Let's switch this to hard color, and change the replacement color to red to see how this works. In keylight 1.2, the default is set to soft color, with a grey tone. The green areas in this view are being modified. Switching our view to status will help you see some of the pixels that keylight is applying this correction to. You can change how keylight handles these pixels by changing the replace method. When you modify your screen matte controls to pull your key, keylight has a method to intelligently blend the pixels that are similar to the screen color.

In this shot, the technique works with minimal grain (07), but in this alternate shot, the grain was far too intense to be useable (11) Now this seems great, but one common issue with this method is that your footage can become very grainy. If it doesn't look right, try a couple of different points until you get the desired result. Viewers are much more likely to notice skin tones that aren't quite right. In this case, we'll use the eye dropper and select the skin tone from the foreground actor. Locking the Bias controls together is typically the best way to get the results you're looking for. The Bias controls in keylight are used to help color-correct the foreground. We'll discuss 5 different approaches to solve this problem,starting with keylight in after effects. Removing Unwanted green, also known as spill, from your subject is a common issue that editors face when working with green screen footage. Using the right combination of these tools can restore the natural look to your green screen footage. Using keylight, spill suppressor, and curves in after effects, as well as ultra key and the 3 way color corrector in premiere pro.

In this segment we show you how to remove the green When you're shooting footage next to a gigantic green wall, it's not unusual to have some of that green unintentionally fall on your subject.

Keylight 1.2 replace color