Use Advanced Keying Using Two Keys Video

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How to Use Advanced Keying Using Two Keys - Shake 4.1

Okay. Now, let’s do the same exact project we did in motion and shake. And here is the final product right here. As you can see, there she goes. Personally, I think it looks a little better in shake, a little bit easier to get really good results. I can even see the reflection of on our belly there, pretty good. The reflection of the apple from the window back there. I could see highlights here on the side of the building. It just got an overall soft look to it at the background. It blends in better. But, motions are great too. So let’s get started on this. I’m going to go in here and delete our tree—like this, and we’re going to start from scratch. So now, we have our Oxana. First thing we want to do is de-interlace this. So I’m going to go to my other tab and hit the de-interlace and that’ll just clean that up a lot. I’m going to go down here to my mode and change it to blur. Okay, let’s go back to frame 1. Now, this is filmed in DV, and DV is notoriously famous for jagged edges which de-interlace helped a whole lot. Shake is really good about that. But, I want to clean up these edges a little bit more. And to do that, we’re going to do the color space, blur, color space trick. So, let’s select our de-interlace mode, go to color, and add a color space. Now, I’m going to switch that to IUV on the out space. And then, I’m going to go to filter tab and put a blur in there, but I’m just going to blur the blue and the green channels. So I’m going to come down here on my channels and hit blue, B and G for blue and green., and I’m going to blur it to about ten pixels. Like that. Now that would just blur the blue and green channels, it won’t blur my whole picture. And then I’m going to add another color space like the color, add another color space, and then we’re going to take the in space to IUV. And that cleans up our edges a whole lot. If you’re going to go in and look at them, you can select them and hit the I key and compare the differences. There’s a slight difference. So now, we want to start keying our girl here. So the first thing that we’re going to do is we’re going to our key and hit key lock, CFC key lock. Everybody is familiar with key locks since this is assumed knowledge video. I want to select my screen color and I’m going to go in here, I’m going to slot. Now, I got me a good reading of the color and I’m going to take may screen range up. I want to take it up to about 400 or 440 or something like that. And I’m going to go back to my other view and we’re going to stop right there for a second. So now, we have this key as you can see. Our hair is a little bit getting either way and all that good stuff. So we’re going to have to use a garbage mat on this. So let’s go back to our color space and let’s right click on the CFC fill out and branch another one off. So now, we have this another one, okay. This was kind of our soft mat. Our extreme range as you can see. It’s kind of abandoned the 200s or 300s, and our hair, we can see her hair pretty good. But in this key light, we’re going to up it with the screen range. Let’s select this and let’s go back to where I was here, like that. Now, let’s select this key light and let’s sweep it, and we’re going to up the screen range a lot more and make this kind of a hard mat to make sure it’s real solid. So now, we kind of got a soft mat for her hair and stuff and we have the hard mat. This is where the hard one is the one we’re going to use for the garbage mat. But first, I’m going to add a dilated road to this. Let’s use a dilated road, let’s branch a dilated road off and we’re just going to affect the alpha channels, so I’m going to go to my channels, take everything and just change it to A and then I want to adjust my pixel down to about, I don’t know, minus 1.4, something like that. minus one or so. If you hit the A and go to alpha channel, you can watch as you adjust as you can see how it’s dilating her in there. So I’ll go to about right there, that 1.5 or 4. So now, I got to invert this. Okay, so let’s go to color and let’s invert like that right there and then we’re going to add a blur, so let’s let this two smooth things out a little bit, maybe just a 5 pixel blur. I’ll bring my other key light down here. And let’s put this into the garbage mat of that key light. Now as you can see, we have a pretty good key. If you notice, before we connected this, we’ve deleted this. Let me delete that noodle there. Now if you noticed here, before we connect these two together, I select this first and we got this white edge. If I select this other one, we got this white edge. We take this into the garbage mat and select it. And now you see, our white edge is gone completely. So using those in soft key and hard key with a dilated road, combined together makes for a great key, but her hair is getting away too much. So what we’re going to need to do is make a separate key for her hair. Here is the key for her body right here. So let’s go ahead back up here and branch off another key light. Go to key, branch, key light. Now this time, let’s go ahead and slide our color and we’re just going to make our screen range real soft, just about 0070 or something, just enough to fill it out a little bit, maybe 0100—you know, .0100. And then, we’re going to go up and then we’re going to select the image tab, select the autoshape. Now on this autoshape, I’m going to make the same size as my Oxana so it’s 720 x 480. Now, I want to select this key lock and I’m going to select the right side of my autoshape and I’m going to go in here and box out her head like this. Now that gives us a autoshape around her head. Let’s go into edge mode and let’s bring out the bottom edge here a little bit to give it a little soft edge like so—like that. We can slide the autoshape here and you can see our autoshape. Now, let’s invert this auto shape like that and let’s put this into the garbage mat of this body key light. Now you can see, we have a really good hair key here as you can see. Look at that, we are getting all of our hair. Now, all we got to do is combine these together with an over note. So we’ll put a layer over, stick them together, and look at that, what a wonderful and beautiful key we have there. Isn’t that wonderful. So now, all we got to do is add in our background. So let’s just take