 Welcome to the show, it's me, JP, it's John Park's workshop. Here I am in my workshop, but soon I'm gonna be transported to some magical alternate destinations. Are you excited about this? I am, I'm very excited about this project, in fact. So, let's see, we're up and running. Let me check, it looks like our broadcast stream might be running a little choppy. You let me know, why is that? That shouldn't be. But who am I talking to? Well you, I'm talking to the people over in Discord. If you wanna know where the chat is happening, head on over to adafru.it slash discord. And you'll get a free instant invite into Discord. You'll get a free iced coffee. Mm, it's almost empty, darn it. And you can join in on the conversation and enjoy the free coffee. Part of that is true. Part of that is not true. All right, good, well we're up and running, we're in sync, our audio is working and yay. So, welcome everyone, hi, David Odessa, Hugo, Garrett, Andre, Kevin Plays, we had some questions, that's the people over in the YouTube chat. We had a question earlier about, what does retro-reflective mean? And we're gonna talk about exactly that. Hey, Todd Bott, hey, C Grover, Andy Calaway, chaotic cosmos, nice to see you all. I am talking to you, that's right, Hugo. Get your coffee, would you? Hi, Susan, yes, mm, iced coffee. All right, excuse me. I shouldn't have run out of the iced coffee, I'm gonna need that. So, let's get this party started. So, first of all, a couple of housekeeping details and then we'll get into the bulk of this project. I'm gonna spend most of my time on this today because it's so dang cool. But first, let's mention, we've got a jobs board, you may have heard of it. It is right here at jobs.adafruit.com and if you head on over there, let's see, where's me? There's me, hi. Put that in the background, that'll work. You will see that we have both the available for hire in the search jobs sections, this is entirely free. All you need is to sign up with an email address, your Adafruit email address if you've placed orders, that'll work too, I believe for that. And you'll see such things as a listing for the program coordinator at Fuse Northwestern University. Hey, what is that, what is Fuse? A STEAM program for middle and high school students based at Northwestern University. Seeks program coordinators passionate about STEAM and equitable access for students. Love stinkering, making, 3D printing, enjoys working with educators. That sounds tremendous, so that's a full-time job and I'm assuming that's an in-person one, so not the sort of remote job you sometimes see on here. Anyway, that's just one of the many positions that are open and available there on jobs.adafruit.com, so go, check it out. I invite you to, please. All right, next thing that I will mention is the product pick of the week, so you may know, you may not, I run another show every Tuesday. It is called JP's product pick of the week. Here's the recap, one minute recap, this week's product pick, check it out. It's the TSL2591, it is a high dynamic range light sensor and I've got it plugged in over the STEMIQT cable to this Metro ESP32. What I'm showing is the total lux. If I take a pretty powerful flashlight and point this at the light, I'm gonna jump up to around 300, 400 lux. Okay, what's the difference between this flashlight and let's say the sun? So I've positioned a little hand mirror outside and you can see my hand here kind of blowing out. I'm gonna take the meter and lift that up and put that in the sun. And you can see now we're at around 30,000 lux. That's my product pick, it's the TSL2591 HDR, High Dynamic Range Light Sensor. Man, that's such a groovy song. Written by our own Bartlebeats. Tom White wrote that, I love that song. All right, so let's get into this. What are we talking about here? What's the deal? So the product, rather the project of the week. This is really exciting. So the topic here is chroma keying. And you'll typically hear this referred to as green screen. In the earlier days, you used to hear this referred to as blue screen for various reasons, the industry both film and TV, particularly TV at first for reasons that I'll get into. Switched over to using green screens, but blue green, both methods of using a colored background behind an actor or a subject to make a mat or basically knock out that section of the foreground image. So you could see a plate image behind. So that could be a photograph or a painting of something in the background. You see it done composited over video now and of course all VFX movies tend to use tons and tons of green screen scenes so that you can put actors in places where they didn't actually film or scenes that don't actually exist. So let me show you actually real, let's jump right into it. Let me show you an example of me being green screened. And this is something that happens nowadays very frequently in real time. So in live broadcasting software, I'm sure a lot of you have used Zoom which has some green screen types of features, even ones that don't require a green screen which is kind of amazing that it computes it as well as it does. So here what we're gonna do is I'm gonna take this image of the Adafruit factory and let's go ahead and knock me out. So now you can see here I am. I'm in front of the Adafruit factory, at least part of me is. And this is allowing me to put a photograph which is what I have back there. I have this photograph of the Adafruit factory behind me and my foreground image of me, this real time video, is being composited in real time right on top of it. And you can see it's compositing it really nicely. I'm gonna talk about some of the things that, some of my opinions here about what's