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Archipp Drozdov
Archipp Drozdov

Keylight 22 After Effects Download


For the past few weeks Keylight has been crashing on me constantly while i use Ram Preview. It's a right pain especially when you are working on a green screen heavy project with a deadline looming. Several weeks ago it worked fine, no issues. However recently its just been crashing non stop, after checking my events viewer every error log states 'KEYLIGHT' as the problem. I currently have the newest most up to date version of the the software, have tried uninstalling/reinstalling the software, tried downgrading to previous versions of After Effects and have even re installed windows several times. I even changed my graphics card in a hope that would solve the issue but nope. My new graphics card driver is up to date and I have tried the keylight 1.2v16 update via The Foundry




Keylight 22 After Effects Download



What's up Joey here at school of motion and welcome to day 21 of 30 days of after effects. Today's video is part two of the series where we are taking the Baltimore Orioles mascot, and we are inserting him seamlessly into my backyard. In this video, we're going to talk about keying, getting a good key and integrating that keyed footage into the background and making it sit in there with color correction and some other tricks. I want to thank the department of motion design at the Ringling college of art and design for getting permission from the Orioles, for me to use the oil's mascot footage and for shooting this on their red camera in the green screen room at Ringling, which is awesome. Don't forget to sign up for a free student account. So you can grab the project files from this lesson, as well as assets from any other lesson on this site.


Now let's hop into after effects and let's do this thing. So in part two, we are now going to finish this composite. And if you remember in the last video we patched our background plate and we removed the little pink chair that was sitting there. And we got a nice track on that chair so that we could actually translate that information onto another layer and now ready to grab our green screen clip and key it out and insert there. So here is the clip and it's, uh, I'm actually just going to make a new comp with it. Let's stick it down here and we'll call this keyed bird. Now, the way I approach keying, it sort of depends on what it is I'm keying, uh, and you know, the basics of king is that you want to break a key into a few different pieces.


So now that we've got that, let me pre compose this layer, I'm just gonna hit shift command C, make sure I move all attributes into the new comp and we can call this bird clip garbage mat, just so I know what step this was. All right, so now we've got a very rough garbage mat. Now I want to eliminate as much of the green as I can and make a very, very tight garbage mat. And what I mean is when I apply my Kier, uh, we're going to use the effect called key light that comes with after effects. And when I use that, I want key light to only have to worry about pixels. Very, very, very close to the bird. And the reason that's important is because the way this was lit, this was lit pretty well. You can see that the color of the green screen all the way around the bird, even mostly on the floor is pretty consistent, but over here, it starts to get really dark.


And the motion blur is still sort of maintained. We have holes in this mat. These gray pixels are holes on top of that. We may also have some pixels on the fringe that are not being totally knocked out now to my eye. It looks like they are. Um, but I don't trust my eyes. So there's this cool little thing you can do in after effects this little number down here. This is the exposure that it is that after effects is showing you for your comp by default, it's a zero. But if I crank it up like this, it's now sort of artificially brightening, everything. So these pixels are actually not being totally knocked out. And you know, you may say, oh, but I can't see them. Well, the problem is when you composite it and you start color correcting all kinds of weird stuff will happen if you, uh, you know, if you're not, you know, worrying about getting rid of those pixels.


We don't need it. But what we do need to do is add a fill effect. I'm gonna say, generate fill. And what I want to do is pick a color. I want to look for a shadow that's already in the scene. And I like the shadows here cast by the trees because these shadows are, are basically caused because the sun cannot reach underneath these little shrubs. But this part of the grass where the Palm trees are casting their shadow, that's probably the same color that this shadow should be for, for the mascot. So I'm going to grab my color picker and just pick that color and you can see it's a pretty dark green. Okay. So now I'm going to use an effect, distort CC slant. And this comes with after effects. And this affects really cool. Let me, uh, let me turn the bird off for a minute so you can see.


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