![]() ![]() Shallow depth of field is really a no-no. ![]() Some simple things to keep in mind for any camera are to, first of all, remember that the background is a non-issue in the final, composed image. ![]() Don’t forget regular lighting fundamentals, such as hair lights to add separation and perspective, but only if they suit the final scene. The rest of the frame can be dealt with later if it’s impossible to make perfect. The most important thing is that the area behind the subject is lit evenly. Use two large softbox lights – or other large soft light sources – and place each of them aimed toward the subject, but in front of them and on angle, so that each one cancels out the thrown shadow of the other. One cool trick is to use the subject lights (key and fill) to aid in lighting the screen if there aren’t enough lights to get the screen looking perfect on their own. If the camera and software see the blown out regions as white – or anything other than green – keying will be difficult. Work at making the light even and ensure no parts of it are blowing out (overly bright). There are lights designed to make lighting a screen easier, some even projecting a green light onto the green screen to force the evenness. Hotspots where light is brighter than other areas may not key properly, and the darker areas will need to be cropped or compensated for. – even a green bed sheet, if it’s a green close enough to chromakey green), and should be evenly lit, with the subject and screen lit separately. The screen should be a non-reflective material (cotton, muslin cotton, matte paint, etc. ![]()
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