good and bad in a composite in a green screen composite and issues that can arise with traditional green screen methods that this method that I'm using here today eliminates. So just to show you, we can go to Mars, we can head back to Iceland. Gosh, I miss Iceland. Back to the Adafruit factory and I can also return here to my workshop. So that is something that you know, you've seen it before. You're probably not too amazed just at the idea of a green screen happening or chroma key happening. But something that I've found and I've done a lot of green screen work over the years and for films, for personal projects, for I did some stuff for a high school musical that just took place. So I was doing a lot of compositing green screen shooting and then compositing and video editing of actors including my kids as well as others. And these were all set up in front of a traditional green screen. So I have a pretty nice large green screen that I've used in the past for this kind of stuff. I'll show you what that looks like. So this is a kind of a modern type of green screen which is made out of a fleece material. So you can see here, oh, you can't see it because it's being knocked out, right? So this is green screen. The bag is not as good but the green screen material itself. Hey, that's great. Let me turn off my key here so that you can actually see it. Hey look, so this material, this is a nice one. It's a very even material. It stretches which helps it get rid of wrinkles because one of the things that happens with green screen unless you're painting something with a chroma key ultimate paint. If you're using a green screen, the wrinkles in it and shadows cause a lot of problems. So you can imagine what we're trying to do when we're green screening is getting a very consistent surface that's evenly lit and has a perfectly consistent hue and then the software is knocking that out based on hue and saturation and value. So the issue with these tends to be two things. One, lighting it evenly. So maybe I can share an image but I've got some Kinoflow boxes or DIY Kinoflow boxes that are essentially really high quality, non-flickering, fluorescent tubes in sets of like six of them or five or six that I point at a green screen in the background and then you light the actor separately. You don't want the green screen lighting to spill onto the actor because that causes green halos all over the place and you don't wanna have the actor cast shadows on the green screen. You can see here, the screen that I'm using, this material, because we're lighting me with a key light over here, we're getting shadows. This is a real pain in the neck on a traditional green screen and so what you end up trying to do is move the actor as far from that green screen as possible so that you're lighting the actor without casting shadows. You can't really light frontally. You have to get angles so that the throw of the shadows misses the green screen. Same with the bouncing light. You don't want the light that's illuminating the green screen to bounce onto the actor's back. You get little green halos around the hair. So that's on a traditional green screen. Those are two big issues and you see it all the time with green screen shots where there's a little bit of a green halo showing up or sort of blurring in between crevices because of having to desaturate those to try to fix the problems with that as well as little noise that you'll see in the shadow parts of the green screen unless it's very carefully adjusted with things like pedestal and shadow settings in your software. These are things that you can do if you're compositing for a final render. So it's non real time. So that's the kind of work that I've been doing recently but in a case like a real time green screen you don't have as many controls because those types of things take a lot of compute power and time to process and in real time we're trying to get 30 or 60 frames a second or 120 even. So enter the retro reflective green screen. So what the heck is this? What's going on? Retro reflective material is the same stuff that you have in safety garments like vests that a worker wears on the side of the road or the stripes on your sneakers that when a car headlight for example hits that material the light is returned directly back to the source and you see these glowing running shoes or track pants stripes. What I'll do right now is I'm gonna take a flashlight and I'm gonna point it at this screen and what you'll see is okay we're illuminating it that's nothing special but watch what happens when I point it at the same axis as the lens. Retro reflective screen just from a little flashlight this far away can essentially be fully illuminated really brightly. Look how bright that's coming back. So this is the material here you can see me moving that around. I can even have wrinkles in this material and those are gonna disappear. So you'll see those are gone. It returns the light so brightly it has such I think it's something like a 95% return it's like little mirrors and the way this is made is this was originally I think pioneered by 3M and like so many materials are and it's composed of tiny glass beads and the glass beads refract light straight back almost perfectly straight back to the source through some internal refractions and then it bounces and reflects back out. So that's what retro reflective screen is. What am I doing to create this green screen? So here let's look at the effect again. I'm gonna turn on my chroma keyer. Boom I just made that disappear and you'll notice if I push on this screen I'm not creating any shadows. I can actually bend this material. Nothing bad is happening. Also this over here that is