Had the same thought so I screen captured some of the footage using the green light and popped it into my video program of choice and it does work with something other than white. Specifically I had a water scene (I think it's a lake) behind her and she fit in pretty well. That's something I wish had been in this video. I only tested the green and blue and didn't really dwell on the details. It was just a general "proof of concept" style test but it worked.
The reason we use green for chroma keying is because most digital camera sensors use a Bayer filter, where 50% of the photosites capture green, 25% blue, and 25% red. The resulting image must then be debayered with a demosaicing algorithm. It also helps that green is further from human skin tones than a color like red.
Nothing so specific, Melvin. The reason we use green in chromakey is that prior to electronic chroma keying (the color negative was printed on high contrast black-and-white negative bla bla bla), blue was the easiest color to key out. And with the advent of television, weathermen (the BIGGEST "early" users of chromakey") rarely wore green, they wore blue suits.
@@maxsdad538 If that were the only reason, then the practice of using green would be unique to television broadcasts, which it of course isn't. The fact is that it takes more light to properly illuminate a blue screen than it does a green screen, in large part due to the higher sensitivity to the color green in digital cameras. Having more pixels of a certain color means more edge detail from which to pull a clean key. Additionally, electronic chroma keying has the advantage of being able to target a narrow range of luminance values, meaning you can still use a green screen even if your subject is wearing a similar hue of green. Granted, it's best for the key color to be as far as possible from what you wish to retain in the image. When keying photochemically, any color can technically be used (magenta and a few others have also been used in the past), but analog film productions tended to use blue because of the prominence of film with a spectral sensitivity that leaned towards blue. In that scenario, you would use the color negative or color separation overlay like you described. It's also worth mentioning that not all digital cameras follow the trend of having more green pixels than other colors. The new Blackmagic URSA Mini Pro 12K, for example, has a symmetrical sensor with an equal number of red, green, and blue pixels. This has many benefits, one of which being equal RGB color sensitivity; unlike the Bayer filter which was designed to simulate human vision, being most sensitive to green. There's lots more to say about color and perception, but that's the gist.
I've seen something similar already although it's expensive in some cases. Using scotchlite which is a material made by 3m which uses tiny glass beads on a piece of fabric which reflects light directly back to the light source. This is essentially how they made the lightsaber glow in the first star wars, or the Kryptonians white suits glow in Superman: The Movie (1978). Someone used a green led ring light (the kind of light vloggers sometimes use but with green leds), that placed near the camera (litterally the camera lens shooting through the ring), would shine the light on the scotchlite fabric and it would direct green right back into the camera, making the screen a bright green, but not affecting anything in front of the screen.
I have tinkered with this in the past so that someone could wear green on camera. It worked, but looks like you guys did even better than me. Now I want to try again now that I have better RGB lights than I before. Thanks for inspiring people!
There is a system that uses a retro reflective fabric (like those paparazzi safe handbags) and a tiny colored ring light around the lens. The retro reflectivity puts all the light of that light back into the camera while the spill is nearly non existing die to the low intensity of the ring light.
i use a 10 by 10 ft. projection screen with rgb-lights as a greenscreen replacement for years now. It works like a charme with better results than a green fabric. And its way faster to setup, too. thanks for going into it.
Tip: if you want more saturated colors you a grey backdrop. A grey backdrop is way more versatile then having a white background. You can add more light to it to make it appear white on camera or less light to make it appear black.
@@nunchuckfilms all you need is a motorized slider or jib to film your bokeh-licious background scene (parallax and all), then you use the same programmed shot speed to shoot your talent and >BAM< , you made magic!
There has to be some special effects possibilities opened up by being able to adjust your chroma as fast and as often as you wish. . . I'm thinking using the spill from the screen as practical lighting? (might make keying more difficult) At the very least, you could instantly turn around Chroma shots to accommodate any wardrobe. I'd love to play around with the effects of dynamically changing the key during shots🤔
I'm not surprised that it works, but I'm impressed that it worked so well with cheaper Came lights. Our little Emily's getting so big... I remember when she got her first gun.
