[0:01] today we'll teach you how to create a
[0:03] beautiful professional and Hollywood
[0:05] looking chroma key on what you see
[0:07] around me is not real hello everybody
[0:14] welcome back to this tutorial on how to
[0:16] create a beautiful looking chroma key
[0:18] production I am hi me from EMC and today
[0:20] we are going to learn three important
[0:22] things first how to plan out everything
[0:24] before the shooting session second how
[0:27] to set up everything on studio camera
[0:29] lighting green-screen everything and
[0:31] last but not least we're going to learn
[0:32] how to edit the footage and put it
[0:34] together with the background how to
[0:35] composite everything and I will teach
[0:37] you some tricks to make it totally right
[0:39] if you are still interested let's get
[0:41] into this
[0:42] alright guys I put together a
[0:44] presentation for you I promise it's
[0:46] gonna be really quick before we take
[0:48] action into the production so this is
[0:51] actually our action plan so let me talk
[0:55] about this real quick so we have here
[0:59] this image that actually you probably
[1:01] recognize is the one that I've used in
[1:05] the intro video and analyzing how the
[1:08] light works here we have this window
[1:10] that is gonna work as a key light
[1:12] because the brightest part of these
[1:15] elements over here that every object is
[1:18] on this side and the darkest side is in
[1:22] the opposite way so to the right side so
[1:24] our main light is probably this one then
[1:27] we have the field light which is
[1:30] probably a light bulb or some other
[1:34] artificial light behind the camera and
[1:37] over here we have this wall that is
[1:40] probably bouncing of some light that
[1:43] fill out some shadows over here so it's
[1:47] important to have this into our plans
[1:49] talking about our plans I put together
[1:52] this drawing so it represents the light
[1:57] on the image here and the subject that
[1:59] we are going to record which is gonna be
[2:01] myself and the key light so you can have
[2:05] either
[2:05] artificial source of light or if you
[2:08] find a window that
[2:10] can provide this enough light for your
[2:14] shooting it would be enough also we have
[2:17] this feel light which is like 45 degrees
[2:20] to the left of the subject and the
[2:24] camera is going to be here we're going
[2:25] to talk about that in a second and also
[2:29] the bounce light if you have an element
[2:31] that can bounce off this light coming
[2:34] from the left it would be a good idea to
[2:37] have an element that can do that so
[2:39] let's see how it works in real life this
[2:41] is a camera it is a little bit low
[2:46] because the reference or the background
[2:49] image makes us understand that it was
[2:53] the position of the camera that I that
[2:55] this image was taken and I have here two
[3:01] lights pointing towards where I was
[3:05] seated so that sugar over there also a
[3:08] bounce or so the light reflects a little
[3:10] bit to my face and to my body so it
[3:14] won't be that dark and yet the chromakey
[3:17] fabric on one light that is actually
[3:22] making look more even the colors or the
[3:26] shadows is removing that much of shadows
[3:28] of the wrinkles and so on
[3:30] so yeah that's the microphone for better
[3:33] sound that's it this is the setup for
[3:36] the chroma key project so I found this
[3:41] place in my apartment which is the
[3:43] living room with a nice source of
[3:45] natural light which is this window over
[3:47] here and also it has these curtains that
[3:50] acts as diffusers then we have this feel
[3:54] light situated in the same position as
[3:57] we have in the plan the camera is right
[4:00] here we will talk about in a second and
[4:02] finally we have a bouncer an element
[4:06] actually that bounds the light of the
[4:09] window from the right right side to the
[4:12] left so this is the bouncer over here
[4:16] and that complete the light setup now
[4:19] let's talk about the camera and you
[4:20] might wonder why the camera is
[4:22] No so to answer that let's get back to
[4:25] the background image but this time with
[4:27] some elements that will help us out
[4:28] understanding the perspective of the
[4:31] image and why understanding that is
[4:33] important it's very important because
[4:36] you need to compound the background with
[4:39] the footage you are gonna take so if any
[4:42] of those have a different perspective
[4:43] your composition would look weird on not
[4:47] natural so that's why it's important to
[4:50] understand that so one quick tip is to
[4:53] find an object that you cannot see
[4:55] either the top or the bottom
[4:57] for example this desk over here and that
[5:00] would be the height where the you should
[5:03] place the camera so that's why I place
[5:06] the camera at the level of this table on
[5:09] the left side like that you will
[5:12] recreate the angle of the camera that
[5:14] took this picture over here and finally
[5:18] before editing our footage let's talk
[5:19] about some camera settings to keep in
[5:21] mind when shooting a green screen
[5:24] production
[5:25] first of all let's keep your ISO as low
[5:27] as possible this will avoid grainy and
[5:29] noisy footage usually speed should be
[5:31] above a hundred and fifty this will
[5:34] avoid motion blur and use a flat color
[5:36] profile so it would be easy for you to
[5:39] color grade and as always keep your
[5:41] exposure balanced that's it let's go to
