Sharpness is an artificial edge enhancement that destroys the key, but after you're keyed it, you need to add some sharpness back. Also, we've included 80 frames so you get to deal with the noise — you can never just key a still, you have to see how it plays.
If you ever wanted to know which kinds of glasses you can key, here's your chance to find out. Metal often results in holes in the matte, which can sometimes be ignored. More visibly, the reflection in the glasses reflect the sound stage, not the new environment.
Flourescent soft-bank reflections can look out of place on a mountain-top! Also see what it takes to keep the Metal Glasses solid. Motion blur is a bit of a problem on a green screen, and one reason is the quality of the key. But at some point, they keyer just has to make a decision about what's transparent and what's solid, and that can result in a visible transition we call Blobbiness, especially if the green screen is also uneven. Try keying this over very bright or very dark backgrounds and see the difference.
Here, it's uneven in the upper left, and the smoke itself also casts a shadow, increasing the contrast. Try compositing the smoke over very bright and dark backgrounds. You may have to either used very crunched settings. Or you might try multiple keyers with different settings for different times, and crossfading between them. It's normal to need the live-action characters to interact with the virtual set, like sitting or touching. In this plate, she walks over and sits on a chair, which can be changed into anything you want in the composite.
But it's not always that simple — people actually sit differently on different chairs, so it doesn't always look right. It's hard to see how much there really is because our eyes compensate, but if you cut her out, you'll find that she looks like The Incredible Hulk.
We also have a wild over-exposure in the top corner, which ends up behind her head. The keying will also take some work, especially if you want to keep the contact shadows.
Looking at virtual objects looks ridiculous if don't have something real to look at. Here we have a ball on a microphone-stand, which is doubling as a parallax-stand — notice the tracking markers on it. Here we're assuming that the ball represents the eyes of a 3D character. ISSUES: There's no way to track a 3D cup in a satisfying way — this is going to take some poor tracking artist a very long time, and it'll never look completely good.
On top of that, unless the virtual cup has the exact same shape, it has to be roto'ed. You sometimes see people do this on a green screen, not realizing that it will cause two weeks of hell afterwards.
There's no point in tracking a virtual cup when you can just use a real one. Wrinkles dramatically increase the color range the keyer has to accept as green, and you have to totally crunch the key to remove the wrinkles — and the keyer has to spend all its strength on the wrinkles instead of making a spectacular key.
TRY THIS: You can of course let the keyer just extract the shadow as part of the key, but you have much more control if you turn the shadow into a separate element — then you can control the density and color of the shadow easily. This seemingly innocent shot is the pinnacle of hardcore compositing, and is extremely difficult.
ISSUES: In addition to figuring out how to manage the shadows, you have to deal with getting the markers out of the shadows, and again there are wrinkles. Thankfully, she doesn't step too close to the wrinkled areas. Also, we made a white balance mistake on this shot, so there's a yellowish tint to the green screen. See if you can figure out the channel-math needed to extract the shadow without getting double-shadows Hint: This is explained in the Receiving Shadows Sample Clip.
It seems counter-intuitive, but it's actually pretty straightforward to key a car on a green screen, despite massive reflections, as long as it's standing still and the shot is locked. ISSUES: When the car is reflecting green, the keyer has no way of knowing that the car isn't part of the green screen, and we get a hole in the matte. Also try to animate some movement, both in the car, and some camera shake in the entire composite.
If you can, it's always best to not shoot cars on green screen in wide shots, where you see the outer edge. ISSUES: You'll find that it's actually quite easy to key through the windows and through the reflections in the glass. The hard part is the outer edge, which has to be roto'ed. No keyer settings will give you a solid outer edge. Put some moving footage in the background.
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