Tagged with green - Personal View Talks

budget lights for green screen?

cevahic — Mon, 23 Sep 2019 00:27:40 +0000

I am buying a Westcott 130 fleece green backdrop: https://www.fjwestcott.com/9-x-10-green-screen-wrinkle-resistant-backdrop

What sort of lights would be best to evenly light this screen and get a perfect key? Ideally under $500 for a pair of lights (or more lights if needed). I am thinking of lights that I can mount on C-Stands or light-stands.

The talent will be lit separately with soft boxes, around 4 meters away from the green screen.

Routine meal searching uncover paralel content: phytates, antinutrients and capital

RoadsidePicnic — Wed, 01 Nov 2017 13:35:47 +0000

Was searching for oats porridge on google:

Capitalism has proven most resourceful. Population growth ha no doubt aided in its growth. Yet there is also a geographical dimension to its sucess, as noted famously by Henry Lefebvre (1991) and David Harvey (1982). In other words, through the production of space (e.g., Harvey), as witnessed through decreases in transportation and communication costs and the instant exchange of information between nodes located all around the world. These expansionistic tendencies take both intensive (e.g., new infraestructure investments in cities already involved in capitalistic modes of production) and extensive (investments in areas not yet enveloped in the logic of capital) forms (Sewell 2008). Yetm as Marx and Engels (1967) noted so long ago, these tendencies produce contradictions, which must be resolved in some form so as not to derail the circulation of capital. And therein lays capitalism's transformational engine, in these contradictions/tensions that it then "resolves". This has allowed capitalism to continue on the tracks without (yet?) a major derailing of its logics.

Marx and Engels predicted that eventually such tensions would become too much for capitalism: "The development of Modern Industry, therefore, cuts from under its feet the very fundation on which the burgeoisie produces and appropriates productions. What the bourgeoisie, therefore, produces, above all, is its own grave-diggers" (Marx and Engels 1978: 483). The (first) contradiction is overproduction - that eventually there will simply be too much stuff and not enough people able to buy it all. More recently, James O'Connor (1998) has written about what he calls the second contradiction of capital. While the contradiction discussed by Marx and Engels centers on a crisis on the demand side, for O'Connor capitalism will, over time, witness a crisis on the supply side. This under-production will occur as industry and state - both which are directed by the logics of capital - fail to protect the conditions of production, namely, the environment. "Put simply", in the words of O'Connor (1998: 245), "the second contradiction states that when individual capitals attempt to defend or restore profits by cutting or externalizing costs, the unintended effect is to redue the 'productivity' of the conditions of production".

To be clear, I am not looking to rewrite Marx nor am I hoping to challenge or contradict others extensions of his thought. There is an impeccable logic embedded within these grave-digger arguments. But I cannot help wonder if there is something else 0 if you will, something "deeper" - that unites these contradictions into a single conceptual thread. It seems to m at least that capitalism would have painfully short existence were it not for our readiness to mistake its abstract "objects" for the concrete. The link between object-ification and O'Connor's argument is fairly easy to state. Breaking up the world into "decontextualized, dissociated and detached" commodities (Callon 1998: 19) reduces the productivity of the conditions of production because this process fragments something that fundamentally is not fragmented (see e.g., Levins and Lewontin 1994). And with each "object" new tensions arise (whereby the productivity of the conditions of production are threatened), which in turn brings about new objects (and new tensions), and so forth.

Capital has thus far acted with amazing speed at turning these tensions into sources of profits. William Sewell (2008: 525) describes this ability as follows:

"The occurrence of events in social life, of unexpected happenings of any sort, is for capital above all an opportunity for new sources of profit. As the profitability of existing investments declines or stagnates, there are always alert capitalists scanning the horizon for new, more profitable investments. It is this eternal alertness of capital for higher profit that drives both the business cycle (because the enthusiastic pursuit of new possibilities of gains results time and again in overinvestment) and capitalism's continual expansion (as new geographical, technological, social, and cultural patterns open the possibility for extending capitalist money-making practices into ever new sites)."

Decentering Biotechnology: Assemblages Built and Assemblages Masked By Professor Michael S Carolan

https://books.google.com.br/books?id=Yul6BgAAQBAJ&pg=PT97&lpg=PT97&dq=Antinutrients+and+capitalism&source=bl&ots=tmzgVa5nZO&sig=A4wkljZaUfEysWQ8my286NOSQHg&hl=pt-BR&sa=X&ved=0ahUKEwiYzeTXgZ7XAhUEiJAKHdNMCfcQ6AEIMzAC#v=onepage&q=Antinutrients%20and%20capitalism&f=false

Upper pages seems more porridge related and are also very interesting.

