Adobe Premiere Pro Garbage Matte In Adobe
A Simple Guide to Track Mattes in Premiere Pro. Ft 10 free Track Matte Transitions. Learn the essentials about track mattes and how to use them as transitions with the Track Matte Key effect in Premiere Pro. Download your free pack of 10 Track Matte Transitions from Olufemii Tutorials. Advanced Titler & Feathering a Track Matte as a Mask using Adobe Premiere Pro CS5.5. Follow Jon's other steps to add the Drop Shadow to the matte track and apply Track Matte Key to the video track below and you're good to go. Thanks for the great tip Jon! Re: Advanced Titler & Feathering a Track Matte as a Mask using Adobe Premiere Pro CS5.5. Eightpointgarbagematteeffect.jpg Adobe Premiere CS6 has a video effect where you can crop certain points of the video. I know that Lightworks 11.5 has the DVE and 3D DVE effects.
You can use effects to correct color and brightness; however, they can also be used to add animation, produce overlays, and create greenscreen effects.
In this article, we will learn about:
The Effects Workspace
Applying effects to clips
Animating effects with keyframes
Copying and pasting effects
Creating effect presets
Keying and compositing
The Garbage Matte
The Effects Workspace
When you want to edit effects, you go to the Effects workspace, which is made up of the Effect Controls panel, the Program Monitor, and the Effects panel.
To reach the Effects panel, go to Window> >Effects.
You can see the Effects panel in the snapshot below.
The Effects panel is where you find all effects. The Effect Controls panel is where you will configure the effects. Finally, the Program Monitor is where you can preview the effects that you add.
Adding an Effect to a Clip
To add an effect to a clip, drag the effect from the Effects panel onto the clip on the Timeline.
As an example, we are going to drag the Edge Feather effect to our clip.
You can also select a clip in the Timeline, then double click on the effect in the Effects panel.
Customizing an Effect
Once you have added an effect to a clip, you can go to the Effect Controls panel to customize it.
We added the Twirl In effect to a clip.
By going to the Effect Controls panel, we can adjust the effect by changing the values and parameters.
You can also toggle the effect on and off to see the impact of the effect on your clip.
Toggle an Effect On or Off
To toggle an effect off, click the fx icon that appears to the left of the effect name.
When you do this, the effect is disabled.
To turn the effect back on, click the fx icon again.
Changing the Order of Effects
The order that effects will appear on your clip is shown in the Effect Controls panel.
To change the order of effects on the clip, drag an effect up or down in the Effect Controls panel.
You will see a horizontal bar to let you know where the effect will be placed when you release the mouse.
Just remember that you cannot drag standard effects above fixed effects. You also cannot drag fixed effects below standard effects.
Removing an Effect
To remove an effect in the Effect Controls panel, select the effect.
Next, either press the Backspace or Delete key on your keyboard.
You can also right click on an effect, then choose Clear.
To remove an effect in the Timeline, select the clip or clips, then right click on the clip and select Remove Effects.
You will then see the Remove Effects dialogue box.
Check the effects that you want to remove.
NOTE : Intrinsic effects are fixed effects.
Click OK to remove the effects.
Animating Effects with Keyframes
Now we are going to use keyframes to animate effects that we have applied to clips in the Timeline.
Adding Motion to Effects
To add motion to effects using keyframes, start out by adding the ProcAmp effect to a clip in the Timeline.
Next, move the playhead in the Timeline to the start of the clip.
Go to the Effect Controls panel. Click the triangle to the left of the effect to see the configuration options, as pictured below.
Click the Toggle Animation button to the left of the effect that you want to configure so that keyframes are enabled.
We are going to click the Toggle Animation button to the left of Saturation.
Now adjust the value for Saturation. We are going to adjust ours to 0.
Now, move the playhead to the second location so you can set the keyframe for the second effect.
We are going to move our playhead toward the end of the frame and restore Saturation to 100.
With the keyframes added, our clip starts out as black and white and turns to color.
Applying Effects to Multiple Clips Using Keyframes
Needless to say, you can spend a good bit of time selecting the right effect for a clip, then perfecting it using keyframes. Wouldn't it be nice if you had a way to copy that effect and keyframes so you could apply it to other clips in your current and future projects?
The good news is you can by creating a preset that you can drag onto a clip in the current project – or even a future one. We are going to show you how to do that.
