Joseph W. bourke
Forum Replies Created
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The subject should be further away from the screen, mainly to allow for two separate lighting setups, one for the greenscreen, one for the talent. Here’s a pretty good tutorial on greenscreen setup:
https://lowel.com/edu/lesson_green_screen.html
Anyone wearing green on a greenscreen shoot should be immediately sent for a change of clothing! Actually, the producer should be responsible for letting the talent know this in advance – as simple as an email. Sounds as if someone dropped the ball. But…if there’s a good reason for the talent to be wearing green, then shoot against a bluescreen. You can do a mask to keep the green clothing in the shot, but it’s work which you shouldn’t have to be doing.
In shooting greenscreen, the rule is to use the highest quality camera you can get for the job, ideally one which shoots in at least 4:2:2 – for a better explanation than I can give, look at this:
https://provideocoalition.com/alindsay/story/greenscreen_primer_part_2/Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I think that there’s enough contrast in the lower part of your shot that you could successfully use the RotoBrush and get a squeaky clean result. If you do from the neck down with the RotoBrush (if you’ve never used it, you have to do a couple of tutorials – it’s not at all intuitive) on a separate copy of the clip, then combine it with the keyed version, you should be ok.
This should get you moving – it won’t take long to get it:
https://www.video2brain.com/en/lessons/isolating-a-subject-with-roto-brush
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Don –
It took me a little while to figure out, but yes, the “project pointer” is embedded in the same place as I show in my Blog post for AE output files. It took me a while, because it at first appeared to me that you can’t write Metadata to a .prproj file (which you can’t – there’s one for the feature requests). So I was assuming that there wouldn’t be anything viewable in Bridge under File Info. I was wrong, in a way. Although you can’t write or append Metadata for a .prproj file, there is still a link back to it from the output file – in the output I was checking, a .mov file. The project name showed up just fine.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
The real problem I see is the hard shadows from it being a sunny day. One suggestion to help get rid of the hard shadows would be to do a secondary color correction where you pick the sunny part of the road, and make it match the part of the road which is in shadow. That would help get rid of the shadows. Lowering the contrast will also help out, as well as toning the entire video to the more bluish tone of the cloudy day – you could also use color correction here by picking an average color from your cloudy day snow, then trying to do a color match for the sunny snow.
The hard shadows on the actual tree trunks are also a giveaway that it’s sunny – I’m not quite sure how you’d deal with that, although the reduced contrast will help out. Some desaturation will also help you.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Thanks Bill – I figured with all the forward motion and radical changes going on in the lighting world (CFLs that actually match daylight, high-power LEDs, etc.) that there must have been something I hadn’t an inkling of.
It’s funny – I was a photographer for Hearst at the CNN Presidential Debates in 2007, and was shooting some background shots of the setup. The CNN set:
https://bourkemedia.com/just-push-play/digital-photography/
…which you can see in the background of a shot of Wolf Blitzer on the above link, was completely Duratrans wrapped boxes with an industrial size CFL bulb inside. At the time I had never seen a CFL bulb of that size, and was amazed that CNN was using such a technology. It was an immense wall behind the candidates, and very impressive looking. The only downside to CFLs is their fragility, but of course CNN had road cases even for the bulbs!
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Why don’t you just shoot it and create a Dissolve Loop? Just cut your steam clip in the middle, then place the two pieces at opposite ends with a dissolve (as long as looks good – at least a half second) in the middle, or use this script:
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I think I found it – fiber optic hula hoop:
https://www.lightupandjuggle.com/store/index.php?main_page=product_info&products_id=43
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Here’s a possibility for the hoop:
https://www.troohoops.com/products/lighted-hoops.php
The trick would be to shoot at an exposure which blows out the individual LEDs into a continuous neon look.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I don’t know about the ring light, but it’s possible that the tube might be one of these:
https://www.twalighting.com/Multicolor_LED_Tube_Lights.php
I would bet that the LED tube light could also be made into a ring light as well, so there might be something like that out there.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Thanks Walter –
I was just about to jump in and suggest that. I’ve been using Bridge for years, to organize all of my project assets as the project progresses, and then to help me keep track of the client’s master elements after the project is done (or when revisions are needed). Through use of Metadata, I’m also able to quickly tag assets which I need marked with my copyright information, as well as quickly find the correct version of the After Effects project which created the final output (even though I’m very organized, I often have multiple client revisions). Here’s a short blog post on how to find that elusive AE project:
https://bourkemedia.com/adobe-bridge-metadata-saves-the-day/
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com