If you need to do full length shots (head-to-toe), then you need a screen that the host can stand on, and has a nice curve to avoid any dark spots in the corners. a backdrop cloth with stands is the way to do. The solutions here depend a lot on how much space you have and what kind of shots you need to do. Again, the purists may not love it, but we need to keep things practical. We chose daylight as we have some outdoor light spill into our room, so its the most forgiving in that situation. The Chroma-Q Studio Force D12 is designed specifically for lighting green screens and comes in 5600K daylight colour temperature.Ĭolour temp is another minefield and we’ll spare you all the gory details. For wider shots, we may supplement that with some small floor or side lights, but in our testing so far, the TriCaster is producing very good results. They aren’t the cheapest option on the market, but the wide spread of very soft light means we can reduce the number of lights required, and we’ll get good results from just two overhead fixtures. In our studio, we have chosen the Chroma-Q range. The purists may not agree, but remember this is about cost-effective solutions for corporate video… not 4K movies. This avoids the hassles of flouros or power consumption of tungsten bulbs. Thankfully, the cost of LED lights has come down a long way in recent years, so its practical to install a small number of quiet cost-effective LED lights. The other challenge is getting enough distance from your hosts to the back of the room where the screen is – too close and you’ll get a lot of difficult shadows that make “pulling a good key” much harder. Low ceilings and small rooms are the norm, and this is exactly the challenge we faced in lighting our own green screen in our demo studio. The lights should ideally be placed at a distance equal to half the height of the screen – but this is not always possible in a corporate studio. Best practice is to light the screen from top and bottom at a 45 degree angle. With a big budget, you can put in lots of lights and achieve a very even coverage. You’ll also find your camera angles become restricted by how much green screen is visible behind – so tights shots are much easier than a wide angle.īut with virtual sets in the TriCaster, you can still give the appearance of a very big studio in quite a small physical space… that’s the power of virtual sets. It does take more effort than just pointing a handycam – lighting, camera quality and the screen type/material all come into play. The TriCaster has all the tools for chroma key built-in and produces excellent results. Since the first all-digital versions of the NewTek TriCaster, doing green-screen virtual studio work finally became affordable for small studios. Until recent years, the costs of doing this in a corporate environment were prohibitive. Television studios and film have always used green and blue screens for both effects and everyday shots. Using a process known as “ chroma keying” you can place your host and guests in a virtual studio or in front of a live background, making a very professional video. Green screen “keying” is becoming very popular in small studios and corporate video facilities. Tags : Chroma Key Chroma-Q Lighting NewTek Studio TriCaster
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