![]() Think of shooting with the white balance from the previous location - that would be absurd. If you don’t black balance who knows where the camera was last calibrated. Once this procedure is complete the camera body will remove any dead / errant pixels and the camera sensor will learn what true black is for your shooting circumstances - which is very important. From here follow your manufacturer’s directions on how to Black Balance (ABB - Auto Black Balance) or Calibrate Sensor. ![]() Once you’ve reached those conditions (about 15 minutes after you’ve powered on, and the camera is at room temperature) you should remove the lens and place the body cap on the camera. You want to mimic the conditions you’ll be shooting in, as well as the shutter speed and ISO before you engage the black balance. ![]() Before we proceed it’s important to get the camera up to operating temp. Now we need to make sure the camera sensor is giving us the cleanist image possible - for that we’ll calibrate the camera sensor or “black balance” the camera. Cranking the ISO beyond its native ISO will introduce noise to your image, and a noisy image is the enemy when it comes to pulling a decent key with detail.Īlright so we’ve set our cameras to its native ISO for us it’s ISO 800. But before we get into all that let’s make sure your camera doesn’t exceed its native ISO. You’re going to need a lot of light to shoot correctly on a green screen stage for various reasons we’ll cover in a bit. You’ll need to either be or hire a seasoned Director of Photography that can handle all the technical aspects of shooting on a chroma stage as well as keep the style and emotion of your project in check.Ī good stage is important for audio, but having a chroma stage pre-light evenly with DMX or Luminair control can be a game changer when it comes to production day. Lighting for green screen takes those principles and builds on it. Light is the fundamental component of getting an exposure, but beyond that it’s what we paint our subjects with and create a sense of space and mood. Well we can geek out for days about the importance and relevance of lighting in cinema. I’m not saying this is the right way - this is merely an overview on the way I do things -hopefully you’ll find a benefit in the following info. Look - I’ve been pointing my camera at people and dinking around in After Effects for a really really long time and I’d love to share what I’ve learned and how I approach these types of projects as a whole. I personally hate long intros, yet here I am babeling on. Some topics include: Folder Structures & File Organization for Teams, Estimating & Budgeting Projects, Running a Profitable Business, and Intro to Client Management. If you find value in this presentation please subscribe to our social channels as we’ll be providing lots of additional tutorials that will further benefit the information you’ll receive here. I’ve developed a Best-Practice / rule of thumb for my team that I’d like to share with you in hopes it’ll help you achieve better results and have more fun. so I feel that I have a unique perspective on the entire workflow from pre-production through post on green screen projects. I’m primarily a Producer now, but I started off as an editor and visual effects artist then moved on to being a DP.
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