This shot sounds like it has some wild lighting so not sure if this would work, but I’ve found this setup to get pretty good mileage right out of the box. I’d be curious to compare it to the one Sinan just posted. Been watching it for a couple hours now and it’s pretty sweet.
I’d probably church it up by replacing the difference divide he does with an ibk matchbox. The clean screen would be the obj obliterate, shoutout Richard Betts Logik Live, also the recursive ops if the shot is static. Also would try to clean up the seems ahead of the ibk using the method Sinan just posted in the beginning of part 1.
yeh this is me, this is something i showed while ago, I remember ibar made a matchbox shader for this, call crock_jt_key or something like that. In my opinion this didnt work for dark bg but it does really well for bright ones… but you can give it a go and try.
I got the shot approved, currently crossing my fingers that it stays that way. Haha. I can’t share the shot beyond the mockup I made and posted up above. The original shot was a few seconds long.
I had a little time today and ran it through the tutorial Sinan posted, and there were many moments where I thought it would all work out.
It didn’t work in the end and the result was remarkably similar to Ivar’s Additive Key in Ivar-mode.
I’ve learned a lot and it’s nice to have another thread on keying stuff. My big takeaway is it is important that the green screen is not too bright.
Back in my camera days, I remember a rule that any ambient background light should be at least 1 stop under at the back of the talent. Take a light meter, point it at the cyc (or background) from the back of the talent’s head and keep it 1 stop under. Same for GS, as this makes spill much more manageable.
Gets trickier in dark scenes, as you’re going to fight sensor noise at some point.
Assumes that someone on set has a light meter…
That’s a better measurement than camera exposure of the background, as it considers the light contribution on the object.
My takeaway for dark scenes is light them bright and use a LUT to make them dark. Nobody should be shooting a thin negative unless absolutely necessary.
Yes and no. If you do that, you need to give talent some black surface to look at.
Have you noticed that is many contemporary films actors pupils are wide open? Result of sensor doing so much better at low light and people using LEDs. Pupil size is relative to light levels in scene. Can create unrealistic outcomes if you cheat too much.
In moody interior scene they should be wide open. In a daylight scene they shouldn’t. You can offset that by keeping bright or dark surfaces in the actor’s eyeline. Of course yet more set clutter.
Yeah, the adaptive suppression is really an additive key but just to create your fill. I use it on all my comps but I can only go so far. Beyond bright fringing, a bright green screen also is going to give you a bad time when it comes to defocused edges and motion blur that’s not exposed correctly to match the background. It’s always a battle and it’s hard to ever get what might be ideal.
that is a fabulous takeaway, as a vfx sup im always concerned of having any GS underlit, but you are right if the screen is too bright the ringing, and spill and halation can be a bitch. great point Andy
