Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
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.
Apple Motion 3 Tutorial, this video will focus on how to use pro keying method.
Tags:How to Use Pro Keying Method - Motion 3,apple motion 3,apple motion 3 effects,apple motion 3 effects tutorial,apple software,apple tutorials,appleshakerguru,pro keying method,pro-keying,software tutorials
Grab video code:
So as you can see here I am starting with the bike, with that canvas in motion three and I have my lady here in forever green screen called Oxana. It’s a strange name I know. I want to drop her in here drag it her and drop her in, and here we go. I’m going to open my project. Let me turn her off because I want to take her on my project, but my project is blank, so let start with our background.
I have a picture of this street here. I will drop it in now as you notice when I’ve done that it dropped it into the same group as my Oxana. I don’t want to do that, so what I want to do is add another group, and drag my street up into the new group there. Then I can take new group that I made, and drag it below our Oxana group. So now I have a group with Oxana. M green is my material, and I have a group with my background. So I’m going to name group one background I just call it BG, and I’ll call this first one Oxana and we’ll worry about it a minute.
Let’s deal with the background first, so lastly the Oxana often deal with the background. Okay, we have a background here, but it’s kind of bluish cars, and we want to get rid of that bluish cars. So I’m going to make sure my street go to select and inside my background group. Go look to add filter, color correction, sepia. Now this will give it that nice sepia tone. Now I’m going to bring amount down to about 60 backdrop right there, and it’s a little bit less of a bluish tan and gets a little bit more texture.
Now I’m going to add another filter, so to add filters, color correction, de-saturate, and I don’t want it to be totally de-saturated. I want it to have a little bit of color right there like that almost black and white, but not quite. It’s got a little sepia tone showing through but not much. Okay, so now I have this picture. Now I want to create a shadow like I come at there’s a shadow of some buildings being cast on this building. So I want to go in, I’m going to make a shape, so I’m going to create a shape by clicking that button there and I’m going to come down here and I'm going to create a shape that looks like maybe a shadow here. Let’s see.
So okay now I will close this shape off, boom! We have us a shape now. Now I’m going to change the color to black, so I want to go to my fill colors watch change it to black, and I want to bring my opacity down to about right there like that to about 58%. I want to give it a little bit of feather like that. Now I’m going to go up to add filter, blur, Gaussian blur, and let’s jack the amount of Gaussian blur up to a little bit like that and boom! We have at least a shadow cast on our building. And to me this looks pretty good of course we can tweak it some more and do a lot more with it. But to me it looks pretty good.
So now we have our background clip our background clip our background footage done. Now we’ve already bring in our green screen footage and put it on group of our background group. So now I want to go in and select my green screen footage. Hope to add filter key promenadeRT. Now when I check my check box back on to turn this Oxana clip back on you’ll see that it already has the primerRT put the flood and it looks kind of funky. So I want to select my primerRT and I’m going to adjust it. So I’m going to go in here and bring my noise removal down and bring my mat density down. Well, it looks pretty good. Now I want it to be magenta and fix my scales ratio to that 38. Set my mat density to about 18. Set my noise removal to at eight there. Now that looks pretty like a pretty good key to the untrained dog.
This is DV material and DV material is notorious for being hard to key, and if you look close right here. You will see stair stepping. This is notorious of DV material. This is what we don’t want. This is like I said key look amateur, and is one of the things that you really get fired for. If you don’t do the key, so let me zoom back out here. So now I’m going to add a kind of blur over the prime art T, so just like my Oxana clip. I will add filter blur kind of blur. Now there’s a blur here, and we’re going to take care of all those in a minute don’t freak out. So now if I turn off my background and hit shift A I can look at my Alpha channel. And I can see that is looking pretty good right now not too bad I’ve got a pretty solid mat, and the out edges of her hands that’s not looking to bad. So I might hit shift A to go back to my color or shift C see to go back to my color I’m sorry. I’ll turn my background group back on.
Now I’m going to drag and drop another Oxana group, another green’s screen the same exactly where I want my dragging and drop into my project, bang now this throws another clip on top of my composted scene that I was working on. I want to rename the Oxana group to mat because that’s what this is now. It’s a mat, so I’m going to put this Oxana and I’m going to rename it to mat, so I won’t be confused because that’s what we’re going to use as mat.
So now I’m going to put the Oxana group under the mat group, so this group here I renamed to Oxana. And I want to drag it under the mat group like that. I’m going to change the blend mode of the mat layer to stencil Alpha. I want to go right click blend mode stencil Alpha and boom! That catch her out and get you to blur, but we have some serious, serious fill, so I’m going to group the mat and the Oxana layer together. So I want to click it and then shift clip it Oxana and mat. I will go to object, group, and I want to rename this group head G process what we’re going to use the key other head.
