E-mail Question: So, I would like to know with which keying tool you are working with, because I really like your keying? Also, which kind of camera are you using? Thanks for your help.
Media Response:
The media team uses the “Keylight” plugin in Adobe After Effects CS3/CS4 to do our keys for the TenBefore and North Point TV. It takes a little bit of specific tweaking of the settings to make it smooth & sharp, but the result is very consistent and customizable: http://www.thefoundry.co.uk/pkg_overview.aspx?ui=A5FB8E97-D752-4E01-AC7D-17B39B7E1192
Another option that is slightly less processor intensive but can also achieve a similar result is DVMatte Pro Studio. It is a plugin that works directly in Final Cut Pro and a number of our other departments use it. It is also pretty inexpensive: http://www.dvgarage.com/prod/prod.php?prod=dvmattep3
The camera that we are currently using for the greenscreen material is a Panasonic SDX-900. It is a broadcast-grade SD camera and we typically shoot in the 24pA framerate. There are a lot of other great SD (and HD) cameras that can achieve a similar visual result. Panasonic and Sony have some great options with great value.
The most important thing when shooting greenscreen (even more than the camera itself or even the keying software), is LIGHTING. The green background itself must be evenly lit to avoid harsh shadows, and the subject (in our case, our host Kelly) must be lit separately. Here is what Dave, our Associate Media Director and the DP on most of these shoots, wrote up last year which sums up a lot of how we’ve typically lit the background & our subject for greenscreen. NOTE: Our setup has evolved over this past year–This year we are integrating some flourescent lights for Kelly’s key (and using the Arri’s for the syc–which is a Wescott greenscreen fabric & rod set), but the basic principles are the same and the following setup is one of many flexible options for achieving a killer key:
——————————————————————————————————————————————
“(from Dave) We use Arri lights but truly any good light kit should work.
1-For Kelly’s key light we two lights. A 650W Arri Fresnel with a small Chimera Soft Box and a 1K with Matthews diffusion flag over it. The idea behind the key light for Kelly or whomever your subject will be is that you want soft lighting that does not cast harsh shadows onto the green syc. Both of these lights are located about 5 to 6 feet away from the subject with one light acting as a stronger key and the second as a center fill (located much closer to the camera than the first light). You want to watch for and avoid double shadows on your subjects face.
2-For Kelly’s backlight and a good overall fill light for the floor we use one Arri 1K. This light is located directly above and behind Kelly. For this lights placement we have found that about 12 feet back and 12 feet high works for this strong a light. We do not diffuse this light but you will want it flooded and flagged so that no light is shining into your camera’s lens.
3-Now for the final step, you will want to light the syc wall. We use this 2 Arri 650 watt lights for this. These lights are placed about 6 feet forward and 4 feet out away from the back syc wall. We do flood these lights and angle them in such a way that the focus of the light is on the back syc wall and not spilling all over the unused set.
That pretty much does it. Remember the goal is to have the back syc wall evenly lit with no harsh shadows. We have found that you can experiment all you want with your subject’s lighting.”
——————————————————————————————————————————————
Hope this is helpful in some way. All the best to you and your team. Have a great week!
May 27th, 2009 at 7:33 pm
Great post! Thanks for all the detail. I’d love to see more posts like this that can give all of us a little insight into the great stuff that we see come from your guys!
May 28th, 2009 at 4:01 am
Cool man.
I also use KeyLight - but in Shake. Actually it is a toss up between keylight and primatte depending on many factors.
For lighting we have always had to hire lights when it comes to keying and I have always pushed for the softer kinoflos which we complement with our 3 150W dedolights.
As for the camera, I take it that you make use of the DVCPRO 50 4:2:2? Man I can’t wait to get a camera that can do that - 4:4:4 would even be better.
Do you do anything in the camera to prevent edge sharpening - which causes a bit of a halo effect? Or does the 900 not have this problem?
b.t.w. we shot another TenBefore Segment to go with our whole renaming and relaunching endeavor only to find out that we could not use the name - lol. So we have to film again.
shot man
Phill
May 28th, 2009 at 12:45 pm
Great article!
I use a similar setup for our announcement videos
See em’ here: http://youtube.com/hillcrestchurch
Camera: Panasonic HVX200
Record format: 720P HD, 60 FPS
Green Screen: Blanket from Ikea, works like a charm! $15.
Syc Light: Ceiling fluorescence for Green Screen
Key Light: Lowel Rifa 44 w/Softbox, above the camera about 5 feet from talent
Keying Software: Keylight plugin in AE, also add all motion and graphics in AE
Editing Software: I take keyed clips with graphics and edit them together into FCP.
May 31st, 2009 at 10:38 am
Thanks Bradley! We’ll be sure to try and break down our processes more often. Appreciate the kind words!!
Phillip! We do shoot in DVCPRO50. There is sometimes a slight halo effect when we overexpose, but the key doesn’t usually suffer that much as long as we tweak it right. I think it’s MORE than possible to achieve an amazing key without 4:4:4 or RED or massive HD cameras, especially for the types of keys that we are going for, as long as the lighting is right and we are detailed in our Keylight settings. Sometimes that even means masking out certain parts of the image and keying differently based on a clothing or lighting variance. But it’s definitely possible. Sorry to hear about the name change issue! Hope you can get that resolved and not have to shoot yet another TenBefore. One step forward, 3 steps back as they say? Bummer. Hope to see the new TenBefore!
Van, VERY nice key. I love that you are using an Ikea blanket for your greenscreen–great example of resourcefulness meets efficiency! Not to mention that you are using ceiling flourescents and a Rifa 44 for your lighting, and managing to get such a clean and even key. Very impressive and encouraging; and I think a lot of places with limited budgets can learn from your setup. Great work!
June 15th, 2009 at 1:56 pm
This kind of info is SO helpful! I admire the quality and excellence NP uses in creating everything you guys do, yet its not always scalable for the smaller church. This kind of information is a huge tool in helping me recreate to the best of my resources a quality light set up. In turn making our local church’s quality go way up!!! thank you
November 25th, 2009 at 4:00 pm
Thanks so much for the advice, guys. I was getting ready to buy a keying plug-in and didn’t even realize that After Effects has such a great keyer built-in. Keylight is working wonders for us! We’re also use a Wescott greenscreen fabric & rod set like you all. I tape in 1080i on a Canon XH-A1 and find it works pretty well.
Now, we’re in the process of designing a better virtual set behind our talent. Any ideas where to start there?