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.
Hi guys! This is Eric from finalcutstudioschool.com. I’ve got a lot of questions about a lot of people use DV footage on their green screen because they have DV cams at home and a lot of them have asked me how to clear up their jagged edges on their DV material because DV is notorious for having a rough, sharp, jagged edge on the green screen. If I zoom-in here, we can see this right here this jagged edges that is notorious on DV footage. We need to DeInterlace our footage.
The first thing that I'm going to do is go to my Others tab and DeInterlace. When I DeInterlace, you’ll see this helps a whole lot. Now, this may help your footage, it may not depending if you needed to DeInterlace or if you don’t and you can go down to your fields of even or odd which one to you looks better, I like even for this footage and there’s a mode you can do replicate, interpolate and blur. And blur as you can see tends to clean up the edges. Pretty good, here is the replicate as you can see. Here is the Interpolate and here is the blur. And it makes the edges a lot better and that’s just the beginning spot. Your footage may not even need DeInterlaced, I'm just showing you this in case it does.
So now, let's go on to how we will smooth out our jagged edges. So, the first thing we want to do is we want to add a color space node. So, I’m going add a color space and what I do is it's going to bring up my color space in space and out space in my luminance bias and we don’t need to worry about our luminance bias at the moment, all we need to worry about is the in space and out space. We’re going to flop our out space to YUV and that will give us this funky and psychedelic color.
Now, the next thing you’re going to do is add our blur. Now, there’s been several people might tell you that you can't key after a blur, but they are completely wrong. Don’t listen to them. What we’re going to do is, we’re going to sandwich our blur in between two color spaces and smooth out the edges. So now, we flipped our out space to YUV, go to filter and add a blur. Blur it by about 7 pixels.
After you’ve done that, go back to color and add another color space. Then, we’re going to go to our in space and flip it to YUV. Now, when we do this, it reverses it back and now we have this image with the color spills a blur in the color space and I'm going to show the end result after we finished key in. So, let's go ahead and finish our key; what I'm going to do is I'm going to use two key nodes. I'm going to use Primatte and keylight.
The first we’re going to do is go to key of Primatte. Now, we have this Primatte let’s go down here and work it for a little bit, it’s already set to accept our colors. I'm going to go and swap, it's going to take an average and now as you can see, nothing is happens that because you need to go over here and click on black and that will show you your comp on black and she looks pretty messed up like she’s got a zombie disease. So, hit your A key to go t your alpha channel and now we can do our final tuning.
Let’s go down here and click our foreground operator and start slopping her, trying to get her completely white like this, anything white is left in our picture; anything black is going to be transparent. So, let me go in here and just keep doing this a little bit and fill her out and some people tell you don’t slop all that much, but you can slop as many times as you want. You can always delete your last operation and slop as often as you need or as much that you need. Let me do a little bit on her hair here, her head and we’re almost there now, looking pretty good and a little bit more of this here. I’m going to try to leave her edges of her hair soft. So now, I'm going to click the background operator and slop my background where I’ve got some noise.
Now, we have this pretty descent key, which could be done better and taken more time with but for YouTube, I believe you got the idea.
Now, we have the rough key. So, before the rough key, I'm going to put a blur on it. I'm going to go to filter, add a blur, hit the E key to extract it and hold the In key, bring it in and let it attach itself right here. I'm going to blur it in about 7 pixels again and maybe even 5, like that. So, let’s go back to our Primatte node. Now, we have this Primatte node and as you can see, its got some spill, so we want to go and adjust our spill. So, let’s go down to our fine tuning and let’ slop around her hair. Now, when you scroll down under fine tuning you’ll have these adjustments. This is why I like to use the fine tuning operator and not the despill operator or the spills sponge operator because the spill sponge is included in you fine tuning.
So now, I'm going to go down here up my spill, sponge a little bit and as you can see, when I do this, that green goes away. And reducing a little bit too much brown, so we don’t want to do that, then we can bring the foreground to trans down or up which ever makes it look better. So now, that that’s looking pretty good, we don’t need to worry about too much because we’re going to use our keylight to the spilled anyway.
So now, we have this pretty basic rough key here and now that we have this, I’m going to go back up to my color space, go to key and we’re going to branch off my right clicking, click in branch, branch off the keylight. And now, I want to go in and I’m going to unblack and I want to replace my color. Now, I want to leave it untouched just what I want to do. I want to go in to my screen color and I want to pick green, this green right here and it will turn my background green and that’s all I’m going to do. I’m not going to do anything else to it. I’m just going to leave it like that because I want to use this kin dof a despill. And then, I want to mend a mult node from color menu, this is going to be my color correction. I’m going to use this to correct my color. So, let me go in here and just set this to a weird color. So you all can get an idea of what’s going on here in a minute.
Now, you can see where the mult node comes in to play. I'm going to click my mult node, click on my color swatch and now I want to go in here and start adjusting my color to match it. And you can see in the background got a bluish tint to it. So, we want to give her a bluish tint too to make it kind of matching it a little bit. Okay, that’s looking pretty good.
Okay now, I want to show you, this really isn't a keying demo, this is more or less to show you how to get rid of the jaggies on your edge of your DV and to do this, we did the color space, blur, color space. Now, that we have our key in place, let me go up here and zoom in on her edge and I’m going to go over here and I’m going to turn off my color spaces in blur. As you can see it right here, I have a color space and blur and color space. Now, if I key, look what happens to the edge, on and off; on, off, can you see the difference. When you do your color space, blur, color space, this is going to help fix the jagged edges on your DV green screen material.
So, here’s my tree, have a look at it. Color space, blur, color space. I used the keylight for the spill which does a really great job. Key to that to my Primatte and blurred it before my Primatte, add it to the Mult and KeyMix it all together and that pretty much gets rid of my DV jagged edges. And you can go in and color correct more this and that and the other. So, I hope you’ve learned something, I have very, very, many, many more videos coming on how different ways to despill. I have many more keying videos coming up what different methods to key and I’ve got despill videos which I should you several different methods of despill. Got a lot of videos and Shake coming. I just had a lot of questions about how to clear up the jagged edges on a DV material with green screen. And this is how that I was always taught to do it, color space, blur, color space and then do your keying. Don’t listen to anybody that says you can’t key after a blur because it is wrong and I hope you’ve learn something, we’ll see you next time.