Instruction Manual

Chapter 13 Keying 512
In the following image, a clean key is created within the mask by removing the “dirt” left by the
original key.
6 As an optional step, you can nest the originally keyed layer and the holdout matte you just
created inside a dedicated group so you can manipulate the entire subject as a single object.
Apply multiple keys to a single subject
In some instances, it may be dicult to key an entire subject with a single keying lter while
retaining ne details. For example, uneven lighting or background color might mean that the
best settings to key a subject’s hair may not work elsewhere. In such cases, you can use masks to
isolate dierent parts of a subject, and then apply dierent keying settings to each area.
Segment a subject into separate keying zones
1 Create a group and place the layer you’re keying in the new group.
2 Duplicate the layer you’re keying until you have a separate duplicate for each part of the image
you want to key separately.
3 Use a mask tool to mask each part of the subject in the duplicate layers.
Note: For more about using the mask tool, see Masks and transparency overview on page 888.
Make sure the duplicate layers overlap, so there are no gaps in the foreground.
Note: You might need to animate the overlapping masks if the foreground subject is moving.
4 Apply the relevant keying lter to the isolated parts of the subject, then adjust each
lter’s settings.
Eventually, you may nd you can achieve an optimal key for each part of the subject.
Furthermore, with all duplicates nested in a single group, you can continue to manipulate the
subject as a single object.
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