Game Development Reference
an instant key and quality was not important. Even then, I would
probably rather choose the Linear Color Key effect, discussed
later in this chapter (Fig 10.10).
Figure 10.10 The Color Key
effect usually leaves a little bit of
the green screen around the edge
of the subject (as shown here),
or erodes its edges.
The Color Range Effect
For those of you familiar with Photoshop, the Color Range
effect works very much like the Color Range selection feature in
Photoshop. The big difference here is that you fi rst have to select
a color space from the Color Space drop down—either Lab, YUV,
or RGB. If you don't get good results in one color space, you can
try pulling a key in a different one. But it's very important to do
this fi rst because changing the Color Space will completely alter
your key, and you will have to start all over again.
Once you've chosen a color space, click the eyedropper tool
at the top of the Color Range effect in the Effect Controls panel,
and then click the color you want to key out in the Preview area,
or in the Composition panel. Invariably, this will leave large
amounts of the key color behind. So, then select the Plus eye-
dropper to select additional colors to add to the key. If you acci-
dentally select colors that you don't want to remove, you can click
on them with the Minus eyedropper to remove them.
As with Color Range in Photoshop, increasing the Fuzziness
value is like increasing a Tolerance value; more colors will be
selected. The Fuzziness value usually needs to be increased quite
a bit. You can then tweak the levels of individual color chan-
nels with the Min and Max properties. Note that the cryptic letters
(L, Y, R) refer to the fi rst channel of Lab, YUV, and RGB, respec-
tively. The properties that contain (A, U, G) refer to the second