Expert Keying with Keylight in After effects. For Video Production, Greenscreen is an important part of producing media, it is used in video. In this third tutorial in a set of four on basic multi-layered keying in Adobe After Effects using Keylight , Andrew Devis shows how to deal with a specific. Files\Plugins\Keylight\ For Mac OS X here is the license key: / Applications/Adobe After Effects CS3/Plug-ins/Keylight-. / You can get.
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Only problem is that part of my foreground character is transparent I can’t for the life of me figure out what controls to twiddle The docs that come with KeyLight are pretty sparse and seem to imply that you already know how to use it. I’ve thought about putting a black background behind her, but don’t know how to make the black background just be her and not everything else.
It seems to me there should be a way to create a basic matte with Keylight that I could use on a separate black layer? Before anything, if in Keylight keypight change the view menu from oeylight Result” to “Screen Matte”, you’ll see a grayscale representation of your matte.
In other words, black areas represent full trasparency, white fully opaque areas, and shades of keykight, everything else semi-transparency.
You will probably see there are some gray spots in your forgeground. These are areas of semi-transparency. You need to get rid of these spots, trying to not kill semi-transparency in other areas, or you’ll get a really harsh key. I would first raise a bit the Screen Gain Parameter. Don’t go higher than, say, As a general rule, if you have to move a slider too much, it’s because you would have to do something else instead.
So, after that go to the Screen Matte section of Keylight and you’ll see controls like “Clip black” and “Clip white”. These are analogous to input black and input white in Levels – they force almost transparent areas to become fully transparent, and near opaque areas to become fully opaque. This should to the trick.
Again, don’t push it too much or you’ll loose semi-transparency in hair areas, etc. Could an effect like colorama be applied so that every grey in scale of key could be brought back to full black by limiting weel after key has been applied? Well, I guess I’m an idiot.
I can’t seem to get it to work. Increasing the screen gain helps smooth out the few wrinkles that remained in my green backdrop. I guess the problem is that she’s wearing a green shirt, albeit not the keylihht shade of green as the backdrop. I guess it’s just not possible to do it. I just don’t know how to create a mask on a black solid that perfectly matches her.
Trying to draw with the pen tool would be impossibly difficult I’m clearly over my head with this. Never did really understand keylighh from Paint Shop Pro V7.
Using green clothes when doing green screen work is a big, big NO. Make sure you write that down. Now, the problem is – the best way to mask something so it matches the keykight of a keyed object is use the matte from the key as a mask As you can probably anticipate, the problem is Pre-compose the keyed layer you can duplicate before Pre-Composing if you don’t want kejlight compromise the original.
You are only pre-composing it because some effects that will take the key as source wouldn’t see the key but the original unkeyed footage as result if it wasn’t in a Pre-comp. This pre-comp can be turned off. You don’t need to see it. The effects need to see it. Apply the Set Matte effect in the solid. This will mask the solid with the key. This will give you a solid that is roughly masked like the keyed layer the matte choking may erode the edges but nobody will see them anyway.
I precomposed the video after copying the video track so I wouldn’t lose the attributes when they transferred to the pre-comp.
Using Keylight | Adobe Community
I don’t understand whether I should be working with the pre-comp alone plus add a black solid under it or whether I should be working with the keylighg video that has the new pre-comp ABOVE it in the timelines and add a black solid to THAT. I don’t have a “Take Matte from” menu. I know how the “whip” works but can’t figure out which composition I’m supposed to be working in.
I can’t tell if I’m supposed to apply the Matte Choker before or after I do the part I can’t do anyhow because I don’t know how to do it. I guess I’ll just have to hunt around and look for some kind of tutorial on basic matte making or something.
Seems to me it should be easier than this. Futzed around some more and I’ve got my black mask. I have too heavy a black line around the outside of my “talent” but this is not for prime-time I’ll twiddle with a few more controls and see if I can get it down a bit more.
The trick we discussed could work well for small holes in the mask. Not for someone wearing, say, an entirely green scarf.
The 1 thing you learned for the future is, never, never use the key color in the subject’s clothes. The complicated solutions we’re discussing are for a complicated problem which shouldn’t be there.
Also always keep that one rule in mind: As long as you get a clean Alpha somehow, nobody will care how it was actually generated, meaning that you can freely employ any adjustment and trickery to ramp up contrast between foreground and background no matter how strange it may make your footage look. In your case, probably some conversion to YUV colorspace could have helped to spread the range between the two greens before keying.
Keying in After Effects
Also, and don’t get this the wrong way, consider using the other keying options like the Color Difference keyer. People too often forget about these options because they are under the wrong impression Keylight could give instant good keys with one click of the eyedropper Whoa, man, I’m still a newbie I look at some of those menu items and my head starts spinning.
I finally got an acceptable looking video which I’d love to post, but can’t because it’s one of the kids here at school and I’d probably get in all kinds of trouble, but I have to admit it looks pretty darn good. I think all they want to know is how to invert the matte. Am I missing something here? How did you interpret their question? That’s why I found this thread. It seems like a simple check box for invert on keylight would be a good idea.
I have the same question Show 0 Likes 0. This content has been marked as final. As a general rule, if you have to move a slider too much, it’s because you would have to do something else instead So, after that go to the Screen Matte section of Keylight and you’ll see controls like “Clip black” and “Clip white”.
Let me know if this worked. Playing with the Black and White Clipping helps some but the transparency is still there. I’ve tried putting a black solid behind her and that works great Don’t worry, you’re not an idiot.
This is a craft that takes time to master. Here’s something that should work. Well, I’m trying to understand what you’re talking about, but it’s just not making sense. I keyed the video as well as I could but transparency remains.
Making Motion Graphics in After Effects
A new window opens that has the pre-comp in it. The other tab has the original keyed video below the new pre-comp.
You’re right about it taking mastery. Keyligyt at this rate I can’t even turn on the freaking lights. Maybe pushing the choking control would make the outline contract? Basic keying is much easier than that.