So now if you look at her my many time I have it prearranged at 300. I want to reset it to 100, so I want to put over here in this box and the rack corner in 100, and now to reset my prearranged. I’m going to play head back to frame one. I’m ready to continue, so now I have a group called head G. I’m going to make use of this. I’m going to use a square mat and cut around her head. So I want to go up and select and my mask tool a square mask tool. I will start right about here, and cut to square. Remember this is a technique that’s been perfected by seeing my visual effects. So it’s very effective. I want it mask cut her head and bang. Let me turn off my background so it won’t get in a way. Now I have this clip adjust her head. You’re thinking to yourself, “What in the world is going on her?” Well, we’ll see. Let’s give the feather mask feather about five, and so now I’m going to open the mat layer, and I will adjust the prime mat. So let me open my mat layer. My Oxana clip click on my prime mat. I will adjust it a little bit, and noise will bring it down. Mat density to bring it down a little bit that feels pressure it’s not going to work that rack now. But we all deal with that in a minute.
Now I’m going to open the Oxana layer, and select the Oxana clip. Like so I want to add this fill pressure to this clip, so I go to add filter key is fill suppressive. Change it to green from blue. Bring it down a little bit to get the magenta and I have it and bang. Now we have the green out of our clip. Now what I want to do is I want to close everything that—make it look neat and tidy so I can see what I’m doing here. I want to clip my head key. I want to hit command D or Apple D and duplicate it. I want to move I want to rename it body layer, or body key. And I want to drag it below my head key like so. So now our groups are the head key, the body key and the background.
Now I want to set the blend mode of the mask inside the body key, so it twirl down my body key. Select my mask right click blend mode subtract bang. This will bring your back end. Now I want to make a few adjustments here. I want to remove the feather except the front maybe give it a little negative to negative 2. I want to open my mat copy and select the prime head again. So now I will adjust this a little bit that will bring up my noise removal al here with my mat density, and nice looking a lot better. Not too bad. I want to select let’s see here it’s looking pretty good. And close everything up here, so I can get and fix and what’s going on.
Now we got our three grapes, now I want to select my body key layer. And I want to go to filters. I’m going to add mat, mat joker. Now I’m going to adjust the edge in here a little bit as you can see when I do that that takes down some of that what edge. You don’t want to go too far, but we want to go far I have to take down enough that edge to work hitting to from with. You know now I’m doing this fast of course you can click this better and take your time when you do these things.
Okay now I’m going to add a channel blur to both mats, so I’m going here select my mat add filters select my first mat add filter blur, channel blur, and move right here to other mat copy add filter blur, channel blur there. Now we adjust my edge thin a little bit. Now what you want to pay close attention here right here, and turn my background group now. If you look close that stair step is going. It’s not jagged and look like an amateur key anymore.
So now we’ve got this what else can we do to it. Well, let me close everything up here. I’m going to group my head and body object group select it, and I want to move it down a little bit. Okay well now we’ve got this going there and think looks great so far, but we want to make it look like she’s looking at a window. But first in order to do that we got to start our background add filter blur, Gaussian blur, we got to throw a little blur on our background.
So, now as you can see I have a picture of a window sill down here, right here. First of all before you go anywhere else, you want to save your work. So now I’m going to drag my window sill that I got might to do this thing and save. I want to name it king save it to the desktop for these purposes. Okay now here’s my picture of my window seal. I want to drag and drop it in here. Add a new group put the window in the new group, and drag the window to the very top of everything and bang here we go. So now we have a new group from the very top with my window sealing it. And let me scale this window sealer. My holding shift and scaling it up at the corners, so wag it out here.
Okay now you see this pillar right here. I’m going to use that pillar to make it look like she’s looking at the window. So now I’m going to deselect everything. We rename our group so I can keep up with what’s going on this Oxana. And I’ll name this top one seal. Now I want to select my seal open it up select my window group I’m going to add a mask. What I’m going here select my mask tool. I’m going to fast like cut out this window seal here. Cut around this move fast here, and bang now I have this window seal cut out. And then get it and pull it down a little bit, and select begin I want it to drag and make it stretch the whole to link to the same. I want just to reduce from top to bottom. And I might want to rotate this just to tad to, to make it straight like that. Okay now that is our window sill here in one side.
So now what we’re going to do is we’re going to duplicate this, so I’m going to select my window picture hit command D like so, and then I’m going to grab my edge over here, and I’m going to drag it over here like this like so. Now we have our window seal for this side. —oh I went crazy I mean it. We don’t want to do that, do we? So now adjust this wind seal here a little bit going to our inspector, to my properties, rotation. I want to make sure I rotated it around to work it straight. Straighten up here okay now I have two window seals. So what I’m going to do is, I don’t want them to match, so I’m going to open up my street, and I have a de-saturate and the sepia. I’m going to select both and I’m going to hit command C to copy him. I go to my window seal group take command B to past it. And this will make it the same color as my background not too bad.
