Lesson 6: Replacing a Sky
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Lesson Guide
| Start | Topic |
| 01:31 | Understanding the Resolution of a Fusion Clip |
| 08:40 | 1st Composite with the Apply Mode |
| 11:08 | Luma Keyer |
| 14:27 | Filling Holes in a Matte with Erode and Dilate |
| 19:23 | The Tracker Modifier |
| 22:47 | Fixing interrupted Tracks |
| 27:24 | Blending the Effect with the Original |
| 30:14 | Introduction to the Exercise |
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The man’s forehead is problematic (e.g.: 01:00:08:08). The solution is, I create a mask on the head to solve the thing or any other way is better for solve this problem? Bernd, what is your idea, how you think solve this?
Yeah, some spots from the really bright highlights are not perfectly solved with this – I think also in the solution from BMD. But I felt that after the screen-blend compositing it didn’t really show. However if it does – maybe I’m wrong – then yes, rotoscoping might be needed. Those erode/dilate mask manipulations can help but they don’t always solve everything. There’s more rotoscoping on the greenscreen keying examples.
Possibly you can draw a rough mask to avoid the problematic areas and then use the LumaKey inside the mask?
Sure you can. And that’s how we use the Keying tools in the section on Greenscreen.
You can probably apply the techniques from the Greenscreen section on this video and vice versa. In both videos the initial key (luma key or key from delta keyer) are not perfect and we are looking for ways to enhance it. One option is manipulating the masks, another option is to use garbage and solid roto-masks. Even both combined could help for some tough cases.
I noticed the horizon line from the sea continues into the Actors and background, what is causing that and how can we correct it?
I was able to tone down the brights spots on the Actors forehead by adjusting the Blend settings on the last merge node before media out.
Yeah, adjusting the parameters a bit will help. This here is basically an exercise in trying to adjust the parameters between the erode/dilate/blend as good as you can manage to bring down any artifacts to a minimum. I think I got a pretty decent solution but you might get it slightly better or worse on your end depending on the exact settings. Another option is to combine it with some masks as we do in the greenscreen keying section later. That’s another approach that can help and in reality, you just see what works out better for the shot or do a bit of both.
Understood, I was just in the mindset of a client and how I would go about correcting it if they were pointing it out. Thanks for the added info and for your response.