Strange Results keying out Green Screen Using Keylight

Hi,
I'm keying out a green screen using keylight. When I look at the view "Status" in keylight I notice a strange result that I can't seem to resolve. Inside the solid area of the matte (the actor) his pants and shoes area are filled with tiny light green dots. They seem to be causing distortion on my final render.
No matter what adjustments I make to the matte I can't seem to get rid of these. I've attached a few small GIFs to show the issue.
Is there anyway to remove these dots so they are "solid" within the matte or a way to color correct them inside the solid area of the matte in the final result?
Any advise would be greatly appreciated.
Regards,

That's what the Despot options in the Screen Matte section are for. Alternative options include Minimax, Simple Chocker or third-party plug-ins like Re:Fill from RevisionFX. Also make good use of the various rollback options to control your Alpha levels.
Mylenium

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Exporting keyed out green screen footage

I've keyed out the green screen from my footage of someone standing. I now wish to export it and send to someone else to do all the graphics behind the person.
I've tried exporting as a quicktime but when they recieve the footage they can't put any background SFX in.
Help anyone?

to export your keying you will have to make sure that your export includes the corrcet alpha channel.
look in your wireframe/ image drop down menu above the clip viewer and select alpha
you will see that by keying out you are removing the alpha (white elements) from the area you dont want to keep ( ie. the blue screen) you will need to provide your fx guys with this info.
try exporting your seq as a quicktime whih supports alpha info (like animation) and choose millions + in the colors to include the alpha.
or you can provide the alpha info seperately on a qt of the same clip duration - copy the clip ad use the extract filer to copy the alpha ino to the RGB channels and provided your FX guys with both the normal clip and the B+W clip - if they know what hey are doing they can put these clips back together in their FX package to just keep the non-bluescreen areas of the clip.
oes that make sense

Tools for keying out Green Screen HELP?

I have used the Chroma Keyer with the eyedropper tool and also the 4 point garbage matte, but I still get flecks of greens popping up around the edge of the piano. How can I fix this, as it is obvious they are there and moving when I play the clip with the background shot behind it.
Also, what settings would you recommended for blending the piano in with the rest of the forest?
Any help appreciated, thanks
(No background:) http://www.flickr.com/photos/35672265@N06/5153559019/
(With background:) http://www.flickr.com/photos/35672265@N06/5153568229/

Well, the obvious thing is that the piano is far too dark to be in that forest.
The forest shot seems to be a fairly bright overcast day.
The piano should be lit accordingly, in other words a softbox
or bounce lighting coming from vaguely overhead.
You can add something between the lights and the piano to cast a shadow
that looks like a tree limb. If the trees move, the shadow should move.
The greenscreen should be located well behind the piano and lit very evenly.
Shadows on the greenscreen cast by the piano can really mess things up.
Adjusting Softening can sometimes help with sharp flickering edges.
Depending on your camera's video format (colorspace), you will probably
get better results insert a Color Smoothing Filter before your Keyer.
If you want to learn more, read this:
http://books.google.com/books?id=2lMK4BCRvt8C&pg=PT292&lpg=PT292&dq=fcechromablur&source=bl&ots=-mqf7uQeNz&sig=YO-bJ9SzYYz1a3QAZXyeIuZ8Vk&hl=en&ei=60TaTKakF5TksQO9m-XkBw&sa=X&oi=bookresult&ct=result&resnum=7&ved=0CCoQ6AEwBg#v=onepage&q&f=false

How do i use my own image with keying (or green screen)

how do i use my own image witrh keying (or green screen)

Put your sky clip on a layer below the clip you want to key. One or the other will be a connected clip. Apply the Keying filter to foreground clip (the one with the green screen). The green will be seen as transparent and the sky will show through as the BG. Adjust as necessary in the Inspector.
Good luck.
Russ

When keying a green screen shot, the image being keyed goes a little out of focus when the effect is applied. How do you keep it sharp?

When keying a green screen shot, the primary image goes slightly out of focus when the effect is placed. What am I doing wrong??