Effects question: removing a background

Brian_Siano — Tue, 11 Apr 2017 11:07:10 +0000

Let's say I have a shot with an actor in a room. The camera doesn't move, so the background is completely static, and doesn't change from frame to frame beyond the usual grain. I'm figuring that, if I had a frame of just the background, I ought to be able to use it to filter out the background and isolate just the actor, as though it were a greenscreen.

I'm having some trouble doing this in Premiere Pro. Any suggestions?

Using a 4K TV as a Cinematic Background

andyharris — Fri, 24 Feb 2017 09:37:41 +0000

I was curious to see if the old ways of back projection could be updated with the use of a 4K TV. We thought that the brightness and refresh rates of modern screens could work well with a 24FPS camera.

Here's the results:

Optimizing your greenscreen shots when shooting with the gh2

vempire — Wed, 14 Dec 2011 16:00:13 +0000

Here are some tips and tricks for optimizing your greenscreen shots when shooting with the gh2.
Since I have the gh2, I use it side by side with a red one when doing greenscreen shootings for TV Vfx.
As the gh2 isn´t capable of recording raw and doesn´t have the same lattitude as the red, I figured out the following techniques
to take the gh2 greenscreen shots to a level where you can really intercut them with the red material on broadcast programs.
Which I regularily did and do, and nobody ever realized, that that material wasn´t all shot with the red.
Try this with the 5d MK2 and you´d be completly lost.

Lets assume you build a little greenscreen set, maybe 5x3 metres, shooting somebody standing in front and on green cloth.
As money is short you buy no pro greenscreen cloth but just green cloth from ebay or so. Thats fine.

Try to get the cloth as wrinklefree as possible, some wrinkles won´t be a big problem.

If you have very dark (Black) shadows on the foor or elsewhere in the greenscreen try to brighten them up with bounced light - styrofoam will do.
It´s not necessary to get a perfectly even lit screen, just avoid deep black shadows and blown out white spots.

If you can control the brightness of the screen by adding light with lamps or bouncecards, or subtracting light with black cloth here´s how you can find the perfect sweet spot for the brightness, the greenscreen should have:
You need a greycard which has a square of 90% white in it and a Kodak Wratten No. 99 Filter. Both together shouldn´t be over 100$ but it really makes the difference.
Light your actor in front of the screen and the screen itself.
Set the exposure on your camera.
Hold the 90 % white card in front of the greenscreen, so it catches the light the actor would usually catch.
Look thru the No.99 (green) filter. If the the 90% white looks darker green than your greenscreen you have to brighten the greenscreen,
if it looks brighter try to darken the greenscreen. Your setup is perfect when the 90% white seen thru the green filter looks more or less like your greenscreen. If you´ve done that a few times you get a feeling for it.
This technique really helps getting an easy good key with gh2 material.

If you have a lot of action creating lots of motionblur in your image, you´ll get problems. The blur against green gets quite ugly and tends to produce
black edges. If you can afford Reelsmart Motionblur (an After Effects Plugin), you should double your shutter speed during shooting (1/100 for 25 frames or 1/120 for 30 frames). You´ll get cleaner and sharper motion. Use Reelsmart Motionblur to generate Motionblur on your greenscreen footage right after the keyer before merging with the background. Select "Images are premultiplied" if you encounter fringes.

I found the following GH2 settings best for me:
Smooth, contrast -1, sharpness -1, color saturation -1, noise reduction -1

Always prefer greenscreen to bluescreen, cause the green channel is much cleaner.

If you are short on light, and you have too much noise in your shot, even if you don´t see it a first glance (zoom in and you´ll find it),
denoise your shots with neatvideo before keying. It´s the best denoiser by far. In my opinion it gives you the opportunity to push one stop further than you would normally do. Push the iso up to the extend, that you would normally say "Okay thats one step too much, now I see more noise that I can accept" . Using neatvideo gets you back to the quality of one Iso down most of the time.

Use 5DtoRGB to transfer your clips before compositing. It helps you get a "smoother gamma", saving more color information in dark parts of your greenscreen.

Although all this works with a unhacked gh2 (I did a broadcast job with it before the hack), using the higher bitrate of the hack greatly enhances your results. I use the 66mb setting.

Last tip, if you have serveral keyers or keying plugins, always test them all quickly without heavy tweaking on your shot.
In most cases one keyer will work obviously better than the others, and thats really not always keylight. Choose the one that performed best, and refine.

Hope that helps you to tackle greenscreen shots easier in the future.
It´s clear that you can´t follow all that tips in most cases, just try to use as many of them as possible.

Regards
Holger Neuhaeuser

Work In Progress

andyharris — Mon, 29 Aug 2016 13:00:55 +0000

Work in Progress

I've made myself a goal of creating a short worthy of presentation at a film festival. Basically because creatively it is the next step up from corporate videos. It's actually very hard to do, I've put more than 1000 hours in an have virtually nothing to show for it. However this long weekend has allowed me to get a whole pile of tests done and even have the 3D printer running for a few hours.

