[0:00] So, do you want to know how you can get
[0:01] green screens like this or this or even
[0:05] this all whilst using AI and event
[0:08] resolve? Well, today is the end of
[0:09] gatekeeping because I'll be showcasing
[0:11] my full green screen workflow that I use
[0:14] for both my long form and short form
[0:16] content. Not only will I be walking
[0:17] through the platforms I use, but also
[0:19] how I key out my green screens, the
[0:21] lighting, and how I composite everything
[0:23] inside the Vincent Resolve. And don't
[0:25] worry if you don't use a Vincent Resolve
[0:27] because everything I teach in this video
[0:29] can still be applied in every single
[0:31] editing software as well. Now, this is
[0:32] going to be part of a long series on
[0:34] YouTube. We'll be breaking down my
[0:36] filming and editing process throughout
[0:38] the coming months. So, if you don't want
[0:39] to miss out, make sure you subscribe and
[0:41] hit the notification bell because I'll
[0:43] be revealing everything. And before I
[0:45] forget, if you do have any suggestions
[0:46] of any videos you'd like me to make,
[0:48] make sure you write it down below
[0:49] because I'll be reading everything and
[0:51] maybe picking out any that I see fit for
[0:53] the future of this channel. So, to break
[0:55] down my lighting setup that I use in my
[0:56] videos, firstly, I've got my main key
[0:59] light shining from this direction at 45°
[1:02] angle pointing downwards. And the light
[1:04] I'm specifically using is the Small Rig
[1:06] RC60B. Now, it's portable and I've just
[1:09] got a massive soft box just to soften
[1:11] the light. And secondly, just on my left
[1:13] here, I've got a tube light from UA. And
[1:15] just the main purpose of that is to
[1:17] light the green screen behind me. And
[1:18] thirdly, light here I have on my right
[1:20] is the Small Rig portable
[1:23] light box or panel. And again, it's just
[1:26] for a fill light just to fill this side
[1:29] of my face. And now we're going to be
[1:31] moving on to keying out the green
[1:32] screen. So the first thing I've done is
[1:34] I've just color graded the footage by
[1:36] converting it into Rex 709 and then just
[1:38] doing my basic adjustments. Then I've
[1:40] converted it into a compound clip just
[1:42] so it the grade is baked in when we come
[1:44] to actually key it out in the fusion
[1:46] page. So head to the fusion page now.
[1:49] And the key I'm going to be using is a
[1:50] delta key. So you can go ahead and
[1:52] search for that by pressing shift space.
[1:55] You can add that. I'm also going to view
[1:57] the delta key on the left viewer here.
[1:59] And I'm going to turn off show color.
[2:01] Now you're just going to see it appear
[2:03] white here. But what we need to do is
[2:05] using the eyedropper tool here on the
[2:07] right is we just need to go very close
[2:08] to the subject.
[2:11] Just like that. And we just have a very
[2:14] basic selection so far. Now we can see
[2:16] on the left it's black and white. And
[2:18] the easiest way to think of this is
[2:20] black is everything we don't want and
[2:22] white is everything that we do want. So
[2:24] So the main two sliders that we're going
[2:25] to be using are the gain and balance
[2:27] sliders. So if we just increase the gain
[2:31] a little bit, we can see that a lot of
[2:33] the green screen starts to be keyed out,
[2:36] but we also start to lose some of the
[2:39] subject as you can see here.
[2:42] So we need to move very carefully. And
[2:45] then using the balance slider, we're
[2:47] just doing the opposite thing. So by
[2:49] decreasing it, we can see a lot of the
[2:51] subject becomes more visible.
[2:54] Also, we start to introduce back a lot
[2:57] of this green screen. So, very minimal
[3:00] movements.
[3:02] [Music]
[3:03] Just like that.
[3:06] And now moving on to the premat. So,
[3:08] we're going to be moving from left to
[3:10] right. And one thing I forgot to
[3:11] mention. So,
[3:13] if I bring back the media in one clip.
[3:16] So the better you light your green
[3:19] screen, the easier it is going to be to
[3:20] key out only because as you can see
[3:22] here, there's a lot of creases in mine
[3:24] and so there's a lot of disparity in
[3:26] between the green shades just because of
[3:28] the shadows. But that's fine. I'm still
[3:29] going to show you how you can key out a
[3:31] imperfect green screen. So if you move
[3:33] back to the delta key, disable color
[3:36] once again.
[3:37] Now the way you can think of the premat
[3:39] is we're just removing more of these
[3:41] green shades by just drawing a box. Now
[3:44] we can see when we do that we start to
[3:47] remove some of the subject. So we can go
[3:50] back.
[3:51] Just select one more.
[3:55] Now I'm not going to select too much cuz
[3:57] as you can see now we've just gotten rid
[3:59] of a lot of the subject. So this is good
[4:02] enough. Now we can also improve the
[4:05] selection by increasing the blur.
[4:08] Just like that. We can see here that we
[4:11] start to reintroduce some of the
[4:13] subject.
