I have a 9 foot wide white backdrop, If I do a wide shot and the side walls/ lights show in the shot, how would I duplicate the edge of the white to fill the sides. I am video taping a talent with green interactive computer and don't have a blue screen to do chromakey (I only have green). Basically I am looking to do the opposite of what a garbage matte does and extend the white to clean the shot. I am using premiere pro and some after effects (beginner in AE). Thanks
Extending backdrop in Post
- Thread starter Ken1212
- Start date
Spartacus
Veteran
You kind of said it yourself: make a ruff matte around you talent and the computer and feather the edges.
Then CC your footage and make the white, well white
Sample that white with the eyedropper tool and create a solid/slug with that sampled white.
Put it "under" your feathered footage. Should do the trick.
Didn't get why you wouldn't use green for chromakeying though.
Then CC your footage and make the white, well white
Sample that white with the eyedropper tool and create a solid/slug with that sampled white.
Put it "under" your feathered footage. Should do the trick.
Didn't get why you wouldn't use green for chromakeying though.
Spartacus
Veteran
If the shots are not static, than you need to track them.
But honestly, getting a bigger backdrop or changing the color of your "cabinet" seems easier.
No offence, but if you don't even have basic understanding of compositing, try to get it right in camera.
Or partner up with someone who knows.
If it's just a fun project and you have the time, maybe google "tracking", "set extensions", "matte painting", "chroma keying".
Good luck!
But honestly, getting a bigger backdrop or changing the color of your "cabinet" seems easier.
No offence, but if you don't even have basic understanding of compositing, try to get it right in camera.
Or partner up with someone who knows.
If it's just a fun project and you have the time, maybe google "tracking", "set extensions", "matte painting", "chroma keying".
Good luck!
Michael Carter
Veteran
The problem with just eyedroppering the color is that many cyc-style sets are not one solid color... there's often a fade at the lower curve, etc.
I export a frame into photoshop and clone up a soft-masked PNG to drop back over the footage. If the footage moves, I'll expand the canvas in PS and make the art bigger and motion track it in.
This has always worked like a charm for me, to get the "endless white" set when there's no cyc or when gear is in the shot.
I usually prefer this to green screen if the BG is supposed to look like a cyc or a solid color. You need really good footage to key hair, and your wardrobe choices get limited, blonde hair is a problem, etc. I'd rather shoot on the final BG and extend it, much faster, cleaner, less on-set time, less rendering and tweaking time, etc.
I export a frame into photoshop and clone up a soft-masked PNG to drop back over the footage. If the footage moves, I'll expand the canvas in PS and make the art bigger and motion track it in.
This has always worked like a charm for me, to get the "endless white" set when there's no cyc or when gear is in the shot.
I usually prefer this to green screen if the BG is supposed to look like a cyc or a solid color. You need really good footage to key hair, and your wardrobe choices get limited, blonde hair is a problem, etc. I'd rather shoot on the final BG and extend it, much faster, cleaner, less on-set time, less rendering and tweaking time, etc.
Thank you guys, I will try out your suggestions to get better at post. Will also definitely add a blue screen to my arsenal. I don't like to be, a do it all type of guy, but when dealing with small budget I have to. I ended up doing the shoot and keeping my shot medium to contain the set, it worked out fine. The video is about the unit which is 3 feet wide by 5 feet tall with a 24" tv monitor integrated into the cabnit, so I took a raw photo of the full unit and will edit in Photoshop to get rid of the set and use it in the opening with a slight zoom.
I did run into couple problems. When I did the shoot I had the camera outputting to my 24" TV Monitor for preview during the shoot. I ended up shooting 1080/P 30FPS and shutter was set to 50hz which is camera default (switched the camera from auto to manual and got my setting but forgot to check the hz which supposed to be at 60, haven't shot screens for a long time). Everything looked nice on the external preview monitor without any flickering, but when I went to my editing system to preview there, I had a slight minute flicker. So now I need to learn tracking.
The other problem I am running in now is with with my Matrox MXO2, As I am trying to capture HDMI output from the unit and wasn't able to, apparently MXO2 doesn't have proper drivers for windows 8 for capturing, it has been working fine as an I/O. Very disappointing since windows 8 has been out for couple years now and this is about $1600 desktop unit.
I did run into couple problems. When I did the shoot I had the camera outputting to my 24" TV Monitor for preview during the shoot. I ended up shooting 1080/P 30FPS and shutter was set to 50hz which is camera default (switched the camera from auto to manual and got my setting but forgot to check the hz which supposed to be at 60, haven't shot screens for a long time). Everything looked nice on the external preview monitor without any flickering, but when I went to my editing system to preview there, I had a slight minute flicker. So now I need to learn tracking.
The other problem I am running in now is with with my Matrox MXO2, As I am trying to capture HDMI output from the unit and wasn't able to, apparently MXO2 doesn't have proper drivers for windows 8 for capturing, it has been working fine as an I/O. Very disappointing since windows 8 has been out for couple years now and this is about $1600 desktop unit.
Michael Carter
Veteran
Here's an example of when you can use white vs. green... way faster to extend the BG in the wide shots, and if her hair overlapped a graphic it was quick to luma key.
This series of TV spots was a mix of white & green - pretty simple to go through the storyboards and choose which shots definitely needed keys and which just needed BG work. Saved a lot of post time.
This series of TV spots was a mix of white & green - pretty simple to go through the storyboards and choose which shots definitely needed keys and which just needed BG work. Saved a lot of post time.