1. "Back to Set"-love the name! 2. Thank you for the tip on using OBS for a live key preview. That's such a great idea! 3. Do you find any advantage to lighting your green screen at 5600K vs 3200K vs whatever else (even green light)? I assume you want the end result to be true green, so it depends on the white balance in your camera, but is there any advantage to pulling that off in a particular way?
Thanks! It doesn't matter as long as your white balance and lights' color temperatures match up. As long as there aren't any other colors mixing with the green screen, you should be good.
Looks fantastic! The only thing I would do is blur the background a bit. It looks too in focus, therefore breaking the illusion of being 3 dimensional. If you look at the water, it's a little too clean and flat, which is giving the effect away. Love the new show name!
For my thesis narrative a while back, I rigged a DIY 15x8 bluescreen outside the set to keep in continuity with a miniature model shot of the same location - all of which took place in the middle of the ocean. These breakdowns remind me of good memories on set with that process.
@@nikilragav The first two shots in my reel showcase this effect - th-cam.com/video/Qfpk0pgPEiQ/w-d-xo.html. Because of continuity, I had to take the actual 1920s blueprints of my location and lasercut a miniature model off of vectors I made from the blueprints. That and texturing the house to match all made it feel cohesive, but when it came time for the bluescreen, I lit the chromascreen outside the porch exteriors and house interiors with 800w Jokers gelled with CTB, as well as some RGB LEDs set to chroma blue - all to enhance the blue light filling the screen, similar to what’s being done in this video in terms of evening out the screen for the key. For the establishing shot of the house on the water, I built a flotation rig that had a blue screen with tracking markers attached to the back, so I could actually float the miniature model house on the ocean for a separate plate.
Couple important tips that weren't mentioned: 1. Use a tighter shutter angle to keep motion blur from mixing into the green screen. 2. Chroma green is more reflective (spill) compared to chroma blue, nearly double. If there is no blue in the scene and you have spill, use blue. 3. Use a waveform monitor to ensure the green screen is lit evenly left to right, top to bottom. 4. For green screen, you want to be around 45 IRE (color bar green) on the screen itself, evenly lit for a seamless key.
On the scene 2 where you got hers face, what i would do it would place a moon light behind her with some fog and texture, doesnt matter that it doesnt match where the moon trully is, but it should adds a lot of depth of field to the scene and solve the moon light problem. btw love the set, you always rocks, awesome techniques and love the way
Love it. One thing I would have added to the shot looking in to the window from the outside is a little bit of glimmering streetlight reflections from the “street” in the lower portions of the window panes. But that is a post move so I still appreciate how it was shot. Keep up the great work!
Thanks guys, this episode was super helpful. I'd love to see an episode on emulating darkness for a horror movie. Not the blue tint kind of darkness-- but pure black darkness. I always run into fixed pattern noise issues with Blackmagic cameras when I try doing this (not regular noise, but the burnt-in grid looking fixed pattern noise). Seeing your workflow to effectively achieve this lighting would be tremendous (especially with blackmagic cameras).
@@aputurelighting This was a great episode! I agree, getting rich blacks would be great. Also, if you could talk about exposing for those kind of low key scenarios. For example, ETTR and pull it down in post or try to get it in camera, what is Valentina's thought process on exposing low key stuff? That would be awesome and very useful!
I think the funniest part was the girl in the scene banging on the mobile CB Radio without a power connection or a antenna attached to it and it was receiving radio traffic. I think every ham radio operator was rolling with laughter or even a common person with the basics of electronics seeing a radio work without a power connection
I'd love to see you do a shoot similar to this with only 3 amaran 60d or 60x. Obviously your lights are much cheaper and more feature packed than HMIs and tungsten lights and stuff, but there's still a level below indie (call it university, or TH-cam studio)
That's true! I would say you have to be smart about sun placement and scheduling your day to take full advantage of that for the green screen. That way, you can use your amaran lights for lighting the rest of the shot.
