© Mark Platten 2006


keying, rotoscoping, compositing

- After Effects

- KeyLight

Typical examples of chromakeying / compositing work undertaken during 2005~2006.

These highlight some of the typical problems which can afflict a key: unevenly lit green-screens; unwanted elements [tracking marks] which in this case continually crossed the scene as the camera moved - over the duration of the shout the camera circles around the seated figures - and colour-bleed into shot elements [light-coloured clothes]
< original footage
< final composite

I experimented with various keying products including Ultimatte and DVMatte Pro; but Keylight for AE seemed to produce the best consistent results in the shortest time: the basic solution from all the different keyers were similar; what distinguished them was their functionality in refining that solution.

Some painstaking rotoscoping work was also necessary, with a multitude of animated masks eliminating the tracking marks on the screen.

In this companion shot, the glasses and jug on the table was especially problematic and kept dropping out: separate biased layers were keyed, masked out and overlaid to build up the glassware. The liquid contents were also prone to being affected by the key.

As with the shot above, the moving camera meant that the footage's lighting could change significantly from the beginning to the end of the shot, and these variations had to be reflected in the target background.
< original footage
< final composite

Shadows beneath the table were faked by utilising - in this instance, and wherever possible in other projects - mirrored and otherwise distorted and tinted layers derived from the original keyed source.