|
|
Posted by William Davis on 01/14/06 07:14
In article <Efcxf.13$H71.8@newssvr13.news.prodigy.com>,
"Nappy" <noemail@all.com> wrote:
> <marks542004@yahoo.com> wrote in message
> news:1137002062.383488.278900@g47g2000cwa.googlegroups.com...
> > You need to be very aware of the lighting in front of the screen
> > because it is very easy to wash out the image.
>
> yes I know.
>
> >
> > You also need to be sure you have a rear projection screen.
>
> :)
>
> >
> > If you are renting a system from a commercial house they can probably
> > assist in setting it up and assisting with your lighting - for a fee of
> > course.
>
> We have a DP and a lighting truck with 3 grips. It is a pro shoot.
>
>
> >
> > The green screen idea is not bad but you will still get variations in
> > the color from the lights and shadows falling on the front of the
> > screen.
>
> There will be no lights or shadows on the RP screen. The Green plate would
> be used to as a backup for shots that simply don't work with the on-set RP.
> For whatever reason.
>
> Thanks for your input.
Nap,
I've shot quite a few studio setups using a projector for background
imagery in my own studio which is likely smaller than what you're
working with. (my stage area is only about 35'x22' )
Some notes:
Initially I thought I'd need brighter projection to match the inherent
light loss of rear projection so I went with big powerful projectors -
3000-5000 ANSI lumens.
Big mistake at least at the scale I was using. (30 ft diagonal screen.)
and in a fully light controlled studio.
Turned out the big projector was overkill. I had to light the heck out
of the foreground talent to balance the images.
Moved to a setup where we stacked a couple of lower output projectors
1000 - 1500 ANSI and registered them into a single image. Then, if we
had a very dark scene that needed more punch we could use both
projectors and if there was a very bright scene, we could kill one.
We also kept a lot of 1 and 2 stop ND film around to slap in front of
the projector lenses if I needed a quick fix to dim the background
image. (the projectors sometimes have rudimentary brightness controls
but they take time and menu shuffling to use and having a bunch of
pre-cut 4x4 ND squares you can slap in front of the projector lens is
WAY easier.)
I also found that the GRAY RP screen material we got from Rose Brand
gave a much more natural video image than their WHITE for what it's
worth.
In all of this the RP looked very dull to the naked eye, but read as
much, much brighter on video. As always, no substitute for a well-setup
monitor on set and someone with experienced eyes!
As to projecting Greenscreen, my untested concern is that a rear
projection setup would be essentially shooting a lot of green light at
your talent from behind and and I wonder if that would cause
substantially MORE spill problems than shooting white light at a matt
surface as in done in traditional green screen.
You might need MORE opposite color wheel light rimlight for the talent
to counteract the green spill. Or it might work great. Be an interesting
experiment.
Let us know how it comes out.
Good luck with your shoot.
(sorry for the late reply, I was in San Francisco until last night.)
Navigation:
[Reply to this message]
|