In college we used prefilmed green screen video effects in editing to overlay in videos like an empty window on a train ect that we could basically fill in with a background and a foreground if needed
Some TV Stations would use a similar method, they would back project the blue or green depending on the situation, the subjects were able to be closer to the screen but their lighting for TV news, not for film.
3:52 I'm surprised just at how red the frame gets here. It actually reminds me a LOT of that Technicolor process that all the old DPs and film purists are constantly chasing. I would love to mess around with red LED lighting to emphasize the redness of certain props, set pieces, and wardrobes.
Did some corporate shoots with green screen in the past, found that green flex fabric with... say a skypanel dialed in to green would produce the best effect for keying. Soft even lighting across the backdrop.
I remember when I first subscribed to Film Riot around 7 years ago when I was 11. Since then, no other TH-cam channel has been more inspirational or more instrumental in my journey as a young filmmaker. Now, I'm preparing to premiere my first feature film live on TH-cam next Friday. Having Film Riot around has been totally invaluable, and I couldn't have done it without you guys. I might be reaching here, but I would really love you guys to check it out. Either way, I just wanted to thank you so much for the years of top-notch film content! -Jack (BTW Josh that's genius)
You’re basically emulating the Reflecmedia chroma key system and after working with it on our first feature film, the problem your solution will probably have is that your lighting situations will still not really be all that much better than normal blue/green screen filming as you’ll still be fighting your background lighting. What the Reflecmedia system does is utilize a reflective background with green/blue ring lights on the front of your lens shining the desired color cast on your screen without lighting up your scene (unless you dial the brightness of the LEDs too high or film too close to your talent, it’s a balancing act with the brightness dials really) but you can still have just about whatever lighting setup you want even if it’s as dark as a match light lit horror scene. Your DIY method seems to work though so if it does the trick then more power to you but the commercial solutions are pretty awesome too!
Could you do a roomtour of your theater room Ryan? Showing how everything looks but also explaining what products you implemented? Would be a highly appreciated :)
Luxli has had a "green screen" and "blue screen" option on their LEDs for a few years. Works like a charm. BTW, I find it a bit easier to use with a light gray backdrop than pure white, as the white tends to over expose, and I typically shoot my green screen a stop below the talent's skin tone.
I was not expecting this to work, so props to actually getting a good light fill right off the bat! i was thinking flickering would be an issue perhaps, but nope. Super clean.
Years ago, when I was doing puppet videos, I'd switch back and forth between various cheap tablecloths for my color key, depending on the colors of the puppet. I believe this sort of thing would work wonders for, not only puppets, but any kind of practical creature effect that doesn't lean toward human skin colors. If I ever get a chance to pick my videos back up, this technique would be indispensable.
The reason green is the best color fir digital video is because most digital sensors use the Bayer pattern and has twice as many green-filtered pixels as red- or blue-filtered ones, which results in a higher sensitivity to, and resolution of, the green colors
Definitely looks ideal for indoor, saves all the hassle too. Since it's light, might need some work at the spills, like you're showing, but it feels like people are going to find this easier and faster and to get creative with it, where it works
Wow! Those lights are super-cool. I'm going to have to ad them to the wish list for the next film. And BTW, Emily looks like she loves doing these lighting/ green screen videos.
Years ago, I used to greenscreen using a backfrop made of retro-reflective cloth and an LED light ring that screwed to the filter thread on the camera lens. The cloth looked grey until you turned the LED light ring on and then it would light up bright green
I changed the NO INPUT of my projector background to green and used it once. It was just as good! So if you got a projector handy you can always project green with it too!
This came at a perfect time! We just chucked out our old horrible green screens but needed to quickly key something for VFX assets recently. We will pull out the big RGB LED panel and get it sorted. Cheers, Ry Guy!
A few years ago I volunteered at my local PBS affiliate, and for their green screen work, it was basically a grey sheet with a green ring light around the lens. It actually worked, but exactly how is way over my head. You couldn't really see the green in person, but it was clear as day in the video output.
