Once you have the proper key set, you will then use the Garbage Matte effect to remove some excess material from the frame of the cluttered B and C cameras. For more information on LiteRing, see Reflecmedia's website at In this lesson, you will separately key out each of the backgrounds from Chapter 27's multi-cam shoot. The other advantage is that you will never have any reflective blue or green spillage onto your subject. With the LiteRing around the lens, the technology of the fabric takes care of a perfect- looking blue or green screen. One advantage to using this technology is that you need to light only your subject, and you don't have to worry about lighting the screen. Although the screen appears gray to the naked eye, the blue or green color can be seen perfectly and evenly through the camera's lens. A custom fabric screen reflects this light directly back into the lens of the camera. The LiteRing fits around the lens of your camera and emits a blue or green light. In the last couple of years, there have been some great breakthroughs that aid the green/blue screen process.įor example, Reflecmedia's LiteRing enables you to create a sharp blue or green screen by using a small ring of light and a reflective gray screen. If you have the budget, you might consider some new alternatives to hanging a literal green screen. If you don't have After Effects, you can still get keying work done in Premiere Pro however, if you have the Production version of After Effects, it comes with the Keying tool, Keylight, which is one of the best in the business for doing green/blue screen key work. Because the primary Green Screen Key lacks these extra controls, for this lesson you will use the secondary color correction functionality of the Three-Way Color Corrector to enhance the green screen, making it easier to key. Premiere Pro has adequate green/blue screen keying tools, but does not have a wide range of controls for fine-tuning the key, which is a hot topic. Green/Blue Screen Keying and Premiere Pro
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