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

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Chroma key after fixing movement in motion

I created baseballs flying around in fcp with a sky background. The moves were jerky so I sent to motion and smoothed the movement. I brought it back to FCP applied the chroma keyer to remove the green screen. When I do that the green goes away but the background goes black. Why does the sky layer below disappear when I turn on the chroma keyer?
Also why doesnt motion have croma keyer. Color keyer does not work as well as chroma key.

dougleax wrote:
I created baseballs flying around in fcp with a sky background.
You created them? You mean you edited together some video clips of baseballs? Or you mean you animated a graphic of a baseball? Big difference. Big difference in how we will advise you to move along.
-It is a video of rotating baseball against a green color animated to look like being thrown.-
dougleax wrote:
The moves were jerky so I sent to motion and smoothed the movement.
You should only process the original media. I cannot tell from this statement if you know how stabilization actually works. If you are chromakeying the stabilized video clip, you may want to perform additional work on it. For instance, is the shutter speed high enough to reduce image blur? Is the footage interlaced?
-No stabilization used. The movements is FCP were Jerky between keyframes. FCP motion is hard to control. Thats why we use Motion...to smooth the movement..correct?
dougleax wrote:
I brought it back to FCP applied the chroma keyer to remove the green screen.
Ah. So your original statement about creation in FCP was misleading or incompletely descriptive. Is this a still image of a baseball against green? Or are these video clips of off screen hands tossing baseballs across the screen? If they're video, don't stabilize them, reshoot it with the camera on a tripod.
-I brought it back to FCP. When I did the original Chroma Keyer was lost.-
dougleax wrote:
When I do that the green goes away but the background goes black. Why does the sky layer below disappear when I turn on the chroma keyer?
Then you're not using the keyer properly. You may be looking at the matte or the processed key and not the output or final image.
-turn on keyer the green goes away and the sky image appears where there was green, but the rest of the background goes black.-
dougleax wrote:
Also why doesnt motion have croma keyer. Color keyer does not work as well as chroma key.
The blue/green keyer in Motion is fabulous. Why are you using the color keyer?
-From what I see in tutorials, people suggest to use Primatte RT. In FCP Color keyer has more control over how it affects highlights and shadows, Hue range.-
Motion has 5 keying options. FCP has about 10. I just like the was Chroma keyer works for my purposes.

Possible to disable arrow (up/down) key frm moving the record?

Hi,
Is it possible to disable the arrow up/dowm key from moving to next/previous record?
Thank You
Regards
Wai Chong

The best way to control what keys do what when you are on a
given item/block/form is to create key-triggers at
item/block/form level for each key-event you wish to control
(key-exit & key-commit absolutely necessary), and, afterwards
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Real-Time Chroma-Key Motion

So I have an idea brewing in my head and am seeing if it has any possibility of working.
I was wondering if it would be possible to be take in video and have a motion element (a pre-built, constant element) move around the AE composition in relation to an object moving around the real world camera composition of the video - using a chroma key method of say a green screened body part or paper airplane waving around.
Far fetched maybe?
Thanks for any response

Adolfo: First of all thank you for your response! I appreciate it so much.
I have gone and looked up Matchmoving, but that is not quite what I was looking for. On the Bonjour site (2d3 company) I did find another product, "TacitView" that seems more like what I need. It tracks movement in video.
Hopefully I can better explain myself this time around :)
I want to set up an unmoving camera, have the movement in the video be tracked, and have a graphic map itself to that movement.
A scenario example: A camera is at the end of a hallway. It is recording and I walk into its view. Software detects my movement. A graphic I created then moves side to side as I do.
My ultimate goal was to have that graphic then be projected/displayed back out so It creates a mirror effect. Except instead of your reflection you would see a graphic element moving along with you.
I'm pretty sure after effects wouldn't even be the software here, and it will probably be multiple software's routed together, but it's the only one I know that might even touch this idea.
Thanks for any help!

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.

