black/white color in one

[Person Lastly]

there are a couple ways. 1st way is to rotoscope or matte out the subject from the background and 2nd is to shoot the subject on green screen. this 2nd could be more difficult to replicate because of the two environments.

[Tim Kolb]

There is an effect where you can knock out every color but one if the item is one color…I don’t have PPro in front of me right now and I can’t think of what it’s called…

If the item is more than one color, then the suggested green screen key is an option, otherwise this woul typically be done with a matte that isoltes the item that stays in color while the footage runs full screen with the black an white effect behind it.

This sort of procedural matte would best be accomplished in After Effects however…

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Mark Suszko]

I think the filter is called ‘limit color’ or something like that; premiere and AE are not my forte’, but an eyedropper tool in that filter lets you sample a region and tell the computer to include or exclude it. Rotoscoping is the ‘brute force” method to do this, and it’s not too bad if the shots are short.

But if you shot with the camera locked-down, you would want to shoot a “plate” of the scene without the actor(s) in it, then shoot the same scene with the actor and try the adobe “difference key” plug-in to generate an automatic matte. I hear these are not super-clean, though.

Chromakeying on location would be easier in a couple of ways. One could cheat using chromakey, bringing a sheet onto the location, or if you only have one item that needs this treatment, like a flower, or other prop, you could color it chroma bue or green before shooting.

Another tack might be to play with one iteration of the footage, exaggerating the contrast to see if you can come up with a suitable luminance key, which you then put in a separate layer to divide the actor from the background monochrome layer.

[Aanarav Sareen]

Filter’s name is Color Pass

Aanarav Sareen
Adobe Certified Expert, Premiere Pro
https://www.asvideoproductions.com/video

[Robert Bec]

no not color pass i need to make the footage color and black/white having the foreground in full color and the background in b/w

[Robert Bec]

how would i go about using rotoscope or matte as i dont realy use them any suggestions
i would realy like to achieve this affect should i use AF or just prem.

[Mark Suszko]

I may be out of touch with the latest version, but I don’t think you can roto in Premiere, you would use AfterEffects in your case for that. Or the color pass filter plug-in he mentioned, in premiere, I couldn;t recall the exact name, thanks… That gives you a picker tool to select what is retained normal color and what is changed, and to what color it changes, if any. How well this works depends a lot on having strong contrast and well-saturated and differentiated colors to work with in the first place. If this doesn’t work well enough on it’s own, it can sometimes be used to help generate an easier-to-mask frame, where magic wand selection tools can be brought into play.

Or if you’re old school, export a “Frame Movie” of stills from premiere into photoshop, where, hopefully using a wacom tablet, you draw the mask around the subject in each frame. Why yes, it IS hellaciously tedious. Time was, this was the only way. Re-import the frame movie frames back into premiere, stick the roto’d layer above a monochrome copy of the same shot on a second layer, alpha key, done.

In A.E. I think they now give you masking tools using vectors. These are great because you no longer need to draw an entire near-identical mask onto each frame, like the frame movie/photoshop system above. You draw the tedious mask around the subject in a key frame, say every 10th one, and the software interpolates the mask shape between all the other frames you passed over, so you’re already masking 10 times faster. This is not perfect, and less so the more dynamic the scene changing is. So you do a process of drawing masked key frames, going to a playback to see how the automatics did on the in-betweens, then you may have to tweak a portion of one or two of those masks by dragging on the edge with your cursor… anyway, that’s kind of the basic method.

I try to use chromakey on location if I know i’m going to do this single-color item over monochrome effect later, it saves SO much time. Not every situation lends itself to that, of course.

[Aanarav Sareen]

Ah! Its just not one color. well, that would certaily get a little complicated. But as of this moment it looks like rotoscoping in AE might be the only option. Is it possible for you to post a screen cap of the footage in reference? If so, there may be a couple of tricks you can do within Premiere Pro.

Aanarav Sareen
Adobe Certified Expert, Premiere Pro
https://www.asvideoproductions.com/video

[Tim Kolb]

[Mark Suszko] “I may be out of touch with the latest version, but I don’t think you can roto in Premiere, you would use AfterEffects in your case for that.”

I think that was what most of us were driving at…procedural matte in AE.

The difference key would be infinitely easier…either in AE or Premiere, but it takes some planning before the shoot of course.

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net