Also used in Plug-in to After Effects, Ch.
#Degraining adobe premiere pro cc 2014 professional#
(Footage credit: Angie Mistretta/Toolfarm – Professional Keying with Keylight from Toolfarm Expert Series, Toolfarm Price: $39.90, MSRP: $42.00). The noise per channel is obvious when each channel is shown side by side in a quadrant. In DV footage, blue will almost always be the noisiest channel while green is the cleanest channel. Noise can even be induced by some filters and plug-ins. Noise can come from poor lighting, JPEG and other types of compression, film grain or half-tone patterns. You will get cleaner keys if you denoise your footage first. Start with regular interlaced video, then apply Red Giant Frames’ sophisticated algorithms for a smoother, professional de-interlaced look of 24p film. If you’re converting to 24fps, check out Red Giant Frames. FieldsKit works with After Effects, Premiere Pro, Final Cut Pro, Combustion and other After Effects compatible products.īoris Continuum Deinterlace is included with both Boris Continuum Complete and the Boris Continuum Unit: Film Style. RE:Vision Effects FieldsKit – If you need a stronger tool, FieldsKit allows for many more field separation and pull down options than After Effects built-in options. Want to know more about determining field order?Ĭheck out Creating Motion Graphics with After Effects by Chris & Trish Meyer for great tips on determining field order. Progressive video, as explained earlier, has no fields, so if you can shoot progressive, you should! DV NTSC is always lower field first, while HD 1080i is upper field first. To remove field interlacing, you must first determine the field order. The video scaled 200% to accentuate the issue. The right portion of the image has those tell-tale “comb teeth”. However, have you ever tried to key interlaced footage? It can be done, but it’s a mess. This is a huge benefit of working with progressively shot footage – you don’t lose half your resolution when you remove field interlacing. Some people may argue that you’re removing half of the resolution of footage by removing fields, and this is, in fact, true. Yes, you can key interlaced fields, but if you’re shooting vertically and plan to rotate or scale interlaced footage, you’re inviting a mess of problems. If you have to work with footage with fields, you will need to remove field interlacing before keying. Luckily, I don’t deal with field issues much these days since I mainly work with progressively shot footage. These steps will hopefully improve your footage enough that you can end up with a good quality key in the end, and speed up your workflow and your render times. Not all steps are necessary and it will depend on the problems in your footage.
See part 1 in this series: In Depth: Keying: Introduction & Frequently Asked Questions about Shooting Greenscreen Pre-processing Greenscreen Footage (AKA Fixing problems before you key)Īs tempting as it is to just start applying keys when you have your green screen footage in your NLE, there are some things that you may need to do to prepare footage with problems for the process. You’re used to sitting behind a computer and you’re suddenly thrown into a studio. I know, a lot of video editors and motion graphics artists are now expected to do it all.
#Degraining adobe premiere pro cc 2014 how to#
You’ll learn how to do it right with experience. No? You shot it and you just don’t know what you’re doing because you’re an editor, not a D.P. Oh wait! Your footage is not perfect? You’ve gotten footage shot by someone else. You have saved gobs of time and stress because you shoot it properly. because your actor is standing at the right distance from your greenscreen. Imagine this scenario: You light your greenscreen just right.
Pre-processing Greenscreen Footage (AKA Fixing problems before you key).
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