---
title: 'Hollywood Green Screen Tutorial: Professional chroma key production - Part 1'
source: 'https://youtube.com/watch?v=OCt1ijvfVr8'
video_id: 'OCt1ijvfVr8'
date: 2026-06-22
duration_sec: 0
---

# Hollywood Green Screen Tutorial: Professional chroma key production - Part 1

> Source: [Hollywood Green Screen Tutorial: Professional chroma key production - Part 1](https://youtube.com/watch?v=OCt1ijvfVr8)

## Summary

This tutorial teaches how to create a professional Hollywood-style chroma key production. It covers planning the lighting setup based on the background image, setting up the studio with camera, lighting, and green screen, and editing the footage in Premiere Pro and After Effects.

### Key Points

- **Introduction to Chroma Key Production** [0:01] — The video will teach planning, setup, and editing for a professional chroma key.
- **Lighting Plan Based on Background** [0:42] — Analyze the background image to determine key light, fill light, and bounce light positions.
- **Real-Life Setup** [2:41] — Camera positioned low to match background perspective; two lights for subject, one light on green screen to reduce shadows; a bounce reflector.
- **Camera Height and Perspective** [4:19] — Match camera height to an object in the background (e.g., a desk) to ensure natural composition.
- **Camera Settings for Green Screen** [5:18] — Keep ISO low, shutter speed above 1/150, use a flat color profile, and balance exposure.
- **Color Correction in Premiere Pro** [5:45] — Use waveform and vectorscope to spread exposure, adjust curves, contrast, saturation, temperature, and shadows.
- **Exporting for Chroma Key** [11:00] — Export using Apple ProRes 422 with maximum render quality to preserve information for After Effects.

### Conclusion

Proper planning of lighting and camera perspective, combined with careful color correction and high-quality export, ensures a seamless chroma key composite.