a piece of screen that's at the back of my workshop. This one is right behind me and something that's really fascinating and super helpful about this style of retro reflective screen is that this works better the closer the subject is to it. And this is something that's of great interest to me because at least this year and it's maybe I'm a little late on this but this year with people filming inside of their homes in bedrooms and studies in houses they don't have the luxury of deep spaces to put a green screen way far back. I wish I had this a month ago when I'd started doing a bunch of this green screen work for the high school because this is far superior. You can be right up on it and the closer you are the better. In fact, as I get further from it we'll start to see some issues maybe. Okay, yeah actually I'm just getting so much green bounce on my hand there so my hand is now green and bouncing out but you'll see the fall off of the green LEDs that are pointed at this screen don't affect me at all. Unless I tilt my glasses up and you can see those little white circles in there those are actually seeing through those watch those circles change color when I change the background. So those are actually punching through so those are chroma keying the reflections of my glasses. But let's talk about well how's this working? What the heck is going on here? What's the trick? I'm gonna show you the trick. It's a neopixel ring and if I turn off my chroma keyer for a second it'll stop oops wrong one sorry it'll stop punching through the green. So this is a green neopixel ring. I'm using a larger one than I really need. You can get away with a I've used a 16 on this and it works fine it's enough light but this is big enough to fit around a camera lens. So the camera I'm using here is just a tiny pinhole dot on a computer on the computer monitor bezel but I also have my real camera with real lenses on it and this fits over that so this is a good size. And what I'm using here in fact I'm gonna put this in the overhead for a second and show you where's my down shooter? There's my down shooter. I'll show you okay so what I've got here are a QT pie plugged into this neopixel ring so I have power ground and data and I have this very cool Todd Kurt our friend Todd Kurt came up with this method of plugging a rotary encoder knob directly into the back of the QT pie and reassigning some pins so that everything works out just magically. And so we have this very compact little thing in fact I've got more size from my right angle USB-C connector than I do from the actual device and plug that in directly it's a little more svelte. So what I've got on here is I'm gonna show you in a second I've got some circuit Python code that allows me to dim oh it wrapped around I have it wrapping wrap around. So this is the dimmest I'm gonna get with this it's a little dimmer than works and I can go all the way to full brightness on this and remember I mentioned earlier green screen and blue screen so blue screening can be really effective I believe in broadcast analog broadcast TV there may have been more bits of data essentially available in the green channel so it was smart to move to that but blue worked great for many years I've also read I was just reading the Wikipedia on this that weathermen and their blue suits caused a switch in the weatherman news TV chroma key industry to move towards green from blue I'm not sure if that's true or not but it's an option so I actually again in this play that I just worked on this musical theater show it was Avenue Q which involves human actors and puppets one of the puppets has a lot of green in it and so it became a little tricky over a green so it should have been shot over a blue screen that would have been ideal it came a little tricky to deal with not desaturating the puppet it wasn't the same green but that made it harder so blue screen on some subjects if you're wearing green shirt you're not gonna wanna be in front of a green screen a blue screen might work better and those are the two colors by the way that tend to be used for many reasons including they occur in skin tones less than red you could do a red screen people have done magic pink which is like a magenta screen in much older days there were sodium vapor lights used but anyway blue and green pretty typical I have white on here just because why not and this happened to be an RGBW LED and off and then I quickly made a little three printed ring to hold this so that I could clip it to different things so for now I just have a screw running through here and I'm clipping a clothes pin on there to hang it from my monitor when I wanna put that in front of my camera I can hang that and put some rubber bands around it so let me demonstrate again what's going on here with the green screen so I'm gonna switch my view and turn on chroma key so right now it's actually attempting to chroma but it's not finding any green let's make sure I'm telling the truth yeah so my green bag here is getting chroma out what I'd like to do is actually show you another view in which I'm not chroma keying so this top view the small view of me is not gonna chroma and this top sorry the main image will and so let's switch this back to green so you can see I'm pointing these lights you can see it appears green on my hand in the small view but it's knocked out in the big one and then I'm gonna point this at the screen let me get a more dramatic background where you can see it let's put the factory back there again so as I go and put this in front of my camera oh let's grab the clothes pin otherwise I'm gonna block the camera so you should hang on there pretty well and now what I can do is adjust my