Absolutely the best keying tutorial I've ever seen, hands down. I'll definitely be recommending this one. First time I've seen someone actually explain what the various options *do*, instead of just saying something like "play around with these sliders until you get something that looks good."
The other "Get perfect keys in 30 seconds!" RU-vid vids can be a temptation, lol, but no better way to understand excellent Fusion keying techniques than with your detailed & logical walkthroughs -- very much appreciated! Cheers
THE BEST tutorial on keying I have ever watched on RU-vid and believe me I have watched a lot of them. I like how you cover keying at both the conceptual / principles level as well as the nitty griity of which controls to use when.
This is exactly what I’ve been looking for - - very detailed tutorial for chroma key using DiVinci /Fusion. Thank you! If possible, when the video is being shot, you should instruct the production crew to make sure they use backlighting to avoid a certain amount of the green spill on the hair and body.
I think this is the most helpful, informative and in-depth chroma key-ing course on RU-vid. Your explanation is so clear and easy to understand. Thank you so much for making this! I'd definitely check your online course as well.
wow thank you so much for this. i have been doing some simple chromakeying in the color tab, concluding that greenscreening is impossible and must probably be set up with absolute perfect lighting in a studio to work, but now with this tutorial it actually looks amazing already. thank you again!
well done, I have been using the delta keyer for months and if I had seen this tutorial I would have saved a lot of time in a few minutes I learned more than in long hours of practice 🙏
What a great lesson! I avoided getting into Delta Keying, and watching your video, because it all just seemed like overkill. I finally took the time this past week to give this a try - and it took several rounds for me to follow what you were doing and apply it to my own situation - but the results are on another level. Thank you.
Thank you! This is such a great detailed but easy to follow walk throug of the Delta Keyer. It definitly can make a a great key out of mediocre footage. The hair detail is incredible.
Excellent, as always! Top notch explanations, clear, precise and deep. These tutorials always leave me feeling that I gained understanding, not just "cookbook" following technique. Thank you for your efforts Bernd!
Great Keying Tutorial! Glad to know the *Delta* *Key* is free in DaVinci Resolve. Learned a lot here, and my mind was blown when you "embedded" a second Delta Key onto your first one to really help clean up the noise inside your Subjects! I'd been failing miserably, in my Chroma Key work to attempt a clean "key pull" using a single Delta Key approach. I'm back to the video races!
I struggled with the pre-blur and glad you showed this, I kept getting hung up on that zig zag on my chroma key images, didn't know how to fix. Your tutorial was great!
Du machst das so großartig. Sehr schade, dass du kaum deutsche Tutorials machst. Auf Englisch geht zwar auch, aber so manches Detail würde ich in deutsch besser verstehen. Dieses Tutorial hat mir wirklich sehr weiter geholfen. Das Problem war nämlich: Mit dem Ultrakeyer und einer Polygon als Garbage Matte funktioniert das irgendwie gar nicht, wenn man etwas maskieren möchte, sehr seltsam. Aber so mit dem Delta Keyer und den Erklärungen in dem Video habe ich es super hinbekommen.
This was Great! Thank you so much! I had been over doing my adjustments and losing detail on the edges..easily see my mistakes and learned about 8 new things I wasn't expecting to learn as well.
This is great! Does a fantastic job with keying! How would you "fix" a yellow (like the little girl's jumper)? In my video, I have a yellow color that turns orange once I apply the key. Color correction won't fix the issue - or at least not with the technique you showed at the end. Any way to "exclude" certain areas from keying and keep the original color? thanks!
Yes, do the despill separately and then you might need to use very careful color corrections, possibly Curves or HSL Curves or make a separate selection via 3d keyer, magic mask or roto. You can do this independently of the keying.
Very cool Very complete, thanks a lot, It would be awesome if u make one video explaining noise reduction and how to master that in these cases. Thanks a lot !
@@VFXstudy veryy cool I suscribed, mb a second suggestion, I did really struggle with speedramping backgrounds shots in green key in fusion, and actually I didn't find any video of it on youtube that correctly explain that. mb this would be cool also, let me know And thanks for ur work, very cool !!
