Frage von wojna:
Hello,
I would like my green screen illumination with two Fresnel theater lights out. The light bulbs for standard incandescent bulbs, the color temperature of 3200 K.
For the Lighting of the actors, however, I would be happy with ESL energy saving light bulbs use 100 watts. The bulbs do I get but unfortunately only with a color temperature of 6400 K. (Or did someone somewhere with ESL 3200 K found in the network?)
Can I use these two different bulbs together in my studio to use? Ultimately, the Green herausgekeyed anyway.
White balance, I would then of course before the Making ESL.
Is it the color of green is not negligible anyway?
Antwort von robbie:
always take the same light!
Antwort von wontuwontu:
Goes with restrictions. While, for example, your Keylight not synonymous to the true background. On the score where the mixing of light (mixed light), the green otherwise different.
Overall, it is obviously a very amateurish and not a professional solution would you recommend this. But I do believe that your budget is quite limited.
Other thing, there are CT films. For your case, would you have a CTB, s.besten Full CTB. These films alter the temperature of the light, in this case of changing it to artificial daylight. However swallow these films up to 2 apertures.
Antwort von Debonnaire:
Since "Green Screen Keying" Nowadays, almost always in the form of a general Color Keys is being implemented, so you can work wonderfully, as dus in your question you posted! Absolutely no problem!
Generally it works always the same:
- You have a foreground object or a foreground scene, you're in the mail from any background will want.
- You make sure that you have a homogenous, evenly lit and the background matte find / create, which is intensely stained in a color that is NOT in your foreground occurs.
- The background must be your main action of the camera position in each moment of a complete takes, if not synonymous massively excessive optical overlap (mach dich mal clever relating to "Grabage mat" to you when Bauaufwand unnecessary background to spare).
- You illuminate your foreground as it requires the subsequent scene, while avoid any shadows on the background and, ideally, you have a set of rear light so that reflected the background color bleeding on the outer edges of the foreground are weggestrahlt.
- Now you can see the footage in NLE keyen comfortable, no preference, as the background was colored or weissabgeglichen.
Again, it is ONLY important that the background color and equally intensive and does not occur in the foreground!
Gruen, has been in place digital video world, because our host sensors on Gruentoene react twice as sensitive, as on all other colors (look at google "Bayer Pattern"). The green is so clean keyen than any other color. But, depending on the camera and recording format / compression, it works wonderfully synonymous with any color.
If however you know that your background as the majority later in Blautoenen therefore come, and your foreground blue is good, then it would be a blue screen is the best choice, because then any spill (reflection of the background color on the edges of the foreground) is less disturbing to find .
Antwort von wojna:
Thank you for the contributions were a big help to me. At the top lights, I had not even thought of.
The need then yes also with 6400K-equipped to ESL.
What power would have to have and what lamps you use for s.besten?
For the foreground lighting I would use silver reflector umbrellas, but when the lights would be a top closer angle surely better or?
Which fluorescent lamps in which funds with which performance would be appropriate because?
This 100W-namely ESL are extremely bulky and large, there is ever such a thing as headlight bulbs?
Antwort von B.DeKid:
Hi
Take some but NEN gooseneck desk lamps or NEN PAR56 spotlight.
The Green Screen should be measured (light meter) should not be given to large differences + / - half an Aperture is ok.
MfG
B. DeKid
PS. Otherwise halt color always a good thing (Sekonic and Gossen may I recommend)
