These 9 minutes felt like a masterclass in keying, just amazing. the music gave me a bad vibe though, like I was watching some sort of conspiracy theory spooky video
Endorsed! This is all good material. I've been in post since 1985, and there are a lot of bad videos out there on keying. This is the best one yet on the basics. It will save you time and make your product better than the competition.
In the 60s when these were done in an optical printer on chemical film, disney often keyed to sodium yellow. In the 40s and later inthe late 70s some creators used black. Especially black velvet.for example jim Henson sometimes used black.
Question though. Tip #2. If you were to shoot the scene with the greens exposed to a luminance of around 75 (or wherever they land when you Expose to the right), but then in Post bring down the exposure levels of the shot so that the green sits around 45-50%, and key from there. Would that not still be okay to do? At least when shooting in raw. Or am I missing something, and does it need to be exposed to 45-50% in camera (in any format) to not mess with the parade levels when exposing to the right, as you describe.
+divad435 Yes it is possible to isolate high exposed green screens from your subject and grade them down to the green setting you want. This trick is used a lot in my post shop where the majority of the keys we get are exposed at around 70%. However there are consequences to shooting the green high. First, you have to isolate the green from your subject before you start to manipulate it. If it has been exposed high it will contain blue and red elements so the isolation will not be as clean or easy. Also, as you pull down the red and blue channels the green channel will rise to compensate luminance. You may find if your green is to high it will rise in to clip. I usually bring the green level down to about 60%, but if the green hits clip when the other two colors are taken out I find the fine details in the edges become hard to maintain.
Hi, thanks for your good videos. I’m using blue screens. In the same way green should be exposed at ire 45... What would be the ire exposure value for blue? Thanks so much for your work.
Thanks for the great vid. Regarding lens selection, what is the acceptable range of of difference in focal length between keyed subject and composite background. Also, I have a small room and an ultra-wide angle lens would allow me to get full body keys but will this distortion be easily spotted? Cheers.
Fantastic advice, thanks so much. I was wondering if there is any difference in exposure of the green screen when shooting in raw, shooting in log, and shooting in 8-bit Rec.709. Should you always expose the green screen around 50% in each of these three different camera settings?
Can you tells how and if depth of field affects the chroma key pull in post? Does foreground and background both need to be in focus for the best keying?
Hello and thanx for this great tutorial. I have a question: I shoot with a Dslm panasonic lumix g7 (4Kuhd) camera. I have seen loads of videos/tutorials about filming in green screen, where they say that it is good to film in a neutral picture style with the following settings: -5 contrast, -5 sharpness -5 noise reduction and -4 saturation. Does this really makes sense, cause i especially doubt about the -5 sharpness. Cause i have made some test shots with it and it does a lot of damage to the sharpness of my character. I guess they say it cause it makes it easier to get soft outlines of the character? What could you advice me to do when it comes to the settings of the sharpness in the picture style in the camera? I hope you can help? Thanx in front. Greetings Lenny
the idea is that you add the sharpness back in post. that being said it's really only canon dslr that suffer bad in camera sharpness (exception being the 1dx mk ii at 4k). Panasonic cameras are usually fine at default sharpness (many people just carry the technique over from using canon dslr). If you have the g7 why not test it yourself
+7pw7 To stop affecting the subject when you remove the blue and red, you have to isolate the green first. The better you shot the key, the easer it will be to isolate the green. Tips 1 to 4 and the first chroma tips film I released about 10 months ago are the best way to shoot a key so the isolation of the chroma color is possible with 1 click.
Huge appreciation for incredible knowledge share! Very clear too. I just have one question about the process you described with your colorist. You mentioned that you bring down the RED + BLUE channel causing the green channel to rise. Are you keying with this bizarrely graded footage? 1 Million thank you's, you're my hero.
+Noe Chavez Rather bizarrely graded. I don’t knock down the blue and red from the subject. I isolate the green of the screen first. I only minimize the two unwanted colors from the screen and grade the subject normally. Then I shift the green to match video green of color bars. This results in a very easy key that can be applied to all my key shots. I developed the process as a time saver really, but noticed you tend to get better keys as well. I’m editing a project right now - all key shots. The technique is working so well that I’m keying in my off line, no extra work. We have the background as a bed layer and we just drop the shot on top of it and it keys like an online with no tweaking. Hope this answers your question.
