Adobe Premiere Pro Garbage Matte In Adobe

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1. Compositing a Green Screen Clip with a New Background

Dec 29, 2019  Garbage Matte Premiere Cc Abey December 29, 2019 Leave a comment Premiere pro cc create a green screen key larry jordan removing a green screen background garbage matte outline adobe support munity 9617101 5 creating a fading mask replicator solved premiere cc 2018 and nvidia quadro p2000 adobe. Aug 03, 2015  Check this tutorial out if you want to know what happened to the Garbage Matt inPremiere Pro CC 2015. If your an old school editor your probably wandering what happened to the Garbage Matte tool.

Compositing a Green Screen Clip with a New Background

ACA Objective 2.3

ACA Objective 4.6

Now you’re ready to remove the green screen, revealing the weather map underneath.

Drawing a garbage matte

The first phase of green screen compositing is to draw an opacity mask, which is traditionally called a garbage matte. Although it is possible to simply have Premiere Pro remove the background based on the green color, using an opacity mask quickly masks off the areas that never need to be shown at any point in the clip, reducing the amount of potential variation in the green screen color and making background removal easier and faster.

1. In the Timeline panel, drag the green screen clip, weatherReport.mp4, to a higher track. For example, put a green screen clip on V2 so that you can put the new background under it on track V1.

2. Drag the weather map graphic, Washington_ref_2001/weatherMap.psd, to track V1 at the beginning of the clip.

3. With the Rate Stretch tool, stretch Washington_ ref_2001/weatherMap.psd to match the duration of weatherReport.mp4 (Figure 4.4). You need to use the Rate Stretch tool because Premiere Pro sees the PSD file as more of a video clip than a still image.

   Figure 4.4 The weatherMap graphic set up with the correct position and duration in the Timeline panel

4. Make sure the weatherReport.mp4 clip is selected in the Timeline panel.

5. Scrub through or play back the sequence and note how far out weather reporter Joe’s hands extend during the presentation.

6. In the Effect Controls panel, expand the Opacity setting.

7. Select the Free Draw Bezier tool () (Figure 4.5).

   Figure 4.5 The Free Draw Bezier tool selected in the Effect Controls panel and positioned over the Program Monitor

8. In the Program Monitor, click the Free Draw Bezier tool around Joe to draw a rough mask that stays outside the furthest reach of Joe’s hands during the presentation (Figure 4.6).

   The mask doesn’t have to follow Joe’s outline tightly or precisely; leave a bit of margin between Joe and the mask path. Click only in the green areas; don’t click any points inside Joe, and don’t let any path segments cross over Joe.

9. When you’re ready to close the path, click the tip of the Free Draw Bezier tool on the first point you drew.

   The path automatically closes. The area outside the mask becomes transparent (Figure 4.7).

   Figure 4.7 A completed opacity mask path

10. Play back the sequence and see if any part of Joe’s body crosses over the mask at any time.

11. If you need to move a path point or make other adjustments to the path, use the Selection tool to reposition any points on the mask path. If you need to move a point outside the frame, zooming out will let you see outside the frame.

12. If you want to convert any straight segments to a curved segment, Alt-drag (Windows) or Option-drag (macOS) a point to extend Bezier handles. These handles curve the segments extending from a point (Figure 4.8).

    Figure 4.8 Creating curved segments by extending Bezier handles

Keying out the green background

With the garbage matte in place, now you can have Premiere Pro concentrate on isolating and removing the green screen color that remains.

1. In the Effect Controls panel, find the Ultra Key video effect (remember to use the search feature in the Effects panel). Drag Ultra Key from the Effect Controls panel and drop it on the weatherReport.mp4 clip in the Timeline panel.

2. In the Effect Controls panel, scroll down to the Ultra Key settings and select the Key Color eyedropper (Figure 4.9).

   Figure 4.9 The Key Color eyedropper selected in the Ultra Key settings; the pointer is now an eyedropper.

3. Click the Key Color eyedropper on the green screen in the Program Monitor.

   This samples the green color that Ultra Key should remove, and what was the green screen color should now be transparent (Figure 4.10).

   Figure 4.10 Before and after clicking the green screen color with the Key Color eyedropper

4. In the Effect Controls panel, go to the Ultra Key settings, click the Output menu, and choose Alpha Channel. This displays the mask created by Ultra Key so you can see whether it is clean enough (Figure 4.11).

   Figure 4.11 After choosing the Alpha Channel setting

   There is a saying that can help you remember how to read an alpha channel: “White reveals, black conceals.” White mask areas allow the clip to display because they represent opaque areas, whereas black areas are part of the mask that makes those areas of the clip transparent. Gray areas are partially transparent, so dark gray areas are mostly transparent but still let through some of those clip areas.

5. Scrub through the sequence to see if the mask is clean for the entire sequence.

6. If the mask is not clean (not fully black) in some areas, in the Effect Controls panel go to the Ultra Key settings, click the Settings menu, and choose a different option to see which one works best. Each option is a preset for the advanced settings below the Key Color option (Figure 4.12). If the advanced settings are expanded, you can see how they change when you choose a Settings preset.

   A common reason for mask variations is uneven lighting on the green screen.

   Figure 4.12 Settings presets change the values in the advanced settings.