our apple store here, and I guess we can go to other—that actually transforms, resize and we’re going to make it the same as our Oxana clip, 720 x 480. So let’s go in here and make it 720 x 480 like that right there. Okay now, we’re going to combine this with our Oxana layer. So we can do this several ways. Let’s try an iAdd not. We’ll put a layer, iAdd, stick that down like that. And you see, that’s not really working too well. So how about we just select layer over and replace it with an over. So now, we got to reverse this around. Let’s switch this back and forth like that. Now, let’s take our resize node, let’s go to our color tab and select fade and let’s fade this out, just where we’re barely getting a little bit there. Now we’re going to add in our street. We can go back—now we got that dialed in and we can go back to our layers and you can experiment with iAdd that makes her a little brighter there. Let’s leave it like that for now and we’ll get it in there. So let’s select our street. And with our street, I want to use a fixed plug in that I have called Vintage Lines just for a certain look. I want to turn the amount down. Okay, now I’m going to use a gold reflector. This helps bring me out some golden windows like this right here. It’s coming out a lot more—just a little reflection here. I’m just going to fool with this a little bit. I like that a little darker. Okay, that’s not looking too bad because I want to desaturate this anyway. Now, you can go in here and do all kinds of looks, I’m just basically filling this together real quick so you guys can get an idea of what’s going on. There are several fixed plug ins you can use to make it look how you want or we can use regular plug ins. If you want to change the color, you can go into brightness, you can clamp it, you can do a color match or a color replace or a few curves. You can go down. Let’s scroll down here to the red hue and red suppress. You can up them just to give it a little reddish tint there. It’s really up to you, the kind of look you’re wanting to go for. Let’s see if there is any other cool little plug ins that we got here. I’m just going to kind of experiment. Now, let’s get rid of our hue curves. Now, that’s looking a little bit better. What else could we do to it? Now, let’s change it a little bit orangey there to give it a kind of an evening time look. Now, we have our background halfway set up. Now, I guess we could go to our autoshape and set our size to 720 x 480. And let’s select this and let’s put our autoshape in just like we did in motion to make it look like a shadow from the buildings being cast on this one, like so. We’ll add a molt node to it. From the color tab, we’ll say molt and we’re going to make it black. We’ll make it black. We haven’t seen it until we plugged it in here. So we’re going to take this molt node attach it to an over node, put our auto shape on top of it, now we get this. So let’s add a fade to our auto shape and molt node, a little color, fade, fade it out like that. Now, we can add a filter or blur. Let’s blur this bad boy like so. Now, we got a soft shadow being cast on the building. Now, let’s go ahead and lay it over this roughly just for now so we can get a basic idea what it’s going to look like. Now you can see, we got the reflection of our store and we can fade out our reflection a little bit more like so. Now I have some shade and have some particles, I want to bring in some particles which is important to them. It’s just a movie. And I’m going to screen these. Let’s go to layer—I'm not going to put the pillars and stuff in there because that’s pretty simple stuff, I think you all can do that. I’m going to screen these over her and there’s our streak, and there’s our key. I went for a different look on the background, I’ll give it more of an orange look with some glows and stuff in the windows to bring out the sun setting in the windows, as you can see, the original is just all blue. I want to make it look like kind of like the sun was setting and casting the shadow on the building there. It looks kind of like in the windows. If you can look in here, you can see a slightly orange glow like there is sunshine and doing light shining. I think that reflects and still a little strong but I’m leaving it that way. In case you all can’t tell this over YouTube, the quality of YouTube videos, but there she is and there it is I’ve done in shake. Wonderful, wonderful stuff. I’m going to plug it. As you can see, her hair is keyed awesome. I mean, I’m getting every little single strand if you look close. Not to toot my own horn anything, but look at that right through there. I’m getting all that hair. And that’s what a professional key is all about that’s why shake is loved and still loved. It’s timeless. It’s worth so much more than you ask for it. The process is just amazing and it’s in a wonderful program. I hope you guys took something from this. We’ve used two or three different keys to get this key. Two or three different layered nodes, two or three different color nodes. We’ve cleared up the DV edges and we give the background a good sun cast and she blends in pretty well. Her stuffed edges are gone. Her hair is completely visible and it looks. The only thing we need to do is do a little bit of color correcting to make her match the background a little more. I’m not really going to go in here and color correct this right now because that’s not what this video is about. We can color match. That didn’t help too much, didn’t it? So what we need to do is we need to go in here and match her to the background. So let’s see here. Let’s take down our contrast a little bit here. Now, let’s go in here and add a saturation node to this and lower the saturation, just down here a little bit. Now you can see, she blends into that background a little well. She’s not popping out like she is right there. You know what, I don’t want that saturation node right there. I want to put it up here above the background because I don’t want that saturation to affect my background. So now, let’s look at the final product and adjust our saturation and it should just affect her now as you can see there. I’m going to up it just a little bit. She was just too saturated before, and there we go. Everything looks nice. I hope you guys have learned something. Here’s our final tree. And have a good look, if you can see it. And we’ll see you in the next video. Thanks for watching.

