Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Gwyneth Paltrow and Tracy Anderson spend time with women who've overcome hardship, injury, and setbacks to triumph in the face of adversity. We'll hear their inspiring stories firsthand, whether fighting back from a career-ending injury or transforming their lives and bodies through diet and exercise.
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.
The Future Of Us is a powerful original series from television personality, futurist, filmmaker and techno-philosopher, Jason Silva. In this series, Silva shares his excitement around recent discoveries and inventions.
ACTING DISRUPTIVE takes viewers inside the businesses and passion projects of Hollywood’s top celebrities.
They say every picture tells a story and AOL On's new original series My Ink proves it. Travel along as some of the world's greatest athletes bring their tattoos to life through exclusive interviews and visits to their favorite tattoo parlors.
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.”
Discover crowdfunded small business success stories with author, comedian, and entrepreneur Baratunde Thurston.
Go behind-the-scenes with racing's hottest, young talent, 17-year-old Dylan Kwasniewski, as he aspires to make it in the #1 motorsport in America – NASCAR
Follow Scott Schuman, the Sartorialist, from the streets of NYC to the capitals of Europe on his quest to photograph and document the best in culture and fashion.
Iconic potter, designer, author and personality Jonathan Adler shares his unique perspective on creativity. Showcasing the inspiration Jonathan finds in the most unlikely people and places, Inspiration Point will add style, craft and joy to your life.
Serving Innovation gives a fresh look into the stories and passions that motivate some of the most innovative tastemakers in America.
A documentary directed by Alex Winter exploring the Napster downloading revolution; the kids who created it, the bands and businesses that were affected and its impact on the world at large.
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.
Hey guys this is Eric and I’ve done keying in motion over and over again but I keep getting emails because people really don’t have the best set up for the green screens and motion and ain’t real great unless you have a perfect set up. So I’m going to go through and show you how I would key something with a horrible green screen, not prime conditions, you can see I have a lot of garbage over here, it’s blurry, it’s messed up done here in the layout. It was filmed on camera, it’s like an MPEG or an H.264. So we’re going to go back. The key in this is I’m going to do it fast, not as best I could, but if I really took my time, but I'm going throw over the step and see if you guys can maybe get the hang on it.
So, I guess the first thing that we want to do is apply our primatte to our movie. So I’m going to go to add filter, keying, primatte RT, this will throw up my hood. I’m going to say I want to look at my foreground and I’m going to select my backing color and take my eye dropper and select it. Now we can look at our matte and you can see how horrible this is. Even when I work on it, you can see that the edges are just totally horrible and there’s some holes in that matte, but that’s okay. So let’s look at our processed foreground and we see have too much spill suppressions. I want to bring that back a little bit. Now, I have this horrible key but we got most of the background which is mainly what I was concerned about.
So now I need to make a whole of that mask to feel in these holes in my cap and to be able to blur at the edges. So, I’m going to select my movie and hit command D to duplicate it and then I’m going to remove everything from that copy of the movie, the primatte and that will just leave me with another version on top of the one we keyed. So now I’m want to used drama hold out matte on top of this one. So I’m going to go up here, I'm going to pick my mask, I put my mask and I want to go in here and just kind of go around a little bit here like this, I’ll just make a hole out matte around my head here.
Okay, now as you can see, that has completely filled in my holes that run my matte. So now I’m want to select my matte again and I’m going to make another one, and this time I’m just going to go around the bottom, and gives me a hold out matte on bottom. So now I have my holes filled in and I'm going to key frame and track this later. So now, what I’m want to do is want to slip my original movie that’s on the bottom, go to filter, blur, channel blur and as you can see when I do that channel blur on there, it kind of blur just the edges, as you can see.
Now, it looks like we’re getting a pretty good key. So now, we needto get rid of this garbage over here, so let’s just add a garbage matte, the mask to the whole group. As you can see I have two movies and in group so I'm going to select the group and just select a rectangle mask here and I'm going to mask this out over and I want to invert it and that takes care of the garbage on that side.
