![]() ![]() This ensures that the light is as even and soft as possible. My ideal setup typically involves a bright light source that’s first diffused by a standard 4 x 4 silk on a C-stand, and another 8 x 8 frame in front of that silk for an additional layer of diffusion. Personally, I prefer to use double diffusion when shooting on a green screen. The light will have a hot spot and there will be a gradient surrounding it, ultimately giving you an uneven light to work with.Ĭonversely, if you were to point a tungsten light (let’s say a 2K source) at the green screen, but use a large 8 x 8 frame with a silk to diffuse the light, you’ll be in great shape. If you point a hard light source (such as tungsten light with no diffusion) at your green screen, you’re going to run into trouble. The key is the same for achieving soft light in any other shooting scenario - use big, soft light sources. Any attempt to pull a key from a backdrop that isn’t actually reading as green on camera will inevitably be a failure. The same applies to a backdrop that’s either over or underexposed. If your backdrop is lit properly on one side but underexposed on the other, your compositor or editor will have a very tough time pulling a clean key. The most crucial thing to remember when lighting your green screen: any area of the backdrop that appears in the frame must be lit perfectly even and exposed correctly. ![]() The editor will have a difficult time keying the darker edges of the frame. While two lights might be all you need for many scenarios (such as an interview setup), keep in mind that the basic principles outlined here can be applied to wider and larger green screen setups too - you just may need to add more light. Unlike traditional film lighting, which is all about finding contrast and mood by balancing light and shadows, lighting a green screen is all about evenness and consistency.įor the purpose of this post, I’ll describe a basic green screen lighting setup that involves only two background lights. Lighting a green screen is fairly simple from a technical perspective, yet many DPs who don’t have much experience with chroma key work are prone to making some unfortunate mistakes on set. If you have other lighting solutions that you have found to work well with your green screen setup or just with a regular facecam, let us know in the comments down below.Learning how to evenly light your green screen backdrop will give you better results when it comes time to edit your video. ![]() You’ll find that once you use a light, you’ll see a major improvement in your look on camera as a result. It all comes down to the features, budget, and overall form factor that you are looking for. All of the solutions above are viable ways to introduce light into your setup. With lighting, you are not only going to look better in your content, but you are also going to get a much cleaner chroma key on your green screen. Especially with the ring light, users should be ready to tweak and use ambient lighting (ceiling lights, lamps, etc) to compensate for that lack of light. While you can certainly light a green screen with one unit and get great results, it will always look better with two light solutions being used. You’ll find this same issue present with a ring light. The adjustment in OBS to account for using one light took about 5 minutes and we were on our way.Īs we mentioned for the Broadcast Lighting Kit, one light is typically not enough to effectively light a green screen. This leads to an easier and more even chroma key overall. Lighting a green screen with one light is totally doable, but it is advised to use two for a clean and even lighting across the green screen surface. We did find that with one single panel, there was some adjustment needed within Open Broadcast Software (OBS) to account for the chroma key and making sure ourselves as the subject was lit correctly. It also provided a nice even coverage of light across our Webaround, making it very easy to chroma key. The ball head allowed us to angle the light perfectly to reduce our shadows. The light’s small form factor is great when you combine it with any camera and doesn’t intrude on the space. While the tripod was a great feature, we found that the suction cup base provided a more sturdy experience. The adjustable stand combined with the suction cup base gave us just what we needed for adjustment. This is nice if you’d like to use a C-Clamp base or arm for your mounting solution. The side and bottom of the light features a 1/4″ hole, which is used to mount to clamps or tripods. You can adjust the color temperature from 3200K to 5600K, which gives a warm or cool look. While small in size, this light panel packs a serious punch in terms of lighting output.
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