Hi, Iove the tutorial. One suggestion - would be great to see the actual final result somewhere in the intro - it's really easier to follow the lesson afterwards :) thanks!
You mean the whole flow... cause it's a bit longer here and it's more about the process than the particular keying result... actually, you could probably improve on my result here 😉
@@VFXstudy Nah, I just meant the final shot - I think it's really informative to see the result before going into details - to wrap ones head around it simply :)
@@VFXstudy Hi Brend, great tutorial as always, love all of your work!! I had a quick question, I have a video clip of a tree which has a transparent background (appears black in Fusion or Resolve) and there is a duplicate video clip showing only the white alpha of the tree. What would be the best way to use these two clips together to have a clean clip of the tree which then has a transparent background? The only way I managed to do this is with the Luma Keyer, but I was wondering if I could use the two clips together somehow so the black background appears transparent as soon as I import the clips into Fusion or Resolve. Not sure I’m making sense but any advice would be great! Thanks
Hello Bernd, very good presentation. Seems like you are the specialist who can answer me a question in regards to compositing :) In my green screen recording environment I would like to set up more than one physical static cameras. The plan is than to integrate the different camera views into a virtual studio scene. In order to do this correctly, I would like to somehow use Davinci to compute the camera poses (3D position + 3D orientation) in the room. I thought about setting up the cameras in front of a calibration pattern before the actual recording, to get both cameras into the same reference coordinate system. I have seen that Davinci supports Camera tracking for a single moving scene. Maybe this could be used somehow? Maybe stacking a reference shot from the calibration pattern of each camera into sequence and that using the tracker to get the relative pose between camera positions? Of course things could be made a lot better if Davinci already has camera calibration algorithms on board which would allow to preset camera characteristics like focus and pixel size. Thanks for your response and your great channel. Helps a lot to get started with Davinci! Best regards, Christoph
Love the organized logical approach. You manage to illustrate the thought process behind the action very well. Thanks you! 😃👍 Also, today i learnt about the existence of the DVE node. I was searching for that function two weeks ago, and was utterly confused it wasn't part of the transform node. Didn't find it anywhere else, so i used the most inelegant workaround from the edit page. 😆
This is a brilliant tutorial... My go to troubleshoot, to understand things... Once i develop some decent understanding, planing to take ur course on keying Gr8 work
Thank you for the tutorial. I'm having trouble with a shot that has a ton of problems (camera motion, hard shadows on greenscreen, motion blur), and figured out my usual DeltaKeyer + CleanPlate approach doesn't really work in that situation, I needed more tricks! That's very useful, even though you explain this with footage that was shot in ideal conditions :)
Great Introduction to Keying in Fusion. I wasn aware the matte control is so powerfull, thanks for pointing it out. One thing I am wondering is that you didnt talk about the topic of the "Lightwrap" technique - this often sells bad composites...
Yeah, but it's also often overused. It's one of the compositing tricks you can do when you have an edge mask - I think I might have shown it in the matte control video or in the courses
Very good video. It will be interesting to see an example of workflow where the greenscreen is digitally added with software for example with runawayml.
You can also try the magic mask in the DaVinci resolve Color page to get an AI / Machine Learning extraction of a person. Not sure how it compares with runawayml. Some software extracts the subject and then places it in front of an artificial greenscreen - that's generally not a good solution, it's better to output the extracted object with an alpha mask in a file format that supports alpha channel (like ProRes 44444 or DNxHR4444). But if you do get a digitally added green background, then extracting that is usually quite simple and tends to work with pretty much any keyer you want.
@@VFXstudy I used Magic Mask along with Qualifier but it did not produce the results needed, so I had to look at other options - fast. Apparently, the runwayml does a pretty good job specifically in the green screen section but the problem is that I can't get ProRes4444 as it's 100$ a month, hence I'm left with a green screen mask and .mp4
@@GeorgeNicola Ah ok. But I suspect that the simple 3D keyer from the edit page or color page would catch that artificial green screen easily. Or in Fusion a simple Chromakeyer. Some AI powered tools are a bit better than others, but generally they don't get the quality for high end compositing. But maybe it's enough for your purposes...