[5:45] edit our footage all right guys we are
[5:48] now in Premiere Pro and we have our
[5:50] footage ready to be color corrected and
[5:53] let's talk a little bit about the
[5:55] footage right here so you may wonder why
[5:58] I am using his footage that looks so bad
[6:02] it looks like undersaturated
[6:04] underexposed and why it looks like that
[6:07] and I'm not using another thing so the
[6:10] quick answer for that is that I am using
[6:11] a color profile on my camera that is s
[6:15] lock to use on a Sony camera so I am
[6:18] using that color profile which is
[6:19] actually a flat color profile its
[6:21] collide that and but this step is not
[6:25] necessarily a step that you need to
[6:28] follow however I will highly recommend
[6:30] to create your footage on any flat color
[6:35] profile
[6:35] so you will have more information to
[6:37] play with so why is that important
[6:40] because it is much your footage with an
[6:43] image that you found on the internet or
[6:45] some from someone else
[6:47] I'm the idea is to just match the colors
[6:49] and with more information on the colors
[6:51] of the colors in your footage you will
[6:54] be more able to match everything up in
[6:58] the final stage so let's continue with
[7:02] the color correction part let's click on
[7:05] this tab now we will see that I have
[7:09] here two scopes the waveform and the
[7:13] vector scope I find very important you
[7:16] have the waveform here because it's very
[7:20] important to keep track of what you are
[7:23] doing in terms of light so right here it
[7:27] gives us some useful information that is
[7:30] clearly underexposed is under the 60
[7:33] mark and it is to spread all the
[7:35] information from the zero level till the
[7:38] 100 mark so spreading that out will give
[7:44] us a better result in colors and in
[7:47] light so and also we have the vector
[7:51] scope and this is just to keep track of
[7:53] what I am doing with the color so wait
[7:55] for is more about light and vectorscope
[7:57] is more about colors so let's continue
[8:01] and let's start with moving some curves
[8:04] so we will just like spread that
[8:07] information all over the scope let's
[8:13] bring that up let's make sure that we
[8:17] are not clipping anything over here so
[8:19] if you overpass the hundred mark you
[8:23] will start noticing that over here you
[8:25] will start like clipping out some whites
[8:28] and also the same happens with with the
[8:32] zero level because if you go under that
[8:34] you will start like crossing very badly
[8:38] your blacks let's just see how it works
[8:42] so if you just like go under it you will
[8:44] see just like started losing a lot of
[8:47] information
[8:48] so the every shadow is just I just
[8:50] losing and you cannot recover that
[8:53] afterwards
[8:54] now let's uh get back to where we were
[8:57] and let's just add a little bit more of
[9:01] contrast that's just lift a little bit
[9:05] these mid-tones let's go back to you
[9:10] basic correction it's out a little bit
[9:12] of saturation so we'll have more
[9:15] vibrance in colors also let's add a
[9:19] little bit more of temperature it looks
[9:21] a little bit like cold but my skin is
[9:26] not as cold as that as it is in the
[9:29] image also let's add a little bit of
[9:32] cretinous or magenta to the image so
[9:36] we'll have more natural skin tones and
[9:40] also let's play with the shadows will
[9:44] recover more information of my hair that
[9:48] is very dark and some shadows that are
[9:50] these are disappeared also let's bring
[9:55] those highlights a little bit down
[9:57] because to recover more information on
[10:00] the on the skin and that is looking
[10:05] pretty good to me what do you think also
[10:08] let's add a little bit of sharpen let's
[10:15] add it's at 50 points should sharpen it
[10:21] out and a little bit of vibrance just to
[10:24] bring more even more the colors of my
[10:27] skin and also and this is very important
[10:30] just to make a very conscious see the
[10:34] green with their other colors in front
[10:37] of the fabric now let's play a little
[10:42] bit with the color wheels let's bring
[10:44] those mittens a little bit hop it's a
[10:48] little bit up so it won't be that Doric
[10:51] on the shadows and it looks great for me
[10:56] so it's a pretty ready to go and play
[11:00] with it in after-effects but before of
[11:03] that let's talk about how to export a
[11:04] video ready for chroma key first let's
[11:08] click on file then click on export media
[11:11] and this is very important so we need to
[11:15] format find a format that will keep the
[11:19] most of our information so something
[11:23] that is not compressing that much our
[11:25] footage so the one I normally use it's
[11:28] quittin is a little bit heavy but it's
[11:31] always good so in this case we are using
[11:34] Apple ProRes 42 and we will keep the
[11:39] other settings as they are and also
[11:43] let's just use this option over here
[11:47] which is use maximum render quality it
[11:51] is just like nice to have and now you
[11:55] decide if you want to export it over
[11:57] here or you want to queue it on Adobe
[12:00] encoder but for the sake of this let's
[12:03] rename our footage that we're going to
[12:06] export French color corrected now let's
[12:10] hit them save let's play export all
[12:13] right so our video is now render it out
[12:16] and we can continue our process in Adobe
[12:19] After Effects
[12:20] [Music]