsE1GpP963lIQTx QElRlpRtyMx1N+SlIGZMxPupVhy2PTopGozC1z0buoebp8uBES L8uUd0n5W71uON35Zk1TVDQvX09hP+pDCDYE2feSMsrRu0g7Xv 7VniXjG0RJyAL/7No5526x2/ytojmLdWg/m+Awtosmh1uXQgcL OyRSFrrL4HMCFhhMKSoQD+HxwG/J3V1ZKFNQXYGUixsa5aapev ikc6QH91xUh7jHTXHF/5sQ1BVbdLGJT1bwylqTSs3hzmHBiFIz FkWV6gtGkiJUGhTgsNyW4D5G5R51b9ZZE5C+OfcMBe31Ca5cJr B5p87Fh/VU+3A== --Apple-Mail=_24E36360-2E8C-41D9-8381-01433E0177EA Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=windows-1252 Go try UltraKeyer in PP, I just used it on a job expecting I would use = it as the temp keyer for editorial, then pull "real" keys in AE using = whatever... well the final deliverable uses UltraKeyer :)... I did do a = single garbage mask or two, but that was about it. I'll also say the = green screen was well lit too. http://www.youtube.com/watch?v=3DXlFlGSn2L6I main camera for key shots was GH3, 2 60D's S On Apr 20, 2013, at 1:07 AM, Chris Zwar wrote: > You basically learn from difficult keys, sometimes there's no easy = solution. One thing to look at is pre-processing your footage before = keying. In many cases noise reduction or grain removal can have = dramatic results on your output. The standard AE grain removal plugin = can be bit coarse when it comes to temporal smoothing, but it's better = than nothing. Grain / noise management is really important for good = clean keys. >=20 > Apart from grain removal, for keylight you can try doing a hue shift = to increase the difference between the green channel and the red and = blue channels. This will give you a different result, but not = necessarily a better result. Keylight is a difference keyer - it looks = at the difference between the green channel and the red / blue channels. = Greenscreens are very rarely a purely 'digital' green - most greens = have a lot of red in them and are actually quite yellow. Apply the hue = / sat filter, and then apply the levels filter so you get a histogram. = You should be able to see three clear peaks in the histogram for red / = green / blue. Adjusting the hue will move these peaks, and shifting the = hue by a few degrees will move the red peak further away from the green, = and start moving the blue closer (or vice versa). Find a value that = puts the most difference between the green and the red/blue channels. = In SOME cases this will give you a better result with fine edge detail = such as hair. I've done a few side-by-side comparisons with hue shifted = green screens and they've been better about half the time. If you are = hue-shifting by a large amount you'll probably want to use the keyed = layer as an alpha matte for the original source. >=20 > -Chris >=20 > On 20/04/2013, at 2:10 PM, Jonathan wrote: >=20 >> Good day to all. >>=20 >> I've been using Keylight to do some green screen work and, basically = starting from scratch, went through a number of tutorials, including = three from The Foundry for Nuke but which are applicable to After = Effects. All the tutorials, however, are general and don't deal much = with pulling difficult keys, such as shots of little girls with frizzy = hair. I've gone about as far as I can go with what I've learned and my = results aren't very good: the hair in the transparent areas chatters = like crazy. Fortunately I'm scaling from full HD down to 720 X 405 so = some of the noise becomes a minor problem. However, there is one shot = that is really not acceptable. >>=20 >> I'm using a pre-comped layer to create a matte for the same layer = below it, trying everything I can but still missing it. I realize this = may be difficult to answer without seeing the project, but any tips = anyone might want to offer would be much appreciated. (CS 6, Keylight = 1.2) Thanks in advance. >>=20 >> Jonathan >>=20 >>=20 >> JONATHAN PENZNER >> VIDEO EDITING =95 MOTION GRAPHICS =95 DESIGN >>=20 >> | STUDIO 626 345-0285 | >> | CELL 818 321-2890 | >>=20 >> sureal@charter.net >=20 --Apple-Mail=_24E36360-2E8C-41D9-8381-01433E0177EA Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=windows-1252 Go = try UltraKeyer in PP, I just used it on a job expecting I would use it = as the temp keyer for editorial, then pull "real" keys in AE using = whatever... well the final deliverable uses UltraKeyer :)... I did do a = single garbage mask or two, but that was about it. I'll also say the = green screen was well lit too.


main camera for = key shots was GH3, 2 = 60D's

S

On Apr 20, 2013, = at 1:07 AM, Chris Zwar <chris@chriszwar.com> = wrote:

You = basically learn from difficult keys, sometimes there's no easy solution. =  One thing to look at is pre-processing your footage before keying. =  In many cases noise reduction or grain removal can have dramatic = results on your output.  The standard AE grain removal plugin can = be bit coarse when it comes to temporal smoothing, but it's better than = nothing.  Grain / noise management is really important for good = clean keys.

Apart from grain removal, for keylight = you can try doing a hue shift to increase the difference between the = green channel and the red and blue channels.  This will give you a = different result, but not necessarily a better result.  Keylight is = a difference keyer - it looks at the difference between the green = channel and the red / blue channels.  Greenscreens are very rarely = a purely 'digital' green - most greens have a lot of red in them and are = actually quite yellow.  Apply the hue / sat filter, and then apply = the levels filter so you get a histogram.  You should be able to = see three clear peaks in the histogram for red / green / blue. =  Adjusting the hue will move these peaks, and shifting the hue by a = few degrees will move the red peak further away from the green, and = start moving the blue closer (or vice versa).  Find a value that = puts the most difference between the green and the red/blue channels. =  In SOME cases this will give you a better result with fine edge = detail such as hair.  I've done a few side-by-side comparisons with = hue shifted green screens and they've been better about half the time. =  If you are hue-shifting by a large amount you'll probably want to = use the keyed layer as an alpha matte for the original = source.

-Chris

On = 20/04/2013, at 2:10 PM, Jonathan <sureal@charter.net> = wrote:

Good day to = all.

I've been using Keylight to do some green screen = work and, basically starting from scratch, went through a number of = tutorials, including three from The Foundry for Nuke but which are = applicable to After Effects. All the tutorials, however, are general and = don't deal much with pulling difficult keys, such as shots of little = girls with frizzy hair. I've gone about as far as I can go with what = I've learned and my results aren't very good: the hair in the = transparent areas chatters like crazy. Fortunately I'm scaling from full = HD down to 720 X 405 so some of the noise becomes a minor problem. = However, there is one shot that is really not = acceptable.

I'm using a pre-comped layer to = create a matte for the same layer below it, trying everything I can but = still missing it. I realize this may be difficult to answer without = seeing the project, but any tips anyone might want to offer would be = much appreciated. (CS 6, Keylight 1.2) Thanks in = advance.

Jonathan


VIDEO EDITING =95 MOTION = GRAPHICS =95 DESIGN

| STUDIO      626 = 345-0285 |
 CELL   =         818 = 321-2890 |

=


= --Apple-Mail=_24E36360-2E8C-41D9-8381-01433E0177EA--