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Key Master: Pulling the “Impossible” Key in Your NLE
By Rev. John Jackman
Mar 19, 2008 - 3:06:14 PM

Amazing technology, bluescreen. Without it, most of the cool visual effects in movies and television just wouldn’t be possible. But as anyone who has done much work with bluescreen techniques can testify, it isn’t always as easy as it looks. Narrative applications that involve large, difficult-to-light screen areas can suddenly create challenges that your NLE’s built-in keyer doesn’t handle well. Bluescreen work is a tightrope walk, a matter of balancing many conflicting factors. It’s rarely perfect. By the way, I’ll use the term “bluescreen” to refer to all color-based compositing, whether the screen color is blue, green, or even red.

The tough problems in keying more commonly originate from haste or carelessness in production — uneven lighting on the background, conflicting costume choices and the basic poorly exposed shot are far more common causes of expletives in post. Once it’s “in the can,” it’s usually extremely difficult or expensive to go back and reshoot. So how do you deal with problem footage?

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