Keying hair and DMP

This was a self-taught challenge for the summer with the guidance of Ken Fisk and Marc Estrada to level up my skills as a compositor and have the fundamentals down to the wire.

The Plate

The plate I downloaded from Action VFX most of the time involved pulling my edge keys for the hair and weapon before integrating the new sky, clouds, trees, muzzle flash, and camera shake.

For the matte, I used a technique of getting the core with a primatte, moving onto the edge with an IBK clean plate, and keylight edges with roots to have the most control on different areas.

Alongside using keylight with a saturation despill to get the most amount of information from the original plate, alongside a positive keyer for the hair.

Lastly the integration of the DMP and the effects came with the orientation of Ken Fisk to match the plate with the color and saturation, and use as reference predator for the size, brightness and color of the muzzle flash.

Keying hair and DMP

The Plate

Thank you for your time.