Probably a HoloSet by Global Streams(later Play, Inc.). They did this first in the early 2000's. Today you can find the same technology with Reflecmedia's LiteRing. This is hardly anything new.
I know in Star Trek TNG to create the mattes for the ship models, they lit the model with UV lights and used red screens, so when they filmed the model in regularly lighting, they just filmed it like normal, with light cards and blackout cards, but the UV lit pass on red screen allowed them to create a perfect matte to cut the ship out. One reason green become more prevalent is the excessive blue spill caused by blue screen and that our eyes are more sensitive to blue light, so blue at the same brightness will appear brighter than green, and green will appear brighter than red.
I recently bought 2 Luxli Timpanis that have a Lee gel Chroma Blue and Chroma Green built in. I don't think I'll ever go back to using screens again. I just sold all of mine and kept the white, gray and black screens only This really works well. I've used them on a white wall and yes, the results are fantastic. Ain't technology grand.
At a company where I used to work they simply did both. So the green screen was lit with green filtered lights. The green screen was also always painted, not a cloth, and when they needed a different colour they just repainted it (which was usually either white or green).
I have a wall covered in cheap green posterboard and it has work surprisingly good....but im still learning how to use the light to make an even perfect solid color, but hitfilm express is very forgiving in the green screen effect so it looks decent but I can still improve it
I could be wrong here but your camera has 2 green filters on the sensor for every one red and blue filter which means it is picking up more green color information than red or blue. That is why it doesn't surprise me that the blue channels might be slightly noisier if you're keying a blue screen. I'm studying a lot of this AI stuff that's coming out right now for keying and it's starting to make me wonder if the best screen in the future will be a less intrusive middle grey screen. In other words, having a middle grey fabric and bouncing white light off it to somehow meet both the white balance and native ISO of the camera. Just food for thought.
Good idea, they delay in the RGBs from each other would be an announces for a lot of projects but otherwise, they seem pretty decent. the only thing you would need to look out for is colour reflection back on to your inteviewy
I thought of this once but never tried it 😂😂 works so well! And I think it gets cheaper as the size of your green screen gets larger (indoors). Ever thought about back projecting the rgb lights.. random thought?
There has to be some special effects possibilities opened up by being able to adjust your chroma as fast and as often as you wish. . . I'm thinking using the spill from the screen as practical lighting? (might make keying more difficult) At the very least, you could instantly turn around Chroma shots to accommodate any wardrobe. I'd love to play around with the effects of dynamically changing the key during shots🤔 e.g. Key out &/or replace a spot of wardrobe on the talent on cue.
If you like memento, try the game her story. I love the way this game keeps you guessing what has happend. Its like you are an editor cutting a story without a clue what the story is.
A great suggestion for having the entire screen just a green light. One thing I have been doing for years is lighting my green screen with a green light. (Gel or RGB) It seems to give me a great key even when the lum value isn't great.
Have you considered adding a hair light of the opposite color or even just white to try and clean up the green light hitting the subject? Or even adding some distance might give you even cleaner results.
All this reminds me of a previous job of mine where we dealt with chromakey still-photography. The red screen especially because one of the salespeople told a client that we will use a red screen instead of green because it is more fitting with their corporate colors. Had to spend time with everyone explaining why green or blue is used, why red is the absolute dumbest idea for said client (guests will mostly be wearing red), that skin color of Caucasians contain red, or if they are sun-burn is red etc. Eventually used ChromaFlex in some places, but the material is very prone to damage and dirt. As an experiment stated working on using Background Subtraction and 3D depth maps.
Another standard way is to saturate a blue screen with blue chroma light. But to me that yields more spill than with daylight. This from the screen lit by the same lights while zero lights direct hit the talent. The spill was from the bounce of the screen. Compared to the daylight wich had very minimal spill.
If I'm not mistaken they also have a fabric with glass beads built into the fabric to reflect back colored lights right back to the camera. This fabric might providing an increase in even color distribution with less light maybe?
Thanks for trying this and sharing the results. When you tested with the green screen, was that while also using green light? (as some recommend) green on green vs. daylight on green vs. green on white?
