[Howard Ferguson]

Hi Tom,

Thanks again for your response.

That did the trick !
Narrowing the color range in the Chroma Keyer eliminated this problem of loss of Opacity.
Without creating further problems.

Forgive me, but I don’t understand what you mean when you say:
“you might be able to see that the white part is not completely white”

Is there a simple way to change the unnatural green tints to a natural image color tone,
without damaging the other color aspects of the image ?

Thanks very much for your help !
There are so many possibilities, it is incredibly helpful to get instruction as to where to begin fixing a particular problem.

(I’m maintaining a thorough record of all of this information for my future reference !)

Howard Ferguson

[Howard Ferguson]

Hi Walter,

The manual is very helpful, but the guidance I’ve received from the experienced folks here in my specific situation is invaluable. I can’t thank you enough for your help.

And I’m not quite there yet.
In addition to the overall color tint situation, the mysterious loss of total Opacity is still a mystery- for which the solution remains illusive.

For instance-
There are traces of the underlying images dancing around on the subject’s shirt, though it’s Opacity is set to 100%.

This is not the case with the Chroma Key filter turned OFF.
In fact, turning off the Chroma Keyer or it’s Enable function is the only way to stop it from happening (of the simple ON or OFF functions in the filters window).

Thanks again to all !

Howard Ferguson

[Howard Ferguson]

Hi Dave,

Thanks for posting all this helpful instruction !

Howard

[Howard Ferguson]

Hi Tom,

Thanks very much for taking the time from your busy day to respond and help me with this problem !

Yes, the Sequence was in an NTSC DV timeline.

(Intend to shift the whole project to ProRes 411 Proxy (as recommended by a few folks from Apple),
but have been involved in figuring out this Chroma situation out first.)

While still in NTSC DV-
Color Smoothing 411 does move the green border tint slightly to the left.

This is Color Smoothing 411 OFF:

This is Color Smoothing 411 ON:

Let me show you my Filters window,
and Chroma Keyer Color/Sat/Lum settings window-
Before I made these changes you suggest:

Pulling out the bottom sliders on the color, sat, and luma–a little bit, one at a time:

These are the changes I have made:

And this is the resulting Image:

It’s moving in the right direction,
I’m happy to learn how I can improve it further.

And even though the enhancement control has left this a bit maroony-
The flesh tones, especially the ears, still have a greenish pallor overall in much of the footage.
(I’m not sure that is coming across in these JPEG screenshots.)

There is an additional issue which has come up during this Chroma process.
The Image is set to 100% Opacity in the Motion controls, but-
The various tracks “behind the front image (top most video track)” are showing through that image to a degree . . .

Hmmm-
Why is that, and how do it fix it back to 100% Opacity “for real” ?

Many thanks again to everyone for your helpful guidance in this situation !

Howard Ferguson

[Howard Ferguson]

Hi Tom and Mark !

I can’t thank all you folks enough for your helpful coaching on this.

This is how the image appears,
Without all the other stuff I had done previously (in the last pict)-
and with a close Garbage matte.

(And with the 3-way Color Corrector set to Automatic-
which created very similar minor changes as to what Mark recommended.)

It seems to me that a significant part of nearly all the borders of the image are tinted green.
(From the bad lighting of that session.)

Is there a way to change only those specific (wrongly) green tinted border regions,
to be the desired colors ?

As you can see in this shot,
the green tint invades far into his glasses and face on the left.

Thanks again !

Howard Ferguson

[Howard Ferguson]

Hi Mark,

Thanks for your response !

Currently, I’m using only Final Cut 7.

Our lighting on this shoot was obviously bad, and fixable in future shoots.
But I’d like to figure out a way to use this footage anyway.

I am posting a raw screen shot example of this from the Canvas.

In response, I thought it perhaps more useful to display the worst of the problems.

This shot displays those problems:

1) Green glow along many of the lines of the Chroma Image, and-
2) Part of the face subtracted, because it was “more green” . . .

That really is the heart of the problems with this sequence.

Thanks again for all of these very helpful responses !

Howard Ferguson

[Howard Ferguson]

Hi !

All of these responses have been wonderfully helpful.

I’m in the midst of researching them at this time.

With a “subject image”, that has a green tint on some of the edges (due to poor lighting),

What is the best way to rescue those areas, and return them to their “before bad lighting” color state ?

I can’t thank you folks enough for all your help !

Howard Ferguson

[Howard Ferguson]

Thanks very much for illuminating this Ty !

Could you refer me to a few respectable two channel systems, in the lower end of the price range ?

Are the setups with a lot of Lavaliers usually done with single channel units ? Then putting the receivers into the mixing board ?

Like the nightly talk shows, for instance ?

Also, I’m just curious-
Do they give each incoming channel it’s separate audio channel, for mixing options- or mix to stereo at that point ?
Separate tracks into Final Cut from a mixer is possible, yes ?

I haven’t approached audio this way yet in Final Cut, but I’d done multiTrack audio recording for many years with Digital Performer.

Thinking of perhaps doing it with Final Cut with a MOTU Traveler.

Thank to everyone for all your help !

Howard

[Howard Ferguson]

Thank you Jordan !

So, it’s one Receiver per Microphone ?
One Mic and Receiver per portable Camera mount setup ?

I’m curious what one does, if they need to use two of those Mics for a portable shoot ?

With the portable receivers-
they use a mini jack instead of the XLR.  
Is this going to be be good quality, considering there is an adapter involved ?

Thanks again to you, and to all, for all this very helpful information !

Howard

[Howard Ferguson]

Hi Rafael,

That is a very good point.

If I wanted to fix some segments, with unintentional green splash on the subject, from the incorrect lighting . . .

Is that possible solely in Final Cut ?

Thanks to all for your help !

Howard