All language subtitles for 4. Review of the 3 Point Lighting System for Green Screen Lighting

Hi and welcome to our review of three point lighting

systems for greenscreen lighting.

Before we begin,

let's take a look at some things to keep in mind when filming on greenscreens.

So we're going to take a look at our hair dryer picture again.

Again as previously mentioned,

please try to stay away from green elements on greenscreens.

Those definitely will cause us some issues.

But most importantly,

this image is to talk about our elements relative to our greenscreen.

So we did have limited space within this filming venue,

but we tried to place our foreground objects as far

away from our greenscreen as possible.

Now the closer the elements are to the greenscreen,

the more spill that we're going to have.

So that's what's very, very important about this.

And we're going to see why momentarily.

So here's our Keylight that we pulled.

Of course we had transparency in the hairdryer, which is completely expected.

But more importantly,

it is that we still have some values here below one in our tabletop.

You would expect our tabletop to be opaque.

Unfortunately,

some of that spill from the greenscreen is coming onto our tabletop here.

So again we try to place it as far as we could.

Sometimes it's unavoidable,

but just keep that in mind when filming to try to place the

objects as far away as you can while still keeping their

lighting and that even greenscreen.

Our next example is that we film these two little

birds on a greenscreen backdrop.

And we place them on the greenscreen just so that we

can have those contact shadows.

The one thing that we notice after was that their feet were

very close in color to that backing color,

same goes for their eyes here.

So that's the first issue that we're going to have.

Let's take a look at the green channel.

So some other elements that are not working for us here are the feathers,

which are again very close in color to that greenscreen.

They're not going to key very well as we can see here.

So we're not pulling a very good key.

They're getting mixed up with the greenscreen in here.

An alternative would have been to have actually filmed on a blue backdrop.

So here is the blue channel.

We can see that it's extracted quite a great alpha.

So not perfect by any means, but definitely a stronger alpha for these feathers.

So again,

stay away from light colors and consider different backing colors when filming.

Next, we're going to take a look at the bluescreen.

So again this element was unfortunately filmed too close to the backing.

We have some pretty intense shadows that we don't

want being casted on that back wall.

We have some glare coming down here at the bottom.

Now we purposely curved this.

If we didn't curve it,

then we would have a very harsh seam going through the bottom

where the back wall and the ground plane meet.

Now this is called an infinity curve.

And at the infinity curve it is quite popular in

filming bluescreens and greenscreens.

And we'll take a look at that in a few more minutes.

So instead we check another version of the same element on a

bluescreen background and this works a lot better.

Again, just placement relative to that backing color and how it's shot.

So a much better, better outcome on the same background color.

Next example is evenness of that greenscreen.

So this was filmed on a sheet of greenscreen.

You can consider it almost like a green bed sheet of sorts.

Now it had been in storage for quite some time, so it was wrinkly.

We tried to iron it.

Clearly here it wasn't ironed good enough.

It wasn't taunt enough.

So we didn't pull it tight enough.

So we do have some wrinkles in the greenscreen still.

When we pull a key, it looks okay here.

But looking at that alpha, it's not so great.

So again, it's picking up on those wrinkles.

It's uneven and so again, if we pull that tighter,

we would definitely have a better outcome.

So again,

pull that greenscreen nice and tight so that we have

better backing color to work with.

Here we filmed at Vancouver Film School.

They have a full greenscreen film set.

And we had the background here that was the greenscreen room.

And then of course, we had our character jump off of a box.

We didn't want to have to rotoscope the box so we put a

green sheet on top of it instead.

Now this green sheet in filming alone works great.

This greenscreen room by itself works great.

Unfortunately, combining them are slightly different greenscreen values.

So when we pull that key, we have some issues in our alpha.

Now there's one of two things that can be done here.

Either A, film the character differently.

So film him on just the greenscreen and move your elements

around and/or pull two separate keys.

So one key separately down here for these values and a

separate one for the greenscreen room itself.

So again, over top of our test background we can see some issues down here below.

Next we're going to look at a couple of different

solutions for filming on greenscreen.

So here we were lucky enough to film at Vancouver Film School.

They have a full greenscreen room.

This is one of the largest ones that you will find.

It is approximately two stories tall, 180 degrees of greenscreen.

So it's pretty exciting that we got to film in here.

And we'll get to work with some of those elements.

The next example that we have is a portable greenscreen room.

This was at the Vancouver Library,

and it does have a three point lighting set-up already set up in there.

It's very clean, nice and taunt,

so there's no wrinkles or anything like that in the greenscreen,

which is really, really nice.

So it was great to work with.

We were somewhat limited to what we could film in there of course.

But it was a great alternative to work with.

Here we had a portable greenscreen that we worked

with from Vancouver Film School.

Little bit wrinkly in transport.

This is reversible, one side is blue, one side is green.

But we got some great footage to work with from this particular shoot as well.

Now that we've looked at greenscreen filming options,

let's take a look at that three-point lighting

system that we were talking about.

So again back into the studio, so here we have a full view of the room.

We have the infinity curve.

So this is a curve built into the room,

again to cut down on that seam that we would have.

It is visible here.

It's not necessarily always this visible but again,

it's a great solution in relation to having a seam.

So infinity curve really is the way to go.

Now we have some overhear lighting as well,

and this will be to recreate warm lighting or cool lighting.

So we have tugsten lighting and daylight lighting setups.

So in this particular example we have one, three-point lighting system setup.

Now you can have variations on this,

by no means is this the only three-point lighting set system.

The real way to go is make sure that your background is well lit,

that there's no wrinkles,

and most importantly that the lighting you are using is going to be the same as

the background that is going to be added in post-production.

So if the lighting on set does not match your

background image that you add later, we're going to run into some issues.

So this is a really great starting point to work with.

We have the fill light over here to screen right and

that is the most intense lighting.

We have four bulbs here.

And it's followed by the key light over here to the left and

the back light over here to the left as well.

So let's take a look at an overhead setup to see what that will look like.

So again, here we have the infinity curve.

So this is the back wall over here,

that curve that slowly goes into our ground plane.

We have our back light that is slightly behind our subject,

our key light to the screen left and our more intense fill

light over here to the screen right, and of course our camera.

So let's take a look at a few last things that we

looked at in this particular clip.

So we want to make sure to have an even greenscreen that is free from wrinkles.

We want to place a subject relative to the greenscreen.

So let's just make sure that it's not too close,

course not too far either, so that we can still get good lighting on the subject.

But it will reduce spill and greenscreen reflection.

So just make sure it's not too close.

We don't want to overlight the greenscreen, or underlight it.

So it has to be lit appropriately so that we can pull a really nice key.

And of course we want to position the lighting setup to mimic the lighting in

the background that we will be adding in post-production.