Copying Effects and Keyframes
As our example, we are going to copy the effect and keyframes from the last section when we had our clip go from black and white to color.
To copy the effects and keyframes from a clip, go to that clip in the Timeline.
Next, go to the Effect Controls panel.
Select the effect that you want to copy, then right click and select Copy.
Now, go back to the Timeline and select the clip you want to paste the effect onto.
Go to the Effect Controls panel.
Click anywhere in the panel, right click, then click Paste.
Creating an Effect Preset
You can also create an effect preset to that the effect you created can be used in future projects.
To do this, click the clip that contains the effects in the Timeline.
Go to the Effect Controls panel.
Select the effects that you want in the preset, then right click and select Save Preset.
You will then see the Save Preset dialogue box.
Type in a name for the preset, then choose a type:
Scale will scale the keyframes proportionately over the length of the frame when you apply the preset. It deletes existing keyframes.
Anchor to In Point applies original keyframes to the beginning of the clip. It does not adjust for any differences in duration as with Scale.
Anchor to Out Point applies original keyframes to the end of the clip without adjusting for duration.
Click OK to save the preset.
You will be able to find the preset in the Presets folder in the Effects panel.
Keying and Compositing
Compositing is defined as combining two images in a scene and making it appear as if they were shot together.
Keying is also known as greenscreening or chromakeying. It involves replacing a color in an image with parts from a background image. Typically, the color green is replaced with a background image. Greenscreening is used for network news during weather forecasts.
The Ultra Key effect in Premiere Pro makes keying really easy. However, here are some things you can do to make it even easier for you:
1. Use a camera that has a raster sensor.
2. Use a camera that does not interpolate to attain HD resolution. HDV cameras do this.
3. Use a camera with a high ISO starting value.
4. Use the camera with no gain.
5. When you record your footage, record in progressive instead of interlaced format.
6. Record at the highest bitrate.
7. Make sure the background is evenly lit.
8. If you are filming one subject, such as a person, use a tripod L bracket and mount the camera vertically for higher resolution and higher pixel density around the subject.
For keying, you will record your subject with a certain color background, usually green. You will want to make sure the subject does not wear any green so parts of the wardrobe are not cut out.
Using the Ultra Key Effect
Create a sequence using your greenscreen footage that you shot with your camera by dragging it to the New Item button in the Project panel.
When you do this, you will be able to see the footage in the Program Monitor.
At this point, you can rename the sequence if you want and even organize it in a bin.
Next, go to the Effects tab. Find the Ultra Key effect by typing 'ultra' in the search box (in the Effects panel).
Now drag the Ultra Key effect to the clip in the sequence.
Keying Out a Color
To key out a color (green for greenscreening), go to the Effect Controls tab.
You will see the Ultra Key effect.
Hover your mouse over the eyedropper tool. The mouse pointer will then change to an eyedropper tool.
Use the eyedropper pointer to select the background color in your clip showing in the Program Monitor.
When you do this, the background color changes to black. If you had a green background, it would now be black.
Next, go to the Effect Controls panel again.
Select Alpha Channel in the Output menu.
Now your video clip is a black and white clip.
Select a Setting Preset.
We are selecting Aggressive. You can try each preset to find one that works best for you.
Next, click the triangle to the left of Matte Generation. You will then see Transparency, Highlight, Shadow, Tolerance, and Pedestal.
These will adjust how the matte is interpreted.
Repeat this step for Matte Cleanup, Spill Suppression, and Color Correction.
Drag the sliders to the right to increase the effect of the adjustment or to the left to decrease the effect.
Once you are finished with all the adjustments, select Composite from the Output menu.
You will then see the key in the Program monitor.
Next, move the keyed clip to Track V2 if it is not already showing there.
Drag the background to V1. Your background should always be on a lower track.
Right click on the background. Select Scale to Frame Size.
When that is finished, select the video clip in the Timeline.
Go to the Effect Controls panel.
Click the triangle to the right of Motion Controls. Now you can adjust Position, Scale, and Rotation.
Cleaning Up the Edges around a Key
You can remove unwanted edges around a greenscreen key by using a garbage matte.
To use a garbage matte, go to the Effects panel. The garbage matte effect is found in the same folder as the Ultra Key effect.
Drag and drop one of the garbage mattes onto the keyed footage.
