I strongly agree that it's best to try and get everything in camera and really like the idea of surrounding the plane with sky blue muslin and/or using the real sky instead of a green screen. Thank you very much for the generous help! Let me know if there is anything else I can help you with. You'll also likely need to understand light wrap, etc. Just keep in mind that proper green screen work requires that you ensure your lighting matches from the live action to the background plate, as this is a dead giveaway. What software are you using? I'd highly recommend Fusion or Nuke when doing film compositing - avoiding the likes of the motion-graphics centers After Effects. Third, how are you posting this? Actually SHOOTING things on a green screen is not the hard part - it's making it look good in post. RAW in a chroma key environment is a lifesaver. Personally, if you have the budget, I'd rent a camera that can shoot RAW for this shoot. Regardless, as long as you're not shooting a difficult to key scene, 8-bit 4:2:2 should be enough. Color sampling and bit depth, as well as less compression will be a lifesaver here. ![]() This is because unlike with regular film making, its not just about highlight roll-offs, compression artifacts etc - it's about getting a realistic looking key. Second, your better off with a 10-bit or even RAW recording with full 4:4:4 when shooting chrome key work. ![]() The sun is an amazing light source - but you'll likely need some bounce cards to bounce some of the light to fill in shadows and clean up 'green wash' on your actors and props to make keying easier. ![]() From someone who is currently working on a project that is heavily chroma-key dependent, I'll chime in here:įirst, shooting this outside could actually be your friend vs a studio.
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