How To Key Out A White Background In After Effects

After Effects User Guide
Beta releases
1. Beta Programme Overview
2. Subsequently Effects Beta Home
3. Features in Beta
  1. Properties panel (Beta)
Getting started
1. Get started with After Effects
2. What's new in After Effects
3. Release Notes | After Effects
4. After Furnishings system requirements
5. Keyboard shortcuts in Afterward Effects
6. Supported File formats | After Effects
7. Hardware recommendations
8. After Effects for Apple silicon
9. Planning and setup
10. Setup and installation
Workspaces
1. General user interface items
2. Go to know After Effects interface
3. Workflows
4. Workspaces, panels, and viewers
Projects and compositions
1. Projects
2. Limerick nuts
3. Precomposing, nesting, and pre-rendering
4. View detailed operation data with the Composition Profiler
5. CINEMA 4D Limerick Renderer
Importing footage
1. Preparing and importing still images
2. Importing from After Effects and Adobe Premiere Pro
3. Importing and interpreting video and audio
4. Preparing and importing 3D image files
5. Importing and interpreting footage items
6. Working with footage items
7. Discover edit points using Scene Edit Detection
8. XMP metadata
Text and Graphics
1. Text
  1. Formatting characters and the Character panel
  2. Text furnishings
  3. Creating and editing text layers
  4. Formatting paragraphs and the Paragraph console
  5. Extruding text and shape layers
  6. Animative text
  7. Examples and resources for text animation
  8. Live Text Templates
2. Motion Graphics
  1. Work with Motion Graphics templates in Later on Effects
  2. Apply expressions to create drop-down lists in Motion Graphics templates
  3. Piece of work with Essential Properties to create Motion Graphics templates
  4. Supersede images and videos in Motion Graphics templates and Essential Properties
Drawing, Painting, and Paths
1. Overview of shape layers, paths, and vector graphics
2. Pigment tools: Brush, Clone Stamp, and Eraser
3. How to taper shape strokes
4. Shape attributes, paint operations, and path operations for shape layers
5. Use Offset Paths shape issue to alter shapes
6. Creating shapes
7. Create masks
8. Remove objects from your videos with the Content-Aware Fill panel
9. Roto Brush and Refine Matte
Layers, Markers, and Camera
1. Selecting and arranging layers
2. Blending modes and layer styles
3. 3D layers
4. Layer properties
5. Creating layers
6. Managing layers
7. Layer markers and composition markers
8. Cameras, lights, and points of interest
Animation, Keyframes, Motion Tracking, and Keying
1. Animation
  1. Animation basics
  2. Animative with Puppet tools
  3. Managing and animating shape paths and masks
  4. Animating Sketch and Capture shapes using Afterward Effects
  5. Assorted animation tools
  6. Work with Data-driven animation
2. Keyframe
  1. Keyframe interpolation
  2. Setting, selecting, and deleting keyframes
  3. Editing, moving, and copying keyframes
3. Motility tracking
  1. Tracking and stabilizing motion
  2. Face Tracking
  3. Mask Tracking
  4. Mask Reference
  5. Speed
  6. Fourth dimension-stretching and fourth dimension-remapping
  7. Timecode and time display units
4. Keying
  1. Keying
  2. Keying effects
Transparency and Compositing
1. Compositing and transparency overview and resources
2. Alpha channels, masks, and mattes
Adjusting color
1. Color basics
2. Utilise the Adobe Color Themes extension
3. Color management
4. Colour Correction effects
Effects and Animation Presets
1. Furnishings and animation presets overview
2. Upshot list
3. Simulation effects
4. Stylize effects
5. Audio effects
6. Distort effects
7. Perspective effects
8. Aqueduct effects
9. Generate effects
10. Transition furnishings
11. The Rolling Shutter Repair upshot
12. Blur and Acuminate effects
13. 3D Channel effects
14. Utility effects
15. Matte effects
16. Noise and Grain effects
17. Detail-preserving Upscale effect
18. Obsolete effects
Expressions and Automation
1. Expression
  1. Expression basics
  2. Understanding the expression language
  3. Using expression controls
  4. Syntax differences between the JavaScript and Legacy ExtendScript expression engines
  5. Editing expressions
  6. Expression errors
  7. Using the Expressions editor
  8. Use expressions to edit and access text properties
  9. Expression language reference
  10. Expression examples
2. Automation
  1. Automation
  2. Scripts
Immersive video, VR, and 3D
1. Construct VR environments in Afterward Furnishings
2. Apply immersive video effects
3. Compositing tools for VR/360 videos
4. Tracking 3D photographic camera move
5. Piece of work in 3D Pattern Infinite
6. 3D Transform Gizmos
7. Do more with 3D animation
8. Preview changes to 3D designs real time with the Real-Fourth dimension Engine
9. Add together responsive design to your graphics
Views and Previews
1. Previewing
2. Video preview with Mercury Transmit
3. Modifying and using views
Rendering and Exporting
1. Nuts of rendering and exporting
2. Export an After Effects project every bit an Adobe Premiere Pro project
3. Converting movies
4. Multi-frame rendering
5. Automatic rendering and network rendering
6. Rendering and exporting notwithstanding images and still-prototype sequences
7. Using the GoPro CineForm codec in After Effects
Working with other applications
1. Dynamic Link and After Effects
2. Working with After Effects and other applications
3. Sync Settings in Afterwards Effects
4. Creative Cloud Libraries in After Furnishings
5. Plug-ins
6. Movie theater 4D and Cineware
Collaboration: Frame.io, and Team Projects
1. Collaboration in Premiere Pro and Subsequently Effects
2. Frame.io
  1. Install and actuate Frame.io
  2. Use Frame.io with Premiere Pro and After Effects
  3. Oft asked questions
3. Team Projects
  1. Get Started with Team Projects
  2. Create a Team Project
  3. Collaborate with Team Projects
Retentiveness, storage, functioning
1. Retention and storage
2. Improve functioning
3. Preferences
4. GPU and GPU driver requirements for After Effects