Make a letterbox in Photoshop -two black stripes and a hole in the middle, place it on a higher video track.
Or download this: http://web.mac.com/andymees/Freeand_Easy/main/Entries/2008/1/23_Andy’s_Letterbox2.html

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Been using the hpx300 for approx two months mostly in 720p with great results. Just wraped our first true HD green screen shoot using avc-intra 100 at 24p with the intent of producing a white background mac-ad type, 5 min talking head corporate piece in SD. I had the camera mounted at 90 degrees to capture the 1920 pixels of subjects head-to-toe so I could then manipulate individual zoom and placement in post within a SD timeline. I've got two issues: one is that the images in post seem noisy, and any movement, as in subjects walking across screen, is a total mess - I say seem because all recording and playback on location looked just fine on a 1920x1200 monitor via blackmagic i/o box. I normally do basic editing in premiere with much help from AE for composting and color correction etc. Keylight has always worked great in the past. I must have something wrong with settings in the avc-intra HD content? Secondly, workflow is a bit convoluted... Keylight doesn’t apply in premiere, and AE doesnt do avc-intra. The workaround is to export avc-intra premiere timeline to AE and key that. In theory it should work just fine, but again my images are just noisy. Could this PR to AE workflow degrade image quality? Any suggestion greatly appreciated! Thanks, Matt

Poster must be busy shooting more stuff....
Found some info on that " hollywood camera " site.....
IS HD REALLY HD- GREENSCREEN ISSUES
These plates were all shot with an HVX-200, mostly with the 100 MBps DVCPROHD codec. This was good enough for us for Visual Effects For Directors because we had specific needs, but we don't consider them good enough for full film production.
Here's why:
COLOR SAMPLING: We      prefer all green screen to be 4:4:4, so every pixel has a unique color.      4:2:2 only updates the color every second pixel, but green screen      desperately depends on a sharp, accurate, scientific color transition.      With 4:2:2, you're operating in half resolution. But if you downsize, like      we downsized to 720x480, you're at full resolution again. So because we're      delivering in SD, the plates are 4:4:4 for us. They'll just be 4:2:2 for      you if you're delivering for an HD movie.
PIXEL ASPECT: When      a camera is listed as 1920x1080 HD, that's really stretching the truth.      You'll see that all our plates are in 1280x1080, which is the original      camera resolution, meaning that the plate has to be stretched 150% on the      X-axis to be in the right aspect. In other words, you're only operating at      66% resolution on the X-axis. Did someone say "smearing"?
NOT EVEN 4:2:2: By      the time 1280 has been stretched to 1920 to make up for the 1.5:1 pixel      aspect ratio, 4:2:2 has been stretched out too, basically becoming      4:1.5:1.5
LENS RESOLUTION: Nobody      besides DPs really thinks about the fact that a lens has a resolution.      Zoom lenses are made of many lens elements in a clever configuration, and      each element introduces some blur. That's why top-notch DPs like to use      prime-lenses cut from diamonds from King Solomon's mines, because if the      lens limits the resolution, it doesn't really matter how well you record      the signal after that. Some people have come to the conclusion that the      HVX-200 is really a 720p camera, because the 1080p resolution doesn't      really come through. We tend to agree, but we don't want to start a      religious war, and will say that it's just our personal experience. On top      of that, we've used a $500 wide-angle adapter on some shots, which really      butchers the pixel resolution, so even though we're recording at 1080p,      we're really not. But 1080p allowed us to record with the 100 MBps      DVCPROHD codec, which meant that we still got a very respectable resized      SD signal out of it.
BAYER PATTERN: Most      cameras use a Bayer pattern on the chip, so that every pixel is EITHER      Red, Green, or Blue — but not at the same time. A full Red-Green-Blue      pixel is derived mathematically by interpolation. It's no wonder that some      organisations are starting to call for an objective standard for what      really constitutes a pixel, because a Bayer pixel is definitely not a real      pixel — more like half a pixel. By the way, there are twice as many Green      pixels than Red or Blue in a Bayer sensor, so you're far better off using      green screen than blue screen on video.
HALO: Even      with the internal sharpness generator completely disabled, the HVX-200 has      a clear black fringe several pixels wide on the right side of actors on      green screen. Panasonic vehemently denies it, but it's very easy to see.      In this      picture, notice that white areas get a fringe, but darker areas, like      her legs or hair, don't. Panasonic's explanation has been that it's just a      shadow from the lighting (huh?), but the halo is on the KEY side — so the      only plausible explanation is a quantum singularity localized to the actor      which bends light as it passes by her body. We think it comes from the      Bayer pattern, but we're not sure. And Panasonic shouldn't feel bad. A Nikon      D80 does it too.
HEAVY COMPRESSION: Even      though it seems like a lot that we're recording at 100 MBps in the      DVCPROHD codec, if you calculate the bit-rate per true output-pixel, we're      actually still compressing at a whopping 15:1.
NOISE: Video      cameras in this price range tend to have rather high noise, and on top of      that, they're usually 8 bits per color channel. This can result in some      highly visible shadow noise that almost pixellates when the brightness is      just on the edge of a bit-threshold. You can see some of our plates doing      this.
An HVX-200 and all its brothers and sisters in its price range simply don't have the horsepower for full pixel, high dynamic range, high resolution, uncompressed production that you need to do truly professional green screen. Green screen is ultimately a scientific process, and is one of the most demanding things you can do with your camera. Regular live-action images are MUCH easier for your camera to handle, so for regular filmmaking, your camera is fine, don't feel bad.
We have nothing against the HVX-200 or its brothers or sisters — come on, we shot a whole DVD set about visual effects on it — but it's important to really understand what the limitations are. It's fine to own your own camera for regular filming. For green screen, you should consider renting the very best you can afford — and make every decision right, which is where we come in.
Thanks for reading!
Rod

