![]() However, after going through the tutorial a second time while I processed my own crappy footage, it sort of caught on with me what I needed to do to make my setup work. When it comes to automatically selecting the background in all its imperfection, I found Primatte Keyer to be easier and faster to start with. The reason for such a bad setup is that I am pretty confident you can create a good matte with any current keyer provided your screen has been perfectly lit and the forefront doesn’t contain any or very few elements that tend to blend in with the background.Īt first Hawaiki Keyer gave me headaches in deciding which of the settings I should opt for and in which direction to change them. Then I tried using Hawaiki Keyer on my own, using - as I always do with keyers and trackers - a badly lit blue screen and a person with grey hair in the forefront. I first took the tutorial, which is a screencast that explains clearly how you can create a perfect matte with Hawaiki Keyer. In Final Cut Pro X, Hawaiki Keyer presents itself as an effect with a whole list of parameters. I master Primatte Keyer, so I was particularly interested in how I would get along with Hawaiki Keyer 2.0. If you can’t create a matte with Primatte Keyer, you probably won’t with any other keyer plug-in. It is, however, one of the most powerful keyers available. That keyer is an industry standard, but that doesn’t mean it’s the easiest to work with or the one that you create the best results with. My experience with keyers is limited to tests with Red Giant Software’s Primatte Keyer. I tried this plug-in with Final Cut Pro X. ![]() Especially when dealing with “fuzzy” edges such as hair or fur, creating a matte that allows you to seamlessly blend the cut-out foreground with a new background can be hard. Creating a matte based on colour - a blue or green screen - is not easy.
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