Colour Difference Cardinal effect

Though the color keying effects built into Subsequently Furnishings can be useful for some purposes, you should try keying with Keylight before attempting to use these congenital-in keying furnishings. Some keying effects have been superseded by more modern effects similar Keylight.

For information about keying in general, including links to tutorials and other resources, see Keying introduction and resources.

The Color Departure Key result creates transparency from opposite starting points past dividing an image into two mattes, Matte Partial A and Matte Fractional B. Matte Partial B bases the transparency on the specified key color, and Matte Partial A bases transparency on areas of the image that don't contain a second, different color. By combining the two mattes into a 3rd matte, called the alpha matte, the Colour Difference Key creates well-defined transparency values.

The Color Divergence Key produces high-quality keying for all well-lit footage items shot against a bluescreen or greenscreen and works especially well with images that contain transparent or semitransparent areas, such as smoke, shadows, or glass.

This issue works with eight-bpc and 16-bpc color.

Use the Color Deviation Key effect

Select the layer that you lot desire to make partially transparent, and choose Result > Keying > Color Divergence Fundamental.

To apply any of the eyedroppers in the Layer panel, choose Colour Difference Key from the View carte in the Layer panel.

In the Effect Controls console, choose Matte Corrected from the View bill of fare. To view and compare the source paradigm, both partial mattes, and the last matte at the same time, cull [A, B, Matte] Corrected, Last from the View menu. Other views bachelor in the View menu are described in stride ten.

Select the advisable central color: To key out a bluescreen, use the default blue color. To key out a nonblue screen, select a key color in ane of the following ways:

Thumbnail eyedropper: Select and then click in the Composition panel or the original thumbnail image on an appropriate surface area.
Central Colour eyedropper: Select and then click in the Composition or Layer panel on an appropriate area.
Key Color swatch: Click to select a colour from the specified color space.

The eyedropper tools motion the sliders appropriately. Employ the sliders in step 9 to fine-tune the keying results.

Click the matte button to display the final combined matte in the matte thumbnail.

Select the Black eyedropper, and then click inside the matte thumbnail on the lightest expanse of black to specify transparent regions. The transparency values in the thumbnail and Composition console are adapted.

Select the White eyedropper, and then click inside the matte thumbnail on the darkest area of white to specify opaque regions. The opaque values in the thumbnail and the Limerick panel are adapted.

To produce the best possible key, make the black and white areas equally different as you tin can so that the image retains every bit many shades of grayness as possible.

Select a matching accuracy from the Color Matching Accuracy menu. Cull Faster unless you use a screen that isn't a primary color (red, blue, or yellowish). For those screens, choose More Accurate, which increases rendering time only produces improve results.

