This will help to eliminate shadows that your foreground elements might cast on the green screen. A good rule is to pull your foreground elements at least ten feet away from your green screen. Try and separate your green screen from your foreground elements as much as possible. If your foreground subject matter is supposed to be outside on a sunny day, light for that effect, and so on.Ī good lighting setup, both on the green screen and away from it, will really help you pull the keys later in the process. Remember to take into consideration what the replacement background will be, and light accordingly. Light your actor or props separately from the green screen to help them stand apart. Once your green screen has a good flat lighting setup, you’ll start lighting for your foreground elements. The less even your green screen lighting is, the more you’ll have to expand your range on your key, and the more likely you’ll be to accidentally key out things that you want to keep in your shot. Getting a nice bright green will help you set the background apart from the foreground elements.Īlso, having an evenly lit surface will make keying easier as you won’t have to try to key a wide range of green. Once you have a smooth green background, you’ll want to cast lights on it as evenly as possible. Always try to get as flat and even a surface as possible. This tip is important for other green elements you might bring in as well, like green fabric draped over a table or a green screen suit. Folds will create shadows and uneven lighting that will wreak havoc on your attempts to key the green in post-production. The general principle here is that you don’t want creases or folds in your screen. In these instances especially, make sure to pull the screen tight on all sides. In some situations, a green screen will be painted on a flat wall, but often green screens are hung using a green fabric material. Take stock of everything you’ll be shooting to make the best decision between a green screen or a blue screen. It’s also sometimes easier to pull a key around blonde hair if you shoot over blue. However, if you are shooting something with a lot of green in it, like a shot with plants or leaves in the foreground, or if your talent has to be wearing green, then you might want to consider shooting over blue screen instead. Green screens are generally more universal and will do a good job in most cases. Although we generically call it a “green screen,” it’s not uncommon to shoot over blue in some situations. The first thing you need to decide is if you want to shoot over green or blue. Here are some tips for shooting green screens. Nothing sucks more than rotoscoping bad green screen footage for hours upon hours because someone didn’t spend a few minutes setting up the green screen properly. Green screen shoots can be inexpensive and there are plenty of software tools to help with keying out the green in post.īut without proper technique, shooting with a green screen can be more painful than it is helpful. With a good green screen, you can more easily create special effects, simulate locations, and build virtual sets. Filmmakers and videographers looking for an easy way to expand their shoots need to understand how to use green screens.
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