Pixel around edge on Chroma key

I have trouble to remove green edge around me. I add spill suprresor green. but it show gray on edge. i have to use soften edge that cause gray on edge.
I don't understand why bad pixels around edge. That cause me struggle to remove gray edge.
Why pixels?
I use DV on HDV camera but DV setting.
I use chroma keyer, color smoothing-4.1.1, spill supressor-green, FCP 7
I thought I have plenty light but apparently not. 5 lights. 2 dome on green, 2 key lights on me, one back light.
Thanks

yep your far too close
you must have a good separation between the subject and the background
as a rough guide in setting up; the subjects shadow coming from the main light should not be able to fall on the background, if it is, move the subject further away.
The chroma keyer in FCP is very basic and needs a very good lighting set up to make it function
good level of illumination, even flat lighting on the back ground, good 3 point lighting on the subject to separate from the background.

Similar Messages

"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

Final Cut 7 Chroma Keying

I'm using green screen files that were mpeg-2 muxed converted to quicktime files using ffmpegX. I key them with a white background, but when I export to a Quicktime movie I lose quality and there is an ugly, pixelated white line around the subject. What codec should I export with? I've tried ProRes (LT) 60p and the HDV-1080i50 codec just to fool around, and in those the subject looks better but the background becomes pixelated and grey instead of white. It was shot on a P2 Panasonic, the original size of the media was 1920x1080, 75,000 bit rate. I'm sure the conversion of mpeg-2 to mp4 took the quality down a bit, but it seems quite bad now. Codec suggestions? Thanks.

If you shot with Panasonic P2 (DVCPRO HD or AVCintra? Guessing AVCI) then why do you think they are MPEG-2 compressed (they are not), and why did you use ffmpegX to convert them?
FCP 7 imports AVCIntra as ProRes directly via Log and Transfer. And it is best to use ProRes 422, and not LT, if you intend to Chroma Key. NEVER go to HDV...that's just horrible to do to nice AVCIntra footage.
What did you use to Chroma Key? You don't specify.
WHite background? Not green or blue? That isn't a keyable color. VERY problematic. You shoot with a blue or green screen if you intend to key. Not white.
Again...AVCintra isn't MPEG 2...WHY did you convert to mp4? Sorry, but do you know what the heck you are doing? Doesn't sound like do.
1) Shoot AVCintra P2. If you want to chroma key...CHROMA means COLOR. White is luma. And the two professionally accepted ways of chroma keying are green and blue. Anything else an you have issues.
2) Log and trasnfer that to ProRes 422. Not HDV, Not mp4. Do not use outside software. The P2 workflow in FCP is the easiest tapeless workflow, as it was the first one.
3) Key out the color with the built in Primatte keyer, or with good third party options (DV Matte Pro, Motion, After Effects and Keylight...)
4) Comp in your background.
5) Export to your delivery format.
Shane

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

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

Chroma key problem

can I completely customise a colour selection? I have a shot with a lot of blue in it, deliberately, and a small area of green, basically a mini-green screen, that I want to key out. whenever I add the chroma key filter to it it seems to automatically remove the blue. I've tried using refine key>sample colour to choose the green, which works, but only adds the green to the blue. using the colour selection produces the same effect, I can't move the blue line beyond the blue section.
what I'm assuming is happening is that FCPX is automatically detecting the blus in the shot and "deciding" for me that this is the colour to remove, which it isn't. I can't find a way to use chroma keyer without this incredibly annoying automatic feature turned on. I've tried to 'reset parameters' in the chroma key inspector which just removes any adjustments I've made.
I'm new to FCPX having had to move from FCP7 because all our college computers got upgraded. I'm used to being able to use the old key effects where you could select very specific colours and have complete control over range, spill, etc. so this new lack of control is incredibly frustrating.
thanks

I've tried reseting every one of the seperate selections and nothing happened. playing around with it more I've found that dropping the strength to 0%, effectively removing the key and then using the refine key to select the green works, which seems weird to me. I can't adjust the strength beyond 0% though as that still effects the blue in the shot.
it's the automatic nature of the keyer that is bothering me, it seems to select the colour from the shot before I've done anything. in a previous green screen shot, where it was a more standard setup it automatically selected all the green in the scene. the control with the sliders, refine key, etc. are great, I just wish there was a way to turn off this initial auto-select.

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

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.

Problem when add Chroma Key filter to DVCPRO HD

I ingested some DVCPRO HD 720Pn footage into FCP. The footage was shot against a green screen. I started by creating a 4-point garbage matte around the person and then I added Color Smoothing and when I add the Chroma Key filter, the green screen comes back and a large grey area appears on screen. What is going on?