brightness until it just works the best it can so you can see here I get too dim doesn't look as good I also don't wanna cast any green on me and look at the one that I'm not chroma keying you can see that's a really beautiful saturation of green it's not blown out in whiteness so that's good we want more saturation if you get the lights too bright I think it tends to especially with automatically adjusting camera it's kind of amazing actually that this works well with a webcam style camera this is in an iMac that I have the iMac Pro has a nice camera but it's I'm not using any manual controls on it which typically you're gonna fix your exposure fix your white balance and leave that stuff locked solid so that it doesn't get impacted by the green screen. You can also see let's see do I have I guess I've got this flashlight here you can also see as I change the lighting on me nothing is changing with the green screen green screen isn't getting hit by shadows that we see which is amazing if I turn off the green screen again for a second you see I'm casting huge shadows this would be a very big problem on a traditional green screen retro reflective green screen doesn't care oh there we saw there we saw it bouncing back or you gotta be careful about that direct line of sight but if we get a little just a little bit out of axis of the camera with this light you can light me all you want get spooky and it doesn't doesn't screw up the green screen so let's go let's switch over now to the other view so let me hide this one and if I turn off my chroma for a second you can see I've got I'm gonna leave that camera view on there I might not be able to see what's happening too well but if I head on over here that's not bad like that's actually still working pretty well I'm guessing there's some problems and some edges because it's so far away and sort of off axis a little bit but if the thing looks green and bright to me in my non chroma view which is what I'm seeing I think it probably works really well on the final I've got a really bright light here a key light for lighting me up in the work bench up so what I'm gonna do now is first of all I love this because we have this perfect extension of green screen you know they're lit the same in essence I can go and hide behind a piece of it you can put like a column in your photo there and come out from behind it it's really interesting and wild stuff that you can do with this even in real time all right this is not composited later I didn't pre-film this show so what I'm gonna do now is I'm gonna switch over to the let's see yeah there's my main cam view I've got some wigs and a skull there so those are, the hair is tricky right one of the trickiest things you can have is sort of blondish hair and that'll, the biggest problem you'll see usually is that you'll get a green halo and so let's take a look at what that does so I'm gonna go ahead you can see me here I'm gonna take this and I'm gonna wrap a little rubber band around it set this over my camera you can see I don't have a finished case for the cutie pie and the encoder and the battery yeah it's something I'm working on but I'm gonna essentially wrap that around my camera so now you can see I'm getting a really beautiful chroma I'm gonna get myself out from in front of it and adjust so there you can see me messing with the brightness so it's at its dimmest level and I'll start notching that up that's probably pretty good right there let's try it out let's try it there so now I'm gonna turn on let's see hi to me here hello I'm gonna turn on the chroma here and I'm gonna pick the color send that over to live there you go okay so again we can swap out the background I'm not actually at the Adafruit factory right there you can see this is actually a little more forgiving because there's a little halo it's white though it's not green which is nice it's a little halo around the hair you'll see it show up more with this background so let me see does it it can be a combination of tuning the settings in the software and tuning the light so I'm gonna try increasing and decreasing there we go so I'm increasing the brightness of the Neopixel ring and as I do that the light is getting around that hair and punching through it a little bit better let's see let me take it all the way to bright it'll probably pop to the lowest setting if I keep going here and then I'll go back one notch there okay let me go back a couple there we go so that's the brightest it'll do and now I think yeah that looks pretty good it's possible that I can fix that up a little bit in the software too so let me let's see if I can I might screw this up but let's see re-pick the color and then I'm gonna goose the threshold a little bit no that's gonna start screwing it up horribly in fact picking the color when it's at that full brightness didn't work as well so let me lower this a bit re-pick that color I'm just using a kind of like an eyedropper to pick the color yeah that's a little more saturated choice now and I'll crank that back up okay so not bad but what we might find is that that's actually a little bit far away from that green screen there let me see is there another view I can use I don't think I have a good way to show you that but let me I'm gonna step over there and what we should see is that I will knock I will get knocked out of that background better than this wig and skull because the wig and skull have about five or six feet in front of no maybe four feet in front of the background if I head on over here I think I probably look better than that does and if I bring this towards the screen I imagine the same thing again I can't see it too well from here but I think that the