Awesome tutorial... I used to use Adobe After Effects for Keying as it is simple, but this tutorial has changed my views haha... Thank you for such a detailed tutorial...
Glad to hear :-) Yeah with Fusion you have some simple solutions like the Ultrakeyer and some tool like this one which has pretty advanced settings for when you need them...
Using a clean plate slows down the clip render times to a crawl for me. I've been keying out the green screen in the Color tab using the Qualifier set to 3D (as opposed to the default HSL). Seems to work just as well and doesn't slow down the program at all!
I'll probably do a comparison one of these days. But if you need to work on detailed stuff like hair detail, really good edge quality, shadows etc., the delta keyer is still the best option. Yes the clean plate tool does take some additional processing power and you might render the clips over the coffee break - but considering all the effort otherwise involved with high-quality keying work that shouldn't be a big deal.
I am trying to figure out how to mask a section from the clean plate? I have an off green item that the clean plate zaps to gray and I need to mask that so it doesn't touch just that item.
have an object I want to remove and make transparent; I used the planar tracker to outline the object throughout the video, by hand as the object moves and disappears; how do I apply the garbage matte with the tracking data? Do I have to perfectly match the polygon for the matte to the starting polygon of the tracker so the matte tracks the object?
Thanks for asking: while connecting to a node, just hold the alt key (option key). When you release the left mouse button on the node you see a tool tip with all available input knots of that node. Then you can select. It's often easier than remembering which little triangle the garbadge matte was...
very useful, thank you. so helpful to see things like the Clean Plate technique worked through and the various sections like Tuning, Matte etc. a pity the source material is not higher quality (though it is fantastic of HCW to make it available) as it seems it is not possible to get a really nice result at this resolution. the diaphanous dress seems to work astonishingly well.
hey im a little confused, what if you already have a shot of the greenscreen without the talent standing there, isnt that better than blurring and trying to create a fake one?
Thanks for the Tutorial. Very complete and very well explained. I guess the problem you encountered in the soft edges of your "homemade" difference keyer is due to the fact that you are not working in linear space. Maybe you can test this by converting your footage to 16bit float and add a gamut tool to convert it to linear. In this case you will have to use the LUT in the viewers to see what you are doing. If you have the time to do this, could you please share the result here?
Thanks Adelson for the input. You're right, doing this kind of computation in float would be the better thing to do, but it's not the reason for the issue here. The issue comes directly from the math. The differnce formula implemented is Result = G - max(R,B). Where the source footage transitions from pure red to green, this function goes from 0 to 1. Same where it transitions from blue to green. But in the middle of the gradient, the transition is more like from grey to green, which would be from 0.5 to 1. Then the color grading step scales and clips the image so that the grey area becomes solid. This then scales the red to green or blue to green transition too much and reduces the width of the edge there. The difference formulation and this particular edge problem is also described in Steve Wright's book: Digital Compositing for Film and Video where he goes into a bit more detail then I wanted in this video.
Yes, typically you would roll your own: blur the mask, subtract the blurred version of itself to get a blurry edge mask. Then use that mask to merge a blurred version of the background over the foreground. Sounds a bit more complicated than in Hitfilm, but it makes you think about what you are doing and control it more carefully 😉 It also avoids overusing the effect - it's not needed on every shot!
do you mean skin in front of blue or green screen? Yes, it's quite versatile and that's definitely a common thing. Extracting the skin of a person otherwise - say for selective color grading - that would be different and a normal blue/green screen technique may not be the best way. I would probably think about doing a key based on hue luminance and saturation in that case - there's another tutorial on this on my channel. Or use the qualifiers in the Resolve color page.
Don’t have much experience with the original one in Davinci. I heard it’s quite good, but if you want maximum control and ability to combine multiple different keyers etc. than a Compositing Tool like Fusion offers more functionality and flexibility
Thank you! It would be cooler if you have a professional end result. Every tutorial showing the basics what everybody can achieve ...and leaving errors ....i wish i could find a professional artist, who shows me how to fix THOSE areas as well!!! Can you link/show one?
Well depending on how deep you go there is more... This is one of my oldest tutorials and haven't done much on UA-cam in the keying area... In my Fusion VFX course there's a decent Keying example part of the course that shows how to work with garbage and solid masks. In my compositing course I have 4 hours on Keying showing any possible technique I know of for solving advanced problems. Both on my website if you are interested.
I recorded this in the free version. For keying in general there isn’t much difference between free and full version. Delta Keyer and Ultra Keyer are fully functional in the free version. The Primatte Keyer has a few functions disabled in the free version, but it’s easy to work around them. So only for keying alone, I would not invest in the full version.