I mean we all know the reasons Green has traditionally worked the best. But also with digital film cameras being so sophisticated these days, could the manufacturers accentuate the green tones to make it even easier to key? Just a thought.
Everytime I am in need techniques you guys always make these videos at the best times, amazing work and keep it up, this channel makes me a better filmmaker everyday!
Love the simplicity of the approach. One question though. If I've got LED lights (that shift from warm to cool but no further) which particular kind of green gel would I need to pull off the same green screen colour?
Been watching these people for 8 years now. They haven't matured at all and I love it. Best channel to learn how to be a filmmaker from. The rest dont compare. You hear me Peter Mckinnon. lol jk but seriously. FILM RIOT ALL DAY. Bout to get a film riot trans stamp tattoo for the love
As noted in captain disillusions Green screen video (seriously, he is the greatest creator on TH-cam, if you do y know of him already, stop what you are doing and go watch everything he has ever made), you can also light your green screen with a different color temperature light than your foreground in order to pull a cleaner key with much less work... it's essentially the same idea you are exploring here, but with even more benefit to the editor who will be separating out the key later on.
This is great! You guys "rediscovered" one of many optical printing tricks pioneered by Disney (i.e. Mary Poppins). It is a wonderful thing when old techniques work just as good with new technology.
whoa maybe the reason the blue didn't key well is because the light is deeply saturated. using a deeper blue, or a different LED could probably improve that.
![อยู่คนเดียวกับเขา - ส้ม มารี (Zom Marie) [Official MV]](http://i.ytimg.com/vi/gq1cWAIQDLg/mqdefault.jpg)
I feel old just by looking at that girl growing. She was a little child when i subscribe to FilmRiot
me too. I've been following these guys forever
Same with Josh
@@swagattack9291 Wrong comment lol.
@@TechnoBacon my bad, put it right now
Every time she's on I can't help but remember the quote, "Vengeance, and a slushie, will be my copilot"
Next: filming without a camera
You might be on to something...
yeah it's called theater.
@@filmriot 😳 Wait a minute
I feel old looking at Emily. And we’re the same age. I was a kid watching her and now here I’m an adult like her
*Has white screen*
*lights it to a green screen*
*edits back into a white screen*
😂
Had the same thought so I screen captured some of the footage using the green light and popped it into my video program of choice and it does work with something other than white. Specifically I had a water scene (I think it's a lake) behind her and she fit in pretty well. That's something I wish had been in this video. I only tested the green and blue and didn't really dwell on the details. It was just a general "proof of concept" style test but it worked.
That’s actually kind of genius
Yes, its great until you need a full body shot. Perfect for interview style shots though.
The reason we use green for chroma keying is because most digital camera sensors use a Bayer filter, where 50% of the photosites capture green, 25% blue, and 25% red. The resulting image must then be debayered with a demosaicing algorithm. It also helps that green is further from human skin tones than a color like red.
I never knew that and that's a really cool fact. Thank you!
Nothing so specific, Melvin. The reason we use green in chromakey is that prior to electronic chroma keying (the color negative was printed on high contrast black-and-white negative bla bla bla), blue was the easiest color to key out. And with the advent of television, weathermen (the BIGGEST "early" users of chromakey") rarely wore green, they wore blue suits.
@@maxsdad538 If that were the only reason, then the practice of using green would be unique to television broadcasts, which it of course isn't. The fact is that it takes more light to properly illuminate a blue screen than it does a green screen, in large part due to the higher sensitivity to the color green in digital cameras. Having more pixels of a certain color means more edge detail from which to pull a clean key. Additionally, electronic chroma keying has the advantage of being able to target a narrow range of luminance values, meaning you can still use a green screen even if your subject is wearing a similar hue of green. Granted, it's best for the key color to be as far as possible from what you wish to retain in the image. When keying photochemically, any color can technically be used (magenta and a few others have also been used in the past), but analog film productions tended to use blue because of the prominence of film with a spectral sensitivity that leaned towards blue. In that scenario, you would use the color negative or color separation overlay like you described. It's also worth mentioning that not all digital cameras follow the trend of having more green pixels than other colors. The new Blackmagic URSA Mini Pro 12K, for example, has a symmetrical sensor with an equal number of red, green, and blue pixels. This has many benefits, one of which being equal RGB color sensitivity; unlike the Bayer filter which was designed to simulate human vision, being most sensitive to green. There's lots more to say about color and perception, but that's the gist.