That makes sense. Although I would never think to try that myself. Tremendously generous of you to share that insight. I'm off to practice this process, I want to be able to key during the offline as well! Have you ever had any issues keying Slog3 footage, say from the Sony FS7? Allister Chapman (a Sony DP savant) claims that it's impossible to do so due to it's slim amount of bit information in each individual stop. He says that the camera is able to achieve it's 14 stop dynamic range by allotting less bits of information into each individual stop. This starts me wondering about other log formats, logc for example... Does it achieve it's latitude by sacrificing data in the same manner? Sorry to go on a tangent. Ignore this if it's not ringing a bell. Good luck on the project! Thanks, amigo
everything on the internet is expensive material, it just have to reach to the right people to make use of its worth :) And you too, has a great eye of what is expensive :) i really love learning new things here on the internet
Bordering on trade secrets. I love your videos for just this reason.
The first video Ive found useful after 10 years shooting green screen, thank you, thank you, thank you!
These 9 minutes felt like a masterclass in keying, just amazing. the music gave me a bad vibe though, like I was watching some sort of conspiracy theory spooky video
Some of the best tips I've ever seen for fully understanding the ins & outs of chroma keying. Thank you!
Endorsed! This is all good material. I've been in post since 1985, and there are a lot of bad videos out there on keying. This is the best one yet on the basics. It will save you time and make your product better than the competition.
Wow, I've never seen such informative information on green screens! Thank you!
Great tips!! I especially liked 2 and 5!
This is the best Chroma key video I've seen and it does not talk about lighting! lol
Wish I seen this sooner.
In the 60s when these were done in an optical printer on chemical film, disney often keyed to sodium yellow. In the 40s and later inthe late 70s some creators used black. Especially black velvet.for example jim Henson sometimes used black.
Legit masterpiece. Legit legit.
Fantastic video! Thank you!
this is, I think, my favorite channel on YT. Thank you for sharing your knowledge.
Very nice video. Most tips just parrot out even lighting and no creases in the screen. But your info on the green channel exposure was super helpful.
Every cameraman should be forced to watch this three times a day for a week ;)
I bow before you sensei
Question though. Tip #2. If you were to shoot the scene with the greens exposed to a luminance of around 75 (or wherever they land when you Expose to the right), but then in Post bring down the exposure levels of the shot so that the green sits around 45-50%, and key from there. Would that not still be okay to do? At least when shooting in raw.
Or am I missing something, and does it need to be exposed to 45-50% in camera (in any format) to not mess with the parade levels when exposing to the right, as you describe.
+divad435
Yes it is possible to isolate high exposed green screens
from your subject and grade them down to the green setting you want. This trick
is used a lot in my post shop where the majority of the keys we get are exposed
at around 70%.
However there are consequences to shooting the green high.
First, you have to isolate the green from your subject before you start to
manipulate it. If it has been exposed high it will contain blue and red
elements so the isolation will not be as clean or easy. Also, as you pull down
the red and blue channels the green channel will rise to compensate luminance.
You may find if your green is to high it will rise in to clip. I usually bring
the green level down to about 60%, but if the green hits clip when the other
two colors are taken out I find the fine details in the edges become hard to
maintain.
Hi, thanks for your good videos. I’m using blue screens. In the same way green should be exposed at ire 45... What would be the ire exposure value for blue? Thanks so much for your work.
Amazing video! Exceptional information, thanks!
Wow. Where has this video been all my life? This answers the questions about so many issues I've been having.
thank you :)
Thanks for the great vid. Regarding lens selection, what is the acceptable range of of difference in focal length between keyed subject and composite background. Also, I have a small room and an ultra-wide angle lens would allow me to get full body keys but will this distortion be easily spotted? Cheers.
Fantastic advice, thanks so much. I was wondering if there is any difference in exposure of the green screen when shooting in raw, shooting in log, and shooting in 8-bit Rec.709. Should you always expose the green screen around 50% in each of these three different camera settings?
