I think I've never before seen a keying tutorial as advanced as this, paid or free, for AE, Nuke, Fusion, Flame or whatever... this course is the king of kings :-D Thanks a lot for sharing your vast knowledge and tools!
Thank you so much for uploading these tutorials, this one in particular! The amount of details and knowledge AND the presentation is just perfect. I think in combination with Vito's tuts I don't know if I saw a better explanation of how to deal properly with greenscreens (if there are, let me know! :D ). It is amazing what you can pull from this .mp4 footage. At the same time, I currently have to deal with a really bad greenscreen...many approaches that work on a well-lit greenscreen are breaking apart there...for example the building of the cleanplate with a frame average is not working well when you have moving shadows on the GS (or at least *I* did not succeed). I would be very curious how a compositing master would attack each problem in such a situation. Oh and thank you for all your helper fuses...incredible work. Thank you so much! Bob
Very good your tutorial. It's difficult to find something that explains how to resolve edges after greenscreen. I also liked the solution to the black match. Thanks!
Very nice tutorial, thanks for posting. One question, maybe just because I'm not familiar with your macros: I see you first do an adaptive despill, which should nicely replace the green edge spill with colors based on the background and then you do on top of this an RGB Edge extension. Isn't this partially interfering or even replacing the previous edge despill? I understand the edge extension for cases where I have discolored edges or some artifacts that need covering up along the edges, perhaps even inside the solid area when there is unwanted discoloration on the inside edge. But if I saw it right here, it seems you are extending all the way over the full semi-transparent edge where we could benefit most from the adaptive despill?
I'm branching the despill because the video is heavily compressed. Despilling inside a Deltakeyer would result in a unusable grainy footage. On blurry edges (out of focus or motion blurred) a dark or bright halo could appear if your background is different in the Y component, so that's why I use edge extend. That edge extend take place on the despilled image, so that the interference you're talking about is reduced to the minimum. On this particular footage tbh edge extend is not vital for a good result, but I wanted to show the process. A good alternative (or complementary) to this technique would be an additive keyer. Maybe I'll do a follow-up tutorial. Also I'd love if you take a spin on my macros! Get them on Reactor and let me know what you think!
@@MillolabTuts Ah ok, great. Well branching out the despill is almost always a good idea I think. Especially since the DelatKeyer default only neutralizes but cannot adapt to the new bg. Yes, I should dig into your macros as well. I'm usually building quite a lot from scratch since I love showing in my tutorials how people get there with default stuff and what the comp principles are underneath - but having a few macros here is definitely saving time and allows to do more in one hour :) thanks again!
@@VFXstudy Of course branching the despill is always a good idea... in this case especially! ;) With properly shot greensreens you can get away with DeltaKeyers alone though. I love macros. if I had to redo those setups all the time it would be a real pain! :)
I downloaded the Advanced Despill a week ago, and it does not have the 'Matte Input' setting like you do in video. I'm not able to see same results and wonder if this is the case. Thanks.
Great technique I can only thank you for giving us this teaching. But I installed the reactor / advancedDespill ... but it is different from the one used in the video. How to get the same version?
in this case using this trick you end up with a much cleaner clean plate and once you saved as an image it's faster to compute than the clean plate node. As I say in the video this technique doesn't always work. it depends on your footage.
I installed advanced despil from reactor, but it doesn't work as shown in the tutorial. It has "Input, Foreground & Effect mask" but the tutorial shows "Background, Effect mask & Matte input".
question for you if youre still monitoring replies. ive recently had a VERY difficult shot and I usually do "core and fringe" mattes by conventional ways., and ive been trying clean plates and noticed they're VERY slow. im trying to figure out why you did your clean plate (in the beginning) here the way you did. is it because by doing EVERYTHING in the clean plate is generating the excessive computations? so when you frame averaged was that to cut down on the Frame sampling size the clean plate will try to pull? I guess its more of a technical question as im not sure the internals of clean plate processing. I was using the "frame fill" technique exclusively inside the clean plate node, eroding then filling ALL within the clean plate node, then piping that in as a solid matte to delta keyer. I usually can get away with clever delta keying, luma mattes, etc and isolating plates without clean plate node. but it seems for my shot clean plates are working very well, but its like half a frame per second to render. its insane. hope that all made sense and thanks for the time to put this together..
the reason I used that technique in this video is first of all for educational purposes. That said, the clean plate node can become very slow especially with 4K and bigger footage. I made a macro for myself which is an alternative to the CleanPlate. Maybe I'll share it.
