Best approach to a green screen on multiple clips?

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.

• How green screen in first elements 14 on Mac.

  I find it incredibly difficult to find clear instructions on how to make a transparent green filtered background in a video clip to display an alternative background image or a video clip.  In the limited documentation, I saw the video effect merge is recommended, but the controls for listening to the transparent areas are very limited.  An expert mentioned using the difference of Matt, but after about 30 minutes of confusion I had to give up.  I notice that my 11 year old daughter can do quite easily in iMovie even on his iPad, but we are all totally amazed as to how to do this in Premiere Elements.

  Appreciate any advice.

  Them

  Them

  Thanks for the follow-up.

  I'm strictly a Windows of the elements user. So I'm going with the Windows-only of the effects of overlay and not Windows only. ChromaKey, my favorite, Windows isn't.

  The difference Matte, the video 3 track is essential by the nature of the effect difference... which is cache seized the background based on a difference between background and more about background. If you did not have a green no picture of the subject on video track 3 is not difference Matte to inlay.

  What to do to get the background to Video 3... in Premiere Elements creates a cache color with the properties of color that represents the background that is created as evenly as possible. See Expert active workspace to the project and its Panel Option new point a color Matte and type in the properties for the exact color. If I work in Photoshop Elements, I have created this video content 3 it and import into Premiere Elements project.

  In 2013, I wrote of my exploration of Matte color and colors. It can be interesting.

  First Elements ATR troubleshooting: PE: the matte color of color corresponding to experimentation

  But, if you have Videomerge works for you, then go with it. You will not have to create a video layer 3 as in the path of the Matte of difference.

  What has been described can be done for the video as long as the object is saved on the same green background and background which is uniform. Lots of tips and how to project video green screen.

  If I were a first Elements Mac user, I'd probably go with all that gave me the cleaner topic... in my case, probably difference Matte. If who couldn't do the job, then I need to explore Videomerge. You could do the opposite - Videomerge first choice, Matte a second review of the difference.

  A lot of different approaches which are decided on a project by project basis.

  Best wishes with your Premiere Elements project. Thank you for the interesting topic.

  RTA

• video green screen

  I have a hp 2000 and you are using internet explorer, google and bing.  I have windows 8.  I was do a green screen on all videos. My audio is here. Started 2 days ago.

  Hi louthomp,

  Thank you for your request, I will do my best to help you.

  I understand that you get a screen green when play you videos.    You can run The HP Support Assistant to help with updates and solve problems.  Have you checked the Windows updates?  As this started 2 days ago, you have an option to restore to before this date and be back up and working. Using Microsoft System Restore (Windows 7)

  If you want more help, please provide your exact model computer and what operating system you are using. How can I find my model number or product number?

• (Redirected) Update CPU now black/green screen

  I had an Alienware x 51 R2 with an i5-4460 and upgraded to an i7 - 4790 k. However when I did it was a bit slow at the start, then he stopped on a black screen for a few minutes then went to a green screen as if I was able to sign again it was just a blank green screen. I then went to the BIOS and it recognized the new processor. I went to the old CPU to try flashing the BIOS last but now I have the same slow start and the screen black/green. Anyone know what is the problem and how to fix it?

  Best of this post in the Alienware owners Club Forum, here:

  http://en.community.Dell.com/Owners-Club/Alienware/default.aspx

  Bev.

• Stop, thinking green screen for 3 hours

  I'm not too familiar with computers at best, too bad my work PC, as opposed to my computer laptop mac laptop. The PC I tried recently shut down by pressing the power button and selecting stop... but now it is continually "thought" in the green screen, and it says it will stop, but it was like 3 hours, lol. Thought at the time I came home from the beach something would have happened! What should I do? Thank you. D

  If you have restore points, try simply to turn off the power to the pc.

  Restarting Windows may complain has been closed to unexpectadly, she should start normally.

  If this isn't the case, something is wrong.

• Problem of green screening

  Hi, I'm Green a few different videos of screening, and I am using Keylight. When I touch everything and play the final result, the edges around the subject are very fast very wavey and moving. It's really distracting. I looked at the other keyframes people and they don't seem to have this problem. Does anyone know how to fix this? [I should mention that the green screen is bad enough.

