![]() Try digital with your existing light setup and compare the results. This is why digital green screens are easier to work with. It is highly reflective, which means that you need a bit less light. The digital green screen is on the opposite end of the spectrum. This is why getting the lighting right can be a bit difficult. ![]() Consider Going With a Digital ScreenĬhroma green screen is popular in most productions, but the density means that it is generally less reflective. When you use two different lights, you’ll have to worry about exposure or color temperature issues-two headaches that will take a lot of time to rectify in post-production. Using different lights from different manufacturers can make it harder to achieve consistency (if not impossible). This is especially true for the lights on the two sides of the screen. Whatever lighting hardware you choose for your green screen room, you need to get as many of them as you need. If you’re going for even flat light, you can achieve it using two more flood lights on the talent’s face. If you want a dramatic look on your actor, consider lighting them from the side. So, adjust the angle of each light where necessary to make everything as even as possible. You’ll end up with a hotspot if both lights are spilling into each other. Make sure the two light sources are not overlapping too much down the center. This setup should give you a decent result. Place them a few feet back, at an angle of 45 degrees. For the best results, place each of the light sources (set for diffusion) on both sides of the green screen. In many cases, you only really need two strategically placed lights to illuminate the green screen in a small room. This way, you can be sure your light is as soft and even as it should be. If you only have a strong light to point at the screen, you should use a large 8×8 frame with a silk sheet for diffusion. This will give you an uneven light to shoot with. Such lights tend to have a hot spot, and you’ll find some gradient surrounding it. Pointing hard light sources-such as tungsten without diffusion-at the green screen will lead to poor quality results. Instead of moving things around, you can dim the lights a bit until you have the right levels. This is where dimmable bulbs come in handy. Moving the actors, lights, and cameras further away is usually the best solution to go with, but for a green screen in a small space, this is not always an option. ![]() ![]() The problem won’t be very pronounced for static shots, but it will become more visible with more motion in the video. When this happens, your shots will appear to have a bright green light from behind, giving an unnatural look. Directing too much light will cause a bounce off the sheet and onto the actor in the foreground. However, you need to exercise caution to avoid using too much light on the green screen. Lights dedicated to lighting the background are important for this process. If you don’t have enough space for these dimensions, try to maintain the distance ratio between the lights, wall, and camera as closely as possible. However, this is dependent on the scope of your wide-angle lens. Your camera should then be around 6 feet in front of your actor. You should also position your actor 3 feet in front of the lights so the light won’t mostly be on them. Your green screen light should ideally be 3+ feet away from the wall to avoid creating a spotlight effect. Both scenarios will give you a flat appearance, and the actor will get in the way of light meant for the green screen. Your green screen shouldn’t be too close to the wall, and the actor shouldn’t be directly in front of the wall. Proper lighting starts with making good use of the space you’ve got. Check for Exposure on the Camera Monitor. ![]()
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