@@millolab thanks for getting back to me. just so you know, I wasnt implying it was unnecessary, was just curious as to whether it was to speed up the clean plate. I love what youre doing here, as im a big fan of knowing why things are happening, and not just "pushing buttons" for results.and yes im on 6k plates. I just thought maybe the clean plate was so slow because it was sampling every frame and your method was to help speed that up. im relatively a beginner in GS removal (properly). real world shots are MUCH more difficult to handle than people think, so your work as helped me tremendously and I thank you.
@@flipnap2112 on 6K footage CleanPlate can be VERY slow. there are ways to get a similar result to the CP without using it... but it's hard to explain how in the RUclips comments :)
@@millolab ha ha this is know! im usually guilty of asking questions that would need 500 paragraphs at least. But im lucky that this is just one shot, but dam the clean plate is doing an amazing job. might have to do one of those overnight renders for this one. if I can let my 3090 push 2 days just for a deep fake I can deal with this! and yes I found a few little hacks here and there. When I started I never thought "green screening" could be so delicate, but real world shots arent EVER perfect. you think its all good and the client is like "3 of her hair strands are missing!" (dam I didnt think they'd see that)
Thank you for a great tutorial! I have a question though. What is the reason for the gamut change in the begining? Also, would the same gamut workflow work for RAW footage (like BM or red raw)?
The reason for the gamut change at the beginning is to work in a Linear colourspace. If you use RAW footage you'll need a different workflow. It depends on what camera/gamut/gamma you used when shooting. Let me know if you guys need a tutorial about Linear Workflow.
Hi Millo, great tutorial! I noticed that the new AdvanceDeSpill Node does not have a matte Input anymore so I can not connect the Alpha Node as mentioned in this tutorial. Also the new AdvancedEdgeExtend Node does not have a Foreground connection anymore. I imagine there is another way now but I can not figure this out. Can you clarify this? Thanks!
you can do all that was possible with the previous version of both the macros and more. To answer your question: the green input is the one you want to connect both the external alpha to both the Despill and the edge extend.
@@MillolabTuts thank you very much! I will try it again. I use Boris fx Primatte now but the hair detail results are often disappointing. Your work proces is really unique! BTW: Do you think it is necessary to use the gamut Nodes for BMPCC4K BRaw footage at first, if the new Da Vince wide gamut Color space in Color management is selected?
@@Ina2424 in Fusion, it's always good practice to linearize your footage. If you shot in LOG you'll have to convert the log to linear using the CineonLog node. I'm not a fan of primate... Anyway, no technique is gapped for every shot. That's a sad reality of green screen. If I understand correctly u're on Resolve. I suggest you to have a look at Fusion Studio instead (it's the standalone version of Fusion).
Can this technique not be replicated in resolve’s fusion page? I am asking as I need a relative quick and streamlined workflow than keying in fusion studio and then taking it into resolve.
@16:23 LEFT click.
I think I've never before seen a keying tutorial as advanced as this, paid or free, for AE, Nuke, Fusion, Flame or whatever... this course is the king of kings :-D Thanks a lot for sharing your vast knowledge and tools!
wow so many tricks in one video thanks Millo
Looking forward for more fusion based tutorials!! This was explained neatly!!
Great tutorial, lots of great takeaways. Thanks!
Thank you for every Tutorial you do.
Thank you so much for uploading these tutorials, this one in particular! The amount of details and knowledge AND the presentation is just perfect. I think in combination with Vito's tuts I don't know if I saw a better explanation of how to deal properly with greenscreens (if there are, let me know! :D ).
It is amazing what you can pull from this .mp4 footage. At the same time, I currently have to deal with a really bad greenscreen...many approaches that work on a well-lit greenscreen are breaking apart there...for example the building of the cleanplate with a frame average is not working well when you have moving shadows on the GS (or at least *I* did not succeed). I would be very curious how a compositing master would attack each problem in such a situation.
