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Another Greenscreen Tutorial (working on the Taxi Scene) (Patreon)

Published:
2023-08-24 21:00:45
Imported:
2026-06
Tags:

Content

This one covers a lot of random ground, but I think it's a good catch-up for how I'm working with greenscreen these days. I give a quick intro to keying in Resolve/Fusion at the end of the video, but to get really good results you probably want to give the edges a bit of a cleanup- this is the tutorial I used for all the stuff in A Single Point in Space. Seems to give really good resultsHere's my original greenscreen tutorial, which talks about keying entirely in blender, and a really useful trick for normalizing the size/placement of your footage within your scene.Here's the Camera Project Node addon Nathan made! (go to "Code", "Download Zip", and install it like you would any addon). Here's my old motion tracking tutorial- everything should still work basically exactly the same (although I tend to hand-pick individual points instead of doing the "Auto-Detect Points" route these days). Here's the Camera Shakify AddonAnd I think that's most everything I mentioned in the video!

Files

Another Greenscreen Tutorial (working on the Taxi Scene)

0:50 - Introduction (the taxi scene) 4:44 - Bit Depth and Color Space 9:25 - Most Useful Thing I've Found 12:25 - Placing Footage in the Scene 17:07 - Aligning Footage with Scene 19:05 - Old UV Project Modifier 21:15 - New Camera Project Node 23:23 - Animating Lights to Match Footage 32:10 - Adding a Custom Digital Camera 34:00 - "Grading" Footage In Viewport 37:45 - DOF/Fisheye 39:00 - Keying in Fusion/Resolve 48:50 - Exporting EXRs 50:20 - Weirdly long outtro. This one covers a lot of random ground, but I think it's a good catch-up for how I'm working with greenscreen these days. Also I hope I'm not getting that bit depth stuff too wrong. I give a quick intro to keying in Resolve/Fusion at the end of the video, but to get really good results you probably want to give the edges a bit of a cleanup- this is the tutorial I used for all the stuff in A Single Point in Space. Seems to give really good results https://youtu.be/xRkkUQpaYJg?si=eyG2ZpsQwItJDCt5 Here's my original greenscreen tutorial, which talks about keying entirely in blender, and a really useful trick for normalizing the size/placement of your footage within your scene. https://www.youtube.com/watch?v=RxD6H3ri8RI Here's the Camera Project Node addon Nathan made! (go to "Code", "Download Zip", and install it like you would any addon). https://github.com/EatTheFuture/camera_projector Here's my old motion tracking tutorial- everything should still work basically exactly the same (although I tend to hand-pick individual points instead of doing the "Auto-Detect Points" route these days). https://www.youtube.com/watch?v=lY8Ol2n4o4A Here's the Camera Shakify Addon https://github.com/EatTheFuture/camera_shakify And I think that's most everything I mentioned in the video!

Comments

SwaMusic

Nice! Always love the green screen tutorials. It's like a lesson in how to perform magic! Thank you, Ian! 😊

Evan Barron

I'm just SO blown away by how amazing those taxi shots look, I never in a million years would have guessed they were green screen if I didn't see you make them in real time

Zeke Faust

The taxi shots were absolutely worth the reshoot! The colors and motion and kinetic feeling of them are so cinematic.

Connor McGuire

have been working on a music video of the singer in the back of a sci fi taxi for the past few months. the relevance and the timing of this is nuts lol

Zeke Faust

Another thing about video quality as it relates to keying is it's not just about bit depth, but compression also! A video with heavy HEVC compression isn't going to key well, even if it's 10 bit.

Joel Godin

Lots of good stuff here. Thanks Ian!

Sam Bishop

Bloody hell, mate. The shots here are gorgeous. The wacky racing exterior shots are stellar, so much life. The interior is stunning. Everything flowing into the next, maintaining momentum is excellent. Great choice of colour for the taxi; your eyes are naturally drawn to it since it contrasts with all the hustle & bustle surrounding it. To summarise, truly marvellous stuff — well done.

