The technology used for compositing blue and green screen has improved to the point where a chroma key matte can be pulled off almost anything. However, the better the original photography and setup, the better the matte extraction and composite will be. Whether the goal is to shoot a blue or green screen for compositing, or just to get familiar with terms and techniques, Blue and Green Screen Production Principles has the information needed. Pete Kuran goes behind the scenes to teach the processes of this popular film technique.
Note: We recommend that subscribers new to video production terminology first view Digital Video Principles in the lynda.com Online Training Library.
Recognizing the differences between blue screen and green screen
Choosing between blue and green screen
Creating a pre-production checklist
Using Tungsten lighting with a green screen
Using a Chromatte light ring
Shooting in a cove
Using a flexible screen
Peter Kuran began his career in 1976 working as an animator on the original Star Wars movie. He introduced the concept of adding animated shadows and interactive light to objects to make them appear more dynamic.
Since then, Peter and his studio, VCE, have worked on more than 250 theatrical motion pictures, including both Addams Family films and all three RoboCop features. In 2003, Peter won an Academy Award in the scientific and technical achievement category for his RCI color restoration process.
As a filmmaker, Peter has produced five documentaries on the history of atomic weapons and testing. He produced and directed the award-winning film Trinity and Beyond: The Atomic Bomb Movie, and has since produced Atomic Filmmakers, Atomic Journeys, Nukes in Space , and Nuclear Rescue 911.