Best Indie Green Screen!

[@Ranger7Studios]

Putting someone right up against the green screen is going to cause massive green spill. I would suggest 2X 1000w LED work lights (which are pretty cheap) diffused with parchment or baking paper.This is how I started with keying. You never want to be right up against a green screen. You should at least be 8 to 10ft. or more if you can. Loving this series BTW. Makes me want to run out and get a mocap suit. :)

[@CinematographyDatabase]

It's not ideal to put the talent right on the green screen, but the VFX artists who are following along probably haven't invested in multiple LEDs yet and they'll be able to get started that way. But keeping the talent a good distance from the screen is better in general.

[@CinematographyDatabase]

so for the green screen building time lapse my kids were "operating" the camera and generally just running around, luckily they didn't cut mid shot lol

[@hoodaffairstv]

Could you put two little camera mount lights like the aperture mc on both sides of the floor to even out the bottom somewhat

[@CinematographyDatabase]

yes, if you add more lights you can even out the lighting. But with two lights from the top you'll always have some fall off at the bottom. Most keyers will be able to handle it though.

[@redrockmicro]

🔥🔥🔥

[@GregCorson]

Have you found any good green screen solution for the floor? I have used cloth but it is really hard to keep clean if you want to walk on it with shoes.

[@CinematographyDatabase]

for my little home setup I have some muslin/cloth. I've also seen people use green square modular exercise mattes. For a studio with a proper hard floor they sell rubber matting, but that is expensive and does get beat up pretty badly.

[@GregCorson]

I was thinking about using the “puzzle tiles” but can’t find any green ones that aren’t heavily textured, usually diamond plate texture. Might still work, need to try it.

[@MarkDAllen]

Just a note for anyone who is only doing static camera green screen. You don't want a bent screen, you don't want any thing on the side of your subject if at all possible to avoid it. Block out any green you can and isn't directly behind your talent. Helps the key a a lot.

[@emumist]

Thank you!!

[@konzeptwerks6710]

The best Green Screen I've found, is Glidden's Leap-Frog Green. Less than $30 bucks a gallon. *_Splurge_* and put on TWO coats !!!

[@CinematographyDatabase]

Painting has a big time factor, if you have the wall/cyc and time it's a good option. I considered painting my wall green, but in my experience green painted walls are usually a big reflective, even if it's "matte." Paper seamless or the cheap muslin options are good, but if you start to want to add curves/180 setups they are pretty limited.

[@konzeptwerks6710]

@@CinematographyDatabase Yeah...you're right. You're a *genuine* genius...but I can't be that brainoid. I'm just a window for light, a wall, a desk, a camera, and a mic.

[@NaruphonPunphairoj]

Thank you. Is it work for Oculus Quest with an oculus link? and Why HTC Vive Pro?

[@Mateo2000G]

8:56 using false colour could be faster

[@benz.1730]

What lights do you use at the ceiling? thanks

[@DodZz666]

i would love a tutorial on using light meters and lighting green screens

[@MEKAFILMS]

I love this stuff. Getting into it myself. Thanks Matt!

[@Sebbir]

Have you considered using philips hue sync to have your lighting match the enviroment when you are doing mixed reality virtual production? I dont know if it works but i think it could be a really fun experiment

[@CinematographyDatabase]

I would consider using them for "effects" light, like red/purple/green. But for a "white" key light and getting nice skin tones, I don't think I'd use them. I could do a test for sure, but in general I'd want the highest quality I could afford for the key light on skin.

[@Sebbir]

Cinematography Database fair enough. I just thought maybe it could be a “cheap” alternative for people trying to get into virtual production. Especially since they are the only smart lights i know that have a screen synching feature with Hue Sync. Btw great job with these virtual production videos. I think i have become addicted

[@CinematographyDatabase]

@@Sebbir I've considered them TBO, they integrate with Elgato control I believe. Maybe I'll put 4 into a softbox and see what happens or make a batten strip out of 6.

[@Sebbir]

Cinematography Database that sounds like an interesting idea. Ill be looking forward to see what you come up with

[@jezzathenugget]

Epic!!

[@prjpantallasdeledspantalla7722]

please my friend can you explain how conect HTC VIVE with UNREAL , thanks

[@nickb_rock]

You rock Matt! Keep up the awesome work, we all appreciate it. Would love more youtube videos like this, and maybe getting back to the deconstructing lighting in films and maybe recreating some of the looks in Cine Tracer to avoid copyright issues!

