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

[00:01] today we'll teach you how to create a

[00:03] beautiful professional and Hollywood

[00:05] looking chroma key on what you see

[00:07] around me is not real hello everybody

[00:14] welcome back to this tutorial on how to

[00:16] create a beautiful looking chroma key

[00:18] production I am hi me from EMC and today

[00:20] we are going to learn three important

[00:22] things first how to plan out everything

[00:24] before the shooting session second how

[00:27] to set up everything on studio camera

[00:29] lighting green-screen everything and

[00:31] last but not least we're going to learn

[00:32] how to edit the footage and put it

[00:34] together with the background how to

[00:35] composite everything and I will teach

[00:37] you some tricks to make it totally right

[00:39] if you are still interested let's get

[00:41] into this

[00:42] alright guys I put together a

[00:44] presentation for you I promise it's

[00:46] gonna be really quick before we take

[00:48] action into the production so this is

[00:51] actually our action plan so let me talk

[00:55] about this real quick so we have here

[00:59] this image that actually you probably

[01:01] recognize is the one that I've used in

[01:05] the intro video and analyzing how the

[01:08] light works here we have this window

[01:10] that is gonna work as a key light

[01:12] because the brightest part of these

[01:15] elements over here that every object is

[01:18] on this side and the darkest side is in

[01:22] the opposite way so to the right side so

[01:24] our main light is probably this one then

[01:27] we have the field light which is

[01:30] probably a light bulb or some other

[01:34] artificial light behind the camera and

[01:37] over here we have this wall that is

[01:40] probably bouncing of some light that

[01:43] fill out some shadows over here so it's

[01:47] important to have this into our plans

[01:49] talking about our plans I put together

[01:52] this drawing so it represents the light

[01:57] on the image here and the subject that

[01:59] we are going to record which is gonna be

[02:01] myself and the key light so you can have

[02:05] either

[02:05] artificial source of light or if you

[02:08] find a window that

[02:10] can provide this enough light for your

[02:14] shooting it would be enough also we have

[02:17] this feel light which is like 45 degrees

[02:20] to the left of the subject and the

[02:24] camera is going to be here we're going

[02:25] to talk about that in a second and also

[02:29] the bounce light if you have an element

[02:31] that can bounce off this light coming

[02:34] from the left it would be a good idea to

[02:37] have an element that can do that so

[02:39] let's see how it works in real life this

[02:41] is a camera it is a little bit low

[02:46] because the reference or the background

[02:49] image makes us understand that it was

[02:53] the position of the camera that I that

[02:55] this image was taken and I have here two

[03:01] lights pointing towards where I was

[03:05] seated so that sugar over there also a

[03:08] bounce or so the light reflects a little

[03:10] bit to my face and to my body so it

[03:14] won't be that dark and yet the chromakey

[03:17] fabric on one light that is actually

[03:22] making look more even the colors or the

[03:26] shadows is removing that much of shadows

[03:28] of the wrinkles and so on

[03:30] so yeah that's the microphone for better

[03:33] sound that's it this is the setup for

[03:36] the chroma key project so I found this

[03:41] place in my apartment which is the

[03:43] living room with a nice source of

[03:45] natural light which is this window over

[03:47] here and also it has these curtains that

[03:50] acts as diffusers then we have this feel

[03:54] light situated in the same position as

[03:57] we have in the plan the camera is right

[04:00] here we will talk about in a second and

[04:02] finally we have a bouncer an element

[04:06] actually that bounds the light of the

[04:09] window from the right right side to the

[04:12] left so this is the bouncer over here

[04:16] and that complete the light setup now

[04:19] let's talk about the camera and you

[04:20] might wonder why the camera is

[04:22] No so to answer that let's get back to

[04:25] the background image but this time with

[04:27] some elements that will help us out

[04:28] understanding the perspective of the

[04:31] image and why understanding that is

[04:33] important it's very important because

[04:36] you need to compound the background with

[04:39] the footage you are gonna take so if any

[04:42] of those have a different perspective

[04:43] your composition would look weird on not

[04:47] natural so that's why it's important to

[04:50] understand that so one quick tip is to

[04:53] find an object that you cannot see

[04:55] either the top or the bottom

[04:57] for example this desk over here and that

[05:00] would be the height where the you should

[05:03] place the camera so that's why I place

[05:06] the camera at the level of this table on

[05:09] the left side like that you will

[05:12] recreate the angle of the camera that

[05:14] took this picture over here and finally

[05:18] before editing our footage let's talk

[05:19] about some camera settings to keep in

[05:21] mind when shooting a green screen

[05:24] production

[05:25] first of all let's keep your ISO as low

[05:27] as possible this will avoid grainy and

[05:29] noisy footage usually speed should be

[05:31] above a hundred and fifty this will

[05:34] avoid motion blur and use a flat color

[05:36] profile so it would be easy for you to

[05:39] color grade and as always keep your

