Add a film scene (green screen)

Similar Questions

• Best way to film this scene, stitch together plates or green screen?

  I have a call where I walk past a player with him framed on the right of the screen, ' actor A. ' then on the shoulder 'Actor A' (on the left side of the screen) another character is in sight, "actor B." at the end of shooting the camera move to stop and I want at the speed of the actor 'A' of the ramp so that it revolves around very quickly While the 'B' actor maintains a normal speed (which is him walking toward the camera as well). Is the best way to do this shoot with two plates separate and assemble them (if if, what is the best way to assemble the shots)? Or is - this green screen actor 'A' or 'B' and add them in? Remember, the camera moves to the rear while the actor 'A' heading, when moving player 'B' is also in the shot. Ramp speed of the actor 'A' occurs once it stops (it will whisk around extremely fast), how the camera will also be stopped.

  You have a few options. Usually, I start a VFX shot by the thought of the movement of the camera. If I move the camera what are the problems that will result?

  According to your description, you have a dolly with two actors. Tracks camera, the first actor as the second player enters the scene, then the unit stops and the second actor continues to his notes at normal speed while the first actor is accelerating. Two shooting plates will give control the moment where the first actor, but, in view of the camera move, requires you to simulate accurately the moment where two follow-up plans so the point of view between actors is consistent. It doesn't matter if the photos are on a green background. For the view between the two actors to match the camera moves must be identical to the camera angle and the speed of follow up.

  If, however, you shoot all the action in a single pass while you can use rotoscoping to separate into two pieces shooting where the camera stops moving and then adjust the time where the first actor. This works easily if you make sure that you don't move the camera at all once the track ends.

  If the players do not overlap so the second option is a piece of cake because your roto can be a very simple rough mask. If the players overlap in the framework then your roto work will have to be very precise when the players overlap, and you may need to perform a few background replacement to fill in the holes.

  If you decide to do with two plates, then you will probably need to track movement. stabilisation and re-synchronization of two shots to make them at the height. If the camera is moving when you accelerate the first actor, you will have to keep track of movement.

  A final option is to pull the first actor on a green screen and the second player as a bottom plate and then follow and stabilize the two shots to try to combine them. Here again, if the speed and angle of the two plans that you combine are not identical or at least nearby enough that you can easily fix them you'll be in a lot of tweaking to than the shots work.

  If it were my project, I shoot the two actors in a single plug and then divided take it there where should be the first actor have the speed change and make a few roto work. That seems to be the most straightforward approach.

• Purpose of track and zoom green screen?

  I have two shots, I'm trying to merge.  One is a handheld zoom and travelling of a person wearing a mask, and I'm putting an ORB that I green projected onto the front of the mask.  I had tried to animate the sequence manually, but decided to try after effects CC because it seemed that it would be a simple solution (as an anchor to a 3D point).  I was not able to find a solution that works well, but the closest I came is to create a tracker of the camera but do not compensate for the zoom when I move the layer of the orb to the solid that I create.  I hope it's just something simple I am missing! Thanks for your help - Andrew

  The simplest solution is that if you see the shots. Here are some things to consider. Point of view is controlled by the position of the camera, focal control framing. You try to mix a mobile camera with an evolution of the focal length. This means that there is a problem immediately top with perspective. Maybe it's not important because I'm not sure of what look like your shots. So it is this hand held shot of a person wearing a mask and that they walk so the camera and the person are moving. Then there's this orb that was shot on a green screen that you want to attach to the mask. You are zoomed out of the person while the perspective shifts across shot because the camera is moving and the perspective of the person moving in the changes of shooting because they move around the scene and the scale or the framing of the picture changes because you are zooming. Then you have an ORB (something spherical) you shot with a camera locked for perspective and framing does not change. When you say you want to put the ORB on the forehead of the mask I'm picturing the composite final as a shot of an actor wearing a mask that has some sort of jewelry that looks like an ORB and the actor is walking toward the camera while the camera zooms in. If it is we break down what is happening in the shot and the challenges that await you.

  Let's take the ORB first. It is a locked low blow so there is no problem to change perspective or the change of scale (zoom with camera) deals. The only thing you can do is hope that the prospect of the ORB is close enough to the prospect of the actors face which does not matter.