halo starts to drop out just based on the pluses and minuses of this type of screen being further having less distance from the screen works better this is a nice amount of distance to the light source too so I wish I could show you it but I don't have a good way to I don't have a good way to flip a camera around that way do I probably not so let's take a look now what I wanna do let's see if this will work can I switch you to a pop my camera switcher in here and see if it'll let me go to down shooter nope let me go click it I don't think that the app has focus doesn't wanna do that let's jump to bench cam there that needs a focus and let's put the main cam right there hide that one and I'll key that main cam so let's go here turn on the key here there we go that works pretty well so let me let me head over here and focus that and zoom in a little bit and I'll show you this is the start of a second one that I'm gonna work on so let me move this out of the way and put some parts in view there so I can see them and focus there we go so this is the build let me actually let me get closer oh is that not can I forgot to tell it sorry I forgot to push the live button and push that image so let me do this for you there we go so this is the parts and actually have another one of the rings coming through printing right now I'll actually just detach this one a second to show you but this is the method so I said that Todd Kurt showed us a cool way of plugging the encoder right into the QT pie so what we've got to do is just clip off the little extra legs on the side there and then this I'm gonna forget which way it goes but I think it's like that I might have gotten that absolutely backwards but yes no I think it's the other way because that's not going into ground so ground yeah I won't try to guess on this but I think it's roughly something like that I hope we end up with the encoder and the encoders built in button all plugged in and ready to go I'll show you the code in a second which reassigns some of those pins so that all works and then I ran some wires to the Neopixel ring so that this will drive it a couple tips use some Kapton tape or other insulating tape on the bottom of the QT pie before you plug the encoder in since there's often metal on the base there that you don't want to short anything with and then what I think I'm gonna do I'm gonna write up a guide on this and what I think I'm gonna do for the sort of nicer version of this is work on the case a little bit and also use a detachable extension this is one of these little four position we only need three but there's a four position wire, cable, bundle, thinger, dinger plug one side of that into the light one side into the QT pie and then we can connect these when we want to or disconnect them maybe use a different controller I've seen some people there's at least a couple of people by the way on the web who have shown some really good versions of this and have even gone as far as to use remote controls like an Arduino driving the lights and a little IR remote or RF remote so they can stand over here and turn the thing on and off and change the values let's see, does this work now? Yeah, it does. Oh, but that's one that didn't key out that's funny, that's picking a non keyed version and let's see, so yeah so that's what the build looks like let me head back over here and we'll take a look at the code that I have on here which is dead simple and actually before I even do that one thing I didn't want to forget to do was show you let's show you where to get this material again, I'm going to write this up in the guide but if we bring this in here just do it like that I have found sources on eBay for pretty inexpensive so your question might be like is this cost thousands of dollars? there are commercial versions of this that definitely cost thousands of dollars however, QDPI is $6 the rotary encoder is a couple bucks the Neopixel ring I think is 15 or so maybe a USB cable and then the material here is here's someone selling it for $9 a yard at 49 inches in width which is actually wider than the stuff I have here and they only have they say they have more than 10 available so hopefully they have a lot of it I haven't ordered from this particular seller and I'm trying to remember what is this stuff called 3M reflective scotch light that's it, right? scotch light fabric yeah, so you'll often find this in strips of tape that you can add safety markers to but now I think there have been some clothing designers who have used it, not just for jackets but skirts and things like that if you look on 3M site you can find out more about it oh, not on this page though but if you search for either scotch light fabric or reflective fabric or retro reflective and you'll find some good sources for that by the way, I said that I would tell you more about retro reflective I can't remember if we answered this exactly but retro means self so the fact that it reflects back upon itself, the source hits the thing and comes directly back and that's the power of this is that these beads they kind of give us a directionality that is adjustable so if the camera is looking through this ring it's getting a perfect reflection back so wherever the light source is these spheres allow it to bounce back so even at pretty oblique angles this stuff still works in fact I can probably pivot this let me pull my oh, I'm going to break things if I try that let's see here's what I'll do I'm just going to take that off of there you can see this stuff is sort of a vinyl-y plastic-y material as I there we go as I take this material even though I'm going at crazy angles unless it self obscures itself it still works so can you tell I'm