[05:41] exposure balanced that's it let's go to

[05:45] edit our footage all right guys we are

[05:48] now in Premiere Pro and we have our

[05:50] footage ready to be color corrected and

[05:53] let's talk a little bit about the

[05:55] footage right here so you may wonder why

[05:58] I am using his footage that looks so bad

[06:02] it looks like undersaturated

[06:04] underexposed and why it looks like that

[06:07] and I'm not using another thing so the

[06:10] quick answer for that is that I am using

[06:11] a color profile on my camera that is s

[06:15] lock to use on a Sony camera so I am

[06:18] using that color profile which is

[06:19] actually a flat color profile its

[06:21] collide that and but this step is not

[06:25] necessarily a step that you need to

[06:28] follow however I will highly recommend

[06:30] to create your footage on any flat color

[06:35] profile

[06:35] so you will have more information to

[06:37] play with so why is that important

[06:40] because it is much your footage with an

[06:43] image that you found on the internet or

[06:45] some from someone else

[06:47] I'm the idea is to just match the colors

[06:49] and with more information on the colors

[06:51] of the colors in your footage you will

[06:54] be more able to match everything up in

[06:58] the final stage so let's continue with

[07:02] the color correction part let's click on

[07:05] this tab now we will see that I have

[07:09] here two scopes the waveform and the

[07:13] vector scope I find very important you

[07:16] have the waveform here because it's very

[07:20] important to keep track of what you are

[07:23] doing in terms of light so right here it

[07:27] gives us some useful information that is

[07:30] clearly underexposed is under the 60

[07:33] mark and it is to spread all the

[07:35] information from the zero level till the

[07:38] 100 mark so spreading that out will give

[07:44] us a better result in colors and in

[07:47] light so and also we have the vector

[07:51] scope and this is just to keep track of

[07:53] what I am doing with the color so wait

[07:55] for is more about light and vectorscope

[07:57] is more about colors so let's continue

[08:01] and let's start with moving some curves

[08:04] so we will just like spread that

[08:07] information all over the scope let's

[08:13] bring that up let's make sure that we

[08:17] are not clipping anything over here so

[08:19] if you overpass the hundred mark you

[08:23] will start noticing that over here you

[08:25] will start like clipping out some whites

[08:28] and also the same happens with with the

[08:32] zero level because if you go under that

[08:34] you will start like crossing very badly

[08:38] your blacks let's just see how it works

[08:42] so if you just like go under it you will

[08:44] see just like started losing a lot of

[08:47] information

[08:48] so the every shadow is just I just

[08:50] losing and you cannot recover that

[08:53] afterwards

[08:54] now let's uh get back to where we were

[08:57] and let's just add a little bit more of

[09:01] contrast that's just lift a little bit

[09:05] these mid-tones let's go back to you

[09:10] basic correction it's out a little bit

[09:12] of saturation so we'll have more

[09:15] vibrance in colors also let's add a

[09:19] little bit more of temperature it looks

[09:21] a little bit like cold but my skin is

[09:26] not as cold as that as it is in the

[09:29] image also let's add a little bit of

[09:32] cretinous or magenta to the image so

[09:36] we'll have more natural skin tones and

[09:40] also let's play with the shadows will

[09:44] recover more information of my hair that

[09:48] is very dark and some shadows that are

[09:50] these are disappeared also let's bring

[09:55] those highlights a little bit down

[09:57] because to recover more information on

[10:00] the on the skin and that is looking

[10:05] pretty good to me what do you think also

[10:08] let's add a little bit of sharpen let's

[10:15] add it's at 50 points should sharpen it

[10:21] out and a little bit of vibrance just to

[10:24] bring more even more the colors of my

[10:27] skin and also and this is very important

[10:30] just to make a very conscious see the

[10:34] green with their other colors in front

[10:37] of the fabric now let's play a little

[10:42] bit with the color wheels let's bring

[10:44] those mittens a little bit hop it's a

[10:48] little bit up so it won't be that Doric

[10:51] on the shadows and it looks great for me

[10:56] so it's a pretty ready to go and play

[11:00] with it in after-effects but before of

[11:03] that let's talk about how to export a

[11:04] video ready for chroma key first let's

[11:08] click on file then click on export media

[11:11] and this is very important so we need to

[11:15] format find a format that will keep the

[11:19] most of our information so something

[11:23] that is not compressing that much our

[11:25] footage so the one I normally use it's

[11:28] quittin is a little bit heavy but it's

[11:31] always good so in this case we are using

[11:34] Apple ProRes 42 and we will keep the

[11:39] other settings as they are and also

[11:43] let's just use this option over here

[11:47] which is use maximum render quality it

[11:51] is just like nice to have and now you

[11:55] decide if you want to export it over

[11:57] here or you want to queue it on Adobe

[12:00] encoder but for the sake of this let's

[12:03] rename our footage that we're going to

[12:06] export French color corrected now let's

[12:10] hit them save let's play export all

[12:13] right so our video is now render it out

[12:16] and we can continue our process in Adobe

[12:19] After Effects

[12:20] [Music]