@@VFXstudy, how does this software compare to the keylight plugin in After Effects. Also are you able to demonstrate how the software is able to handle fly away or edge details with a subject's hair..................thanks
Thanks for asking, I haven't seen a detailed comparison of delta keyer vs. Keylight - though I heard they are somewhat similar. Makes sense since they are both based on similar theory and I believe one reason that BMD introduced the Delta Keyer is that the Foundary stopped supporting OFX for Keylight. Earlier Keylight was also available for Fusion as a plugin, now it's only available for Nuke and After Effects. If you go into advanced compositing, you see people using multiple keyers at once and combine different keyers, doing pre- and post processing, do separate processing for core, soft areas, edges etc. In that case Fusion should have an edge over AE because of the node based workflow. In AE layers things can get hard to manage once the overall workflow gets complicated... Reg. hair: yes, that's one of the trickiest things and no one fit's all solution. Might be an idea to do a tutorial specifically on it. But the most likely bottom line would be to learn as many techniques as possible with maximum control possible and then try and see what works best on the specific footage :)
old but gold
thank you
Awesome tutorial... I used to use Adobe After Effects for Keying as it is simple, but this tutorial has changed my views haha... Thank you for such a detailed tutorial...
Glad to hear :-)
Yeah with Fusion you have some simple solutions like the Ultrakeyer and some tool like this one which has pretty advanced settings for when you need them...
yes because keylight isn't as powerful as delta keyer.
Thank you for the insightful lesson.
Phantastic Tutorial! Could you make a video about multiple Keys combined?
There's a lot on this in my compositing course. But I try to do some on UA-cam as well, but may take some time...
Excellent tutorial, thank you!
Welcome 😁
Superb..
That is what I have been waiting for!! THX
awesome
Thank You! Thank You! Thank You!
You’re welcome 😃😎😁
Using a clean plate slows down the clip render times to a crawl for me. I've been keying out the green screen in the Color tab using the Qualifier set to 3D (as opposed to the default HSL). Seems to work just as well and doesn't slow down the program at all!
I'll probably do a comparison one of these days. But if you need to work on detailed stuff like hair detail, really good edge quality, shadows etc., the delta keyer is still the best option. Yes the clean plate tool does take some additional processing power and you might render the clips over the coffee break - but considering all the effort otherwise involved with high-quality keying work that shouldn't be a big deal.
Thank you really a great tutorial
very informative tutorial. thank you. - subscribed
Thank You. Am glad you're enjoying the channel 🙂
I am trying to figure out how to mask a section from the clean plate? I have an off green item that the clean plate zaps to gray and I need to mask that so it doesn't touch just that item.
Hi, Love your tutorials. Any idea why the clean plate does not work with blue-screen?
great
have an object I want to remove and make transparent; I used the planar tracker to outline the object throughout the video, by hand as the object moves and disappears; how do I apply the garbage matte with the tracking data? Do I have to perfectly match the polygon for the matte to the starting polygon of the tracker so the matte tracks the object?
Thank you. Can you tell me on 17:07 you chose a garbage mask property, but I can't realize how. Is that a hotkey or smth?
Thanks for asking: while connecting to a node, just hold the alt key (option key). When you release the left mouse button on the node you see a tool tip with all available input knots of that node. Then you can select. It's often easier than remembering which little triangle the garbadge matte was...
@@VFXstudy Thanks for the reply! Got stuck there for a bit. Amazing video!
very useful, thank you. so helpful to see things like the Clean Plate technique worked through and the various sections like Tuning, Matte etc. a pity the source material is not higher quality (though it is fantastic of HCW to make it available) as it seems it is not possible to get a really nice result at this resolution. the diaphanous dress seems to work astonishingly well.
Glad you enjoyed it. Yeah the plates from HCW are limited red, but I find them excellent for practice.
hey im a little confused, what if you already have a shot of the greenscreen without the talent standing there, isnt that better than blurring and trying to create a fake one?
Only if BMD had explanations like this on their website. 🙁
Thanks for the Tutorial. Very complete and very well explained.
I guess the problem you encountered in the soft edges of your "homemade" difference keyer is due to the fact that you are not working in linear space.
Maybe you can test this by converting your footage to 16bit float and add a gamut tool to convert it to linear. In this case you will have to use the LUT in the viewers to see what you are doing.
If you have the time to do this, could you please share the result here?
