I’m just like this is so simple how did I not think of it.. I’m had some spill off into my hair… that tilt would fix all that..

You mean a hard alpha matte so there is 0% see through right?

The reason why you use the keyed footage as a matte is that, when keying you disrupt the true original colors. And using it as a matte will keep the original colors... After that it's just a matter of chroma-despill and you're basically done.

I don’t understand. You key the subject out, then what?

I was saying the same thing" I've never seen one tilted forward like that before!". Time to get my google search on lol!

@@FLOWVISIONMEDIAMost of the time it is not possible because the greenscreen is not a piece of cloth but a concave built wall.

Hey Kevin, nice to see you around here! Thanks :-)

I am not cinecom but i can answer that. First you will need to color correct the flat (im assuming log) footage no matter what. Keying will not work well with log so you will have to color correct every clip you want to key before you can key it. If you shot the footage under same lighting conditions you wont have to color correct clip for clip, you can color correct one clip and copy paste the effect. If you have the option to turn on the lut while shooting(with external monitor or if your camera supports input luts) that will save you time color correcting later on. This way you can see how the end result will look and still have log footage to work with. So to answer your question. Step 1: plan out the final result as much as possible. Take note of the lighting and camera angle of the final background that you will use. Step 2 : Record 1 greenscreen shot and try to quickly color correct and key it. If it works shoot all your scenes. If not, adjust your set up. Step 3 : Color correct the log footage to get the best key possible. Step 4 : Render your keyed footage with transparant background(alpha channel) Step 5 : Match your keyed footage to the background Step 6: Match your cgi to the background and to the keyed footage Step 7 Precompose everything and color correct it as a whole Step 8: render the end result Now you have the option to always take a step back and adjust the color of anything in the scene. When shooting log, your iso will be higher than when shooting rec 709. So if you are in a studio situation you will need to nail the exposure perfectly because for the best results in terms of noise you will likely have to overexpose (depending on the camera). This means you will need to lower the exposure back down again after or before applying the lut. Hope this helps

@@Yodd This answer is amazing, thank you so much for taking time to write it! Step 4 Is something I didnt do but then it makes sense, as otherwise it's too slow to work I guess! I have clean footage in my greenscreen, I can key out easily (all tripod shots so no surprises) and make a proxy of it - otherwise, too slow in premiere. Thank you again! ;)

@@MorZarCH you are welcome mate, good luck👍🏻

It works with all their assets! It's amazing!

Even easier with 3D keyer

This entire channel is about the program Adobe Premiere Pro :)

OBS green screen kind of sucks compared to DaVinci resolve or Adobe premiere, etc

mx master 3

this mouse is actually visible at 1:57 on the top of the Inovativ Cart

Adobe After Effects

Yup :-)

People who want to be in the film industry go to film school. People who want to learn how to edit KZfaq videos watch KZfaq.