Simon Ubsdell
6
COW Coins
Forum Replies Created
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[Alex Sporanox] “- Ok 10 feet (2 feet was a mistake, sorry)”
In the example you posted, the subject is far too close to the backing. As a result, the fine hairs on the arm are nearly twice as green as they are red (the next highest channel). This is because of the spill from the backing resulting from the proximity, and it means the keyer won’t be able to interpret them as (semi-transparent) foreground and they will simply disappear. Preserving edge transparency is the main reason for keeping the subject at a good distance from the backing. (Spill itself, i.e. green contamination of the foreground where it is meant to be solid and not semi-transparent, is mostly taken care of by your keyer’s despill options and is less of a problem.)
[Alex Sporanox] “-You say the culprit is one noisy channel….once found it, what can I do?”
I suspect that if you look closely at your red channel you will see blocky compression artefacts which could well be the cause of your problem. Better lighting of the backing could help, but it might be that the only option is to use a better camera.
[Alex Sporanox] “what else?”
Make sure that any in-camera sharpening is turned off. This is absolutely crucial. Sharpening will make a serious mess of your keying before you’ve even started. It is a process that deliberately introduces edge artefacts which might make your picture look “sharper” but which you really don’t want anywhere near your image if you are shooting green screen.
Simon Ubsdell
tokyo productions
hawaiki -
[Alex Sporanox] “the subject has to be 2 feets away from the screen”
Whoever told you this is very much mistaken. Try something closer to ten feet!
Simon Ubsdell
tokyo productions
hawaiki -
There are many different edge operations that require different processes. Pre-built processes are rarely the most useful answer.
Ultimately it pays to know all the many different techniques for building your own edge operations from scratch, but in this case we just don’t know that the OP is wanting to achieve.
Simon Ubsdell
tokyo productions
hawaiki -
There will be many (including highly experienced camera people) who will tell you that the exposure of your green screen backing is just fine.
But they are wrong.
It is considerably underexposed from an optimal point of view.
However, your screen grabs don’t help to explain what you mean by “wobbly edges”.
Simon Ubsdell
tokyo productions
hawaiki -
The culprit is almost certainly camera noise. Look at each of your channels separately and it is probable that one will show a lot of noise and will be the source of your edge chatter.
Simon Ubsdell
tokyo productions
hawaiki -
You can simply use the Channel Blur effect and operate on the Alpha Blurriness only.
Simon Ubsdell
tokyo productions
hawaiki -
The source image is a luminance matte for the text layers, which are offset slightly in Z space.
And yes, unlike the original which you posted, I used a text file to generate the words so they could be a lot more varied and interesting.
This would all be easy to do in Ae but I haven’t done it there yet.
Simon Ubsdell
tokyo productions
hawaiki -
A lot of codecs make a complete mess of gradients, even ones you would think are above that kind of thing. (ProRes, I am looking at you.)
The answer is to make sure to apply enough noise/grain to overcome the issue regardless of the eventual compression.
Simon Ubsdell
tokyo productions
hawaiki -
Prompted by your question, I had a go at creating something similar in Apple Motion:
Is there some nuance that I have missed? I’m not at all sure that the original is using any form of displacement, but I could be wrong.
Simon Ubsdell
tokyo productions
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If you select Generators/Text Generators/File, you have a tool that’s designed for this kind of thing.
The File generator displays the contents of a text file. The appearance (font, weight, size, and so on) of the text in the source text file is ignored in favor of the settings in the Inspector. The text file must be in plain text (TXT) format.
Simon Ubsdell
tokyo productions
hawaiki