Thanks Adelson for the input. You're right, doing this kind of computation in float would be the better thing to do, but it's not the reason for the issue here. The issue comes directly from the math. The differnce formula implemented is Result = G - max(R,B). Where the source footage transitions from pure red to green, this function goes from 0 to 1. Same where it transitions from blue to green. But in the middle of the gradient, the transition is more like from grey to green, which would be from 0.5 to 1. Then the color grading step scales and clips the image so that the grey area becomes solid. This then scales the red to green or blue to green transition too much and reduces the width of the edge there. The difference formulation and this particular edge problem is also described in Steve Wright's book: Digital Compositing for Film and Video where he goes into a bit more detail then I wanted in this video.
...which remind's me that I totally forgot to mention the book reference in the video... Just added it to the description.
Cool! tks!
Exzellent! Thx
Thank you!
Welcome 🙂
shurtcut i want give book for that but where
Is there a way to make a lightwrap effect in Fusion? I have to do keying in FX Home Hitfilm just because they have it
Yes, typically you would roll your own: blur the mask, subtract the blurred version of itself to get a blurry edge mask. Then use that mask to merge a blurred version of the background over the foreground.
Sounds a bit more complicated than in Hitfilm, but it makes you think about what you are doing and control it more carefully 😉
It also avoids overusing the effect - it's not needed on every shot!
@@VFXstudy I`ll try it. Thanks a lot!
Hey Bernd, is a delta keyer suitable to key skins or would you use another keyer? Thanks
do you mean skin in front of blue or green screen? Yes, it's quite versatile and that's definitely a common thing. Extracting the skin of a person otherwise - say for selective color grading - that would be different and a normal blue/green screen technique may not be the best way. I would probably think about doing a key based on hue luminance and saturation in that case - there's another tutorial on this on my channel. Or use the qualifiers in the Resolve color page.
Are all these settings similar to DaVinci 16?
yes, the tools are the same in DaVinci Resolve. Only the interface changed and looks slightly different.
Which keyer is better fusion, or the one in davinci color tab???
Don’t have much experience with the original one in Davinci. I heard it’s quite good, but if you want maximum control and ability to combine multiple different keyers etc. than a Compositing Tool like Fusion offers more functionality and flexibility
supa tut
Thank you! It would be cooler if you have a professional end result. Every tutorial showing the basics what everybody can achieve ...and leaving errors ....i wish i could find a professional artist, who shows me how to fix THOSE areas as well!!! Can you link/show one?
Well depending on how deep you go there is more... This is one of my oldest tutorials and haven't done much on UA-cam in the keying area... In my Fusion VFX course there's a decent Keying example part of the course that shows how to work with garbage and solid masks. In my compositing course I have 4 hours on Keying showing any possible technique I know of for solving advanced problems. Both on my website if you are interested.
@@VFXstudy Thank you very much! I'm checking it!
Sir can you make vfx rotoscoping and stereo rotoscoping tutorial ?
+Vijay Shah Hi, definitely something to think about. Though I’m not too much into stereo so far. Let’s see. Perhaps something for the future.
What is this program whose icon is located to the right of the fusion?
You mean on my windows task bar? OBS Screen recorder :)
@@VFXstudy Yes thank you
Is this the free or full paid version of the software ?
I recorded this in the free version. For keying in general there isn’t much difference between free and full version. Delta Keyer and Ultra Keyer are fully functional in the free version. The Primatte Keyer has a few functions disabled in the free version, but it’s easy to work around them. So only for keying alone, I would not invest in the full version.
@@VFXstudy, how does this software compare to the keylight plugin in After Effects. Also are you able to demonstrate how the software is able to handle fly away or edge details with a subject's hair..................thanks
Thanks for asking, I haven't seen a detailed comparison of delta keyer vs. Keylight - though I heard they are somewhat similar. Makes sense since they are both based on similar theory and I believe one reason that BMD introduced the Delta Keyer is that the Foundary stopped supporting OFX for Keylight. Earlier Keylight was also available for Fusion as a plugin, now it's only available for Nuke and After Effects. If you go into advanced compositing, you see people using multiple keyers at once and combine different keyers, doing pre- and post processing, do separate processing for core, soft areas, edges etc. In that case Fusion should have an edge over AE because of the node based workflow. In AE layers things can get hard to manage once the overall workflow gets complicated...
Reg. hair: yes, that's one of the trickiest things and no one fit's all solution. Might be an idea to do a tutorial specifically on it. But the most likely bottom line would be to learn as many techniques as possible with maximum control possible and then try and see what works best on the specific footage :)
@@VFXstudy, I would really like to see you create a Video on how to retain edge detail for hair for a more realistic Key
How do you get this menu at 17:07
You can either pull the connector with the right mouse button or you can press Alt while connecting.