NickTricc

when it says that with an app called Filmic Pro, you can film with 10 bit cooler space.. Is that true? it seems legit but its tough to tell

Stephan

that was great. thank you! yay finally some more fusion bits

redishere

Holy macaroni those taxi shots are bonkers! Loved the video, so many interesting tricks!

Pripyat

Wow thats amazing 👀👀👀 Is there anny chanz to get the greenscreen video? 😝😂

Zander

ABSOLUTE LEGEND.

Walk Tall Studios

Ian, everytime I have an issue in Blender, you seem to post something that helps me. It's scary!

Roland Kay

Amazingly useful video, as always. Anything on making green screen keying easier is definitely welcome! I don't know if it helps, but I always use a Saver node to export EXRs from Fusion. That way , the export settings are saved as part of the comp, so you don't have to set them a again if you export later, which I think is necessary when using the Delivery page.

Ziyue Yang

I have a problem when using the camera project node addon. It works well when the camera sensor fit is Auto. But when I'm trying to project a 1080 × 1920 footage and switch it to Horizontal, the projection on the geometry is off by a little. What should I change in the node to make it work?

Jim Hughes

Spent June bashing my head against a wall figuring out this workflow in Unreal Engine because I couldn't get it to work in Blender, thankful for this tutorial! One important step in the Delta Keyer in Fusion is to change your Replace Color to Source on the Matte and Mask tabs, otherwise it just gives you a weird gray in any "partially" keyed parts of your subject.

Diego Nossa

Great tutorial Ian! I haven't tried Fusion yet, what has your experience compared to After Effects? Is it better for your workflow?

Zeke Faust

The issue with this is that you can't batch render shots, whereas with the deliver page you can render every comp at once, each sequentially ordered in its own little folder! If they added a "render all fusion savers" button into the edit page, it would solve this problem

Zeke Faust

The thing with using the Source as the Replace Color is that it can leave behind spill in your core while introducing edge artifacts. The real answer is to use the keyer for the matte only, then have a separate branch for your despilled footage which is then masked by the key

Jim Hughes

Interesting, I don’t think I ever noticed that though it was quite possibly happening. But I agree with the mask workflow, I never got it to work. Would love to know the node setup you recommend.

IanHubert

I like it! I haven't even thought about After Effects in ages. They do most of the same stuff, but the node-based approach feels like it gives a bunch of control in a way I like. One of the big things that'd be hard to go back from is having all the grading/editing/compositing all in the same timeline. I'm hopping back and forth between everything constantly, and it's really handy.

IanHubert

Wait your version has an Auto option?? Nathan said he was going to add that, but my version doesn't- haha, I must need to update. My guess is the "Auto" node is assuming your footage is the same aspect ratio as the project, which means you'd have problems if that isn't the case. If you disable auto and put the resolution in manually does that fix things?

Ziyue Yang

I figured out the problem later. My version also doesn't have an Auto option. What I did was changing from Auto to Horizontal in the camera data properties panel when I was dealing with a vertical video. The solution is to in the node group divide the node "Sensor width" by "Aspect Ratio" before it goes into "Zoom 1". The projection perfectly fills the camera view after that.

DogEnds

Always a blessing when you upload Ian 👍🏻

Nate

Brilliant!! So many useful tips! And the taxi shots are gorgeous!

