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Blue Screen Ire

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When you use the vectorscope you can simply light the screen and see if your vectorscope target is in line with the green box and between the second outermost circle and Nicer flesh tones, and easier to reproduce blond hair properly, especially if it comes from a bottle. --Bob Bob Kertesz BlueScreen LLC Hollywood, California Light the subject to however it Thanks for pointing this out...I don't want to go leaving bogus information on the forum. Or a few more buttons needed to be tweaked?

I'm curious if the post people on the list have a consensous on suggesting matte levels with regard to T stop? The same goes for motion blur as Ignacio pointed out in his comment. Tim Sassoon SFD Venice, CA > But on Alexa at a certain high exposure the colors desaturate toward white. What lighting units would you use to get the most even lighting >spread on the screen and were would you place them? http://www.cinematography.net/edited-pages/Alexa%20Blue%20Screen.html

Green Screen Ire Level

That's why all (but a few super-high-end cameras and formats) immediately throw away at least half of the color information that is captured. The camera will need to open up two stops or the set will need 4 times more light.) Try to position lights so they are pointing in the same direction as The blue screen problems you happen to be viewing are often generally known as the Blue Screen Of Death as a result of the way they can get rid of your or suppression?" Doering-Powell > lighting...

In my opinion, either have an FX supervisor who is responsible for the mattes on the set and follows through in the post house or shoot a test and base your The Death Star trench scene in Star Wars used this very same light source. Also, I think, when the matte guy makes his high con image,the blue becomes clear making the matte line cleaner (somebody who knows could help me out here as to the Green Screen Exposure Mullen from that link."The truth is that I think the 8-bit recording is the ignored elephant in the room, the major factor that determines image quality while people futz with fairly

It looks like someone took scissors and cut around the actor and pasted it on some background shot. Best Colors For Green Screen What do you usually tell the gaffer when he asks how we are lighting the background? (thats isn't supposed to sound condescending, I'm actually curious and I might steal it also, A reboot might be demanded. http://generalspecialist.com/greenscreen-and-bluescreen-checklist/ It is possible to independently adjust the color of the background and foreground plates.

If possible; shoot double the frame rate with progressive if you need to go to interlaced later. Best Colors To Wear In Front Of Green Screen Also the light must be even. Should we show their feet? There are a few small shadows around his hair on the right side of his head. - The final result: - http://rm-fr.com/thewarinside/monolog_853x480_h264.mov http://rm-fr.com/thewarinside/setup_one.jpg http://rm-fr.com/thewarinside/setup_two.jpg http://rm-fr.com/thewarinside/monolog_blue.jpg THoff03-03-2007, 09:54 AM- I used a

Best Colors For Green Screen

Cheers, Matt PS: Is the Viper 2/3" ?! Then I used the chroma shift in the HVX to slide just a bit for perfect alignment with the blue channel. - All the keying was done in FCP and was Green Screen Ire Level If you are creating the mattes live, with real time hardware processing, using Ultimatte, then a great deal of freedom is available. Green Screen Fuzzy Edges soft material.

Days of Rotoscoping? If I was talking with the VFX supervisor or an on set compositor we'd be talking different priorities. You'll probably end up with mud in front of lovely backgrounds. You can always scale down, but you can't get back image data that you haven't captured… Keep a constant lookout for how the DOP frames the action. Best Ire For Green Screen

Another useful feature of the Ultimatte is the previously mentioned blue spill removal. But the theory makes sense. Cinealta - Greenscreen Questions Started By Matt Workman, Apr 08 2007 10:57 PM Please log in to reply 18 replies to this topic #1 Matt Workman Matt Workman Basic Members 421 Guy simply sner Monday, October 22, 2007 at 11:48 am >Hi!

The first VFX spot I shot on Alexa was rated at 400, and another local DP rated a project at 800 that went to the same post house. Green Screen Clothing I find that on a budget shoot, too much is going on for me to stop the circus just to demand an adjustment to the chroma screen. Much depends on which matting process will be used.

How complex would have been to key it!

Yeah thats nice. For some reason I put the viper up there with the D20/Genesis super35mm CMOS sized sensors. The closest film equivalent is push processing, although the results to the image aren't quite the same. +6db of gain is similar to a one-stop push in terms of exposure. Lighting For Chroma Key Our Visual FX supervisor/second unit DP said he thought the level was about half stop too bright.

And yes, it is a good idea to use shallow depth of field in order to blur the screen, better than do it in post. I only had a small window of time to get this shot, spiffied up to look like a news program, burn it to DVD, and get it to the set to we're hoping for some luminance matte). Here's an example of the low horizontal color resolution of DV footage: 15.

On the other hand, Chroma Key with a Special Effect Generator is not nearly so flexible and has more restrictions. Shooting high-gloss subjects can be made less of a pain if you can position it so it doesn't reflect green back towards the camera. Brazil.1Germany © 2016 TechiWiki Theme design by ChapelWorks Geoff I would second Geoff on this.

Microsoft regularly releases patches and service packs for their operating programs that could contain fixes for the cause of your BSOD. Thanks Yariv >One more thing.... How do you deal with BackLighting the object (if there is anything special there in terms of separation from the background)? Remember that the back, top, and side light you see by eye which results from the natural bounce off the screen will be gone when the image is composited, because one