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1. #Reelsmart motion blur after effects tutorial full#
2. #Reelsmart motion blur after effects tutorial series#

When you are shooting your greenscreen elements, use the background elements as reference. It’s much easier to match lighting and camera angles in a studio with your actors than it is with background elements, especially if you’re using footage that you have no control over like stock footage. Get your background elements together first. Should I shoot my subjects over greenscreen or gather my BG plates first? I’ve also seen a greenscreen painted with glossy paint which made hot spots a big problem. The color of the carpet wasn’t bad but the texture was impossible, with shadows from the tufts of carpet. I kid you not, I was sent some footage that was shot over plush green carpeting. Make sure you don’t have texture on your greenscreen either. If you’re using fabric, make sure that it’s not wrinkly or that you can’t see through it. It’s not just the color to consider, but the surface. If you’re doing it on the cheap, the key is to get the green as saturated as you can and a slightly brighter shade green. Plus, he did hundreds of color tests and found a shade of Olympia paint that is very close to the more expensive chroma paint. I highly recommend Greenscreen Made Easy: Keying and Compositing Techniques for Indie Filmmakers, and not just because my name is on the cover! Jeremy, my co-author, has a fantastic method of making a greenscreen on the cheap with linoleum, PVC pipe and paint. There are chroma paints, papers and curtains on the market that are exactly the shade of green you need, but they can be expensive. What is the best shade of green to use for green screen? What should I make my greenscreen out of? I’m re-utilizing some of the footage in this greenscreen series. I want to give a special thanks to filmmaker Jason James, who gave me a bunch of footage to use in my book, Plug-in to After Effects. The post production questions will be answered in future articles specific to topics such as spill, edge correction, holes in the matte, garbage mattes, light wrap, compositing tricks and more. These are mostly questions about production, not post production. This is not so much a “how-to key” article and I may not go in order as far as work flow, but I will talk about some issues you may run into in the post production process.įor this first article, I’m going to address some of the commonly asked questions I’ve had about working with greenscreen.

#Reelsmart motion blur after effects tutorial series#

This series of articles will focus on problems that you’ll run into with less than stellar footage. If your footage is crummy (i.e.: noisy, not properly lit, not properly shot, badly planned), no amount of post production will make it look good.

#Reelsmart motion blur after effects tutorial full#

Also, if you join a film production after the film is already in full swing, you may not be able to be involved. While we could have shot it in our studio, producers often wanted to save money and do it themselves. I worked with producers at my old post-house who would bring in the footage and we did the magic. If you’re getting the footage from someone else and not involved with the shooting, you often don’t know what you’re going to get.You’re a novice filmmaker and you have never done any greenscreen work before.The scenario for this series of articles is that you have less than perfect greenscreen footage. What is the #1 thing that most people don’t do when they’re shooting greenscreen that will cost them the most time and money in post?.What about using a luminance card for matching black levels in post?.What are the best camera settings to use when shooting greenscreen?.Should I shoot my subjects over greenscreen or gather my BG plates first?.What is the best shade of green to use for green screen?.Which is better: green screen or blue screen?.