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 ... )

Chroma key effect in Premiere Elements

If I buy Adobe Premiere Elements, am I able to use chroma key effect and receive a clean video free from green colour from the background, even around the hair? My experience is that it is not possible with cheaper programs.

peterwallgren
What computer operating system would you be running Premiere Elements on? If Mac, be advised that Mac does not have Chroma Key, Green Screen Key, or Blue Screen Key.
A lot of variables in the green screen videography and photography. Best download and install Premiere Elements 13 and determine if it works for you in green screen workflow.
Generalizing, I think it does a good job. But a generalization is not good enough when you get down to a specific setup with specific details.
We will be watching for your follow up if you decide to look at the Premiere Elements 13 Chroma Key effect (Expert workspace, fx Effects/Keying/Chroma Key).
ATR

PPro v2 chroma keys - help?

I'm working on a movie clip, I'm following lesson 13-4 from the PPro classroom in a book, and I want to use the chroma key to key out the sky in the sequence and superimpose an alien sky onto this clip. I've got a still image of an alien sky.
Here's what I did so far: I moved the video clip from Video 1 up to video 3 and the still image to video 1. Currently I'm trying the drag the Chroma Key from the Effects panel onto one of the video tracks as indicated in the lesson, but I keep getting a symbol that is a circle with a slash through it as I try to drag the chroma key onto one of the video tracks.
I'm a bit confused as to where exactly do I place this chroma key in order to key out the sky at this point - in the video 1, video 2 or video 3 tracks and do I place it before the clip starts or after the clip ends?
How can I drag the chroma key onto the appropriate track without getting this "no" symbol?
Also, I'm a bit confused by the instructions from this lesson - first it says to drag the the photos onto the video 1 and the video 2 tracks (but currently I'm working with only 1 photo at this point) and then it says to place the photos after the clip you worked on earlier - what exactly does this mean?
Thanks in advance.

hiya.
sounds like fun, doing the 3d stuff etc..lots to learn.
I only have cs3 so dont know about version 2 and what you can or can't do. A lot of people here will probably remember that version though, and help you more.
Also, I have maya and only use that ( and don't use it that much at all because like you I am learning how to use it and it is complicated for my snail - like brain ).
However, in terms of general work flows maybe I can mention a few things that will help.. and just remember I'm talking about maya and cs3.
I also have windows xp and mousey computer, so I can really only work with SD movies. HD makes my computer gasp for breath.
So I set up my projects in maya with the idea that in the end I will export it for SD to go into cs3 with that...
Consequently I have several options on the exports from maya...
a) numbered still images
b) avi movie
etc.
I have found that the numbered still images are nice to work with in cs3.
So I set up the project in cs3 for export to SD, which means even though I'm using numbered stills from maya ( with alpha channel ) I set up my project as SD NTSC 720x480 and choose par to suit my 4:3 or 16:9 aspect ratio ( usually I use 16:9 with par of 1.2 ).
Then I also choose a video renderer in new project that matches what I'm going to export more or less ( usually lagarith avi ).
In CS3 the alpha channel comes in with the numbered stills and that is where I drop in whatever background images or stuff I want to add ( like what you were saying about using chroma key to make a new sky ... the alpha channel is transparent, so you just add that sky without chroma key necessary ).
wav files are nice to work with in CS3 and I've never had any problems with them.
hope some of this helps and good luck and have fun !

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 problems with Final Cut Express 4

I had no problems with the Chroma Key in Final Cut Express 4 before. It was working perfectly fine untill I brought anther Macbook Pro last year in August. I installed it on the new computer and then the Chroma Key didn't work. Final Cut opens up and the other filters work fine but I can't get the chroma key to work. Any possible reasons?

I am experiencing an interseting problem with Final Cut Express on OSX Lion. I teach in a Mac Lab at my school. Today I was trying to teach Chroma Keying- which I have been doing for years - but for some reason the color selector would just not key out anything. I tried it on four or five different machines, and it turns out that ONLY my machines that were running OSX Leopard would allow the Chroma Key to function. I have two machines running Lion and the Chroma Key would not work on EITHER of them. I followed the exact same steps, and all of the settings were identical. The hardware was also the exact same package from machine to machine. I feel like there must be an issue with OSX Lion that is breaking the Chroma Key filter. Can anyone help?

