Very bad interlaced effect on Chroma Key filter

Hallo everyone,
Does anybody know why when I try to apply a croma key filter on Motion the image I get is like this ?
while when I use FC I get best result? Like this:
Is there any option to set in Motion Prefs? Thank you
iMac G5, CD, C2D, MB Mac OS X (10.4.8)
iMac G5, CD, C2D, MB Mac OS X (10.4.8)
iMac G5, CD, C2D, MB Mac OS X (10.4.8)

DV has a basic problem when trying to do a chroma key - that is it achieves its compression in the color channel - its color information is 1/4th that of its luminance resolution.
This is a quickie - using Conduit to key in Motion:
You can find out about Conduit here:
http://www.dvgarage.com/prod/prod.php?prod=conduit15&sub=samples
Check out the movie on keying DV for some insight into the limitations of keying DV. dvGarage also sells dvMatteBlast that handles all of this - a very nice product and they have a test version you can try...
post back,
Patrick

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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 filter...

hi,
I just need a quick rundown on how to use the chroma key filter in Final Cut Express 4. i'm a novice and have read the manual but i don't really understand it..
any help would be great
Jess

Try here and then go to Part 2:
http://www.kenstone.net/fcphomepage/chroma_key_part1.html
Al

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.

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.
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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.

When I chroma key what do I work on? Files in the browser first? Canvass?

...or timeline? If I have two 3 minute sections of green screen do i edit them first in the timeline sequence or do I first edit out the green screen and then create my short? Very unclear, it seems that I can chroma key but when I look at the movie in the timeline the green is still there!!!!! Check the two files I imported and chroma keyed and they look like the key was successful so I am seeing two different things Infuriating that I can't figure this out after 3 days!\\Thanks
Don

The way most people do it is to first add the clip to the timeline, then apply the chroma key filter to the clip. Double-click the clip and edit the filter settings in the viewer.

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

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.

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Hi all.
Well, I am not sure if I am using the correct tool for the job. I filmed my child’s choir recently and one of the songs they sing is the renowned Dr Seuss Grandmas Killer Fruit cake. Sending this across continents the exact wording will get lost so I wanted use a crawl title and show the words as they were sung.
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The source video is 1920X1080 30P from a Canon HF21 shot in MXP. The video looks stunning.
For the title, I went to Title -> New Title and selected Default Crawl.
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You may also get better results if you just burn a BluRay disc and play it on that xBox.
WMVs can be highly compressed files, designed to be viewed on computers, not TVs. It's quite possible that WMV format is what's causing the interlacing.

Very bad graphics with scrolling (MacBook)

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Chroma Key and Rendering

I've having issues with the video quality once I apply a chroma key filter and render the video. We film everything on a black background, but we still have to key some of it out to make it look smooth. Once I do this, the video loses quality and becomes slightly blurred. I then have to render, and the audio and video no longer match. The audio is just slightly ahead of the video. I'm kind of new to FCE and completely self-taught, so I'm guessing this issue is simply a setting I need to adjust. Any help would be greatly appreciated as I'm tired of all my videos looking blurry and unaligned with the audio.

For sequence properties,
Compressor:DV/DVCPRO-NTSC
Frame Size:720x480
Vid Rate:29.97 fcs
Audio Rate:48.0 KHz
Format:32 bit floating point
For the clip,
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Vid Rate:29.97 fps
Audio Rate:48.0 KHz
Format:16 bit Integer
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Chroma Key problems with Final Cut Express 4

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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?

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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.
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Very bad interlaced effect on Chroma Key filter

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