To further conform transparency values, repeat steps five and 6 for 1 or both of the fractional mattes. Click the Partial Matte B button or the Partial Matte A push to select a partial matte, then repeat the steps.

Adjust transparency values for each partial matte and for the terminal matte by dragging one or more of the following sliders in the Matte Controls section:

Blackness sliders adapt the transparency levels of each matte. You lot can adjust the same levels using the Black eyedropper.
White sliders adjust the opaque levels of each matte. You can adjust the aforementioned levels using the White eyedropper.
Gamma sliders control how closely the transparency values follow a linear progression. At a value of 1 (the default), the progression is linear. Other values produce nonlinear progressions for particular adjustments or visual furnishings.

When adjusting private mattes, choose from the View menu to compare the mattes with and without adjustments:

Cull Uncorrected to view a matte without adjustments.
Choose Corrected to view a matte with all adjustments.

Earlier endmost the Outcome Controls console, select Final Output from the View menu. Final Output must be selected for After Effects to render the transparency.

To remove traces of reflected central color from the image, use Spill Suppressor using Improve For Color Accurateness. If the image still has a lot of color, apply the Simple Choker or Matte Choker effect.

Colour Cardinal effect

Starting with the October 2013 release of After Effects CC, the Colour Cardinal consequence has been moved to the Obsolete effects category. Utilise other effects such every bit the Keylight effect instead.

For information about keying in general, including links to tutorials and other resources, see Keying introduction and resources.

The Color Fundamental outcome keys out all image pixels that are similar to a specified key color. This effect modifies just the blastoff channel of a layer.

This effect works with 8-bpc and 16-bpc color.

Key out a single colour with the Color Key consequence

Select the layer that you want to brand partially transparent, and choose Issue > Keying > Color Key.

In the Effect Controls panel, specify a key color in 1 of two ways:

Click the Fundamental Color swatch to open the Color dialog box and specify a color.
Click the eyedropper, and then click a color on the screen.

Drag the Colour Tolerance slider to specify the range of color to key out. Lower values key out a smaller range of colors most the key colour. Higher values key out a wider range of color.

Drag the Edge Thin slider to adjust the width of the border of the keyed expanse. Positive values overstate the mask, increasing the transparent surface area. Negative values compress the mask, decreasing the transparent area.

Drag the Border Feather slider to specify the softness of the border. Higher values create a softer edge merely have longer to render.

Color Range consequence

Though the color keying effects built into Later on Effects can be useful for some purposes, you lot should try keying with Keylight before attempting to apply these built-in keying effects. Some keying effects have been superseded by more than modern effects like Keylight.

For data near keying in general, including links to tutorials and other resources, see Keying introduction and resources.

The Color Range result creates transparency by keying out a specified range of colors in either the Lab, YUV, or RGB color space. Y'all can use this central on screens that consist of more one colour or on bluescreens or greenscreens that have been unevenly lit and contain different shades of the aforementioned color.

This effect works with eight-bpc colour.

Color Range effect — Poorly lit greenscreen (upper-left) and background layer (lower-left) are combined using Color Range Key (lower-right).

Utilize the Colour Range effect

Select the layer that you want to brand partially transparent, and cull Consequence > Keying > Color Range.

Choose Lab, YUV, or RGB from the Color Infinite menu. If you have problem isolating the subject using one color space, endeavour using a different i.

Select the Key Color eyedropper, and and so click in the matte thumbnail to select the surface area that corresponds to a color in the Composition panel you want to make transparent. Typically, this start color is the one that covers the largest area of the paradigm.

To use the eyedroppers in the Layer panel, cull Color Range from the View menu in the Layer panel.

Select the plus eyedropper, and then click other areas in the matte thumbnail to add other colors or shades to the range of colors keyed out for transparency.

Select the minus eyedropper, and then click areas in the matte thumbnail to decrease other colors or shades from the range of colors keyed out.

Drag the Fuzziness slider to soften the edges between transparent and opaque regions.

Use the sliders in the Min and Max controls to fine-tune the color range yous selected with the plus and minus eyedroppers. The L, Y, R sliders command the first component of the specified colour space; the a, U, G sliders control the second component; and the b, V, B sliders command the third component. Drag the Min sliders to fine-melody the offset of the colour range. Drag the Max sliders to fine-tune the end of the colour range.

