Hey guys this is Eric from Final Cut Studio School and this is the first part of a two part video on keying. Now I’m going to be going over more keying videos in the future but I want to show you a specialized keying method where you use keyers. I’m not just going to use the key light or the Primatte, I’m going to use them both with conjunction with one another.
So I have this footage here, let me load my footage into my viewer. Now this is a 16 bit, 1K Cineon file and in layman’s terms, we’re talking feature film on top of film for a lack of a better word. This is not your typical handy cam; this is a cineon file that I’m going to have to use a LogLin node to switch it and because it will key better if I do that and I can explain LogLin and cineon and all that in future tutorial. I’m basically concentrating on the keying method that I’m going to show you here.
So first let me just go into my color tab and add a LogLin; that will bring it in to darker our colors but we can go down here to our gammas; our N and D gamma and I’m going to set the N to one to bring this back in play here.
Now we have this play but as you look real close, we have a lot of blue spill. You can see and we’re going to try and take care of this in our two videos but first let’s get our keying method down.
So the first key here I’m going to add is going to be a primatte. I’m going to click my primatte. Now when I add my primatte node, it’s automatically ready for selection. You can see it’s got a yellow box. So I’m going in and I’m going to swap the blue or whatever I want to key out. Then I can go hit my A key; this will show me my alpha. Now I can go into my fine tuning controls here, I’m going to select foreground. I’m going to start swapping on everything that I want to be in the foreground. I’m going to clean up the best that I can and I’m going to make it too much, this is just a rough matt that we’re going to clean up in our second part.
Swap as many times as you need. If for some reason your operation, you swap and it messes everything up, just go down here to delete up and it will just, don’t use regular undo. Now I’m going to click my background and I’m going to select my window here at the background and even try to swap this window back here and see that, it messes everything up so I can go delete op and it goes back to where he was.
You can see here, I have three operations under my foreground, okay. So no we have this rough matt of things; don’t worry about this window stuff, we’re going to take care of all this. Go back to my node view, go back to my color, we’re hitting the C key.
Now we have this primatte and we need to do a little bit more work so now I’m going to take my background and I’m going to add a KeyMix; a little layer, add KeyMix. I’m going to bring my KeyMix down and I’m going to plug my Primatte into the back up, the last input of that right there.
Now what I’m going to do is, I’m going to go to my LogLin, select my LogLin node, go to my key tab, I’m going to shift click, keylight and this will branch a keylight off fo my LogLin node. Now you see I have a Primatte and a keylight. And you can see the keylight does a pretty good job. This is what I’m going to help use get rid of my spill and I’m going to my keylight and I’ll bring it to my middle node. When you look at my final composite and there we go, we have us a final composite except we have some stuff up here in the corner and this back window that needs to be took care of; we’re going to do all these in part two. I just wanted to basically to show you the key; the simple keying method that I use a lot of times with two keyers. When I need to use it for despill; this is a good despill method.
So as you can see if I go in here and delete my keylight. You can see right here, look at all these blue spill from just a primattte node and see. But now not, enable my keylight, that gets rid of all that blue spill but there are still some blue spill in there. I’m not sure if you can tell it over YouTube but we’re going to fix all these, we’re going to clean this back rear window up and we’re going to fix the blue up here. This would just basically getting you the method down for using two keyers.
I want to go in to my LogLin, actually I’m going to go into my filter; I’m going to blur and I’m going to hold the n key and bring it in between my LogLin and my Primattte. When you held the n key, it will let you insert it. And I’m going to bring the blur up a little bit just to make it a little more, I guess appealing to the eye, almost I guess you could say and maybe a little bit blur than that when you go here.
Then, now that’s looking pretty decent for a rough beginning key so I hope you guys come back for part two and we will finish cleaning up this scene. Have a good look at my tree here; this is how I’ve gone about using two keys to key up my scene. If you all have any questions, please get a hold of me, if not, we’ll see you in part two, later guys.
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