My go to for rim lighting on green screen is a kinoflo bank at a 45 degree angle each side behind the talent, this will give you a good full body rim light, is a lighting style I really like and will also light out a lot of green spill.īelow is an example of this set up I used recently. Any green spill on the talent will add more time in post production to colour correct out. When lighting talent on a green screen a rim light will help separate the subject from the background and also has the added bonus of bleaching out any green spill coming from the background.Try to avoid creating hot spots on the green screen with the additional lighting, this can be avoided by using lighting angles to your advantage and also with sufficient separation from the background and letting the light naturally fall off before it hits the green screen. Avoid creating any shadows or ,if you are creating shadows, make sure they are on a part of the screen you won’t be using – the shadows will cause problems with the key.Light the subject as you normally would if it were any other shoot, but there are also a few things to consider: Once the green screen is evenly and correctly lit, you can move onto lighting the talent. If the green screen isn’t well lit then the green screen will zebra out at different f stops, this will show you where your problem areas of the lighting on the green screen are.
As the aperture opens up the green screen should all pick up the zebra stripes at the same time. Another good way of gauging how even the lighting on the green screen is is to turn on the zebra on the camera and slowly open up the aperture. Measuring LightĪ light meter can tell you what areas of the screen might need some additional light. This will then result in the areas of clothing disappearing while trying to key out the shadow areas on the green screen. Any shadow areas can cause problems with the key, as they are less saturated with green and may approach a similar tone to shadow areas of the clothing any talent might be wearing. Once the lights are all up you need to check to make sure the light is even across the whole green screen. For best results it’s useful to have the space lights on dimmers. If additional lighting is required, Kinoflo’s or Filmgear tube boxes light banks are a great choice, their large lighting area is perfect for evenly lighting the green screen in areas that might need the extra lighting level. Being a big soft source, they will do most of the work for you. Space lightsĪn ideal starting point for lighting greenscreen studios. They will also exaggerate any texture on the green screen which again will cause problems when keying. Hard light sources will cause problems with hot spots on the green screen which are a problem when trying to key the green screen out. This is best achieved with big soft light sources. The key to keying is having the green screen evenly lit. A well lit green screen will save time and money in the post production of a project and on the flip side a poorly lit green screen will cost time and money in post. Lighting is the cornerstone of shooting on green screen.
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