This is especially true if shooting models ( like some movie has models showing off clothing and accessories like black plastic handbags that might reflect some green ).The key ingredient to creating a perfect green screen video is having a perfectly captured green screen footage. After the key is done on vertical you just rotate it back to horizontal and you have your alpha channel done. A vertical frame would therefore capture MORE of the pertinent image, rather than a horizontal frame. people stand vertical and don't normally talk and act while on the ground like a snake. Boardwalk Empire was blue outside ( atlantic city ) and green indoors on stage.ĭoing people ( singles ) is vertical. ) rather than vertical wall meets horizontal floor ( sharp line ). Normally that involves stage cyc ( cove sweeps etc. If a green screen ( or blue) is lit properly you can do stuff with one click. So, any suggestions or maybe even direct solutions to my problem is welcome if anybody dealt with situation like this before. no halo or visible greenscreen artifacts on the composite), yet Boris' webinar tutorial on Primatte Studio (this one - ) makes it seem like piece of cake supposedly on any, even problematic greenscreens. I've spent hours trying to solve this problem and watching tutorials and stuff, but still I can't pull this problematic greenscreen off to a level of quality I want (i.e. It introduces its own set of problems and is not looking good on light backgrounds which are also present in some places in the video and still there are some grey artifacts present, especially under his arms. Which is kinda ok for "masters" where the lector's figure is relatively small, but very obvious for the close ups, for which I finally decided to use the heavily tweaked Ultra Key's result, which is not ideal either, cause to eliminate the halo I have cranked up the matte's transparency, among other things, see the pic: So, after heavy tweaking I came to this result with Boris' key: I have even tried Red Giant's supposedly Hollywood quality keyer and it gives me even worse results than Boris. Paradoxically, the standard Ultra Key gives me much better result from the start than the supposedly much more superior and flexible Boris' Primatte Studio, which gives me MUCH more halo before the matte tweaks. For all of my keying I routinely use Premiere Pro's Ultra Key which almost always gives a good result from the get go (in Agressive), but not in this case - see the pic: ). So, the problem is that not only the greenscreen stage is unevenly lit and has different color parts in it (especially the part where his legs are on the floor, see this pic: ), but all his body has a distinct "halo" or edge, which I can not properly eliminate. The 15 sec sample of original 4k greenscreen footage I am working with is available to download here: Įven though the video source is 4k, the final project is 1080p. I have 4K footage shot on a not very good greenscreen stage and I’m supposed to use the lector in parts of the composite video as full figure in "master" shots and only his upper half in "close ups", where the keying problems are much more obvious. I prefer to do all my keying directly in Premiere Pro (Windows) but if this situation can only be fixed in After Effects I am all ears too, although the best would be to do it properly in Premiere. This is the first time I came to such a problematic greenscreen source that I can't key it properly to my (and my client's) satisfaction, so I hope that some real pro(s) out there will help me with this or tell me what I am doing wrong or what should I do to fix it.
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