Oh and thank you for all your helper fuses...incredible work.
Thank you so much!
Bob
great stuff! making fusion great again
Great tutorial Millolab !
Amazing. Gonna have to save this one for later.
Amazing dude!
Awesome technique man ! Thx for sharing.
Amazing technique. Thanks for making this tutorial and creating these tools.
Thanks man!
Very good your tutorial. It's difficult to find something that explains how to resolve edges after greenscreen. I also liked the solution to the black match. Thanks!
Very nice tutorial, thanks for posting. One question, maybe just because I'm not familiar with your macros: I see you first do an adaptive despill, which should nicely replace the green edge spill with colors based on the background and then you do on top of this an RGB Edge extension. Isn't this partially interfering or even replacing the previous edge despill? I understand the edge extension for cases where I have discolored edges or some artifacts that need covering up along the edges, perhaps even inside the solid area when there is unwanted discoloration on the inside edge. But if I saw it right here, it seems you are extending all the way over the full semi-transparent edge where we could benefit most from the adaptive despill?
I'm branching the despill because the video is heavily compressed. Despilling inside a Deltakeyer would result in a unusable grainy footage. On blurry edges (out of focus or motion blurred) a dark or bright halo could appear if your background is different in the Y component, so that's why I use edge extend. That edge extend take place on the despilled image, so that the interference you're talking about is reduced to the minimum. On this particular footage tbh edge extend is not vital for a good result, but I wanted to show the process.
A good alternative (or complementary) to this technique would be an additive keyer. Maybe I'll do a follow-up tutorial. Also I'd love if you take a spin on my macros! Get them on Reactor and let me know what you think!
@@MillolabTuts Ah ok, great. Well branching out the despill is almost always a good idea I think. Especially since the DelatKeyer default only neutralizes but cannot adapt to the new bg. Yes, I should dig into your macros as well. I'm usually building quite a lot from scratch since I love showing in my tutorials how people get there with default stuff and what the comp principles are underneath - but having a few macros here is definitely saving time and allows to do more in one hour :)
thanks again!
@@VFXstudy Of course branching the despill is always a good idea... in this case especially! ;) With properly shot greensreens you can get away with DeltaKeyers alone though.
I love macros. if I had to redo those setups all the time it would be a real pain! :)
MASTERPIECE 😮
I downloaded the Advanced Despill a week ago, and it does not have the 'Matte Input' setting like you do in video. I'm not able to see same results and wonder if this is the case. Thanks.
the macro has been updated. But the matte input is still there.
nice. Lots of neat tricks
Superb
That a Fantastic job
Great technique
I can only thank you for giving us this teaching.
But I installed the reactor / advancedDespill ... but it is different from the one used in the video.
How to get the same version?
I updated the macro recently. This one is fare better and way faster! :)
amazing
good tutorial! But why you don't use clean plate node for clean plate creation?
in this case using this trick you end up with a much cleaner clean plate and once you saved as an image it's faster to compute than the clean plate node. As I say in the video this technique doesn't always work. it depends on your footage.
@@millolab thanks, I'll try this trick, by the way, we can use time TimeStretcher node to freeze frame, without export to exr
I installed advanced despil from reactor, but it doesn't work as shown in the tutorial. It has "Input, Foreground & Effect mask" but the tutorial shows "Background, Effect mask & Matte input".
The Macro has been upgraded. Input = Background, EffectMask = EffectMask, Foreground = Matte input
Great Tutorial :-)
oh my you lost me at hello ... LOL
cmon. it's not that complicated! :D
question for you if youre still monitoring replies. ive recently had a VERY difficult shot and I usually do "core and fringe" mattes by conventional ways., and ive been trying clean plates and noticed they're VERY slow. im trying to figure out why you did your clean plate (in the beginning) here the way you did. is it because by doing EVERYTHING in the clean plate is generating the excessive computations? so when you frame averaged was that to cut down on the Frame sampling size the clean plate will try to pull? I guess its more of a technical question as im not sure the internals of clean plate processing. I was using the "frame fill" technique exclusively inside the clean plate node, eroding then filling ALL within the clean plate node, then piping that in as a solid matte to delta keyer. I usually can get away with clever delta keying, luma mattes, etc and isolating plates without clean plate node. but it seems for my shot clean plates are working very well, but its like half a frame per second to render. its insane. hope that all made sense and thanks for the time to put this together..
the reason I used that technique in this video is first of all for educational purposes.