  Now let's talk about the outstretched hand of shooting of the actor. When the camera moves there is a shift in perspective in the whole scene. Because the actor also moves, there is a change in the perspective of the actor. Since the ORB will be attached to the mask's actor it is really unnecessary to worry about the perspective change in the background, you only need to worry with the change of point of view of the actor. If the distance between the camera and the actor remains fairly constant, then the change of perspective probably won't be much of a factor. If the actor begins 10 feet from the camera and ends with 2 feet of it camera then you have to deal with the change of point of view as well. Now consider the zoom.

  Zoom does not change the point of view, it changes only the framing or the extent of the shooting. You have to find a way to measure this change globally and apply the change to the scale of the layer of the orb. Fortunately, this part is not too hard.

  Now we are going to attach the ORB to the mask. If the distance between the camera and the actor is relatively constant so you don't have to worry much about a change of perspective. This means that the best thing to do would be to stabilize the mask so that it is not moving. If the player does not turn their head a lot so it's pretty easy. If the actor turns his head then it becomes much more difficult. Suppose that the actor don't move their head. You'll need to follow the position of the mask and the face of the actors and scale and rotation. Then, you need to apply this position, scale, and rotation to the layer of the orb. You could do that little monitoring by tracking the eye holes in the mask or by the monitoring of the upper part of the head and the Chin or the other two parts of the mask with a geometry set. Once the head and, therefore, the mask is followed for the position, scale and rotation, you can apply these data to the orb. There are basically two ways to do it. You can either stabilize shooting so that the mask does not move in the image, then place the ORB on the stabilized mask and then put the movement in shooting and apply tracking to the layer with the orb data so that it moves with the head of the actors. The other option is simply to apply directly tracking data to the layer of the orb in position on the mask and match the scale and rotation of the changes at the head of the actors. You can use AE tracker or tracker in Mocha for either. It is easier and more efficient method depends entirely on shooting.

  If the actor turns his head during the shooting, then everything in the previous paragraph applies more you need follow the change of perspective in the minds of the players. Maybe it's where you use the tracking camera AE and Mocha AE not having any real 3D tracking tools that track different elements 3D as the face of actors in a scene. According to the shooting, there may be a way to use tracker AE camera to simply follow the movement of the face and then add a sphere 3D layer so that it will follow with the movement of the actor. You can even use a 3D object. You would do that by stabilizing the first actors to head in the shot so that the position, scale and head actors has been locked. You would then duplicate this layer and mask the layer so that only the head of the actors was visible in the shot. You would then dial before shooting hidden just head of actors and run the tracker of the camera on the demo. By doing this, you may be able to fool the camera into thinking that the actors head does not move, but the camera moves around the head of the actors. If you can get a good track then you can add a null value and a camera to the scene and then the 3D layer orb and i match position ' t to null. If the ORB remains attached to the mask actors as it should then you could turn off the layer of film, leaving only the orb and the camera in the demo.

  Now, all you have to do is to put the rear movement essentially shot by reversing the stabilization and applied these data to follow-up to the pre comped ORB.

  Here is a tutorial of Mikey who is good enough and gives you an idea of how do track camera mobile head.

  I don't know if that helps at all, but it should point you in the right direction. The explanation also stresses that the planning of the production before when you do something like this. Just Runnin ' and gunnine you can get in a lot of trouble.

• Casts a shadow on the ground with green screen images

  Hello

  I have pictures of green screen of a player market with a green screen. After the green screen overlay I want to cast a shadow of the object on the ground. Seems simple enough :-) I have tried everything I can think my green screen images like a layer 3D and then add lights, which appear to be rising shadows/light on the actor, but not cast shadows. Shadow a shadow directly behind the actor but no way to "move" it is on the floor.

  If someone could provide guidance, I would be very happy.

  Thank you

  Bob Barnes

  CantonVideoMan wrote:

  Hi bogiesan,.

  Thanks for the help.

  My film is shot with a green ground. The problem I have is that the final product must be an actor walking with a transparent background, but casts a shadow on the ground. So that the shaow displayed any context the customer decides to use the video with.

  If I try to apply a drop shadow or a radial shadow the shadow BEHIND the actor not appear below. I must do this 10 times more difficult it must be.

  Any advice would be appreciated.

