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Found 5 results

  1. I am working on a project involving heavy use of green screen to key in all the windows of an antique train. My issue is the lighting is looking very flat as the green screen will always be blocking any natural or cheated light coming from the window. Hoe do others create depth in a situation like this? I am also struggling where to place the key and fill. Un-lit test image attached.
  2. Hi guys, I'm gonna shoot next month a music video and need some thoughts about what to take into consideration for a particular shot the director is requesting. I'm the cinematographer and doing the VFX. The shot (see picture): The main character is in a hallway and sees the band in a big hall. His goal is to reach the band, but bad guys tries to stop him. As the bud guys appear in shot we do a dolly zoom so that the distance to the band increases. I would want to do this in one shot, but we have a hard time finding the right location with both the hallway and the hall. So we are thinking of doing this shot with a green screen and composite the two images in post. We don't have enough budget to rent a motorized dolly so I'm a bit concerned how we are gonna make the shots match perfectly (focal, distance, dolly speed...) Please share any input on solutions onset or for the post-production!
  3. Hey Guys, This may be a very dumb question, but how does apple film their app and iPhone commercials without the hands shaking while holding the device? Here is an example: https://www.youtube.com/watch?v=szrsfeyLzyg At first I thought they utilized two separate layers, one for the hand holding the device and one for the finger swiping, and comped the two together. The layer with the hand holding the device almost appeared to be a still image, but what confused me was that I saw shadow movement on it when the finger swipes... Do they have a rig attached to the phone to keep it steady or stabilize the footage in post? Do they green screen and then comp? -Sam
  4. Hi! I have 3 set-ups in a greenscreen stage: - 3 girls walk on water (on 3m x 6m pool); - walk on a wall of skyscraper (on 4m x 10m piece of mirror wall); - stand on the roof of skyscraper. All of this must be wide-shots shooting in different angles and movement of a crane. This shots will be combine with shots of real river, real skyscraper and high angle view of the city. I need some advice with greenscreen and day effects simulation. In a stage I have to simulate overcast and sunny day. What is the best natural and simple way to simulate an overcast day: spacelights or big batterfly frames (or maybe something else)? 1) in the case of spacelights: a] is there any formula to calculate how many fixtures I have to hang by set area? b] any formula to calculate an exposure with spacelights? c] I want to add a little cool quality to a sunny day. Is it real to cover all (or half) spacelights in 1/2 CTB? Is it common way? 2) in the case of butterfly frames: a] how much area of frames will I have to have (taking into account the set area)? b] will it be more naturalistic either light through frames (silk, etc...) or light in reflection? 3) I have several reflection surfaces in a set: mirror floor (4m x 10m) and waterpool (3m x 6m) and I have to shoot this set-ups in many angles. Are there any advices about working with such kind of surfaces and greenscreen/lighting approach etc. 4) can I use some lens diffusion with greenscreen? Thanks for answers!
  5. Hello all, I know it's very difficult to get a good key with footage coming from a DSLR due to the 4:2:0 compression, soft edges, etc. I'm currently shooting church announcements videos on a black background, but I'd like to start using a green screen if possible. Right now, I'm using a 60D with a Canon EF-S 18-135mm f/3.5-5.6 IS STM lens. I will be using Premiere Pro CC and AE CC in post. Is there any way to accomplish this using my current setup? Thanks in advance.
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