I have footage I shot on a greenscreen and a prop that is also green. Can anyone offer me advice on how I can key the background as well as the prop in the clip? When I key the green it takes both out in the footage and replaces both with the background.
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Green Screen Question
- Thread starter Jsthompson79
- Start date
Hey, you should consider using a green screen then have the prop blue or use a blue screen and do it vice versa either way should work..
Yep, what Conner said. We commonly refer to it as "green screen", but it doesn't have to be green. Blue is a common alternative. Bright green is most often used because it's a color that doesn't really happen in normal everyday stuff, so it's easy to key out. But you can key out any color.
Long story short -- you need to re-shoot it.
Long story short -- you need to re-shoot it.
Hey, you should consider using a green screen then have the prop blue or use a blue screen and do it vice versa either way should work..
Yeah a little late for that
That is why I am trying to figure out how to do it this way lol.
U could also mask the prop.. It will look like sh*t but sometimes that's all you can do..
Or maybe if you re using after effect, you can use Color Key effect (I think that what it's called) instead of keylight and play with the thresholds of the color an hope your screen green is not in the same range of green as your screen.
But still... It might look like sh*t.
But still... It might look like sh*t.
Not what I wanted to see. 
At least it was only a little footage but the problem is getting with the actor again due to their schedule.
At least it was only a little footage but the problem is getting with the actor again due to their schedule.
Well, there is the alternative that dlevanchuk mentioned -- green screen is the fastest way to isolate a foreground from a background, but not the only way.
Do you have a lot of time on your hands, and an incredible amount of patience? Cuz you can rotoscope the prop.
Thanks for the idea. I tried the Color Key with no luck. I tried switching the color of the prop with the color to but it and the screen are almost the same color so when I change one it changes both.
I have 3 days to finish the skit for a contest. I am thinking it will just be easier to reshoot then spend a vast amount of time trying to fix my newbieness in post.
+1 on rotoscoping
How long is the shot?
Over all around 45 seconds worth of video. The length of the video isnt really the problem it is the schedule of the actor vs the time I need to complete the project vs the deadline.
The reason he asks about the length is because rotoscoping has to be done frame-by-frame. The longer the shot, the more time it takes to get it right.
Thanks, that makes sense. Over all the footage in question is 7 seconds of the 45 seconds.
Oh it's only 164 frames. Grab a cup of coffee and dedicate a couple of hours
Do u have 5.5 premiere or older?
Do u have 5.5 premiere or older?
Oh it's only 164 frames. Grab a cup of coffee and dedicate a couple of hours
Do u have 5.5 premiere or older?
I have 5.5. I have the Master Collection with Photoshop, AE, etc.
No biggie.
No sweat. If your prop has hard edges, as opposed to soft/translucent (i.e. hair), then roto is usually pretty straight forward.
The level of difficulty depends on how much the prop moves around in the frame (changes in rotation and perspective). Frame-by-frame is possible, but rarely needed. In fact, if it's just a pan/tilt shot you may get away with just one frame of roto, tracked to follow your prop.
If you need a strategy on how to approach the roto using layers, and the fewest keyframes possible, drop me an email, with some frames (beginning, middle, end) and I can give you specific notes.
Thomas
schelesny@gmail.com
No sweat. If your prop has hard edges, as opposed to soft/translucent (i.e. hair), then roto is usually pretty straight forward.
The level of difficulty depends on how much the prop moves around in the frame (changes in rotation and perspective). Frame-by-frame is possible, but rarely needed. In fact, if it's just a pan/tilt shot you may get away with just one frame of roto, tracked to follow your prop.
If you need a strategy on how to approach the roto using layers, and the fewest keyframes possible, drop me an email, with some frames (beginning, middle, end) and I can give you specific notes.
Thomas
schelesny@gmail.com
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Thanks guys I really appreciate all of the help thus far. I am going to watch some videos on rotoscoping and try it then evening when the kiddos are in bed.