[Simon Ubsdell]

That’s a simple “zoom blur”, which in After Effects you can achieve with CC Radial Blur set to “Fading Zoom”.

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

[Muaz Nikolic] “if you could tell me a little bit more about how to use luma key on this exampl”

The simplest way is first to key the shot using Keylight but without worrying about the boot.

Then duplicate your layer and instead of Keylight, apply the Extract filter. With this you can create a luma key for the boot, given that its luminance is greater than the backing colour.

Make sure that luma keyed layer is above the Keylight layer and the combined result should be what you want.

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

[Muaz Nikolic] ” I would really appreciate if someone could tell me with which methode I could be able to key out this footage.
“

Because the boots are brighter than the backing you could use a luma key to add them to the matte created using your green screen keyer.

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

You might find this tutorial useful – it takes you through the basics of using Fusion Connect:

https://youtu.be/Z2D58JPIa0o

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

[Glenn Sakatch] “I had a few issues with 9, (saving was one of them) Then realized that both 8 and 9 were on the system.”

Good recommendation.

I would mention however that I have both 8 and 9 installed on my system here without problems, so it probably depends on a lot of factors. It sounds as though the problem here was mainly to do with conflicting file paths.

But 9 seems to be solid enough that there’s no real need to go back to 8 at this point.

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

One fairly simple thing to bear in mind is that your basic CDK is in fact a very useful map of where the green exceeds the other channels, and hence where the spill is a problem.

With this in mind you can use the CDK as an Effect Mask for any sort of colour correction of your foreground, to boost or reduce specific colours or to adjust brightness and/or saturation.

I show this method in the tutorial I referred to and in many ways it is the most useful way of handling despill.

You can adjust the density of the CDK “map” as required (using either a dedicated node or the Low/High controls for the Effect Mask itself) and the method you use for the CDK itself* is going to affect which colours are targeted by the eventual process.

You can achieve outstanding results with this method and you can really fine tune how it affects different areas of your foreground by adjusting the map itself in any number of different ways.

This can ultimately be a whole lot more useful than looking for a “perfect all-in-one” despill routine.

*If your CDK has a method of adjusting the balance of red and green then it’s much easier to target the colours you want to suppress. Therefore try:

G minus mix(R, B)

… rather than the standard:

G minus max(R, B)

Again, there are lots of different and exciting ways of refining the CDK method that I urge you to experiment with.

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

Take your shot into Fusion using Fusion Connect and use either Primatte, Ultra Keyer or the new Delta Keyer (or a combination of all three) – you will get better results that way than with any other method.

It’s what Fusion is made for.

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

[Ingi Fiev] “Where can I found such formulas? In Siggraph papers?”

They tend to be what is known as “intellectual property” and as such not generally given away for free, sadly.

As a developer of a keying plug-in (Hawaiki Keyer) I’ve helped come up with some pretty interesting recipes too but I can’t really share them for obvious reasons.

However, once you understand the basic principles, which you already do, you can get a long way with coming up with your own proprietary solutions … and then you’ll want to keep those a secret too.

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

Here’s the simplest version of a green despill:

if G>R then R else G

or you could use:

if G>B then B else G

A more complex arrangement is to use an average of both red and blue as a reference:

if G> ave(R, B) then ave(R, B) else G

But there are many others options that give useful results, depending on the colour composition of your shot.

My Fusion keyer tutorial looks at this question: https://youtu.be/agH3mOPbGhs

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

[Oliver Leutnecker] “If I move around the camera I can see the 3d grids moving etc BUT the image I arranged in 3d space is not visible through the camera. Instead of using a still image I have also tried 3D text and a simple 3D shape – same outcome.
“

The camera node does not and will not show you anything and you can’t monitor it for the simple reason that it has nothing to look at.

Think of your node tree as a flow diagram. Until you have joined an object to the camera using the 3D merge tool you won’t see anything. In other words, you have to be downstream of the merge for anything to show up.

Simon Ubsdell
tokyo productions
hawaiki