absolutely amazing. You are hands down one of the greatest in this field. I have never witnessed such attention to detail and not only technical understanding, but explanation as well. Your contributions are greatly appreciated.
Great video! Kept pausing to give notes to the kids and then you followed up with a more detailed version of whatever came out of my mouth a moment before! Made me look AWESOME haha! Thanks for the win, mate!
You provide a content that is so good that I feel obliged to watch all your videos back to the beginnings. I've already watched most of it and I'm confident to say that you're "The" best cinematography tutor on TH-cam and believe me when I say that I watch a lot, because I just have a continuous urge and hunger to the topic.....Thanks for being such a wonderful influence in our lives as filmmakers and cinematographers #John_Hess
I'd say that the best keyer I've seen so far is the IBK color in Nuke. If you shot a clean plate of your set without the actor, you can then use it to retain all of the shadow informations on the ground, which will make it a lot easier for compositing.
te aplaudo de pie!. No he usado ningún NLE de Adobe, pero deduzco que Fusion de Davinci Resolve, específicamente a través del Delta Keyer es el mejor, pues permite en muy pocos clics borrar fondos verdes desparejos. Y esto es debido a que dicho nodo puede recibir la señal de otro nodo con el vídeo del fondo verde SIN EL SUJETO/OBJETO interpuesto. ¿Me hago entender? Gracias John!
A TV technician spoke about blue screen use, the screen color caused reflections on a woman's teeth, so she looked teeth less. The same TV technician spoke about a legendary New year's eve program, they prepared everything, including a Hollywood movie on video tape (at this time movies were played usually from film) and because the video tape was too loose on the reel, they had some interruptions, funny thing, it matched with the dialogs. It wasn't planned that someone announced something, but in this case they improvised with the silver foil of a chocolate a background for the lady who apologized, for the technical problems and they used chroma key.
John, i would like to add these videos to my chanel in Utube and in Fb in a permanent way. Can we download your videos and post them with all the information aboout yout Chanel in utube? Is there a way to do that? Thank you!!
Absolutely not. You can post a link or embed the video but you cannot reupload to any service. You would be broadcasting our work and taking all the benefits. I just filled a strike against another channel for doing this. But thanks for asking ;)
+Filmmaker IQ : Thanks for answering! Excuse my ignorance about this, we r from Argentina! By "embed" you mean inserting the video in our web site, for example? What would be the procedure? Thank you Again! We post your videos all the time.
+FONDOSDEGRADE Under the title name there is a button called "share" - clink on that. You will see a box with the TH-cam address. If you copy that and paste it into Facebook, it will put a video which people can watch from your facebook page. If you want to put in into a website and need an HTML code, click the button that reads "embed" - use that code on your website and our video will play right from your website.
Does shooting in 4K versus 1080p make keying any easier? Even if the final video is in 1080? BTW, thanks for making all these videos. You've taught me a lot.
Absolutely! - shooting 4K will give you 4 times as much data from which you can pull a key (caveats of course). You can even start from a highly compressed 4:2:0 4K video and get essentially 4:2:2 HD video. You still need to light it evenly and make sure the picture is sharp - but starting from 4K to a 1080 end does make for some very good and easy keys.
How much space between the screen and the talent would you say is optimal for something wider like full torso or full body? I have a lot of length to work with but not a lot of width for the screen itself, so as close as possible to preserve with width of the screen in the shot (for arm movement) is preferable... But I do want a super clean key. Also, how far should the cam be from the talent? Is it just to the length where there is not shadow? At what distance does spill stop being a thing? I have like 6 meters of length to play with. Is there an optimal lens choice for whatever length you'd recommend?
The tough thing about a full body shot is you really need to shoot it with a pretty high focal length to keep the perspective. 6m might be a little short for green screen AND full body. It would be done for a torso shot. And don't worry about filling the entire screen with green screen you can use garbage mattes to cut areas that would not be used
@@FilmmakerIQ hey and thanks for the quick response! The point of trying to keep green screen wide in shot isn't so much to fill the frame, like you said, I can just garage matte everything else out, but to allow the talent's arm movement. At the moment, I've got the talent 2m from the screen, and then the camera 2m from the talent with a 50mm full frame lens and a 190cm screen, doing torso shots. This doesn't allow a lot of movement and definitely doesn't allow for more than one person in the shot haha. Just seeing what I can squeeze out of this without compromising in key quality
+Karl Beltran to be really honest, nothing I've tested really delivers anything much better. Part of the secret to Keylight is you may have to break down your key into separate passes. What works for a solid object may not work for hair. The infamous one click key isn't really a thing outside the demo booth.