So now, what we need to do is we just need the key frame our mask along with our person and now we could easily go in, select our mask and now that our mask is selected—I’m not going to do this but I’m going to show how you can do this. Now the mask, just select back and go up to add behavior, go to shape and say track points. This will put up a tracking marker wherever your points were on your mask and if you hit analyze it will go through and it will try to track this mask and sometimes it does well, sometimes it does not. Don’t worry about the top one there because that’s a separate matte all together and we’ll do that in a second.
So now it stopped and as you can see it tracked to see how well it’s stock. And looks like our shape, let’s go in here, it’s looking like our shape has stocked to that pretty good as you can see its track tot that rolling out to what we’re looking for, for YouTube, its good enough for YouTube. As you can see, it’s stock all the way to the end, actually to my in mark here, it stayed within reason enough within reason to where I can manage it. Instead of having to go frame by frame and key frame, I just use the track shapes and it happened to work out this time.
So now, we’ll select our other mask and let’s see if it works the same way, if not, we’re going to do it by hand. Add behavior, shape, track points that will throw up your points and you can analyze it and see how this is going to work. I'm not real sure how else it’s going to do, we can go back in and adjust manually if this don’t work out. Just let it go through and track there for a minute. It’s like we’re going to need to do a little bit of adjusting but as much as I was thinking it was going to have to do.
So now, let’s deselect everything and see how well our shape tracked. Let’s go back to the beginning and it looks like if I fast scroll through, our shape is sticking pretty except for down their, body ear. So all we have to do is find out where our shape goes around which about right there. And we’re going to say right click, edit point, and this will show me my points. I want to turn on my record key and I’m going to scroll it up a little bit like that. As you can see, we’re off here, so I can bring this point in. Just going up with it, looks like it’s coming off again a little bit right and you can see how this track points saves me so time. I don’t have to go frame by frame to do this, like I’m doing now just in the point. But where I track my shapes and I track to my mask with the track shape behavior, the adjustment for the mask is minimal, very minimal.
So as you can see, without hardly having to adjust a single key frame, my shape is stock right there, right with it, all things to the track shape behavior. Let’s turn our record key off, see what we got. As you can see, now we have a key. Let’s throw in our background, let’s throw in. Now we need to put it on the bottom, don’t we? So let’s drag this underneath, and now when I play it—let me turn off my audio here. I'm going to play it, it’s like cast through a little bit, you could like cast through once or twice and then it will play back in real time, or just let’s pause it, hit command R, it will go through and render. And now, thanks to our track shapes, our hold out mask, our channel blurs, mainly tracking our mask with the track shape behavior, with the track points behavior under the shapes.
So there you go. You can see it was a horrible condition for green screen and it actually worked out with the pretty dug on good key. So let me open up my group here, so you can see everything that’s going on. As you can see I have my channel blur, my primatte RT in the bottom, I have the mask, my hold out on the top clip and I have a garbage mask on that group as a whole to get rid of the garbage on the right side. And when we put all the behaviors especially these track shapes behavior, I want you to understand that this track shape behavior saved me a lot of time. I would have to have went frame by frame and adjusted that shape to move along with me. I might have been able to glare at 5th frame, whatever frame but still I had to go frame by frame and adjust that hold out matte, but with the track shape behavior, it saved me 90% of time, it would take to adjust those shapes. As you could see, when I was making the video, I just barely had to adjust a little bit down the body ear here all because of the track shape behavior.
So I hope you’ve learned something guys. I hope you can pull off a pretty good key in motion. As you can see it’s very possible to do a very good key, the edges are wonderful, not wonderful but they’re blurred out pretty nicely and they’re smooth and they’re not rough and jaggy. If I can pull a decent key with the green screen, you just seen I had with no light. The only lights in the room was natural add in. so if you can pull off a key in motion like this, like I did with the footage I did. I don’t want to hear nobody can play how emotion can’t do keying. As long as you know what you’re doing and no have to use your track shape behavior and your hold out mask, you can pull a pretty dug on key, good key in motion. You just got to learn to control fellows. So I hope you learn something and we’ll see you next time.