So now still back to our file browser, just close everything up. Make a new group make sure it’s just a top and drag your window sill picture into that group again, another copy. This time we’re going to rotate it around this way. Bring it down, stretch it out, and we’re going to add a mask to it. So let’s take my mask, and what is going here real quick and mask this out. Like so I’m going to add the same three filters I select in my window seal hitting Command V. And posting those three pictures again and that you can go on to de-saturate and pull it down to make a little less intrusive. See it’s not so fast strike here a little bit. So there we are now she’s got our window seal. Now we want to make it look like she’s looking at the window, so I’ve got of a picture of an apple store here over here. We undo that I’ll make another group, so I’ll make another group okay here my picture, and drag my apple store picture into that new group. It’s on the very top. I want to scale this thing up to the full size, and I’m going to put it between my window seal groups, or blow my window seal group and above my Oxana group as you can see here.
So now what I want to do is, I want to select the picture that I just bring in and I’m going to bring the opacity down like this. Now as you can see it looks like she is in the store reflection of the window, slight reflection there over in here. And around you know it look like she’s kind of – she might looking at the glass. So now we have this wonderful composite. What we’re going to do? Well, we could add a finishing touch here. Go to our library, and select the particles and go into sparkles and you use the magic wand, so just make sure park on frame one just close every other groups up. Add a new group, make sure it’s at a top above everything else drag and drop your particle. I want to use magic wand, and there we go. Now I’m going to turn my particle off, so I will have to look at it while I’m tracking it. Now I turn it back on when I’m done. So now I have this particle instead of the emitting right here. So here I go park my play here on frame one. Select the particle place it on her finger wherever playing frame one is place the particle on her finger like that.
Now I’m going to track this particle. I want to do it, and I have to do this manually, so I will make sure my particles off, and I’m going to keep my particles select it. So what I want to do is I will turn on my record button, my inspector, properties I want to position here as you can see they turn red. I want to click option click this little button and it’s going to give me a key frame right here you can see I’ve got a key frame. So now I want to go to thin frames at a time. I want to go down here inner thin and her hand will jump to thin as you can see. So now I want to take this little dot and drag it right to on top of her finger. Set the key frame jump up to 20 now I’m going 10 frame at a time. I will set another key frame and move it down here that go to frame 30 set another key frame. This will go to frame 40 set another key frame, and drag it all around my finger. Frame 50 half way there. Set down the key frame you can see the pattern and I’m going about here.
So let me go on and zoom to this and do this. There’s no way around it. It’s a tedious process when your hand making particles that’s especially when you doing can’t be there to act. And a lot of times that there’s going to be stuff that can’t be drag as a matter of fact, that I across more stuff that cannot be drag than can be drag. It seems to me but that just in my experience and asking you know I have as much experience it’s a lot to people, but more than other people you know so okay there we go, and turn our button off go to the beginning put it back, and turn back on the particle parts that we have put it. May go up to my view, and turn off my titles safe. De-select everything play it, and here we go. Track a little off I want to go in and fix that, so let’s go back right about there. Your record button and this do your adjustments like so. Make it forward I’m going to double click and add another point. And you can drag it over to her finger, and so you can go through and adjust this as it needs be you know. But I think that’s going to be rut there. We need to fix it, so I’ll bring it over and that so I keep from right there. That pretty much does it that thing. Let’s play it back, yes that bearing it was a couple of spots I cracked there is off.
Rut there, so let’s set a key frame put one of her finger okay, and should fix that little spa. If you’re around right here and it’s fixing there. I’m done clicking. You’ll get the idea. It is to select everything go back to beginning and play it. And there we go and like I said I will pull this tracker and fix you know what I’m talking about that’s it. So there you go our heart edge is gone. It looks like she’s in front of a window. She’s pulling her tracker got a shadow on the building behind it. It’s a very, very complicated composite and it looks pretty good. It really, really does.
So I hope you guys have learned something. if you have any questions please get a hold of me at www.funatstudioschools.com and we’ll see you next time.
And here is the final shot I removed the white edges down in here and going to unlock it and handle that. Let me see here I don’t want to do that. Let me open up our project okay there you go. I’ve got gestures enable. You know I will turn off this that way I can you know how quick that that is when you’re using a pen, and you want some open or you just want it close. We want to bring up your hood there’s your hood. There’s gestures for everything. I mean literally everything and it’s really nice. I mean since I’ve got used to the gestures I’ve been using them a lot, and it’s a really quick way working —This is not the point of the video. The point of the video is here is the final shot and here it is., works everything is a little de-saturated or everything tracks along this fun. And that’s the end of her clip, and the king is really good. And if you know what she’s doing you can emotion. The key is jus good as anything else.
Now on our next video we’re going to key the same footage instead of the same scene in shake, so you can compare the two. Thanks for watching.