Hey john! AWESOME VID! Wanted to get your opinion on my setup. Currently have the Sony a6500 which can record 4k 8bit 4:2:0 @ 100mbs. Would that fine for chroma keying? OR would an external recorder like the Atomos Ninja Flame? Please help! Ty =]
I shot a project recently with the Sony FS5 at that Sony 4K 4:2:0 100mbs XAVC long. Had a well lit screen, even with no wrinkles and well lit (about 45% IRE - where middle gray sits). Had absolutely ZERO issues keying - almost a one click and done kind of thing. Beautiful experience - like butter as they would say. Then it was dumped down to 1080 so there was absolutely no issue. So yes, shoot it right - the a6500 4K should give you good results. The XAVC is a bit of a pain in the butt to edit... DO NOT SHOOT IN S-LOG for GS work - you should be able to control everything to conform to REC709 if you're in studio anyway. I don't know if a Ninja would really add much benefit in this situation. I don't know if the HDMI out of your camera is delivering more than 4:2:0. Honestly I've never been that much a fan of onboard recorders but I get their purpose.
Super appreciate you! Thanks for taking the time to help me out. Once my channel is up and running I'll be sure to give you credit and shot you out. Thanks again =]
Your sample key sequence is impressive, but it did have a problem. Not to worry, I know how to fix it. The rapid sword movements interfered with your key (the swords kinda disappear). The solution is to use a lot of light and shoot with a very high shutter speed, then add appropriate "motion blur" to the finished shot (after the key). The high shutter speed will "freeze" any motion to completely remove all motion blur. This will allow moving objects to key properly. The composite shot will look very jerky and unnatural. So you must put back the motion blur you removed by using a high shutter speed. You'll need software that's good at simulating motion blur -- such as Adobe After Effects. If your NLE offers a motion blur effect, it might not be good enough. When you add motion blur, you'll need to figure out what settings will produce a good result. AE makes this fairly easy, all you have to do is select the frame rate and shutter speed your other footage is shot at and the finished key shot should match pretty well. Don't bank on this technique because it won't always work well in some situations. Still, the result will surely be better than the mess you get when you key blurry footage. * I've learned a lot of clever tricks and work-arounds with technology because I've been a starving filmmaker since I was 6 years old (I saved my allowance since birth and bought a very used 16mm Bolex camera... anyone remember film?). It's been quite a ride of nearly 60 years. I couldn't afford film school so I learned everything the hard way. I screwed up every way you can -- twice. So I just had to find a way to make it work. I always did somehow. I had to. If you tell me to remake "Ben Hurr" for $100, I'll find a way. Being nuts was a big help (Steve Jobs once said; "people who are crazy enough to think they can change the world -- are the ones who do"). I'm retired now. Well, sort-of. I still make films, but I've 86'ed the deadlines and budgets and studios and unions and everything that ruined it. So it's fun now. ~~~ The Howard
7 ปีที่แล้ว
Hi! very informative video! thanks! I have a quick question...did you film your video with a green screen or black screen?
Can you also make a video about using colorscreens in stormy environment? e.g. forrest scenes with strong wind? As lightning might distort your even lighting, or wind.
You wouldn't be using green screens in adverse situations like that - and if you had to, you would just would with what you could get. Greenscreen work is usually done in controlled environments - if you wanted to simulate a storm you would add wind and effects
Well matter of fact, i would. Im not a rotoscoper and only know the rough outlines how you cut green out and if something is left then cut the outlines of the character away (which is called bad work and you rather refilm) so is greenscreen a absolute necessity in movies? Couldnt you just make a movie in a forrest when its rainy AF, add some 3d trees/foliage here and there or matte paint something in to give a more dense coverage?