Nice channel. Definately learned something. I sometimes use polar filters for killing refelections, but it costs one T-stop. The moonlight only worked, if it goes massive through the window and touched her face. But that wouldn`t match to the opposite over shoulder shot.
Hi, loved the video… I have always wondered how to light a campfire scene using real fire and of course RGB lights (as you may know having a real flame makes it harder to have a correct exposure for everything). My question is: if you had a wide shot in that case, how would you light it?
The reflective surfaces answered my question when the table was shiny and you put a blanket over it. What would be the alternative solution to eliminate reflective surfaces without sacrificing light temp? Filters?
Excellent work, and definitely along the lines of how to maximise knowledge sharing. great job. Some "troubleshooting" additions would be cool though, set up common problems and show how to fix them, someone lets the cat in and it breaks a light, or you forgot the MC's or B7C's now what? someone suddenly develops an allergy to the fog machine and duvetyn (I know fire, that person! I hear Vee shouting ) but troubleshooting in the heat of battle is a key skill and might be worth randomly adding in a scenario to "fix" every now and then
I love learning about these topics. But, I was wondering if you could do a video on how to light an exterior night scene but still have the milky way and the cosmos shining bright in the night sky. I'm struggling on how to figure out how to get a good night shot like some campers outside or something and still have the sky seen as well instead being all black.
what software are you using for the Chroma key? I only saw you connect camera to your monitor via OBS, how can you quickly get keying result composition? thanks
@@aputurelighting you are awesome ♡ I'll start producing some videos for training but the only camera I have is on my cellphone. The lens limitation on smartphones is so frustrating :c
Not a stumping question however I have a green screen shot next week...in a very small space. I have a 13' green screen and then 4 ft in front of it I will have talent (talking waist up). I will be using 2 nova P300c to light the screen and 2 300x to light the talent and a 60x for a rim. Here is my question. What IRE for the screen and what IRE for the talent? I was thinking 45 IRE for the screen and the talent somewhere around 55-60. Such a small space to shoot in. Cameras will either be 2 BMPCC 6K or 1 Sony FX3 and 1 Sony A7sIII. Also great video and I will have to try the green screen window shot. And I love that you used the reflectors (from Matthews?). I have been looking at them but don't have a use case for them yet.
Thanks a lot these classes help a lot. It would be great if you can share the lighting ratios & Filters used for the sequence.(Could be mentioned in the description if its a lot to show on video)
There isn't a tool to measure haze in the room, but often times - having the hazer running steadily the entire time is the best way to ensure continuity between takes.
First off, I like the new name and longer form. Secondly, and perhaps it was already addressed, I found the depth of field unrealistic with both green screen shots. Is there an easy way to knock down the plates so that they are not as sharp... Making it look like a more realistic focus falloff?
IGNORE.....i commented before WATCHING....and now it has been revealed...but thats amazing and i'm hitting myself for never having thought of using it as a proper preview!! QUESTION....what do you guys use OBS for on set? -i stream on OBS -and i shoot film/photo for a living.... i'm so curious on what you've combined the two to do!!!!
Good question! We usually like to use these film set opportunities to shoot our commercial footage, but it doesn't hurt to add a fun scenario about why we would film a scene like these ;)
I love your content but the second shot really doesn't sell it. Maybe because it was sped up keying project and with a little more tweaking it would look more convincing. Great video as always.
@@aputurelighting I've used OBS and it is an awsome tool. I've never used the Apature lights. Which do you suggest for beginners to help light a scene for an indie film
I have a film question that I have never been able to get answered. Why is it that the Director of Photography shows the ASC / ACE after their name? I know it's not always and I know what the abbreviations stand for. But why doesn't anyone else in the opening credits need to show or have these extra credentials shown?
There is no need to stretch or iron or light too evenly the green screen. You just need to sample pixels before you find one that gives you the best matte. If you look at Hollywood sets you quickly find out that they may often just throw green over stuff or even use different shades, etc. Honestly just use one screen as an anchor point where you samples pixels and have the second one in "status" mode and you will be fine...