Alternative title: green screen but not
or green screen’nt
All fun and games until your talent light is stronger than your background light
That's true even with traditional green screens.
@@PDeNigris I was thinking the same thing, I wonder if it would be better or worse using the RGB lights? 🤔
But Emily is too special anyway xD
Rami ايش جابك هنا 😂
آخر حدا توقعت يكون هون 🌚
I've seen something similar already although it's expensive in some cases. Using scotchlite which is a material made by 3m which uses tiny glass beads on a piece of fabric which reflects light directly back to the light source. This is essentially how they made the lightsaber glow in the first star wars, or the Kryptonians white suits glow in Superman: The Movie (1978). Someone used a green led ring light (the kind of light vloggers sometimes use but with green leds), that placed near the camera (litterally the camera lens shooting through the ring), would shine the light on the scotchlite fabric and it would direct green right back into the camera, making the screen a bright green, but not affecting anything in front of the screen.
I have tinkered with this in the past so that someone could wear green on camera. It worked, but looks like you guys did even better than me. Now I want to try again now that I have better RGB lights than I before.
Thanks for inspiring people!
Please let us know how the better RGB lights work out!
This is so awesome! Thanks for testing and making this video
Kinda weird how simple this idea is, but still genius.
There is a system that uses a retro reflective fabric (like those paparazzi safe handbags) and a tiny colored ring light around the lens. The retro reflectivity puts all the light of that light back into the camera while the spill is nearly non existing die to the low intensity of the ring light.
i use a 10 by 10 ft. projection screen with rgb-lights as a greenscreen replacement for years now. It works like a charme with better results than a green fabric. And its way faster to setup, too. thanks for going into it.
Super inspiring as always! 🙌🔦✨
Tip: if you want more saturated colors you a grey backdrop. A grey backdrop is way more versatile then having a white background. You can add more light to it to make it appear white on camera or less light to make it appear black.
Yes, Yes, YES! The Film Riot family members are still innovating. Any white room can now be a "Poor Man's" LED Mandalorian Set.
A few sensors and a cheap projector or 2, and someone that can code to get parallax, I have been thinking of this
@@nunchuckfilms all you need is a motorized slider or jib to film your bokeh-licious background scene (parallax and all), then you use the same programmed shot speed to shoot your talent and >BAM< , you made magic!
Nice! Thanks for the additional tests with other colors, too. Super helpful!
There has to be some special effects possibilities opened up by being able to adjust your chroma as fast and as often as you wish. . .
I'm thinking using the spill from the screen as practical lighting? (might make keying more difficult)
At the very least, you could instantly turn around Chroma shots to accommodate any wardrobe.
I'd love to play around with the effects of dynamically changing the key during shots🤔
I'm not surprised that it works, but I'm impressed that it worked so well with cheaper Came lights. Our little Emily's getting so big... I remember when she got her first gun.
I’ve always used to iluminate the green screen with green light just to fill some white spots, but i never imagine something like this
In college we used prefilmed green screen video effects in editing to overlay in videos like an empty window on a train ect that we could basically fill in with a background and a foreground if needed
2:51 Ryan trying to suppress how truly excited he is? Such a great concept!
Some TV Stations would use a similar method, they would back project the blue or green depending on the situation, the subjects were able to be closer to the screen but their lighting for TV news, not for film.
I tried it immediately on a white wall. Worked, better than my pop up greenscreen. Thank you.
Dude! That's awesome. Tweet us any tests you do, would love to see how it turned out!
3:52 I'm surprised just at how red the frame gets here. It actually reminds me a LOT of that Technicolor process that all the old DPs and film purists are constantly chasing. I would love to mess around with red LED lighting to emphasize the redness of certain props, set pieces, and wardrobes.
