Struggling with keying out greenscreen

S

sbryan

Well-known member
I'm still plagued by a halo around the foreground subject's hairline and shoulders. I increased the distance between the foreground subject and the background and monitored the footage being captured in Scopebox. There didn't appear to be a problem with spill this time, but I should have known I'd get the same problem in editing again.

Is there anything I can do short of leaving the key the way it is and have artifacts appear whenever the head moves slightly?
 
You just keying in FCP? I'd work with better keyers like Shake or AfterEffects.

Supposedly, Motion has a good keyer... but I'm not a motion user.

CaptM
 
Motion actually has a feature called Spill Suppressor that may save my hide. Thanks for the suggestion.

I, too, was under the impression that Shake had all the keying features, not Motion.
 
Scratch that, still have problems, so here are the links to the screen grabs:

full.jpg


Preview.jpg


scopes.jpg
 
as a general rule, you should never have the talent wear white or neutral colors, as they pick up the cast of the key color very easily and make sit hard to cut a clean matte. so if you're stuck with what you shot, you may be out of luck in post.
 
sbryan said:
Can I use motion tracking to key out an element?
Click to expand...


No -- but you can use a matte to eliminate unwanted areas in and or outside the image you want or don't want and then track that matte to the image.

Not sure what you are really asking.

CaptM
 
Unless I'm mistaken, that looks like DV footage. One of the worst things you can feed into a keyer. You might investigate the Color Smoother in FCP, or Graeme Nattress's GNicer, or look at DVGarage's DV Matte Pro or DV Matte Blast (both have demos)...

Patrick
 
Here's what I did in Shake in a couple of minutes along with the shake script... It uses chroma smoothing, a secondary keyer for a holdout matte and edge blurring along with some light wrap.

Patrick
 

Attachments

Hi all,

The footage was reshot, and I made a few changes that I thought would help in keying. First, the subject was wearing a black dress shirt instead of white. Second, The way she had her hair before didn't come off as sharp as I would have liked it to. Third, I used a soft light, which I hoped would increase the separation between the foreground subject and the background.

I'm still struggling with spill, and I was hoping someone could key this video using Motion or FCP that came with FCP Studio 2. You may need to resort to using Shake, but I'm hoping that I don't need to drop a fair amount of change just to key this video.

PM me if you would like to try keying a 20 second clip. I can reply to the PM with a link to the download.

Sarah.jpg
 
I had problems with a halo, that when keyed became a grey rim around the subject, I turned down sharpness (as suggested by others here) and changed the keyer.
I´m using DVgarage Conduit plugin for FCP now and things have gotten better...
Good luck!
 
The price point for that program is $200. Shake is $250. As far as keying is concerned, which program is more robust?

That aside, I'm testing the plug-in. I had the halo down to a fine line and then FCP crashed. I'm gonna try it again and use a matte choker.
 
I needed sth to get me good results directly out of the FCP timeline and I didn´t want to step into the Shake league (which we use for more complicated matters...)
Shake can probably do more, Conduit performs well enough or my use...
 
So the price tag is heavily influenced by the convenience of FCP integration? It shouldn't be a big deal to export to Shake, as I frequently export to Color, Motion, and Soundtrack Pro.
 
I think the bg is lit a little hot ( like 1.5 stops) and is too close to the exposure on the womans face. Sometimes a backlight with a little CT 1/4 or 1/8 orange can help with fringe bounce from the bg.
 
1. reduce the light on the green screen. Just need enough ire so the camera can pick up the key
2. move the subject farther away from the green screen...although it looks more like bleed through the light hair as much as spill.
3. light the edges of the subject...white or gel orange to counter the green...maybe even from behind to counter the green coming "through" her hair.
4. get a brunette
 
Indywannabe said:
1. reduce the light on the green screen. Just need enough ire so the camera can pick up the key
2. move the subject farther away from the green screen...although it looks more like bleed through the light hair as much as spill.
3. light the edges of the subject...white or gel orange to counter the green...maybe even from behind to counter the green coming "through" her hair.
4. get a brunette
Click to expand...

1. What's a practical way to diffuse/reduce standard home depot work lights?
2. I've pushed the limit of how far I can move the subject away from the screen. There's six inches of gimme room before I hit wall.
3. I've been considering this option for a while. Could you suggest a guerilla rig? I think I need another C-stand for another light, so please suggest a simple extending stand. I have stand with an arm, but I use that for the China Ball.
4. Hey, I'll take what I can get :grin:
 
Shooter said:
I think the bg is lit a little hot ( like 1.5 stops) and is too close to the exposure on the womans face. Sometimes a backlight with a little CT 1/4 or 1/8 orange can help with fringe bounce from the bg.
Click to expand...

CT 1/4? 1/8? What's that?
 
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