  Thanks again,

  Bob

  I'm not enter the question, then, sorry. Just use the shade that you have captured. A chromakeyer to shadow is not difficult.

  The problem with faking a shadow is, Yes, it is ten times more difficult than do in the original shooting because of all the problems we have discussed. There is no interaction with the feet with a layer of shadow and 3D projection is realistic enough to be accepted by an audience; It will still look fake. You CAN create a 3D shadow carefully placing a light in a 3D scene and place a copy of your matted character perpendicular to the light source and by setting the layer to cast the shadow only. But this is not always true.

  bogiesan

• Dolly zoom with green screen in the background

  I'm about to do a shoot with my subject based on a table with a green screen set directly behind. I recently decided that I wanted to do a cart in, to zoom back, but realized I might have a problem trying to get this effect of dizziness with a green screen and no real picture during shooting. Is it as simple as zoom in firing and then dolly by placing the image in later? Any help would be much appreciated.

  The Vertigo Alford Hitchcock effect is created by placing a leading player and then moving the camera to the actor while zoom you back to keep the actor of the same size in the frame.  Perspective is controlled by the position of the camera so that camera movements to the actor of the relationship between the actor and the substantive changes. You get all kinds of travel natural Parallax that awaits your eye. When you zoom while you move your brain does not expect the framing remains constant as the perspective moves. This gives you the effect of dizzying Vertigo.

  I tell you all this because if you want to remove this with a green screen, you have to shoot a background plate with the same or almost the same schedule as you shoot the Green screenshot.  Let's say you press down on the cart for four seconds and move 10 feet. During that four second dolly you zoom from 70 mm to 24 mm. To make the effect that you will need to choose something for a flat bottom which has enough geometry in the shot to give you perspective and Parallax changes and positioned the camera about the same distance from your player does not exist it would be if it was in the scene. You then the second even 10 feet and 70-24mm zoom 4 you made to operate the shooting in the studio. Just use a still image or a locked off camera shot like a bottom plate, you won't get the effect of strong "vertigo" you get hit for roll of shooting.  I discovered this the hard way when I shot a film about of 15 years who needed a dozen effect dizziness hits. I had to reshooting plates bottom about four times until we finally get to work. All other attempts just looked weird.

• 3D model of the green screen

  Hi some of you know youtybe channel called "Digital Corridor" they make great short films. I saw one behind behind the scenes of one of the videos out there, called shadow one of Mordor. You can watch it in the link if you want to. I want to know what they were doing at 14:07 minute of the video. They recorded a sword which took place and rotate in front of a green screen. It was recorded at a 120 frames per second. I'm fair to assume that they have used these images to do, sort of a 3D model of the sword that allows to follow the handle of the sword in the hands of actors to make the cool effects of stabing...? If so, how to make a 3D model using the green screen sequence? And if it's not the case why they recorded the sword like that...? THX in advance

  You make the 3D model of the actual prop sword by measuring and creating the model. Images of reference was for color grading and texturing the 3D sword to match lighting and reflections about the location. There are literally hundreds of ways to generate maps of texture to a 3D model. It is only an option. Many were probably used. Have you noticed that right after the explanation of what they were doing, the guy said "Thanks for reminding me" and pulled out her phone to take photos more? This is the technique I'd used to get a reflection of cards. I probably would have pulled something different to shoot lighting model. Look for a light sensor for 3D. The technique is not a tutorial, it's a semester in film school. I would go on the forums of APA 3D what ever you use or what you click Start blender.org digging around.

• dealing with points of reference on green screen?

  I am putting together a small shot of green screen involving a pan across a table top with glasses, sitting on the table.

  I was about to mark the green screen to follow the bottom, so I can put in a layer of a bar scene in post.

  my amateur question is how do you deal with inlay on the track on the green screen in post points?

  should I make sure that the marks on the green screen are a certain color?

  I was wondering how it works when I move into the glasses and see the markers in the background through the glass?

  Thank you!

  Dean

  The best option for tracking of markers is to make the same color as your background but about 1 stop more light or darker in color. Most of the tracking software will manage this difference very well. The second thing we do is make big enough markers so that they are at least 15 to 30 pixels wide in the shot. They've got to be big enough to track. The third clue is to use as much depth of field you can so the edges of the markers are sharp. Avoid the blur of movement and markers of development.

