Game Development Reference
In-Depth Information
up of only the green screen (without extra equipment showing), it
still helps the keying process to create a garbage matte (Fig. 10.4).
Figure 10.4 The same footage,
with a garbage matte created.
As you can see, it doesn't
demonstrate the highest level of
sophisticated mask making, but
it's only supposed to be a rough
outline like this.
Using Other Effects
We discussed at the beginning of the topic about how effects
need to be used together to reach their potential, and we have
an entire chapter on that very subject at the end of the topic. But
I just wanted to make a quick note about how especially impor-
tant that is with the keying effects. With the plethora of controls
that these effects have, you may be tempted to think that they
stand alone and need no others. But often times, Stubborn keys
can only be perfected with the help of other effects, such as
Channel Blur, the Color Correction effects, or the Matte effects
(discussed in the next chapter), for example. You can also use
multiple keying effects on the same layer or duplicates of the
same effect on the same layer.
Use the Highest Quality Footage Possible
It kinda goes without saying that you should always use the high-
est quality footage possible. But this is even more important when
it comes to keying. Sometimes, when a video with a blue or green
screen is shot perfectly, it can still be diffi cult—or impossible—to
key well if it has been overly compressed. I know that in many
cases, you probably don't get to choose how the footage you work
with is created. But if you have any say in the process, try to get as
little noise, as little compression, and the largest color gamut pos-
sible in the creation of blue or green screen footage.
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