Chroma Key Question

Does it matter what shade of green is used for the Chroma Key function in FCE?
I noticed that B&H, for example, sells a very expensive gallon of Chroma Key green paint. But wouldn't a much cheaper gallon of a similar shade of green from a place like Home Depot have the same effect?
While we're on the topic, does it really matter what color is chosen?

The obstacle you'll face in buying such a color from Lowes or Home Depot will be the base used to create such a color. these stores use deep tone or accent bases.
Chroma Key paint itself is made by grinding the pigments into the paint.
The problem with using paints created with deep or accent bases are :
1st) very poor coverage ,
since the pigment is added rather than ground into the coating the spread rate drops drastically, in short depending on the number of square feet your wanting to paint, you very well could end up spending more simply cause you'll need more paint.
2nd) Point sheen level.
Chroma key paint is a matt finish, these stores do offer matt paint but, due to the amount of added pigment it will cause the sheen level to increase. in some cases such as Lowe's Olympic paint, the manufacture has increased the point sheen to help protect the coating. one has to remember these paints are typically used for homes. in short the flat or matt paint will have a slight reflection.

Similar Messages

Reflecmedia Chroma Key question

Any one out there use the Reflecmedia Chroma Key system out there?
I wanted to know how easy it is to use with final cut or motion.
Cheers!

What I need to know is, do you film with the Reflecmedia system then do all the knockout work within FCP or Motion or even AE which I use anyway. <</div>
Keylight is a fabulous chromakeyer, for sure. You're going to be shooting and posting the same way. You will just get a remarkably superior key source from the retroreflective screen. It's really coo from the demos I've seen, absolutely solid, even, and clean. But I need to say once again, I have no personal experience with the units. I have seen them demo'd at NAB, very fun. No one in my market are has one.
From what i can read it just talks about live keying, which i wont be doing. I want to film it take it away and edit it in my Mac. < </div>
Live keying with Reflec's tools is a major selling point for them at conferences but obviously you need a live processing system which the Macintosh does not offer out of the box.
bogiesan

Question about Chroma Key Lights

Any kind of light for chroma key background will be alright?? I guess shopping to wal mart would be ok? Let me know.

ummmm, not likely.
You should have a VERY even spread of light across the chroma background, plus a good backlight to seperate your subject from the background as well as good front light on your subject.
Flourescent bulbs are great for even spread, but you should really try to get bulbs balanced for tunsten or daylight. There are filters/gels that can be used with consumer florescents, but even then you may get some tinting of your color spectrum.
Have you ever shot chroma? If you do not shoot it properly, you'll have nightmares in post.
You can place your lights above the camera line for talent, above the talent for chroma and above the chroma back at talent...(These can be more directional so you don't flare out your lens)
There are optimal lux values you should try to achieve, but I'll let others be more specific.
That said, I'll bet someone will chime in and tell how they did it with WalMart lights...I'm just offering a suggestion that might make it easier in post.
K

Color correction and "sudo-chroma keying"-can they be done?

So I just wrapped my cousin's wedding, but the ceremony and reception were both held in a bar, which made for less than optimal conditions. Besides the prolific dim lighting, there were neon signs, specifically Miller and Bud Light. Those signs were both blue, so if I put on my outdoor color corrector, the video looked nice, but then if I panned, the regular ambient lighting looked off. If I applied my indoor color corrector for the ambient lighting, it looked good, but as I got close to the neons, it again looked bad. My question is, can I keyframe the 3-Way Color Corrector so that when I'm by the neons, it's as good or the same coloring as when I'm looking everywhere else?
My second issue came during the vows. Being a bar, there was a Budweiser sign on the wall, and it was paper and had just gone up, so it couldn't come down. I knew I was gonna be framing that perfectly, and unfortunately I was. However, the sign has a nice white boarder to it, so my initial and current thought is to chroma key it out and replace it with something like "Congratulations." I wasn't using a tripod, so the image moves slightly and there's 2 people in front of it, the bride and the groom respectively. Would it be easy to chroma out the white boarder which then would give me some space to matte the rest out. But what about around the people? How good of a matte could I do there? I'm thinking of something like the Magic Wand tool from Photoshop, but FCP doesn't have that. The sequence is only ~5 minutes, so not that long, but what would make it easier on me?
I don't have FCS2 yet, but if all goes according to plan, I'll be wiping my system on monday, installing Leopard, and going to FCS2 which means I could smoothecam that clip, so then my matting would be easier. In theory, I also will have Color at my disposal, but from the time I played with it at an Apple Store, it's too much for me, at least at this stage of the game. This wedding was done on the cheap, hence why I'm doing the video for them, so if I need to leave the color as-is, and the Budweiser sign in, so be it, but I'd really like to make this the best that I can, and neither of these experiments have I had much of any really experience with, so the more the merrier.
As always, any thoughts or help is much appreciated,
-Brian

