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Keying Canon Footage in CS5.5…
I’d love to hear some workflow suggestions from you guys.
I’m reasonably familiar with Keylight and pretty darn good with AE and PPro.
I’m keying footage shot on a Canon 5DMkIII. The footage is good. The green screen is good. The video is a talking head showing a product for about 30 seconds. I need to do basic color grading and sharpening. I’ll be dropping in a subtle motion background behind the subject.
Would you guys edit and color in PPro then key out the final, key and export from AE and then edit in PPro, do the whole thing in AE…? I usually try to color before keying and sharpen after. Is that the way to go? Also, is there a way to pick whites off a clip in AE like the Fast Color Corrector in PPro?
I could get it done a variety of ways but I want to work smart and keep it looking as nice as possible. I’m most familiar with color grading in PPro, but I could learn AE’s tools if that’s the way to go.
Thanks.
Corbin Gross | SANMAR
Photographer/Videographer | Marketing
22833 SE Black Nugget Road | Issaquah, WA 98029
206.727.5501 x5237
http://www.sanmar.com -
6 Replies
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Great. That’s basically what I was doing. I just wanted to bounce it off of some other folks. I don’t work with any other video folks so my workflow gets a little inbred.
Corbin Gross | SANMAR
Photographer/Videographer | Marketing
22833 SE Black Nugget Road | Issaquah, WA 98029
206.727.5501 x5237
http://www.sanmar.com -
Hi Dave,
I have a concert shot with h.264 Canon and Nikon, and read some time back you suggest converting to FLV for edit flow, less CPU/GPU load, as I recall?
That being said, I’ve recoded everything with CineForm.
Any tricks about keying/correction besides what you mention with Dynamic Link?
Thanks!
Rob
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I’d convert the native H264 to better editing codec first. ProRes perhaps
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Dynamic Link, as Dave recommended, is a great way to not lose any picture information, so that’s what I’d suggest too.
One neat little trick for keying highly compressed material I frequently use (read it in Stu Maschwitz’ fantastic book “The DV Rebels Guide”) is as follows:
– Apply an adjustment layer with the Median filter (radius of about 2-4) in AE above all the footage. Then set the transfer mode of the adjustment layer to color to get rid of the color compression artifacts on the edges. Precomp the layers and apply Keylight to that PreComp.
Will give you much better keys.
Just my two cents.
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“Tragedy is a close-up; comedy, a long shot.” – Buster KeatonMe on Twitter (english/german)
https://twitter.com/FastFoodVideo -
Thanks, guys.
What I went with this time is to start in AE. Key the file in it’s native format. Then import it as a dynamic link into premiere where I color it.
I’m definitely going to try that thing you mentioned though, Peter.
Thanks.
Corbin Gross | SANMAR
Photographer/Videographer | Marketing
22833 SE Black Nugget Road | Issaquah, WA 98029
206.727.5501 x5237
http://www.sanmar.com -
Hi Dave,
Somehow I thought you had suggested converting to that format for h.264, but I am mistaken it would seem. Apologies.
Perhaps you said FCP XML, I’ll have to dig onto my saved notes.
Thanks, DL then.
Rob
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