Things to Remember
We started with the Track Matte Key, a revised powerful effect in Premiere Pro's arsenal. Because you can use alpha channel information to matte out elements, there is no resolution compromise when you output and render your final results.
When creating your track matte graphic elements, remember that the Matte Luma setting of Composite Using composites through pure white and can be used with gradients fading to complete transparency to have a smooth matte key. If you want to key through the black information of a clip without an alpha, check the Reverse option to composite through the black using luma. With Matte Alpha, Premiere Pro composites through the nontransparent alpha channel information of your media. With titles and Photoshop files, their empty space is not
Using the method of double-laying clips, you can use Track Matte Key effects to create powerful color correction and image effect. If you haven't yet read Chapter 23, "Advanced Color Correction: Three-Way Color Corrector," check out the Secondary
Finishing with custom PiPs. you learned that with a few simple steps you can use the Titler to create an adjustable border that adds a great look to your PiP effects. To change the emphasis of the frame size around your PiP, adjust the
Adding a slight drop shadow helps give the PiP a greater feeling of depth on top of the image that it covers. You can even add a
Finally, using the custom PiP presets can save you a lot of time if you apply them properly. If you intend on using two keyframed effect presets, remember to split the clip in half before adding any of the keyframed presets.
Having one custom title frame and all the custom presets should make your life much easier when it comes to creating a
Chapter 25. Green/Blue Screen Keying
As you learned in the last chapter, keying involves replacing elements of one image with those of another. Green and blue screen keying keys out the green and blue information from one image, making it transparent so other images can show through. Using green and blue screen keying techniques, you can make a person appear in different locations or environments. In the
Lord of the Rings
In this chapter, you will learn how to set up and light a green/blue screen shoot, as well as how to key out the recorded green/blue elements in Premiere Pro. The first lesson provides an overview of setting up your shoot and of the tools you can use to make green/blue screen keying much easier and more accurate. The second lesson takes some imperfect green screen elements from Chapter 27's live
To get things started, let me first give you some tips about the fundamentals for setting up a