How are you going to add 3d trees? There's no CGI button that just magically adds trees. Could you make a movie in a forest when it's rainy? Sure, but then you have to wait for the rain - and then make sure the rain is coming down the same for each take. Then you have to make sure your expensive gear doesn't get ruined in the trek up and back from the rainy forest - make sure your expensive movie star talent is available when it's raining... Or you can shoot your foreground in a controlled environment with some rain effects that you control and then send a small crew to sit and wait for the perfect some rainy forest background plates to layer under it.
I'm a 3d guy, just concerned it those trees will actually fit in. Thus I thought matte painting would be better. Then however you gotta deal with the lighting, which sucks when you're no god composer. Yeah youre right. well imma try both at given conditions. Ty for advice.
If green screen wasn't sometimes/often a necessity in movies it wouldn't be used. Successful movie making is all about control. If you're shooting outdoors you are at the mercy of the elements, if Mother Nature decides to fit in with your plans that's cool, but otherwise... Your idea of an actual location shoot, adding 3D trees and possibly matte painting would be more of a chore than using green screen in the first place. Matte painting is an art form in itself, and trying to blend together 3 different methods to make a believable whole would be problematic unless you had great expertise and extremely time-consuming. And as the man says, why risk damaging equipment unnecessarily and struggling just to keep your camera steady and dry on a wet and windy day?
It's really more about what's in your foreground. If you're worried about blue/green spill, it is something to think about... but I find that green is just must easier to key regardless of what background you put in there.
For those of us who have a $30 webcam and a $30 green screen being held up by two dismounted closet doors and a shower rod, the technology you mention is science fiction. You have some good general content, though.
B4 i even saw this clip, I recently worked on a project similar to the kungfu composite using the exact same dojo backdrop...Wow...Im feeling like a pro right now. I finally reached that frequency where the RGs think alike
Because all camera sensors are made to work in daylight, is better to shoot greenscreens or bluescreen in 5600k or daylight white blance in the camera of course if you can have daylight lights. This way the camera will be capturing better colors without the need of gain=noise used when capturing in 3200k Tugsteng setting.
You don’t need. The sensor does it internally automatically by the white balance. The 5600k light reaches the sensor it,s seen as white light. RGB are equal intensity. When 3200k reaches the sensor there is more Red than Green and very little Blue. To produce a whit balance the camera need to gain the result of Green and a lot Blue. Thats why the result of a capture a blue scree shot with tungsten lighting is much noisier and less clean than to do it with daylight lights. Green screen also suffers but less because it’s not gained as much.
Okay, I get what you're saying... but if things are light properly there shouldn't be an issue. I mean the sky is blue but that doesn't mean we get more noise when shooting the sky... A blue screen may need more light when shooting under tungsten but people have been shooting bluescreen under tungsten for years and years now.
absolutely amazing. You are hands down one of the greatest in this field. I have never witnessed such attention to detail and not only technical understanding, but explanation as well. Your contributions are greatly appreciated.
This was super helpful. I am preparing to switch my TH-cam series to a greenscreen so this was useful to prep.
Big fan btw
Great video! Kept pausing to give notes to the kids and then you followed up with a more detailed version of whatever came out of my mouth a moment before! Made me look AWESOME haha! Thanks for the win, mate!
You provide a content that is so good that I feel obliged to watch all your videos back to the beginnings. I've already watched most of it and I'm confident to say that you're "The" best cinematography tutor on TH-cam and believe me when I say that I watch a lot, because I just have a continuous urge and hunger to the topic.....Thanks for being such a wonderful influence in our lives as filmmakers and cinematographers #John_Hess
This I so useful, you guys put so much work into your videos and deserve way more views
Thanks John My first green screen arrives today (for miniatures), so this video was really helpful. Thank you very much and all the best.
Great tips in a format that's easy to understand and very thorough. Thank you very much sir.
I'd say that the best keyer I've seen so far is the IBK color in Nuke. If you shot a clean plate of your set without the actor, you can then use it to retain all of the shadow informations on the ground, which will make it a lot easier for compositing.
I am loving these videos. Please do one about camera lenses i think that'd be very interesting. Thank you.
Wow it turned out wonderfully
school of knowledge man
Helpful Tutorial. Thanks dear
Really well done!!!!
Great work boys. Ive learnt a lot from this.
te aplaudo de pie!. No he usado ningún NLE de Adobe, pero deduzco que Fusion de Davinci Resolve, específicamente a través del Delta Keyer es el mejor, pues permite en muy pocos clics borrar fondos verdes desparejos. Y esto es debido a que dicho nodo puede recibir la señal de otro nodo con el vídeo del fondo verde SIN EL SUJETO/OBJETO interpuesto. ¿Me hago entender? Gracias John!
