Click on any phrase to play the video from that point.
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[An Editor's Guide to Adobe Premiere Pro] [Available from Peachpit Press]
[For experienced editors who want to get up to speed on Adobe Premiere Pro]
[Project Management, Multi-format Editing, Color Correction]
[Titling & Effects, Audio Mixing, Publishing & Output]
[Full Color Book, 6 Hours of Videos, Hands on Files]
[Keyboard Shortcuts, FCP and Avid Guides]
[Chromakeying in Adobe After Effects] [An Editor's Guide to Adobe Premiere Pro]
My name's Rich Harrington, and I'm here to show you how to do
advanced chromakeying with Adobe After Effects.
Once you have your shots stacked in Premiere Pro,
it's very easy to simply select both video tracks,
right-click, and choose "Replace with After Effects Composition."
This will automatically send it on over to After Effects,
where you can work with the shot.
On this, select first the video layer with the keyed footage,
and what I'm going to do to this layer is actually go ahead
and process it a little bit.
Over in the Effects and Presets I'll type in "Keying,"
and I'll drag over the "Keying - green blur," which will smooth out some of the noise
in the green channel.
There we go. We've got it selected.
And what I could do here is choose "Effect," "Keying," "Keylight."
Now, the vector keyer is very good in Premiere Pro.
Keylight, however, does offer additional controls.
We'll go ahead and eyedropper on the green,
and then switch this to view the matte.
By viewing the matte, it becomes much easier
to gauge where you have problems with your key.
Notice we have the black area, indicating transparency,
and the white area is indicating opacity,
and gray is indicating partial transparency,
which is problematic within the body of our subject there.
So, what we can do is balance this out.
Under "Screen Matte," what we'll take advantage of is the ability to clip white.
So, we'll start to drop that down a little bit to clean that up.
You'll notice we still have a few black spots,
so I'll take advantage of the Despot black option here to pick some of those up.
Over here in the blacks, if you look very closely,
you'll see we have a little bit of noise in the upper right corner of the key.
So, I'm going to go ahead and clip the black as well so that gets nice and clean.
And notice, even the finest details of the hair are still intact.
You can go ahead if needed and soften that out just a little bit
with some screen softness.
I'll also occasionally put a little bit of Screen Pre-blur to help hide some of the noise.
And that's looking pretty good there.
If necessary, you could grow or shrink the matte,
but I'll go ahead at this point and switch back over to the final result to see my key.
And you notice there as we pull through, it's looking pretty good.
Now, let's go ahead and finesse this out a little bit
and just color grade things so they match.
Our subject here is against a blue sky
but was shot in a studio, and we didn't know what color the backdrop was going to be.
So, what I'll do is I will enable Foreground Color Correction,
and this is going to give me some good controls.
If I twirl down some of the color balancing here,
I can actually see a color wheel, and this allows me
to balance it for the scene.
So, by putting a little bit more blue in there, you'll see that our subject
is starting to match our outdoor location.
We can also adjust the brightness or contrast to match sort of the scene he's in,
so I could open that up just a little, add a little bit more contrast in
to get the blacks of the jacket crisper, and that way we've got a good balance.
The overall lighting is a little bit brighter on him,
but by adjusting contrast, it doesn't wash out,
and that's working out pretty well.
And of course, you could adjust saturation up or down as needed
to also compensate for the lighting.
So you see there, with the color correction option, definitely pushes it further.
So, all in all, works pretty great.
One of my other effects that I might add if this was a backdrop back here
would be a radial shadow, so you can go ahead and do that there under Perspective,
although this particular background doesn't need it.
And we're just going to go ahead and shrink this matte by 1 pixel
to pick up a little bit of that fringe there that was at the very edge of the jacket,
and that's looking pretty good.
If needed, you can go ahead and even take advantage of other options,
like masks, to deal with real big problem areas or reflections such as jewelry.
And you have the ability to actually go through and even further modify
some of your settings up here by getting into some of
the screen gain and balance as needed.
But all in all, that was a pretty fast key, and it worked very well to pull off what we needed.
When finished, we'll simply save the project,
and we'll go ahead and switch back over to Premiere Pro,
and the linked composition will go ahead and update
and drops back into our sequence for us,
and you see that we have our shot there ready to go.
[♪ Music ♪]
[An Editor's Guide to Adobe Premiere Pro] [Available from Peachpit Press]
[For experienced editors who want to get up to speed on Adobe Premiere Pro]
[Project Management, Multi-format Editing, Color Correction]
[Titling & Effects, Audio Mixing, Publishing & Output]
[Full Color Book, 6 Hours of Videos, Hands on Files]
[Keyboard Shortcuts, FCP and Avid Guides]
[Peachpit.com/EditorsGuide]
