Green Screen

[Curt Pair]

Ronn,

For me… AE CS3 works because of my Matrox Axio HD system. I think the MATROX portion of that is the reason why… I think their codec is what allows my breakout box/card to make that happen. Not sure… I just open AE… then import and MXF file, drag it to the comp, and it works… I’m sorry. I know I sound horrible on this one, but I don’t know why mine works and yours doesn’t… I do feel for you though.

I have used On-location… The scopes aren’t as accurate, but that’s a good start! There are latency issues. I did use that for about a year… it is a little slower. I just got a Leader 5330 WFM/VCTR/video monitor, and love it.. it is pricey, but WAY cheaper than an ASTRO! I got it for $5800! UNLIKE Astro, the leader is TEST equipment BEFORE it’s a picture monitor! That’s cool! It takes 2 HDSDI ins, which makes it easier to match cameras, if you need to do that sort of thing.

If you have a full size XD, you CAN get an SD WFM and use that via the VBS out (test out) of the camera! That works too! I found this really small Leader on Ebay for $200! It’s only a 3 inch screen, but it runs off an NP1, so that’s great too! I tested it side by side of a Leader 5800! It was dead on! I will use it for chroma work… I now use the 5330 for everyday shooting… It has a focus assist thing, an exposure thing, plus the scopes and confidence monitors… It’s made a world of difference in my daily shooting.

Curt

Curt Pair
Picture This Productions
Sony ICE Team
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Adobe Premiere Pro CS3 HD/Matrox
Phoenix, AZ

[Peter Slabysz]

So maybe this is part of your pro secrets; you mention not to touch the iris once the bkg. is set. However, once you add the key and fill doesn’t this raise the level of the bkg?

[Curt Pair]

Peter,

Thanks for the question. Typically, no, the background level isn’t raised enough to alter my background. I do use flags, grids and the like to control light spill. This keeps everything in line. Depending on how you light, its relatively easy. Remember, light’s intensity will fall off faster than you think, when at 10-15 feet.

[Peter Slabysz]

Thanks for sharing. Yeah, I really wasn’t factoring that dropoff in. The After Effects artist said he’s been having a tough time with the keys. I’m going to use a waveform in the future and cover the green floor when there’s not a head to toe shot. I’ll bet there’s reflection going on there.

[Tim Little]

Curt

I am just getting in to Green Screen video production. I am using FCP X and a Sony XDCam, I don’t know the model number as the camera is not in my possession. You had given so interesting tips in this posting and seem to be quite knowledgeable. Are the tips still true today, 3 years later?

The production objective is to shoot one camera interviews on green screen. B-roll will cover all transitions. The process is intended to be repeatable…shoot 10 interviews in one setup then vary the backgrounds in post. This will only work in the post production key is believable and repeatable with out hours of work each time (person to person).

Please point me in the right direction, I am looking for any resource to learn about this.

[Curt Pair]

Tim,

Not that much has changed since I originally wrote this. I will say the newer cameras can help in some interesting ways, if you understand them.

The main points in ANY chroma key environment are to use a waveform monitor to ensure your lighting is flat and even!

I’m not sure which XDCam you have… But let’s say you are using an F800. That camera has a VERY extended paint menu, and thus my approach is a bit different. I actually only run the rear lights (on the background) at about 35 IRE! Yup, that’s right… I use the 16 way User Matrix in the Paint menu to “grab” the green color, and then I increase only that color’s saturation (In the menu of the camera)! This absolutely eliminates any chance for a green “kick back” from the screen onto the back of your subjects! (This really helps in smaller than ideal spaces!) The high end Sony cameras have this feature: F800, F900/3/r, SRW9000PL, F23, F35, F65, PMW500, PMW700, F3. This is the secret weapon if you will, of those cameras!

If you are using the F350 (optical disc or SxS card), the EX1/3, or a host of other Sony cameras in the XDCam family, that unfortunately is not possible. These cameras do have a paint feature in the camera, but it’s not as in depth, (it’s a “6 way” color matrix that is actually a bit harder to use, believe it or not!) and would be very time consuming to pump up the green saturation in the paint menu…

However, you can always use “+Green” gel in front of your lights to over-saturate the green too! This has long been a trick of many folks in the film community. The “color temperature green gel” (available in 1/4, 1/2, full green, etc.) essentially pushes the green color saturation of the background, in hopes that you can run the brightness of the background lower. If you’ve never done this before… I’d do some testing before your first real big shoot. I’d also recommend that you use a magenta gel, in a 1/8, 1/4, or 1/2 configuration for the back of your talent/subject. Because this color is the EXACT opposite of the green color on the “color wheel” it will in effect “cancel” any of the green spill or bounceback from the screen onto the shoulders and hair of your subject. That will prove to be VERY important in the edit process.

As far as creating a single, repeatable setup… that’s no problem at all… you can make talent marks on the floor and have each person stand or sit in the same spot. The green typically doesn’t move, so once it’s set up, great! I would caution you NOT to change the iris once it is initially set up… that’s the first mistake rookies make! You’re setting that for the background… set it and forget it! When lighting subjects, move the lights to compensate for exposure. With varying skin tones, it will be very likely, you’ll have to move the lights closer or farther away depending on each person.

I hope this helps. I would encourage you to do a test before “the real” shoot to make sure you have all the kinks worked out. Once you understand how to do this, it’s really not that hard!

I post “tips” on my website all the time! Feel free to visit from time to time: https://www.picturethisproductions.net.

I have a nice tutorial on using XDCam and naming your clips in the field to make it easy to find them in post without even opening them! https://www.picturethisproductions.net/index.php/blog/pro-tips/233-xdcam-and-clip-naming

Good luck, and let us know how it all turns out!

Curt Pair
Picture This Productions (Phoenix, AZ)
http://www.picturethisproductions.net
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[Tim Little]

Thanks for the reply.

I will find out the model number and apply your info.