Difference Matte upshot

The Deviation Matte effect creates transparency by comparing a source layer with a difference layer, then keying out pixels in the source layer that friction match both the position and color in the difference layer. Typically, it'south used to key out a static groundwork behind a moving object, which is then placed on a different background. Oft the divergence layer is simply a frame of background footage (earlier the moving object has entered the scene). For this reason, the Deviation Matte effect is best used for scenes that accept been shot with a stationary camera and an unmoving background.

This effect works with 8-bpc and xvi-bpc color.

Difference Matte Key effect — Deviation Matte Key effect

A. Original paradigmB. Background imageC. New background imageD. Final composite image

Use the Departure Matte outcome

Select a motion footage layer every bit the source layer.

Import the paradigm file into After Effects, and add information technology to the limerick.

The imported epitome becomes the difference layer. Make sure that its duration is at least as long every bit the elapsing of the source layer.

If the shot doesn't comprise a total background frame, y'all may be able to assemble the full background by combining parts of several frames in After Furnishings or Photoshop. For instance, y'all tin apply the Clone Stamp tool to take a sample of the groundwork in one frame, and and then pigment the sample over function of the background in another frame.

Plow off the brandish of the difference layer by clicking the Video switch in the Timeline console.

Brand certain that the original source layer is selected, and then choose Event > Keying > Divergence Matte.

In the Effect Controls panel, choose Concluding Output or Matte Only from the View menu. (Use the Matte Simply view to check for holes in the transparency. To fill undesired holes later on you complete the keying procedure, see Close a pigsty in a matte.)

Select the background file from the Difference Layer menu.

If the deviation layer isn't the aforementioned size as the source layer, choose one of the following controls from the If Layer Sizes Differ carte:

Middle

Places the departure layer in the center of the source layer. If the difference layer is smaller than the source layer, the rest of the layer fills with black.

Stretch To Fit

Stretches or shrinks the divergence layer to the size of the source layer. Groundwork images may become distorted.

Adjust the Matching Tolerance slider to specify the amount of transparency based on how closely colors must friction match between the layers. Lower values produce less transparency; higher values produce more transparency.

Accommodate the Matching Softness slider to soften the edges between transparent and opaque areas. Higher values make matched pixels more transparent but don't increase the number of matching pixels.

If the matte withal contains inapplicable pixels, arrange the Blur Earlier Difference slider. This slider suppresses dissonance by slightly blurring both layers before the comparison is fabricated.

The blurring occurs only for the comparison and doesn't mistiness final output.

Before closing the Issue Controls console, make certain to select Final Output from the View carte to ensure that After Effects renders the transparency.

The Excerpt result creates transparency by keying out a specified effulgence range, based on a histogram of a specified channel. Information technology's best used to create transparency in an image shot against a black or white background or against a background that is night or bright but consists of more than than one color.

The controls for this effect are similar to the controls of the Extract effect in Adobe Premiere Pro, but the purpose and results of the effect are unlike.

This effect works with 8-bpc and xvi-bpc color.

In the Effect Controls panel, the Excerpt effect displays a histogram for a channel specified in the Aqueduct card. The histogram displays a representation of the brightness levels in the layer, showing the relative number of pixels at each level. From left to correct, the histogram extends from the darkest (a value of 0) to the lightest (a value of 255).

Using the transparency control bar beneath the histogram, y'all can suit the range of pixels that are made transparent. The position and shape of the bar in relation to the histogram make up one's mind transparency. Pixels corresponding to the area covered by the bar remain opaque; pixels respective to the areas not covered past the bar are made transparent.

Select the layer y'all desire to make partially transparent, and choose Effect > Keying > Extract.

If you are keying out bright or night areas, choose Luminance from the Aqueduct bill of fare. To create visual effects, choose Scarlet, Greenish, Bluish, or Alpha.

Adjust the amount of transparency past dragging the transparency command bar in the following ways:

Drag the upper correct or upper left option handles to accommodate the length of the bar and to shorten or lengthen the transparency range. Y'all tin also arrange the length by moving the White Signal and Black Point sliders. Values above the white bespeak and below the black signal are made transparent.
Elevate the lower right or lower left option handles to taper the bar. Tapering the bar on the left affects the softness of transparency in the darker areas of the paradigm; tapering it on the right affects the softness in the lighter areas. You lot can also conform the softness levels past adjusting White Softness (lighter areas) and Black Softness (darker areas).

To taper the edges of the transparency control bar, offset shorten the transparency bar.

Drag the entire bar left or right to position it under the histogram.