   If you’re feeling adventurous or already have a technical familiarity with keying, you can expand the Matte Generation, Matte Cleanup, Spill Suppression, and Color Correction settings and try adjusting them. If it feels like you have to work too hard to produce a clean mask, the fastest fix may be to sample a different Key Color by repeating steps 3–5.

7. Scrub through the sequence to see if the mask is now clean for the entire sequence. If it isn’t, try step 6 again.

8. In the Effect Controls panel, go to the Ultra Key settings, click the Output menu, and choose Composite.

   This displays the composite result of the two tracks plus the mask applied to the upper track.

9. Play back the sequence to make sure it looks right. Watch out for irregularities in the keyed-out area, and keep an eye out for green spill on the subject.

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Chroma Keying

Adobe Premiere removes the key colourusing the Ultra Key filter. In the Timeline, the chroma key clip (foreground)is placed in the video track above the clip that contains the background. Thatway, when the colour is removed, it will reveal the background that isunderneath. Dharma chakram mp3 songs.

Troubleshooting to improve the chromakey

In an ideal world, the colourbackground (green or blue) would be lit evenly without any variation in shades.But most of the time, you will end up dealing with problems associated withpoor lighting, which could impact the quality of the key.

If the footage is not keying properly,you could always add a very light, soft blur effect to the clip. This effectblends pixel detail and can give a smoother-looking key. Once you’ve appliedthe blur, and then add the Chroma Key filter.

Another option would be to considercolour correcting the shot before you add the chroma key filter. Sometimes,adjusting the colour, using a Three-Way Colour Corrector or Fast ColourCorrector, will help create a cleaner key.

Another solution would be to define asmaller area around the subject in the footage, limited the amount of colourthe filter has to remove. To define a select area around the subject, use aGarbage Matte.

Garbage Matte
The Garbage Matte is a user-definedarea that you use to cut out an area that you want to be visible ortransparent. Go back to the Effects tab in the Project panel. Type “garbage” inthe search field. You should see 3 options that gives you different types ofcontrol when determining the shape of the garbage matte around your subject:

• Eight-Point
• Four-Point
• Sixteen-Point

Make sure the clip in the timeline is selected and then double-click thegarbage matte of your choice. Or, you can simply grab the garbage matte anddrag it onto the clip in the Timeline.
In the Source monitor, under the Effect Controls, scroll down to reveal theGarbage Matte parameters. Select it and, depending on whether it’s a 16-point,an 8-point or a 4-point garbage matte, you should see the same number of crosshairspositioned around the image in the Program monitor. Click in the crosshairs anddrag to reposition them around the subject.

NOTE: When you move the garbage mattepoints, be sensitive of motion in your subject. If the subject is in motion youalso have the option to apply keyframes to your matte to move it along with thesubject.
With the garbage matte in place, you can now focus on removing the colour thatis contained within the matte.

Using the Ultra Key

In the Project Panel, click the Effectstab and then type in the search field, Ultra, to locate the Ultra Key filter.

Select the chroma key clip in thetimeline and then double-click the Ultra Key filter to apply it. Or you cangrab the filter and drag it onto the video that contains your chroma key shot.
In the Source panel, click the Effect Controls tab and reveal the drop-downitems under the Ultra Key filter. You will notice an eyedropper where it saysKey Colour.

Select the eyedropper and click in theProgram monitor on top of the colour that you want to remove from the shot.

If the video is shot well, with the chroma key colour evenly lit, then removingthe colour entirely can be done in this one simple step using the eyedropper.

To make sure that you’ve keyed out allthe colour in the background of the shot, change the output to reveal thematte. Under the Ultra Key controls in Output, change it from Composite toAlpha Channel.

In the Program monitor, everything thatis black is transparent in the shot, and everything that is solid white isopaque. In this example, note that some white or grey fragments are visiblearound the subject. These bright spots need to be removed otherwise they willbecome partially transparent in these parts of the picture.

Use the Matte settings to adjust thehighlights to remove bright spots. The key should be much cleaner. Each settinghas a different purpose:

·Matte Generation –after choosing the key colour, Matte Generation adjusts the way the colour isinterpreted.

·Matte Cleanup – thesecontrols will help clean the matte once it’s been defined. Choke shrinks thematte, but don’t use too much of it otherwise you might lose some edgingdetail. Soften applies a blur, which helps improve the “blending” of theforeground and background. Contrast improves the black and white image to helpdefine the key more clearly.

·Spill Suppression –compensates for the key colour bouncing off the edges of your subject. Spillsuppression adds colour, opposite on a colour wheel, to the key colour. Forexample, when using a green screen, spill suppression will add some magenta tothe edges of the subject. This neutralises the “spill.”

·Colour Correction –these controls adjust the foreground subject to help blend it with thebackground. These adjustments are applied after the key so it won’t poseproblems by adjusting colours.

If you need Adobe Premiere to tryharder at removing the colour, the settings in the Ultra Key filter has anoption to be more Aggressive. Or you can select Relaxed where the computerdoesn’t have to try as hard to remove the colour.

At the bottom of the Ultra Key filteris an option for Colour Correction. You can tweak the colour in the subject tomake the foreground subject appear as if it belongs in front of the background.