Clayton Orgles

Hey Ian, there's actually an easier way to key in Fusion: don't use the colour picker in the Delta Keyer node, instead use the 'clean plate' input to feed it the colour of the greenscreen; this will get significantly better results with less steps. You can either feed this input a clean plate of the greenscreen that you shot on-set, or you can use a 'Clean Plate' node, pick the colour, and then plug that in. This input in the delta keyer node gets better results because you're not just telling delta keyer to key with a solid colour, you're telling delta keyer to key using a texture which matches your greenscreen. This means you can key all the gradients in the greenscreen at once, without having to use all the Chroma keyer nodes like you have here. You can actually do this in Blender too by feeding a clean plate into the "colour" input of a keyer node, but Blender doesn't have a 'Clean Plate' node to isolate the greenscreen like Fusion and Nuke, so you'd have to use a clean plate you've shot or isolate the greenscreen using an external software (Fusion, Nuke, or even Photoshop/Affinity Photo if you feel like painting out the actors). This is essentially how big productions get fine details on the edges of their keys without spending hours rotoscoping every hair. It just makes everything so much faster! It even gets decent keys when your greenscreen is wrinkly, which is pretty handy.

Zeke Faust

All the clean plate node in Fusion or the IBK in nuke is doing is essentially just pulling an initial key, then growing the edges of the screen to fill in the missing area, so it would be trivial to recreate this in blender's compositor! Also while the clean plate is definitely a big help, I almost always still end up using multiple keyers to get the job done on tricky shots. In fact, the biggest mistake I see beginners make is trying to use one keyer for the whole shot, rather than targeting each area with its own keyer

Clayton Orgles

That's a great point about Blender Zeke! You should be able key the shot, invert the key, and then use an 'inpainting' node to grow the edges of the greenscreen, more or less replicating the results you'd get with a 'clean plate' or IBK. However, I've just had a go at doing this in Blender, and I'm having trouble inverting the key, because Blender's 'Keying' Node doesn't seem to have an 'invert' option, and when I try to Invert the alpha using an invert node, it turns the greenscreen black. I'm not sure if this is user error or a Blender issue. Do you have any ideas? Yep, you'll still need to use multiple keys for tricky shots. I still sometimes struggle with high contrast greenscreens with deep shadows, which is where I find using multiple keys/targeted mattes works best. For simple shots with well lit greenscreens that only have a slight gradient, like in the example above, I've found that single keys plus a garbage matte can do quite well to reduce the workload. It's difficult to say if the above would work with a single or multiples, but the result with a clean plate would definitely require less work.

Zeke Faust

You'll want to use the invert on the black and white matte of the alpha, which can be output by the keyer. Then you can use that as the mask for the Set Alpha node on the original footage. I wouldn't suggest using the inpainting, but rather a blur with an Alpha Convert to straighten the alpha. Here's an example blend file I made just now (you'll want to plug in your own footage) https://drive.google.com/file/d/1XqNhjUcb5fyAbQn1PzWQTkPYDRt765ZJ/view?usp=sharing

Clayton Orgles

Thanks Zeke, this is great! I love how you've used the 'Set Alpha' and 'Alpha Convert' Nodes. Looking into your setup and trying some footage on it, I personally prefer the results when I remove the blurs, change the 'Set Alpha' to 'Replace Alpha' and then use the 'Inpaint' instead, because I feel like the clean plate captures more detail from the original screen and is closer to how the 'clean plate' node outputs from Fusion. I might save this as a node preset, because this'll be super handy for me in the future. I really appreciate your input! This'll definitely help to speed up my Blender workflow. My version: https://f.io/F2P3G_PE

Tutor Amit Official

when I tried to install the addon in blender, in the addon screen it is not showing but it is saying modules installed, how to fix it?

Roland Kay

Ah, cute. I didn't realise that. Is that by adding all the comps to a single timeline and then doing "Render individual clips"?

Roland Kay

I keep feeling , I should get into scripting of Resolve so I could get back to having a 'build file' that renders out all the shots. 😄

Inner Clip

How do I install the camera projection addon?

Mamadou Mboup

What texture did you use for the blue car

Mamadou Mboup

did you use textures.com for the texture of the car and do you know the name of it

Nahuel

Thanks Ian. You mentioned that recorded very underexposed ? Why is that ? Why did you shoot your character so dark ? Wasn't it better to shoot with more light and then reduce exposure in post ? Thanks for this video !!!!