+>can I keyframe the 3-Way Color Corrector so that when I'm by the neons, it's as good or the same coloring as when I'm looking everywhere else?+
good news, yes you can keyframe all the color corrector filters and it should work handily for your situation
+>I'm thinking of something like the Magic Wand tool from Photoshop, but FCP doesn't have that.+
try these, might be just what you need: http://www.lyric.com/fcp-plugins/lyric-effects/index.html
+>The sequence is only ~5 minutes, so not that long, but what would make it easier on me?+
your Brother got married in a bar under a Budweiser sign Brian, I'm guessing he won't mind having his wedding video reflect the reality of the surroundings, so why fake it? ... easiest on you would be to leave it as it is 'cos theres nothing worse than a dodgy effect.
hope that helps
Andy

¿How do you change the time of all images and do the chroma key effect in ¡Movie 10.0.2?

I know it's a simple question, but i had ¡Movie '08 and I bought the latest version, and it's really different, so I don't know, if i have like 150 photos (it's an stop-motion) how can I put the same duration? And do the chroma key effect? And I don't know why, all the images have the Ken Burns effect and I don't know how to quit it. Thanks for the help!
Marcireca

I solved the same time problem, but now the problem is that when i use the chroma key it automatic uses the blue screen effect, not the gren (wich I want). Please help! Thanks!

Intermittent problem with cross dissolve and chroma key

It seems that in 1 out of 10 videos I produce in Final Cut Pro there is a problem with the cross dissolve effect and chroma key. What happens is that during the cross dissolve, clip A fades out with a green tint and clip B fades in with a green tint.
Today I am working with two videos that I captured using the same work flow on the same day. One project exhibits the tint while the second project does not. If I import the problematic footage into the good project the tint problem follows the footage. In the good footage, the cross dissolve produces a result that does not have a green tint. If I re-capture the "bad" footage the results are the same.
Has anyone else experienced this and does anyone have an idea how to resolve this problem?
Thank you.
Dual G5 Mac OS X (10.4.6)

In my project, both clips are source clips with Chroma, Color Smoothing and Matte Choker applied. A dissolve from non-chroma clip to chroma clip works fine. Only problem is with two chroma clips. In my dissolve, the error appears as red fringing in the area between the two masks.< </div>
You're using creative shorthand that doesn't help. "Chroma clip" means the clip to which you have applied all of these effects? What masks? Where are you getting the masks?
To understand what's going on with all them itty bitty pixels in a stack of interactive effects, do me a favor: render out a short piece, say 10 seconds of each of your chromaclips as separate movies over transparency using the Animation codec. Reimport them and put them over a solid colored Dissolve between them using different types of dissolves. Post back and tell us (me) what's going on.
I still consider this to be a bug -- nesting adds more steps to the workflow than if this bug did not exist. < </div>
It's not a bug. Your pixels are running down a pathway. It's a question of building the correct pathway and having the correct pixel wranglers with the right kinds of cattle prods.
bogiesan

