You have no doubt observed that some of the remaining parts do not have the correct keying installed in them. Make sure the Screen Colour is set to the color of your screen's background (which, in this case, is green). Remove the green colorĪfter Effects users can get rid of a green screen by going to the "Animation Presets" window, searching for the "Keylight" preset, dragging, and dropping it over the clip, and then shifting their focus to the "Effects Controls" window. You may find them grouped together as Keylight, Key Cleaner, and Advanced Spill Suppressor in the Animation Presets box, which is located under the "Image Utilities" heading. In the following stage, you have the option of either adding each plugin one at a time or doing it all at once. It’s time to import the footage into After Effects and get keying.After you have imported your material into the After Effects project, you should next create a new composition using the footage. There are plenty more best practices, but many will be learned on the set. More noise means a more crumbly, pixel-ly keying job. Additionally, try to keep ISO set as low as possible, as higher ISO settings introduce noise into the shot. Try 1/80 of a second or better to lose that blur, as it’ll be difficult to remove green from blurred footage. Motion blur with the subject can be an issue, particularly with DLSR cameras and any kind of movement, so be sure to increase the camera’s shutter speed to compensate. To avoid the possibility of the screen being out of focus, and as a safeguard against the subject moving out of focus, decrease the aperture of the camera to bring about infinite – or near infinite – focus. Shallow depth of field is really a no-no. Some simple things to keep in mind for any camera are to, first of all, remember that the background is a non-issue in the final, composed image. Don’t forget regular lighting fundamentals, such as hair lights to add separation and perspective, but only if they suit the final scene. The rest of the frame can be dealt with later if it’s impossible to make perfect. The most important thing is that the area behind the subject is lit evenly. Use two large softbox lights – or other large soft light sources – and place each of them aimed toward the subject, but in front of them and on angle, so that each one cancels out the thrown shadow of the other. One cool trick is to use the subject lights (key and fill) to aid in lighting the screen if there aren’t enough lights to get the screen looking perfect on their own. If the camera and software see the blown out regions as white – or anything other than green – keying will be difficult. ![]() ![]() Work at making the light even and ensure no parts of it are blowing out (overly bright). There are lights designed to make lighting a screen easier, some even projecting a green light onto the green screen to force the evenness. ![]() Hotspots where light is brighter than other areas may not key properly, and the darker areas will need to be cropped or compensated for. – even a green bed sheet, if it’s a green close enough to chromakey green), and should be evenly lit, with the subject and screen lit separately. The screen should be a non-reflective material (cotton, muslin cotton, matte paint, etc.
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