-
How can I cross dissolve between two green screen shots with out mixing up BG?
Another day, another question for the forum. I am cutting together a two camera shoot that was shot in front of a green screen. Cam 1 is a standard wide shot, cam 2 is a side angle. I have two background “art boards” that are of corresponding angles, which mach the angles of my shots. Is there a way I can cross-dissolve between the two cameras smoothly? When I am doing it, it looks odd, as the keyed areas reveal both BGs,and the other cam in the dissolve. I was previously simply dipping to black to switch cameras, but now there are a few shots that would look better with the same action dissolving through the camera switch. Any suggestions, tricks?
Thanks in advance! -
9 Replies
-
I would suggest nesting your sequences. Have camera 1 and its background on a Cam1 sequence and camera 2 with its background on a Cam2 sequence. The transition between the sequences should be clean.
-
you could put your scene 2 green screen and scene 2 bgd. up two tracks at the point where you want to dissolve. trim out your bottom 2 tracks so you’ll have tails for the dissolve. add a dissolve to the two upper tracks and your done. takes about 5 seconds to do and you dont have to fret about the heads and tails nightmare when nesting.
-
This sounds like it would work. I will have to give it a try. Thanks for the input. I never thought of it that way, but now that you mention it, this would address LOTS of my work-flow issues with green screen image! Am I right in thinking that if I were to take my raw GS footage from both cameras, key out the green, render the entire raw clips, then drop both into a separate timeline (as nested sequences), I could also do motion pans, zooms, etc. and the background would stay “locked” with the foreground (keyed layer)?
If so, I am will commence kicking myself…
-
[jerry wise] “you could put your scene 2 green screen and scene 2 bgd. up two tracks at the point where you want to dissolve. trim out your bottom 2 tracks so you’ll have tails for the dissolve. add a dissolve to the two upper tracks and your done. takes about 5 seconds to do and you dont have to fret about the heads and tails nightmare when nesting.”
I don’t think that would work, Jerry — if you dissolve the FG and BG separately, you’ll see the BG through the FG as the dissolve happens. Much better to nest or pre-render.
-
it works well for me. try it. plus you still have the flexibility to add text or effects or slip the clip without diving back into your nest. now if i have 20 or so layers for each shot i will nest but usually at that point i will do a cut between the nests.
i always wished they had allowed for heads/tails in the design of 7 so nesting would be easier….oh well. -
[jerry wise] “it works well for me. try it.”
Tried it. As the dissolve to bars happens, I see the background (bricks) through the chroma-keyed foreground. Am I missing something?
-
I avoid nesting. I would render out each green screen angle as stand-alone mov files, then treat them normally.
-
i see what you mean. i usually am dissolving between a wide shot to a tight shot on different sides of the screen. i used your set-up
and dissolved between the same green screen shots in the same position and i get the same effect as you. i have a headache now. -
Yeah, I wasn’t going to say anything for fear I wasn’t completely understanding your process, but it sounded similar to what I was doing and results were no good. The nesting trick works great, and I figure the other suggestion about exporting as QTfiles and dropping back into the TL would also work.
Thanks to everyone in this community who is always ready to help another editor keep his hair in place one more day! 🙂
Reply to this Discussion! Login or Sign Up