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Video Film. Social Networks. Adobe Audition. Graphic Design Lessons. Visual Effects. Design Tutorials. Art Techniques. Difference keying works differently from color keying. Difference keying defines transparency with respect to a particular baseline background image. Instead of keying out a single-color screen, you can key out an arbitrary background. To use difference keying, you must have at least one frame that contains only the background; other frames are compared to this frame, and the background pixels are made transparent, leaving the foreground objects.
Noise, grain, and other subtle variations can make difference keying very difficult to use in practice. After Effects includes several built-in keying effects, as well as the Academy Award-winning Keylight effect, which excels at professional-quality color keying.
See Keying effects and Matte effects. For information on the Keylight effect, see its documentation in the folder in which the Keylight plug-in is installed, or on the Foundry website. Though the color keying effects built into After Effects can be useful for some purposes, you should try keying with Keylight before attempting to use these built-in keying effects.
Some keying effects—such as the Color Key effect and the Luma Key effect—have been superseded by more modern effects like Keylight. The Key Cleaner and Advanced Spill Suppressor effects are most effective when applied together, in that order, after a keying effect like Keylight. The Advanced Spill Suppressor effect is turned off by default to allow you to sample the key color in the Keylight effect or if the footage does not have any color spill to be removed.
The sample chapters cover basic compositing, color keying, garbage mattes, hold-out mattes, and how to avoid common problems with greenscreen shots. For more information, see the Adobe website. Rich Young collects more tips and resources for keying on his After Effects Portal website. Tips on color keying and compositing from experienced compositor, Chris Zwar.
Keep in mind that generating a high-quality key can require the application of multiple keying effects in sequence and careful modification of their properties, especially if the footage was shot without considering the requirements of the compositor. Start with the highest-quality materials you can gather, such as film that you scan and digitize. Use uncompressed footage or, at least, files with the least possible amount of compression.
Many compression algorithms, especially the algorithms used in DV, HDV, and Motion JPEG, discard subtle variations in blue—which may be necessary to create a good key from a bluescreen. Use footage with the least color subsampling possible—for example, rather than or For information about color subsampling, see the Wikipedia website and the Adobe website.
Robbie Carman and Richard Harrington provide an excerpt on the Peachpit website from their book Video Made On A Mac that demonstrates how to plan, shoot, key, and composite a greenscreen shot. A garbage matte or junk matte removes unneeded portions of the scene, resulting in a rough area that contains only the subject that you want to keep. When you are working with a poorly lit or uneven color screen for example, a bluescreen or greenscreen , sketching a garbage matte around the subject can greatly reduce the amount of work that you have to do in keying out the background.
However, if you spend a lot of time making a perfect garbage matte that exactly outlines the subject—essentially rotoscoping—you lose the time-saving advantage of keying.
Aharon Rabinowitz provides a video tutorial on the Creative COW website that shows how to create a super-tight garbage matte using Auto-trace.
Use a hold-out matte also known as a hold-back matte to patch a scene to which a keying effect has been applied. A hold-out matte is a masked-out portion of a duplicate of a layer that you have keyed. The duplicate is masked to include only the area of the image that contains the key color that you want to preserve as opaque.
The hold-out matte is then placed directly on top of the keyed layer. Original bluescreen image. The background for the number is also blue. After keying, the background for the number is also transparent. Hold-out matte containing the part of the image you want to remain opaque D. When the hold-out matte is placed on top of the keyed image, the background for the number is now opaque. Consider parenting one to the other. See Parent and child layers.
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Light your color screen uniformly, and keep it free of wrinkles. Tips for keying with After Effects. See Use a garbage matte. Use a hold-out matte to roughly protect areas that are of a similar color to the background from being keyed out.
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