Ok, I just tried it again by creating the 4-pt matte and as soon as I drag the Chroma Key Filter to the clip, the points disappear, and the entire green screen comes back. Is this the way it is supposed to behave? Is there some type of apply button that I need to select after adjusting the last point of the garbage matte before doing anything else?
Thanks!
Message was edited by: rick.pearl

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.

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!

Multicam editing multiple chroma key background

hi,
I'm shooting and editing interviews with 3 cameras with a Chroma Key green screen.
Cam 1 - Wide angle shot, showing both the interviewer and the guest.
Cam 2 - The interviewer
Cam 3 - The guest
Now I need to do a multicam sync based on audio.
Then I have applied keyer effect to each and gets perfect chroma keying for each camera and had no problem editing using Angle Viewer.
Now my problem is ALL the backgrounds in Cam 1,2,3 are the same. It looks kind of weird.
How do I sync different background to each of the Camera with Chroma keyer and Multicam editing?
Is there a way to link a different background to each camera?

martinstartin wrote:
I am working on a video after using a chroma key to take away the green. I am getting a flicker on the edge of objects that meet the areas where the green has been stripped, any advice how to rectify this?
martinstartin ALSO wrote:
Obviously this is the basic process, but what I'm after with this message is any advice/tips, or common problems people come across when doing this. I will do a practice one before I do the job but don't have a green screen, how easy is it to do against a plain white wall?
Which is it? Cannot be both.
martinstartin ALSO wrote:
It was shot on a Sony EX1 then converted using their software into EXCAM. Cant' remember the rest of the settings as I don't have it with me, hope this helps you to help me!
The original footage is meaningless. You've said you got the clips after the key was pulled so you're looking at a self-contained movie with an alpha channel.
bogiesan

What is the best chroma key software for a Mac?

I have the lighting, the green screen...all I need now is the software. I'm led to believe there is a better program than Photoshop for use with chroma keying...I just need some suggestions! Anyone?

If you're doing stills and not working in video Photoshop will be more than adequate for what you need. But, unless you're going to drop your subject onto a greenish sort of background, I would stay away from greenscreen and go for a tone that will give you contrast around your subject and a color that is in the same vicinity of what you're going to be using later. Unless you really know what you're doing, and often when you do, you are bound to get some degree of wraparound from the background, and if that wraparound is green, it will only complicate your project.
Having done more of these projects that I care to think about or even remember, take my advice... or not.
The masking tools built in to Photoshop CS5 are really pretty good now. That's what I would use, but if you don't have the latest version or haven't mastered them yet, there are several third party masking programs you can try. Fluid Mask, MaskPro and Ultimatte Knockout come to mind. Ultimatte was the tool of choice for a long time but has suffered from zero support or updating from Corel. The other two offer 30 day trials. Have fun.

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.

Chroma key backgrounds

Hello, I have been asked to do a job editing some stuff shot on chroma key backgrounds and would be using there editing suite. I've never actually done this before but looking at a couple of tutorial videos on youtube it seems pretty straight forward. My understanding of the process so far is;
Make sure there aren't too many creases/drop shadows
Put the original footage in V2
Then effects - Video filters - key - chroma keyer
Eyedrop on the green background then move the sliders
Edgethin and soften the edges
Then the spill suppressor green/blue and do any cropping etc
Put the backgound in V1 and then you're done.
Obviously this is the basic process, but what I'm after with this message is any advice/tips, or common problems people come across when doing this. I will do a practice one before I do the job but don't have a green screen, how easy is it to do against a plain white wall?
Any advice would be great, thanks in advance!

martinstartin wrote:
I am working on a video after using a chroma key to take away the green. I am getting a flicker on the edge of objects that meet the areas where the green has been stripped, any advice how to rectify this?
martinstartin ALSO wrote:
Obviously this is the basic process, but what I'm after with this message is any advice/tips, or common problems people come across when doing this. I will do a practice one before I do the job but don't have a green screen, how easy is it to do against a plain white wall?
Which is it? Cannot be both.
martinstartin ALSO wrote:
It was shot on a Sony EX1 then converted using their software into EXCAM. Cant' remember the rest of the settings as I don't have it with me, hope this helps you to help me!
The original footage is meaningless. You've said you got the clips after the key was pulled so you're looking at a self-contained movie with an alpha channel.
bogiesan

Pixel around edge on Chroma key

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