#Green screen in davinci resolve 15 pro#

вЂњYou know when you say, вЂI wonder if thatвЂ™s going to work. Vai and Colombo watched frequent takes back on set to make sure they were getting what they needed, but in the end, they were both pleased. Vai focused on not only reversing his own guitar playing, but also applying the same thinking to his hand and body motions. The production unit used the URSA Mini Pros to shoot at several different frame rates to achieve the unnatural and unearthly movements of the band members. There are all these little complexities, which is a fun challenge, but itвЂ™s almost like wearing a straight jacket and trying to run a forward marathon with eyes only in the back of your head.вЂќ So when you strum, the tendency is to strum down but that comes out looking like an up strum. You have to completely mirror your perspective because everything is backwards. вЂњThis is a daunting task because itвЂ™s never the way you think it is. вЂњI had to actually learn the song backwards on the guitar,вЂќ said Vai.

вЂOur B camera was moving around on sticks.вЂќДЇor Vai, he chose the most complex solution he decided he should play his track backwards.

#Green screen in davinci resolve 15 pro#

вЂњWe chose the URSA Mini Pro as our acquisition tool of choice, and one of them lived primarily on a 20 foot jib,вЂќ said Colombo. Moai Films brought in two URSA Mini Pro digital film cameras, along with building a вЂњvideo villageвЂќ with SmartView 4K monitors and several Video Assist 4Ks. вЂњBut because of time constraints with Steve, and also the diverse alien landscape concepts for the video, it made more sense to shoot this way.вЂќ вЂњMy natural tendency is to capture all the actions and visuals in camera as much as possible,вЂќ said Colombo. Director Lukas Colombo decided the video would be shot entirely on green screen, something to which he was not accustomed. Vai teamed with Moai Films to produce the video. вЂњI wanted to create something that not only looked other worldly, but was also shot uniquely as well.вЂќ In producing his newest music video, Vai wanted to do something special.

If you have questions, requests or ideas for future Quick Tip Videos, please write in the comments.Long known as one of the top guitarists in rock and roll, Vai has won three Grammy Awards and worked with artists such as Frank Zappa, David Lee Roth, Whitesnake, Ozzy Osbourne and a myriad of others. Digital cameras usually compress the blue channel the most and thatвЂ™s exactly where you need information when keying Bluescreen. Use Greenscreen over Bluescreen whenever possible.Make sure your white balance is correct.Get as much distance between your talent and the screen as possible.Light the green screen as evenly as possible to about 40% brightness.Put a Kicker-Light on the hair of your talent.Light the subject and the screen separately.Just simple green cardboard does not cut it. Use the proper shade of highly saturated green or blue as a background.

Use the highest possible quality your camera can record - maybe rent an external recorder if the internal codec is weak.

Of course, the results of a chroma key depend on the quality of the footage you are trying to key.В To get keyable footage, keep these things in mind: Turns out: you can!Д¬heck out this Quick Tip Video, where IвЂll show you how this works. What I did not realize at first was that you could use the 3D qualifier to pull chromakeys.

When Blackmagic introduced the 3D qualifier to DaVinci Resolve I was impressed by how much better it was to select ranges of colors for secondary color correction, compared to the old qualifier algorithms. DonвЂt fret - there is a decent Chroma Key hidden in DaVinci ResolveвЂs Color page. If you are working in the Studio version of Blackmagic DaVinci Resolve you do have one of the best Keyers in the world at your fingertips.Д«ut working the Fusion page is not for everyone. Chroma Key is used everywhere these days, but it can still be a humbling experience to properly pull a key if youвЂre not doing it all day for a living.