Drag the effect onto the foreground clip.
Next, go to the Effect Controls panel.
Go to the Garbage Matte effect.
We chose an Eight Point Garbage Matte, so we see eight handles appear around the footage.
Grab a handle and bring them in (one handle at a time) until it is like you need it to be.
When you are finished, click an empty space in the Timeline.
You can chroma key your video footage in Premiere Pro without sending your clips to After Effects. Keying in Premiere Pro is simple and effective.
Chroma keying is usually something that is done in After Effects, but sometimes, whether the simplicity of the project or just the fact that you do not want to send your footage to After Effects, you’ll want to chroma key in Premiere Pro.
This is Dan. He’s about to get chroma keyed.
Premiere Pro comes with a great keyer built right in called “ultra key.” Ultra Key was introduced to Premiere Pro in version CS5, so if you are using a version prior to CS5, you won’t be able to use this tool.
First, we’re going to apply a matte to our footage to get rid of the excess parts of the frame. I usually use “16-point garbage matte” to my footage and move the points loosely around my subject. If your subject is really simple, you can get away with only using the 8-point garbage matte.”
You’ll have to click the effect in your “effects controls” window to be able to move the points around.
Adjust the points around your subject.
Now that we have our frame trimmed in a little bit, we’ll apply the effect, “ultra key.”
Once we’ve applied the effect, in our effects controls window, select the eyedropper tool. This is how we select our green chroma color. Now, click the green screen with the eyedropper. Choose a point that is close to the subject’s face. If your greenscreen was not lit well you may have to choose either a lighter or a darker shade of green in your clip. If this is the case, choose the darker shade. This will make it easier to get a perfect key.
Click the eyedropper to choose your chroma color.
Select a shade of green with the eyedropper tool.
Now, change the output view to “alpha.” This will help us see the detail when we’re adjusting parameters.
Select “alpha channel.”
This is a view of your alpha channel.
If your lighting of the green screen was really even when you shot it, you won’t have to adjust much of the parameters. You can sometimes get away with just changing the setting to “aggressive.” But, if your green screen was lit less-than-perfect, you will need to adjust some of the parameters.
Premiere Keying: Transparency & Pedestal
There are a few main adjustments that we’ll take a look at. First, if your subject (in white) has some black scattered throughout, adjust the “transparency” slider under “matte generation.” That will clean up your subject to make sure that the hair and small details are included.
Next, to clean up the background (in black) adjust the “pedestal” slider. This will clean up the background and make it completely black in this alpha view. If you have some trouble with the background in the shadows, adjust the “shadow” parameter.
Adobe Premiere Pro Buy
That’s looking pretty good, but we’re not quite done yet. Set your output view back to “composite” so we can see what our video is looking like. Go ahead and put a backdrop behind your subject to give you a better visual reference.
Premiere Keying: Choke & Soften
In most cases, we’ll need to choke and soften the key a bit. Choking the key is the act of “shrinking” in the key. Softening the key is the act of feathering the key out at the edges. Both of these help to create the illusion that your subject is seamlessly in the scene with your background.
Adobe Premiere Pro Garbage Matte In Adobe Premiere Pro Cc
Under “matte cleanup,” adjust the “choke” slider up slightly. A little bit goes a long way with choke and soften. Don’t go up too much or it will look weird. I try to never go above 25 with choke.
Adjusting the choke will “shrink” your key.
Next, adjust the “soften” slider until the blending of your subject’s edges look good. Not too much! With “soften” I try to never go above 20.
Adjusting the soften slider will feather the edge of your key.
Adjust both “choke” and “soften” until you have a perfect edge blend.
If you have some green spilling through your subject’s hair, play with the “spill suppression” settings. I sometimes have to bring “luma” and “spill” up a bit when keying difficult clips.
There you go. You’ve just chroma keyed in Premiere Pro!
For bonus points, you can add a drop shadow to your subject to make it seem more natural. NOTE: only add a drop shadow if it makes sense to use with your composited backdrop.
Adding a drop shadow is subtle, but effective.
Chroma keying directly in Premiere Pro will save you time, avoiding having to dynamically link to After Effects. It will also save you render time, which is always good. Depending on your editing system, you might be able to playback the keyed footage in real-time without rendering.
Got Premiere Pro keying questions?
Share your questions and thoughts in the comments below!