[4:15] And so let's move on to the map. And
[4:17] this is probably one of the most
[4:18] important tabs. And the main slider
[4:21] we're going to be using is the threshold
[4:22] slider. So what I normally do is just
[4:25] increase the low point. You can see that
[4:27] a lot of the green screen is keyed out
[4:31] now. And then we just decrease the high
[4:34] point
[4:36] just like that.
[4:38] Now this is a very good selection.
[4:39] Obviously, we still have some
[4:41] imperfections here, which we're going to
[4:44] be able to mask out this one. But this
[4:45] one, we can get rid of just by going
[4:48] into the premat.
[4:51] And we can select some of that. And for
[4:53] small imperfections like this, then
[4:55] that's fine. We can keep it only because
[4:56] they won't be as visible when we come to
[4:59] actually add in our realistic
[5:01] background. I'm going to show you how to
[5:02] do that later. But right now, let's
[5:05] actually mask out everything that we
[5:07] don't need. And the way I'm going to do
[5:09] that is I'm just going to add a polygon.
[5:11] And then by pressing on option, I'm just
[5:13] going to
[5:15] press some garbage mat. And what I'm
[5:17] going to do is I'm just going to go
[5:18] around everything that we need.
[5:29] And now if we invert the selection, now
[5:31] we've just selected everything that we
[5:33] do need. And then we've just gotten rid
[5:35] of everything here on the left and right
[5:37] that were just distracting us from the
[5:39] main subject. And if we zoom in closely,
[5:42] we can see here that just got a bit of
[5:43] haloing. And the way we can get rid of
[5:45] that is by going into the map.
[5:48] And then we can just erode slightly.
[5:53] Can also introduce just a little bit of
[5:55] blur. And in the fringe, we can just
[5:58] reduce the fringe gamma as well. And now
[6:02] we can see we got rid of that white
[6:03] haloing that was around the subject. Now
[6:06] we can go around the edges just to have
[6:08] a look.
[6:13] Just like that.
[6:21] And there we go. Now I've just gotten
[6:22] rid of the haloing all around. Now, I'm
[6:26] just going to change the replace mode to
[6:28] source because that's just a more
[6:30] accurate representation of how we
[6:31] actually graded the footage. And so, we
[6:34] can move over to the fringe. And so,
[6:35] what I'm going to do is I'm just going
[6:37] to change the spill mode over to medium.
[6:39] Depending on how much spill you actually
[6:41] have on your subject, you can change
[6:42] that to medium or even well done. But
[6:44] I'm just going to keep it on medium for
[6:46] now. And that should be everything for
[6:48] the Delta Kia. So, what we can do now is
[6:51] we can move back to the edit page. What
[6:54] I'm also going to do is I'm going to
[6:56] effects and I'm just going to search for
[7:02] generators
[7:04] and I'm going to drag a solid color
[7:06] underneath our subject. I'm just going
[7:08] to make that a very bright green and
[7:11] you're going to see why when we actually
[7:12] come to import it into Mid Journey so we
[7:15] can actually get our background. Now
[7:17] head over to file, export, current frame
[7:21] as still.
[7:23] And then we're just going to grab a
[7:24] still of our video. We can name that
[7:27] green
[7:29] screen.
[7:30] Still
[7:33] just like that. So after you've exported
[7:36] your still frame, now head to midjourney
[7:38] and then hover over to the edit section.
[7:41] And then we're going to press on edit
[7:42] uploaded image. We're just going to
[7:44] import our green screen still. Using the
[7:46] smart select tool, we're just going to
[7:49] select the subject.
[7:54] And after you have a fairly decent
[7:56] selection, you're just going to press on
[7:57] erase background. Now, type in anything
[8:00] that you want. For example,
[8:02] a man sat in a cozy living room.
[8:08] Warm
[8:10] match lighting.
[8:13] You can also play around with the
[8:14] settings. So, you want to 16 by9. You
[8:17] can play around with the aesthetics, but
[8:19] we're just going to submit edit.
[8:21] [Music]
[8:24] Now, I've got some examples right here.
[8:28] Let's see.
[8:30] And you can just keep on generating
[8:32] samples until you settle on one that you
[8:34] actually like. So, let's try out a few
[8:37] more.
[8:40] [Music]
[8:47] Okay. So, let's just pick out this one.
[8:48] It's a decent example. There's a lot
[8:50] going on and we can then come to
[8:52] composite it later on in the Vinci
[8:53] Resolve. So, go ahead and download
[8:55] image.
[8:57] Now, the third program we're going to be
[8:59] using is Photoshop. So, go ahead and
[9:02] open
[9:04] the frame that we just downloaded from
[9:05] Midjourney and we're going to be using
[9:07] the generative fill tool. So go ahead
[9:10] and select everything that you want to
[9:12] get rid of because we just want the
[9:14] plain background.
[9:17] Just like that. Got some generative
[9:19] fill. And then we can just type remove.