AppleShakeGuru

Tutorials on digital Apple Software.

http://www.finalcutstudioschool.com

Okay. Now, let’s do the same exact project we did in motion and shake. And here is the final product right here. As you can see, there she goes. Personally, I think it looks a little better in shake, a little bit easier to get really good results. I can even see the reflection of on our belly there, pretty good. The reflection of the apple from the window back there. I could see highlights here on the side of the building. It just got an overall soft look to it at the background. It blends in better. But, motions are great too.

So let’s get started on this. I’m going to go in here and delete our tree—like this, and we’re going to start from scratch. So now, we have our Oxana. First thing we want to do is de-interlace this. So I’m going to go to my other tab and hit the de-interlace and that’ll just clean that up a lot. I’m going to go down here to my mode and change it to blur.

Okay, let’s go back to frame 1. Now, this is filmed in DV, and DV is notoriously famous for jagged edges which de-interlace helped a whole lot. Shake is really good about that. But, I want to clean up these edges a little bit more. And to do that, we’re going to do the color space, blur, color space trick. So, let’s select our de-interlace mode, go to color, and add a color space. Now, I’m going to switch that to IUV on the out space. And then, I’m going to go to filter tab and put a blur in there, but I’m just going to blur the blue and the green channels. So I’m going to come down here on my channels and hit blue, B and G for blue and green., and I’m going to blur it to about ten pixels. Like that. Now that would just blur the blue and green channels, it won’t blur my whole picture. And then I’m going to add another color space like the color, add another color space, and then we’re going to take the in space to IUV. And that cleans up our edges a whole lot. If you’re going to go in and look at them, you can select them and hit the I key and compare the differences. There’s a slight difference.

So now, we want to start keying our girl here. So the first thing that we’re going to do is we’re going to our key and hit key lock, CFC key lock. Everybody is familiar with key locks since this is assumed knowledge video. I want to select my screen color and I’m going to go in here, I’m going to slot. Now, I got me a good reading of the color and I’m going to take may screen range up. I want to take it up to about 400 or 440 or something like that. And I’m going to go back to my other view and we’re going to stop right there for a second. So now, we have this key as you can see. Our hair is a little bit getting either way and all that good stuff. So we’re going to have to use a garbage mat on this. So let’s go back to our color space and let’s right click on the CFC fill out and branch another one off.

