Color in a wall.

[Steve Roberts]

Off the top of my head …

If the wall is featureless, do you need one? You could shoot with a greenscreen behind the talent, but maybe 20 (whatever will give a clean key) feet away, with a golf ball on four sticks (whatever) to mark each corner of the imaginary wall. Use a fifth ball or disc to mark the spot in the air where he touches. Measure the relative distances between these points. Shoot. In AE, key him (and the balls) out, then create a new comp (“wall”) that is the proportion of the imaginary wall. Using guides, mark the position of the touch, then make a fancy animation using Radio Waves, Wave World, masks or fractal noise with Colorama, using the touch point as the point where the effects start. Then, drag this into the main comp and composite under our keyed talent, and use effect>distort>corner pin to make the corners of the “wall” match up with the markers. (disable the key temporaily to see the markers)

It should work …

Now if you need a real wall there, try painting it green so you can key it, but be wary … talent close to the greenscreen can be trouble due to green spill and shadows. Blue might be a better colour — farther from pinky-tan flesh. (if that’s the colour of your talent’s skin) Be sure your green is well lit and saturated: no grays in the area to be keyed if you can help it.

If you can’t paint it green, try to light it to minimize grays.

[Eugene Perepletchikov]

I agree with Steve.

Even if your wall isn’t featureless, you can still take a high res still shot and the composite it in. Also, if your camera is locked off then you shouldn’t even worry about setting up tracking markers, and compositing will be really easy then. Otherwise, if you dont opt for the greenscreen scenario you are gonna do some heavy ass rotoscoping to achieve the look you want.

[Dmbchile]

I will be shooting without moving the camera. No close ups or wherever.
I do have a green and blue sheet that I can use to film.
I