[Andy Kiernan]

dont change source, just set all the colours to red , then on copy layer, all to blue, youll then have two B/W layers. use levels to fiddle, then hopefully toull have a partial matte of the actor, and use other methods to move further

[Andy Kiernan]

as there is so much spill on the space suit I dont think a simple 1 key will do it. Try using the set channel effect, basically make a copy of footage, set to red channel, copy again, set to blue, add together, precomp… you will then have a black and white image which you can use to matte the actor out. It wont be perfect but it will get you some of the way, then use other techniques mentioned above to continue. But i think some roto may be needed.

Good luck with it

[Andy Kiernan]

A simple way might be to use the luminetri colour effect, there is a menu within it, where you can select by colour and it will create matte, you can then select show matte (making a the image greyscale) and use that to matte out an adjustment layer with levels effect on to effect the original footage at the bottom of the stack.

Or you can add a ‘hand drawn’ mask to the layer add a levels effect then in the effect properties (on the layer) use the compositing options and add the mask to it.

Or, use key light to key out the colour you want to keep, this will get rid of it, but then use an invert.

Or, there’s an effect called leave colour or something, it’s in the colour corrections part of the effects menu.

Hopefully one of these will get you some of the way.

[Andy Kiernan]

if that didnt work, you could try using the interactive mapping set to cylindrical. Start by deleting UV tag, set from projection flat, then begin interactive mapping. Would be best to treat the ‘caps’ seperately though i think. I cant replicate your problem so this may be not what you need.

[Andy Kiernan]

You might have to ask a question, and also give us some more information so we can help you

[Andy Kiernan]

in key light, you can view ‘final’ or other options.. one of them is source matte. Look at this, it should be a greyscale image, mainly black and white, where your subjects are. If there is any grey this will introduce noise. Alter the black and white points in the settings, as well as other sliders, screen gain etc, to get a good a key as possible. Then use key cleaner and matte refine, or what ever its called. Finding the right balance with all this stuff can be tricky, but as long as the green screen is quality enough, you should be able to retain hair detail and remove noise

[Andy Kiernan]

the only way i can think is to make the 3D shape, a beizer path, and copy it, then make a 3D null and paste onto the position. This will give you the null going around the shape, but not where you want it. So then make another null and make that the first nulls parent. Use second null to rotate 90 degrees and move into place (difficult, maybe make a copy of original shape and parent that too, then delete.) Then parent camera to first null, holding shift, to zero it out. Then you have to animate cam rotations on the corners. Hopefully that made some sense!

[Andy Kiernan]

To change the alpha interpretation in Prem, just right-click the clip in the project bin, go to modify, and select interpret footage. At the bottom of the window there will be some options to change

[Andy Kiernan]

if a glow isnt working right in NLE, its usually the alpha setting i find, pre-mult and all that jazz. Try changing the way prem handles the clips alpha.

[Andy Kiernan]

I think it will only recognise it as a seq if the numbers (001,002, etc) are at the end