Posted by David McCall on 02/03/07 17:21

"DanR" <dhr22@sorrynospam.com> wrote in message
news:7Y2xh.51955$QU1.1566@newssvr22.news.prodigy.net...
> Ty Ford wrote:
>> On Fri, 2 Feb 2007 21:03:47 -0500, Richard Crowley wrote
>> (in article <52i8s4F1ob6nrU1@mid.individual.net>):
>>
>>> "Shausha" wrote ...
>>>> I know the benefits of getting the talent as far away as possible
>>>> from the blue/green screen, but is there a standard formula one
>>>> should use to work out an optimum for any situation?
>>>>
>>>> I've tried any combination of searches but to no avail.
>>>>
>>>> Also, whilst here, is there a book or web resource that would be
>>>> considered definitive reading on filming for bluescreen - from
>>>> setting up the screen, to lights, to shooting, to post production?
>>>
>>> Far enough away to...
>>> 1) Light the bluescreen sufficiently evenly for your keying
>>> mechanism. (hardware, software, whatever)
>>> 2) Keep too much blue reflection off the edges of your foreground
>>> subject. ("too much" depends on *your* application. Only you can
>>> decide.)
>>>
>>> If you can do that with a 1-inch distance, then 1 inch is your
>>> answer. OTOH, it takes several feet for most of us in the real world.
>>>
>>>
>>
>> And if that doesn't work, consider the reflecmedia system with the
>> blue or green LED ring around the camera lens. We were one foot in
>> front of their screen with no problems.
>>
>> Regards,
>> Ty Ford
>>
>>
>> --Audio Equipment Reviews Audio Production Services
>> Acting and Voiceover Demos http://www.tyford.com
>> Guitar player?:http://www.youtube.com/watch?v=4RZJ9MptZmU
>
>
> Ty... how in the world does the "LiteRing" work? The website isn't clear
> to me.
> Are they saying you do not need a green or blue background? Are they
> saying the 10 watts of light will illuminate a background and subject. And
> if it sprays green light on anything in front of it... how do you key?
>
It's all in the background material. the surface of the material is
coated with millions of tiny pecially designed reflectors that
reflect light back in the same direction as it came from. It does
this very effectively. The material is similar to the material used
on those road signs that seem to light up when your headlights
hit them.

the light sources in the ring of light reflec directly back into the
lens and give you a clean colored background. Since the LEDs
are so dim, they are easily washed out by your normal studio
lighting. The blue/green light will sometimes bounce back some
from shiny things on the set (read eyes) so you have to be careful
but for the most part it works fairly well. The biggest drawback
is that the background material is quite expensive.

Another issue is that the background material will bounce any light
back in the direction it came from. If you put a light very close to
the camera's position, it will blast a bunch of white light back into
the lens and defeat the whole process. Due to that, you have to
light the set a little diferent than you might normaly. Any light too
close to the camera needs to be masked from hitting the
background material. Most of your other lights will not effect the
background very much.

In some ways it is much easier than normal blue/green screen work,
but there are some limitations.

David

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