Did some corporate shoots with green screen in the past, found that green flex fabric with... say a skypanel dialed in to green would produce the best effect for keying. Soft even lighting across the backdrop.
I remember when I first subscribed to Film Riot around 7 years ago when I was 11. Since then, no other TH-cam channel has been more inspirational or more instrumental in my journey as a young filmmaker. Now, I'm preparing to premiere my first feature film live on TH-cam next Friday. Having Film Riot around has been totally invaluable, and I couldn't have done it without you guys. I might be reaching here, but I would really love you guys to check it out. Either way, I just wanted to thank you so much for the years of top-notch film content! -Jack (BTW Josh that's genius)
That means your eighteen
@@Trollface_reacts388 That is correct, I was 18 when I wrote that comment.
You’re basically emulating the Reflecmedia chroma key system and after working with it on our first feature film, the problem your solution will probably have is that your lighting situations will still not really be all that much better than normal blue/green screen filming as you’ll still be fighting your background lighting. What the Reflecmedia system does is utilize a reflective background with green/blue ring lights on the front of your lens shining the desired color cast on your screen without lighting up your scene (unless you dial the brightness of the LEDs too high or film too close to your talent, it’s a balancing act with the brightness dials really) but you can still have just about whatever lighting setup you want even if it’s as dark as a match light lit horror scene. Your DIY method seems to work though so if it does the trick then more power to you but the commercial solutions are pretty awesome too!
I really love how they shot the Mandalorian series. Those LCD sets, connected to Unreal Engine is a dream set up!
Could you do a roomtour of your theater room Ryan? Showing how everything looks but also explaining what products you implemented? Would be a highly appreciated :)
Luxli has had a "green screen" and "blue screen" option on their LEDs for a few years. Works like a charm.
BTW, I find it a bit easier to use with a light gray backdrop than pure white, as the white tends to over expose, and I typically shoot my green screen a stop below the talent's skin tone.
Thanks Ryan and crew, we love you folks! Blessings, everyone! :)
I was not expecting this to work, so props to actually getting a good light fill right off the bat! i was thinking flickering would be an issue perhaps, but nope. Super clean.
Years ago, when I was doing puppet videos, I'd switch back and forth between various cheap tablecloths for my color key, depending on the colors of the puppet. I believe this sort of thing would work wonders for, not only puppets, but any kind of practical creature effect that doesn't lean toward human skin colors. If I ever get a chance to pick my videos back up, this technique would be indispensable.
The reason green is the best color fir digital video is because most digital sensors use the Bayer pattern and has twice as many green-filtered pixels as red- or blue-filtered ones, which results in a higher sensitivity to, and resolution of, the green colors
Definitely looks ideal for indoor, saves all the hassle too. Since it's light, might need some work at the spills, like you're showing, but it feels like people are going to find this easier and faster and to get creative with it, where it works
Wow! Those lights are super-cool. I'm going to have to ad them to the wish list for the next film. And BTW, Emily looks like she loves doing these lighting/ green screen videos.
Years ago, I used to greenscreen using a backfrop made of retro-reflective cloth and an LED light ring that screwed to the filter thread on the camera lens. The cloth looked grey until you turned the LED light ring on and then it would light up bright green
That outro hits me in the feels everytime.
I changed the NO INPUT of my projector background to green and used it once. It was just as good! So if you got a projector handy you can always project green with it too!
Corridor did this recently with their recreating Luke Skywalker video!
This came at a perfect time! We just chucked out our old horrible green screens but needed to quickly key something for VFX assets recently. We will pull out the big RGB LED panel and get it sorted. Cheers, Ry Guy!
A few years ago I volunteered at my local PBS affiliate, and for their green screen work, it was basically a grey sheet with a green ring light around the lens. It actually worked, but exactly how is way over my head. You couldn't really see the green in person, but it was clear as day in the video output.
Probably a HoloSet by Global Streams(later Play, Inc.). They did this first in the early 2000's. Today you can find the same technology with Reflecmedia's LiteRing. This is hardly anything new.
