A chroma key succeeds on set, not in the keyer: even lighting, clean separation and a subject not wearing the background colour. The software side is then a short checklist, whether the composite happens in a browser tab or a suite.
Even light across the green, no creases, and separation between subject and screen where the room allows. A backlight on the shoulders separates hair from the background and buys the keyer its margin.
The practical order is pick the green with the qualifier, grow or shrink the matte until the edges sit right, then despill the fringe. Fewer tools applied with judgement beats a long chain of effects.
A believable composite matches three things: light direction, colour temperature and grain. If the plate is sunny and the subject was lit flat, no amount of keying fixes the mismatch.
The qualifier, matte refinement and spill tools live on the colour and Fusion pages in the browser too, and the composite renders from the same timeline as the rest of the project: no round trip to a dedicated machine.
Green screen questions that come up before a first render.
Yes; the result depends on the footage and the matte work, not on the machine the keyer runs on. The browser pages include the qualifier, edge tools and despill a working key needs.
That rim is spill: green light bouncing onto the subject. Despill tools subtract it, and shrinking the matte slightly also helps. A rim light at the shoot prevents it in the first place.
For waist-up shots, two metres wide by two high is workable. Full-length shots need the screen to reach the floor and beyond the frame; folds and shadows are what give small screens away.
The same delivery preset as the rest of the project, unless the composite feeds further effects work, in which case a master grade file like ProRes keeps room in the highlights.
The studio is one project with several pages. These are the pages that usually come before and after this one.
Open the studio, drop a green screen clip on a timeline and take it through the qualifier, matte and despill moves above.