  Make sure that your markers will show the prospect. Don't put them right on the rear wall. You need at least 4 on the table top and about twice that many on the wall back. The markers that have different geometric shapes are also easier to follow than the circles. Triangles, cross, square...

  Try and plan your photo so that you do not have the markers through the glass...

  Last Council... He is a great. If you want key glass remember that glass is very reflective. Put as much white behind the camera and on the sides you can for glassware looks good and has some interesting thoughts. If you have a sample of the bar of the texture or the background, see if you can place that strategically so that reflections appear in the glass.

  Now that I'm done with the advice, here is a requirement. Do not pull on DV or HDV, or any other color space compressed original film. You need all the color information, you can get to draw a convincing key with your main subject glassware.

• stuttering when using green screen

  Hello.. I'm doing a film clip on iMovie for an original song that I recorded.

  I imported the audio of iMovie (10.1.2) and import a video clip of background iPhone that I shot.

  Then, I filmed and imported an iPhone video of singing me in front of a GREEN SCREEN and it synchronized with the audio.

  Then, I click on the GREEN SCREEN clip and choose "green/blue screen" in the extra menu at the upper left side of the toolbar.

  All the background shows through the green screen nicely, well, leaving the singer superimposed in front of my background.

  When I play the clip, however, the film stutters now really hurt. The sound is very good and do not stutter.

  When the project comes at the end of a section of the green screen, the context plays very well.

  Also if I just read the green screen (without the background element) clip with audio, it plays very well.

  Item background both the green screen clip are turned at the same pace etc.

  Here are the details of the green screen clip:

  

  My iMac is running OSX El Capitan 10.11.4 and I have 414,97 GB available on my hard drive.

  Can anyone help point me to a problem/solution for this stuttering with green screen?

  Anyone have any ideas?

• Effect of green screen to only ONE SIDE of the split screen

  I know how to add a green screen... quite easy to drag an image in a video clip. However, I have a side-by-side video recorded where a participant has a green screen and the other does not. Basically, I try to have three layers:

  1 person with green screen video

  2 background image to go in the green screen

  3. any other person clip

  Can I do this in iMovie?

  iMovie supports only 2 layers.  You use final Cut Pro or similar to do more than two.  You can however share a clip with a layer and then re - import and add another layer.

  Geoff.

• Windows Movie Maker: Small video and green screen

  I've been taking videos on Movie Maker for quite awhile and I've never had a problem until today. I've got this show that I have edited. The preview reading is perfectly fine and everything works normally and then I publish. Publication is going smoothly, but something must of happened between this amount of time, because the video is now scrunch all upward on the top (its dimensions are now all distorted to extend over the screen to halfway) and on the bottom half there is just a green screen. It occurs only after the publication. I tried to change an option that I use when publishing... did the same thing. Then I thought maybe it was some kind of title effect I used... it's not. I tried to delete all the effects on my thing and editing like that... This isn't the problem. The only thing that could be a problem, it's that it's a different file, then I usually use I think that... I had like a torrent file, but when I look, it works well and is not. So I do not understand... any suggestions?

  I've been taking videos on Movie Maker for quite awhile and I've never had a problem until today. I've got this show that I have edited. The preview reading is perfectly fine and everything works normally and then I publish. Publication is going smoothly, but something must of happened between this amount of time, because the video is now scrunch all upward on the top (its dimensions are now all distorted to extend over the screen to halfway) and on the bottom half there is just a green screen. It occurs only after the publication. I tried to change an option that I use when publishing... did the same thing. Then I thought maybe it was some kind of title effect I used... it's not. I tried to delete all the effects on my thing and editing like that... This isn't the problem. The only thing that could be a problem, it's that it's a different file, then I usually use I think that... I had like a torrent file, but when I look, it works well and is not. So I do not understand... any suggestions?

  =========================================
  No guarantee, but it might be interesting to try to publish your
  project in DV - AVI instead of WMV format.

