The statement about Green being brighter than blue isn't true. Learning to pull color out of your core matte and working in unpremultiplied color is essential. That includes simply rotoscoping some parts.Ģ) You have to learn to treat your edges since getting an alpha channel is half the battle. You will inevitably need to use garbage masks, key mixes and a variety of techniques for each section of the image to get an optimal matte.
#Chroma key live gl how to
A one-click key means you put in the work to do it right the first time and avoided the "fix it in post" nonsense.ĭo you have any "secret" tips on how to pull of a pro chroma key? Let us know in the comments below!ġ) It's not a 1-click process. See, every aspect of chroma keying is important, because they all influence the final result. One-click keysĮssentially, if you've done everything right - you've chosen the right chroma color, exposed correctly, shot against a clean screen, and chosen the highest possible compression format you can - you should be able to isolate your chroma color in one click when you begin the post process. This is simple: using a format that compresses your video less, like RAW or ProRes, will result in a better key, because it retains the minute details of your image. The less you compress, the better the key And I KNOW we said that there will be no talk about lighting, but you can't really talk about having a flat and even screen without mentioning that lighting plays a major role in making it that way. Seriously - or whatever it is that will help you flatten those creases and folds in your screen. Other than green or blue fabric, the next most important tool to have on you when chroma keying is an iron.
The cleaner the screen, the cleaner the key
(Lots of percents, RGB parade talk, and zebra stripes.) Simply put, a healthy exposure for a typical image just won't cut it for chroma keying - it'll be overexposed.
You're gonna need to watch this part of the video to get a good explanation on how and why you need to expose shots differently for chroma keying, because I simply can't give you one. Most modern cameras have sensors that use the green channel to carry luminance, so shooting on a green screen could result in twice as many pixels.If your background is blue or green, use those respective colors for your key color.Green is twice as reflective as blue, so it tends to contaminate your shot more.If there's blue in your shot, choose a green. If there's green in your shot, choose a blue chroma color.Though there are plenty of technical advantages to using green, your choice should be based on the qualities and obstacles of each specific shot you're capturing - and most of the time blue is found in the shot more often than green. Chroma green is typically the color filmmakers choose when the decide to do some compositing, but not necessarily because it's better or worse than blue (or any other color).
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