Effects Usually Helps the Final Looks

Like the previous shot, it starts with keying out the on-green footage. By adjusting the hue and contrast to get ‘fleshy’ red, the keying work will rely less on clipping mask of the KeyLight effects. This will preserve more details on the keyed object.




Put the keyed shot on top of the white solid then make the shadow layer in the same manner mentioned above. Add CG background in and add some DOF(Depth of Field) effects.


Next up, I have an actress footage, which is on the wrong background. We can’t just key the footage out because she is wearing white dress. It’s Rotoscoping time.


Adjust the room to be darker as we’d like it to be.

Also, fine-tune with luma track for the hair detail.This stage is very time-consuming to get it close to perfection. In this case, I depilate the layer and crush one of them  into white zone and the other into black zone. After that, I rotoscoped them with precise masking and heavy feathering. This layer will be used for luma track for another actress layer (only for her hair).

Also, clean-plate of the screen received from rotoscoping the original background layer. The red area is masked out to be the alpha (see through).

I then layered them on top of another. Also I assigned new light direction by stacking darker  and darker actress layers on top with soft feathering.



Then I add screen like effects and light spilling with lens flares on top of the final composite.


Rendered Shot

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