Wow it seems like the Delta Keyer just about "covers" 😁 it. I didn't know about this Keyer, hahaha or even the 3D Keyer. Thanks for explaining everything. It really looks like it's going to work great for most things.
I'm trying to look a bit more into Fusion since buying a BMPCC4K because jumping back and forth between Nuke and Resolve is time-consuming. Nice breakdown of this keyer, thanks. 🙂
Finally!!!! No one else explains this!!! You should be paid more money than whatever you make in life. You should be king… I’m not being sarcastic. I wasted hours looking for someone to explain this
Wow your knowledge is incredible. Love your explanation. Thank you for this. Finally understand soft and hard matte keying. big help. Would love to see your advanced stuff on the edge treatment.
Hi Bernd, excellent in depth videos! I've learned a little fusion from your videos and I use this now for keying. I'm planning a credits video for my channel where I would like to mention you. I have two questions: would you be ok with that and - if yes - could I use some short snippets of your videos in there?
If you like, thank you very much! It's certainly not necessary but I appreciate the promotion ;) Not sure what you mean by snippets, but if it's not substantial amount of training content it's probably no big deal.
Great tutorial video! I followed you step by step with practice on my video. When demonstrating A and B I had a problem seeing the transition of green and magenta on top of each other. It was not clear to me where the dots were on the various nodes and I could not see the AB effect
Will do that. I think in a couple of weeks. Or in my compositing course there's a detailed discussion on different options for creating and using a clean plate.
@@VFXstudy I second that about use of clean plate. Also, the technique of using to color page to correct separate elements to reduce the processor intensive operation with an all-in-one composition. Thanks Bernd - You are my GOTO source.
@@KeithAlanNealy the internal background correction of the deltakeyer is practically equivalent to attaching the clean plate tool and it might even compute faster. However there are additional techniques for creating or even shooting clean plates which can be done separately.
Great in depth tutorial! Two questions: Can Fusion viewers be synchronized in position and zoom ( alpha and rgb) as to have detailed view of both at the same time without extra panning? Also, how would you compare Delta keyer to Ultra? I seem to get better results easier with Ultra. Thanks
Generally I tend to use the delta keyer almost always. Especially in combination with clean plate or the inbuilt preprocessing. Ultra keyer doesn't have that, and it's not so easy to do it manually. Since greenscreens are practically never totally even, I usually use the clean plate.
Nice tutorial. I am having problems with edges getting a bright line or a dark line, particularly when using Clean Plate. I thought that node was supposed to help but I get better results just using Delta Keyer. Does your course cover this kind of thing, and also does it talk about the Status view in the Delta Keyer? thanks
Thank you for an excellent video. I have a question, I have a door that I’m replacing with a background. I’m the room there is a lot of reflective surfaces. If I would like to isolate the delta keyer to just the door and not the entire image. How do I go about it? Thank you
Great as always. My solid matte trick is not working, though. Following the exact steps, but I'm sure there's a little tiny button somehwere I didn't click. I put the second keyer into the first keyer as "SolidMatte" and nothing changes. Help?
Holly Leonardo! The View mode on both must be on "Final Result" and the VIEWER on alpha. The view mode was on "Matte" on the keyers and nothing was changing. SO...the view mode affects how the second keyer acts on the first keyr, right?
@@AxmihaMeuSaco The view mode of the delta keyer changes what the delta keyer outputs. You can put it on Matte to see the matte alone and there are other views for technical analysis during tuning of the delta keyer, but if you choose to use those modes, you should always set it back to final result once you are done with the delta keyer. That also applies if you only use one delta keyer alone.
I have issues with delta keyer removing green background, depending on the video source with a green background, i am ending up with the removal of the green but with black colored transparency with a low opacity, but still the black transparency is clearly visible when the delta keyer clip is added to an other clip
You can use the solid matte input of any keyer or use it on a mattecontrol node which you can put after one key and then add the solid matte in via the solid input of the matte control.
