Keys on a white background and track 3d movement

It is actually two questions, so if I need to split it into 2 posts, I can do.

First of all, I have my talents on a white background (because of the green in costume) and I want to put a background behind them is a picture of a track or a stage (see the second screen capture). Initially, I did this by going into AE and make two copies of the item. I then used the HUE/SATURATION effect to the top of the page copy b & w, and then the LEVELS to make high-contrast. Then I put it as a cache of luminance (reversed) on the background copy. It worked pretty well, at least better than Ultra key or Luma Key, which left a bit of white on the edges of the subjects. Still, you can see a white border around the topics today, although he the one smaller than with the coding of effects. Does anyone know a better way to remove the white background, so there is no white edges around subjects?

Second, you can see that the microphone has a green cover. I need to put our logo instead of the green in the football game perspective and rotation. I thought to follow up with an effect of pin corner of movement, but because of the rotation, I don't know if it will work. That talent is the mic autour, the Green Exchange box tilt and rotation, as well as position. What do you recommend that I use to match my logo (seen in the second screenshot) the microphone?

Joe_SS_2.png

Screenshot of the music video with white background

Joe_SS_1.png

Capture the screen with white background clip removed (white edge reviews) and logo to replace the green box at the microphone

The first thing I would do with this project is to convert 32-bit if you have more control over the colors. To create the matte luma that I would start by converting the image in black and white, as you did, but I would go a lot easier on the contrast control. I would probably use curves instead of levels. I would have also used adjustments red green and blue when you turn the copy of black and white images to darken the skin as much as possible.

To achieve a fully black matte I can duplicate the black-and-white images contrast and the value of the copy to multiply. I would do this several times until most of the gray was gone. Then I would have added layers of black shape to fix everything that was causing problems. All layers of black and white and fill the forms would compound before and the demo would be used for a cache by approach. See the HC demo with 10 copies of the layer of black and white.

I would then use this HC demo to create a cache of luminance on the original film. I blurs the original film about 8 pixels with fast blur then I would have some edges to work with the final model. See Matt model of track.

The last step would be to put the matte model of track on the top images in a main model and add a little more blurry fast if necessary and curves and Simple Choker. I watch the Alpha channel of the model, the solo track matte layer, and then set the Alpha channel of the curves to clean any opening in the matte. I may return the RGB model control panel and set the layer of matte as a cache for the images alpha and adjust around simple neck and blur accelerated to even out the edges.

I hope this helps. Here is a screenshot of a computer creating the matte the way that I would.

The last step would be to follow the bug of mic using mocha and corners allows you to add your logo.

If this had been my project and there is no blue screen I would have fired on the screen of the project green and changed the composition for the guy with the green face. Then I'd use technical color change to make the green face again after the kay were made. I would also use a mic (cube) bug which was a good amount of details in it. It is easier to get a good track when there are a few details in the shot that is when the surface is flat and ordinary.

I hope this helps. Pulling a luma key when shooting actors on white background is much more difficult to inlay.

Tags: After Effects

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