@@VFXstudy I agree with you, just in my case I am a total noob in compositing and had to find a quick solution to work it out. Your deep technical tutorials are a big help.
I'm learning keying in Fusion, but I'm encountering an issue with the delta key transmission to matte control. Why does the key quality degrade in this process? Conected to the matte control mode a green edge is showing up again?
Not sure how you connect it or how you use the MatteControl. Generally, if you use the RGBA output, there's no way MatteControl could add a green edge that the DeltaKeyer already removed. However, perhaps you are using only the alpha channel from the DeltaKeyer? In that case any despill that the DeltaKeyer might perform would be ignored. Sometimes that's exactly what we want if we do despill separately or want to try different algorithms for Despill.
Hi, thx a lot for all of your tutorial. You mention a advance technic for the color of the edge ; with the background going throuth the spill. You said you wont cover this in this tutorial but where can we find this ?
Love your tutorials, thank you very much! One practical question: what if the character is waving like crazy and his hands become a giant mess. What is the technique to deal with it?
That's quite tricky. Because of blur you probably get a very soft mask in the wavy area which let's a lot of green through. After doing despill it'll get dark or grey in that area - there is a technique called adaptive despill (covered in my compositing course), where you compare how much spill you removed in the semitransparent area and then replace it with the appropriate amount of background image (or a blurred background) to a better appearance of the semi-transparent areas. Another attempt would be to tighten the mask so it's quite hard and then add artificial motion blur again afterwards.
Thank you for this video!!! I'm a beginner with my roots (80's and 90's) in the graphic (printing) world. How do you get the little "splitting" blue node in the Despill part
I have been trying to learn from this... One prblm more often than not is that there is kind of glitchy transition in the hair in some frames... Any help would b a lot appreciated
after doing such a complicated node tree for the keying, my fusion renders the image sequences at abysmal speeds using the saver node, sometimes up to 6 seconds per frame. I also realised that fusion is using much of my GPU to render the frames, do you have any advise to optimize the Fusion render speeds? I'm already using at RTX3080.
Hello, I followed these steps, but when I go to the status tab on the delta keyer, the fine hairs and edges have a layer of gray around them and there appears to be some kind of flashing effect around the flyaway hairs when I playback the video. Is there a way to remedy this? Is this covered in your course on the vfxstudy website? I was thinking of purchasing.
It's always tough to cover a specific issue on a specific shot. The gray probably comes from the spill replacement. Maybe you eroded or blurred the edges a bit or have the mask a bit two wide. See how the alpha is there. In some cases you can tune the edges within the deltakeyer and possibly change the color replace mode. The course goes into some more detail of the individual steps including some edge refinement, edge extension, and adaptive despill. Of course there will still be tuning on any individual shot.
Hello and thank you for the very detailed tutorial! I have 10 years of experience in After Effects and I do mainly keying and compositing. Recently I'm considering learning Fusion and switching to Davinci Resolve, but after I watched this video I'm not so sure. The greenscreen shot you showed here is not a complicated case at all. In AE, I would just create a rough hard key with "keylight" and then I would add "key cleaner" effect, which automatically refines the mask details. And that is in most cases all you need for a really good key. I understand the process you are doing here but it seems so demanding and complicated! Isn't there a simpler way? Something like the simple process in AE that I use?
Sure, you can simplify it. The purpose of the tutorial was to show an advanced workflow for maximum artisitc control for demanding shots. At the end you only do the steps needed in any specific case. Keylight in AE is pretty much the same as Delta Keyer in Fusion. I'm not sure what that "key cleaner" effect does, but there are refinements inbuilt into the delta keyer, an inbuilt clean plate tool and you can do a simple hard comp soft-comp approach by concatenation two delta-keyers. See my earlier delta keyer tutorial for that. Often that will be enough. But for tough problems or holywood-grade results you might need more... I think it's less about the software but more about how much control you want and need. Vice versa, the workflow I am showing here can certainly be done in AE as well, though you would need some pre-comps and it might get even more cumbersome with that.