I've built this 'studio' in a spare room and I'm going about dealing with the challenges of video is a small space. Audio has been a bit of a challenge, I've been adding tiles to the ceiling in blocks of £90, and that doesn't get you many tiles!. Ikea has been my friend in terms of cheap deep pile rugs.

I've purchased Fusion Studio so that I can get access to the proper version of Primatte (Keying). I'm just getting my head around keep-out mattes which you can see connected to the garbage matte below (two Primattes, one to key the other to build the keep-out).

Here's a few seconds of bringing a pile of stuff together, It's a Fusion composition where the background is created in Cheetah3D. The interfaces are procedurally generated:

Modifications to some standard office LED Panel fittings for Green Screen lighting

andyharris — Mon, 27 Jun 2016 07:19:53 +0000

Here's a couple of test shots, one backlit and one not:

Here's the controller I used

And here's one of the modifications that I needed to reduce the flicker:

Here's an overview of the space:

Here's some printed brackets:

and a side view:

In a few days, I'll put together a blog of how I come to this result. Right now I'm awaiting a full copy of Black Magic's Fusion Studio in the hope of getting to the finest keying.

What brand chroma green screen do you use?

f1lm3r — Wed, 23 Jan 2013 17:39:01 +0000

Just a curious question. There seems to be quite a handful to choose from. I'm looking to do a green screen shoot in the near future for a short film and was looking at picking one up. I know one of the big things to look for is non-reflective and wrinkle-resistant. Westcott seems to be popular brand. But could I just get any old green screen and it'll work?

Test of CN-R640 LED Ring Light

andyharris — Fri, 09 Jan 2015 12:41:15 +0000

Here's a quick test of this Ring Light. It came up cheap on e-bay then disappeared, I tracked down a UK supplier that apparently had a six week wait. It arrived in four days!

I've been having a idea about an interface's POV, in that you see characters from behind the interface, so that formed the based of this test:

It took more time to set up than shoot (about 2 hours). In this test the Ring Light is set to 50% brightness and the white balance is set at 5600K. I believe its going to be a pretty useful addition to my lighting and the only downside it that I can't find a suitable soft bag to protect it in transit.

The music was assembled from kits from Big Fish Audio.

Greens Screen Music Video (multiple cameras)

hempo22 — Sun, 06 Jul 2014 08:04:05 +0000

recommended patch for shooting gardens

paioandf — Sat, 28 Dec 2013 16:38:08 +0000

I have just started a long-format documentary project on a garden designer. After doing a number of projects with a kit that includes two unhacked GH2s, I really want the image quality for this project to be the best possible given the budget. I have just hacked one of my GH2's and want to start doing some tests and would love recommendations for patches that are reliable and can hold up to shooting very detailed garden scenes. The following is a link to a teaser for the project to give some idea of the kinds of scenes and style of shooting (all the footage for the teaser was shot with an unhacked GH2): https://vimeo.com/channels/643229

Thanks in advance!

Speedbooster GH2 with CC30M sensor mod - Fishing Trip

pchristoph — Sat, 14 Sep 2013 23:28:47 +0000

Family fishing trip I shot a few days ago. It was totally improvised. I didn't know the location or what I'd be able to capture until we arrived. Shoots like this are fun - you have to think quickly about how to develop the story with what you're given. I wanted to share this with you guys as it was my first shoot that I can post where I used the c/y speedbooster. Great piece of gear. I've shot a couple commercials this summer with it as well - but they are not public yet. I used a c/y to m42 adapter which worked flawlessly with my 35mm f2, 50mm macro f4, and 135mm f2.5 lenses. Shot using smooth all -2, and on a monopod 561hdv, and a mini hi hat with a manfrotto ball head. Edited and graded in fcpx. I'm also using a Lee CC30M gel cut and fixed in front of the sensor to give me a more even color distribution of RGB. (You must manually white balance when doing this, but I always do anyways.) Utilizing a CC30M gel is an effective form of pre grading your footage before it hits the sensor. I've tested this out all summer and credit Aki Hartikainen whose initial tests with the gh1 sparked my curiosity for experimenting with getting rid of the gh2 green cast and better post grading using this method.

My version of High Wit' U for 7 Days of Funk ( AE music video )

sdope79 — Thu, 02 Jan 2014 06:10:53 +0000

Hi here is another video i've done this time in AE for Stonesthrow Records competition. Took about a week to put it together but been struggling with crashes after upgrading to Maverics... finally came up with this and now Im sharing it with the world... We all know that Snoop likes to smoke so heres my smoked out version... Enjoy!

Green screen in small space

tonalt — Mon, 22 Jul 2013 17:05:45 +0000

I'm building studio to small room (size about 3m x 3m).

I need 3 backdrops: green (for chroma key), black and white.