  Looks like your images were shot on a professional camera with little or no compression. This complicates overlay. To find some excellent Keylight tutorials that will show you how use the type of controls Keylight in the search field in the upper right corner of the AE and follow the links to community resources. You'll find the best info in the Adobe community that you would get from a google search because there is at least an attempt to look at the training.

  The search help field is one of the most powerful tools you will find in AE. I use it all the time to make sure that I'm not missing a new or improved technology.

  BTW, thanks for the screenshots but a part of the original sequence really help point you in the right direction. It seems that you have a highly reflective surface and I found that they usually require several instances of keying, masking and color correction to fix. I doubt that I could fix your shot with a single layer.

• Difficulty of cover of book in video green screen

  I have a video shot in front of a green screen. There is a book with a reflective cover which is seized outside because it reflects the green of the ground. I'm looking for the best way to each mask the book itself so that the key effect is not applied, or replace the cover of the book with a certain type of texture image "aluminum foil" is compatible with the character of the Tin man. The book moves during sequences, so I follow that as well. Any suggestions? I hope to not have to go frame-by-frame basis, because the clip is long about 10 minutes. However, I know that maybe it's not an option. Screenshots attached.

  Screenshot 1 (Tin Man holding the book)

  

  Screenshot 2 (book of shooting of Tin Man)

  

  Screenshot 3 (an another Tin Man holding book kick)

  

  Screenshot 4 (with Keylight in After Effects)

  

  You will probably have the book to Rotoscoping. I would just try it Desaturate. In this way it will always look shiny, but will not green.

• headshots green screen shot

  Hello

  I am a beginner and want to get headshots with ANY background to LinkedIN profiles. Hoping for advice on which the product (s) will produce the best results, including green screen and lighting!

  Thank you in advance.

  Linda

  Photoshop and Lightroom are photo Adobe programs - desktop Adobe Creative cloud edition | Adobe Creative Cloud

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• 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.

• Blond hair is originally edges of pixel on the green screen, how can I fix?

  So I get really good with my key skills. Unfortunately in this video here (attached screenshot) can't seem to soften or stifle the blond hair and remove these pixelated edges... I searched all over the web only to find tutorials in After Effects... in any case I can fix this without having to use AE?

  

  Hey Danny,

  Here are pictures of our current set up. I'll upload the video soon as well.

  Thanks for the photos!

  I use a T5i DSLR rebel

  AT ISO 400

  100 shutter

  Opening to 5.0

  An SLR digital H.264 shooting is one of the poorest formats for shooting for the composition of the green screen. Sorry to be the bearer of bad news.

  I would recommend shooting with a camera that can record to a highest intra-image 10 bits of quality, like ProRes format. Many people use less expensive DSLR cameras (like yours) and AJA KiPro or Atomos Ninja HDMI data recorders to get this higher quality videos 10bits, ideal for the entry. They are quite affordable for what they do.

  We ensured that the lights are some 45 degrees angles of tripod of our DSLR, then we have the key "light" following the DSLR. With a transom for product photos and unboxing videos.

  You don't necessarily want ceiling for product, which can introduce hard shadows to talent. Key and fill should take care of most of the product lighting. However, a small 300 watt 'kicker' can be called for these lighting products. You want at least a fire behind the talent (called "Backlight"), which is usually directly behind or slightly eccentric talent. Aim the shoulders and the back of the head by focusing light, then it flood a bit. Adjustment of barn doors to avoid any excess of light entering the camera lens. I have this light almost half to 75 percent of the strength of the fill light.

  See this configuration of Jeff Foster:

  

  The subject is about 2 feet away from the backdrop. (We painted the green wall to reduce to a minimum the tripods and wrinkles.

  

  First of all, in my opinion, that this room is far too small for what you want to do.

  Talent of lighting
  It seems that you are more informed in front. Too fill key and not enough. You don't want three lights, try it with two 45 degree angles. Make sure you use the less powerful light for charging. Add broadcast if the lights are of the same power (which resembles what you have). I find this filling works best when he is about 65-70% as much strength as the key.

