Another Greenscreen Tutorial (working on the Taxi Scene)

Nahuel

Thanks Ian. You mentioned that recorded very underexposed ? Why is that ? Why did you shoot your character so dark ? Wasn't it better to shoot with more light and then reduce exposure in post ? Thanks for this video !!!!

Mamadou Mboup

did you use textures.com for the texture of the car and do you know the name of it

Locksley Lennox

How do I install the camera projection addon?

Tutor Amit Official

when I tried to install the addon in blender, in the addon screen it is not showing but it is saying modules installed, how to fix it?

Zeke Faust

All the clean plate node in Fusion or the IBK in nuke is doing is essentially just pulling an initial key, then growing the edges of the screen to fill in the missing area, so it would be trivial to recreate this in blender's compositor! Also while the clean plate is definitely a big help, I almost always still end up using multiple keyers to get the job done on tricky shots. In fact, the biggest mistake I see beginners make is trying to use one keyer for the whole shot, rather than targeting each area with its own keyer

Hey Ian, there's actually an easier way to key in Fusion: don't use the colour picker in the Delta Keyer node, instead use the 'clean plate' input to feed it the colour of the greenscreen; this will get significantly better results with less steps. You can either feed this input a clean plate of the greenscreen that you shot on-set, or you can use a 'Clean Plate' node, pick the colour, and then plug that in. This input in the delta keyer node gets better results because you're not just telling delta keyer to key with a solid colour, you're telling delta keyer to key using a texture which matches your greenscreen. This means you can key all the gradients in the greenscreen at once, without having to use all the Chroma keyer nodes like you have here. You can actually do this in Blender too by feeding a clean plate into the "colour" input of a keyer node, but Blender doesn't have a 'Clean Plate' node to isolate the greenscreen like Fusion and Nuke, so you'd have to use a clean plate you've shot or isolate the greenscreen using an external software (Fusion, Nuke, or even Photoshop/Affinity Photo if you feel like painting out the actors). This is essentially how big productions get fine details on the edges of their keys without spending hours rotoscoping every hair. It just makes everything so much faster! It even gets decent keys when your greenscreen is wrinkly, which is pretty handy.

Nate Pantumsinchai

Brilliant!! So many useful tips! And the taxi shots are gorgeous!

Not Louiiis

Always a blessing when you upload Ian 👍🏻

Ian Hubert

I like it! I haven't even thought about After Effects in ages. They do most of the same stuff, but the node-based approach feels like it gives a bunch of control in a way I like. One of the big things that'd be hard to go back from is having all the grading/editing/compositing all in the same timeline. I'm hopping back and forth between everything constantly, and it's really handy.

Diego Nossa

Great tutorial Ian! I haven't tried Fusion yet, what has your experience compared to After Effects? Is it better for your workflow?

Zeke Faust

Another thing about video quality as it relates to keying is it's not just about bit depth, but compression also! A video with heavy HEVC compression isn't going to key well, even if it's 10 bit.

Connor McGuire

you rule!