Here are some best techniques for shooting and proper lighting green-screen for your video productions. In this tutorial, I presume you have some lights, a green-screen and a camera. The rest of this tutorial will be about putting them in order.
First thing, what works well with cameras is the chroma green. Are you familiar with the 4:2:2 color space? Also RGB? Well without making things complicated, in your digital camera, most color information is stored in the green space of the color channel (G). So make sure that green-screen is the appropriate color.
1. First off: Lights
The greatest aspect of having superb separation of the subject from the green-screen is the lights in which ultimately is the key. This means that in the video coverage that you input in your editing software, the background separates well from the object.
This is what makes the professional distinct from the newbies. All of this boils down in to one thing, that if you have not successfully created this separation, you cannot achieve realness of the outcome with the green edges appearing on the video.
Moving on.
2. Using a back light
This is the light that illuminates the back of the object. Sometimes this light is higher in the air, sometimes lower (I recommend about 20% higher than your subject) but it is ALWAYS pointing at the back of your subject (in between your subject and the green-screen). The ideal is to have one light per side with both of them having a 45-degree angle.
So what does this do? Well it creates a subtle white “halo” around the edges of your subject. Like a small white or illuminated edge, it's going to dramatically affect the quality of your key.
3. Light the Green-screen
The covering of the light with the green screen should be even. Do check if there any wrinkles. There should be no shadows, no brighter parts and no wrinkles in the green-screen. It just needs to be green and even.
4. Choosing the lights
What are the ways of lighting the green-screen? It could be a light on either side, overheads and floor lights. They make Cyc lighting that casts an even light from the floor up (rent these from your local gear rental shop).
Depending on how much the subject moves, I usually use a four bank KinoFlo on either side of the screen.
First thing, what works well with cameras is the chroma green. Are you familiar with the 4:2:2 color space? Also RGB? Well without making things complicated, in your digital camera, most color information is stored in the green space of the color channel (G). So make sure that green-screen is the appropriate color.
1. First off: Lights
The greatest aspect of having superb separation of the subject from the green-screen is the lights in which ultimately is the key. This means that in the video coverage that you input in your editing software, the background separates well from the object.
This is what makes the professional distinct from the newbies. All of this boils down in to one thing, that if you have not successfully created this separation, you cannot achieve realness of the outcome with the green edges appearing on the video.
Moving on.
2. Using a back light
This is the light that illuminates the back of the object. Sometimes this light is higher in the air, sometimes lower (I recommend about 20% higher than your subject) but it is ALWAYS pointing at the back of your subject (in between your subject and the green-screen). The ideal is to have one light per side with both of them having a 45-degree angle.
So what does this do? Well it creates a subtle white “halo” around the edges of your subject. Like a small white or illuminated edge, it's going to dramatically affect the quality of your key.
3. Light the Green-screen
The covering of the light with the green screen should be even. Do check if there any wrinkles. There should be no shadows, no brighter parts and no wrinkles in the green-screen. It just needs to be green and even.
4. Choosing the lights
What are the ways of lighting the green-screen? It could be a light on either side, overheads and floor lights. They make Cyc lighting that casts an even light from the floor up (rent these from your local gear rental shop).
Depending on how much the subject moves, I usually use a four bank KinoFlo on either side of the screen.
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