Understanding the keying principle it uses and the role of color spaces in chroma keying helps you get the most out of this tool. If you have questions, requests or ideas for future Quick Tip Videos, please write in the comments.The 3D Keyer in DaVinci Resolve was not designed for green screen work, but it can offer a quick solution for simple scenarios.
Digital cameras usually compress the blue channel the most and that’s exactly where you need information when keying Bluescreen.
Just simple green cardboard does not cut it. Use the proper shade of highly saturated green or blue as a background.Use the highest possible quality your camera can record - maybe rent an external recorder if the internal codec is weak.Of course, the results of a chroma key depend on the quality of the footage you are trying to key. To get keyable footage, keep these things in mind: Turns out: you can!Ĭheck out this Quick Tip Video, where I‘ll show you how this works. What I did not realize at first was that you could use the 3D qualifier to pull chromakeys. When Blackmagic introduced the 3D qualifier to DaVinci Resolve I was impressed by how much better it was to select ranges of colors for secondary color correction, compared to the old qualifier algorithms. Don‘t fret - there is a decent Chroma Key hidden in DaVinci Resolve‘s Color page. If you are working in the Studio version of Blackmagic DaVinci Resolve you do have one of the best Keyers in the world at your fingertips.īut working the Fusion page is not for everyone.
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