headshots green screen shot

Similar Questions

• 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?

• Major green screen problems!

  Hello

  I wonder if anyone can help?

  I recently shot a few hands in motion on a green screen lite smal (propert material screen Green etc.), but I had major reports coming back from the House of post saying that they just could not touch anything on the green. Something problen with the blur of the produce and or movement.

  I shot at 23.98 FPS, 1920 x 1080 and @180 shutter. Just, I don't understand what could be the problem!

  Someone had the same problem with the F55?

  Thank you very much

  S.

  Which codec and you can post a screenshot? If you can not what exactly were you shooting and what has been the lighting?

• 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.

• 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.

• 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).

• 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.

• Best approach to a green screen on multiple clips?

  So I know that this may fall into the category of the sequels, but start with a project in creation with many clips and cuts, what would be the best way to apply the green screen on all these clips? I think that all these clips after compositions effects would be excessive and not the best approach. So is there a better way to do this?

  In these cases, it is preferable that you test them with a clip before you go all in and having to change direction after that much is being done.  You can get keyed Ultra in the body if the screens are made properly and clean enough.  It will depend also on the desired result.  In other words, you find you can do a lot of tweaking of plans that are unable to repay if they are quick-action, etc..  I'll usually round complex houses for AE involving the shots really need to clean up, but opted for Ultra in the quick clips body with action.  When I use the Ultra key I use multiple instances of the key.   Then test both ways and use this as an opportunity to know the Pro of these two methods.

• Green Screen - need to take a small piece of clothing

  I shot a few videos against a green screen, and the talent was wearing a green shirt under a black jacket. This is only a small part of what she was wearing and the shirt never touch the green screen. Is there a way to only ultra adjacent green key or a way to put his shirt back on after it is indexed on. It is only on a 30 second video and not a lot of movement.

  Thank you

  Mask of garbage in the first or if you have access to the AE and Mocha allows you to track a mask quite easily.

• 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.

• Green screen problem

  I just purchased Adobe Premiere Pro CS6 and I shot some footage using a green screen. I was finally able to import my Green images and a background that I want to use, but I am not able to make the strong person. He looks ghostly. I tried to follow the instructions:http://adobe.ly/Aa9uYo

  but without success. I'm not able to find these eye dropper that are discussed in this video or this Ultra key which has been discussed in CS5. Help!

  Ultra key is certainly still in Premiere Pro CS6 and it works in the same way. Check in your panel of effects that the "32" and "YUV" buttons are not pushed, they will percolate the UK tree effect.

  Here's some more on FORCED CS6 tutorials that describe the UK tool in more detail:

  http://www.adobepress.com/articles/article.asp?p=1865783

  http://www.InfiniteSkills.com/blog/2012/08/Adobe-Premiere-Pro-CS6-tutorial-using-the-ultra - key-effect.

  Rial http://Library.creativecow.net/Articles/devis_andrew/Premiere-Pro-CS6-Basics_98/Video-tuto use caches to manage a difficult key, which can be useful in your case, if the background is not properly informed.

• Green screen overlay

  Hello

  Not 100% sure of how to do this - perhaps someone kan help out me.

  I have a 1920 x 1080 50i project with a few clips shot with green background.

  I mean, of course, apply the filter of the green screen on the green to cut the person, but before that I reduced about close to the body to avoid some things outside of the greenery and to 'help' input filter.

  Is this possible and if, how?

  Thanks in advance for any input on this.

  / Ulf

  Use one of the cache of transparency effects. There is a version 4 points, 8 points and 16 points. Most of the time, I am able to come out with the version 8 points - fewer points to manipulate, which is good, because you have to do all of them independent.

  Apply your GB effect first, which makes it pretty tight and then use Ultra key to remove the key. Do not rely on the default settings, but play with him a little to refine the key - parameters are not too difficult to understand. Use the Alpha channel view in the Ultra effect to test how clean your key is. If you have a GPU that is adapted, it is accelerated, making a breeze of inlay.