How to avoid common chomakey mistakes when using a green screen.
This time on tips and tricks we’re gonna take a look at some simple troubleshooting solutions to help make sure your green screen always looks good and effective.
First off, one of the most common things to be aware of is what the talent is going to wear. You want to avoid grabbing colors similar to the green screen, or else when you begin to key the talent will become invisible, like so. The simple fix is wearing something that is a different color.
A big mistake involves lighting the green screen. The common one here is not getting even light on the actual green screen itself. This can create problems when attempting to key in backgrounds, like so. The fix here is to light the green screen evenly. By placing the soft box lights on the sides the entire screen is lit. The idea here is to light the screen and the talent individually.
Shadows can also be created by way of a green screen that is full of ripples. This can lead to light bouncing back and forth and not being distributed evenly throughout the entire screen. The fix here is to stretch the green screen out. Make sure it is pulled very tight. Now it’ll be easier to distribute an even amount of light.
Another mistake occurs when perspectives come into play. For example, if we were to key in a busy intersection in the center of Tokyo behind our talent and everybody in the background looked extremely small or way bigger than our subject, our effect would be pointless. To make it look realistic, we need to take into account the perspective of the locations and how they would look if we were actually there.
Another issue to keep in mind is the lighting of these locations. If we were using a dark background and our subject is lit for daylight, the effect looks wrong. To fix this mistake, simply light accordingly to the natural elements of each specific location. If our background is an evening fireworks display, the subject should be lit accordingly.
So there you have it, some simple troubleshooting tips to avoid some of the more common mistakes when using a green screen.
There are always lots of new lenses announced at NAB every year, but this one was truly special. Most of us can’t even afford to rent some of the lenses on the show floor, let alone the camera to use them. Canon’s Compact Servo 18-80mm T4.4 is the exception. While the $5,225 price tag is nothing to scoff at, it’s a steal when compared to Canon’s other EF servo zoom lenses, which approach $30,000.
An optional add-on to the Compact Servo 18-80 is a zoom rocker grip.
The visual style of your video is usually in the director’s head from the start of production, so what happens when you bring the footage into your editing software and you can’t get it to look quite right? Well, when it comes down to crunch time, as editing tends to, any solutions that are "as easy as it gets," are often the ones that editors rely on. You need to get the right tool, and you know that big young Internet has plenty to offer, but do you really want to be searching for, learning and purchasing something you’re checking out for the first time the same day?
Testing the S-Gamut3.Cine Slog3 colour profile in the Sony a7S II. Please note this is 4K down scaled to a 1080P timeline. Canon 16-35 F4 Set to F11 on both cameras. Shutter speed used to get correct exposure. White balance 5500K
We've been screaming about this for years, but Simon Cade at DSLRguide has put it into words more eloquently than we've heard in quite some time. Simon strikes down all the buzz words we industry geeks tend to throw around like dynamic range, aliasing and 4K, but emphasizes that the they all take second fiddle to storytelling.