Inner/Outer Key outcome

Though the color keying furnishings congenital into Afterward Effects can be useful for some purposes, you should effort keying with Keylight before attempting to use these born keying furnishings. Some keying effects accept been superseded by more modern effects like Keylight.

For information virtually keying in general, including links to tutorials and other resources, run across Keying introduction and resources.

The Inner/Outer Cardinal event isolates a foreground object from its background.

This effect works with 8-bpc and xvi-bpc color.

Use the Inner/Outer Key effect

To utilize the Inner/Outer central, create a mask to ascertain the inside and outside edge of the object you desire to isolate. The mask can be fairly crude—it doesn't need to fit exactly effectually the edges of the object.

In add-on to masking a soft-edged object from its groundwork, Inner/Outer Key modifies the colors around the edge to remove contaminating background colors. This color decontamination process determines the contribution of the background to the color in each border pixel, and and so removes that contribution—thus removing the halo that tin appear if a soft-edged object is disordered against a new background.

Select the border of the object that yous want to extract by doing one of the following:

Draw a unmarried closed mask virtually the border of the object; and so select the mask from the Foreground menu and leave the Background menu set to None. Accommodate the Single Mask Highlight Radius to control the size of the edge around this mask. (This method works well only on objects with simple edges.)
Draw two closed masks: an inner mask just within the object, and an outer mask just outside the object. Make sure that any fuzzy or uncertain areas of the object lie within these ii masks. Select the inner mask from the Foreground menu and the outer mask from the Background menu.

Brand sure that the mask fashion for all masks is set up to None.

If you want, motion the masks effectually to find the location that provides the best results.

To excerpt more than one object, or to create a hole in an object, depict additional masks and and then select them from the Boosted Foreground and Additional Background menus. For case, to key out a person's hair bravado in the air current against a blue sky, depict the inner mask inside the head, describe the outer mask around the outside edge of the pilus, and and so draw an additional mask around the gap in the hair where you can encounter sky. Select the additional mask from the Additional Foreground carte to extract the gap and remove the background epitome.

Create additional open or closed masks to clean upwardly other areas of the paradigm, and then select them from the Cleanup Foreground or Cleanup Background menu. Cleanup Foreground masks increment the opacity along the mask; Cleanup Background masks decrease the opacity forth the mask. Apply the Brush Radius and Brush Pressure options to control the size and density of each stroke.

Y'all can select the Background (outer) mask as a Cleanup Background mask to clean up noise from the groundwork portions of the paradigm.

Prepare Border Sparse to specify how much of the border of the matte is afflicted past the central. A positive value moves the edge away from the transparent region, increasing the transparent expanse; a negative value moves the edge toward the transparent region and increases the size of the foreground area.

Increment the Edge Feather values to soften edges of the keyed area. High Border Feather values take longer to render.

Specify the Edge Threshold, which is a soft cutoff for removing low-opacity pixels that tin crusade unwanted noise in the image background.

Select Invert Extraction to reverse the foreground and groundwork regions.

Set Alloy With Original to specify the degree to which the resulting extracted image blends with the original image.

Linear Colour Cardinal effect

Though the color keying effects built into After Effects tin can exist useful for some purposes, you should try keying with Keylight before attempting to use these built-in keying effects. Some keying effects accept been superseded by more modern effects like Keylight.

For information virtually keying in general, including links to tutorials and other resource, see Keying introduction and resources.

Linear keys create a range of transparency across an image. A linear central compares each pixel in the paradigm to the primal color you specify. If the color of a pixel closely matches the key color, it becomes completely transparent. Pixels that don't match as well are made less transparent, and pixels that don't friction match at all remain opaque. The range of transparency values, therefore, forms a linear progression.

The Linear Color Key effect uses RGB, hue, or blush data to create transparency from a specified key color.

This consequence works with eight-bpc, 16-bpc, and 32-bpc color.

Utilize the Linear Color Key effect

In the Effect Controls console, the Linear Color Key consequence displays two thumbnail images; the left thumbnail image represents the unaltered source paradigm, and the right thumbnail image represents the view y'all've selected in the View carte du jour.

You tin can adapt the key colour, the matching tolerance, and the matching softness. The matching tolerance specifies how closely pixels must match the key colour earlier they start becoming transparent. The matching softness controls the softness of edges between the paradigm and the key colour.

