- Hi, everyone. Welcome back to the channel.
In this video, we're gonna be looking at my workflow
to key out green screen footage
and to compose that on a background,
relight it within the edit page and the color tab
within DaVinci Resolve.
(gentle music)
Now, a lot of people think that you need to go to Fusion,
or you need to roundtrip out to perhaps After Effects,
Adobe After Effects, to get a good key.
But this is not the case,
you can actually use the 3D keyer within the color page
of DaVinci Resolve to get amazing results.
So we're gonna look at that in this video right now.
(gentle music)
Basically this composition has three layers.
We've got the background,
we've got the green screen footage,
and then on top we have an adjustment layer
to help both those layers really gel together.
So if we break it down, this is the green screen shot
and this is what we're gonna end up with,
with the composited image on the background plate.
Now, what we can do is I can show you the background.
It's a 3D render, but it's essentially a still image
so as I play through this,
there's no movement in the background at all.
Then on top of that,
we have the green screen footage
with the key and with the grade,
it's gonna look like that on the background.
And then we also have an adjustment layer,
which you can see this is before and after the adjustment
with the color grade.
The reason I treated it like this
is because the composition was very simple, essentially.
It's just those two layers with a grade on top.
So to begin, let's look at the background layer.
I'm gonna show you what each of these
adjustments is doing.
So this is an adjustment to the ground,
which is just darkening it up.
I'm adding a slight vignette from the top left-hand corner,
and this is to really motivate that light
coming in from the right-hand side of the frame.
Then in the background,
I've just added a slight blur
just to help try and sell that depth of field.
Then the overall balance,
I've just darkened the image down slightly.
And then finally just reduced the brightness
within that center point
because this is gonna be behind the subject.
So if we look at all of these before and after.
This is before and this is after,
so you can see it sort of just muted it,
made it a little bit more cinematic as well,
and taken away that,
I guess, photographic edge that it has.
So now, if we move over to the next clip,
essentially what's happening here with these adjustments
is this two streams that I'm really focusing on.
The top stream of the signal is all of the color adjustments
and the relighting effects.
The bottom stream of the signal
is all of the qualifier work.
So the beautiful thing about DaVinci Resolve
is that I can break off the signal
and essentially create two signal paths,
one for the alpha channel down here,
all of these adjustments are to do with the keying
and the qualify work to remove the green screen.
And then that signal simply feeds out down the alpha output
and this acts independently of the grade.
So I can do whatever I want with the color
and the saturation to create a strong green screen key.
And then above that I can treat the color grade
completely independent.
And this is all of these adjustments up here.
So to begin,
I've created some balance and saturation
adjustment layers to the footage.
So what this is doing is giving the image
a nice Rec.709 look,
and it's setting up the image so that
the 3D keyer can do its magic.
Now with the qualifiers,
I'm starting to break down the image into sections.
I'm just doing that with a mask and highlighting
just as you can see in here, the shoulders and the hair
and then I'm going into the qualifier.
And if you've never used the 3D qualifier before
you can find it on this fourth dot along
or you can click this drop down menu and click 3D.
Now I'm gonna break down the 3D qualifier
in heaps more detail in the future.
But for the sake of this video,
I've essentially just used this eyedropper tool
and clicked on a whole lot of different areas of the green
and it's automatically just keyed the green out for me.
Now there's a few matte finesse options
in the right-hand side here,
denoise, clean black, clean white,
blue radius and in and out ratio
and between this selection tool and these five adjustments,
I've created a profile within the 3D keyer
and that's removed all of the green
from this specific selection.
Each of these qualifiers is looking at
a unique individual section
and the reason I've done this is because, for example,
the hair and the shoulder has slightly different properties
to a hard line of a desk
and it's also lit slightly different
and so by really focusing on different areas of the image,
you can create a really clean, strong key
throughout your entire piece, which you can see here.
Now this black and white image
is just a preview of the matte.
And the white means that that is gonna be the final image
and the black is the area that's gonna be cut out
of the final composition.
And again, this is streamed out through the alpha output.
If you don't see this blue output normally
within your color page, you can right-click and choose
'add alpha output' and drag that alpha signal out to there.
What this means is when we go back to the timeline
and add in that layer,
the alpha output has now removed all of the black areas
from the screen and you can see here
that the background is now sitting
behind our A-roll footage.
So now that we've got our matte,
we can actually treat the color of this image
completely separate from the matte.
So I'm adding some balance,
removing the Apple logo there on the computer screen,
giving it some contrast and hue and saturation adjustments
to really bring it into the same space
as what this background image is doing.
At the moment this looks okay,
but it's not really fitting within the same scene.
So we've got the light coming in through the window
on the right-hand side,
but you can see this desk area is really bright
on the left-hand side,
and then also the shadow area underneath the desk
isn't actually that realistic.
I would think that this desk sitting in this room
would have a lot more shadow under the desk.
And so that's what I've done
with all of these relighting effects.
You can see now if I had on all of these
relighting nodes all together,
you can see what it does to the final image.
So this is without the relighting
and this is with all those shadow adjustments.
So there's lots of shadow that's been added
to the left-hand side of the scene.
You can see on the face and the shoulders.
Also pay attention to underneath the desk,
lots more shadow under the desk.
And this whole front area of the desk
has been darkened as well.
It's really added a sense of realism
to the foreground and the background.
So now that the foreground and the background layers
are gelling together,
they look like they're part of the same world.
Back in the timeline we can add in our adjustment layer.
So what I'll do is I'll just break down
these four simple nodes that I've added
to the adjustment layer
and I've simply just added a vignette using the mask
to help pull the image together.
Given it a little bit more contrast,
and then everything is happening within this look node,
and that's giving it the nice warmth
and color grade that I'm looking for
for this particular job.
And finally, just a glow effect,
which you can see is just giving a little bit of halation
in the highlights of the window here.
And finally, one last step that I always like to do
is just add a little bit of grain to the overall timeline.
And this is done on the timeline,
which you can see up here instead of the clip
and this affects everything on the timeline.
Let's see if we zoom in, so this is without the grain.
This is with the grain.
Now this is important,
especially if you're compositing on a still image,
which we are in this case,
because the still image is generally very clean
so just giving it a bit of film grain
helps the image feel like it's actually being captured
with a video camera.
And just to recap, before we finish,
in the edit page, I've created my background layer,
my foreground layer,
and an adjustment layer for the final color grade.
In the color page, I've set up my background layer
and created a few effects just to help shape that image
into the look that I want.
And then I've added my second layer
on top of my foreground layer.
And I've split the node adjustments of this footage
into two sections.
We've got the stream at the top,
which is just focusing on our color correction
and our relighting effects to help shape the image,
to make it look good with the background.
And down the bottom,
we've got all of the adjustments to do with
keying the footage.
So we treat the color grade, the color correction and keying
very separately within the color page.
And this keying information gets fed out of an alpha output.
And then back in the timeline,
you can see that the adjustments of the key nodes
have been translated.
Finally, I make all of my color correction
and relighting to make sure
that the foreground image and the background image
look really great together.
They look like they're part of the same world.
And then on top of that,
I treat the color grades separately on an adjustment layer.
I could create any look I want on top
because I've already done the hard work
of making the foreground and the background images
look great together.
(gentle music)
So I hope that was helpful.
I hope that you learnt a few things about my workflow.
If you have any questions,
please drop a comment in the comment box below.
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We'll see you in the next one.