@@VFXstudy Thank you for your answer! The "key" feature in AE for me in the Key Cleaner. You can feed it with a very rough mask and it calculates the perfect soft detailed mask based on the local contrast around the edges. This makes the keying process co much easier. You dont have to deal with any problems with uneven background or green spill in the subject making your subject transluscent because you can set your key threshold as high as you want. The only goal is to separate the subject, doesn't matter if the mask is ugly and you lose the hair details and stuff because when you apply the Key Cleaner, it will bring the mask details back. Can you do this in fusion somehow?
@@JaroAtry is this an AI powered algorithm? I don't use AE so I don't exactly know what that is. Thoug I suspect that it's just something like a hard comp fill which you can do with an additional key or matte control. Again hard to say exactly what it is without side by side comparison. purely technically speaking there can't really be a process like that that always works. Spill and transparency are different things from different sources and desired transparency and accidental transparency look the same on a pixel basis. So either AE just simplifies a more generic process which works in many cases - like my other tutorial, that's whatI suspect, or it's an AI powered tuning trained for the most common cases (don't think so but possible). Probably AE also uses a clean plate internally. Delta keyer can do so via the second tab.
@@VFXstudy It's not AI, it's just simple effect that refines mask based on the local contrast. I made a video how it works here. czcams.com/video/PVju2FvEX3A/video.html Is this possible in fusion?
@@JaroAtry Jaro I am not sure if you read his previous response thoroughly "but there are refinements inbuilt into the delta keyer, an inbuilt clean plate tool and you can do a simple hard comp soft-comp approach by concatenation two delta-keyers." VFXStudy explained that there is a delta key tool that works just the same as your Adobe After Effects tool. There is a threshold with that simplified Fusion tool too. So short answer yes. The tool is called Delta Keyer, the process @VFXstudy is describing in the video above is a maximum artistic control workflow. Why don't you try the Delta Keyer tool and see how it compares to the AE effect tool? Its a 10 second process. Add the node, use the color picker to choose the chroma key color, release your finger, and boom its done. Then use your threshold to manage and refine the mask.
Shall I send you a new one? 😋 Ok, seriously: if you can be more specific, perhaps someone can help. If you suspect a technical bug then BMD support (or forum for free version) would be the right place.
hello sir iam facing a problem with a footage of complex wire remove of man or an object in post production after shooting action seen.... can u give some guides...thank u
Check out the paint node, both the clone feature and the wire removal tool inside the paint node. You find a bit of guidance on the paint node in my Paint & Track tutorial (the one with the ferry) and I also do some related paint tasks like marker removal in the compositing course. Don't have a dedicated wire-removal tutorial up to now, but those pointers might help already a bit....
I really liked this video which covers several different sorts of wire removal techniques in After Effects and Photoshop. Most of these could be implemented in Resolve using the paint tool and trackers, but it's good to know at a high level how several techniques work. czcams.com/video/B2eFX60MGPs/video.html
@@VFXstudy thanks for your reply. I followed your tutorials, especially the one with the delta keyer workflow on 17.4.2 and every time I click on the tuning tab of the delta keyer DR crashes without further explanation.
Hi, Iove the tutorial. One suggestion - would be great to see the actual final result somewhere in the intro - it's really easier to follow the lesson afterwards :) thanks!
You mean the whole flow... cause it's a bit longer here and it's more about the process than the particular keying result... actually, you could probably improve on my result here 😉
@@VFXstudy Nah, I just meant the final shot - I think it's really informative to see the result before going into details - to wrap ones head around it simply :)
@@VFXstudy Hi Brend, great tutorial as always, love all of your work!! I had a quick question, I have a video clip of a tree which has a transparent background (appears black in Fusion or Resolve) and there is a duplicate video clip showing only the white alpha of the tree. What would be the best way to use these two clips together to have a clean clip of the tree which then has a transparent background? The only way I managed to do this is with the Luma Keyer, but I was wondering if I could use the two clips together somehow so the black background appears transparent as soon as I import the clips into Fusion or Resolve. Not sure I’m making sense but any advice would be great! Thanks
love your advanced tutorials man.... seriously appreciate your expertise, time and content.. sending love from Bali
I just want to stop and say thank you so much. This is SO helpful!