excited about this stuff? I'm really thrilled with how well this works I'm just blown away and huge thanks by the way to my friend Peter Moyer who hipped me to this and showed me a shoot he had done a video shoot using this material and he gave me this roll of it that I have a couple yards of it which have been really helpful in exploring this so thanks to Peter and let's take a look now at the code Larry Priest says were you cold today? lots of shirts I'm actually hot now, why am I wearing all these shirts? oh, you know what my mic is on this one this is an interactive show if you alert me to the fact that I'm probably wearing too many layers I will probably strip within reason that's better alright let's see the code here we go, oh look we're seeing through, I don't even know what's being chromed there but we're seeing through to that background again so there's our code I like that background there, that'll work so this is very simple it's taking the time library just because I wanted to do some debouncing so use some sleep board library, I import that so that I can get some pin definitions digital IOs using digital in out direction and pull and that's so we can use the button on the encoder and the encoder, neopixel library so the rotary IO library is great makes it really easy to use rotary encoders I established some colors pure green, pure blue pure white, this happens to be an RGBW encoder like I said or a neopixel ring don't need that at all I just used it because it was there I think the second one I'm going to build is using just a regular RGB ring and I call it black but it's off it's all the diodes at zero then I created a little array or list of those color names so that I could flip through them every time I click the button you'll see click blue, click white click off, click green and then the dim value is what I'm using as the brightness of the neopixels establish our neopixel ring here is, let's see where some of the cool stuff Todd figured out comes from the pin that we're using on this is the board M-I-S-O from the S-D-A not S-D-A from the not I squared C but what's the other one I've lost my I've lost all knowledge but it's one of the pins that is not normal used for this kind of stuff we're picking that pin to be the neopixel pin instead of like D6 that you might normally find and this one's RGBW so it does need to be given a pixel order ignore that if we're using the regular what is it BGR I think is the normal order then we fill the pixel with the current color, show the ring the SPI the SPI pin then we use ring show to turn on so I turn it on green as soon as it starts then we set up the button here this is using the other SPI pin M-O-S-I the fake ground so this is kind of cool since we plug the recently turned this white so that's a better illuminator there we go since we plug that rotary encoder in just where it happens to lie there's only one ground actually on the device overhead down can since the encoder is plugged in with pins 3 on one side and 2 on another there's only one ground pin on here so what Todd came up with was calling the board A2 pin and the way this is done is by just setting its direction to output and setting its value to false and this allows you to use it as a ground which is super clever then the encoder is set up using rotary I-O incremental encoder the pins that it's on are A3 and A1 we print a little hello statement if you're debugging this it's nice to see your board has woken up the encoder state is saved with this variable here last encoder is the whatever the current encoder position is so when we go change it we can compare it see if we're going up or down in the encoder increasing or decreasing incrementing or decrementing the ring position I don't use the rainbow position I don't use those were left over from code I swiped from Todd sorry about that you heard that right now last time this is I don't think I'm using this either I think Todd was doing a time out he built a media encoder knob like a griffin power knob for adjusting your volume or sending MIDI messages things like that mouse and keyboard messages and he had a ring on it the main code here the main loop is checking if there's a difference between the current encoder position and the previous or the last encoder value then we know we've gone one way or another and then we update that state so that it keeps being relevant each time then if the button is pressed so the button goes low it's false we change the current color by flipping through the available indexes indices of that list that I made so it goes between green blue white black fill the colors turn on the ring and a little bit of a sleep I just don't want to accidentally click in it I hold it a little too long and it flips twice I made it a pretty generous half-second so you're not going to click quickly through this if you do it will get ignored in fact so click one click two if I click quickly it only went one then we wait for the encoder value to change so if the difference between the last and the current is greater than zero that means we're headed counterclockwise and I dim the value if it's the other way it's clockwise and I increase the value and then I use our old friend modulo here so that I'm increasing by 0.1 in the brightness value means what I get 100 it might be too much but I get 100 clicks of the encoder wheel to go all the way up and down we can adjust that if you want that to be twice as fast you can change it to something like that and then when it gets up to 1.0 it flips back around and that is it that's all the code that's running on there it's actually fairly simple the cool part of this project really is the I think is that thing right