Don't forget that there is a section here for foreground color correction, which we are going to be using, as well. I'll select his face again for the despill bias, and now for the alpha bias, I'm going to select somewhere around this green here, and that helps a little bit the tonality of the shirt, and the face, and all of that. As soon as we do that, we see that the shirt turns a little bit off, so maybe for this one, we want to not lock the biases together. We have not chosen any kind of despill here, so let's go ahead and choose the despill bias, and click on his face. Let's go ahead and finish this key a little bit better. Now, we are going to fix that, and we do that with masks. Now, let's go ahead and change this view to a final result, and you can see that what was green here on his shirt also turned transparent. Select and go to effect, keylight, and select a matte, change this view to a status view, change the screen gain just a little bit, change the screen balance, only a tad, and if your colors don't look like mine, that is perfectly okay, it really depends on which screen color you chose. Now, let's go ahead and apply keylight to the top clip.
Go ahead and open Composition 4.1 Inside Mask. If, however, we are using the mask to keep something from being affected by the key, this mask is called inside mask.
When we need to narrow the part of the video that is green with a subject, those masks are known as garbage masks, or outside masks. We also use masks for when we want to keep something green, even though we are keying the green color. We use masks so that we can isolate the green color from other parts of the background.
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