FCP Chroma Key requires re-render after any changes

FCP: version 602A89
In an HD 1080i60 sequence - there is a clip - the Chroma Key video filter has been applied to a pretty-well-lit 'stinger-green' backdrop. By making adjustments anywhere in the Chroma Key filter visual dialog, the entire green-field returns and cannot be eliminated except by re-rendering the clip.
See EXAMPLE IMAGES at http://www.glorioski.com/fcp/chromakey.html
I guess this could be submitted as a bug - but I am thinking there MUST be something I am not doing or have inadvertently set (or unset).
Any ideas?
Thanks! Lance Drake

Hi Jerry,
Hey thanks for your response to this question - but, I do not believe that this has always been the behavior with regards what has been presented in the canvas - at least for the current frame.
It's quite reasonable that re-rendering will be needed to apply the changes to the entire clip. However, my point is that, as adjustments in the Chroma Key filter are made - the results of the previous setting of the filter are completely abandoned and the single frame displayed in the canvas reverts to the case as if the filter had never been applied.
The BIG drawback to this behavior is that you cannot see how slight changes in filter settings affect what will be the result were you to go to the trouble of re-rendering the entire clip. Having to re-render with every adjustment sticks you in a huge time-hole.
I wish I had a system with FCP 5 on it - it would be interesting to see how FCP used to behave. Am I nutzo? Somehow I don't think so. It's my recollection that it was possible to make changes to the ChromaKey filter - see the effect of those changes rendered into the single frame of the canvas - and then it was up to you to cause the rest of the clip to be re-rendered.
Unless somebody kicks in with specifics regarding the error of my ways, I am thinking this should be submitted to bugreporter.

Where is the Chroma Key Effect?

Hey guys
I search for the Chroma Key Effect in Premiere pro cc but i can´t find it under the point keying.
The question is why and where ist it?

It's been deprecated for cross platform compatibility see here:
Adobe Premiere Pro Help | New features summary
Use the ultra keyer.
Cheers Chris

Chroma Key ...

Hello All,
OK, a somewhat tricky question for you experts out there today ...
I have been handed 3 rolls of rushes from a studio which uses a green ring-type overlay system )attached to the camera lens). All rushes are pre-keyed, that is to say that the keying was done in the studio and the ready-mixed output was recorded to tape.
The background they used was wishy-washy, a mix of orange and burnt red - quite revolting, to be blunt. Due to the mix between the green ring keying light and the awful background, everyone in shot has a slight 'ring of confidence' about them ... a slight green 'tinge'.
In order to try and I remove this, I placed the rushes in V1 and I and slotted in a tiff of the original background into V2. Then, by selecting the chroma key in FCP, I clicked my dropper over a patch of green by the presenters ear. Thinking I could re-key the outlines (and then softening them up), I played around with the settings; luma, saturation, the colour itself, but to no avail.
I then tried the green suppressor. Again, nothing.
Does anyone have a good or at least feasible solution to this?
Thank you for your time and expertise ...
sp

If the tiff file you have exactly matches the background - (the way to test is this is try cut the tiff into a small portion of the pre-composited clip and verify that there is no size, position, luma, chroma, gamma, etc. changes when the cut goes through, the foreground keyed element just cleanly disappears at the cut) then you may have some luck by using this -
On VI place the tiff
On V2 place your pre-composited clip.
Drag a Luma Key Video Filter on to the pre-composited clip on V2, open the filter tab for that clip and switch the Key Mode to Key Out Similar. You now should have some fudging ability by adjusting the threshold and tolerance. This may help minimize the green ring.
See if this helps - I hope it does.