  (The following items should help explain how to save under)
  DV - AVI)

  Windows Vista-
  Publish a movie in
  Windows Movie Maker
  http://Windows.Microsoft.com/en-us/Windows-Vista/publish-a-movie-in-Windows-Movie-Maker

  Movie Maker Vista-
  Quality profiles / editions
  http://www.Papajohn.org/Vista-publishing.html

  And... the info... copied on the net... may be useful:

  =====

  The Green problem bar setting in Windows Movie Maker
  http://www.bernzilla.com/item.php?id=884

  When I tried to follow the directions, I was unable to find XVid on my
  computer.  So I googled XVid and then (I think) the 2nd entrance to
  Download XVid.  After I downloaded it, I could follow the directions
  bernzilla and when I published a video - Voila! no green bar!

  After thick film Green line is published
  http://www.windowsmoviemakers.NET/forums/ShowPost.aspx?PostID=105025

  =====

  Good luck...
  Volunteer - MS - MVP - Digital Media Experience J - Notice_This is not tech support_I'm volunteer - Solutions that work for me may not work for you - * proceed at your own risk *.

• Re Edit a movie maker file causes video green screen

  When you save a file of film edited with windows live movie maker record in wmv format that plays very well. Then when I want to re - edit this file and make a short clip and re - save this file, the sound is played, but the video shows just like a green screen Uni. Looks like a bug in the program!

  Hello

  I would suggest your question about Windows Live movie maker in windows Live help forums.

  Here is the link: http://www.windowslivehelp.com/product.aspx?productid=5

  Diana

  Microsoft Answers Support Engineer

• It is a way to green screen only certain areas?

  Hello world!
  You all hate me for this... I was filming a music video for my boyfriend with the help of green screen, but really wanted to wear his company logo shirt who, you guessed it, Green lettering that said his company name... I knew this would cause an issue since if I touch the Green, the letters will have disappeared from his shirt too... Is there a way to just press the green background and keep the Green logo on his shirt? I have a feeling that there must be a way around it... If not I'll just refilm and my boyfriend carry no green.

  Thank you all.

  There are instructions in the PrPro online help files... go to your 'Help' section on the menu bar and the option for the manual online. You can search pretty easily. Very similar to what you do on the green screen in the first place.

  Masking and tracking in Premiere Pro

  Also... search on the web. There are two very good tutorials on lynda.com as well as many things for free on YouTube... search for Premiere Pro and camouflage.

  Neil

• First Pro can't find key ultra video green screen video editing effects

  Hello

  I have the first cc pro 2015, just updated to date. Everything is ok.

  Watch the video on how green screen edition, and when I go to-'control effects' then "video effects" are only 3 options to choose, of movement, opacity, and time remapping.

  On the video, I saw there was an ultra key option below these 3 to open and remove the green wallpaper.

  Any help would be appreciated.

  Thank you

  MM

  PS. Here is the link to the video I was watching the creation of a key green screen using the Ultra in Premiere Pro key

  You need to add the effect to the clip first, he is not one of the effects 'built' Go to (if I remember correctly) video-effects-effects overlay, you should find it there. Thenjust, drag in your clip.

• Green screen does not have a clean background

  Hello

  I try to do a green screen of a video, I recorded in front of a green background.

  PP does not remove the entire bottom, which is green. I can see the bottom, but there is a light gray "shadow" on it.

  I try to do a green screen with imovie, and here I get a very light background.

  Pp, I use "Ultra-clé", and then I choose the color green. I tried to play a bit with the shadow, but it destroys the color of my black shirt too.

  Thanks for the help,

  Daniel

  Unless you have a background in studio-perfect so any chroma keying requires very careful, adjustment and many times it can simply be done with one pass. Mask of each area, run an instance specifically tuned to the Keyer on it, and if necessary use rotoscoping, if something won't go away. Ultra key is OK when the film was lit properly, but he fights really with uneven lighting and 420 codecs - the main push and pedestal too will destroy your squares. You can find better results with Keylight in After Effects because it is based on pixels instead of focused on the form, but for really complex keying most people use third-party tools (e.g. Primatte) that can set the key parameters in different parts of the frame and fix uneven lighting.

• How can I put a background of movement behind the video green screen

  Hi people a novice (like today) here. I shot some videos of a person standing in front of a green screen. Now, I would like to add a background of movement instead of the GS.

  Is could someone please tell me how this is done? Thank you very much in advance

  Do what you say. Ask the layer of GS (V2) on top of the layer of BG (V1).