Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Documentary shorts conceived of and directed by famous actors. Jeff Garlin, Katie Holmes, Alia Shawkat, Judy Greer, and James Purefoy
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
A 12 episode documentary series following 5 startup companies competing in the 2013 San Francisco TechCrunch Disrupt Startup Battlefield as they fine tune their products and eventually present in front of a panel of judges in hopes of winning $50,000 in funding.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Gwyneth Paltrow and Tracy Anderson spend time with women who've overcome hardship, injury, and setbacks to triumph in the face of adversity.
Hank Azaria’s touching, humorous, and often enlightening journey from a man who is not even sure he wants to have kids, to a father going through the joys, trials and tribulations of being a dad.
ACTING DISRUPTIVE takes viewers inside the businesses and passion projects of Hollywood’s top celebrities.
Apple Color tutorial, this video will focus on how to create advanced color keying part 1/2.
Tags:Create Color Keying Part 1 - Apple Color ,apple color,apple color tutorial,apple software,apple tutorials,appleshakerguru,color keying advanced color keying,create advanced color keying,software tutorials
Grab video code:
How to Create Advanced Color Keying Part 1/2 - Apple Color
Okay guys, I’m going to take you to the advanced project here in color. And we’re going to work on this a little bit. I want to take you to the color effects room and show you some more about it. I can’t find a whole lot of information about the color effects room I’m assuming you guys can’t either. So I’m going to go through with the color effects room here and show you how you can use a couple of separate keys. You can key in together. You can do everything that you can do in the secondary as you can do manually in the color effects. Plus give it some more awesome look. So let’s just start out with our effects room.
What I’m going to do is find start off. I find hue saturation and luma key. I’m going to pull it in here and drop it. I’m going to double click on it. That turns it brown that means this is what I’m viewing. Even if I click on the output, it gives me the output selection over here in the parameters but I’m still viewing this one. If I want to view the output, I double click and it’s brown. That way I can go back up to my hue saturation luma key and still have the render. So this is the way I'm looking at one node while adjusting another.
So we just to pull off the hue saturation luma key right now. We don’t need the pull of the output. So I’m going to key up this product within the eye dropper. It works just like it does in the secondary room. Okay now we got this. I’m going to over here and adjust this a little bit the best I can anyway without spilling over too much. Well, you just have to fill it with this of course. You know, it’s up to you to just going to fit a little with your picture or your picture’s different. And as you can see I’m not able to get it all. So we’re going to have to really kind of use two keys for this and that’s not going to be a problem.
You can really use as many as you need so what I’m going to do is bring another hue saturation luma key, click it and let’s go in and let’s get some more of the car here. Let’s set it right there and we don’t have to worry much about anything outside because we can use vignette and stuff to adjust that. So let’s open this up a little bit and get the rest of the car here and what we did and hit before.
Now in this key between the both of them, we should have about the whole car to take care of. This one’s a little rough around the edges but we can work with it. So now I have these two keys, what do we do? We need to join these keys together and I want to do that by going up to the top here and get an add node. Bring in my add node and I’m going to bring this down and click them in.
Now as you can see we have a mat. This is made as a mat. Now we can go back into our hue, saturation and luma keys of course and adjust them. And you want to make your picture as wide as your Camaro or whatever you’re trying to get the color as white as you can get it. Like I said, you don’t have to worry too much about anything else because we’re going to use vignette and stuff like that. Let’s go to our other one here and adjust this one little bit like so. I think that’s about the filling I want to give it today. I think you guys get the idea of how to do this. Used as many keys as you need to make sure your whole system works. And now looks like we got ourselves a pretty good mat. We can add some bias from the Add here, from the add parameters.
Okay, I’m not going to fool with it too much so you guys get the idea about how to work with your keys to get a good mat. Now, we have this add node, we added it together to get this mat. Now what we’re going to do is I’m going to blur this a little bit because I like it to be blurred. Bring in the blur node and blur in the tab. Now, we have this blurred mat here as you can see.
Now, I’m going to bring in an alpha blend. I’m going to delete this output because it might confuse you guys. And I’m going to bring this into the last input of my alpha blend. Now this first input is the source movie that we’re working on. Now the second input is what I want to use to control it. I can use Saturation. I can use Hue. I can use gamma so I want to put gamma. Drag a gamma node in here, drag it in to my alpha blend, double click the alpha blend and now we’re viewing our alpha blend. Let’s click the gamma to bring up the properties. Now let me bring down the gamma. Now as you can see when I do that, we’re just adjusting where the mat is that we made with our hue, saturation and luma keys here. We added them together to get this mat and now this is the portion of the image that we are affecting just the part we made the mat for.
I’m going deep in this red a whole lot to make it real deep. I didn’t like that orange color before. Let’s just make that real deep. Now we have this set up, let’s go back to our secondary now. Make sure your secondary is enabled. I’m going to enable the vignette. It’s going to be a circle. So I want make it the size of my wheel here like so and we’re just in the inside. I’m going to take the saturation out.
And now as you can see that has took care of our wheel, we have a little bit of such red bleed over to the floor here. So we can go to our tab number 3. We can enable it and enable the vignette. This time I’m going to make a destroyer and I’m going to take it over here off to the side. Put that right there and we can make sure we adjust the inside not the outside. And we’re just going to adjust and correct this little bit red block here. So let the saturation down and there got rid of that. And you can do the same thing on the fourth tab if you want, enable it, enable a vignette. I’m going to make it square and I'm going to bring it down to the bottom like this.