So now, we have this another one, okay. This was kind of our soft mat. Our extreme range as you can see. It’s kind of abandoned the 200s or 300s, and our hair, we can see her hair pretty good. But in this key light, we’re going to up it with the screen range. Let’s select this and let’s go back to where I was here, like that. Now, let’s select this key light and let’s sweep it, and we’re going to up the screen range a lot more and make this kind of a hard mat to make sure it’s real solid. So now, we kind of got a soft mat for her hair and stuff and we have the hard mat. This is where the hard one is the one we’re going to use for the garbage mat. But first, I’m going to add a dilated road to this. Let’s use a dilated road, let’s branch a dilated road off and we’re just going to affect the alpha channels, so I’m going to go to my channels, take everything and just change it to A and then I want to adjust my pixel down to about, I don’t know, minus 1.4, something like that. minus one or so. If you hit the A and go to alpha channel, you can watch as you adjust as you can see how it’s dilating her in there. So I’ll go to about right there, that 1.5 or 4.

So now, I got to invert this. Okay, so let’s go to color and let’s invert like that right there and then we’re going to add a blur, so let’s let this two smooth things out a little bit, maybe just a 5 pixel blur. I’ll bring my other key light down here. And let’s put this into the garbage mat of that key light. Now as you can see, we have a pretty good key. If you notice, before we connected this, we’ve deleted this. Let me delete that noodle there. Now if you noticed here, before we connect these two together, I select this first and we got this white edge. If I select this other one, we got this white edge. We take this into the garbage mat and select it. And now you see, our white edge is gone completely. So using those in soft key and hard key with a dilated road, combined together makes for a great key, but her hair is getting away too much. So what we’re going to need to do is make a separate key for her hair. Here is the key for her body right here.

So let’s go ahead back up here and branch off another key light. Go to key, branch, key light. Now this time, let’s go ahead and slide our color and we’re just going to make our screen range real soft, just about 0070 or something, just enough to fill it out a little bit, maybe 0100—you know, .0100. And then, we’re going to go up and then we’re going to select the image tab, select the autoshape. Now on this autoshape, I’m going to make the same size as my Oxana so it’s 720 x 480. Now, I want to select this key lock and I’m going to select the right side of my autoshape and I’m going to go in here and box out her head like this. Now that gives us a autoshape around her head. Let’s go into edge mode and let’s bring out the bottom edge here a little bit to give it a little soft edge like so—like that. We can slide the autoshape here and you can see our autoshape. Now, let’s invert this auto shape like that and let’s put this into the garbage mat of this body key light. Now you can see, we have a really good hair key here as you can see. Look at that, we are getting all of our hair. Now, all we got to do is combine these together with an over note. So we’ll put a layer over, stick them together, and look at that, what a wonderful and beautiful key we have there. Isn’t that wonderful.

So now, all we got to do is add in our background. So let’s just take our apple store here, and I guess we can go to other—that actually transforms, resize and we’re going to make it the same as our Oxana clip, 720 x 480. So let’s go in here and make it 720 x 480 like that right there. Okay now, we’re going to combine this with our Oxana layer. So we can do this several ways. Let’s try an iAdd not. We’ll put a layer, iAdd, stick that down like that. And you see, that’s not really working too well. So how about we just select layer over and replace it with an over. So now, we got to reverse this around. Let’s switch this back and forth like that. Now, let’s take our resize node, let’s go to our color tab and select fade and let’s fade this out, just where we’re barely getting a little bit there.

