Green Screen Fashion Still Test Image

Every once in a while, while referring to the creation of multiple photographs with the intention of compositing them together in a finished blended image, someone will employ the phrase "shoot it on a light-green screen." The term "light-green screen" tends to be loosely interpreted, but well-nigh folks are talking about the approach of working with green or blueish groundwork colors for piece of cake removal ("keying") in video product. The most common approach is seen in your local television weather report, where the friendly weatherman stands in front end of a giant map of the The states. He's actually standing in front end of a big green screen, and with the click of a unmarried key the video processing software masks out anything bright green and replaces it with another image—i.eastward., the weather map. Information technology's uncomplicated and effective, and perfect for video—wonderful, tremendous and fantabulous, even. Simply, information technology's not ideal for photography. In fact, when photographing people or things for the purposes of compositing, you shouldn't photograph them in front of a green screen. Here's why.

You encounter, the pull a fast one on with green screen for video is that the scene contains moving elements—if nothing else, that weatherman continuing there isn't standing perfectly even so. So, the producers need a fast gear up for keying the subject from the background. They chose bright light-green as a colour that'south not seen in humans, and not common in our article of clothing, either. With a single mouse-click the bright dark-green is keyed out and replaced in processing with a new background image.

There are challenges with working with all of this dark-green. The biggest problem, of course, has to practise with lighting that vivid color. If y'all position your subject area too shut to the groundwork, green low-cal reflecting from the groundwork can give your subject area (or even just his or her edges) a subtle, sickly green cast. Worse, even if y'all do allow enough distance betwixt bailiwick and background, shiny surfaces similar shoes, buttons and eyeglasses tin can even so reflect that dark-green background—and that ain't skilful.

In the still world, we don't need a single-click solution to masking subjects out of backgrounds. Sure, convenience is nice, merely with great tools like Photoshop's Magic Wand and Quick Select tool, it'south non exactly a long, time-consuming process to carve up subject from background. The green isn't necessary, and for the reasons outlined above, information technology's risky too.

And then, what color should you utilise in the groundwork of an image destined to become a composite? Unproblematic: friction match the color of the background to the colour you're going to drop in. Neutral tones like white, gray and black will ensure that you lot don't reflect a color cast onto your subject, and precise color choices (say, blueish if you're going to composite your subject confronting a blue heaven, or ruby-red if the discipline is destined to be dropped in front of a red brick wall) mean that whatever color cast you do create isn't a detriment, and can actually add together to the overall look.

More than anything, though, matching the colour of the groundwork you use to the actual colour of the eventual background means you'll accept less trouble blending the two images seamlessly. No more than glowing green halo edges, or an outline of stray white pixels. Now that subtle little color remnant, even if it's just a pixel broad, will help blend the subject field with the background rather than spoil the illusion and requite away that the work is a blended.

Share this post