| Are you sick and uninterested in photographing | | | | |
| (and seeing) the same old images, time and time | | | | Another beneficial advantage for green is that it |
| again? You've discovered that "green screen" is | | | | creates fewer apparel conflicts. |
| the route to go, however you don't really | | | | |
| comprehend it or even know much about it? Here | | | | Since the color is automatically stripped out and |
| is everything you need to understand to utilize it | | | | substituted, if the model is wearing a shade of |
| as a photography background! | | | | that color (blue) as part of their apparel…it's |
| | | | | substituted. You will time and again see shirts and |
| First…What is it? | | | | ties that turn into odd appearing holes in the |
| | | | | subject - showing through to the replacement |
| You will hear the expressions "green screen", "blue | | | | background. |
| screen", and "chroma key" thrown about and | | | | |
| employed to mean the same thing. | | | | It's even occurred among blue eyes! |
| | | | | |
| Chroma key merely means working with a | | | | Green tends to create not as much of a clothing |
| backdrop which is one solid, uniformly lit color. The | | | | conflict, it happens to be less difficult for your |
| blue and green tend to be the most typical hues. | | | | cameras to work with also it's easier to light |
| In fact, you could potentially use ANY color - | | | | uniformly. |
| however green and blue tend to be best. I am | | | | |
| going to explain why that's the situation in a | | | | Uniform lighting is essential since shadows on the |
| moment. | | | | background will appear in the ultimate result. This |
| | | | | can destroy the realistic effect of the |
| Blue screen systems can be used in both video | | | | photography background. And also, working with |
| and still work. You shoot somebody in front of | | | | uneven lights, you'll get several hues of the |
| the chroma key and then later (or concurrently | | | | color…some of which may not get stripped out |
| with high quality video cameras) you eradicate the | | | | properly. |
| solid color and trade it using any type of backdrop | | | | |
| you need! | | | | The 3 main forms of blue screen backdrops are: |
| | | | | paint, fabric and paper. |
| It's how your local meteorologist does the | | | | |
| weather report. They are standing in front of a | | | | Paint is good for those who have a studio with a |
| blue screen and the camera digitally replaces it | | | | cove and you do all your photos there…it's of no |
| and puts in the local weather map. They are | | | | use in the event you ever would like to go on |
| looking at themselves on the monitor to see | | | | location. |
| where to point and so on. It's confusing and more | | | | |
| difficult than you might imagine in order to be a | | | | Paper can be purchased in huge rolls, but is easily |
| weatherman! | | | | ripped and regularly needs replacing. This can get |
| | | | | expensive in a hurry. |
| Secondly…Why green or blue? | | | | |
| | | | | Material tends to last best and is portable. And |
| Usually we make use of blue and green since | | | | material is easy to wash (grimy blue screen |
| they're the furthest away from the colors | | | | backdrops won't work well). |
| present in skin tones. The technique was at first | | | | |
| done with blue, however as the standard of | | | | Any fabric supplier can provide some fabric that |
| cameras changes, green seems to work more | | | | should do the job. Obtain some and do some |
| efficiently. It really is a lot easier to strip from the | | | | playing around with your photography background, |
| backdrop, consequently nearly all studios are | | | | any photo editing program is able to strip out the |
| switching to green. Nevertheless it doesn't do any | | | | color. Try it, you'll like it! |
| harm to possess both of them. | | | | |