Of course! If they are rgb panel/tube/flex lights though, make sure you have ways to control the spill and be mindful of how "sourcey" the light can come across.
My problem with the second shot is that background aka what is out the window is far too sharp, At that time of night the outside should be far more out of focus. Also at that range I think there needs to be a lot more parallax action on the moving camera. Regardless, amazing work and extremely helpful.
Am I the only one who's, frankly, shocked by the results? Don't get me wrong, I love Aputure as a company and Valentina as a person, but this looks bad IMHO and I just don't understand why no one seems to care. In the first setup the shot right before replacing the green screen looks fine. Then after replacing it, the highlights on the windows are weirdly dark, like when you pull the highlight recovery slider back way too much. There are basically no highlights on the window anymore. Then there's a weird dark edge on all edges of each glass frame. Plus the plate is way too dark to fit to the lighting inside. She has a really bright highlight reflection on her lip (and on the talky) so the window would need to be pretty blown out in order to look realistic. Second example has a similar problem. Just that this time the lamps inside are way too dark and don't fit the plate. In the plate all the small lights on the street are fully blown out, so why are the lamps right next to here barely bright. Then there are bright highlights on the window frame (from the Nova's) but there's barely coming any light into the room from the windows (because the Nova's are so low). Also having the table as well as infinity in focus looks weird and fake. Last thing, the water is super dark on the right, so the highlights on the windows make even less sense. Isn't that exactly what the real time monitoring could have helped with? Maybe it could work if we assume there's a light attached to the building right below the window, but the keying still looks super messy. What happened there? Sorry, don't mean to be unfair, as I said I own a number of Aputure products and really like you guys, and I I guess the 'how to light a green screen evenly part is all good, but for such a big crew and your official content I'm just shocked you call these 'successful' results. Would love it if you actually made us look twice if this is real or green screen next time and THEN taught how to do it.
@@KaceyBakerFilms You seem to be able to produce a number of good looking shorts on your channel, so tell me: Are you fooled by the green screen? If so, I'd be surprised. And if you're not, then you agree with me. I'm not a youtuber and I won't spend my time making a tutorial, that doesn't mean I can't be disappointed when a million dollar company makes a tutorial and tells people "how to do it" and then isn't convincing at all. If this was someone's personal project, I wouldn't criticise it, obviously.
You're absolutely right. The problem is really in the comp. The chroma key is really rough (including what looks like a mix of blurred edges and sharp pen tool cut outs), the perspective seems off, the depth of field is very jarring, and the lighting doesn't match (moonlight visible as a hair light on the actress but the scene outside is clearly bright and warm and overpowering moonlight). I was looking on a phone screen and could easily see the problems with the comp. 95% of the problems are with the post production though. I'd love to take a stab at the footage to try to comp it in a more believable way!
@@halfgraincinematography I think the onset work was spotless, but yes, another couple of watches and the keying does look a little unloved and Neglected, I personally would have worked on the river comp a little more too. I get what you’re saying though… I can’t say anything negative though as I just made a video for Creamsource lighting… if you care to check it out on YT, called THE VORTEX. (Sorry Aputure, cheeky plug).
at first i thought this video was 2003 or something, and then saw the post date. literally step into the future my friends. no wonder hollywood movies cost millions of dollars to produce. so much wasted resources.
Great setup, lighting and shots. Only problem? The girl acting. Look fake and just not real. From the waking up to the typing, just bad. Everything else EXTREMELY AWESOME!
1. "Back to Set"-love the name!
2. Thank you for the tip on using OBS for a live key preview. That's such a great idea!
3. Do you find any advantage to lighting your green screen at 5600K vs 3200K vs whatever else (even green light)? I assume you want the end result to be true green, so it depends on the white balance in your camera, but is there any advantage to pulling that off in a particular way?
Thanks! It doesn't matter as long as your white balance and lights' color temperatures match up. As long as there aren't any other colors mixing with the green screen, you should be good.