You can also reapply this primal to preserve a color that was made transparent past the first application of the fundamental. For case, if you key out a medium-blue screen, you may lose some or all of a light-bluish piece of clothing your field of study is wearing. You tin can bring back the lite-blue colour by applying another case of the Linear Color Key and choosing Keep This Color from the Central Operation menu.

Select a layer as the source layer, then choose Effect > Keying > Linear Colour Key.

In the Event Controls console, cull Key Colors from the Cardinal Performance menu.

Choose a color infinite from the Friction match Colors menu. In most cases, use the default RGB setting. If you have trouble isolating the discipline using one colour space, endeavour using a different color space.

In the Effect Controls panel, choose Concluding Output from the View card. The view you lot choose appears in the right thumbnail and in the Composition panel. To see other results, work in one of the other views:

Source Only

Shows the original image without the key applied.

Matte Only

Shows the alpha channel matte. Employ this view to check for holes in the transparency. To make full undesired holes later yous complete the keying procedure, come across Close a pigsty in a matte.

Select a key color in i of the following means:

Select the Thumbnail eyedropper, so click an appropriate expanse in the Composition panel or the original thumbnail prototype.
Select the Cardinal Colour eyedropper, then click an appropriate expanse in the Composition or Layer console.
To preview transparency for different colors, select the Key Color eyedropper, hold downwards the Alt fundamental (Windows) or Option key (Mac OS), and move the pointer to unlike areas in the Composition console or the original thumbnail image. The transparency of the image in the Composition console changes equally yous move the pointer over unlike colors or shades. Click to select the color.
Click the Central Color swatch to select a colour from the specified color space. The selected color becomes transparent.

note: The eyedropper tools move the sliders appropriately. Apply the sliders in steps 6 and vii to fine-tune the keying results. To use eyedroppers in the Layer panel, cull Linear Color Central from the View menu in the Layer console.

Adjust matching tolerance in one of the following ways:

Select the Plus (+) or the Minus (-) eyedropper, and then click a colour in the left thumbnail image. The Plus eyedropper adds the specified color to the key color range, increasing the matching tolerance and the level of transparency. The Minus eyedropper subtracts the specified color from the central colour range, decreasing the matching tolerance and the level of transparency.
Drag the matching tolerance slider. A value of 0 makes the entire image opaque; a value of 100 makes the entire prototype transparent.

Elevate the Matching Softness slider to soften the matching tolerance past tapering the tolerance value. Typically, values under 20% produce the best results.

Before closing the Effect Controls console, brand sure to select Final Output from the View menu to ensure that Subsequently Furnishings renders the transparency.

Preserve a color after applying Linear Color Cardinal

In the Result Controls panel or Timeline panel, turn off any current instances of keys or matte effects by deselecting the Effect option to the left of the key proper name or tool name. Deselecting the choice causes the original prototype to appear in the Composition panel then that y'all can select a color to preserve.

Cull Effect > Keying > Linear Color Fundamental. A second set of Linear Color Fundamental controls appears in the Effect Controls panel below the beginning set.

In the Effect Controls panel, choose Keep Colors from the Key Operation menu.

Select the colour you want to keep.

In the showtime application of the Linear Color Fundamental issue, choose Final Output from the View menu in the Upshot Controls panel, then turn other instances of the Linear Color Key effect back on to examine the transparency. You may need to arrange colors or reapply the primal a 3rd time to become the results yous need.

Luma Cardinal effect

Starting with the October 2013 release of Later on Effects CC, the Luma Key effect has been moved to the Obsolete effects category and users are recommended to use other furnishings such as the Keylight event.

For data about keying in full general, including links to tutorials and other resources, see Keying introduction and resource.

The Luma Key effect keys out all the regions of a layer with a specified luminance or effulgence. The quality setting of the layer doesn't influence the Luma Fundamental consequence.

Utilize this result if the object from which you want to create a matte has a greatly dissimilar luminance value than its background. For instance, if you want to create a matte for musical notes on a white groundwork, yous can fundamental out the brighter values; the dark musical notes become the only opaque areas.

This effect works with 8-bpc and 16-bpc color.

Luma Key effect — White background of original (upper-left and lower-left) is removed using Luma Fundamental and composited over underlying layer (lower-right).

Cardinal out a luminance value with the Luma Primal effect

Select the layer that yous want to make partially transparent, and choose Consequence > Keying > Luma Key.

Select a Central Blazon to specify the range to exist keyed out.

