How do I Chroma Key a group of still shots

I am doing some stop action video using my Nikon SLR by taking a series of still in front of a green screen. When I put all the clips on the time line, I would like to ultra key the scene as a whole without having to go to each individual picture. So can I create one clip out of a series of stills?

Select all the stills and 'nest' them. add the keying to the nest

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Chroma key effect in as3.0

Hi ,
How to make chroma key effect in as3.0. I am building an application in that while recording a video user can remove the solid background and inserts some other image it is done by chroma keying..
Any ideas please
Thanks

what i mean exactly is user starts recording the video in solid background environment so he can eliminate the background with chroma key and replaces with some image. The chrom key will hide the background show the user and in background he can place some image
this is chroma key effect
http://en.wikipedia.org/wiki/Chroma_key

Advanced chroma key

So I understand how to use chroma key to remove a background. For example I have a shot of birds flying and then I have taken out the birds and now it shows whatever clips underneath the birds. I want to take this one step further. Now once the birds are replaced I also want to replace the sky, or the background that hasn't been removed with the chroma filter. So essentially Im only using the shape of the birds, but two completely different source clips to get the effect. Does this make sense and how would I go about doing it.
Thanks,
Zac

This is a Photoshop user forum the is also a Photoshop Elements forum. IMO If you want to replace a background on a still image the chroma key color you should use is White or Gray. When the subject is complex like hair blowing in the wind you will always need to deal with chroma key spill. White can be eliminated with blending and gray will blend and have little effect in the color. White and gray backgrounds will not cause a color cast in you exposure..
You may get a better reply in the elements forum. User there are familiar with what tools Elements has. Photoshop may have some selection tools not available in elements.

¿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!

How to protect an area in a chroma key?

Hi Folks,
I'm having a bit of a problem performing a key on a section of footage. There's an article in the foreground that unfortunately is the color of the greenscreen (bluescreen actually). Is there any way to 'protect' that area so that the chroma key filter doesn't affect it? The closest solution I've come up with is to duplicate the section of footage and move the copy to the next higher video track, then use a shape mask to frame the small section that is problematic. This works for the most part except that during the cross dissolve at the beginning and end of the clip. During the dissolve you can clearly see the shape of the mask as it doesn't 'dissolve' at the same rate as the dissolve on the underlying original clip.
I would imagine that there has to be a simpler way to accomplish this, but it's eluding me.
Thanks,
Chris

If you have to dissolve between composites, which is what you're creating with holdout and edge mattes and keys, you have to merge all the layers into one and then you can apply those transitions. You need to either key all the video you're using, export animation + which will maintain the alpha and edit into your sequence or export selects to Motion with sufficient handles for your dissolves and then import those Motion projects back into FCP.
You could create sequences of any selects, do the key in FCP with your mattes, import those sequences into your master which would also take care of any dissolves. However, Motion has a superior keyer and matte tools over FCP.
At any rate, this involves some organizational strategy over just applying a keyer to a layer in FCP.

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

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

Could I have changed a setting that is not allowing chroma key to work

Very frustrated....I know how to chroma key (the process) but the eye dropper color selector is not working at all Doing something wrong, or locked something but NO idea what would be stopping this...this is a tough one....
Thanks
Don

Try here:
http://discussions.apple.com/click.jspa?searchID=-1&messageID=3627066
If you are still stuck _trash the FCE Preferences_.
Al

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.

"Photo Booth" Chroma key

anyone know of a plugin in FCP that will do a "chroma key" like the way photo booth does its' chroma key effect?
pretty much instead of keying out blue or green, photo booth asks you to step out of frame then saves the image, when you step back into frame it keys out the background the same way you could key out the color green.
I haven't seen it, but I'm wondering if there is a way to do this in FCP.

ok so most of my experience is w/ chroma key, so that is how I think of this. I understand that FCP takes the difference layer & thinks of it similar to a green screen. you adjust tolerance & threshold to fine tune the matte / key. I also know that there is a little bit of noise in the video (I'm shooting these tests on -6db gain to get the cleanest image) which will make the same pixel "NTSC" (never the same color frame to frame.
but this is the best I can get it w/ my tests
http://i30.tinypic.com/2dt3k3b.png
http://i31.tinypic.com/2hg6b2q.png
http://i28.tinypic.com/15eju4o.png
this is w/ the threshold at -90 & the tolerance at 0. is this filter really this poor, because I've hit the wall in the parameters and it feels like I should have more room to move around. is this the best FCP can do? if so is there a third party app that can actually do this better?
or are there any more tricks, like progessive vs interlace, DV vs HD, etc.
these are some of my first attempts that were creating more of a blended key.
http://i30.tinypic.com/k53fo2.png
http://i26.tinypic.com/9saplg.png
http://i31.tinypic.com/fvdxth.png

Chroma key, dv

I want to make a video with 1-4 musicians. I´d like to have no background (=color white), "chroma key" seems to be the word. I´m using a dv camera. Would this work with the chroma key effect in FCE?

Ok, so here's a voice from the other side.
I do chroma keying all the time. It's nowhere near as fussy as people make it out to be. I've even used wrinkled green fabric with less than stellar lighting and still got acceptable results. OK, it's not videophile hi def on a big screen, but it's quite acceptable for most viewers on a 'regular' TV.
You would shoot your musicians against a green screen background (make sure they don't wear any green or blue). Put a white slug on your base video track. Then put your actual video on the track above it, apply the Color Smoothing 4:1:1 filter, then the chroma key or green screen filter, and you've got your musicians on a white background - kinda like the Morpheus & Neo 'loading program' scene in The Matrix. Depending on how it looks you might also need to apply the Spill Suppressor and Matte Choker to clean up the edges.
Will you like the results? You'll have to try it and see for yourself.
While it's true that the DV codec isn't nearly as good at chroma keying than other (higher end) codecs, it's not terrible, either.

Chroma key effect

Hi All,
I am trying without success to use the Chroma Key effect only in part of the frame.
Is it possible? Can I draw the borders?
Thanks
Shaul

Coming from a stills background, I once years ago saw a video of a post-processing person in naturally film working (there wasn't this digital thing then) and he showed how they used masks, flags, & mattes in front of the camera during shooting of special effects. It was very elaborate work, some of it literally done by shooting a scene with a mask (totally blocked all but one part of the image from being exposed, cut to shape and placed just so in front of the camera), then re-winding the film and shooting with a flag over part of it ... then re-winding and shooting another section with both masks to block areas and mattes that were colored or painted for either shifting color/tonality or detail level or simply adding background/foreground to the image. Some of his work the same footage went through the camera 5 or 6 times, complicated re-registration on re-winds and exposure controls & all ... but allowed him to do things that couldn't be done otherwise.
What struck me at the time was he credited his ideas tools & techniques to Ansel Adams, the way he'd mastered making prints with held-back/extended exposures using precise shapes and movements to mutliple dodging and burning tools. This guy just did it on base footage in-cam, which sorta blew my mind away at the time.
Btw ... I was pretty frickin' hot with those tools myself, b/w and especially color prints. LONG time ago ... and your "cuts out the garbabe" comment is as good as leads to no never-mind (whatever the heck that phrase really transliterates as ... )

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

How do I Chroma Key a group of still shots

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