Looks fantastic! The only thing I would do is blur the background a bit. It looks too in focus, therefore breaking the illusion of being 3 dimensional. If you look at the water, it's a little too clean and flat, which is giving the effect away. Love the new show name!
This series is my fav thing to watch on TH-cam. I wish there was a way to thank you all for what you do!
We hear you! Thank you so much :)
For my thesis narrative a while back, I rigged a DIY 15x8 bluescreen outside the set to keep in continuity with a miniature model shot of the same location - all of which took place in the middle of the ocean. These breakdowns remind me of good memories on set with that process.
Do you have the link?
@@nikilragav The first two shots in my reel showcase this effect - th-cam.com/video/Qfpk0pgPEiQ/w-d-xo.html. Because of continuity, I had to take the actual 1920s blueprints of my location and lasercut a miniature model off of vectors I made from the blueprints. That and texturing the house to match all made it feel cohesive, but when it came time for the bluescreen, I lit the chromascreen outside the porch exteriors and house interiors with 800w Jokers gelled with CTB, as well as some RGB LEDs set to chroma blue - all to enhance the blue light filling the screen, similar to what’s being done in this video in terms of evening out the screen for the key. For the establishing shot of the house on the water, I built a flotation rig that had a blue screen with tracking markers attached to the back, so I could actually float the miniature model house on the ocean for a separate plate.
I love this breakdown. You do such a great job breaking it down Valentina. Thank you Aputure for giving us such great ways to utilize these lights.
Couple important tips that weren't mentioned:
1. Use a tighter shutter angle to keep motion blur from mixing into the green screen.
2. Chroma green is more reflective (spill) compared to chroma blue, nearly double. If there is no blue in the scene and you have spill, use blue.
3. Use a waveform monitor to ensure the green screen is lit evenly left to right, top to bottom.
4. For green screen, you want to be around 45 IRE (color bar green) on the screen itself, evenly lit for a seamless key.
I'm always so amazed watching these videos on how much knowledge it takes to light a scene well...
It's more important than the lights themselves!
I could watch these lighting set ups all day
love to see more of these behind the scene stuff. learned a lot thanks.
On the scene 2 where you got hers face, what i would do it would place a moon light behind her with some fog and texture, doesnt matter that it doesnt match where the moon trully is, but it should adds a lot of depth of field to the scene and solve the moon light problem.
btw love the set, you always rocks, awesome techniques and love the way
Love it. One thing I would have added to the shot looking in to the window from the outside is a little bit of glimmering streetlight reflections from the “street” in the lower portions of the window panes. But that is a post move so I still appreciate how it was shot. Keep up the great work!
Beautiful stuff. Love this and gives me ideas as I as a few Aputure lights.
Thanks guys, this episode was super helpful. I'd love to see an episode on emulating darkness for a horror movie. Not the blue tint kind of darkness-- but pure black darkness. I always run into fixed pattern noise issues with Blackmagic cameras when I try doing this (not regular noise, but the burnt-in grid looking fixed pattern noise). Seeing your workflow to effectively achieve this lighting would be tremendous (especially with blackmagic cameras).
That's a great idea! There aren't a lot of videos currently talking about how to get a rich, not grainy, type of black.
@@aputurelighting This was a great episode! I agree, getting rich blacks would be great. Also, if you could talk about exposing for those kind of low key scenarios. For example, ETTR and pull it down in post or try to get it in camera, what is Valentina's thought process on exposing low key stuff? That would be awesome and very useful!
Any luck on figuring out a solution to those fixed pattern noises on blackmagic? Having the same issue here.
The pain of realizing doing all the work and seeing that 'less is more' 😭😭
Tear it down!
Sometimes the simplest setup is the best looking!
I think the funniest part was the girl in the scene banging on the mobile CB Radio without a power connection or a antenna attached to it and it was receiving radio traffic. I think every ham radio operator was rolling with laughter or even a common person with the basics of electronics seeing a radio work without a power connection
Thank you for educating us🎉
Our pleasure!
Would be interesting to project the venice scene onto the window pane on the ext shot?
great tutorial ,thank you Back to Set,
I'd love to see you do a shoot similar to this with only 3 amaran 60d or 60x.
