![]() Now I do have a confession to make: on more than one occasion my aversion to markers has led to problems. Additionally, I’ve worked on shots where the markers were so bright that when they were blurred by motion they leaked into the region outside the screen insert, requiring extensive additional paint work. The tracker will be able to quite happily latch on to the corner detail of the device. In general, if there are defined corners on the device, like a Macbook screen, there’s no need for markers at all. At least if the markers had been set to a different shade of green they would have been keyable. The markers are so large they defeat the purpose of the greenscreen, since they won’t key out and will require significant roto if they intersect with hair detail. Take a look at the greenscreen image above. They obstruct the screen reflection and require a heavy paint job. Markers are for whiteboardsĪ second egregious error on set is to add many and large markers to the screen surface. There are certainly plenty of fingers and arms that cross between screen and camera, but theses are easy enough to rotoscope with simple shapes, so they don’t warrant green screen keys. As I just mentioned, this really doesn’t happen that often, since screens are usually shot with minimal obstructions for readability. When an actor’s hair or some other fine detail (like tree leaves) comes between the camera and the screen, a greenscreen allows us to extract a matte of the hair to correctly insert the screen. Now, is there a situation where a greenscreen is called for? Yes, but it’s surprisingly rare. This is a whole level of color correction that’s ultimately completely unnecessary. Greenscreens also add green spill that the poor effects artist has to remove to get things looking natural again. Much better to harvest the real reflection off the glass than to try and introduce a fake one. Screen reflections are actually quite difficult to simulate, since you’re dealing with a 3D environment that changes orientations with the position of the glass. Why? Because it destroys the natural reflections that appear on a blank screen. This is one of the worst things you can do for a screen insert. ![]() People seem to have the idea that if it’s an effects shot, then it needs a greenscreen. For a detailed walkthrough, watch the video I’ve put together at covering the process. So today I’ll take you through the typical problems with screen insert shots, then show you how to do them the right way. So why are they done so badly? Because, more often than not, they’re performed by editors and mograph artists who have never been shown how to do them right. Screen inserts are one of the most common effects done in everything from Hollywood blockbusters to corporate videos.
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