The core matte instance of Keylight must be set to intermediate mode for this to work properly. In order to make this work simply drop down the inside mask sub menu and set Source Alpha to “Add to inside mask”. Apply another Keylight effect onto your bottom layer and pick the screen colour once again. We’re able to do both the core and edge mattes on the same layer. For this pass we’re only concerned about the edge quality and fine details of our matte. The final pass for this technique is the edge matte. Set the mode to intermediate result and our core matte is complete. We only want this pass to affect the core of our subject and not interact with the edges at all. Lastly we’ll adjust the screen shrink/grow and screen softness parameters to bring the core matte in a bit and away from our edges. Adjust the clip white and clip black values to create a solid inside matte. Notice how the inside of the matte has some grey areas which we want to eliminate while paying no attention to the edges or fine detail. We simply want to make sure that the core of our matte is solid.Īpply a Keylight effect to the bottom footage layer and pick the screen colour. Switch into screen matte mode so we monitor our matte. ![]() For this pass we only care about the main mass of our subject and we are not concerned with fine details like hair or edge quality. The second of our three passes is the core matte. With our garbage matte completed we only have to worry about a thin local area of green around our subject. I’m also going to rename my layers for neatness, set our Keylight mode back to final result and finally set our bottom layer to use an alpha matte. All your additional garbage masking should happen on this top garbage matte layer. Lastly for this shot I’m going to use a mask to get rid of all the lighting equipment around the screen. Finally we use the Screen shrink/grow parameter to grow our matte outwards beyond any fine detail like stray hairs. I’ve used values of 55 on the black and 67 on the white while in screen matte mode to monitor the black and white matte. Your goal here is to adjust the clip white and clip black values to eliminate as much of the junk on your green screen as possible while keeping a solid foreground, the edges and any holes in the matte do not matter at all. You should experiment on a shot by shot basis. It sometimes helps to choose a slightly darker screen colour by picking an area of the screen in shadow. To make it we first duplicate our footage layer, apply a Keylight effect and pick our screen colour. Great for cutting out tracking markers, uneven screen lighting and folds in cloth screens. The first of our three passes will be the super tight garbage matte. However you’ll be faced with poor quality footage in your career and three pass keying methods will help you deal with them, so let’s begin. This footage is actually shot at 422 at 1280×1080 with a non-square pixel aspect ratio, which is exactly what we’re looking to avoid. For this tutorial I’m using footage from Hollywood Camera Work which you can download here. You’ll want a camera that can record 444 colour resolution to a native or RAW format. The colour resolution, pixel resolution, green screen lighting and recording format play a huge role in the keying software’s ability to do it’s job. It should be said that the most important aspect of getting a good key is the one you might not be able to control: the footage. This will take our keys to a level above single pass keying and will still be quick enough to do even on the tightest deadlines. ![]() For this tutorial we’ll only cover the essential three passes: the super tight garbage matte, the core matte and the edge matte. But good keys require multiple passes: garbage mattes, core mattes, edge mattes, spot fixes and yes, possibly rotoscoping. They’ll be forced to push the clip white and black sliders too far and end up with a harsh, unsatisfactory matte. In the context of After Effects that’s one Keylight effect on one piece of footage. Many times artists will try and do a key in one pass. In this tutorial we’re going to explore the triple pass keying method in After Effects. Work and time which you need to put into your shots to pull good quality mattes. But that’s very seldom the case, pulling a matte takes WORK. There’s a misconception that keying is an almost one click, five minute process and that if the results are unsatisfactory that there is something wrong with the keying software. ![]() I have often noticed that those who are new to compositing and VFX go about their green screen keying the wrong way.
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