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4

I assume these are home made motion markers in order to track the motion of the head in the shot. This is useful for adding other objects (or images) to the object, therefore the technique is called object tracking. Note: The example given is only useful for 2d tracking, because most 3d solvers needs a minumium of 8 tracking markers around the object (in ...


4

You don't say what you're using to edit these videos, but there may be a better chromakey plugin for your platform than what comes natively. Also, again depending on your platform, most editors will allow you to crop the key area (garbage matte) so that the green screen doesn't have to cover the entire raster, just enough to back the product you're ...


3

With a good keyer it doesn't matter as much as it may have in the past, but in most cases green is the better choice. Which you choose depends more on where and with what content you do your keying. If you're using equal-band capture, recording and processing -- 4:4:4 for instance -- then it can be a tossup. But any encoding that limits chroma bandwidth -- ...


2

Even a typical lamp with a "daylight"-colored bulb in it can act as a lighting source for your product. I'm sure your boss could spring for one light bulb! If you shoot again with the new lighting, or even without the new lighting, play around with the angle of your product / camera / stool to minimize the reflections.


2

I have a couple of suggestions that could be of help: 1) Use a polarizer to reduce reflections. You say your boss won't spring for anything else, but you can pick one up fairly cheaply (like under $20 on amazon). If that's really not an option, you can try using some polarized sunglasses in front of the lens, at least to see if it eliminates the ...


2

Yes, that is possible. What you're searching for is a difference matte / difference key. For that technique, you supply a base image and the program keys everything out that equals that image. So you could key out your static background so that only you remain in the picture. However, there are a few downsides: This technique doesn't work nearly as good ...


1

There are several ways of achieving this. Use a hardware solution. They are available from Datavideo or on most video switchers. Obviously, these cost money and the results are dependant on how well you've lit your setup. For a software solution you will, like you've mentioned, need to connect your camera's video output to your computer. (It seems you ...


1

With these kinds of things, I suggest not even using a green screen in the first place, especially one that is in an app and casts a green glow on the actors hands or body and picks up on reflections. Its much easier to have, instead, either a green piece of paper (which honestly will not really work in daylight in terms of the key but will at least give you ...


1

Trackers never hurt and there's almost no reason not to use them, but there's no substitute for pre-production and field testing. The only failure is failure to plan. Ideally your markers would be high contrast, however you can place darker green markers on a green screen which can be entirely keyed out if the artist doesn't need them, but will still be ...


1

Lighting could definitely be part of the problem here. Typically, for green screen work, it helps to have a light between yourself and your green screen to get rid of those shadows behind you (sort of like a backlight). To fix your current footage, I'd increase the sensitivity of your chroma key in After Effects, since it looks like AE is essentially ...



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