Most Television spots are 30 second spots, so in that short amount of time you need to identify a need of consumers and then show them you have the solution. In this spot a mom has three boys wasting time on computer pads, smart phones and getting no exercise at all, mom looks for a solution not only for the boys but for her own sanity and finds it all happens in 30 seconds.
If you keep finding that your green screen shoots are not as clean as they should be, the problem may be your lighting. While each chroma-keying system has its own tolerances, the general consensus is that the green (or blue) background must be lit as evenly as possible. Wrinkles, if it is a cloth / temporary background, or seams & uneven paint, if it is a hard / permanent background, should be minimized to help reduce keying problems. The preferred methods involve being able to light the background and the subject separately. If you light them together you will likely see green reflected on your subject from behind after you have Chroma keyed out the background. If your subject is human and framed waist-up or looser, this can require between six and twelve feet between your subject and the background. With tight framing it may be possible to evenly light the background with just one broad source. Typically two or more lights are used to light the green screen. A single light can at times be used like a single Omni-light, floor-mounted on a Big-foot & Scissor mount, fitted with a 300W lamp for example. Light your subject separately with 2 soft boxes or one soft box and a reflector panel. then from the side or above the screen throw a back light on your subject. a little amber sheet on this light is nice. Using this lighting method you will make your editing easy and clean.
Knowing the physical variations between outside, indoor and mixed lighting conditions can facilitate your videos. We all apprehend that if you combine red, blue and inexperienced paint along, you get a nasty, ugly brown. However, did you ever contemplate what happens after you combine red, blue and inexperienced light? The result’s white. White light-weight may be a combination of assorted amounts of red, blue and inexperienced light-weight. This development is exactly why it’s vital to white balance your camera. If the camera sees white as being white, the remainder of the color spectrum ought to prove excellent. But why does one got to white balance? is not all light-weight constant? It definitely appearance the same to your eye. after you wear a white jersey outside it’s white. Wear it within, it still appearance white. Your eyes see the jersey as white notwithstanding wherever you wear it. However, can the video camera still see it as white? most likely not. Knowing that you simply need to white balance your camera may be a sensible begin, however not enough to avoid all the issues that would occur beneath mixed lighting conditions. during this month’s column, we’ll investigate the color variations in light-weight and the way to manage them. The Kelvin scale The color of sunshine is measured exploitation the Kelvin scale . This scale is that the scientific livement|graduated table|ordered series|system of measurement|metric} accustomed measure the precise temperature of objects. in contrast to the Fahrenheit and Anders Celsius scales, the Kelvin scale doesn’t have any negative numbers. It starts at temperature. If you warmth a carbon rod, it’ll glow orange at around three,200 degrees Kelvin. At 4,800 degrees Kelvin it’ll glow a green color and at five,600 degrees Kelvin it’ll begin to emit a blue color. the color of sunshine is measured exploitation these Kelvin temperature readings. the sunshine itself has no heat; it’s simply a activity of its color temperature. Your lounge most likely has incandescent lights that emit low-color temperatures of two,800 to 3,400 degrees Kelvin. This light-weight contains a yellow to orange solid. Most video cameras see three,200 degrees Kelvin light-weight as normal light-weight beneath that white is white. If you white balance your camera beneath three,200 degrees Kelvin, most everything can seem the right color. If you walk into Associate in Nursing workplace lit with fluorescent tubes, you’ll end up in an exceedingly world stuffed with inexperienced light-weight. Your eyes might not see it, however your camera can. Fluorescent light-weight contains a color temperature between three,400 degrees Kelvin and four,800 degrees Kelvin, counting on the kind of bulbs within the fixtures. If you white balance your camera beneath indoor three,200 degrees Kelvin light-weight, the image can suddenly have a inexperienced solid and appearance quite ghastly. Blond hair turns a nasty inexperienced and your jersey can suddenly seem like you purchased it on St. Patrick’s Day, albeit quite an bit pale. Outdoor light-weight contains a blue tint. Its color temperature averages five,600 degrees Kelvin and may vary from five,200 degrees Kelvin to over twelve,000 degrees Kelvin. the color temperature of out of doors light-weight depends on the time of day, the angle of the sun, the overcast and therefore the angle you’re shooting. once shooting outdoors, if your camera is about for indoor color temperature, your scene can have a chilly blue solid and what was once white can currently be light-weight blue.