there and I'll show you actually I didn't demo this but we can yeah we got a few more minutes I think Scott is on after this so if you want to see Tan Newt, Scott Chakrav talking about I think some of the latest adventures in our p20 40 that's my guess you'll want to tune in after this so I'll make sure I am before too I'm going to turn this back on and turn this to blue and you can see we're not knocking anything out wait let's see did it work on on green okay so I'm on green I'll turn on my keyer turn the Adafruit factory back on we'll switch to blue it tries I've got quite a threshold on what it allows but actually it's kind of a fun effect so what we do is we specify blue let's see how well it works knocking out blue so I'm going to pick my layer and there we go so now this is a blue the blue you see on here is pretty close to what those are the same camera view really so I can go and adjust this you'll see you can make that dimmer I hear about there there's a little noise see that noise right there so it's just not getting enough of that light also my hands are a little bit in the way so I can bump that up bump that up very bright nice and get close up to it this is a blue shirt but navy blue is nowhere close to that I don't know what these weathermen were allegedly wearing I'm not it's 30 years ago when these changes were made so I'm sure things have changed but it's probably analog keying I don't know who's wearing that smurfy blue I don't have anything against it but I'm not wearing it alright so oh yeah the lights in the shirt you're right oh yeah look at that we are knocking me out so let me I'm a liar let me adjust the threshold and see so there I'm saying don't use anything that diverges too much from the pure blue yeah you're right you can see through me a little bit you can see through me right there okay so I'll eat my words there you definitely don't want to be wearing the blue shirt and using the blue screen so I'm going to switch this to green I just have to re-select the color I'm using and now look no see through shirt you probably could have I should have switched the background you see it more clearly there I am not transparent anymore am I no not much a little bit over there let's adjust that threshold darken that a little bit alright that works well you can also like I said you can use this for real compositing so not real time stuff but let me pick that color let me get a more saturated version of it how about that that looks good yeah so you could film with this and then take your footage and go into a real compositing app just an aside by the way the DaVinci Resolve software is free and it's terrific pro grade software when I worked in film industry there were software packages from DaVinci used all the time for particularly color correction color grading but it's pro grade stuff people often ask what should I use don't grab like windows movie maker whatever exists learn DaVinci Resolve I happen to use Premiere Pro just because I've used it for many many years and I don't have a reason to stop but it costs a lot of money it's part of the Adobe suite if you're looking for a free piece of software that can do all the compositing editing it also has a full suite of audio has a fax all that stuff built into DaVinci Resolve is pretty great I've recommended it to a few friends who've had great success with also my son and a lot of his friends who've been compositing stuff for their for their school acting and performance stuff have learned it let's see yeah looking over at the YouTube thank you yes Scott SPI was the word I was looking for out of my head I look better than a wig on a skull thank you my tomboy that's the nicest thing anyone said to me today it could be Keith Richards yeah where that skull go look at that guy so yeah again look that that is actually trying to chroma key right now I've got my light right here I'll key myself again chroma key me right so I'm I'm keyed with this light because this light is right here if we look at that camera where are you over there maybe I can point this light that way but really it kind of has to be on axis with that lens so if I bring this over here let's just make sure this is yeah that should be good as a bring this I just have it plugged into a little lipo battery and power boost bring this over here aha so there it is right there's my little contraption sits over the lens and perfect gorgeous key look at that alright I think you get the idea I'm really happy with this really impressed with it it's by the way this isn't a necessarily an incredibly new idea there's a there are versions of this that go all the way back to front projection technology used for excuse me used for film effects to put characters in front of essentially projections either a projection of a still or even projection of film using retro reflective screens this is like a really really super goose up version of what you see in a movie theater so movie theaters have some level of retro reflections that you get a really nice bright image on them but this type of full on retro reflective screen was used and the example you often hear is 2001 space odyssey for some of the monolith apes scenes that was all done with a front projection technology and then at some point people started to realize they could just hit it with a really pure green like that which is amazing and great so thanks you all for stopping by today let's go back to Mars for a minute here I can get a big version of me there back to Mars and oh that's going to do it for today so frayed fruit industries I'm John Park this is John Park's Mars landscape and I will see you next week bye bye I won't go away I'm just right here in front of it