Alan Lloyd
Forum Replies Created
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It means it’s meant for 2/3″ imagers.
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Without mentioning any names whatever, if this is the guy who spouts a near-endless stream of “success” cliches in a Twitter feed on LinkedIn, I think I have an idea of who it is.
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[Mark Suszko] “…I’m not charging enough.”
Are any of us, really?
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Probably twenty years ago, I needed black infinity behind something. I went to my local fabric store and began browsing, and since I looked just a bit out of place there, one of the nice elderly women who ran the place came over and asked what I needed help with.
I ended up with some leftover black “robe velour” they had sitting on one of the tables. A chunk about 8 x 12 feet. Still have it, and I used it on a shoot earlier this month.
Total expense? $5.00 plus local sales tax.
Might be the best fiver I’ve ever spent on anything in terms of longevity and return.
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You can. Photoshop is your friend.
(I’d shoot the original plate sharp, you just never know and varying degrees of defocus are easy to do!)
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I use simple Gaussian blurring in Photoshop.
The biggest pain in the pix I put up was doing the ladder shadow.
My client was happy with the results, though.
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It is – it’s from Adobe Ultra’s virtual sets. Did the “treatment” for a client’s use.
There are places all around with good “texture” for your purposes. Just find ’em and shoot some stills. The defocusing and lighting I did to make the detail in there less distracting when someone’s keyed over it.
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Just to amplify – if you use a stock backdrop (the one here came from Adobe Ultra) you can mess with it in Photoshop.
This is from the “Library” set:
It’s overly detailed and kind of bright, rather distracting for a background.
Here is the result of a very brief bit of experimentation:
Darkened, defocused, a bit of accent lighting and some shadows added.
Just an illustrative example – I’m sure there are far better Photoshoppers out there ready to pounce and thrash it.
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I do similar types of compression for one of my mainstay clients.
It sounds like you’re having “separation” troubles with your greenscreen shooting if people are wearing white or light colors.
Where is your greenscreen lighting level falling? How far is your subject from the backdrop? What are your overall exposure levels as to skin tone, etc?
Very often the trouble comes in earlier on than the compression, especially when greenscreening.
And the frame size and bitrate tells me it may well be for a corporate client.
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A long, long time ago, I was partially responsible for bringing a high school intern along. This was more an exception than the norm, we usually had college students.
Anyway, this kid was bright, talented, and focused. He knew more about graphics than I did the day he started, he could shoot, he was willing to do grunt work like schlepping gear through marshes and forests, and he was a nice enough guy that he was great to work with.
He left us after a couple intern years to go off to college, did well there, and did even better after. Kept in touch with him off and on, including recently on his blog.
(I’m also no longer with that employer, I went independent a while ago.)
Now, I’m very pleased to say that I knew Stu Maschwitz way back when.