Kevin Knutson
Forum Replies Created
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First of all, thanks for bringing up a great piece of nostalgia.
Second, it MIGHT be achievable using some techniques from Trapcode, if you have the ‘cashola’ for it. Look around some of the tutorials for trapcode and see what you can find.
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When you made the multiclip, how did you set the sync? By timecode, begining of clip, etc?
Did you do a manual sync of the two angles in a timeline before making the multiclip, or were the timecodes synced in camera when you shot?
Are the frame rates of the two angles the same?
Walk us through what YOU did, because my guess is you may have just overlooked one little step here. And it probably wont be too hard to set right. Just dont try to edit the piece and fix it at the end.
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What kind of footage, and what do you mean by instant viewing?
If you need to show an edit, you can present it in full screen straight from the edit software. Or you can present an exported file in most video players full screen as well.
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There’s something to be said for your professional image though. With the clients I shoot, if I showed up with an iphone teleprompter, I’d get blacklisted regardless of functionality.
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Are you selecting ONE video clip?
Does the clip have any effects or transitions on it?
Is the clip enabled?
Are you selecting ONLY the video, and not the audio as well? -
Andrew, I tried to help you in the other posting.
As I said, keying takes finess. You can watch some tuturials, and a lot of them will over simplify the process. I, like the others in this post, am not fully familiar with the boris keyer. BUT, I’m sure it has documentation that you can study for a while.
It took me nearly a year to be fully comfortable with all the settings in keylight.
Most settings adjustments are going to be very subtle, but the combination of all the tweaks will yield the results you’re hoping for.
I see you’re looking at a composite output mode in Boris. Is there one that is a screen matte? This will make your footage only black and white. Black would be your alpha channel, and white is all your footage that will NOT be keyed. Try to adjust the key using this view. When treated as a matte, you can clip white and black levels so the key comes out sharper.
You WILL need to finess your spill suppression as well. You’re using a very warm green screen, which means its going to bleed into his blonde hair.
So again, here’s my advice… take a huuuuuuge deep breath. Read some documentation on boris. Try an initial sampled pixel in several areas (close to the man). Finess dials/sliders. And work from a screen matte view.
4:2:0 is NOT hopeless for keying. HDV is NOT hopeless for keying. YOUR footage is NOT hopeless for keying.
Go for it!
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There is a learning curve for any keyer. A lot of people think its just a matter of putting people in front of a some green paper or fabric and clicking a button. But the word of the day for keying is “finess”.
Brush up on several tutorials, and dont be afraid to start over with the key if its not going right. Sometimes a pixel sampled just wont yield good results, whereas the pixel group next to it will.
Forgive my assumption, but this seems like a personal project, and not really for a client. So take a chance to look at this as an enormous learning opportunity. Learn what worked and what didnt. And for god’s sake, DONT use FCP for your keyer anymore.
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Keylight is a tricky, but great keyer. Refresh your memory with their documentation. It is meant to handle motion blur, and indeed it can.
It kind of bothers me that Screen Gain is the top slider, as this is something you should try to avoid boosting. By doing so, you’re probaly going to key out all your semi-transparencies.
Do be afraid to retry your key from the beginning several times, sampling different colors, using different slider values.
Change your bias colors to skin tones too.
But definitely revist the documentation as it will explain very clearly how to handle the key.
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Are you trying to change the color on ALL of the people in the shot/
Unfortunately, there’s not much color contrast between any of the subjects or background. But you can try Hue/Level changes but with individual channels being effected. Skins are in the red/yellow range (of course) so you can tweak those and see how it looks.
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Probably not the most helpful answer to you, but I never use FCP for keying. It just never seems to come out right. If you have access to After Effects, I suggest you play with keylight, which will have no problem with his hair, if used right.
Blonde hair is always facing spill problems, so try playing with FCP’s spill suppressor – green. That should help bring some detail back.
As for the smoke, motion tracking would be best, but also since its a very quick clip (and lets face it, not exactly photo realistic) you could frame by frame adjust the placement of the smoke (kind of a manual motion track).