Chroma key and backgrounds

I have an hd vid cam and a lime green chroma key background. How can I as painlessly as possible, place a background into imovie project to make it appear as if I am in a studio, a location, etc.
Thanks

Ron,
Here's a recent thread that may be helpful:
http://discussions.apple.com/message.jspa?messageID=1893711#1893711
Matt

Noise reduction on almost chroma key edges

I have a footage of a person in a white tee shirt in front of a very intense bright yellow backgroung (It looks like a chroma-key).
On the edges of the person and specialy on the edges of the white tee shirts (that is a over-exposed) there is some noise / artefacts.
I desaturated in FCP with the 3 way filter for the yellow to get less intense.
I checked plugins sites like: Natress, CHV, Kurt Hennrich and revisionfx and they have noise reduction plugins.
But I was wandering if anyone knows what's the best plugin (or filter) for this kind of noisy / artefact edges problem ?
Also, is there any setting in Compressor that could help to reduce this ?
I filmed on DVCAM NTSC, and this is for a DVD (replications).
Thanks.

Wow, you've got a bunch of problems here starting with your camera of choice which I'm assuming since it was DVCAM, was something like a PD150/170, the choice of video format which is extremely compressed, the exposure.
I think your main issue stems from video format and exposure, however. Depending upon the camera model, you probably should dial down your chroma settings and for something like this, I may have been inclined to under-expose a bit.
There is a very good reason that good lenses cost as much as cars or houses. Cheap cameras with cheap lensing exhibit a bit of chromatic aberration which you've also got going on. http://en.wikipedia.org/wiki/Chromatic_aberration
Your best solution would be to reshoot with a more robust video format if possible. You can try creating an edge matte for the yellow background and applying a light blur/defocus to the edge matte.
If Goggi comes up with a suitable solution be sure to post the details for future readers.

Chroma keying, iPod commercial-style

Hi all,
I'm working on a video to project in the background of a play. I've shot some footage of unlit subjects dancing to a white background, creating an effect similar to the iPod commercials. Now I'm preparing these images for another guy to add animations to.
I've used the Color Correction 3-Way filter to turn the white into bright green, and to make the subjects as dark as possible. I've gotten rid of any unwanted objects or shadows in the frame using negative Contrast (we had very limited resources to shoot this, so the background is not evenly lit). This has worked very well. I've also used the Blue and Green Screen filter to put the footage over a green matte. The resulting black figures dancing to a bright green background, at first, look better than I could have hoped.
Except for one thing. When I export, or even render these images they end up looking terribly jaggy. I know this is a common thing with FCP chroma keying. The problem is, whatever I try (Matte Choker) it never really seems to improve. I was reading up on Nattress's filters and how Chroma Sharpen might help fix this - since the footage is PAL, there's not much else I can do in FCP in terms of color smoothing or anything. I tried the demo and it looks slightly better, but still not good enough to put it up on a beamer.
Am I overlooking something, or should I not have shot this against a white (to be color-corrected to green) background in the first place?
Any advice is appreciated. Thanks!
-ruben
PowerBook G4 1.33 GHz Mac OS X (10.4.8) FCP HD 4.5

Presume it's dv you're working with - you might want to have a look at dv matte pro plug in - it really can do an excellent job.
http://www.kenstone.net/fcphomepage/review_dv_matte_prodouglas.html
Another way to go would be AE and Keylight - might not be an option if you're strapped for cash.
Yet another option is Shake - but you may not have that.
Shake an AE both would involve an ugly learning curve.

Tip for chroma keying.

Hi
I am on CS6.01 and have a greenscreen clip. I have used the 16 point garbage matte and the croma key filters to remome the green background.
There are still some dark green spots left because of my somewhat bad lightning setup, even after keyframing the garbage matte, so it moves according to the persons movements.
If I turn up the similarity higher, I start getting "holes" elsewhere, which I rather do not want.
I was thingking if it would be possible to export this clip including the keying as f.ex. UT/AVI with maximum renderquality, reeimport this clip and put another chroma key filter on the "last" spots, which are quite similar in colour, to make them go away, or could I even drag this sequense into another new sequense and add the new chroma key to this one?
Thanks for any input on this issue.
/Ulf

Well I just tried the "drag seq. into a new seq." and it worked like a charme.
Love Premiere
/Ulf

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?

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