For this I already have 3-roller background paper support system (similar to this http://www.ebay.com/itm/400373022462 ).

The background paper will be about 2m wide. Haven't found any place where to get this custom size though. Any ideas?

I will put this in between cheap man's Manfrotto Autopoles: http://www.biltema.fi/fi/Rakentaminen/Vari-ja-Saumaus/Tyokalut/Kattotuki-86034/ . That's the best version in Finland, in US I guess it's this one: http://www.amazon.com/dp/B000067S12/ref=asc_df_B000067S122575981 . Reason for "autopole" is that I don't want to drill extra holes to the wall and the "autopole" provides attachment point for lights etc.

I attach the 3-roller to the "autopoles" using these Manfrotto super clamp replicas: http://www.ebay.com/itm/Articulating-Small-Super-Clamp-Crab-DSLR-Rig-LCD-Monitor-Studio-Light-Magic-Arm-/200926374880 . If I find them to be bad quality, I will buy original super clamps instead.

And then the biggest problem. How to light green screen in limited space? I don't want any extra tripods / softboxes to the studio. I'm thinkg using led lights something like this http://www.ebay.com/itm/Portable-500-LED-Light-Panel-Photo-Video-Studio-Portrait-Dimmer-Lighting-Filter-/290900481579 on both sides. Hope them will be enough. I would attach them using super clamps and Manfrotto extension arms http://www.bhphotovideo.com/c/product/546373-REG/Manfrotto_by_Bogen_Imaging_042_042_Extension_Arm_with.html to the "autopoles". This way I would not have any extra tripods on the floor for the green screen lights.

It would be also cool to have head light attached also to the "autopoles", with something like this: http://www.bhphotovideo.com/c/product/546560-REG/Manfrotto_024B_Boom_Assembly_Black.html . The Manfrotto is pretty expensive though so I'm looking for alternative.

I have seen many DIY green screen light projects like this

but those don't get me too excited.

Main purpose for the studio is basic "interview setup" and I aim to get everything as cheap as possible.

Any ideas would be appreciated!

GH2 or GH3 for green screen?

flablo — Wed, 15 May 2013 11:09:39 +0000

Hi, I own a GH2 and a GH3, quite happy with both. I'm going to shoot videoclip on green screen. I already have some experience with GH2 and green screen, and I've already searched and followed all related discussion here on PV (and outside), but one thing I couldn't come up with a decision is basically wether using the GH2 (hacked) or the GH3. What appeals me of the GH3 is essentially the improved DR, while for the GH2 the main factor would be using a hack (Driftwood or CM Green Screen). I would not use the horrid All-I with the GH3. I'm not asking tips on green screen, I just want to know it anyone used both for this task and has some thoughts to share.

Thank you

Premiere CS 5.5 PC and playback freezing with GH3 mov files

MRfanny — Tue, 14 May 2013 10:17:26 +0000

Lately my CS5.5 with cuda enabled on windows 7 64bit has been crapping itself with a large amount of scrubbed GH3 50p mov files. I get random green preview boxes on the timeline with playback freezing that causes the program to freeze. Rendering also produces green screens in random spots of the timeline also. In order for Premiere to restart and load the media files properly I have to shut down Adobe QT32 Server. I suspect it has something to do with quicktime and mov codec. Never came across this problem with GH1/GH2, only recently with GH3 footage. Its making editing impossible, its driving me nuts. Does anyone have any idea what the problem could be?

I am thinking of doing a system restore and reinstalling CS5.5 again.

"Disappearing effect" in Music Clip

Dubidu — Wed, 30 Jan 2013 10:46:17 +0000

Hello Everyone I recently saw Two Door Cinema Club's newest Music clip. It's called "sun" here's the link.

In this clip they're using a very confusing disappearing effect. Turns out I shoot a music clip my own in two weeks and I could use this effect too. Has anyone an Idea how they do it? I thought maybe they used green screen towels. But they're also using the effect in moving shots, so they actually had to film two times exactly the same camera movement to make it work, right ? Thanks for your answers :)

Hot/Stuck/Dead Green Pixel in Video Footage

matt_gh2 — Fri, 21 Dec 2012 22:28:46 +0000

I'm hoping someone has some knowledge on this problem and hopefully a solution. I've got a "green dot" appearing in all my video footage. It's in the same location and doesn't move. It's not always visible, but when panning, I'll see it if it goes over certain types of colors, focus, etc. There's also another gray/translucent dot. I've eliminated the following possible causes (different SD Cards, with or without Hack, different Lens, & different Monitor footage is viewed on.)

So I guess this is what is called a "Hot Pixel"?

How do I fix this? Thanks.

Money in m'uh pocket ( green screen music video filmed with gh2 )

sdope79 — Fri, 14 Dec 2012 09:29:07 +0000