[9:25] Now we're going to just get a few
[9:26] examples. You can go ahead and pick out
[9:28] which one you like. I'm just going to go
[9:30] with the first one. And then I'm going
[9:31] to go to file, export, and quick export
[9:35] as PNG.
[9:37] Now it's time for my favorite part,
[9:39] which is the compositing. So, you want
[9:41] to listen very closely because I'll be
[9:42] giving away some tips and tricks that
[9:44] you definitely don't want to miss out
[9:45] on. So, to begin, we're going to grab
[9:48] our plain background that we exported
[9:51] out of Photoshop and we're just going to
[9:53] line it below our subject. And then for
[9:56] the first part of compositing, I'm just
[9:57] going to add an adjustment clip
[10:01] just like that. And then we're going to
[10:04] move on to the color page. So, I'm just
[10:07] going to add a few corrections and a few
[10:10] effects that will really make the whole
[10:12] scene pop. So, to begin, I'm just going
[10:14] to add a vignette.
[10:19] It's a bit too strong. So, using a lips
[10:24] mask,
[10:26] just going to soften it slightly.
[10:34] Just like that. And the global blend, we
[10:36] can just bring that down ever so
[10:38] slightly as well.
[10:42] Just like that. And if I press on option
[10:45] P, it's going to get a parallel node.
[10:48] We're going to do a similar thing,
[10:51] but we're just going to make the subject
[10:54] pop by just increasing the exposure
[10:56] where our subject is. Just very
[10:58] slightly.
[11:01] Not too much.
[11:05] And we can see that already
[11:08] this makes a big difference. But we're
[11:11] not done yet.
[11:14] Another thing, we're also going to
[11:17] increase the saturation just a little
[11:20] bit.
[11:22] Just like that.
[11:24] And if you take a look at the viewer, we
[11:26] have some warm light casting on our
[11:28] subject from the left. And we have a
[11:31] cool light shining on our subject from
[11:33] the right. So we're just going to
[11:34] accentuate that by adding
[11:37] two ellipse masks once again.
[11:42] Just like that.
[11:44] And then we're going to move the offset
[11:48] towards the orange. Just like that.
[11:51] Another parallel node. Very similar
[11:54] thing, but this time with the cool light
[11:57] on the right hand side.
[12:07] Just like that.
[12:11] And already if we take a look,
[12:14] it just makes the lighting pop much
[12:18] more.
[12:21] And if you have a look at before and
[12:24] after,
[12:26] we've just added that very, very slight
[12:31] touch to it.
[12:34] Now, finally, we're just going to add
[12:35] some glow.
[12:38] We don't want it to be too much. Just
[12:40] going to lower the threshold. Just like
[12:43] that.
[12:45] And the spread. Can also lower the
[12:48] gamma.
[12:49] So that's
[12:51] we can see
[12:53] that this makes the bright areas pop as
[12:57] well.
[13:00] And now for the very important part
[13:02] which is adding light wrap just around
[13:04] our subject. If you don't know what that
[13:05] is, light wrap is basically a
[13:07] compositing technique where a bit of the
[13:09] background's light softly wraps around
[13:11] the edges of the subject and it just
[13:13] makes it look less like a cutout. So
[13:16] let's move on to the fusion page for
[13:19] that.
[13:22] So first thing I'm going to do is I'm
[13:24] going to add a Mac control
[13:28] and then I'm just going to connect Delta
[13:30] Kia from earlier into the yellow input
[13:32] of the Mac control and I'm just going to
[13:34] view it on the left here. Now we want to
[13:36] change the combine operation to subtract
[13:39] and the combine to combine alpha. You're
[13:42] going to see why later. And we also want
[13:44] to add a blur node as well.
[13:48] Then connect the blur node to the green
[13:50] input of the mat control.
[13:53] Now if we view we can see a very slight
[13:56] outline. We can make that more prominent
[13:58] by just increasing the blur size.
[14:02] Just like that. And then we're going to
[14:05] merge the Mac control on top of the
[14:07] delta key but just changing the input to
[14:10] the blue one. And then we're going to
[14:13] grab our background from earlier. Once
[14:14] again,
[14:17] we're going to add a blur just to blur
[14:20] it out all the way so you can view it
[14:24] here.
[14:28] And then we will add a transform.
[14:34] Plug it into the green input.
[14:37] And we're just going to
[14:40] increase the size just so it fits the
[14:43] whole frame. Just like that. And we can
[14:46] see already we have some light wrap. If
[14:49] I go before and after, you can see it
[14:52] more clearly.
[14:54] Just like that.
[14:57] And if you want a stronger light wrap,
[15:00] you can always up the blur. That's a bit
[15:02] too much. So, we just want to keep it
[15:04] very minimal. Just like that.
[15:09] Now head back to the edit page. And as
[15:12] you can see already, we have some light
[15:14] wrapping around the chair and around the
[15:16] laptop. This makes it 10 times more
[15:19] realistic.