I wondered if this was an obsolete technique that was phased out by better technology - or was it a lost art form that we needed to retrain ourselves to make time for because it can help us shoot better and faster (which is what I am always looking to do).

Notice how rich the green is compared to the first image without the green gel. When you look at them side-by-side, you can see that the non-gelled green screen is A.) less saturated and B.) has a distinct blue hue to it. The CalColor Green removed that excess blue contamination and yielded a purer green.

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Guest Author Barry Andersson is an award-winning director and cinematographer and the author of The DSLR Filmmakers Handbook. His career includes shooting/directing feature-length films, several acclaimed short films and numerous commercials. Besides his book, Barry also shares his expertise via nationwide workshops, global webinars and a number of articles on sites like ProVideo Coalition, Planet 5D and ProductionHub.com.

I shot my first green screen band performance a few weeks back, unfortunately on a less than shoestring budget and we had to make a lot of compromises. Unfortunately it bit us in the butt and we've all learned a few lessons (including we needed more budget to do the green right! :-)

But as part of diagnosing our problem with the keying in post, the footage was sent to a colorist for his opinion on if he could do anything to help the editor make a better key-out. The colorist came back with some suggestions for lighting changes on the reshoot, but one thing that caught my ear was "use + magenta on all your edge/backlights"

Basically overall the footage is unusable because we tried to wing it, and we failed. Oh well, I'm learning my lesson. But where can I do some research and learn more about how to light and rig a good green screen setup for a 4 piece band performance (ie, not just a talking head against a backdrop which is all I've been able to find people talking about on the internet). I need to learn how to do a whole sound stage, not just a 5'x5' wall. Any ideas on where I can learn this? I know that practice and experience are the mothers of all knowledge, but I need some starting points to work from because obviously I thought I knew how to sort of make it work (which I actually did), but the lack of budget didn't allow me to utilize a bigger space (for more room to work & light with) or provide enough sources for the different things I needed to do (background illumination, key lights, edge/back lights, etc)- I was using sources for multiple purposes and it only worked 1/2 the time.

In another thread someone had suggested fxphd.com, but I'm not sure that'll be useful. It seems like that's more about learning to do effects yoruself in the computer, etc.... I just want to learn about how to light a stage versus a wall for chroma-key work.

If you look at a color wheel, magenta is opposite green. By using hair lights with magenta on them, you make it easier to differentiate the people from the background, and not have greenspill on them....That's what I think anyway.

Adding magenta can negate *part* of one problem, and add a new problem. Yes, for areas with green spill, you negate it. However, just as it's difficult to control spill, it's also difficult to control exactly where the magenta hits your subject. So areas that don't have green spill to begin with now have magenta in them. This creates the unintended compositing problem of having an additional color that you didn't want to begin with. Perhaps the colorist you spoke with has some ideas around this issue, but just a heads up that it can be a problem.

I second this. You end up having issues with both colors instead of just one. I used to hear this from a lot of old school gaffers who worked before digi green/blue screens and digital keying. The best advice I can give, is to use a big enough screen to cover your action and at the same time allow enough distance between the screen and your subjects to lessen spill. If you don't have the money to do that, seemingly the issue here, any sort of backlight/kick light that registers will also help a great deal. That is of course if it works within your lighting scheme appropriately. Basically it defines the subject further and also helps negate some of the green spill by simply being present in it's place.

In the past few days the footage has been sent to a second editor who's having MUCH better results- so maybe the first guy just isn't great at keying?? We'll see, he's diving in to the footage this weekend and hopefully I'll see a first pass Monday.

Yeah, I thought it made sense a bit, but if you don't have spill, then you've introduced MORE color issues in the other direction. Something to think about the next time I'm on a green set that isn't too big.

The best way to light a subject in front of a greenscreen is to replicate as closely as possible the lighting that they would be in if they were actually in the environment you're comping them into. If you're putting them on a spaceship or a beach or a skyscraper, would there be magenta light on them? If not, don't use it. Even with a perfect key, your composite will suffer terribly from being improperly lit.

As far as the minus green goes, avoid it at all costs since it will give you another problem to work with in post; adding a backlight to separate the subject from the background may not fit in with the scene. Instead, place your subject as far away from the screen as possible--not only does this reduce the possibility of spill on the subject, but it blurs the screen and allows for a more even key.

You can also make a number of adjustments to your mask after primary keying, such as choke, shrink, pre blur, white/black max/min, etc... They're not a perfect solution to a bad key, but they help. What are you using to key?

If you have a choice, try digital green screens. Chroma has a density to it that makes it less reflective, usually causing people to use more light than is needed. On the other hand, digital is highly reflective, so the amount of light that you need should be less. This makes digital green screens easier to work with in the long run. Try the difference and see for yourself!

Instead, opt to try a front light right above the camera. This angle is complimentary and will create an even and consistent wash of light that will make pulling a matte much easier. Next, try placing the light at an angle to the talent. This angle will create harsh shadows and will make pulling the matte much less effective.

You can leverage your camera by learning its capabilities and understanding its limitations. In many cases, just by raising your ISO or its light sensitivity, you can use less light than you might have believed initially. Experiment ahead of time to understand how much light your camera requires pulling a good matte.

The Astra Soft has an impressive output rated among the highest of soft LED panels. This higher intensity illuminates a wider area, allowing the panel to compete with strong exterior light sources or illuminate a large area effectively with just a single fixture. These fantastic light output levels combined with various color temperature settings mean there is no need to install expensive fixed color temperature plates.

Now a big selling point for clients coming into the studio is that they can control the lighting and immediately start crafting a scene just on an iPad, but perhaps the biggest surprise for the company is the success of using the Geminis and Apollo Bridge to light green and blue screen sessions without painting the cyc wall

Chroma keying is a valuable tool in your VFX kit. Using a green screen is pretty straightforward, especially when you understand the chroma key process, but you want to make sure you have the right lights to go with your backdrop.

Bad green screen and lights result in an uneven tone on camera. Some areas look darker than others. The darker areas become harder to chroma key out afterward. This is especially true if there are transparent objects or fine hair within the shot.

The first tip on green screen lighting is to make sure the subject of the shot is far away enough to avoid light leaks from the green screen. You must also light the green screen and subject separately to give your post-production staff the easiest time later.

Whether you have a cheap green screen lighting kit or something that rivals most blockbusters, you want to get that situated first. You should smooth out the material if you have a fabric or paper green screen.

A good rule of thumb is to avoid any reflective materials in the shot. Jewelry and glasses can complicate this. If you know you need a green screen for a given shot, then you should keep tabs of what props are necessary and adjust as needed.

As you can see from the diagram, you want two lights directed right at the green screen. We recommend Diva 400s, which are Kino Flo fluorescent lights, for best results. But if you want to know how to light a green screen for cheap, then you can opt for some clamp lights and fluorescent bulbs from Home Depot for about $10 each.

After you acquire all of your green screen lighting, you may be ready to get that perfect shade. But before you focus on the green screen itself, you want to make sure the subjects of the shot are properly lit.

I have been trying to take my green screen game to the next level for a while and last night I found the ultimate guide so I thought I would share it. If you are having issues getting good effects with your green screen, take a look at this video (it is not mine). If you think your green screen is really good, I'm sure there's a tip for you in here too! This is the best video I have seen on this subject and I have looked at a lot of them! 152ee80cbc

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