Can I use Chroma key with première elements 13 to incrust a picture in another one ?

en français
Bonsoir à tous
Avec première éléments 13, peut on incruster une image dans une autre en utilisant par exemple un fond noir et en supprimant ce fond avec le chroma key ? Je n'ai vu cette possibilité que dans première pro
Dans la version essai, y a t-il un logo Adobe sur les films montés (en filigrane ou autre) ?
Merci d'avance de vos réponses

trournesol02
Regarding your second question....you cannot remove the Adobe watermark from an export from the tryout project file, be the export a file saved to the computer hard drive or a burn to disc product. You can remove the Adobe watermark from a project file from the tryout if you open it in the purchased version.
Two ways:
a. open the tryout project file in the purchased version, use Timeline Menu/Delete Rendered Files and the Adobe watermark should be gone.
or
b. open the tryout project file in the purchased version, and do nothing...the Adobe watermark may disappear automatically.
The way "a" is the classical way. But many of us have found "b" to work for us.
What is the computer operating system involved? Premiere Elements Mac does not have ChromaKey, Green Screen Key, or Blue Screen Key.
It has Videomerge which I do not prefer. Instead for Premiere Elements Mac users, I would suggest the Difference Matte.
ATR Premiere Elements Troubleshooting: PE11: Difference Matte As Substitute for Green or Blue Screen Key
If you are using Premiere Elements 13 Windows, please refer to fx Effects/Keying/.
Any questions or need clarification on any of the above, please do not hesitate to ask.
Thank you.
ATR

IMovie 11 with chroma-key and watermarks

I'm new to iMovie. I did attempt to find the answers to the questions below here and on the web. Frankly iMovie so far seems to be pain....
setup for my testing purposes only:
a) borrowed chroma-key movie from the web
b) borrowed m4p from the web
I wanted to test my ability to use chrome-key and watermarks in making a short clip using 3 products...Screenflow 4, iMovie, Final Cut Pro X.
Questions and/or statements:
1) Green-screen:
Screenflow and Final Cut took about 5-10 minutes with zero knowledge of either...Over an hour with with iMovie and never could make it work.
2) Watermark:
Aganin 5-10 minutes with Screenflow and Final Cut, with iMove it looks like I could have either keying or watermark, but not both.
Screenflow is SUPER simple and cheep (on sale today for $70), I've seem it 50% off...
Final Cut is OUTSTANDING but super costly for what I wanted to do....Really a great product.
Anyway, here I am with a iMovie and so far it looks like it isn't a fit for me...Anyone know if a way to tweek it to make both chroma-key and watermarking work? I guessing it's just me, but the others seemed so simple.
Attached are screen copies of each...in order below are iMovie, Final Cut Pro X, and the output of Screenflow....
I want to thank those that I borrowed these images from...I will not use them beyond my testing....
Thanks for any helpfull hints...

iMovie is designed with a very forgiving green screen feature so you can hang a green bedsheet on a wall and get a decent effect. It is designed for people making home movies. Perhaps for this reason, if you have a perfect green key in iMovie, then iMovie might think you used the green on purpose. It expects some variation. When people are doing computer generated graphics, or creating a green background with Photoshop or Keynote or Powerpoint, I suggest using a gradient between close shades of green, rather than a monochromatic green.
If you need sophisticated control of your keying, get FCPX. I am not familiar with Screenflow.
Also, iMovie does all rendering in one pass. This means it cannot do effects that require a render on top of a render. Say you want a greenscreen effect with a watermark on top. That is two renders. This is easy in Final Cut Pro, but not possible in iMovie without jumping through some hoops.
Also for this reason, longer movies should be done in FCPX. What for iMovie would be an immense job requiring huge resources, FCPX can do by chopping it up into bitesize pieces.

