![]() ![]() Second to your codec choice is your gamma and gamut choice. This said, I have had good success with the old XDCAM HD format (35mbps VBR) on my PMW200, although this was being keyed for SD DVD! On the FS7, I would opt to shoot UHD 25p in XAVC-I. My advice would be to record at the highest bitrate you can, in the best resolution. Most cameras these days offer very high quality recording formats, including ProRes 422, XAVC-I & XAVC-S. ![]() Black wrap on the lamps to avoid spill on the green screen and talent Step 3 – Codecs, Gamma & GamutĮven if you have a perfectly lit green screen, a poor codec choice can make achieving a good key difficult. Perhaps the background has coloured lighting you could incorporate into the lighting on the talent? Basic green screen setup with lighting for the green screen and talentĪs a final step, keep stray light from the barn doors and lamp housings hitting the green screen and talent by using black wrap on the lights. If the background is moody and dark, light the talent low key. If the background is light and airy, light the talent high key. Find out what is going to be keyed into the background and light your talent in a sympathetic way. Secondly, light your talent with the background in mind. By giving your talent a backlight you can help reduce the effect of this green spill, particularly with blonde hair! No matter how careful you are, you will always get some green spill on the talent from the screen. The first, separate your talent from the background. This is pretty much like lighting any interview or piece to camera but with two further considerations… Once you’ve got a nice evenly exposed green screen you can start to think about lighting the talent. Just use a WB card stuck to the green screen so you are balancing under the lights illuminating the green screen. Achieving a good white balance will really help with keying in post production. Once I’ve got the even coverage, I white balance (WB) the camera. What you are looking for is a nice even coverage of zebras across the whole screen. It may even mean adjust the camera’s ISO/gain and iris. Then I continue to tweak each light to get an exposure that is as smooth as possible on the green screen: this sometimes means switching a light off, adjusting the other and so on. ![]() There may be some hot spots and dark areas but just take an averaged approach at this stage. I then check my exposure on the camera and adjust the ISO/gain and iris to give me an exposure on the green screen of around 50% IRE (so the zebra pattern covers the green screen). Switch on one light and line it up to cover the green screen and then do the same for the second light. With most tungsten lights you can focus the light and use their barn doors to shape it as well, making it easier to control where the light lands! Generally I use tungsten lights for these shoots as they are a bit easier to control than my LED lighting kit. You want both of these lights to be the same power, and the light quality as even as possible I generally use two 800W Red Heads with full diffusion. I start by setting a light either side of the green screen, about 1 meter back. 50% IRE zebras, showing an evenly lit green screen The Green Screen When shooting in REC709 (rather than Log) you generally want to expose the green screen to around 50% IRE therefore I can use the zebra pattern to help get a consistent exposure at 50% IRE across the entire screen. So, before I set any lights up, I setup my camera to show zebras at 50% IRE. An even exposure make keying (removing the green) in post production easier. The key to lighting the green screen is a consistent exposure across the entire screen. If we don’t, we will end up with nasty shadows on the screen and green spill on the talent! To start, we must consider that the screen needs to be lit separately from our talent. Lighting is one of the most critical parts of a green screen shoot. ![]() As you can see, you need a fair amount of space to set this up, so getting the orientation correct in your room is key! Step 2 – Lighting ![]()
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