Hello Bernd, very good presentation. Seems like you are the specialist who can answer me a question in regards to compositing :) In my green screen recording environment I would like to set up more than one physical static cameras. The plan is than to integrate the different camera views into a virtual studio scene. In order to do this correctly, I would like to somehow use Davinci to compute the camera poses (3D position + 3D orientation) in the room. I thought about setting up the cameras in front of a calibration pattern before the actual recording, to get both cameras into the same reference coordinate system. I have seen that Davinci supports Camera tracking for a single moving scene. Maybe this could be used somehow? Maybe stacking a reference shot from the calibration pattern of each camera into sequence and that using the tracker to get the relative pose between camera positions? Of course things could be made a lot better if Davinci already has camera calibration algorithms on board which would allow to preset camera characteristics like focus and pixel size. Thanks for your response and your great channel. Helps a lot to get started with Davinci! Best regards, Christoph
Love the organized logical approach. You manage to illustrate the thought process behind the action very well. Thanks you! 😃👍
Also, today i learnt about the existence of the DVE node. I was searching for that function two weeks ago, and was utterly confused it wasn't part of the transform node. Didn't find it anywhere else, so i used the most inelegant workaround from the edit page. 😆
Yes, it's a saparete tool. There's also the corner positioner and perspective positioner or you can connect to a plane and bring it into 3d space...
This is a brilliant tutorial... My go to troubleshoot, to understand things...
Once i develop some decent understanding, planing to take ur course on keying
Gr8 work
Thank you for the tutorial. I'm having trouble with a shot that has a ton of problems (camera motion, hard shadows on greenscreen, motion blur), and figured out my usual DeltaKeyer + CleanPlate approach doesn't really work in that situation, I needed more tricks! That's very useful, even though you explain this with footage that was shot in ideal conditions :)
Love your tutorials and suggestions man. Keep up the awesome work!
This is amazing! So much quality information. Thank you very much
If you do a tutorial on a few fine flyaway hairs I would definitely watch it! 😉
super useful! I have about 100 of these to do and this helps a lot! Thanks
Fantastic, thank you!
Amazing tutorial 👌👌
Very nice tips man! Thanks!!!
Great work!
Thanks Jordi :)
Гениально!
Спасибо!
Great Introduction to Keying in Fusion. I wasn aware the matte control is so powerfull, thanks for pointing it out. One thing I am wondering is that you didnt talk about the topic of the "Lightwrap" technique - this often sells bad composites...
Yeah, but it's also often overused. It's one of the compositing tricks you can do when you have an edge mask - I think I might have shown it in the matte control video or in the courses
Very good tutorial, it really helped me a lot! Thanks!
Very nice.
great video, would be nice if you have showed the final result tho
thank you very much
Very detailed. Nice one!
Wow. this helped a lot
Thank you for this. It took some time, but I think I got my keys in a good spot. Def need to compromise on the fine details on hair on the women :/
Very good video. It will be interesting to see an example of workflow where the greenscreen is digitally added with software for example with runawayml.
You can also try the magic mask in the DaVinci resolve Color page to get an AI / Machine Learning extraction of a person. Not sure how it compares with runawayml. Some software extracts the subject and then places it in front of an artificial greenscreen - that's generally not a good solution, it's better to output the extracted object with an alpha mask in a file format that supports alpha channel (like ProRes 44444 or DNxHR4444). But if you do get a digitally added green background, then extracting that is usually quite simple and tends to work with pretty much any keyer you want.
@@VFXstudy I used Magic Mask along with Qualifier but it did not produce the results needed, so I had to look at other options - fast. Apparently, the runwayml does a pretty good job specifically in the green screen section but the problem is that I can't get ProRes4444 as it's 100$ a month, hence I'm left with a green screen mask and .mp4
@@GeorgeNicola Ah ok. But I suspect that the simple 3D keyer from the edit page or color page would catch that artificial green screen easily. Or in Fusion a simple Chromakeyer. Some AI powered tools are a bit better than others, but generally they don't get the quality for high end compositing. But maybe it's enough for your purposes...
