Having trouble with green screen setup and halo/glow

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    • #88880

      So I have a small great room where I have a 5-point lighting setup. 2 in the front (LED) lighting the subject, 2 (CFL) in the back that are lighting the screen evenly (looks great) and a small (LED) backlight above the screen to backlight the subject with a minus green. I set this up so that I can shoot videos in there (eventually I’d like to do interviews and such as well with more than one person).

      The issue is, no matter what I do, I ALWAYS get a green glow around the subject that I can’t edit out in Premier no matter how hard I try or how many times I apply some kind of chroma/color key effect to the file. So many troubles, especially around the arms and around the hands and in-between fingers where the green webs all over the darn place. It also effects objects as well obviously, like if I have anything sitting on the round table (see image below).

      I am limited on space because it’s also a great room (living room) and it’s only like…17’x13′, plus a couch and table. So I can’t have the subject step further away from the screen because there just isn’t any space (and edges of green screen would become exposed anyway in frame).

      Some facts about the setup…

      1) I make sure the person isn’t wearing any green or busy designs.
      2) The backlight will be replaced soon with two clip lights on the upper sides of the frame to see if that changes anything by lighting from the high side on both sides and evening the light out a little just like the lights hitting the screen.
      3) Camera being used is the Canon 70D (used to use the Sony SR12)

      Below is an image to show the setup and where everything is laid out.

      Could anyone take this horrible weight off my chest and let me know what I am doing wrong? πŸ™‚ I am an audio guy far more than a video guy, so it’s been a learning curve for me. I have been listening to all sorts of tips and spent a TON of time on YouTube watching videos which is what led me to the setup I have now.

      I really do appreciate it πŸ™‚


    • #213160

      Looks like the talent is much too close to the green screen; you’re getting bounce green from the screen. Two thoughts come to mind: can you move the camera outside the room, shooting through the door? This would all you go move the talent a few feet further away from the screen.
      If that isn’t possible, can you place the screen across the corner of the room, so that you’re shooting on the room’s diagonal? Again, this looks like it will all for a bit more separation.

      Barring either of these “fixes,” perhaps you can find a different space in which to shoot. I’d try to get the talent at least 10 to 12 feet away from the green screen if possible.

      You might also try making multiple passes in trying to key out the green. The green hue on the edges of the talent is slightly different from the green on the screen and often multiple key passes will help.

    • #213166

      Update. I have shot from the dining room into the living room from an angel and separated the person 10-16ft from the screen. Each time requiring a tighter shot and loss of image to still get everything in front of the screen. I tried numerous backlighting and minus green solutions and still, every time there is a green glow around everything or items start cutting out that you don’t want to cut out. I turned off all lights lighting the screen behind the person and only lit the person, 12 feet in front of a dark green screen and I had better luck lol, but still objects being cut out. I am going to give up. I have spent so much time and money on this that it is wasting precious time to get things accomplished :(. I am just going to build a set and call it good. No more keying, no more stress….shoot….done. lol

    • #213176

      Pulling a good key from a green screen can be problematic when the footage shot is recorded in a compressed format, as nearly all “prosumer”camcorders do (I assume you’re not using a RedOne or Arri Alexa!) reduced color resolution and compression artifacts, while not obvious to the eye, make it very difficult to pull a good matte without green fringing.

      If your camera has an HDMI or RGB output, try recording those outputs into an uncompressed format directly on your computer or a separate recorder capable of uncompressed recording, rather than to the memory card in the camera. This may mean some additional hardware and/or software, but there are a lot of good quality outboard video capture or recording devices that connect to your computer via USB3 or Thunderbolt, by companies like Blackmagic Design, Aja, etc. for anywhere from $150 – $1,000 (but, read the specs!)