This is the first of your tutorials I've watched. I really liked it. I have a question which you may have answered elsewhere - if so, my apologies. What is the benefit of doing the the background inside fusion, rather than just letting the background from the timeline be the background. I realize you'll still need to blur/grain/color it, but in some ways it still seems more efficient to let The Edit/Color tabs the the final composite (so as to now have to manually bring in the background each time). And, I'm envisioning a cut from another NLE with 100+ green screens. Seems easier to let the cut live and just build the greenscreen foreground in Fusion. If I do that, what am i missing?
Thanks for all you do in fusion training! I took from your other video that we ought to be converting everything to Linear for best results. Is there a reason you don’t do it when keying?
I am doing it: I have Resolve color management enabled and the managed view lut is active, so Resolve color management does the conversion to linear in the background.
@@mattwolcott3266 Ideally, especially for the compositing. For pure color corrections some people find that easier in rec.709 for example and you can do that but otherwise linear is preferred.
Extend? You use a garbage mask to chop of the areas away from the subject which should include whatever background is not covered by the greenscreen. But Iif the subject is leaving the green area, then you can only do roto for those parts...
Maybe I am looking for perfection, but of all 3 ways to green screen in Resolve 18 (edit, color and fusion pages), fusion works best, yet I am still not quite satisfied with the results. Good lighting (but not perfect) and using a GH5s with v-log results with hair flickers that are way too visible, especially when zooming in to 200% on a 1080p timeline. What’s the secret???
Yes, there's a bit of keying in the more general course Fusion VFX with DaVinci Resolve, and there is a hell lot of keying in the more advanced compositing course.
I did convert to linear via Resolve color management which is active in the project I believe. You see that the Fusion LUT symbols on the Fusion viewer's are active. If you don't use Resolve color management, you should do manual conversions to linear and back to timeline space.
Effective Workflow?? Usually they always work an easy footage, how do you solve a footage where the light bounces off the actor? when applying the keyer the actor becomes transparent, (I think it is summarized as rotoscopy) ... even so, you are too good! Thank you
Rotoscopy means basically drawing masks. If you have severe wholes you can draw polygon masks for the center and put them into the solid mask input. Here I used a second key instead to fill the wholes which should work for most cases that are not too extreme. It's usually less work than hand-drawing a mask. But principle is the same.
hmm if I plug anything into the Delta Keyer Solid Matte, then the Keyer will switch to using some kind of hard or soft colour for despill rather than using the source, meaning instead of combining keys I just get a very noisy image! Any ideas why this is? Happens on 17.4.6 as well as 18.5 beta
is there any way of removing background away from say a movie and takes its moving text or as its moving or is that photoshop option only? i dont have a green background as its not my film?
Well there's always a way. Whether the result is simple and good is another question. You can key on other image properties, not just green. E.g., Hue, Saturation, Luminance etc or combination thereof and then there is rotoscoping. There are also AI powered tools like the Magic Mask in the color page that you can expolore. But if you want a high quality result for compositing it's usually a lot of work to get it right and might involve a lot of rotoscoping as well.
Is keying supposed to be done in linear space? We can see that you have activated the view lut in fusion, but what color settings are hiding behind the lut?
Ideally in linear, yes. I think I had Resolve color management or ACES on. Pulling the alpha alone doesn't absolutely require linear space, but subsequent compositing is best in linear.
if I`m putting a 1080p background and 4k greenscreen video in Editor tab and then make a Fusion comp, does it mean it would convert 4k into 1080p and I would lose all those extra pixels while working with chromakey?
Yes. Better go into Fusion from the 4K video and the load the other media via media bin. Or increase the timeline resolution. After Fusion is done you can render in place and than decrease the timeline res again of you want.
Pretty much same as any other color space: Go to linear, work in Fusion with linear. So either you should have resolve color management enabled or convert manually.
@@VFXstudy In my experience, I had issues whether if I let the colourist colour correct the footage before compositing or vice versa, in the end me and the colourist have this grudge on each other...
@@massetozacarias5693 In most cases do the compositing first and let the colorist work at the end. If you only go to linear and back you are working non-destructively and are giving the colorist the footage in the same format and color space as when it was coming directly from the camera without you in the middle.