@@sebrame Thank you! I didn't know it had been around so long, or what to even look for to research.
I know in Star Trek TNG to create the mattes for the ship models, they lit the model with UV lights and used red screens, so when they filmed the model in regularly lighting, they just filmed it like normal, with light cards and blackout cards, but the UV lit pass on red screen allowed them to create a perfect matte to cut the ship out.
One reason green become more prevalent is the excessive blue spill caused by blue screen and that our eyes are more sensitive to blue light, so blue at the same brightness will appear brighter than green, and green will appear brighter than red.
I recently bought 2 Luxli Timpanis that have a Lee gel Chroma Blue and Chroma Green built in. I don't think I'll ever go back to using screens again. I just sold all of mine and kept the white, gray and black screens only This really works well. I've used them on a white wall and yes, the results are fantastic. Ain't technology grand.
When the rest of the world is researching to ditch that green screen, film riot be like “let’s not”
At a company where I used to work they simply did both. So the green screen was lit with green filtered lights. The green screen was also always painted, not a cloth, and when they needed a different colour they just repainted it (which was usually either white or green).
I have a wall covered in cheap green posterboard and it has work surprisingly good....but im still learning how to use the light to make an even perfect solid color, but hitfilm express is very forgiving in the green screen effect so it looks decent but I can still improve it
I made a Cyc wall with 6 Aputure Novas for this reason! Thanks for the reassurance of the decision.
I always knew it, Josh is a genius
And him coming up with this idea proves it
Just noticed those lights go into a Pelican case. My dad has one for his camera for 15 years. Freaking amazing that case. Indestructible.
8:29 All the references to a character named "Douchebag" on the shotlist B-roll lol. 😂
Would love to see how this would work in a scene that has multiple surfaces that you would replace in 3D
I always thought the green light would work if you didn't have a screen. I didn't think it would work so well though. Nice work💯
The insert of that Billie Eilish shot had me laughing way too hard
This is why I love Film Riot! Great job
In Corridors new video where they deep fake Luke Skywalker, this is exactly how they lit Dean for the replacement! Great video as always Ryan!
I could be wrong here but your camera has 2 green filters on the sensor for every one red and blue filter which means it is picking up more green color information than red or blue. That is why it doesn't surprise me that the blue channels might be slightly noisier if you're keying a blue screen. I'm studying a lot of this AI stuff that's coming out right now for keying and it's starting to make me wonder if the best screen in the future will be a less intrusive middle grey screen. In other words, having a middle grey fabric and bouncing white light off it to somehow meet both the white balance and native ISO of the camera. Just food for thought.
Good idea, they delay in the RGBs from each other would be an announces for a lot of projects but otherwise, they seem pretty decent.
the only thing you would need to look out for is colour reflection back on to your inteviewy
I thought of this once but never tried it 😂😂 works so well! And I think it gets cheaper as the size of your green screen gets larger (indoors). Ever thought about back projecting the rgb lights.. random thought?
Outside the box brilliance. This is great.
@Film Riot Could you do this with green colored gels? And
LED lights? If you were on a budget and didn’t have RGB lights.
Just got some RGB lights, going to have to play with this. Thanks!
There has to be some special effects possibilities opened up by being able to adjust your chroma as fast and as often as you wish. . .
I'm thinking using the spill from the screen as practical lighting? (might make keying more difficult)
At the very least, you could instantly turn around Chroma shots to accommodate any wardrobe.
I'd love to play around with the effects of dynamically changing the key during shots🤔
e.g. Key out &/or replace a spot of wardrobe on the talent on cue.
If you like memento, try the game her story. I love the way this game keeps you guessing what has happend. Its like you are an editor cutting a story without a clue what the story is.
Nice Video, Works also with TV Screens or Projectionscreens for backprojection.
😯This guy is a genius 😯
Well look who decided to make another TH-cam video LOL where are you been bro?
A great suggestion for having the entire screen just a green light. One thing I have been doing for years is lighting my green screen with a green light. (Gel or RGB) It seems to give me a great key even when the lum value isn't great.