    • #213265

      Creating a DIY green screen may be a little tricky at first, but you’ll get the hang of it. It looks like you’ve taken a lot of precautions to make sure your green screen is efficient, but check out this article to make sure you haven’t missed anything: https://valoso.com/blog/diy-green-screen-complete-setup-guide/

      I’ll outline a few of the tips that are in the article:
      -Make sure there’s NO wrinkles in the green screen.
      -Use blackout curtains over the windows in your great room. Having light that you can’t control coming in from the windows will affect your lighting. I see in the picture that you keep the blinds closed during filming, but perhaps try some blackout curtains if some light is still coming through.
      -Minimize shadows. This is a big one, and may be the cause of your green screen halo. Get rid of any shadows on your green screen by lighting it evenly (which I see you’ve done), and focus on lighting from the sides and top of the studio, so the lights aren’t facing the green screen.
      -Make sure your lighting is sufficient. If you don’t have enough lighting, your green screen won’t have a natural look (it may have a halo). Try using more bright lights on your green screen (the 2nd fact you mentioned will probably help with this).

      Failing to follow all of the tips above may be the cause of your green screen difficulties. Hopefully, once you’ve double checked the tips above and in the article, the halo around your subjects will disappear, or at least be easy to edit out. If you’re still finding it hard to get rid of the halo/glow and you can’t figure out how to edit it out, I recommend visiting valoso.com to have a professional edit the glow out. I hope this helps and good luck!

    • #213372

      Can you upload a bit of your raw footage so we can take a look at it?

    • #213384
      Brother Dan

      Okay, a few adjustments that no one else has recommended: first, remove the couch at the back of the room, which will allow you to move back a bit so your talent can move forward a bit, hopefully not so much that you need to frame things out.

      Then, keeping very tight control of your lighting can help. With the light carpet, walls, and ceiling, there is bound to be extra bounce. Cutting that down may help.

      Next, flag off your green screen lighting. The way it sits in the pic, there is spill from those lights falling on your subject. Do your best to minimize that. Additionally, yes, you need to light the screen as evenly as you can, but using dimmers on those lights can reduce the bounce somewhat. Through trial and error, you can find the best balance.

      At the same time, isolate the light on your subject as much as you can. Because of the short throw, cheating your key light a bit higher than the recommended 45degrees, then flagging that light so that it doesn’t land on the screen can help. Run those lights as hot as you can get away with. The main concern is to keep shadows on the screen out of your frame.

      Focus your hair light carefully, and run it as hot as you can (even as you run your green screen lights as cool as you can).

      If your talent is blond haired, that can add to your challenge.

      Finally, depending what your software package is, carefully apply the “thin edge” setting on your key effect to reduce the green rim. As mentioned previously, pulling multiple keys can help, because when using a portable set-up like you have there are inevitably “hot” and “cold” spots. I’ve found that starting with the darkest spot I can find then increasing the color tolerance until two-thirds to three-fourths of the screen disappears, then applying a second screen to the darkest part of what’s left and adjusting that color tolerance as far as I can, followed by using the “edge thin” adjustment I can usually get it done. If I absolutely must, I’ll also feather the edge just a touch to blend out the last little bit of green.

      An additional observation is that your green screen appears to be a fairly dark green. That might be limiting your key because it’s closer to the darker blues and greens that are involved in the clothing and shadows of your subject. A slightly brighter screen might provide more contrast and make the whole process easier.

      One more comment is that I have used my set-up quite a bit. Even though I carry a heavy-duty steamer, I frequently have wrinkles in my screen. Because my screen is large (10’X20′), it is often not real evenly lit. Sometimes, due to space issues and ceiling heights, sometimes shadows are unavoidable. By making sure that the area behind and surrounding my subject are well lit, I’m usually able to key out everything I need. Having said that, I’ve gotten good at cropping and using inverted opacity masks to remove problem areas altogether. πŸ˜‰

      Good luck with the new studio.

    • #213161

      I may have to try shooting from an angle since I don’t have an option of moving to a different room sadly (not enough space). I have tried multiple passes on keying it out and it never ends well :). i’ll try doing it from an angle…if that fails, then I will be forced to build a set vs using a green screen. I can only imagine how expensive that would be. Of course since the screen is only so big, I may not be able to bring the camera and person too far away, but I will do my best.

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