The background should be lit as evenly and flatly as possible. Pay special attention to the lighting.You can use miniDV or DVCAM, but your results will be notably improved by shooting with formats such as DVCPro 50, Digital Betacam or HDTV. Use larger CCD chips, and quality lenses if possible. Use the highest quality camera and acquisition format possible (Ideally a 3CCD video camera).There are a few key points that I can share with you if you have any control over how the shoot is executed or are actually shooting it yourself. This will give you a broader view on this topic. For more details, read the article by Charles Roberts entitled, "Chroma Key Basics for DV Guerillas Part 1". This old adage really applies to chroma keying, as a higher quality clip will give you a smoother edge around your subject.Īlthough this article will not instruct you how to shoot for blue or green screen, I can offer up a few pointers. Perhaps, you have heard the phrase "garbage in=garbage out". As I mentioned earlier, with chroma keying, you'll have to start with the highest possible quality video at the shoot. Start with the best possible source materialĬreating a clean key begins before you even launch FCP. Let's get started, though, with the process of chroma keying a standard shot and I'll work along with you. Because of this, my key will need some troubleshooting, which will require some techniques that I'll share with you a bit later. Also, Linda had 2 quick hand gestures, which made it difficult to maintain a good solid key for about 24 frames. Although the source was of high quality, I found that Linda's shiny black outfit absorbed a good deal of spill from a set, which was strongly over lit. This was originally shot on Beta SP with a 3CCD camera that had a pro lens. In this article, I'll be attempting to use the FCP Chroma Keyer on "Linda", which is one of the more difficult keying jobs that I have faced in the past few years. When you are removing the blue or green areas of the backdrop, what you are really doing is creating an alpha channel, (or matte) which will create an area of transparency around your subject. This allows you to place a different background behind the subject, which opens up new possibilities for creating visual effects. Once the subject (in our case, a woman named Linda) has been removed from the background, you are free to place it on an upper track, say V2. If you weren't already aware, chroma keying is the process of electronically "cutting out" a subject shot against a solid colored blue or green screen. Here, "Linda" has been electronically "cut out" and placed on a new background. You can create unique visual effects with the FCP Chroma Keyer. This article is written and designed for you to achieve predictable results in keying using the Chroma Keyer filter in Final Cut Pro HD. As long as your image is shot and lit correctly, you're halfway there towards succeeding at a convincing chroma key effect. However, it helps to follow certain basic procedures to be successful at it on a consistent basis. That is, keys are rarely achieved with precisely the same settings and it takes skill and practice to do it well. The only trouble is that it is rather a black art. Chroma keying is a really useful skill to add to your effects creation toolset.
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