Obviously your lights are much cheaper and more feature packed than HMIs and tungsten lights and stuff, but there's still a level below indie (call it university, or TH-cam studio)
That's true! I would say you have to be smart about sun placement and scheduling your day to take full advantage of that for the green screen. That way, you can use your amaran lights for lighting the rest of the shot.
Nice channel. Definately learned something. I sometimes use polar filters for killing refelections, but it costs one T-stop. The moonlight only worked, if it goes massive through the window and touched her face. But that wouldn`t match to the opposite over shoulder shot.
Yes! Totally agree on the moonlight
Hi, loved the video… I have always wondered how to light a campfire scene using real fire and of course RGB lights (as you may know having a real flame makes it harder to have a correct exposure for everything). My question is: if you had a wide shot in that case, how would you light it?
They did this one already a few months ago. Here's the link
th-cam.com/video/Z__pxLr0_9o/w-d-xo.html
Amazing video guys. I love your channel. I’m going to film school in the fall.
Good luck!!
Hey I am just wondering, Why are you guys using OBS, does it help you save on a video transmitter or why is that?
Literally got answered like 2 seconds later whoops nvm amahaha
The windows really needed the reflection of the lamps in final scene
That's a good point!
The reflective surfaces answered my question when the table was shiny and you put a blanket over it.
What would be the alternative solution to eliminate reflective surfaces without sacrificing light temp? Filters?
Paint the table with black color!!
Excellent work, and definitely along the lines of how to maximise knowledge sharing. great job. Some "troubleshooting" additions would be cool though, set up common problems and show how to fix them, someone lets the cat in and it breaks a light, or you forgot the MC's or B7C's now what? someone suddenly develops an allergy to the fog machine and duvetyn (I know fire, that person! I hear Vee shouting ) but troubleshooting in the heat of battle is a key skill and might be worth randomly adding in a scenario to "fix" every now and then
I love learning about these topics. But, I was wondering if you could do a video on how to light an exterior night scene but still have the milky way and the cosmos shining bright in the night sky. I'm struggling on how to figure out how to get a good night shot like some campers outside or something and still have the sky seen as well instead being all black.
That's a great idea! I will say, it's extremely hard to do cleanly without VFX work.
what software are you using for the Chroma key? I only saw you connect camera to your monitor via OBS, how can you quickly get keying result composition? thanks
Ig this is the first video i've seen by aputure and this one was just so informative and helpful...
How can we get around the limitations of filming with a regular cellphone by using light and cool techniques?
Of course! That's what this series is all about :)
@@aputurelighting you are awesome ♡
I'll start producing some videos for training but the only camera I have is on my cellphone. The lens limitation on smartphones is so frustrating :c
Are the people walking backwards in the final Venice clip? Loved the lighting tips!
Blue screen works really good when it comes to dealing with reflections.
Good to know!
Not a stumping question however I have a green screen shot next week...in a very small space. I have a 13' green screen and then 4 ft in front of it I will have talent (talking waist up). I will be using 2 nova P300c to light the screen and 2 300x to light the talent and a 60x for a rim. Here is my question. What IRE for the screen and what IRE for the talent? I was thinking 45 IRE for the screen and the talent somewhere around 55-60. Such a small space to shoot in. Cameras will either be 2 BMPCC 6K or 1 Sony FX3 and 1 Sony A7sIII.
Also great video and I will have to try the green screen window shot. And I love that you used the reflectors (from Matthews?). I have been looking at them but don't have a use case for them yet.
Thanks a lot these classes help a lot.
It would be great if you can share the lighting ratios & Filters used for the sequence.(Could be mentioned in the description if its a lot to show on video)
Great job💜
"Can I have a protein bar?"
"I think we only have Welches..."
That might be the most realistic depiction of a film set ever.
😂
I want to know some tricks about how to shoot Day For Night,especially if you recreating an exterior power outage scene.
Love your videos so helpful for filmmakers, Is there video on Poor man's driving scene?