Can you tells how and if depth of field affects the chroma key pull in post? Does foreground and background both need to be in focus for the best keying?
Thanks！
Mind. Blown. Again. Thank you so very much!
Very, very helpful. I think I`ve always overexposed my green.
can i know what software can i use for video editing and effect? thanks
Invaluable information here! Found no where else on youtube. Not even in my years of working in the industry.
Never gets old. I continually come back to this video for reference before I shoot and then in post. Thank you!
This video is amazing. Truly a masterclass
What is the least expensive way to record lossless video I wonder?
Thanks for sharing! This was incredibly helpful.
Nice! Learned something new again!!! Thanks Direk Matt!
Great Video!
This is GREAT! Thanks so much for posting these tips!
Absolutely brilliant. Such a revelation.
Really well done video, great work.
thank you! thank you for educational content!
Hello and thanx for this great tutorial. I have a question: I shoot with a Dslm panasonic lumix g7 (4Kuhd) camera. I have seen loads of videos/tutorials about filming in green screen, where they say that it is good to film in a neutral picture style with the following settings: -5 contrast, -5 sharpness -5 noise reduction and -4 saturation. Does this really makes sense, cause i especially doubt about the -5 sharpness. Cause i have made some test shots with it and it does a lot of damage to the sharpness of my character. I guess they say it cause it makes it easier to get soft outlines of the character? What could you advice me to do when it comes to the settings of the sharpness in the picture style in the camera? I hope you can help?
Thanx in front. Greetings Lenny
the idea is that you add the sharpness back in post. that being said it's really only canon dslr that suffer bad in camera sharpness (exception being the 1dx mk ii at 4k). Panasonic cameras are usually fine at default sharpness (many people just carry the technique over from using canon dslr). If you have the g7 why not test it yourself
Great Video! How do you do this? At 7:47 you take the Red down without affecting the subject.
+7pw7
To stop affecting the subject when you remove the blue and
red, you have to isolate the green first. The better you shot the key, the
easer it will be to isolate the green. Tips 1 to 4 and the first chroma tips
film I released about 10 months ago are the best way to shoot a key so the
isolation of the chroma color is possible with 1 click.
I learnt a lot from this video, really useful
Absolute best video I have seen on the topic...
This is so helpful. Thank you
Huge appreciation for incredible knowledge share! Very clear too. I just have one question about the process you described with your colorist. You mentioned that you bring down the RED + BLUE channel causing the green channel to rise. Are you keying with this bizarrely graded footage? 1 Million thank you's, you're my hero.
+Noe Chavez
Rather bizarrely graded. I don’t knock down the blue and red
from the subject. I isolate the green of the screen first. I only minimize the
two unwanted colors from the screen and grade the subject normally. Then I
shift the green to match video green of color bars. This results in a very easy
key that can be applied to all my key shots. I developed the process as a time
saver really, but noticed you tend to get better keys as well. I’m editing a
project right now - all key shots. The technique is working so well that I’m
keying in my off line, no extra work. We have the background as a bed layer and
we just drop the shot on top of it and it keys like an online with no tweaking.
Hope this answers your question.
That makes sense. Although I would never think to try that myself. Tremendously generous of you to share that insight. I'm off to practice this process, I want to be able to key during the offline as well!
Have you ever had any issues keying Slog3 footage, say from the Sony FS7? Allister Chapman (a Sony DP savant) claims that it's impossible to do so due to it's slim amount of bit information in each individual stop. He says that the camera is able to achieve it's 14 stop dynamic range by allotting less bits of information into each individual stop.
This starts me wondering about other log formats, logc for example... Does it achieve it's latitude by sacrificing data in the same manner? Sorry to go on a tangent. Ignore this if it's not ringing a bell. Good luck on the project! Thanks, amigo
wow great video...
this is a great video thanks
thank u
Interesting....
Great Tutorial!!!!
Great tutorial
откуда 8 дизлайков?
This video is expensive material. Why do you share it for free? Great thanks for this video!
everything on the internet is expensive material, it just have to reach to the right people to make use of its worth :) And you too, has a great eye of what is expensive :) i really love learning new things here on the internet