By John Jackman

Grasp the paintings and means of blue and greenscreen compositing with this accomplished how-to direction in developing powerful and practical composited scenes in video codecs. You get transparent, comprehensible motives of the different sorts of keying suggestions and the way they paintings, together with real-world examples and tutorials. issues comprise developing a greenscreen studio, the best way to gentle the display successfully, how you can mild the expertise or foreground fabric, and matching lighting fixtures to the composited history plate. whole tutorials of every of the key software program keyers stroll you thru the method for making a fresh and actual composite.

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And each deviation from the pure color is a variable that will restrict your keyer’s range of flexibility later in the process. Some processes like Ultimatte are engineered for very specific shades. So, you’re on a really tight budget and a diehard do-it-yourselfer? Go on down to Home Depot or Builder’s Square and take your best guess. Home Depot’s Behr Paint #S-G-450 (Herbal Tea) is a workable greenscreen color, though not quite the same purity of tone as the specialty paint. It will work well enough for a lot of applications, but it may let you down for the finer work or those shots that are a real balancing act between colors in the scene.

If not, try again-perhaps after repositioning the feature region if necessary. When you’re finally happy with the motion (or you’ve gotten as close as you think you can), click Apply to set the control points to the target layer. 32 CHAPTER 4 I SIMPLE NON-ACTION COMPOSITINC SOLUTIONS Now play back the segment, watching the matte overlay carefully. If everything has been perfect, the overlay will track closely without any excess false motion that will give the fix away. It’s not unusual to have a few frames where the overlay seems to slip and then recover-or just slip and remain in the new position.

This particular example works realistically only with certain types of shots, but can be used as an effect in a variety of non-realistic ways. Let’s tackle the realistic application first. 5 The live video of a building that will work with our futuristic scene. Unfortunately, the buildings in the background don‘t cut it. 6 The final composite where we have substituted futuristic buildings and a new sky. Live action can take place in front of the real building; anything you want can happen in the matte painting area.

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