As a matter of reference, the more ideal exposure is the darker area on the far right of the screen. In the example the OP posted, the screen exposure is nearly a stop between the darkest and lightest area. But more important is that the screen be very even in lighting, within a quarter of a stop, particularly around the subject/action. I’m mostly going to talk about tracking markers, but just quickly, green screen is ideally “under exposed” by as much as a stop and a half. And when it comes to tracking markers and green/blue/black screen there is so much misinformation it is shocking. Unfortunately productions all too often shoot without a dedicated VFX supervisor on set, and “wing it” expecting to “fix it in post”.
Green screen marker how to#
Knowing how to fix these issues is the starting point to pulling a great key, even when the footage presents a challenge.Yes I definitely agree with Dave that this is a poorly lit and uneven screen, and that’s probably going to cause the greatest problems. In this segment, we show you how to remove unwanted objects from your footage, and key out a background with uneven lighting. But many times, the lighting for the green screen shot you’re working with isn’t lit perfectly, and has objects in the shot that you don’t want. We’ve all seen the tutorials that show you a one click process to pull a beautiful key. These advanced methods and can help you get difficult green screen footage looking good.įixing Uneven Lighting and Unwanted Objects for Green Screen In this segment we demonstrate multi-layered keys, and how to use masks to rotoscope your subject. Whether it’s a particular movement in the scene or rough lighting, sometimes you’ll need to use alternative methods to isolate your subject from the background. Multi-Layered Keys and Rotoscoping for Green ScreenĮven the best green screen footage can present issues that can’t be corrected with standard keying procedures. Using these techniques can help sell your scene, and save otherwise unusable footage. In this segment, we show you how to track motion in your shot, sync your background with your footage, stabilize shaky footage, and keyframe motion manually. Green Screen shots with camera movement where the background and foreground are perfectly in sync really help to sell the scene. Green Screen Source Footage Has a Camera Move
In this segment we talk about positioning your subject in the shot, color correcting your subject to match the background, creating a lightwrap to blend your subject into the background more naturally, and how to deal with mismatched lighting. Green Screen Subject Doesn’t Match the BackgroundĪfter the time-consuming process of pulling a good key is finally complete, placing your subject in the scene can sometimes seem like an afterthought. In this segment we show you how to remove the green using keylight, spill suppressor, and curves in After Effects, as well as ultra key and the 3 way color corrector in Premiere Pro. When you’re shooting footage next to a gigantic green wall, it’s not unusual to have some of that green unintentionally fall on your subject. In this segment, we show you how to fix those rough and discolored edges that are often left after pulling an initial key.įixing Unwanted Green and Spill for Green Screen (Free for Non-Members) Green Screen work is complex, even under ideal circumstances, and working with footage that hasn’t been lit or shot properly can be pretty tough. From basic keying to advanced techniques, this course shows you how to fix tough green screen issues in order to pull a great key, even when the footage presents a challenge.įixing Rough and Discolored Edges for Green Screen (Free for Non-Members)
But many times, the lighting for the green screen shot wasn’t lit perfectly or there’s camera movement or objects in the shot that you don’t want. We’ve all seen the tutorials that show you a one-click process to pull a beautiful key.
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