Before the photography even commences, the first question is always "which color - blue or green?" You must select a non-competing color for the blue or green backing. Do not try to shoot blue objects on a blue-colored screen. This usually requires coordination with the outfit department. Some reckon that a number of skin tones appear far better on blue-colored screen or that blonde hair doesn't do well on green-colored screens. Current digital keys generally render these problems obsolete.
Both green screens as well as blue screens need a great deal of light, and lighting is expensive. One advantage of a green screen is it is a lot easier to light mainly because tungsten lights put out far more green light compared to blue light. One particular disadvantage of a blue-colored screen is that the blue record of both movie and video has probably the most grain or noise. This severely has effects on the matte in compositing, giving it sizzling edges. All the other things being the same, this makes green the best backing color.
The primary thing to keep in mind is that the overall objective isn't to make the very best looking green screen shot, but to produce the very best green screen composite. Often, the hard work will be in lighting as well as composing the talent with scant attention provided to the green screen itself. The talent could always be color corrected during compositing, but the compositor is bound to the green screen as it was shot.
An LA green screen studio is illuminated totally separately from the talent. In fact, the lights for the talent are switched off while lighting the green screen. It will be lit within half a stop of uniformity left, right, top and bottom and around one stop below the key light. If it is too bright, it loses saturation and throws a lot of spill light in the talent. Too dark and there's inadequate luminance as well as chroma for a great key and it gives dark edges to the composite. The exception is when shooting on a cyclorama because both the green backing and the talent will be unavoidably lit by the same lighting.
The greatest challenge when setting up a green screen is uniform lighting. You have to prevent any chance of a shadow because it is a much darker color to the camera and might not register. You must have as narrow a color range as possible in chroma keying. To the right, you could see those shadows and how they emerge to be darker shades of green. It's something that should be prevented. Expert green screens have exclusive lights referred to as kino flo lights which give the green color a bump so as to remove any of the other areas of the visual array.
When shooting LA green screen studio on film, there are several points to remember. The first is to make use of the finest grained film stock possible. Fast film stocks with huge grain can make for chattering mattes at compositing time. Also, never place filters on the camera lens. Any filters will be subtracting light which the compositor requires to come up with a great matte. Filter effects could be added at compositing time.
Both green screens as well as blue screens need a great deal of light, and lighting is expensive. One advantage of a green screen is it is a lot easier to light mainly because tungsten lights put out far more green light compared to blue light. One particular disadvantage of a blue-colored screen is that the blue record of both movie and video has probably the most grain or noise. This severely has effects on the matte in compositing, giving it sizzling edges. All the other things being the same, this makes green the best backing color.
The primary thing to keep in mind is that the overall objective isn't to make the very best looking green screen shot, but to produce the very best green screen composite. Often, the hard work will be in lighting as well as composing the talent with scant attention provided to the green screen itself. The talent could always be color corrected during compositing, but the compositor is bound to the green screen as it was shot.
An LA green screen studio is illuminated totally separately from the talent. In fact, the lights for the talent are switched off while lighting the green screen. It will be lit within half a stop of uniformity left, right, top and bottom and around one stop below the key light. If it is too bright, it loses saturation and throws a lot of spill light in the talent. Too dark and there's inadequate luminance as well as chroma for a great key and it gives dark edges to the composite. The exception is when shooting on a cyclorama because both the green backing and the talent will be unavoidably lit by the same lighting.
The greatest challenge when setting up a green screen is uniform lighting. You have to prevent any chance of a shadow because it is a much darker color to the camera and might not register. You must have as narrow a color range as possible in chroma keying. To the right, you could see those shadows and how they emerge to be darker shades of green. It's something that should be prevented. Expert green screens have exclusive lights referred to as kino flo lights which give the green color a bump so as to remove any of the other areas of the visual array.
When shooting LA green screen studio on film, there are several points to remember. The first is to make use of the finest grained film stock possible. Fast film stocks with huge grain can make for chattering mattes at compositing time. Also, never place filters on the camera lens. Any filters will be subtracting light which the compositor requires to come up with a great matte. Filter effects could be added at compositing time.
About the Author:
There are so many other websites offering various forms of advice on how to use green screen but most of them are not very detailed or concise. Before following these, be sure to check my own articles and reviews on Green Screen Studio Los Angeles and Green Screen Studio.
