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In this clip we're going to take a look at the advanced keying template.
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So much like our last clip,
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all of these tools have not been modified and rather just serve as placeholders.
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Now the additions in this particular clip are going
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to be added in the teal backdrops.
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Those in the blue backdrops were still present or
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basically reviewed in our last clip.
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So let's take a look.
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So inside this particular template we are working off of that original
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footage again and we're going to build on top of it.
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So let's take a look at the section that restores details.
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So this falls between the background image and our original plate.
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We're sourcing that preprocessed plate here and
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we're going to build on top of it.
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So the first thing that we're going to take a look at is a clean
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plate that we're going to plug into our image.
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So we're going to take our preprocessed plate that's going in
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over here and then take our clean plate.
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Now again,
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this clean plate can be created just as a constant or as an
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actual clean plate that you have completed in some other
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way or in some other fashion.
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So from there we're going to take the minus operator and we're
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going to determine what the difference is between the
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preprocessed plate and our clean plate.
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We're going to desaturate it, if not entirely then to a really,
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really low setting.
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We're going to clamp the blacks and the whites just so that we can get those
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values to add back the information with the additive keyer.
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So remember, the additive keyer is not an actual keyer,
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but rather an operation or some steps that we can
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use to add back the information.
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So restoring details, this step is for the additive keyer process.
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So clamp the whites, clamp the blacks,
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and then we're going to take our background image,
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change it to HSL,
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shuffle out the blue channel to the RGB and A and multiply it
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against the clamp black and the clamp white.
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From there we're going to modify the lights and the darks,
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plus them together, and this is going to be plugged into down here.
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So let's take a look at where we have gone.
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So this is the additive keying workflow again.
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Refer back to previous modules and clips if you need a refresher on that and
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that's going to fall between where the final alpha is.
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So we're going to plug that it in.
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So again, this is just optional down here.
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This is the pulled up matte,
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just in case we had some extra information in our
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backing region from the additive keyer.
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This switch isn't necessarily,
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but we're there just to turn it on and off just in case and
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we're going to plus that additive keyer over top of our
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background that has been prepped already.
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So here is our background,
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there is our additive keyer and this becomes our new background over here.
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We're going to add in that noise just like we did previously and now our
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background is ready to be plugged in to our final composite.
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So now that our background has been prepped with our additive keyer,
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let's take a look at how we can restore those details.
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So back to where our final alpha was, so here's our final alpha,
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we're going to despill the plate.
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This is where we're going to add back that luminance.
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So we're going to minus, so here's the original footage,
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minus it against our despilled plate to get that information,
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so where is that despill occurring?
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Desaturate it entirely.
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Now you can color correct that backing region.
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Remember, that's going to add the spill, matte, or map to our image.
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And here is another optional portion so again you can actually
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multiply that final background over top of the spill.
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So this will allow us to add those details back to our backing region so that
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they are visible through our edges when we premultiply.
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We're then going to take all of this preprocessing or this
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processing that we've done to isolate the spill portion and
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plus it over top of our despilled plate.
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So again,
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this is just so that we can color correct our backing
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region so that we can add back our luminance to our
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despilled image and also if need be,
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we can add our background to the edges of our image and this
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won't be visible until we premultiply.
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So there's how we add back the luminance and the noise that
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falls between the despill and our premult.
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So here's where we premultiply in our edges or our image rather and this is
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where we're going to fix those silly gray edges that we always have by
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completing the despill and the alpha separately.
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So that comes after the final premult.
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This is where we fix our edges.
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So we do the color lookup.
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That allows us to rid of any of the gray.
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That allows us to isolate just a hard matte out from our completed matte.
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We premultiply our image.
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We invert it so that our alpha is now only going to affect
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our fringe elements rather than our core,
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blur out our core matte or our core image.
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This allows us to push out those extra pixels, un-premultiply.
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Now our gray pixels are going to be the same color as our core image.
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Copy over our original alpha and premultiply.
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So now we're going to have no gray edges; we've resolved them,
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they are fixed with our gray edge and motion blur correction over here.
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So again, optional, optional, optional.
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I would suggest this is a really great workflow up here.
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This is a really great workflow up here,
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and this, the gray edges are only needed if you're having issues with gray edges.
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So from there, now we have, let's just do a quick overview.
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So up here, our final alpha.
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Prepping our background plate.
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Down here is going to be prepping our despill where we're
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combining a little bit of the background in there.
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Final premultiplied image, fixing our edges,
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and now we can do that final integration.
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So foreground over background down here.
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Here's an extra step.
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It allows us to integrate those edges so we want to basically
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just blur the edges of our image and smear them with the
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background for lack of a better description.
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So edge to text on our alpha.
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That allows us to take our alpha and then smear where the
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foreground edge meets the background.
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It just blurs it ever so slightly, we're talking about a few pixels here.
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Add our lightwrap over top.
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So again, our lightwrap is taking our background image,
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the completed background image with the alpha,
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our completed alpha, putting it over top of our final,
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final image, and outputting it.
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So again, if any of these steps were a little bit confusing,
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please go back to the previous modules and clips.
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It will review all of these steps in more details.
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This particular template is really for reference purposes only so that you
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can see where these elements are plugged into the workflow,
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where they appear, and how you can use them in your composite.
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So you really can modify this as need be.
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Some of these elements might be useful, maybe not to your comp,
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or maybe you will have to add other techniques to your script to
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make it work and take it through to final.
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So now that we have reviewed the advanced template for the green screen keying,
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let's take a look at the QC checklist in our next clip.
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