content top

Green Screen Tips

When shooting on green screen, there is a common expression used on the set; “we’ll just fix it in post.” But, for the best results, and keeping your composite editor sane, it is a good practice to follow these simple tips: 1 : Light your screen evenly. Kino Flos are usually the best; offering a very even light and intensity. Shadows, wrinkles and gradients in intensity can make it more difficult for your compositor to control the colors in post. 2 : The greater the distance between the screen and your subject the better. If your subject is too close to the green background, the light being used to light the screen will begin to reflect onto your subject. When the time comes to key out the green, part of your subject will get keyed out with it. The edge pixels will also pick up the green interference, making the edge of your subject appear jagged with green artifacts.  Moving the subject away from the background also enables you to utilize a good back light to create a solid edge light, free of green artifacts. This separation also helps avoid shadows that can murk up the green screen. Keep in mind that as the subject moves away from the screen, you may need a bigger screen due to the perspective of your shot making the screen appear smaller. 3 : When possible, if the composited scene is supposed to appear to be outside, shoot it outside. The natural power of the sun is very hard to replicate indoors. If that is not possible, at least shoot the proper color temperature with properly balanced lights. But most importantly, make sure your lighting scheme for the green screen matches the lighting scheme for the plate background shot. The shadows need to fall the same way and the exposure should match. ALWAYS shoot your plate shot first. 4 : If you are shooting a subject that will end up being out of focus in the scene, do not shoot them out of focus. Shoot them in focus and then de-focus them later in the composite when doing the computer graphics work because pulling keys of defocused subjects is problematic. Bookmark it to Stumbleupon, Digg, and more! Hide...

Read More

Kino Diva – Built For Speed.

Originally introduced as a portable dimming Kino Flo for videographers, the Diva-Lite has blossomed into an everyman’s soft light for lighting news studios, feature films, television productions and professional still photo shoots. The latest Diva-Lite 400 cool light boasts Kino Flo’s trademark modular fixture designs with full-range dimming, switching and remote control features. The Universal model can be used anywhere in the world, from 90VAC to 265VAC. Diva-Lite 400 fixtures are versatile, controllable, portable fixtures designed for the rigors of location work. All Diva-Lites can go from nighttime to daytime interiors by switching True Match for daylight quality lamps. It’s like having two lighting set-ups in one kit. “When we invented the Diva-Lite in the mid 1990’s, we didn’t anticipate that the light would be so popular outside the video community for which it was designed,” said Frieder Hochheim, founder and president of Kino Flo.  “Diva-Lites are still strongest in the digital video and HD markets, but they continue to find favor with productions shot on film.” One of the most unique Diva-Lite features is the Kino Flo designed True Match lamps that deliver the most accurate color reproduction for film or video capture of any fluorescent lamp in the market. True Match lamps operate without generating much heat, run for more than 10,000 hours and are formulated to match the spectral sensitivity curves of film and digital imaging equipment. The compact 5500K and 2900K lamps are used in the Diva-Lites and match other True Match lamps, as well as other professional HMI and tungsten light sources, without color correction. Moving Picture has found the Diva-Lite especially invaluable for crews that intend to travel abroad, especially to the Caribbean where small island-hopper airplanes are the preferred mode of transportation. Self-contained in suitcase sized lightweight cases, the Diva-Lite is the perfect soft light on the go. Bookmark it to Stumbleupon, Digg, and more! Hide...

Read More

Kino Flo 4-Foot 4-Bank, a lighting must-have!

As a rental house it is important to offer the highest quality industry standard equipment on the market. One such industry standard is the soft light, and Moving Picture carries the best in the business – Kino Flo. It’s hard to imagine making a block-buster movie, commercial, music video or a small independent feature without seeing Kino Flos on the lighting list. Kino Flo has found a home among generations of filmmakers and lighting designers, turning out iconoclastic images for the booming music video and independent film industries. Cinematographers love the unique softness and versatility of the Kino Flos. Gaffers didn’t’ have to use up set space bouncing hot lights. Electricians marvel at the energy efficiency. Everyone appreciates the lights’ coolness. Moving Picture knows that whether you require easy, even light for a simple interview, or to supplement a much larger lighting package with the most popular soft lights on the market, Kino Flos are a must-have. The 4-foot, 4-bank fixture attaches easily to a c-stand for versatile placement and with the bulb-selectable ballast, built-in barn doors and removable louver, the Kino Flo puts off less heat, less noise and takes up a fraction of the space compared to other soft-box alternatives. The additional option to change between daylight and tungsten bulbs at a moments notice, makes this light exponentially useful. Bookmark it to Stumbleupon, Digg, and more! Hide...

Read More
content top