Now we’re going to add in our street. We can go back—now we got that dialed in and we can go back to our layers and you can experiment with iAdd that makes her a little brighter there. Let’s leave it like that for now and we’ll get it in there. So let’s select our street. And with our street, I want to use a fixed plug in that I have called Vintage Lines just for a certain look. I want to turn the amount down. Okay, now I’m going to use a gold reflector. This helps bring me out some golden windows like this right here. It’s coming out a lot more—just a little reflection here. I’m just going to fool with this a little bit. I like that a little darker. Okay, that’s not looking too bad because I want to desaturate this anyway. Now, you can go in here and do all kinds of looks, I’m just basically filling this together real quick so you guys can get an idea of what’s going on. There are several fixed plug ins you can use to make it look how you want or we can use regular plug ins. If you want to change the color, you can go into brightness, you can clamp it, you can do a color match or a color replace or a few curves. You can go down. Let’s scroll down here to the red hue and red suppress. You can up them just to give it a little reddish tint there. It’s really up to you, the kind of look you’re wanting to go for.

Let’s see if there is any other cool little plug ins that we got here. I’m just going to kind of experiment. Now, let’s get rid of our hue curves. Now, that’s looking a little bit better. What else could we do to it? Now, let’s change it a little bit orangey there to give it a kind of an evening time look. Now, we have our background halfway set up. Now, I guess we could go to our autoshape and set our size to 720 x 480. And let’s select this and let’s put our autoshape in just like we did in motion to make it look like a shadow from the buildings being cast on this one, like so. We’ll add a molt node to it. From the color tab, we’ll say molt and we’re going to make it black. We’ll make it black. We haven’t seen it until we plugged it in here. So we’re going to take this molt node attach it to an over node, put our auto shape on top of it, now we get this. So let’s add a fade to our auto shape and molt node, a little color, fade, fade it out like that. Now, we can add a filter or blur. Let’s blur this bad boy like so. Now, we got a soft shadow being cast on the building.

Now, let’s go ahead and lay it over this roughly just for now so we can get a basic idea what it’s going to look like. Now you can see, we got the reflection of our store and we can fade out our reflection a little bit more like so. Now I have some shade and have some particles, I want to bring in some particles which is important to them. It’s just a movie. And I’m going to screen these. Let’s go to layer—I'm not going to put the pillars and stuff in there because that’s pretty simple stuff, I think you all can do that. I’m going to screen these over her and there’s our streak, and there’s our key. I went for a different look on the background, I’ll give it more of an orange look with some glows and stuff in the windows to bring out the sun setting in the windows, as you can see, the original is just all blue. I want to make it look like kind of like the sun was setting and casting the shadow on the building there. It looks kind of like in the windows. If you can look in here, you can see a slightly orange glow like there is sunshine and doing light shining. I think that reflects and still a little strong but I’m leaving it that way. In case you all can’t tell this over YouTube, the quality of YouTube videos, but there she is and there it is I’ve done in shake. Wonderful, wonderful stuff. I’m going to plug it. As you can see, her hair is keyed awesome. I mean, I’m getting every little single strand if you look close. Not to toot my own horn anything, but look at that right through there. I’m getting all that hair. And that’s what a professional key is all about that’s why shake is loved and still loved. It’s timeless. It’s worth so much more than you ask for it. The process is just amazing and it’s in a wonderful program.

I hope you guys took something from this. We’ve used two or three different keys to get this key. Two or three different layered nodes, two or three different color nodes. We’ve cleared up the DV edges and we give the background a good sun cast and she blends in pretty well. Her stuffed edges are gone. Her hair is completely visible and it looks. The only thing we need to do is do a little bit of color correcting to make her match the background a little more. I’m not really going to go in here and color correct this right now because that’s not what this video is about. We can color match. That didn’t help too much, didn’t it? So what we need to do is we need to go in here and match her to the background. So let’s see here. Let’s take down our contrast a little bit here. Now, let’s go in here and add a saturation node to this and lower the saturation, just down here a little bit. Now you can see, she blends into that background a little well. She’s not popping out like she is right there. You know what, I don’t want that saturation node right there. I want to put it up here above the background because I don’t want that saturation to affect my background. So now, let’s look at the final product and adjust our saturation and it should just affect her now as you can see there. I’m going to up it just a little bit. She was just too saturated before, and there we go. Everything looks nice.

I hope you guys have learned something. Here’s our final tree. And have a good look, if you can see it. And we’ll see you in the next video. Thanks for watching.

Transcription by: Scribe4you Transcription Services