Thanks for your message! Answering your questions, you would treat those situations like any other soft matte, like motion blur situations for example (but not only). As explained in this video a good key is a combination of different steps done well one by one. It's never just about one thing. However, having the best matte possible is the best foundation for a successful key and procedure for many different reasons. In any case, if you liked this video, we're sure you like even more the Tech Corner Bundle, which is completely free to enrol. Just need to head to www.complairvfx.com/tech-corner! Enjoy! :)
We're glad to know that @sputman99! If you liked it, you will love our FREE Tech Corner Bundle in which you will find more and exclusive videos like these: www.complairvfx.com/tech-corner Enjoy!
hello friend I don't know how I can access the free package I sign up but I don't know what else to do, I've tried several times and I don't know what I can access
Hello Juan. Thank you for your message. It seems that you're doing everything right. Please check your SPAM folder as our confirmation email may have been filtered by it. If you continue to experience issues, please email us at info@complairvfx.com
After enrolling, I receive an email, indicating that I will receive a final confirmation of registration, and that while I can start immediately with the free package, I don't know what else I have to do.
Hello Juan. Thank you for your message. It seems that you're doing everything right. Please check your SPAM folder as our confirmation email may have been filtered by it. If you continue to experience issues, please email us at info@complairvfx.com
You gotta use neat video. A denoise losing that much detail will make you fight the setup constantly. Second, instead of a premult, there is something much better that resolves much of these issues. Think of it this way... If you got a shot from CG with a green background, you wouldn't despill and premult, right? You'd subtract the color. Why don't we do this with keying? 😏
Hello Eugen! Thanks for your comment. The example is purposefully agnostic in regards to which denoise you might be using. NeatVideo gives you good results - not flawless results all the time necessarily speaking. Therefore, the core of the issue stands even if you're using NeatVideo sometimes and in some regions - all depending on the nature of the plate and on your NeatVideo settings. About the despill part of your comment, while that approach might have some level of success for non VFX shots (ie Animation/Full CG shots), this is not the case for real plates with real despill contamination of multiple screens and BGs - saving some lucky shots. Also, in VFX, the despill can be a very sensitive area to some clients and because of that, this is an area that can suffer many iterations. Therefore, it's important to have as much control as possible between core, edge areas and possibly some other more specific regions so, a simple subtraction would probably be insufficient and wouldn't work. Hope this helps, thanks for your comment again and I hope to see you in the next Live show!
@@CompLair Well, subtracting the cleanplate from the shot has become perhaps the most revolutionary part of my keying over the past five years. Yeah, you have to do some careful despilling, work with your core/edge, etc... but I've found the most important aspect I've found is subtracting the cleanplate from the plate, rather than premultiplying.
@@eugenolsen You talking about how you make a cleanplate, get a matte (IBK), and then basically rebuild the "screen subtraction" part of the IBK keyer? What you said about CG is really similar to my thinking - more and more I've been thinking about how to really restore the actual edge colour, which is what screen subtraction does. Real colour = plate - clean plate, but then you use the purest IBK matte to restrict it to the screen area. And I also despill the plate/clean plate before doing the screen subtraction of course. Sometimes I'll do that, and then any custom despill things i'll do (to get correct edge colour/transition) i'll have to do on both sides of my screen subtraction (plate and cleanplate). A bit clunky, but can really work great. I like thinking about it in a CG way, if I unpremult, I want to see the actual, original, restored colours of the FG object. Often I'll end up spending a lot of time getting a really good clean plate, so the rest of the keying process is as procedural as possible. Of course, sometimes it really does just come down to whacking in an edge extend somewhere, because the plate is just fucked or something.
I started working that way because I'd often get annoyed at the fact that a simple keylight or IBK just gave such great results out of the box, but then colours would break when pushing things to get a good matte, and visa versa. I didn't know why or how it worked, until I unticked "screen subtraction" in IBK and then reverse engineered it. Idea being that I could use the weights in IBK, or the screen balance in keylight to get the best matte I could *and* the best despill. Best of both worlds, but only by doing a custom screen subtraction. Always keen to hear other peoples methods, it's very possible I'm overcomplicating some things.
Hey Sorie! Thanks for your comment. I don't share my tools publicly but, I believe I do something better which is to explain what goes behind it so everyone can build their own version in their own style. Therefore, you will be able to find it in one of the episodes from season 01 or you can have access to it via the Tech Corner Bundle (link in description). Thanks again for your message and I hope to see you in the next live show!
We tend not to share the PA_Tools publicly, @isaacdavis8678. They are, however, shared with the ones that go through The Next Level program (www.complairvfx.com/thenextlevel). In any case, within our channel, we deconstruct some of them in the tech corner segment so everyone can come up and build their own versions of the tools :)