[@CinematographyDatabase]

Cine Tracer still has a lot of development left before I can completely recreate film lighting scenarios, but it's something I'm still interested in doing. Also now I can composite myself INTO the Cine Tracer sets for those videos lol.

[@nickb_rock]

@@CinematographyDatabase would love to see that happen, I think it would bring tons of growth to the channel, why I subbed in the first place, and in doing so increase your sales for cine tracer and benefit everyone in the community. Pointing the cam at the virtual lights and explaining them, even taking meter readings lol man that'll be fun and cool to see. Thanks Matt!

[@AdamSmith-pn5hk]

Hey Matt, Love your channel! Appreciate all the great info you give out. Just wanted to ask you what lights/softboxes are best for a virtual produciton setup or what you typically use to light just the talent? For someone on a slimmer budget, are there specific lights like the aputure 120ds and specific softboxes or diffusers that might work for most cases? For your light setup do you typically go with the standard 3 point lighting and would you use a softbox on both the key and fill? I know all shoots can be very different from one another but I was hoping there might be a good goto softbox/diffuser for most scenarios. Sorry for all the beginner questions. Thanks for your time and info!

[@CinematographyDatabase]

I’d buy an affordable smaller brand LED panel and bounce it off the ceiling or off a 4x4 white card or something to start. Bouncing if you can figure it out works well to make big soft sources in small places.

[@AdamSmith-pn5hk]

@@CinematographyDatabase Thanks. So at the moment I have 2 120ds that I was going to try and figure out how to use. Would you still go with the idea of bouncing or would softboxes work in this case? I was checking out the Aputure light domes but also the longer and tall softboxes that are 9x36. Cheers

[@AdamSmith-zq5sr]

@@CinematographyDatabaseIn regards to the height of your Aputure ls 1/2w’s. I know you said your ceiling is around maybe 10 ft. I recently moved into a new house and my ceiling is the typical 8ft or so for my room. Would it still be possible to use 2 of the LS 1/2w lights from my ceiling even though they would be very close to the top of the green screen? Do you think the lights would still be able to spread light efficiently enough? Cheers and thanks again as always.

[@RandomRotation]

Super cool stuff!!! Can't wait to learn more about all that! Thanks for sharing.

[@Helsingborg36]

maybe you could put a fresnel layer on the LED Panels to get less falloff. DIY Perks did a video about this with TV Screens.

[@mylesdb]

Hi Matt, you mentioned there is a bigger Lastolite screen? I cannot find it for the life of me!

[@theswimclub8582]

You should concentrate on creating a good short film using virtual tracking and unreal engine

[@AAa-tn5rz]

Light meter tutorial would be nice.

[@CinematographyDatabase]

Copy.

[@hansterhorst4362]

I second this!

[@saiphaniutkarshkethana8519]

Thank you so much!!! Great work Matt...

[@puyakhalili]

Thanks for the video Matt very helpful.

[@kameramanhv]

4x4 soft paper diffusion for ceiling.

[@furynotes]

I thought about those base stations. I wonder if you can mix regular base stations with the pro base stations. Reason I bring it up. In the vice website. On the east coast us. The pro base stations are out of stock. At the time of typing this. Unless you buy two vice pro production setups.

[@CinematographyDatabase]

I'm not sure about mixing v1.0 and v2.0 base stations. I was able to buy two additional 2.0 base stations on Amazon, but I've hard they are challenging to get some times.

[@garrettcorona]

I wonder if a overhead projector pointing at the talent would work for volumetric lighting, fake shadows displaying a video feed from UE

[@CinematographyDatabase]

I've heard of people doing that and especially if you haze the set a bit. My ceiling is too low to really get enough FOV from a projector, but it would be cool to sync UE4 to a projector or moving light that can do gobos and color changes. Someone would have to write that plugin and be able to do the correct hardware protocol for the light/projector.

[@markn.reprisal9472]

In most CIVILIZED Things...like going to the MOON or MARS, it's still mostly Imperial. OOOOOooo that hurt!

[@CinematographyDatabase]

I bet behind the scenes it's metric but they convert the UI to imperial

[@fabricioguardia8730]

Having the subject close to the greenscreen and not lighting the greenscreen separetely, is the worst advise ever.

[@CinematographyDatabase]

It’s not great, but if you don’t have the kit to light them separately it can work. I’ve done it before for a quick preview. I’m not saying it’s going to amazing results.