Look up "Aputure driving" - we have some different levels to this!
@@aputurelighting thank you, I’m Actor/Filmmaker based in Los Angeles and would love to shadow on some of these shoots is their a place to apply?
What sort of tecniques do you have have to measure haze in order to keep continuity of it from shot to shot?
could maybe use a light meter at a certain distance from the camera to the haze to measure light diffraction or whatever..
There isn't a tool to measure haze in the room, but often times - having the hazer running steadily the entire time is the best way to ensure continuity between takes.
I would say that the plates used in the typewriter commercial might have been de-sharpened a bit to enforce the idea of depth of field.
Thanks for the input!
I love it 👌🏼
You could provide the footage from these episodes so we can try out our own greenscreening, post processing and/or color grading 🙂
Good idea!
First off, I like the new name and longer form. Secondly, and perhaps it was already addressed, I found the depth of field unrealistic with both green screen shots. Is there an easy way to knock down the plates so that they are not as sharp... Making it look like a more realistic focus falloff?
You could definitely add a gaussian blur to the background plates and increase the "shalllowness" of the image.
@@aputurelighting makes sense.
IGNORE.....i commented before WATCHING....and now it has been revealed...but thats amazing and i'm hitting myself for never having thought of using it as a proper preview!!
QUESTION....what do you guys use OBS for on set?
-i stream on OBS
-and i shoot film/photo for a living....
i'm so curious on what you've combined the two to do!!!!
How do you film in a small oroom with glass walls and glass door?
Can you make a detailed tutorial on how to see the final results of the replacement of the green screen during filming or pre-viwiewing?
You didn’t discuss your camera, lens and filtration package on this video. Looks like the stormtrooper Komodo? Footage looks great.
Venetians walking backwards? Does the attention to detail win me a 600D Pro x?? 🤞 lol. Love your work- thanks for the content!
Got some real life lofi girl vibes haha!
Nice observation haha
Can you show us how to monitor the green screen even lighting, without using OBS or light the light meter using the C-70 camera..
use a monitor that has false color (if the c70 doesnt have it built in)
False color and waveforms on a monitor are your other best friends
What do you do with these clips? Are they for films, ads, clients, etc. Or are they specifically for the sake of making youtube videos?
I think they said in the beginning the Venice Italy shot was for client work. Or maybe they were just using that as an example use case. 🤷♂️
Good question! We usually like to use these film set opportunities to shoot our commercial footage, but it doesn't hurt to add a fun scenario about why we would film a scene like these ;)
@@aputurelighting So basically all of the above haha.
I love your content but the second shot really doesn't sell it.
Maybe because it was sped up keying project and with a little more tweaking it would look more convincing.
Great video as always.
So you used OBS to live feed? Or did you use another platform? ... I like. OBS I think it's very easy to use.
We used OBS! Awesome tool.
@@aputurelighting Outstanding. Have you ever though about virtual productions?... It doesnt seem to take off so quickly like industry thought
@@aputurelighting I've used OBS and it is an awsome tool. I've never used the Apature lights. Which do you suggest for beginners to help light a scene for an indie film
I have a film question that I have never been able to get answered. Why is it that the Director of Photography shows the ASC / ACE after their name? I know it's not always and I know what the abbreviations stand for. But why doesn't anyone else in the opening credits need to show or have these extra credentials shown?
What light meter did you use/would recommend?
We recommend any of the Sekonic meters after the l-358
Such great content.
Thank you!
How to use light meter
There is no need to stretch or iron or light too evenly the green screen. You just need to sample pixels before you find one that gives you the best matte. If you look at Hollywood sets you quickly find out that they may often just throw green over stuff or even use different shades, etc. Honestly just use one screen as an anchor point where you samples pixels and have the second one in "status" mode and you will be fine...
That's good to know!
can you use rgb color lights as fill lights?
Of course! If they are rgb panel/tube/flex lights though, make sure you have ways to control the spill and be mindful of how "sourcey" the light can come across.
