Chroma Keying in DaVinci Resolve Fusion

Chroma Keying in DaVinci Resolve Fusion

Lee Lanier

xap52.15.70.136

 

In this course you will learn essential and advanced chroma keying techniques in DaVinci Resolve Fusion. Instructor, Lee Lanier explores a range of techniques to give you the tools you need to create the perfect key, over and over again.

Lee will solve complex shots with poorly lit green-screens, spill issues, fine details, reflections, tracking marks, soft lenses, and much more. Typical shots you have to deal with in production.

Chroma keying can be a very time-intensive process that ends with a bad result, but the techniques you will learn in this course will prepare you to take up any complex task with confident and deliver a good result.

The chroma keying course is taught by Lee Lanier which has written several books on the topic and teached chroma keying techniques at the Gnomon School of Visual Effects in Hollywood.

The footage and assets used in this course are available for download so that you can easily follow along.
 

About the instructor

Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood.

Who is this course designed for?

  • DaVinci Resolve users
  • Compositors
  • Finishing artists

Lessons overview

  • 01: Introduction 
  • 02: Chroma Keyer
  • 03: Ultra Keyer
  • 04: Luma keyer
  • 05: Delta keyer
  • 06: Spill supression
  • 07: Keying bluescreen
  • 08: Removing tracking marks
  • 09: Combining keyers
  • 10: Additional matte inputs
  • 11: Custom luma masks
  • 12: Keying in color tab
  • 13: Sending a matte to the color tab

 

Software required

DaVinci Resolve

 

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Amada Daro

Thank you for this great course Lee. The Fusion chroma keyers looks super solid, I will definitely give it a go on my next green screen job!

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Ron Schieffer

Great course. Tho a short real world example/tutorial would have been nice.

But I'm asking myself why I should use the chroma or ultra keyer when the delta keyer gives a MUCH better result?

It seems to me that with chroma/ultra keyer the results always looks amateurish and fake. 

Am I missing something or how do you get convincing results here?

Thanks.

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Thomas Singh
On 7/15/2020 at 11:40 AM, Ron Schieffer said:

Tho a short real world example/tutorial would have been nice.

What are you talking about, all the shots are real world examples. I recognize several of them from quite big commercials aired in my country. 

Edited by Thomas Singh
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David Cherniack

Perhaps by Real World I think he means shots that are difficult to key like a whole figure on a slightly messy green floor.  I certainly would have liked to see that :)

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Ron Schieffer
2 hours ago, Thomas Singh said:

What are you talking about, all the shots are real world examples. I recognize several all of them from quite big commercials aired in my country. 

You would use the resolve day sky in a commercial? :D

I'm talking about building a scene with using all the tools that a green screen makes possible.

For example the scene with the pillars. There you could have changed the BG, showing how to use tracking marks, keying so that there are no green/blue fringes and coloring it so that it looks real and not fake etc.

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stephan schneider

I wonder how I would key log footage in the fusion tab, I think I would need to linearize it but then I want to pipe it to the color tab, how would I then "un"linearize it so that I can grade in the color tab with the keyed log footage?

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Thomas Singh
On 7/15/2020 at 3:00 PM, Ron Schieffer said:

You would use the resolve day sky in a commercial?

I have done all kind of green screen work on commercials, and in this course there are at least seven different shots and a bunch of different approaches.  I get your point, I just think that "real world examples" was a bit loose as the shots are from commercials that has aired on TV.

Edited by Thomas Singh
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