## Transcript

today we'll teach you how to create a
beautiful professional and Hollywood
looking chroma key on what you see
around me is not real hello everybody
welcome back to this tutorial on how to
create a beautiful looking chroma key
production I am hi me from EMC and today
we are going to learn three important
things first how to plan out everything
before the shooting session second how
to set up everything on studio camera
lighting green-screen everything and
last but not least we're going to learn
how to edit the footage and put it
together with the background how to
composite everything and I will teach
you some tricks to make it totally right
if you are still interested let's get
into this
alright guys I put together a
presentation for you I promise it's
gonna be really quick before we take
action into the production so this is
actually our action plan so let me talk
about this real quick so we have here
this image that actually you probably
recognize is the one that I've used in
the intro video and analyzing how the
light works here we have this window
that is gonna work as a key light
because the brightest part of these
elements over here that every object is
on this side and the darkest side is in
the opposite way so to the right side so
our main light is probably this one then
we have the field light which is
probably a light bulb or some other
artificial light behind the camera and
over here we have this wall that is
probably bouncing of some light that
fill out some shadows over here so it's
important to have this into our plans
talking about our plans I put together
this drawing so it represents the light
on the image here and the subject that
we are going to record which is gonna be
myself and the key light so you can have
either
artificial source of light or if you
find a window that
can provide this enough light for your
shooting it would be enough also we have
this feel light which is like 45 degrees
to the left of the subject and the
camera is going to be here we're going
to talk about that in a second and also
the bounce light if you have an element
that can bounce off this light coming
from the left it would be a good idea to
have an element that can do that so
let's see how it works in real life this
is a camera it is a little bit low
because the reference or the background
image makes us understand that it was
the position of the camera that I that
this image was taken and I have here two
lights pointing towards where I was
seated so that sugar over there also a
bounce or so the light reflects a little
bit to my face and to my body so it
won't be that dark and yet the chromakey
fabric on one light that is actually
making look more even the colors or the
shadows is removing that much of shadows
of the wrinkles and so on
so yeah that's the microphone for better
sound that's it this is the setup for
the chroma key project so I found this
place in my apartment which is the
living room with a nice source of
natural light which is this window over
here and also it has these curtains that
acts as diffusers then we have this feel
light situated in the same position as
we have in the plan the camera is right
here we will talk about in a second and
finally we have a bouncer an element
actually that bounds the light of the
window from the right right side to the
left so this is the bouncer over here
and that complete the light setup now
let's talk about the camera and you
might wonder why the camera is
No so to answer that let's get back to
the background image but this time with
some elements that will help us out
understanding the perspective of the
image and why understanding that is
important it's very important because
you need to compound the background with
the footage you are gonna take so if any
of those have a different perspective
your composition would look weird on not
natural so that's why it's important to
understand that so one quick tip is to
find an object that you cannot see
either the top or the bottom
for example this desk over here and that
would be the height where the you should
place the camera so that's why I place
the camera at the level of this table on
the left side like that you will
recreate the angle of the camera that
took this picture over here and finally
before editing our footage let's talk
about some camera settings to keep in
mind when shooting a green screen
production
first of all let's keep your ISO as low
as possible this will avoid grainy and
noisy footage usually speed should be
above a hundred and fifty this will
avoid motion blur and use a flat color
profile so it would be easy for you to
color grade and as always keep your
exposure balanced that's it let's go to
edit our footage all right guys we are
now in Premiere Pro and we have our
footage ready to be color corrected and
let's talk a little bit about the
footage right here so you may wonder why
I am using his footage that looks so bad
it looks like undersaturated
underexposed and why it looks like that
and I'm not using another thing so the
quick answer for that is that I am using
a color profile on my camera that is s
lock to use on a Sony camera so I am
using that color profile which is
actually a flat color profile its
collide that and but this step is not
necessarily a step that you need to
follow however I will highly recommend
to create your footage on any flat color
profile
so you will have more information to
play with so why is that important
because it is much your footage with an
image that you found on the internet or
some from someone else
I'm the idea is to just match the colors
and with more information on the colors
of the colors in your footage you will
be more able to match everything up in
the final stage so let's continue with
the color correction part let's click on
this tab now we will see that I have
here two scopes the waveform and the
vector scope I find very important you
have the waveform here because it's very
important to keep track of what you are
doing in terms of light so right here it
gives us some useful information that is
clearly underexposed is under the 60
mark and it is to spread all the
information from the zero level till the
100 mark so spreading that out will give
us a better result in colors and in
light so and also we have the vector
scope and this is just to keep track of
what I am doing with the color so wait
for is more about light and vectorscope
is more about colors so let's continue
and let's start with moving some curves
so we will just like spread that
information all over the scope let's
bring that up let's make sure that we
are not clipping anything over here so
if you overpass the hundred mark you
will start noticing that over here you
will start like clipping out some whites
and also the same happens with with the
zero level because if you go under that
you will start like crossing very badly
your blacks let's just see how it works
so if you just like go under it you will
see just like started losing a lot of
information
so the every shadow is just I just
losing and you cannot recover that
afterwards
now let's uh get back to where we were
and let's just add a little bit more of
contrast that's just lift a little bit
these mid-tones let's go back to you
basic correction it's out a little bit
of saturation so we'll have more
vibrance in colors also let's add a
little bit more of temperature it looks
a little bit like cold but my skin is
not as cold as that as it is in the
image also let's add a little bit of
cretinous or magenta to the image so
we'll have more natural skin tones and
also let's play with the shadows will
recover more information of my hair that
is very dark and some shadows that are
these are disappeared also let's bring
those highlights a little bit down
because to recover more information on
the on the skin and that is looking
pretty good to me what do you think also
let's add a little bit of sharpen let's
add it's at 50 points should sharpen it
out and a little bit of vibrance just to
bring more even more the colors of my
skin and also and this is very important
just to make a very conscious see the
green with their other colors in front
of the fabric now let's play a little
bit with the color wheels let's bring
those mittens a little bit hop it's a
little bit up so it won't be that Doric
on the shadows and it looks great for me
so it's a pretty ready to go and play
with it in after-effects but before of
that let's talk about how to export a
video ready for chroma key first let's
click on file then click on export media
and this is very important so we need to
format find a format that will keep the
most of our information so something
that is not compressing that much our
footage so the one I normally use it's
quittin is a little bit heavy but it's
always good so in this case we are using
Apple ProRes 42 and we will keep the
other settings as they are and also
let's just use this option over here
which is use maximum render quality it
is just like nice to have and now you
decide if you want to export it over
here or you want to queue it on Adobe
encoder but for the sake of this let's
rename our footage that we're going to
export French color corrected now let's
hit them save let's play export all
right so our video is now render it out
and we can continue our process in Adobe
After Effects
[Music]