Subjects are grainy and have less resolution when I key out green background

After I have chosen the color of the green screen to key out and adjusted my 'clip black' and 'clip white' setting, I am still finding that my subjects are grainy and have lost some resolution. Any suggestion on how to fix this?
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thanks!
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Hi,
Another tip, is to not allow Keylight to do a "final result" output, rather set it to do a "intermediate result". I dont know if this is a best practice, but I find that AE does some pretty hectic colour correction if allowed to do its own thing. Once I get an intermediate result, I usually add a copy of the "Spill Suppressor" effect.
I find that the final result adds a lot of edge crawl to the key I am pulling (although I am aware that I am still working at getting the correct balance to Screen lighting and Talent lighting)
Pierre
PS (Happy New Year to everyone - I look forward to another year of problem solving and great chats together!)

Strange problem when editing green screen clips

Hi all,
I work as a technician in a High School.
Recently I was doing some green screen work with a class, we were using 10 macbooks to edit. Out of the 10, 6 had this same problem;
At some point after inserting the green screen clips and the background, the project part of the iMovie window stops displaying anything, iMovie acts like the clips are still there though (If I move the cursor over the now empty space, I still see a preview in the preview window). But nothing is visible and nothing can be moved or changed.
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It is not clear from your post what you are trying to do.
Screen shots would help.
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V2- Animation
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MtD

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White areas when keying a green screen footage.....

Hello there!
Have a look at the YouTube video link to see a peculiar problem.
Do you jappen to know of a solution around that?
http://www.youtube.com/watch?v=RD1y5-yiasw
Thanks!
Yiannis.

Yes you are right my friend....
It is a 1080i footage shot in a photographic studio with proper and even (diffused) lighting.
The comp is 1080 (resolution).
I first refined the footage (smoothed even more the green backdrop, eliminated even the slightest noise (it didn't have much anyway).
I exported it totally uncompresed (Quicktime mov - uncompressed)
and I reimprted the perfect and uncompressed clip and started apllying some effects first in order to smooth any hard edges and generally to prepare the clip for keying.
But when the actress joins her limps or arms and there is a very small area between her limps mayby Keylight cannot grab the green color in this tiny area and I get these white
edges.....
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Strange Results keying out Green Screen Using Keylight

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