Have you considered adding a hair light of the opposite color or even just white to try and clean up the green light hitting the subject? Or even adding some distance might give you even cleaner results.
All this reminds me of a previous job of mine where we dealt with chromakey still-photography. The red screen especially because one of the salespeople told a client that we will use a red screen instead of green because it is more fitting with their corporate colors. Had to spend time with everyone explaining why green or blue is used, why red is the absolute dumbest idea for said client (guests will mostly be wearing red), that skin color of Caucasians contain red, or if they are sun-burn is red etc.
Eventually used ChromaFlex in some places, but the material is very prone to damage and dirt. As an experiment stated working on using Background Subtraction and 3D depth maps.
This is a pretty cool idea! also, there's gonna be a short film contest any time soon?
Another standard way is to saturate a blue screen with blue chroma light. But to me that yields more spill than with daylight. This from the screen lit by the same lights while zero lights direct hit the talent. The spill was from the bounce of the screen. Compared to the daylight wich had very minimal spill.
Now I'm just wondering which is more cost effective. Otherwise, very cool idea. Love it
That's an awesome idea using RGB lighting!
Are there any down sides?
for example, are the brightness of the RGB LEDs less intense?
Such a simple idea and yet so effective. Excellent as always!
If I'm not mistaken they also have a fabric with glass beads built into the fabric to reflect back colored lights right back to the camera. This fabric might providing an increase in even color distribution with less light maybe?
My boys casually revolutionizing cinematography as we know it nbd
keylight is dedicated for green and blue, if you want to key other colors, use primatte key instead.
Thanks for trying this and sharing the results. When you tested with the green screen, was that while also using green light? (as some recommend) green on green vs. daylight on green vs. green on white?
I mean we all know the reasons Green has traditionally worked the best. But also with digital film cameras being so sophisticated these days, could the manufacturers accentuate the green tones to make it even easier to key? Just a thought.
Just thought of this idea and so glad somebody already did it!
🤯new possibilities have just opened up. Thanks as always
Everytime I am in need techniques you guys always make these videos at the best times, amazing work and keep it up, this channel makes me a better filmmaker everyday!
What a briliant idea. Thank you for the links also, but what is the reflective white sreen you use before you switch to the cheaper Amazon fabric?
I've heard pointing green lights at a green screen/wall can help get better results as well.
this lights are awesome that means i ill just to choose what i want and boom background color created.
Love the simplicity of the approach. One question though. If I've got LED lights (that shift from warm to cool but no further) which particular kind of green gel would I need to pull off the same green screen colour?
film riot is on a monster roll these past few weeks...
Fine, you're our favorite now...
Was considering the lights, then saw the price and I was like "nevermind." lol
It's so simple a and obvious, once a smart person points it out.
Did alot of this with Kino Lite Diva's in 2020. Love it! 😎
Been watching these people for 8 years now. They haven't matured at all and I love it. Best channel to learn how to be a filmmaker from. The rest dont compare. You hear me Peter Mckinnon. lol jk but seriously. FILM RIOT ALL DAY. Bout to get a film riot trans stamp tattoo for the love
As noted in captain disillusions Green screen video (seriously, he is the greatest creator on TH-cam, if you do y know of him already, stop what you are doing and go watch everything he has ever made), you can also light your green screen with a different color temperature light than your foreground in order to pull a cleaner key with much less work... it's essentially the same idea you are exploring here, but with even more benefit to the editor who will be separating out the key later on.
This is great! You guys "rediscovered" one of many optical printing tricks pioneered by Disney (i.e. Mary Poppins).
It is a wonderful thing when old techniques work just as good with new technology.
I thought this was going to be a RunwayML tutorial lol
whoa maybe the reason the blue didn't key well is because the light is deeply saturated. using a deeper blue, or a different LED could probably improve that.
I use green light on green a lot. need more separation to avoid spill though.
Who knew that green would work the best? It's not like sensors are made up from 50% green photo sites.
Amazing light panel. I love that your videos are never boring haha. Amazing content