Chroma Key--iMovie w/3rd party vs. FCP vs. FCE

Apple's pro audio and video tech support department can't seem to answer this question and they thought someone here in the FCP forum might be able to give me some guidance.
I'm an independent trainer and I've been trying to put a "simple" head and shoulders shot of me in a nice backdrop using iMovie HD and various 3rd party green screen / Chroma Key plug ins. The results have been disappointing. I evenly lit a green background (a piece of green fabric), shot the video, and adjusted the tolerances. The background dropped out ok, but so did tiny bits of me, and the green was still visible along the edges of me. Any further adjustments would make me transparent. I know it may be a lighting issue (or the fact that I'm using a generic green cloth background), but I'm a fine art photographer as well and I'm being pretty careful about the lights.
Are there any pros who do Chroma Keying who can tell me if buying FCE or FCP will solve this problem? Does FCE have a dramatically improved way to accomplish this green screen thing or is it likely using the same math as the iMovie 3rd party plug-ins?
Really, I'm hoping that FCE will have the same features in this area, since FCP is out of my range right now and hard to justify since I only want to do this one thing.
If I buy FCE, will I be missing some project-critical Chroma Key features only found in FCP that will force me to upgrade or are the features in this category identical?
For example, a tutorial on Chroma Keys for the Pro version says that it has a Chroma Smoothing 4:1:1 filter that might help when using mini-dv cameras.
Any thoughts on this from people who understand both versions of Final Cut and get good Chroma Keys would be greatly appreciated. Any other approches or software to get this done would also be appreciated. Thanks.

Hi Bob - this is a copy of the answer I sent you in the FCE Forum.
I have never used iMovie for Chromakey as I believe that once you start buying third party filters etc. you can soon end up paying as much as if you had bought FCE outright!
FCE has numerous additional features (besides the Smoothing Filter) for fine-tuning the picture to get rid of colour fringing and other extraneous nasties. I would imagine that iMovie plugins would not have as many - though I do not know that for a fact.
As Tom says FCE and FCP are virtually identical in most respects. FCP's main differences are connected with the way professionals work - like feeding video from several cameras simultaneously etc. Most of us can manage without that!
Ian.

Does a chroma keying function come with photoshop elements?

I just bought a green screen and would like to change the background of the photos I take. I'm going to order the Adobe photoshop and Premiere Elements package and would like an answer to this question before I do.

Not sure what chroma Key is but if you meant this:
<http://en.wikipedia.org/wiki/Chroma_key>
then with some ingenuity and dexterity you can do that in PSE and Photoshop. Photoshop is highly specialized and it is the industry standard so it should do what you want to do. PSE is for hobbyists like me but it is doing everything I want it to do. How about downloading the trial versions for both products and use them for 30 days; after which you can buy the boxed version from Amazon and use the serial number to convert your installed version a full version. It works.
Good luck.

Is it possible to chroma key a moving laptop/phone screen in Motion 5?

Hi, I recently downloaded Motion 5, and I've been experimenting with it. What I'd like to know is if it's possible to chroma key the screen of a phone (the screen will be green.) I've managed to chroma key out the green, and it works perfectly, except I don't know how to make the "screen" follow the phone or stay on the phone if the camera moves. Also, is it possible to make the "screen" dynamically grow/shrink as the camera zooms in/out. Is such a thing even possible with Motion?
Thanks in advance!

a color-key isn't needed for such an effect…
What you like to accomplish is something like that:
http://youtu.be/Mml8uqeB0MU
This is called 4-corner motion tracking, advice in the Manual
http://help.apple.com/motion/mac/5.0/en/motion/usermanual/#chapter=22%26section= 8%26hash=apple_ref:doc:uid:Motion-UserManual-90919TRK-1139924

Can you do Green Screen/Blue Screen/Chroma Key on Adobe Premiere Elements 12 for mac?

Can you do Green Screen/Blue Screen/Chroma Key on Adobe Premiere Elements 12 for mac? If not, what are the alternatives?

JimbobT
ChromaKey, GreenScreen Key, and BlueScreen Key are not included in Premiere Elements Mac.
Some suggest Videomerge as the alternative. I do not. But Videomerge is not THE alternative.
Instead, I prefer the Difference Matte as a substitute for the 3 absent keying effects. Please check out my blog post on that which includes
the how to.
http://atr935.blogspot.com/2013/05/pe11-difference-matte-as-substitute-for.html
The suggestion has met with good results according to the feedback that I have gotten to this.
I am strictly a Premiere Elements Windows user who does not prefer Videomerge even in Windows.
Please review, consider, and let us know the outcome.
Thanks.
ATR

Chroma Key Question

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