Subtitles of the Movie

This movie will cover several ways of combining keyers and other nodes to optimize your keying process. First, we'll begin my learning to how to key DV footage. Now, DV footage can be particularly problematic because we have significant amount of data loss. When we go to our keyer, you can see this in our alpha channel. We have some crunching on the edges. So, this particular work flow is good for reducing or removing those crunchy edges. Your key won't look as good as it would when working with HD footage or film, but it least it won't look pixelly. After your file in node, you would apply a color, color space node. And the color space node you would set up like this. In space RBG and out space YUV. Next, you would apply a filter blur node to it and the blur parameters should be X8 and Y1. Down below, where it says channels, set that to green and blue. After you've blurred in the X direction on the green and blue channels, you can return back to RGB color space and continue keying. Now, here are a couple of different options for creating a hard matte and each of these start with that particular DV work flow. One option is to take your image and create a hard matte using Primatte. After this, you would attach a dilate erode and your dilate erode would be set to channel alpha and pixels 1 in the X direction. Now, what that serves to do - it fills in any holes there might be in your matte. Then we do another dilate erode, going inward, crunching our matte down a little bit. And this, I would set to a minimum of minus five and this I would set to a maximum of minus five and a maximum of negative three or so in the Y direction, so this could get smaller if necessary for crunching the matte. After that, I apply a blur at five pixels and again, only on the alpha, and all of this I've piped into my Keylights third input, which is my holdout matte. And, in my Keylight, I - what I do is, I select a screen color that takes the biggest advantage over that holdout matte. After I've done my Keylight, then I create another branch coming off of my image node and this branch coming off of my image node, I would set to go through a spill suppress to get rid of the green, so I make sure that my screen color is set to green. And I pipe that into my key mix second input, which is my foreground input. My background input is this background image. And by combining my foreground image, my background image, and my foreground matte, I end up with this as my composite. Another option is to take my image and, using Keylight, create as strong of a matte as possible. And also with the color replace, with effect alpha turned on, my source color different from my replace color - my source color, of course, being my screen color - I set my saturation fall off to one, my value range and value fall off to point two and point five. After that I apply an invert on my alpha and I pipe my color replace key and my Keylight key into a max mode and what the max node does is it takes the highest values from each of those keys and combines them. I kind of get the best of both worlds here. After my max node, I can apply a dilate erode set to alpha minus one, and again, use my key mix. So I'm running that through my key mix for my compositing. It's a good idea to create several node trees, try different keying techniques on the same footage, and then you can compare your different results and figure out which one is best for your project. For more hints on how to combine color, layer, and keying nodes to optimize your keys, including tips on green and blue spill suppression and edge treatment, refer to the Shake 4 user manual. Chapter 24 provides a number helpful node tree recipes to optimize your keying process.