In this second Fusion keying tutorial, discover some new advanced techniques to help you learn more about Fusion, solve tricky keying problems and get better looking composites.
My friend! you are a gold mine. I have a green screen compositing project to do and i was debating using Fusion or Nuke. You just made my decision easyer. Thank you for these tutorials You're amazing! Cheers! Chip.
Dear tutor, thank you very much for this wonderful video lesson! Very interesting, informative, it provides only the very essence. Also, it is very inspiring! I've just spent almost all my weekends playing with these two awesome nodes, unable to stop keying and experimenting with different combinations, finding other ways where it can be applied. It was a real joy, thanks! It is definitely the most reliable way to create a decent matte for almost every purpose: matte to make a light wrap, edge blur; matte for semi transparent materials, etc... Once again I am convinced that software of such kind might be the best video game ever! :D Please share more of your knowledge! Best wishes and plenty of creative insights. Let your channel prosper!
I am very pleased to hear how much you enjoyed discovering this. I can still remember the excitement I felt when someone first showed me this method - from that moment I knew I wanted to find some way of working in visual effects. Best of luck with your own journey.
Very informative again. And I do agree with you that Hawaiki keyer is the best. To me it is the number one keyer to use. It pulls very clean and crisp keys and is extremely simple to use. The only thing on my wish list is the possibility to retain some of of the shadows, like Ultimatte.
Thanks very much for your feedfback. And it's great to hear you are liking Hawaiki Keyer. While there is no specific control for shadows, it should usually not be a problem to retain great shadow detail. If you have any questions about it or would like to take part in the beta of version 3.0, please do get in touch (email address in the About tab above). Best, S.
Hi Simon, Great tutorial, I am so impressed with how simple and elegant it is to solve some problems with a few lines of code. I was looking for the first part but unfortunately, I can't find it. Could you tell me if and where I can watch it? Many thanks for your effort and willingness to share knowledge. This is a great help and courtesy on your part. I appreciate it and thanks again!
Thanks. I replaced Part One with this updated version: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-LQ8L97L5x2w.html You might also find this one useful: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Ga4MHIIQcdM.html And this too: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Z4hZOC4YDNA.html
First off your videos are awesome and have been very helpful so I wanted to thank you for that. My question is if I'm attempting to create a 3D world would I be better off creating it in motion or in fusion? Secondly could you do a tutorial of getting started with a 3D world (especially if in fusion as I'm not familiar with it)?
Hi Simon. I enjoy your Fusion training videos very much and hope to see more of them in the future. Would it be possible to make tutorial on how to do that beautiful flying through the film covers which reflect on water, clip (I think its original video from the company to promote Fusion). All the best for you!
Hi. Thanks for the links. I'll look into maybe doing something to show how to do the first effect, perhaps not as a full tutorial but I'll share a composition with you so you can see how to do it. As to the "endless zoom", it is very easy - you just need the patience to build it up and really you could achieve this effect in almost any editing or motion graphics or compositing application.
Appreciate, Simon. I am completely new to Fusion, but since your videos are so well explained, I thought I will give Fusion a try purely for entertainment reasons. All the best for you.
You're the best! Really nice trick with the hairdetail. Is this the typical approach you prefer when doing keywork or do you generally use primatte or similar plugins and then refine the matte with your booleans techniques? Anyway really nice tutorials, thanks!
Thanks. Glad you found it interesting. If there's one keyer I never like using, it's Primatte - it's very clever, but for me it's more trouble than it's worth. I like the Ultra Keyer in Fusion quite a lot and of course Keylight and Ultimatte are both very good too, but as a plug-in developer there's really only one keyer that i really think is any good and that's the one that we built (Hawaiki Keyer: hawaiki.co/keyer.html Version 3.0 is out soon.). Seriously though, I usually prefer to use techniques like the one shown here and the one in my previous Fusion keying tutorial, because it's easier to pull the key apart if you've built it yourself. The one thing that I have learned over the years is that while all keyers have their strengths, very few are perfect for every job, so the more different keying techniques you know, the better the results are going to be. And as I've shown here, the important thing is not to try and use one keying solution for the entire shot - always break it down into separate parts wherever necessary, and you'll get much better results.
Hi! Thanks for these great tutorials! Could you reupload the first part again? I had just the same problem with building the node tree for a keyer from scratch and it turned out you made the video private..
Hi there. I took the first part down because it has been replaced by this newer, more streamlined and efficient version that avoids the clunky complication of Channel Booleans: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-LQ8L97L5x2w.html
Hi Simon - thanks very much - been learning Fusion with your videos but I have a green screen video that hasn't responded well to the red blue technique in this video with much of the foreground not keying out. Even with the 'inside matte' at the end of the video it still wouldn't work. The two subjects in my video were wearing grey checked shirts and these are what I couldn't get rid of . The Ultrakeyer and the rgb technigue in the first video both dealt with the shirts without problems. I wonder if my foreground lighting wasn't as bright as the green screen and this is what is causing this issue? Thanks Keith
The nature of keying is that no two shots are the same - I will repeat that: no two shots are the same!!!!!!!!! Which means that no two processes will work perfectly for two different shots. And that is why it is so important to have access to as many tools and techniques as you possibly can. Sometimes a commercial keyer will be more or less adequate and sometimes another commercial keyer will have the edge. But sometimes you need to try a hand-built solution which will work better still. Even more important than all of that is to realise that you don't need to use one keyer or one keying technique for every area of your shot - the best keys are a patchwork of several different types of solution. And that's why the whole subject is so fascinating!
Hi Simon, Thanx for the great tutorial. I am using your awesome techniques that you showed in the first keying tutorial for my keys, I mostly use 2 or 3 keys with masks to combine it into one superkey. My question is: can i also combine the procedural Garbage matte trick you showed in this tutorial (the2nd one) ? In other words i would like to change the masks i am using now into the procedural garbage mattes you showed in this video. Is this possible? Hope you can help, greetz lenny
Yes, you can easily combine the procedural garbage matte with whatever you have already done - simply add a Channel Booleans tool after your existing matte operations and set the RGB to Minimum and Alpha to Do Nothing.
Thanx Simon for your reply. I really appreciate your help. Do you mean with ''existing matte operations'' :the whole node setup, including the dissolve, spill and filter nodes? Or do you mean the Matte result what comes after the channel Boolean that flips the Raw matte into the clean black and white Matte as in your first tutorial at: 6:06
Take your final B&W matte result (whatever you have immediately before you pipe it into your key (multiply) operation for the foreground) and then combine it with the Garbage Matte at this point.
Cool. Let me know if you need any more help. It can get quite confusing until you're more familiar with how it all works - and then you realise just how powerful this technique can be.
@@SimonUbsdell Anything "Fusion" is welcome! Love your tutorial style ... based, obviously, on loads of professional experience. Unlike so many RU-vidrs. 😉
