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Change the appropriate settings to use this new clip as a tracking matte.īeyond that, I’d download the sample clips and study the tutorial scenes for Keylight.Ĭongratulations to the Winner of the OWC 2.0TB Envoy Pro SX! Once your ready, all your going to do is render out the track matte then import it into Premiere above the target clip. Set up Keylight as needed, and save a Preset if this is typical footage. Your NOT going to render out the final composite at this stage. You could import your BG layer as well or simply have a good substitute. AE’s comp is set up, matching your Premiere clips IN and OUT points. Trim the comp to match the work area and your ready to go. Hit O to go to the clips OUT point then N to set the work areas end point. It’s most likely off the screen in AE’s timeline so just select the clips layer and hit [ to bring it’s IN point to frame 0. You can set the comps duration to match the clip length OR just do a Ctrl-V to paste the clip into the new comp. On the timeline, select the edited clip that needs keying and note the duration of the clip then simply Ctrl-C to place its info into the Copy buffer. I’ll edit in Premiere w/o doing any keying but allow tracks for background layer and a tracking layer. Fortunately, the work around is pretty simple and I’d think would work for you w/o the CSx product. Yikes!Īlthough I’m using the CS3 versions of both Premiere and After Effects, I don’t have the premium bundle which means I don’t have the Dynamic Link. I’m dating myself, but I used to work a lot with the hardware version of Ultimatte. Although there are others you could purchase, I doubt you’d find them any more capable. I can’t speak for FPC other than I’m sure Motion could do what you need certainly, but I’m not familiar with the workflow.Īfter Effects CS3 and higher comes bundled with KeyLight (from The Foundry) which is a very good keying plug-in. It doesn’t matter if you want to remove a color from the foreground or the background, the process is the same.There really aren’t many options within Premiere for matte extraction software, largely because it’s an editing program. If you zoom in closely, you can see that it’s not only the plain white color that’s been removed but all the gray areas and shadows as well. Once you’ve adjusted all the parameters, you can hit Delete to remove all of that one color.This is handy when you have multiple elements of similar colors and you want to include/exclude them from the selection.
It manages the space between the sample point and all the colors that will be removed.
This might take some trial and error, so feel free to experiment a little. What this does is adjust the color range and changes the number of specific pixels that will be removed. Then, adjust the Fuzziness to match the selection accuracy.What you’ll want to do here is select the Eyedropper tool (the regular one) and click on the color you want removed. From here, you’ll get a variety of options which you can tweak to remove specific colors effectively.Once you’ve done this, go to Select > Color Range.Also, it would be a good idea to zoom in on the specific parts of the image so that you can select the color easier. Once you have your image, it’s best that you duplicate the layer, since this will let you reverse any mistakes easily.The one you see below is a great example, as it has a lot of sharp edges, which are the biggest enemy of the Magic Wand tool, since they usually end up containing the color you’re trying to remove. To begin, open your image in Photoshop.It’s not exactly the easiest feature to use, but it’s convenient and you can get the hang of how it works after just a couple of repetitions. Once you’ve defined your selection, you can replace or remove it in just a few steps. The Color Range tool allows you to select and manipulate a subset of colors within an image. Removing All of One Color with the Color Range Tool Well, there’s a neat little feature that you’ll find very helpful – the Color Range tool.