That said, the clean plate node can become very slow especially with 4K and bigger footage.
I made a macro for myself which is an alternative to the CleanPlate. Maybe I'll share it.
@@millolab thanks for getting back to me. just so you know, I wasnt implying it was unnecessary, was just curious as to whether it was to speed up the clean plate. I love what youre doing here, as im a big fan of knowing why things are happening, and not just "pushing buttons" for results.and yes im on 6k plates. I just thought maybe the clean plate was so slow because it was sampling every frame and your method was to help speed that up. im relatively a beginner in GS removal (properly). real world shots are MUCH more difficult to handle than people think, so your work as helped me tremendously and I thank you.
@@flipnap2112 on 6K footage CleanPlate can be VERY slow.
there are ways to get a similar result to the CP without using it... but it's hard to explain how in the RUclips comments :)
@@millolab ha ha this is know! im usually guilty of asking questions that would need 500 paragraphs at least. But im lucky that this is just one shot, but dam the clean plate is doing an amazing job. might have to do one of those overnight renders for this one. if I can let my 3090 push 2 days just for a deep fake I can deal with this! and yes I found a few little hacks here and there. When I started I never thought "green screening" could be so delicate, but real world shots arent EVER perfect. you think its all good and the client is like "3 of her hair strands are missing!" (dam I didnt think they'd see that)
how to get the macro advancedespill for download can you send me the link please
it's on reactor. Link is in the description
Senhores do Milloab Puts! tem como refazer este tutorial com O Fusion mas recente?
nothing involving this tutorial has changed. Maybe my own despiller and edge extend macro, but you should be able do pretty much the same.
Thank you for a great tutorial! I have a question though. What is the reason for the gamut change in the begining? Also, would the same gamut workflow work for RAW footage (like BM or red raw)?
The reason for the gamut change at the beginning is to work in a Linear colourspace. If you use RAW footage you'll need a different workflow. It depends on what camera/gamut/gamma you used when shooting. Let me know if you guys need a tutorial about Linear Workflow.
@@millolab Would love a tutorial on linear workflow and to show the difference of not working in linear. Amazing green screen tutorial.
Hi, do you also need to do the first steps to create a linear workflow in the Fusion inside of DaVinci Resolve?
..for me it worked by just some settings on the input node!
hi, how to remover noise of the edges on blue screen?
I should see the footage.
结果完全看不出瑕疵，太厉害了，过程的确很多不理解的地方还要很多要学习的。
Hi Millo, great tutorial! I noticed that the new AdvanceDeSpill Node does not have a matte Input anymore so I can not connect the Alpha Node as mentioned in this tutorial. Also the new AdvancedEdgeExtend Node does not have a Foreground connection anymore. I imagine there is another way now but I can not figure this out. Can you clarify this? Thanks!
you can do all that was possible with the previous version of both the macros and more. To answer your question: the green input is the one you want to connect both the external alpha to both the Despill and the edge extend.
@@MillolabTuts thank you very much! I will try it again. I use Boris fx Primatte now but the hair detail results are often disappointing. Your work proces is really unique! BTW: Do you think it is necessary to use the gamut Nodes for BMPCC4K BRaw footage at first, if the new Da Vince wide gamut Color space in Color management is selected?
@@Ina2424 in Fusion, it's always good practice to linearize your footage. If you shot in LOG you'll have to convert the log to linear using the CineonLog node. I'm not a fan of primate... Anyway, no technique is gapped for every shot. That's a sad reality of green screen. If I understand correctly u're on Resolve. I suggest you to have a look at Fusion Studio instead (it's the standalone version of Fusion).
@@MillolabTuts ok, thank you for the respond! I will try your suggestions.
Can this technique not be replicated in resolve’s fusion page?
I am asking as I need a relative quick and streamlined workflow than keying in fusion studio and then taking it into resolve.
You make me feel that my keying technique is like a three-year-old child… …