![]() You can visually see where the bulk of the information is for each channel and select what you need. In the settings, you can adjust the channel you want it to operate on between luminance or a specific hue. This key technique is useful if you need to take out a specific tone and luminance value. If you can’t see the latter, you need to enable it first. You can just change the Track Matte option on the right column. This is actually a very clever trick and an easy one to pull off too. Now, once it’s almost black and white you can use it as a matte for the other shot. ![]() Apply a Curve effect to the top clip, and use it to create a stark contrast. ![]() The first step is to duplicate your shot. When the shape is correct on all frames, you can head out of the Layer and back in your composition where you’ll find that your background is now gone. Press space to play forward and by keeping an eye on the shape, pause to adjust the selection accordingly. Holding the Alt key will allow you to refine the selection if you’ve overdone the processing. Double click on your clip and use the rotoscope brush to draw roughly the shape of your subject. Ideally, your footage will have a shallow depth of field and there will be a clear separation between foreground and background. Rotoscoping is actually a pretty old technique that VFX artists used to do all the time. If refining the edge is not enough to clean up the borders, use the simple choker, that will do the trick. Even the opposite is true, an extremely bright or white background can be keyed out similarly. Just shoot your subject over an extremely dark (ideally black) background and use the Luma Key. But if instead of removing a selected hue, you can use the luminance information to key out the frame. The green screen or chroma key is based on selecting a specific hue and eliminating it from the frame. Obviously you cannot expect this technique to be as efficient as a conventional green screen, but in most cases, it will be more than enough to get things done. Precompose and add the video over the background you need to. As you’ve probably imagined the effect will key out everything that is identical in the two clips, except for your talent. Inside the settings of the effect point the difference layer to the empty shot. Then, inside After Effects, pick the “Difference Matte” effect, and apply it to the clip with the subject. Have your talent perform the action and shoot again a clean plate without moving the camera. The only requirement for this method is to have the scene filmed with a tripod. It could be for lack of space or time, be as it may, let’s take a look. Jordy Vandeput of has a bag filled with tricks to achieve a similar result even when constricted by a tighter budget, or when simply it becomes impossible to set up a green screen. Luckily, there are some cheaper alternative techniques to consider, especially when you are in a pinch. Selecting a region changes the language and/or content on you think of big blockbusters movies, those huge tentpole franchises like the Avengers and others of that fashion, the first thing that comes to mind is that huge studio setup rigged in green fabric with big badass lighting fixtures.īut what can small indie productions do when they need to key something but can’t afford the budget to a complete green screen setup? Green and blue have traditionally been the go-to colors used for keying, mostly for the efficiency they provide when it comes to getting the best results without having spills in the garments and dresses of the talents. After Effects should take you back to the main composition with the green screen keyed out. Next, click Analyze Forward: it’s the right arrow button in the Tracker panel.įinally, if you like the tracking path it recorded, click Apply. Note that it will automatically select the nested layer below. In the Tracking panel, click Edit Target. Reduce the size of each of the four inside boxes to fine-tune your tracking to focus just on the corner.Įxpand the size of the outside box in each corner to about double the standard. After Effects will automatically pop-up a magnifier for you to fine-tune your placement. Placing your cursor between the two small squares in the upper left corner of the big square tracker, drag it to the upper left corner of the mobile device. In the Track Type dropdown menu, choose Perspective Corner Pin. In the Tracker panel, click Track Motion. It’s standard in the rightmost panel, but if you don’t see it, you can enable it in Window > Tracker from the Menu Bar. Be sure that your Tracker panel is visible in After Effects.
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