FCP7 Motion 3 VS Color 1.5.3

Keying is almost always difficult. in Motion, use the primatte keyer. And motion has trackers. I usually figure this kind of thing out using trial and error and digging into online tutorials. You might check out the tutorials on lynda.com and creativecow.net. lynda.com charges, but you can get a free trial and creativecow is free.

If you have AfterEffects, you migth find that a more sophisticated tool although it can have a steep learning curve.

You don't say anything about what kind of camera was used or the codec it was captured with, so I'll assume the worst and guess it is some form of 8-bit video (4-1-1 or 4-2-0 sampling) that is difficult at best for keying.

I'm (figuratively) biting my tongue on how you hit the "error Trifecta" (bad blue, talent move & camera move) on the shot you describe...

If the bluescreen is not completely washed out, you may be able to restore some of the color with some secondary color work in Color and render it out for keying in Motion (like a pre-comp in the old days.) I recommend Color for this (even though it is generally considered a daunting app) because it allows you unlimited bezier keyframing which allows a much tighter matte.

If the blue is completely hammered, you are into the kind of cr@p I cut my teeth on; you'll probably need to keyframe the window/talent and comp the tassel detail back in. The only good news in this scenario is that you only need to reset the keyframes when something moves... 😐 An alternative if you're handy with Pshop might be to rotoscope the blue out and export an alpha channel clip. Neither of these activities are as fun as root canal work or a minor bullet wound.

If you survive the blue removal, the rest is fairly easy since all you need is a decent background clip on the layer below your keyed clip to drag passed.

There is software out there that the big kids use to fix these kinds of problems, most at prices that will induce a heart attack.

FINALLY! someone who has decent footage! This makes two Christmas' in a row!

"Match Move" has a lot of differrent meanings to different people, what exactly what is it you're trying to do? Are you referring to the Match Move behavior in Motion?

Looking at the comp portion of your clip, you should be able to clean up those edges with the Primatte controls.

I've had very good luck with Primatte even on mediocre footage. It does, however require a bit of getting used to. In Shake I got spoiled by Keylight...

As I mentioned earlier, there are apps for pretty much everything out there if you have a budget for them, but I'd most likely just keyframe the background movement in the FCP timeline unless it's a really long sequence..

I think what you're missing here is that in the tutorial you cited both the foreground and background are moving in the same direction and in somewhat the same manner. In your project, the foreground is relatively stationary and the background is moving completely out of the frame. There may be some exotic app out there that can handle that, but normally you're trying to track something that is in the frame (like the skateboarder) and match that movement (in that case, with the corona.) What you need (if I understand this) is to scroll the background past the alpha channel "window" at a speed that makes visual sense, and offset yout zoom (and to a much lesser degree, the pan) to account for the camera movement in the foreground.

That's why I said I'd most likely just keyframe the background movement in the FCP timeline. I'd just find a happy speed for the background and then keyframe the scaling (to account for zoom) and movement (to account for pan.)

In this case the background is both "under" and literally the background.

Tracking needs a foreground/background differentiation to resolve the clip movements (like a sign image tracked to appear on the side of a bus) and usually assigns "background" to the more stable element, but your scene defies that convention.

Yes, I'd say you've got it.

Sorry about the mislead, I'm so used to having to make up backgrounds from stills...

The only thing I saw that was iffy was the tassel in the window but that's a nit unless it's a long scene. Maybe a bit of blur?

Probably the easiest thing would be to build a still in Pshop that had a bit of glare or haze on it. I like .png stills because they have an alpha channel but are still relatively small in file size.