I’ve got a shot that’s underlit–moody if you will–and there’s a greenscreen I need to replace with a moody BG plate, but the screen is bright. Not clipped bright, but brighter than the lit skin tones by about a stop.
The screen itself is lovely and even, but I cannot get a nice soft key without the edges glowing. I’ve tried the Logik Additive key in Joel Mode, I’ve rolled my own keys. Nothing is delivering.
optimistic that I’m just out of the keying loop and y’all have some cool solutions for this type of issue.
Its mostly about getting the right despill value for each zone…there is no edgeextend/pixelspread at all here… at the end its just transfering the green to another color, darken down o light the back to the value you need it to blend with the bg.
Take a look at the color corrector nodes, they have offset values for each channel in order to match the edges to background, also MatteEdge node controls how much you will affect the edge of the section you are working on.
It is actually quite simple workflow, it just takes time but not quite hard. Let me know if you have any issue with this or something…
Andy, stating the obvious but i try and get the luminance to match in the edges if theres a glow or spill. Either with Master keyer and adjusting the gamma curve or running a few edge detects, softer and smaller to get the edges down to match. Precoming and then recomping the fill through it helps with the composited egde to get darker to match. play with Averages and a precomp to get that glow edge down too
First up, thank you Cristhian for the setup. I appreciate you taking the time to not only explain your process, but make a setup. I enjoyed going through it.
For anyone who cares, I’ve made a mock-up image and backplate with the actual scene values that I’m working with, as well as a theoretical perfect comp.
Hey @andy_dill,
I don’t know if it will work for you, but youtube algorithm showed me this simple and silent video from a Japanese Flame artist. Parts 1 &2… I think this is the perfect place to share it…
My super pedestrian method is to just use the Master Keyer’s despiller and lower the luminance slider there, in addition to shifting the neutral gray slightly towards the color temperature of the background I’m comping in. The only downside being it results in certain quirks with additive highlights if you’re subsequently plugging it back into the crok additive keyer. That said the other methods presented here seem much more proper and I’m looking forward to trying them out.
IBK with a real clean plate is my go-to for this. Though it can be really time consuming to create the clean plate, especially if the camera is moving or there are lighting changes on the greenscreen. But it does take care despill and edges for you.
Also, the tools I would also try out are Colour Curves for despill and Matte Curves for your composite to give you some refined adjustments of edges.
I’ve worked on some pretty gnarly too-bright key shots that had to go though a film QC process and there’s never a single solution. You almost always have to set up different key and roto solutions for 10 different spots in the shot.