Drag the Threshold slider in the Result Controls panel to set the luminance value yous want the matte to be based on.

Drag the Tolerance slider to specify the range of values to be keyed out. Lower values primal out a smaller range of values almost the threshold. Higher values key out a wider range of values.

Elevate the Edge Thin slider to adapt the width of the border of the keyed area. Positive values make the mask abound, increasing the transparent area. Negative values shrink the mask.

Elevate the Border Feather slider to specify the softness of the edge. Higher values create a softer border but have longer to return.

Spill Suppressor result

Starting with the June 2014 release of Subsequently Effects CC, the Spill Suppressor effect has been moved to the Obsolete effects category and users are recommended to use the Advanced Spill Suppressor result.

Key Cleaner and Advanced Spill Suppressor effect

Key Cleaner outcome

The Key Cleaner effect recovers blastoff-channel detail from a scene keyed by a typical keying effect, including recovering detail lost due to compression artifacts.

If you see that unwanted semi-transparency effects accept crept in along edges that should be sharp, apply an outcome mask (with a little mask feather) to restrict the Key Cleaner event to the intended area.

Avant-garde Spill Suppressor effect

The Advanced Spill Suppressor consequence removes color spill on a foreground subject from a colored background used for color keying.

The Advanced Spill Suppressor consequence has ii methods for spill suppression:

Standard - The Standard method is simpler, automatically detects the dominant key color, and requires less user input.
Ultra - The Ultra method is based on the spill suppression in the Ultra Primal effect in Premiere Pro. See the Ultra Primal department in Premiere Pro for details about the Ultra Key.

An easy way of applying these effects is by using the Keylight + Key Cleaner + Spill Suppressor animation preset.

Starting with the June 2014 release of After Effects CC, the Spill Suppressor effect has been moved to the Obsolete effects category and users are recommended to apply the Advanced Spill Suppressor effect.

Keylight event

Afterward Effects includes several built-in keying furnishings, as well as the Academy Award–winning Keylight effect, which excels at professional-quality colour keying. For information on the Keylight upshot, encounter its documentation in the binder in which the Keylight plug-in is installed. (Come across Plug-ins.)

For information almost keying in general, including links to tutorials and other resources, see Keying introduction and resources.

The Key Color property is already linked with an expression to the Keylight effect's Screen Colour property, then y'all don't need to change it unless you want to apply a dissimilar colour for the despill procedure. To use a different color for the despill process, just disable or remove the Keylight expression.

Using the Keylight + Key Cleaner + Advanced Spill Suppressor animation preset

Keylight, Key Cleaner, and Advanced Spill Suppressor effects — Keylight, Cardinal Cleaner, and Advanced Spill Suppressor effects

Follow the steps beneath to apply the Keylight effect with the Central Cleaner and Advanced Spill Suppressor event:

Use the Keylight + Key Cleaner + Avant-garde Spill Suppressor blitheness preset (in the Prototype-Utlities folder nether Animation Presets) to use the three effects in society to the layer.The Advanced Spill Suppressor effect is turned off by default to permit you to sample the key color in the Keylight effect or if the footage does not have whatever color spill to be removed.
Use the Keylight effect's Screen Color eyedropper to sample the fundamental color from the layer in the Composition console. Accommodate other Keylight issue settings as you normally would to get the best results.
Turn on the effect switch for the Advanced Spill Suppressor effect to remove color spill from the scene, if required.

If you see unwanted semitransparency along edges that should be abrupt, use an issue mask (with a little scrap of mask plumage) to restrict Key Cleaner to the intended area.

Run across variable-width mask feathering and soften the edges of a mask articles for data on mask feathering

Using Primal Cleaner and Advanced Spill Suppressor effects with other keying effects

Follow the steps beneath to apply the Key Cleaner and Avant-garde Spill Suppressor consequence to a keying outcome other than the Keylight effect:

Apply the keying effect to the layer.
Set the event to the equivalent of the Keylight consequence's Indeterminate Result setting, so that the keying effect gives the total RGB event without attempting to perform its own spill suppression.
Apply the Key Cleaner effect afterward the keying upshot.
Use the Advanced Spill Suppressor issue after the Fundamental Cleaner effect.

Learn Tutorial

Watch this video to learn how to get better keying results from compressed or badly shot green-screen footage with the new Key Cleaner issue and remove color spill with the Advanced Spill Suppressor controls.

spill-suppressor