![]() With a few minutes of setup, enjoy a sleek new layout with taglines, widgets, alerts, and overlays-making your scenes more memorable and engaging. Boost engagement with animated overlay templatesīuilt for streamers, our tools offer you unprecedented control over your channel branding. Focus on personalizing your overlays and making sure all your channel’s branding stays consistent, from the profile avatars to the banner image. Plus, with a pre-made Twitch overlay template, coming up with a clutter-free and enticing layout is done for you. With millions of free and premium graphic elements, you can easily incorporate stickers, icons, fonts, images, shapes, illustrations, flat or 3D designs, 3D logos, and more into your stream overlay widget designs. With Canva’s Twitch overlay maker and editor, jazzing up your stream scenes is a delight. However, the way the mask interact are not familiar to me with this compositor.Ĭopy/paste the following in your comp and see if it makes sense to you.Add life and personality to your Twitch channel with ease Add the roto'd MediaIN footage on top of the alpha channel Cut out an alpha channel around the red markers on the screen So with merge2 I tried putting a copy of the MediaIN1 in the foreground and I roto'd the shopping bag and the actors legs. Is my basic effect to remove the green screen from the MediaIN1 node. MediaIN1> Merge> DeltaKeyer1>PlanarTracker>MediaOut1 Normally I would simply cut an alpha channel from the markers and mask the foreground footage over the alpha channels. The tracking is not my issue, the crux of the issue for me is how masking works with this software. The screen does move but I am familiar with how to use tracking and keyframing to get what I need. The shot is of a man pacing in front of a TV. ![]() The pipeline is pretty straight forward, there's just a mess of things I've tried around it. Sorry if i wasn't very clear with my explanation. it probably won't work well, and it's not really educational for you, but you might be able to just apply a second key that grabs the tracking marker color and key them out, not using any masks for that purpose at all. I believe pros would instead have the planar tracker sitting off to the side - only an input, not any outputs - and would use automation expressions (actually Connect To) to cause tracker data to be copied to locational parameters of the things that you want to follow, rather than trying to route everything through the planar tracker. So you could have everything else in your node tree coming in that way. You can route an image through the tracker to cause it to corner pin, for example, to the plane that's tracked. So it appears that you definitely don't need two planar trackers, and might not need even one, depending on whether the camera is moving or not. If you're not going to be using a planar background, but instead want to use 3D (and you have Resolve Studio) you'd use the Camera Tracker and your scene becomes more complex. (If they're not EXACTLY at the same depth of the green screen, they will mess things up.) You'll be tracking the tracking markers and can also use anything that's at the same depth as the green screen if that helps. On the other hand, if the camera is moving, you'll need to use a Planar Tracker, as you do, to capture the motion of the camera (in relation to the green screen). If the plane of the green screen is supposed to be the plane of the background image and the camera isn't square to the green screen, you can use a corner pin with the tracking markers as a reference, but you won't need to track them. You can insert the background with any Transform you want. (Tracking markers imply the camera will move, but they might just be attached permanently, in case the camera is supposed to move, so you still might be working with a locked-down camera.) If the foreground does cross over the trackers sometimes, but the camera isn't moving, you could just animate the tracker masks as appropriate so they don't poke holes in the foreground. For example, if your foreground doesn't move in front of your tracking marker and the camera doesn't move, you could create a mask for each tracking point and a mask for the boundaries of the green screen and add them all together and route them into your keyer's garbage matte. How complicated the solution is depends a lot on what you need to do. It looks like maybe your first MediaIn is a person with a green screen for above the waist, and your second MediaIn is some legs and a bag you want to attach to the upper body? Not clear what all might go into the background, but for now you're using light rays? Could you explain what's happening in the shot, with the two media inputs, and the background?
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