I am setting up a blue screen shoot tomorrow and was wondering about the importance of trying to match the light color of the keyed image to what it is being superimposed on. We are going to have a presenter that will be keyed into various shots both indoors and out. Is it critical that I light him with a daylight balance for the exterior shots? Keep in mind that we are not trying to make it appear that this person is actually there, it is obvously keyed over the footage.
I am also familiar with the techniques of using amber gel on the blue screen lights, as well as throwing some straw or CTO on the subjects back light. Are there some thoughts on these? The amber is supposed to knock down the blue reflection off of the wall right? And staw or CTO is opposite blue so when used as a back light it should help get rid of any blue reflections right?
One last thing. The blue wall is a psyc, so there is a cove, but I am not sure if that will present any difficulties if I shoot into it rather than just a wall. Obviously I need to make sure its evenly lit but even so it seems that it could be problematic, not to mention it sounds funny.
Well, thanks everybody. Any comments would be greatly appreciated.
Phil
I am also familiar with the techniques of using amber gel on the blue screen lights, as well as throwing some straw or CTO on the subjects back light. Are there some thoughts on these? The amber is supposed to knock down the blue reflection off of the wall right? And staw or CTO is opposite blue so when used as a back light it should help get rid of any blue reflections right?
One last thing. The blue wall is a psyc, so there is a cove, but I am not sure if that will present any difficulties if I shoot into it rather than just a wall. Obviously I need to make sure its evenly lit but even so it seems that it could be problematic, not to mention it sounds funny.
Well, thanks everybody. Any comments would be greatly appreciated.
Phil