  Placement of talent vs the green screen
  I prefer to put at least 10 feet between the talent and the green screen (or bottom of any type) so that you can 'cut' any bright talent of the background and I can fly a backlight behind the talent. Remember you want light talent separately from the green screen. For example, if it was a VFX shot, you wish to turn it on dramatically so that it will blend with the background. In a demonstration of product, of course, it is not as important.

  Green screen lighting
  I can understand why you would want to reduce the installation program by painting the green wall, but I think're missing you an important point. The wall must be turned on too! And quite differently on how you would light of talent. If you need more space for this, as well. He needs to be very evenly lit with zero modeling. I like to use very broad and diffuse sources to that effect. A couple of big lights or soft lights work well for this. Use a directional light meter to make sure that you have all the hot points (see the illustration above for the "lights of the screen").

  You may not space or gear to shoot like you want, but I wanted you to know how I would have turned on this shot. You can do a little more research on how you can configure your studio to get better once you get your shot in Premiere Pro.

  Thank you
  Kevin

• Green screen - question of thinking

  Hello. I don't know if it was developed before that I can't find anything... So I edit videos for people who shoot on a green background. I'm new on this. I did this at first but I will go to AE as I know AE I have more options for this kind of thing. The question is his clothes reflect green (think they left the mirrors in the room) and I wonder if there is anything I can do to solve this problem and always remove the background? There are 3 clips like this every 6-10 minutes long. You can see on her left breast and her boots are green and will understand that I was worried about the earrings and metal on her clothes! :-( Thank you all! Let me know if you need more details! I hope that there is a way to retrieve these images for my client!

  

  OK, first let's talk about the next time you pull. Your actress is right next to the green screen. Bring the woman away and throw in an orange backlight. Second, when you have highly reflective things like boots and the mask of leather clothing on the edges of your green screen with black fabric (Molton or rag fight) so that there is no green extra outside the zone of action of your actress. These green reflections were perfectly visible when the picture was taken, and it is a lot easier to fix in production that is to fix them in post.

  It seems that the shooting bowed down. If this is the case, you also have to move your images in the background so that it looks realistic. The best way to proceed is to make the background images of the 3D decorations, towards the camera, set up a camera with the same angle of view as the camera allows you to photograph your model, then track down the slope and set the track to a 3D null data. Then, you set the point of interest from the camera to a 3D null with an expression and adjust the distance and size of the background layer so that the picture looks right.

  You have to use the basic roto technique that I showed in the short tutorial for roto those boots by hand or you will have to use rotobrush to create the matte. You might get a key closest if you did some color adjustments to the image before applying Keylight. If the rotation by hand here is how you would take care of the reflections on the boots. You just look at the areas where the Green spill causes the transparency then Desaturate you the green with the selective color.

  

  If you want to try rotobrush then you rotobrush boots and use the roto as matte for the original film, then apply Keylight to the background layer and selective colorization in the top layer to remove the green. Your Setup program should look like this. You will need to read up on how to use Rotobrush if you want to try to go this way.

  

  This combination of Rotobrush and Keylight uses rotobrush to cut areas with hard edges and is very good at that, then use Keylight to remove the green background of the skin and hair. The last step for a composite full is set up a few slight wrap around your actress and match the movement of the camera.

  To learn how to use rotobrush just type in the search help field in the upper right corner of the AE and cross training material. Inquire on film the same light. If you need to learn about tracking, the same thing again. Use search help and type in the Tracker.

  If that was my project and that the shot was a long minute I can allow approximately 6-8 hours, given the original film. If the images were shot property that could be reduced to 30 minutes.

• How to remove green screen CS4

  Gentlemen

  I don't know if I'm in the right place or not, but it looks like I'm

  Photoshop CS4

  Windows 7 Ultimate

  6 GB of Ram

  What is the best way to remove the green screen of a picture

  I have a girl standing in front of a green screen

  I didn't know how to remove the green screen, so I used the 'Quick Selection' tool

  But I still see green colors through her hair

  Someone guide me please, how do I remove the green screen of a picture

  Many thanks and Merry Christmas.

  Hello and Merry Christmas,

  You're right, that's not so simple knock out a picture in Photoshop.

