-
Chroma Keying within AVID
Our production house has been working with a virtual studio for a number of months now and haven’t received the training we’d love to have due to a number of factors. On occassion, we do shoot iso with the green screen and worry about keying in post. On television I’ve seen some good keys and bad keys.
Does anyone have advice or know of some good settings that would work. Right now it’s all trial and error.
Thanks in advance! Our bosses will be so pleased someone tried to get help. -
5 Replies
-
Derrick: I dont have a lot of time to answer this right now,but wanted you to know that we’re running Symphony Nitris,and find that Spectra matte (SP?), found in AVid under “Key” in the effects palette, works just fine and is quite intuitive.
Rob NYC
-
On the acquisition side, a scope is a must. It lets you know your key is lit properly, as well as your subject. It takes all the guess work out of shooting.
Jon
“Jamming our heads full of figures and angles
And telling us stuff that we already know”Willie The Wandering Gypsy & Me
Billy Joe Shaver -
Spectramatte is the way to go. Also make sure the green screen is light well – flat even light on the bg.
Duane
-
Listen to Duane! Spectra Matte is great, easy to use, and is quite forgiving. Otherwise Keylight in After Effects is a great keyer too. Just light your subject properly and digitize your footage and a very high res. DV footage is notoriously difficult to key.. 1:1 compression gives great results.
– Justin Gray
KLTV Promotions -
Spectra Matte does seem to be the easiest and most intuitive way to go! Thanks for everyone’s response. We did later on find that we had issues with our source footage which was making it difficult to smooth out some of the edges, like ears and so on. After using the alpha channel to smooth some of that out, the bosses were pleased with the results. Thanks again for all of your time and advice.
Reply to this Discussion! Login or Sign Up