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Adobe After Effects
Multi-layer Keying in After Effects Part 4: Edge Feather
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In this tutorial (which is included as the last part of his series on multi-layer keying) Andrew Devis demonstrates a really nice feature in Mocha for AE (a free program that ships with After Effects) which allows you to create a mask or matte with variable edge feather such that some parts of the mask can be created with very thin feathers (or even no feather at all) while other parts can maintain as wide a feather as needed for your production. Andrew also shows an option for a paid-for plug-in for After Effects that can achieve the same thing natively inside of After Effects and could be very useful for those who do a great deal of mask creation.
Tutorial, Video Tutorial
Andrew Devis |
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Adobe After Effects
Multi-layer Keying in After Effects Part 3: Edge Issues
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In this third tutorial in a set of four on basic multi-layered keying in Adobe After Effects using Keylight 1.2, Andrew Devis shows how to deal with a specific problem that can occur with some keyed footage, namely that of strong lines appearing on some edges of the keyed footage. In this tutorial, Andrew shows how to select the areas with problems while still maintaining a good over all matte through the use of other layers.
Tutorial, Video Tutorial
Andrew Devis |
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Adobe After Effects
Multi-layer Keying in After Effects Part 2: Light Spill
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In the second of 4 tutorials on basic multi-layered keying in Adobe After Effects using Keylight 1.2, Andrew Devis shows how to deal with light spill issues on separate parts of the keyed footage. Sometimes when you pull a key you have problems with light spill that cannot be resolved with a single key. In this tutorial, Andrew shows how to start to create multiple keys and layer them on top of each other for excellent results.
Tutorial, Video Tutorial
Andrew Devis |
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Adobe After Effects
Multi-layer Keying in After Effects Part 1: Basic Keying
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In this first of 4 tutorials on basic multi-layer keying in Adobe After Effects using Keylight 1.2, Andrew Devis starts by showing how and explaining why you might need a garbage matte for most keying work and what considerations are important for such a matte. Andrew then goes on to show how to pull a basic key and then modify that key to ensure that you don't over-smooth your end results, finally viewing the keyed footage with a bright image behind to test the key.
Tutorial, Video Tutorial
Andrew Devis |
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Adobe After Effects | CE Pixel Sampler
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In this video tutorial from Creative COW you will learn how you can simplify the keying process, trigger expression events to control layers of your choice, and even do an automatic collision detection. The possibilities are endless.
Tutorial, Video Tutorial
Jerzy Drozda Jr |
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Adobe After Effects
How To Use Light Spill for Better Composites Without Plug-ins
The key to a good composite is successful integration into the background image. Sometimes you may have a very bright background or be keying from a DV camera, which nearly always results in imperfections because of the choke or screen blur effects that are necessary to achieve good edges. Light wrap, or light spill, is a very handy in these situations. In this tutorial, John Starr Dewar demonstrates an easy way to achieve light spill with a little bit of pre-composing.
Tutorial
John Starr Dewar |
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Adobe After Effects
Procedural Matte Creation
Barend Onneweer explains Procedural matte creation by combining multiple keying types into a single matte for extensive control over the final matte. This is essential for pulling those difficult mattes from badly lit greenscreens.
Tutorial
Barend Onneweer |
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