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Key Green Screen image with depth of field
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I’m having a hard time finding the official site for the CineGobs “Spill Suppression” plug-in. I’m on a Mac. It looks like it is PC only? Is that correct?
Stephen Smith
Check out my Vimeo page
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Dave,
Look at 15 seconds in this video with the rack focus. You just described a roto-scoping nightmare.
Stephen Smith
Check out my Vimeo page
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[Simon Ubsdell]
Could you post an example of a shot you are trying to key?I’m doing research for a project coming up so I don’t have the footage I would like to work with. The samples in that video are really close to what I would like to do. I can try to find the video I had trouble with in the past. But after that, I ended up trying to keep everything I shoot on a green screen in focus. But with the car scene, it really would look so much better if it was shot with the depth of field that looks best in camera.
Stephen Smith
Check out my Vimeo page
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Owch, looks like he no longer has it up for download! I don’t know if it is windows-only or not but here’s the copy I have (i’m on windows).
12160_spillsuppression.aex.zip
Otherwise I haven’t tried the keying tools in CC but I think there’s a newer spill suppression plug-in that might be just as good. The Cinegobs one allowed you to generate a matte from the spill which was WAY softer than your average key. You can do it with keylight I suppose, just color-sample your green screen and leave the settings at default in terms of the matte, then set your “view” mode to “Screen Matte” and invert it. I suggest you denoise your footage and precomp it for anything relating to matting.
Gimme a still frame and I’ll throw a project file together. It’s taking me longer to explain this than it probably would to just set something up…
– Spencer
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[Spencer Tweed] “Believe it or not, you can use the techniques in that tutorial to get your blurry key ???? It’s actually the same problem – you’re just trying to get a “soft key”. Don’t take the tutorial too literally, just see how you can apply the techniques to your footage.”
Interestingly we looked at implementing this concept in Hawaiki Keyer 4.0 and had it working pretty well, but then figured it was probably a feature too far for most users.
Maybe time to revisit it for the next version.
Simon Ubsdell
tokyo productions
hawaiki -
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Never heard of it.
– Spencer
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[Spencer Tweed] “That said I will give you one other piece of advice. A lot of times it isn’t the matte generation that is the issue, it is actually how you treat the edges. PARTICULARLY with blurry edges, you’ll actually need to mix in the footage into your foreground BEFORE you matte it on top of the background. It’s takes a lot of precomps, which is why I use Nuke… Anyway check out CineGobs “Spill Suppression” which is a fantastic plugin I could not key without. First you’re going to want to use that plug-in to despill the foreground. Then separately you can actually create a SUPER soft matte with that plugin (I wouldn’t even call this a key because it is quite soft and dirty), which you use to overlay your background plate on TOP of your foreground greenscreen footage. Precomp the whole thing and THEN matte it out by your original matte, and put this precomp over the background plate. Lastly play around with how much you blur the background plate before you overlay it on the greenscreen footage.
Whew, hopefully that makes sense… Let me know if you need a step-by-step.”
Spencer, I am very much interested in your suggested approach. I’m working on something currently that has a CU shot of a product, in which I’m struggling to deal with the out of focus edges in the background of the image that blend with the green screen. You mentioned a step by step. Myself, and others I’m sure would love to know more about this approach.
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