  See this video from Martin Evening, how to use the quick selection tool dialog box and improve the mask. Make attention to the part "decontaminate colors". It is not a specific green screen, but it gives you information on how to pass from one medium to the other and minimize color contamination.

  http://www.YouTube.com/watch?v=ssJRkbkHAa4

  Hope this helps,

  CB

  EDIT:

  I'm sorry. I re-read to see that you're using CS4... I do not know "decontaminate colors" has been implemented in CS4 refine edge dialog.

  See if this tutorial Adobe TV CS3 by Russell Brown is more appropriate:

  http://TV.Adobe.com/watch/the-Russell-Brown-show/green-screen-alert/

• Drop of water on it, help green screen?

  I want to create a clip of 1 minute of a drop of rain fall on Earth and landing on a flower head from a different angle at idle but don't know how to do this. The low angle of the flower being hit is fairly easy to do, but falling to the flower on top will be much trickier. Is it possible that I can perhaps take a video of him falling on a green screen and adding my own backdrop behind? If yes how can I do to do that. I have a lot of material available to me, just the lack of knowledge with adobe first with editing software. Congratulations in advance! (I have cs5.5)

  You will need a camera like a red or even a Varicam shooting only. 120fps or more are required to capture the real thing. Or 60 fps so you have Twixtor.

  But the only thing that must be real is the final 2 feet of the fall and the impact on the flower. You can get a pretty good average rain drop of it in something like Cinema 4 d and after this fall with a virtual camera.

  But if you do then not C4D for this.

  Get a second and support robust for the drugs that will be backwards and well supported. (10 ways to do) We used a pain of glass 2 x 4 to hold the camera above the ground to shoot a bottle to drop and break into mo slow semi.

  For the drops of rain, you will need to use a glass pain on a camera pointed directly at heaven. Mount a second, then drop the liquid to make the average pain is as close as possible. (20 takes easy)

  Then, you can view the decline in 3 angles; top of the head to the ground by lifting and the impact of any side that does best.

  Liquid:

  Try the water but I'm sure that you'll have to mix the KY jelly with water to make it thicker and so it will hold its shape during the fall.

  Try to find something that will create the largest possible rain drop. A thicker viscosity liquid will help you. Experiment with it.

  Here's a diagram.

  

• What would be the best approach to store the contents of an application

  Hi all,
  
  Whereas there are certain restrictions on the University Complutense of MADRID since the limit of files in a folder (max. 1000), that would be the best approach to store the contents of a request, for example? Is it possible to store the content with a logic of separation?
  
  Kind regards

  Maybe that I miss the question, but I think you are looking for a good definition of the metadata model or same good architecture of content server instances themselves.

  You wrote that you have lots of files from one application (1200 check-ins per day) and you are limited by the recommendation to have maximum 1000 files in a folder. It is a bit of a mix of apples and oranges. Records are a logical representation of file storage, who must somehow match what users a) are used for b) is useful to organizational processes. If it makes no sense in the context of your organization - just don't use them. At the University Complutense of MADRID, he must be. Unlike, the University Complutense of MADRID must always have a metadata model, and if the content search is one of your typical use cases, it is a starting point.

  You mentioned you want to separate an application an application documents X documents Y - that sounds like you have a metadata field called, for example, 'Application', which will contain the appropriate value. Unfortunately, you write more detail, so I'll make my scripts:

  -Imagine you have users who work areas or countries interested only in 'their' data - sounds like a need for one or more fields to represent this type of separation (country - State - City - whatever)
  -now, you might have another group of users who are more focused on the product; They also want to see 'their' data, but this time, the main search criteria are different (product line - product - Version - Batch, etc..)

  At the University Complutense of MADRID, you can serve both groups - you can create research and recording of profiles that meet the needs of these two types of users. It's actually more convenient than using the folders because you can have multiple views on the same repository.

  It is a "but" to this approach and that's if you want to use Desktop Integration after the check in documents from Office applications (Word, Excel). In this case, you will need records.

  However, even, there is a solution that might help: note that, so far, I expect to have a single repository (a single instance of the University Complutense of MADRID) serving all your applications. In theory, you could have a few instances UCM running in the same environment (the same number of licenses CPU, if you want). Therefore, the main criterion will be the name of the server instance of content rather than a metadata field. Another thing to consider if you want your "desktop users" for access to "all files" in the repository. Note that even if you use folders you can have files that are not assigned to any folder.