Great video.
A TV technician spoke about blue screen use, the screen color caused reflections on a woman's teeth, so she looked teeth less.
The same TV technician spoke about a legendary New year's eve program, they prepared everything, including a Hollywood movie on video tape (at this time movies were played usually from film) and because the video tape was too loose on the reel, they had some interruptions, funny thing, it matched with the dialogs. It wasn't planned that someone announced something, but in this case they improvised with the silver foil of a chocolate a background for the lady who apologized, for the technical problems and they used chroma key.
excelent material as always!! thanks JOHN!!
Great tips! The essentials and MUCH MORE...wish I had this before I did some of my own green screen work.
Nice Dolly zoom at the end ;)
after a bunch of worthless videos on green screen, I finally found your. I'm very thankful
good work
Awesome videos! needs more views :)
John, i would like to add these videos to my chanel in Utube and in Fb in a permanent way. Can we download your videos and post them with all the information aboout yout Chanel in utube? Is there a way to do that? Thank you!!
Absolutely not. You can post a link or embed the video but you cannot reupload to any service. You would be broadcasting our work and taking all the benefits. I just filled a strike against another channel for doing this. But thanks for asking ;)
+Filmmaker IQ : Thanks for answering! Excuse my ignorance about this, we r from Argentina! By "embed" you mean inserting the video in our web site, for example? What would be the procedure? Thank you Again! We post your videos all the time.
+FONDOSDEGRADE Under the title name there is a button called "share" - clink on that. You will see a box with the TH-cam address. If you copy that and paste it into Facebook, it will put a video which people can watch from your facebook page. If you want to put in into a website and need an HTML code, click the button that reads "embed" - use that code on your website and our video will play right from your website.
super video, very helpful, thanks..
Where can I get a green screen like the one at 8:24 ? Like that covers full body
You can get everything in Amazon, adorama or B&H
Thanks for the video!
This info has really helped me thanks :)
Thanks John
Thank you so much
Where does he get those wonderful toys?
thanks for the video, exactly what I was looking for!
What about getting the lighting and reflections to match?
Does shooting in 4K versus 1080p make keying any easier? Even if the final video is in 1080? BTW, thanks for making all these videos. You've taught me a lot.
Absolutely! - shooting 4K will give you 4 times as much data from which you can pull a key (caveats of course). You can even start from a highly compressed 4:2:0 4K video and get essentially 4:2:2 HD video. You still need to light it evenly and make sure the picture is sharp - but starting from 4K to a 1080 end does make for some very good and easy keys.
Thank you very very much!!
How much space between the screen and the talent would you say is optimal for something wider like full torso or full body?
I have a lot of length to work with but not a lot of width for the screen itself, so as close as possible to preserve with width of the screen in the shot (for arm movement) is preferable... But I do want a super clean key.
Also, how far should the cam be from the talent? Is it just to the length where there is not shadow? At what distance does spill stop being a thing?
I have like 6 meters of length to play with. Is there an optimal lens choice for whatever length you'd recommend?
The tough thing about a full body shot is you really need to shoot it with a pretty high focal length to keep the perspective. 6m might be a little short for green screen AND full body. It would be done for a torso shot.
And don't worry about filling the entire screen with green screen you can use garbage mattes to cut areas that would not be used
@@FilmmakerIQ hey and thanks for the quick response!
The point of trying to keep green screen wide in shot isn't so much to fill the frame, like you said, I can just garage matte everything else out, but to allow the talent's arm movement.
At the moment, I've got the talent 2m from the screen, and then the camera 2m from the talent with a 50mm full frame lens and a 190cm screen, doing torso shots.
This doesn't allow a lot of movement and definitely doesn't allow for more than one person in the shot haha. Just seeing what I can squeeze out of this without compromising in key quality
Could you please let us know about the brand of the foam backed chroma fabric that you use?. A link would have been great!
I really don't know what brand it was - you can find any foam backed greenscreen on eBay.
