As high grade recording equipment becomes more affordable and non-linear editing software becomes more robust, even grade school children can now post high quality video content to YouTube on a regular basis. The improvement in the technology and its affordability has also enabled video producers, at every level of expertise, to incorporate special effects into their videos. One of the more popular special effects techniques is called "keying.
The technique requires the use of a uniformly colored keying backdrop such as a "green screen" to achieve the effect. But how do you know which type and color to choose to best suit your purpose? Chroma Key Green will probably be the best alternative under these circumstances. Due to its darker shade, the Chroma Key Green will not reflect back as much light on your subject as will Digital Key Green.
The more reflected green light there is on the subject, the more likely a halo effect will occur. This unwanted effect is most likely to occur with performers who have fine blonde hair.
The hair is so fine that it can easily pickup the color being reflected off of the backdrop, and now that the hair appears "green," it disappears when you "key" the green out of the scene. The meteorologist or reporter traditionally stands in front of a small wall. The best way to achieve this is to light the green screen separately from the subject using a source that produces a soft, easy-to-blend beam.
You can make any light source soft and easy-to-blend by placing Rosco Diffusion Filters on your lights to soften the edges of the beam. CalColor 30 Magenta is the complementary color to the bounced light coming off a green screen and will neutralize any of the offending green spill. Celebratory green spill into the Chicago River — guess which holiday this celebrates! If you have any other green screen questions, feel free to reach us at spectrum rosco.
Happy St. Joel's knowledge about Rosco's products and how they're used in each of our different marketplaces makes him well suited for bringing the stories in Spectrum to life. Humans are remarkably tolerant of fuzzy color so long as the fine detail and outlines of objects are OK.
Detail and outlines are black and white. This means your purchasing decisions would be laughably easy if you just changed to a non-DV camera to get better quality color. Insisting on a DV quality camera and all this is assuming a high quality DV camera is like shooting yourself in the foot and asking which caliber bullet will hurt least. Jude Cotter. It doesn't really matter which. Just make sure it's well mixed and lit. We've gone to the local paint shop, bought a couple of different cheapo cans of bright green, mixed them together well and applied to a studio wall before.
Pulled a nice key in AE just fine. DV is the worst digital format for keying so lighting is even more important: The Rosco DigiComp Paint seems to be stuff: [ www. Joey When life gives you dilemmas While perhaps technically sub-optimal, might this be a case where a blue screen could be better, on the grounds that a bluish halo would be less noticeable? Can you shoot it again? When life gives you dilemmas Hoo boy It's uneven, and as Joe points out, the subject's outline is not sharp.
But I also don't think you're using all the tools available to you. I've seen better-keyed DV footage. Are you sure you're utilizing all the capabilities in FCP and Shake? I'm not sure this green-screen is well chosen. I'm not a shooter so I could be wrong, but I've worked with green-screen footage and this seems too yellow to my eye, and not very even. And as Joe points out, the subject's outline is not sharp. But I also wonder if you're using all the tools available to you.
Are you sure you should be doing this yourself rather than hiring an expert? I'd done the temp green-screen work on the projects I was referring to, and the difference between the work of the After Effects expert and my temp work was like night and day. We didn't even get into the Minus Green magenta backlights or rimlights to separate the actor from the screen.
I predict [holding fingers to forehead] that there is little or no budget for lights. Whatever natural lighting that can be achieved--maybe some bounce cards--is pretty much the ball game. Am I close? See the diagram I posted You mention lights in your diagram but they could be table lamps for all we know. What kind of lights are they wattage?
Your set-up is also missing a bounce card or a soft fill from the front. The back light that separates the subject from the greenscreen is VERY important. Why a "diffuser" that looks very large? Unless you are using high wattage tungsten lights, you are cutting down the only source of light from the front which is why your subject is so grainy Quote joe What kind of lights are they wattage?
Quote joe Your set-up is also missing a bounce card or a soft fill from the front. People with black skin should be keyed with blue screen if possible.
0コメント