Greenscreen Nightmare................

F

FilmBoy77

Veteran
i'm working on a project where i have two people in front of a greenscreen. the problem is, these two people have a green and yellow logo in their hats. they were told not to wear any green, etc. i'm not sure why they did it anyway, but i'm just getting the footage and they want to know what i can do to make it work anyway.....any ideas?

oh, they're unable to reshoot the footage due to everyone being in different states, countries, etc.
 
If it's not all over the hat itself and is just in part of it, then you should be able to garbage matte the area around the logo and keep it...
 
Do what Barry said. Just use a mask after your key is pulled to remove that section from part of the key.

You'll have to rotoscope it if you can't motion track, but that's wont be that hard since you don't have to be exact, just close.
 
barry: okay, a garbage matte, that makes sense. i'm already going to have to create a garbage matte to block out the microphone and camera that's in part of the shot. will i be able to do 2 garbage mattes at the same time?

matt : so use a mask after i pull the key or before i pull the key? if i pull the key first won't the green logo be pulled too?

this is my first time doing this :)
 
Here's a workflow for greenscreen:

1. Garbage matte your footage. You'll do a garbage matte for the whole scene, cut out that boom mic, camera, etc. You'll also want to reduce the amount of green around your actors, it'll help pull a better key. You can have a rough loose matte, just cut out unnecessary greenscreen.

2. Pull your key. You get better results if you pull 2 keys, one for the core and one for edges, but that's a whole other conversation. If you can get it in one pass that's good, but most professionally pulled keys are a combination of mattes and multiple keys.

3. Check your footage in full motion against a bright background (like yellow, pink, bright purple, you get the idea). This will help you see any holes that need attention.

4. Go back and pull another key or do some cleanup garbage mattes for those holes. In your case this would be the hat. I'd run the motion tracker on the hat logo then apply that track data to a null then draw a mask on a duplicate of your footage without Keylight (or whatever keyer you're using) on it. Parent that mask to the null and scrub your footage and see where you have to adjust the mask by hand.

5. Sometimes you'll have to tweak the colors to match between your cleanup mattes and your main key, but this depends on how you pull your key. Usually slight adjustments in Levels and Hue/Saturation in the Greens channel.

6. Rinse and repeat for every shot you have to key.
 
Sometimes it works to use the original clip twice.

One with a proper key( top layer) and the other with a rough garbage matte (layer below). Both layers in synch of course

The bottom layer fills the problem area

Note: Rough garbage matte does not need to be too precise as long as it covers the area with in the key of the top layer.
 
thankx guys, i thought this would be a lot harder than it actually is. i see what they mean by make sure your lighting is as clean as possible when filming. the people that shot this did an okay job, but it coulda been a lot cleaner. i shot greenscreen but have never edited it. my next greenscreen shoot i'll be that much better now that i'm going through this process of having to correct somebody else's mistakes.
 
going to piggyback here and ask--what's the best way to apply motion tracking to a mask? say you used mocha to get your positional data, what would you apply it to? A null and then parent the mask layer to the null?
 
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