@@VFXstudy I agree with you, just in my case I am a total noob in compositing and had to find a quick solution to work it out. Your deep technical tutorials are a big help.
I'm learning keying in Fusion, but I'm encountering an issue with the delta key transmission to matte control. Why does the key quality degrade in this process? Conected to the matte control mode a green edge is showing up again?
Not sure how you connect it or how you use the MatteControl. Generally, if you use the RGBA output, there's no way MatteControl could add a green edge that the DeltaKeyer already removed. However, perhaps you are using only the alpha channel from the DeltaKeyer? In that case any despill that the DeltaKeyer might perform would be ignored. Sometimes that's exactly what we want if we do despill separately or want to try different algorithms for Despill.
Hi, thx a lot for all of your tutorial.
You mention a advance technic for the color of the edge ; with the background going throuth the spill. You said you wont cover this in this tutorial but where can we find this ?
Love your tutorials, thank you very much! One practical question: what if the character is waving like crazy and his hands become a giant mess. What is the technique to deal with it?
That's quite tricky. Because of blur you probably get a very soft mask in the wavy area which let's a lot of green through. After doing despill it'll get dark or grey in that area - there is a technique called adaptive despill (covered in my compositing course), where you compare how much spill you removed in the semitransparent area and then replace it with the appropriate amount of background image (or a blurred background) to a better appearance of the semi-transparent areas. Another attempt would be to tighten the mask so it's quite hard and then add artificial motion blur again afterwards.
Thank you for this video!!! I'm a beginner with my roots (80's and 90's) in the graphic (printing) world. How do you get the little "splitting" blue node in the Despill part
The Pipe-router? Just alt+left-click on a line in the flow
спасибо большое!
Could you cover advanced rotoscoping as well? I never have the luxury of clean green screen footage.
There's a full chapter on that in my compositing course. Not sure how popular the topic would be on CZcams, maybe ...
I have been trying to learn from this... One prblm more often than not is that there is kind of glitchy transition in the hair in some frames... Any help would b a lot appreciated
after doing such a complicated node tree for the keying, my fusion renders the image sequences at abysmal speeds using the saver node, sometimes up to 6 seconds per frame. I also realised that fusion is using much of my GPU to render the frames, do you have any advise to optimize the Fusion render speeds? I'm already using at RTX3080.
Hello, I followed these steps, but when I go to the status tab on the delta keyer, the fine hairs and edges have a layer of gray around them and there appears to be some kind of flashing effect around the flyaway hairs when I playback the video. Is there a way to remedy this? Is this covered in your course on the vfxstudy website? I was thinking of purchasing.
It's always tough to cover a specific issue on a specific shot. The gray probably comes from the spill replacement. Maybe you eroded or blurred the edges a bit or have the mask a bit two wide. See how the alpha is there. In some cases you can tune the edges within the deltakeyer and possibly change the color replace mode. The course goes into some more detail of the individual steps including some edge refinement, edge extension, and adaptive despill. Of course there will still be tuning on any individual shot.
How are you creating those ‘file type boxes’ where you’re organizing each individual step inside fusion? Very organized approach…
It’s called an underlay, you can find it with the standard tool search. Just in case u haven’t found out in last months 😄
Would you be kind enough and give us access to the footage you use in this tutorial?
We could then try to be as performant as you are ;-)
Hello and thank you for the very detailed tutorial! I have 10 years of experience in After Effects and I do mainly keying and compositing. Recently I'm considering learning Fusion and switching to Davinci Resolve, but after I watched this video I'm not so sure. The greenscreen shot you showed here is not a complicated case at all. In AE, I would just create a rough hard key with "keylight" and then I would add "key cleaner" effect, which automatically refines the mask details. And that is in most cases all you need for a really good key. I understand the process you are doing here but it seems so demanding and complicated! Isn't there a simpler way? Something like the simple process in AE that I use?
Sure, you can simplify it. The purpose of the tutorial was to show an advanced workflow for maximum artisitc control for demanding shots. At the end you only do the steps needed in any specific case.
