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4

There are a zillion greenscreen tutorials on YouTube. The basics are simple. 1.Pure green paint or fabric. 2.Even lighting on the green, good lighting technique on the subject. Avoid spills and shadows. 3.Use the highest quality camera, lenses and compression you have available -- but don't freak out unless you're using a lot of translucent objects like ...


4

To reduce or eliminate the greenish reflection on the front of the table, you can buy some dark gray or black construction paper, or something equally non-reflective, cut it to size, and tape it over the 2 dark rectangles on the front of the table. I have 3 different solutions for the foot-shadows on the floor. You could point a semi-dim spotlight ...


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Assuming the lighting is solid, you should be in good shape. I haven't used the keying features of iMovie, but I can give you a few tips for After Effects. I'll defer to any power users of AE's keying functionality to chime in with more specific advice. First, you'll probably want to start with the Keylight plugin (from The Foundry). It should come bundled ...


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Depends on what your definition of good green screen is. In terms of free software to do green screen well...Only one that I can even think of that does keying is Da Vinci Lite which is free from blackmagic's website. It is pretty complex and pro based, but with a little searching around you might find what you want. I am not sure if you can technically ...


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I don't know if this might be an option or even work but, couldn't you get a dark piece of paper or card and create a linear curve from the bottom under the seat to extend to the floor creating a curve just at the end so it looks like part of the chair.


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The best bet is probably a combination of more light and using a flatter exposure. h.264 in particular does very bad with noise levels in shadow as do many CMOS sensors. If you are near the dark end of what the camera can capture, you are going to get lots of noise. The obvious solution is to keep things away from the dark end of what you can capture. ...


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What you're looking for is a difference matte. (Not to be confused with a Color Difference Key which is similar to regular chroma key.) It can certainly be done, though you should know that difference mattes are fairly temperamental. The way it works is by finding the difference between an image and each frame of video, and removing anything that's the ...


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While not a direct solution, AVISynth supports creating a mask from a Chroma key using ColorKeyMask. You can then use that mask to blend the two layers together by using Mask on the top layer and then Layering them together. You could then just feed files in to the script and use FFMPEG or something similar to write out the frame stream from AVISynth. ...


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Fake it. Use your preferred compositing application to turn down the exposure value over a specified region. For example, if you're talking about a round spotlight affecting a flat region, create an appropriately shaped ellipse, feather it to taste, and turn down the exposure. If instead you're talking about volumetric lighting (like shining a light ...


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What you're talking about is essentially a negative light. (There's a scene in the Simpson's where Moe doesn't want his fancy customers seeing Homer and the guys, so he unscrews a lightbulb and it casts negative light over them, leaving them in total blackness.) Unfortunately, they don't exist in real life. So your options are: Light things in such a way ...


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I've got another idea, but it's a little kooky. You light the WHOLE SCENE with spotlights - the fewer the better. On the key spotlight, you add a gel that has an opaque black circle on it. Then as you move that around, that section of darkness will pass over parts of the set/props/actors. For a more focused spot, you could use a bright digital projector ...



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