Chromakey
Sometimes chromakeying is referred to as an art, because getting
a seamless composite is less like a science and more like cooking;
you need the right tools, the right ingredients, some imagination,
and a lot of elbow grease. Traditionally the best way to chromakey
is to light the background and the subject separately, this means
that the backdrop gets a relatively even coverage of lighting,
usually fluorescent, because most chromakeyers are susceptible
to lighting variations and will give an uneven key. The talent
is then lit to try and simulate the lighting environment of virtual
sets. This can be difficult if the set is dim because of the
immense amount of light usually required to get an even key on
the background and further exacerbated by the fact that the more
light you put on the background, the more spill you get onto the
talent's head and shoulders. An Ultimatte
will fix up the spill, but not all keyers have this feature so
special care must be taken when doing traditional chromakey lighting
for virtual sets.
Chromakey Backdrops
Getting a good even color behind the talent is the first step
in chromakeying, this usually requires a chromakey backdrop in
the form of cloth or paint. Chromakey paint can be picked up
at hardware stores or lighting places like Studio Depot (Burbank,
Ca), green cloth can also be found many places. Some companies
sell blue or green pop up Chromakey backdrops which travel easily
and popup like a windshield shade.
Another alternative Chromakey backdrop is Chromatte,
a unique retroreflective material which is gray to the eye, requires
little or no light, and casts no spill on the talent because the
material is gray to the naked eye. But to the camera it sees it
as a perfect blue or green which is great for Chromakeying. This
is because of the Litering,
a ring of LEDs around the lens which casts blue or green light
onto the Chromatte. Chromatte is also very portable in the form
of a Chromaflex,
a 7x7 popup which folds down into a 3 foot hoop idea for on location
Chromakeys.
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