Exactly How a Green Screen LA Studio Can Be Useful? - 0 views

• 
  #1 Adrian Ryan on 18 Apr 12

   

  Before the photography even commences, the initial question is always "which color - blue or green?" You must select a non-competing color for the green or blue backing. Do not try to shoot blue objects on a blue-colored screen. This frequently requires coordination with the costume department. A few reckon that certain skin color appear better on blue-colored screen or that blonde hair does not do great on green-colored screens. Current digital keys generally render these problems obsolete.
  
  Both green screens and blue screens need a great deal of light, and lights are costly. One advantage of a green screen is that it is a lot easier to light mainly because tungsten lights make a lot more green light compared to blue light. One disadvantage of a blue screen is that the blue record of both movie and video has probably the most grain or noise. This severely has effects on the matte in compositing, giving it sizzling edges. All the other things being the same, this makes green the best backing color.
  
  The primary thing to consider would be that the overall aim isn't to make the best looking green screen shot, but to make the very best green screen composite. Many times, the effort will be in lighting and composing the talent with scant consideration provided to the green screen itself. The talent can usually be color corrected during compositing, but the compositor is bound to the green screen as it was shot.
  
  Green screen LA studio is lit completely separately from the talent. The truth is, the lights for the talent are switched off while lighting the green screen. It will be lit within half a stop of uniformity left, right, top and bottom and approximately one stop lower than the key light. If it's too bright, it loses saturation and throws too much spill light in the talent. Too dark and there is insufficient luminance as well as chroma for a good key and it adds dark edges to the composite. The exception happens when shooting on a cyclorama because both the green backing and the talent are unavoidably lit by the very same lighting.
  
  The biggest challenge when putting together a green screen is even lighting. You have to prevent any chance of a shadow because it is a much darker color to the camera and might not register. You need to have as slim a color range as it possibly can in chroma keying. To the right, you can view those shadows and just how they emerge to be darker shades of green. It's something that ought to be avoided. Expert green screens have exclusive lights called kino flo lights that provide the green color a bump so as to get rid of any of the other areas of the visual spectrum.
  
  When shooting green screen Los Angeles studio on film, there are some points to remember. The first is to make use of the best grained film stock possible. Fast film stocks with large grain can make for chattering mattes at compositing time. Additionally, never place filters on the camera lens. Any filters would be subtracting light which the compositor requires to produce a good matte. Filter effects could be added at compositing time.
  

   

  <div class="cArrow"> </div><div class="cContentInner">Before the photography even commences, the initial question is always "which color - blue or green?" You must select a non-competing color for the green or blue backing. Do not try to shoot blue objects on a blue-colored screen. This frequently requires coordination with the costume department. A few reckon that certain skin color appear better on blue-colored screen or that blonde hair does not do great on green-colored screens. Current digital keys generally render these problems obsolete. <br /><br />Both green screens and blue screens need a great deal of light, and lights are costly. One advantage of a green screen is that it is a lot easier to light mainly because tungsten lights make a lot more green light compared to blue light. One disadvantage of a blue screen is that the blue record of both movie and video has probably the most grain or noise. This severely has effects on the matte in compositing, giving it sizzling edges. All the other things being the same, this makes green the best backing color.<br /><br />The primary thing to consider would be that the overall aim isn't to make the best looking green screen shot, but to make the very best green screen composite. Many times, the effort will be in lighting and composing the talent with scant consideration provided to the green screen itself. The talent can usually be color corrected during compositing, but the compositor is bound to the green screen as it was shot.<br /><br /><a href="http://greenscreenla.org/" rel="nofollow">Green screen LA</a> studio is lit completely separately from the talent. The truth is, the lights for the talent are switched off while lighting the green screen. It will be lit within half a stop of uniformity left, right, top and bottom and approximately one stop lower than the key light. If it's too bright, it loses saturation and throws too much spill light in the talent. Too dark and there is insufficient luminance as well as chroma for a good key and it adds dark edges to the composite. The exception happens when shooting on a cyclorama because both the green backing and the talent are unavoidably lit by the very same lighting. <br /><br />The biggest challenge when putting together a green screen is even lighting. You have to prevent any chance of a shadow because it is a much darker color to the camera and might not register. You need to have as slim a color range as it possibly can in chroma keying. To the right, you can view those shadows and just how they emerge to be darker shades of green. It's something that ought to be avoided. Expert green screens have exclusive lights called kino flo lights that provide the green color a bump so as to get rid of any of the other areas of the visual spectrum.<br /><br />When shooting <a href="http://atomicstudios.com/" rel="nofollow">green screen Los Angeles</a> studio on film, there are some points to remember. The first is to make use of the best grained film stock possible. Fast film stocks with large grain can make for chattering mattes at compositing time. Additionally, never place filters on the camera lens. Any filters would be subtracting light which the compositor requires to produce a good matte. Filter effects could be added at compositing time. <br /></div>

  ...

  Cancel

To Top