![]() Generally, I would always want 4K since it should key better as the pixels are smaller and also the noise will be smaller. All things being equal, 4:4:4 or raw would be preferable for chroma key work.Ģ. Oh, and regarding bit rate and LOG flavours, I have three options, I suppose:ĭoes anyone have thoughts about the pluses and minuses? I was thinking 4K RAW to start but given I’ll be delivering at 1080, maybe it’s better to just get the extra info from 12-bit and save some file size?ġ. If the stage has a few folded 4x8 showcards (v-flats) that stand up on their own, those are great and can double as negative fill or a large bounce source for a book light key. I would also black out/flag off as much of the off-camera lit green cyc/floor as possible to kill spill. Often this can be done from the floor, so no need to rig an overhead. If you don’t have something like 4x4 Kino for this, then you can bounce a harder light into a large white card on the floor. If you need more light in the middle, you can place a large soft light on the ground under the screen. Also, the wider you can light the green screen the further you can pull the subject away from the screen, which will help with green spill and also throw any smudges or dimples on the cyc wall out of focus.Īs Tomasz says, place the lights on the left and right side of the background just out of frame. Once you need to see the floor too or multiple people/two camera angles, you will need to light wider and start thinking about rigging overhead lights. So I think if you back the hard lights off for more spread and use heavy diffusion frames in front, then you should be fine. I’m not familiar with those lights, but I’ve lit plenty of medium-wide shot green screens with just two 4x4 Kino Flos (just the green, not the subject). It’s my first time working with a new client and I really want it to go smoothly. Thanks for taking the time to respond to my questions. Any recommendations or suggestions based on your first time shooting green screen? What’s the best way to insure I have the green screen evenly lit?ģ. Is that lighting going to be enough to cover the background?Ģ. I guess I’ve got a couple of questions off the bat:ġ. They’ll be doing a fair bit of moving about, dancing in place to some upbeat music. None of the videos has more than one actor on screen at a time and the shots are mostly medium closeups, closeups, medium wides, etc, of actors modelling the underwear, so nothing too wide. I’ve got a Mole 2K fresnel in my back pocket if I need it, plus a couple of Phottix 1x1’s as needed. I’m planning on lighting the background with two Aputure 300d Mkii’s with Light Domes, an Aputure Nova P300c through a 4x4 of full I grid for the key and a Godox VL 150 for hair/rim. It’s all on sticks and lighting is the main thing I’m worried about. I’m shooting 4K DCI C-LOG 2 on a C300 MKII at 10-bit 422. The green screen is about five meters wide by three tall. ![]() I’m shooting it at an SAE-owned green screen studio here in Byron Bay, Australia. It’s a series of five short spots and the reason I’m shooting green screen is so that I can change the background in each to a different pastel colour, so it’s not at all complex VFX, I just don’t want to have issues with keying in post. I’m shooting an underwear commercial next week and it’s the first time I’ll be shooting green screen.
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