This suggestion is for the person uploading your videos to youtube - could you provide product links for all the equipment you label in each video?
Great! - As always ;)
Thanks!!
The name of the application used to draw the scenes?
Diagram Master within the Sidus Link App!
Interesting choice that the background plate has people walking forward then halfway through they start walking in reverse lol
My problem with the second shot is that background aka what is out the window is far too sharp, At that time of night the outside should be far more out of focus. Also at that range I think there needs to be a lot more parallax action on the moving camera. Regardless, amazing work and extremely helpful.
It's definitely a matter of perspective! We wanted to maintain a deeper focus with the shot.
Am I the only one who's, frankly, shocked by the results? Don't get me wrong, I love Aputure as a company and Valentina as a person, but this looks bad IMHO and I just don't understand why no one seems to care.
In the first setup the shot right before replacing the green screen looks fine. Then after replacing it, the highlights on the windows are weirdly dark, like when you pull the highlight recovery slider back way too much. There are basically no highlights on the window anymore. Then there's a weird dark edge on all edges of each glass frame. Plus the plate is way too dark to fit to the lighting inside. She has a really bright highlight reflection on her lip (and on the talky) so the window would need to be pretty blown out in order to look realistic.
Second example has a similar problem. Just that this time the lamps inside are way too dark and don't fit the plate. In the plate all the small lights on the street are fully blown out, so why are the lamps right next to here barely bright. Then there are bright highlights on the window frame (from the Nova's) but there's barely coming any light into the room from the windows (because the Nova's are so low). Also having the table as well as infinity in focus looks weird and fake. Last thing, the water is super dark on the right, so the highlights on the windows make even less sense. Isn't that exactly what the real time monitoring could have helped with? Maybe it could work if we assume there's a light attached to the building right below the window, but the keying still looks super messy. What happened there?
Sorry, don't mean to be unfair, as I said I own a number of Aputure products and really like you guys, and I I guess the 'how to light a green screen evenly part is all good, but for such a big crew and your official content I'm just shocked you call these 'successful' results. Would love it if you actually made us look twice if this is real or green screen next time and THEN taught how to do it.
Show us how it’s suppose to be done then.
@@KaceyBakerFilms You seem to be able to produce a number of good looking shorts on your channel, so tell me: Are you fooled by the green screen? If so, I'd be surprised. And if you're not, then you agree with me. I'm not a youtuber and I won't spend my time making a tutorial, that doesn't mean I can't be disappointed when a million dollar company makes a tutorial and tells people "how to do it" and then isn't convincing at all. If this was someone's personal project, I wouldn't criticise it, obviously.
You're absolutely right. The problem is really in the comp. The chroma key is really rough (including what looks like a mix of blurred edges and sharp pen tool cut outs), the perspective seems off, the depth of field is very jarring, and the lighting doesn't match (moonlight visible as a hair light on the actress but the scene outside is clearly bright and warm and overpowering moonlight). I was looking on a phone screen and could easily see the problems with the comp. 95% of the problems are with the post production though. I'd love to take a stab at the footage to try to comp it in a more believable way!
@@halfgraincinematography I think the onset work was spotless, but yes, another couple of watches and the keying does look a little unloved and Neglected, I personally would have worked on the river comp a little more too. I get what you’re saying though… I can’t say anything negative though as I just made a video for Creamsource lighting… if you care to check it out on YT, called THE VORTEX. (Sorry Aputure, cheeky plug).
2:59 - new crew member? Did you ask your parents to help with the greenscreen ironing? ;-)
Can you ask Indy Mogul and Ted Sim to start the Podcast again?
at first i thought this video was 2003 or something, and then saw the post date. literally step into the future my friends. no wonder hollywood movies cost millions of dollars to produce. so much wasted resources.
Valentina Vee is legit hot 🔥 🔥 🔥
Great setup, lighting and shots. Only problem? The girl acting. Look fake and just not real. From the waking up to the typing, just bad. Everything else EXTREMELY AWESOME!
W.E.L.C.H.S