Awesome video, thanks ^^
thanks for the information.
what software u use adobe after effect ,,,,,,,,,,,,,,,,i am using sony vegas
Thank you very much! What about shooting raw with black magic at 8:1 or 12:1? Is the result good?
Yes you should get great results if you'd like it right ;)
good man
Thx for the tips, greafully accepted
If I may ask, are they any software out there that are way better than keylight?
+Karl Beltran to be really honest, nothing I've tested really delivers anything much better.
Part of the secret to Keylight is you may have to break down your key into separate passes. What works for a solid object may not work for hair. The infamous one click key isn't really a thing outside the demo booth.
Hi sir your back ground black color name please
Dark dark gray... Chalkboard
How much does a small greenscreen with the built in frame cost?
$30-50
Hey john! AWESOME VID! Wanted to get your opinion on my setup. Currently have the Sony a6500 which can record 4k 8bit 4:2:0 @ 100mbs. Would that fine for chroma keying? OR would an external recorder like the Atomos Ninja Flame? Please help! Ty =]
I shot a project recently with the Sony FS5 at that Sony 4K 4:2:0 100mbs XAVC long. Had a well lit screen, even with no wrinkles and well lit (about 45% IRE - where middle gray sits). Had absolutely ZERO issues keying - almost a one click and done kind of thing. Beautiful experience - like butter as they would say. Then it was dumped down to 1080 so there was absolutely no issue.
So yes, shoot it right - the a6500 4K should give you good results. The XAVC is a bit of a pain in the butt to edit... DO NOT SHOOT IN S-LOG for GS work - you should be able to control everything to conform to REC709 if you're in studio anyway.
I don't know if a Ninja would really add much benefit in this situation. I don't know if the HDMI out of your camera is delivering more than 4:2:0. Honestly I've never been that much a fan of onboard recorders but I get their purpose.
i just looked it up - the FS5 shoots XAVC Long and the A6500 shoots XAVC S. I don't think that it _that_ much different than what I used.
Super appreciate you! Thanks for taking the time to help me out. Once my channel is up and running I'll be sure to give you credit and shot you out. Thanks again =]
Your sample key sequence is impressive, but it did have a problem. Not to worry, I know how to fix it. The rapid sword movements interfered with your key (the swords kinda disappear). The solution is to use a lot of light and shoot with a very high shutter speed, then add appropriate "motion blur" to the finished shot (after the key). The high shutter speed will "freeze" any motion to completely remove all motion blur. This will allow moving objects to key properly. The composite shot will look very jerky and unnatural. So you must put back the motion blur you removed by using a high shutter speed. You'll need software that's good at simulating motion blur -- such as Adobe After Effects. If your NLE offers a motion blur effect, it might not be good enough. When you add motion blur, you'll need to figure out what settings will produce a good result. AE makes this fairly easy, all you have to do is select the frame rate and shutter speed your other footage is shot at and the finished key shot should match pretty well. Don't bank on this technique because it won't always work well in some situations. Still, the result will surely be better than the mess you get when you key blurry footage. * I've learned a lot of clever tricks and work-arounds with technology because I've been a starving filmmaker since I was 6 years old (I saved my allowance since birth and bought a very used 16mm Bolex camera... anyone remember film?). It's been quite a ride of nearly 60 years. I couldn't afford film school so I learned everything the hard way. I screwed up every way you can -- twice. So I just had to find a way to make it work. I always did somehow. I had to. If you tell me to remake "Ben Hurr" for $100, I'll find a way. Being nuts was a big help (Steve Jobs once said; "people who are crazy enough to think they can change the world -- are the ones who do"). I'm retired now. Well, sort-of. I still make films, but I've 86'ed the deadlines and budgets and studios and unions and everything that ruined it. So it's fun now. ~~~ The Howard
Hi! very informative video! thanks! I have a quick question...did you film your video with a green screen or black screen?
We film against greenscreen.
Can you also make a video about using colorscreens in stormy environment? e.g. forrest scenes with strong wind?
As lightning might distort your even lighting, or wind.
You wouldn't be using green screens in adverse situations like that - and if you had to, you would just would with what you could get.
Greenscreen work is usually done in controlled environments - if you wanted to simulate a storm you would add wind and effects
Well matter of fact, i would.