Keylight in AE is pretty much the same as Delta Keyer in Fusion. I'm not sure what that "key cleaner" effect does, but there are refinements inbuilt into the delta keyer, an inbuilt clean plate tool and you can do a simple hard comp soft-comp approach by concatenation two delta-keyers. See my earlier delta keyer tutorial for that. Often that will be enough. But for tough problems or holywood-grade results you might need more...
I think it's less about the software but more about how much control you want and need. Vice versa, the workflow I am showing here can certainly be done in AE as well, though you would need some pre-comps and it might get even more cumbersome with that.
@@VFXstudy Thank you for your answer! The "key" feature in AE for me in the Key Cleaner. You can feed it with a very rough mask and it calculates the perfect soft detailed mask based on the local contrast around the edges. This makes the keying process co much easier. You dont have to deal with any problems with uneven background or green spill in the subject making your subject transluscent because you can set your key threshold as high as you want. The only goal is to separate the subject, doesn't matter if the mask is ugly and you lose the hair details and stuff because when you apply the Key Cleaner, it will bring the mask details back. Can you do this in fusion somehow?
@@JaroAtry is this an AI powered algorithm? I don't use AE so I don't exactly know what that is. Thoug I suspect that it's just something like a hard comp fill which you can do with an additional key or matte control. Again hard to say exactly what it is without side by side comparison.
purely technically speaking there can't really be a process like that that always works. Spill and transparency are different things from different sources and desired transparency and accidental transparency look the same on a pixel basis.
So either AE just simplifies a more generic process which works in many cases - like my other tutorial, that's whatI suspect, or it's an AI powered tuning trained for the most common cases (don't think so but possible).
Probably AE also uses a clean plate internally. Delta keyer can do so via the second tab.
@@VFXstudy It's not AI, it's just simple effect that refines mask based on the local contrast. I made a video how it works here. czcams.com/video/PVju2FvEX3A/video.html Is this possible in fusion?
@@JaroAtry Jaro I am not sure if you read his previous response thoroughly "but there are refinements inbuilt into the delta keyer, an inbuilt clean plate tool and you can do a simple hard comp soft-comp approach by concatenation two delta-keyers." VFXStudy explained that there is a delta key tool that works just the same as your Adobe After Effects tool. There is a threshold with that simplified Fusion tool too.
So short answer yes. The tool is called Delta Keyer, the process @VFXstudy is describing in the video above is a maximum artistic control workflow. Why don't you try the Delta Keyer tool and see how it compares to the AE effect tool? Its a 10 second process. Add the node, use the color picker to choose the chroma key color, release your finger, and boom its done. Then use your threshold to manage and refine the mask.
My Deltakeyer is not working...pls help
Shall I send you a new one? 😋
Ok, seriously: if you can be more specific, perhaps someone can help. If you suspect a technical bug then BMD support (or forum for free version) would be the right place.
hello sir iam facing a problem with a footage of complex wire remove of man or an object in post production after shooting action seen.... can u give some guides...thank u
Check out the paint node, both the clone feature and the wire removal tool inside the paint node. You find a bit of guidance on the paint node in my Paint & Track tutorial (the one with the ferry) and I also do some related paint tasks like marker removal in the compositing course. Don't have a dedicated wire-removal tutorial up to now, but those pointers might help already a bit....
I really liked this video which covers several different sorts of wire removal techniques in After Effects and Photoshop. Most of these could be implemented in Resolve using the paint tool and trackers, but it's good to know at a high level how several techniques work.
czcams.com/video/B2eFX60MGPs/video.html
Which version of DR are you using? Just curious, because vers. 17.4.2 is quite bug ridden for me.
I think I still recorded this one with 17.3, but have upgraded since amd am o 17.4.2 now without any issues so far
@@VFXstudy thanks for your reply. I followed your tutorials, especially the one with the delta keyer workflow on 17.4.2 and every time I click on the tuning tab of the delta keyer DR crashes without further explanation.
Btw you do an awesome job.
you look like sherlock holmes