Motion Graphics and Compositing/Week6-9/Project 2
29/10/2025-15/11/2025
Cai Zihan / 0378043
Motion Graphics and Compositing / Bachelor of Design in Creative Media / Taylor's University
Project 2 – Channel Bumper
INSTRUCTIONS
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LECTURES
Summary of Core Post-Production Knowledge (Weeks 6-7) – English Version
Week 6: Green Screen & Chroma Key Technology
1. Core Concepts
- Green Screen (or Blue Screen): A single-color backdrop used during filming to separate foreground subjects (people/objects) from the background. The background can be replaced with any image or video in post-production.
- Chroma Keying: A "keying" technique in post-production that specifically removes a targeted color (e.g., green/blue screen) while preserving the main subject.
- Common Applications: Film VFX production, TV broadcasts (e.g., news studios), game promotional videos, VR immersive content creation, etc.
2. Pre-Shooting Preparation
- Backdrop Setup: Ensure the backdrop has a uniform color with no wrinkles or shadows; keep subjects 1–2 meters away from the backdrop to avoid color spill (background color reflecting onto the subject); use a green backdrop by default, or switch to blue if the subject wears green clothing.
- Lighting Setup: Illuminate the backdrop evenly to prevent uneven keying; light the subject separately to highlight contours without overexposing details.
- Costumes & Props: Avoid colors matching the backdrop (they may be accidentally keyed out); minimize highly reflective items to prevent background color reflection.
- Camera Settings: Maintain proper exposure to enhance backdrop color saturation; keep the camera stable during filming to facilitate smoother keying later.
3. Post-Production Workflow (Applicable to PR, AE, DaVinci Resolve, etc.)
1. Import the green screen footage and place it on the upper track of the timeline; position the new background on the lower track.
2. Apply chroma key tools: Use "Ultra Key" in Premiere Pro, "3D Keyer" or "Delta Keyer" in DaVinci Resolve. Select the target background color, then adjust parameters like "Tolerance," "Edge Feathering," and "Spill Suppression" to cleanly isolate the subject.
3. Refine Details: Soften the subject’s edges to eliminate rough outlines; manually adjust masks for hard-to-key elements (e.g., hair, transparent objects); unify the lighting and color style between the subject and new background for a natural look.
4. Export the final video, checking for clean edges, consistent lighting, and harmonious colors.
4. Key Design Principles
Post-production is not just technical—it requires visual judgment: matching colors between foreground and background, maintaining consistent spatial perspective, and creating the desired mood (e.g., warm, sci-fi, tense) through lighting and tone.
5. Common Challenges & Solutions
- Green Spill on Edges: Caused by background reflection on clothing/hair. Use spill suppression tools or manual masking; ensure sufficient distance between the subject and backdrop during filming.
- Uneven Backdrop: Shadows or wrinkles make keying difficult. Ensure a smooth backdrop and even lighting during shooting; adjust chroma key parameters in post-production if needed.
- Matching Costume Color: Costumes matching the backdrop may be accidentally removed. Avoid conflicting colors or use manual masking to preserve the costume.
- Jagged Edges: Poor tolerance or feathering settings cause rough outlines. Fine-tune edge refinement tools.
- Lighting Mismatch: Even with a clean key, inconsistent lighting between the subject and new background looks unnatural. Adjust brightness, contrast, or recolor as needed.
Week 7: Dynamic Link (PR & AE Integration)
1. Core Concept
Dynamic Link is a feature enabling real-time connectivity between Premiere Pro (PR) and After Effects (AE). When you modify effects or animations in AE, updates appear instantly in PR—no need for exporting, reimporting, or waiting. It’s an essential tool for efficient post-production, saving time and storage while keeping workflows smooth.
2. Basic Workflow (3 Simple Steps)
1. In PR, select the clip or sequence requiring effect edits.
2. Right-click and choose "Replace with After Effects Composition":
- AE automatically opens a new project (save it as "ProjectName_AE").
- A new composition containing the selected clip is created automatically.
3. In AE, add effects, text animations, color correction, or motion graphics, then simply save.
- Returning to PR:
- Linked clips turn pink to indicate a connection with AE.
- Any changes in AE sync instantly in PR—no additional rendering required.
3. In-Class Demo Key Takeaways
- Adding a "Curves" effect in AE to tint a clip pink/ green, or adding animated text like "Hello Test" results in instant updates in PR.
- Multiple clips linked to AE appear as "Linked Composition 1, 2, 3…" in PR for easy management.
4. Use Cases
Dynamic Link is ideal for:
- Advanced color correction beyond Lumetri’s capabilities.
- Text animations or complex motion graphics.
- Using the "Warp Stabilizer"
(anti-shake tool).
- Adding light effects, particles, or composite layers.
In short, use Dynamic Link when PR’s built-in tools are insufficient.
5. Important Notes (Common Pitfalls)
1. Always save your AE project—unsaved projects may break the link.
2. Avoid renaming compositions arbitrarily: PR may update names automatically but could lose connections.
3. Consider performance—running AE and PR simultaneously requires sufficient RAM and CPU.
4. Before final export, right-click linked clips in PR and select "Render and Replace" to convert them to stable video files (ProRes or DNx).
6. Recommended Workflow (Instructor’s Advice)
1. Complete the rough cut in PR first.
2. Send clips needing special effects to AE for refinement (add VFX, color correction, animations).
3. Save AE projects and return to PR to adjust pacing, add transitions, and design sound effects.
4. Before final export, "Render and Replace" all linked AE compositions to ensure project stability.
This method balances flexibility and project reliability.
Project 2 – Channel Bumper
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| Fig 1.1 Mood-board |
Sketches：
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| Fig 2.1 sSketches |
Some materials and references：
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| Fig 3.1 |
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| Fig 3.2 |
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| Fig 3.3 |
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| Fig 4.1 processes |
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| Fig 4.2 processes（Open door） |
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| Fig 4.3 processes（The ribbon fell） |
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| Fig 4.5 processes（Dynamic font） |
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