Prior to the photography even begins, the initial question is usually "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 entails coordination with the costume department. Some believe that certain skin color emerge better on blue-colored screen or that blonde hair does not do great on green screens. Modern digital keys largely make these problems obsolete.
Both green screens and blue screens require a great deal of light, and lights are costly. One particular benefit of a green screen is that it is easier to light mainly because tungsten lights put out far more green light than blue light. One particular disadvantage of a blue screen is that the blue record of both film and video has probably the most grain or noise. This severely affects the matte in compositing, giving it sizzling edges. All the other things being equal, this will make green the preferred backing color.
The important thing to consider is that the overall objective is not to make the very best looking green screen shot, but to make the best green screen composite. Often, the effort is in lighting as well as composing the talent with scant consideration given to the green screen itself. The talent can usually be color corrected during compositing, yet the compositor is bound to the green screen as it was shot.
An LA green screen studio is illuminated completely separately from the talent. In fact, the lights for the talent are turned 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 too much spill light in the talent. Too dark and there is inadequate luminance and chroma for a good key and it adds dark edges to the composite. The exception is when shooting on a cyclorama because both the green backing as well as the talent are unavoidably lit by the exact 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 a few points to remember. The initial one is to use the finest grained film stock possible. Fast film stocks with large grain can make for chattering mattes at compositing time. Furthermore, never put filters on the camera lens. Any filters will be subtracting light which the compositor requires to create a great matte. Filter effects could be incorporated at compositing time.
Both green screens and blue screens require a great deal of light, and lights are costly. One particular benefit of a green screen is that it is easier to light mainly because tungsten lights put out far more green light than blue light. One particular disadvantage of a blue screen is that the blue record of both film and video has probably the most grain or noise. This severely affects the matte in compositing, giving it sizzling edges. All the other things being equal, this will make green the preferred backing color.
The important thing to consider is that the overall objective is not to make the very best looking green screen shot, but to make the best green screen composite. Often, the effort is in lighting as well as composing the talent with scant consideration given to the green screen itself. The talent can usually be color corrected during compositing, yet the compositor is bound to the green screen as it was shot.
An LA green screen studio is illuminated completely separately from the talent. In fact, the lights for the talent are turned 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 too much spill light in the talent. Too dark and there is inadequate luminance and chroma for a good key and it adds dark edges to the composite. The exception is when shooting on a cyclorama because both the green backing as well as the talent are unavoidably lit by the exact 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 a few points to remember. The initial one is to use the finest grained film stock possible. Fast film stocks with large grain can make for chattering mattes at compositing time. Furthermore, never put filters on the camera lens. Any filters will be subtracting light which the compositor requires to create a great matte. Filter effects could be incorporated at compositing time.
About the Author:
There are a lot of other sites giving various forms of advice on how to use green screen but most of them are not very specific or precise. Before following these, be sure to check my own articles and reviews on Green Screen Studio Los Angeles and Green Screen Studio.