Im not a rotoscoper and only know the rough outlines how you cut green out and if something is left then cut the outlines of the character away (which is called bad work and you rather refilm) so is greenscreen a absolute necessity in movies? Couldnt you just make a movie in a forrest when its rainy AF, add some 3d trees/foliage here and there or matte paint something in to give a more dense coverage?
How are you going to add 3d trees? There's no CGI button that just magically adds trees.
Could you make a movie in a forest when it's rainy? Sure, but then you have to wait for the rain - and then make sure the rain is coming down the same for each take. Then you have to make sure your expensive gear doesn't get ruined in the trek up and back from the rainy forest - make sure your expensive movie star talent is available when it's raining... Or you can shoot your foreground in a controlled environment with some rain effects that you control and then send a small crew to sit and wait for the perfect some rainy forest background plates to layer under it.
I'm a 3d guy, just concerned it those trees will actually fit in. Thus I thought matte painting would be better. Then however you gotta deal with the lighting, which sucks when you're no god composer.
Yeah youre right. well imma try both at given conditions. Ty for advice.
If green screen wasn't sometimes/often a necessity in movies it wouldn't be used. Successful movie making is all about control. If you're shooting outdoors you are at the mercy of the elements, if Mother Nature decides to fit in with your plans that's cool, but otherwise... Your idea of an actual location shoot, adding 3D trees and possibly matte painting would be more of a chore than using green screen in the first place. Matte painting is an art form in itself, and trying to blend together 3 different methods to make a believable whole would be problematic unless you had great expertise and extremely time-consuming. And as the man says, why risk damaging equipment unnecessarily and struggling just to keep your camera steady and dry on a wet and windy day?
For Nature backgrounds is Blue Screen better?
It's really more about what's in your foreground. If you're worried about blue/green spill, it is something to think about... but I find that green is just must easier to key regardless of what background you put in there.
Ok Great, Thanks
Thank you!!!!
For those of us who have a $30 webcam and a $30 green screen being held up by two dismounted closet doors and a shower rod, the technology you mention is science fiction. You have some good general content, though.
Um not really... Same principles apply. I would just add with a small webcam the secret to a good images A LOT of light
Cool
Thanks
B4 i even saw this clip, I recently worked on a project similar to the kungfu composite using the exact same dojo backdrop...Wow...Im feeling like a pro right now. I finally reached that frequency where the RGs think alike
Amazing tips :D
great
how you create this fake dolly shot? in the end of that chroma shot ninja man
+Creating vfx just zoom in on the front plate and zoom out on the backplate. Add a little Lens distortion to sell the effect.
Because all camera sensors are made to work in daylight, is better to shoot greenscreens or bluescreen in 5600k or daylight white blance in the camera of course if you can have daylight lights. This way the camera will be capturing better colors without the need of gain=noise used when capturing in 3200k Tugsteng setting.
Leandro Visconti nope. You don't need to gain up when shooting 3200K tungsten.
You don’t need. The sensor does it internally automatically by the white balance. The 5600k light reaches the sensor it,s seen as white light. RGB are equal intensity. When 3200k reaches the sensor there is more Red than Green and very little Blue. To produce a whit balance the camera need to gain the result of Green and a lot Blue. Thats why the result of a capture a blue scree shot with tungsten lighting is much noisier and less clean than to do it with daylight lights. Green screen also suffers but less because it’s not gained as much.
Okay, I get what you're saying... but if things are light properly there shouldn't be an issue. I mean the sky is blue but that doesn't mean we get more noise when shooting the sky... A blue screen may need more light when shooting under tungsten but people have been shooting bluescreen under tungsten for years and years now.
دمت گرم داداش
great tips thank!, the Chinese guy is so hilarious...:)
Interesting
We are an elite groups of geeks that love this type of nerdum. lol
you can put subtitles in Spanish because you are international
vene glock If you can translate or know anyone that can do that - we'll accept them on TH-cam's caption system :)
Filmmaker IQ the problem is that I speak Spanish I am writing to travez of google translator,I would like to watch your videos in Spanish
vene glock Well my Spanish is no bueno.
Seriously, anyone that wants to contribute subtitles - we have that option available.
feels like an Apple commercial
Why - there's not a single Apple product in there ;)
+5
6th - work in Hollywood ;)
lol, true dat :D
I like you, John Hess. Do you like me?
Of course
Talha
Very distracting seeing you read instead of free talking.