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The Blonde with One Green Screen

The Blonde with One Green Screen

A Creative COW Combustion Tutorial

The Blonde with One Green Screen--How Todd Groves solved the problem of a blonde actress in front of a greenscreen

Jim Harvey Todd Groves

©Copyright 2005 Todd Groves and Creativecow.net. All Rights Reserved
Article Focus:
The following technique from CreativeCOW member Todd Groves can be applied to situations where the actor or object that is placed before a greenscreen/bluescreen has some element about them that cannot be separated by the standard approach to keying. The situation that inspired this solution involved a blonde haired actress in front of a greenscreen.


A similar technique can be found in the Help menu of Combustion 4 under “Keying Uneven Blue Screens”. At the request of a forum member Todd put together the steps he had taken to solve his keying dilemma:


1. Start by creating a Composite by opening your greenscreen and backplate footage in Combustion.

2. Within that composite, go to File > New Composite.



3. Make sure your settings for the New Composite match the settings for the existing composite:



4. In your Workspace panel, you should now see your new composite above your original:



5. Right-click on the new composite and choose "Import Footage" and bring in the same greenscreen footage you did the first time:



6. Right-click on the duplicate greenscreen layer and choose Operators > Color Correction > Brightness/Contrast; which will add this operator to your dupe layer:



7. These are the settings I used in my Brightness/Contrast operator, though they may vary depending on the quality and brightness of your greenscreen:




8. Double-click on your original composite to make sure that's what you're viewing in your view panel:



9. Add a Discreet Keyer to your original greenscreen layer and go to the Set Up module in the Keyer Controls. Look for the "Key In" section and click on the button next to "Source":



10. In the resulting dialog box, select the Brightness/Contrast operator and click OK:



11. Make sure you set your Keyer Controls to "Result" and that your Brightness/Contrast operator appears in the button next to Source:



From here, you should start working with the Keyer to pull your matte. This will vary from shot to shot so I can't exactly walk you through that process. Remember, that my settings in the Brightness/Contrast operator were based on the fact that the greenscreen was over lit. You'll have to adjust your settings depending on how the greenscreen was captured in your footage.


Feel free to post questions in the Combustion forum at Creativecow.net

©Copyright 2005 Todd Groves | Creative Cow. All Rights Reserved


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