Godox Xpro-S for Sony TTL Wireless Flash Trigger 1/8000s HSS TTL-Convert-Manual Function Large Screen Slanted Design 5 Dedicated Group Buttons 11 Customizable Functions.Emart Green Screen, Collapsible Chroma Key Panel for Background Removal, Portable Retractable Wrinkle Resistant Chromakey Green Backdrop with Auto-Locking Frame, Aluminum Hard Case, Ultra Quick Setup.Here are some great tools to help as well.Emart Green Screen, Collapsible Chroma Key Panel for Background Removal, Portable Retractable Wrinkle Resistant Chromakey Green Backdrop with Auto-Locking Frame, Aluminum Hard Case, Ultra Quick Setup Without having read the entire thread, perhaps a matte tool with spill from the image tab? Lightwrap from the BG will also help tie the comp and edges in as well. Often with GS footage I try to get a solid key on the hair and then I add a seperate layer for the fine edge detail, in some cases I use a solid colour matched to the hair with the alpha channel if I am having colour problems with fringing that I cannot correct easily. If the footage is a compressed codec there is not a lot you can do (maybe try setting the loader to 16 bit), if its sensor noise, try running some noise reduction (this may help compressed footage a little). My best choice was an ultrakey since the green screen footage i was given is not well lighten and used a poly mask to just focus on the actor's hair and after working with the spills inside the ultrakey i used a matte control to get rid of most of itīut some parts of the hair are completly lost and some weird white and/or black noise from the keying appears all of a sudden and i don't know what to doĬheck the matte generated from the key, this is prob creating the noise you are seeing, it may be a noisy alpha channel.

I was trying to remove the chroma key from an actor's hair but i cannot find my way around it I posted a link to a video in another thread.Įdwin Rivera wrote:Hi guys hope you doing good on the holidays You can make a core matte procedurally, by using a basic keyer with fill and choke. That fills in the center of the FG, so all you have to worry about are the edges. With black shiny hair, you should be doing a core matte.

This page gives kind of an overview of the many steps of professional keying. You don't care if the keying pass mangles the FG color, and you don't care if the beauty pass would key well.

You make a dupe of the greenscreen footage, key one for the matte, color correct the other for beauty, then apply the matte to the beauty pass. RichardJolly wrote:Lee, when you say do a separate pass, do you mean a separate layer? Doing relatively crude keying on PPro with difficult black (Indian) hair and clothes which kept showing key through, I had good success using a couple of layers, each optimised for a particular problem area and the sum of the two giving a much improved result.

Chroma key green removal