After Effects CS6 Tutorial - 175 - Intermediate Keylight Part 1 Video Lecture | Adobe After Effects CS6: Complete Course from Novice to Pro - IT & Software

hey everybody welcome back to another
After Effects cs6 tutorial
I'm your host buddy Blackford and it's
pretty late at night I'm pounding
monsters and 5-hour energy like Monster
energy drinks and trying to pump out a
ton of tutorials tonight for you guys to
help you guys out in this tutorial this
time we're going to use key lights some
more and improve our keyer and our key
here so that it's a little bit better
and more true to the color and
everything like that so it'll be easier
to composite onto a background later on
so we're gonna be going over some of
these effects here and these properties
and settings and just going over a
decent amount of them to see what's
gonna happen to our footage just to let
you know that some of these properties
won't work on this footage because it's
not going to have all the problems that
all these properties and compass so
things like sometimes when you're a
green screening like a woman or
something like that and her hair is all
all over the place you it's hard to do
especially if she has blond hair on like
green screen background you need to
input these different or use some of
these different properties all around
here there's so many to go over so we'll
just start now and I'll stop talking I
will shut my steak hole as I like to
call cuz that's all we use steak all day
let's go so the first thing that I want
to go over is this dispel bias and what
that does is if you click on the
the eyedropper is what it's called and
you go over to somewhere where you kind
of think you may have lost some color so
maybe in the hand if I bring that in
it's going to restore some of the color
that was in that that like may have been
in the hand or something like that as
you can see when I did that however this
strap gains some of the color of the
hand so that's something that you need
to be careful of so hit control Z and
you can see how the strap was a
different color now if I use turn off my
this FX button up here but at the top of
the key light we can see how the color
if any color has been lost anywhere so I
know that the green kind of gets in your
way and it kind of like messes with your
vision but it's kind of like a little
way to see what's going on we need to we
should probably go over all these views
so of course we have the final result
here we can go up here to source to see
what we started working with we can go
to a source alpha to see the F of the
source that we're working with so I mean
we had just a blob there was nothing now
we have a actually have an alpha within
our new source here and it's kind of
nice looking nice and crisp the next one
we got connected source so we've got the
source over the background over a black
background corrected source not
connected sorry about that so it's
basically the background
that instead of like a green scheme
green screen it's the black so we've got
color correction edges which we didn't
work with yet there's an edge color
correction down here if you enable it
you can start messing around with the
edges we've got our screen man here so
that's our alpha that we're looking at
the same thing as coming down here going
to alpha if you go to alpha now it's
only gonna show this entire square
because of what we're looking at in our
view so we've got inside mask which we
didn't do anything with outside mask we
didn't do anything with those it's kind
of like the inner outer key here that I
showed you before
the one that was having all the artifact
problems or whatever those is annoying
but you can also do that in this one so
let's go to combine matte so this is
right here with the backdrop the
corrected backdrop status you can kind
of see like the green that's been coming
in and stuff like that intermediate
result this is just what the keyer and
then we go to final result with all the
other effects that we have on there and
this is what we get so let's uh was it
some
let's see what we can well it looks nice
with this D spill
well looks the best maybe we can try
this
it's original
that actually brought some color back
into here and it brought them into the
gun and everything like that so is
that was a good place to actually pick
from right there so we used our dispel
bias to pick from there the next
parameter I want to go over a little bit
more is this screen game parameter so
the best way to use screening is to use
your final result and get it as close as
you can and then change your view here
to status and with status you can see
some of the extra noise and we see down
here that there are some extra noise we
could get with our screen gain this gray
stuff and along the edges here we can we
see some extra