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Maybe itвЂ™s the child in me, but it still amazes me how when green screen disappears, almost anything can take its place-and it looks as real as if the car were actually in the cemetery! Again, watching the Red GiantвЂ™s Tutorial really helped. There are other small adjustment tools I used to fine tune my image until it looked like the result in the photo below. These вЂњgreen reflectionsвЂќ were removed with the вЂњSpill Sponge,вЂќ which eliminated the green because these areas shouldnвЂ™t have the green disappear and the background showing through. There was also a lot of green screen spill (green reflections) on the car because of its high gloss. Then the вЂњClean BackgroundвЂќ icon will have the same result on your black background. To make the car вЂњwhiter,вЂќ choose the вЂњClean ForegroundвЂќ icon and drag it across the car to eliminate the gray. The background footage (the green screen and masked areas) should be as black as you can make it. Clicking and dragging across the actors faces allowed more of the grey to disappear and be replaced with white. As Red GiantвЂ™s Tutorial suggests, under вЂњView Options,вЂќ select вЂњSplit ScreenвЂќ and move the slider back and forth-the car and its occupants should be as white as possible with very little gray. I selected вЂњAuto Define KeyвЂќ and 90% of the green was replaced with my background cemetery footage. I am more familiar with PremiereвЂ™s software, so I chose that platform to do the majority of my editing and keying. If I did the keying (with Primatte Keyer) in Premiere or After Effects, I found no real difference. I hoped this wasnвЂ™t an issue with Primatte Keyer-it wasnвЂ™t. Although the large wall fabric itself was the same color, shadows and wrinkles were more difficult to make disappear. The first step in After Effects or Premiere is to mask around the green screen so everything that isnвЂ™t green or вЂњcarвЂќ would disappear. We had a large area to cover with green and with the lack of a studio, this вЂњmobile methodвЂќ was the best we could do. Sadly, not all of the green was the same color of green. Once green screen fabric was hung around the vehicle, we were ready to shoot (see picture above).ДЄs you can see in the image, green screen fabric was placed around the majority of the car. The passenger side of the car was 11 inches from a glass wall and the driverвЂ™s side gave us free access to the vehicle. IN USEД«ecause of the HenneyвЂ™s rarity (this particular car is the only one known to still exist) and its location on the third floor of the America on Wheels Museum, we had to utilize green screen technology.

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Of course, there are dozens of other small tweaking adjustments to make your Key perfect, but trial and error will get you the flawless Key. The вЂњClean BackgroundвЂќ icon removes problems in your background, and вЂњClean ForegroundвЂќ eliminates issues with your subject in front of the Green Screen. But, at least in my case, Auto Define Key was faster. You may also do this process вЂњmanuallyвЂќ in Primatte Keyer like you would in Premiere and After Effects by selecting the eye dropper and clicking on the green you want removed. Select вЂњAuto Define KeyвЂќ and immediately the вЂњgreenвЂќ in your green screen is replaced with your background with almost no artifacts. When you first open Primatte Keyer, drag the effect onto your video.

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I wonвЂ™t go into detail on how to set up a green screen shot on your timeline, instead IвЂ™ll just explain the operation of Primatte Keyer itself. It spells everything out visually as well as aurally and talks you through some of the fine-tuning features.

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I highly recommend viewing their вЂњ Getting Started with Primatte Keyer 6вЂќ available for download on Red GiantвЂ™s website. I do understand both Premiere and After EffectвЂ™s keyers and they function quite well, but Primatte Keyer is easier and, in my opinion, faster.

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One of the reasons I initially chose Red Giant over the other green screen software programs was the almost idiot-proof method of operation.