Using this slider, the transparent edge pixels are blended with the background pixels to achieve a more organic key. Notice when I drag the amount slider, the edges are picking up the green foliage in the background image. Earlier I mentioned that I use an Audition clip for various backgrounds. If you liked this article, share it! Facebook Twitter Email. Related Posts. FCP Quicktips Effects 1. FCP Quicktips Editing 1. We use cookies to enable the site's core functionalities.
Please review our cookie policies in the Privacy Policy. Details OK, I understand. Fix Video: Select this checkbox to apply subpixel smoothing to the chroma components of the image, reducing the jagged edges that result from keying compressed media using , , or chroma subsampling. Although selected by default, this checkbox can be deselected if subpixel smoothing degrades the quality of your keys.
Levels: Use this grayscale gradient to alter the contrast of the keyed matte, by dragging three handles that set the black point, white point, and bias distribution of gray values between the black point and white point. Adjusting the contrast of a matte can be useful for manipulating translucent areas of the key to make them more solid by lowering the white point or more translucent by raising the black point. Dragging the Bias handle right erodes translucent regions of the key, and dragging the Bias handle left makes translucent regions of the key more solid.
These sliders, which mirror the settings of the Levels handles described above, allow you to keyframe the three Levels parameters using the Add Keyframe button to the right of each slider.
Keyframing the Black, White, and Bias parameters may yield a better key, one that adapts to changing blue-screen or green-screen conditions. Drag the slider left to make translucent regions more translucent while simultaneously shrinking the matte. Drag the slider right to make translucent regions more solid while simultaneously expanding the matte. Soften: Use this slider to blur the keyed matte, feathering the edges by a uniform amount. Erode: Drag this slider right to gradually increase transparency from the edge of the solid portion of the key inward.
Spill Contrast: Use this grayscale gradient to adjust the contrast of the color being suppressed, using the Black and White point handles and corresponding sliders. Modifying spill contrast can reduce the gray fringing surrounding a foreground subject. The Black point handle on the left side of the gradient control lightens edge fringing that is too dark for a successful composite. The White point handle on the right side of the gradient control darkens edge fringing that is too light.
Depending on how much spill is neutralized by the Spill Level slider, these controls may have a greater or lesser effect on the subject. Black, White: Click the Spill Contrast disclosure triangle to reveal sliders for the Black and White point parameters.
These sliders, which mirror the settings of the Spill Contrast handles described above, allow you to keyframe the Black point and White point parameters using the Add Keyframe button to the right of each slider. Tint: Use this slider to restore the natural color of the keyed foreground subject. Because the Spill Suppression controls eliminate blue or green spill by desaturating subtle blue or green fringing and reflection on the subject, the Tint slider lets you add hues to restore the natural color of the subject.
Overdoing this parameter results in over-tinting the subject with the complementary color of the hue being suppressed—magenta if green, and orange if blue. Saturation: Use this slider to alter the range of hues introduced by the Tint slider when the Tint slider is used at moderate levels. Amount: Use this slider to control the overall light wrap effect, setting how far into the foreground the light wrap extends. Intensity: Use this slider to adjust gamma levels to lighten or darken the interaction of wrapped edge values with the keyed foreground subject.
Mode: Use this pop-up menu to choose the compositing method that blends the sampled background values with the edges of the keyed subject.
There are five modes:. Normal: Evenly blends light and dark values from the background layer with the edges of the keyed foreground layer. Lighten: Compares overlapping pixels from the foreground and background layers, and then preserves the lighter of the two. This method is good for creating a selective light wrap effect. I try to get close to the face, but not so close that I accidentally select loose hair or skin. Your key should look better immediately. Most of the time, you can probably stop here.
But there are three other adjustments that can make your key look even better:. Your goal is the make the foreground solid white, which means opaque, and the background solid black, which means transparent. Adjust the Fill Holes and Edge Distance sliders until your key looks solid.
Then, click and drag a line from the foreground to the background in the Canvas. Drag the midpoint slider where my cursor is until the edge looks the best it can.
Perfection is impossible — do the best you can. The first three are designed to clean up poorly shot keys — read the FCP X Help files to learn how these work. I used the Color Selection tools to clean up the very dark key I use an example later in this article. Light wrap, though, is aesthetic. What it does is blend colors from the background into the edges of the foreground, to make the entire key look more "organic," as if the foreground and background were actually in the same space.
Twirl down Light Wrap and adjust the Amount slider and watch what happens. Drag the other sliders around and see what happens. Keying is creating areas of transparency based on color or lightness values in an image. Keying is commonly performed on subjects photographed against a blue or green background, but keys can be based on any color color or chroma keying , or on a specific range of lightness values luma keying.
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