Skip to main content

Green Screen

Lesson 23 from: Guerilla Filmmaking

Ryan Connolly

Green Screen

Lesson 23 from: Guerilla Filmmaking

Ryan Connolly

buy this class


Sale Ends Soon!

starting under


Unlock this classplus 2200+ more >

Lesson Info

23. Green Screen


Class Trailer

Day 1


Writing Your Story


Script Breakdowns and Shooting Schedules


Finding Cast and Crew


VFX in Pre-Production


Filming Gear: Audio


Filming Gear: Camera


Filming Gear: Lenses


Lesson Info

Green Screen

Now we're going to jump into green screening josh, grab some one or two let's get back ina over here let's also get the other small kino down here as well. Put that on the stand. Bring it to one side let's get one on either side of the screen. We're gonna talk about green screening. We're going to talk about the do's and don'ts about green screening. We're going to shoot it and then starts going togo through howto actually key some issues with king that a lot of people do that just make a key look absolutely horrible, eh? So we're going to shoot it and we're gonna do something with it. But first we're gonna like this bad boy let's also let's, get one of these guys over there. Let's, do the three hundred if you can, um let's let's, go ahead and move it out. Do we have a light stand for it? Okay, let's let's. Get it off of that let's! Get it on a light stand. Bill, you want to help him out with that? Sam, you want to grab these sandbags moving on that sign? I usually like the light. Uh, ...

my green screens the actual screen itself a little cooler and then use my regular tungsten type lights for the actor, so we're even further separating the two on let's get let's go ahead and bring that what you have it mounted axel let's bring it on this side and you're gonna take that we're gonna have to clear some of this you you two why don't we clear some of this stuff and move it out of the way maybe in that that area there just to get it out of our way so we could get that kino in there to light this thing let's just go ahead and move that off yes you can you could stage that out of here as well. Okay going set that that'll be good there you know that and then why don't you pick someone to be the subject you think will be best for the because I heard it's going to dio what happens when we shoot okay that's little they already know it right here for me not just a touch that's gonna be your mark why don't you get some tape for me just said it mark we'll talk about marks a little bit more tomorrow right now we're just going to set it so we know any any color is fine at all let's go with yellow actually just so it's a thinner piece it was well just market go ahead and set that could you throw some tv on this? All right, go ahead and open those up let's bring it back to about here let's focus in on that we're gonna turn on the two daylight josh we're gonna bring that guy over here what you got to set this one's a little finicky though let me take that from you wanna hold that for me? Thank you and uh walter let's get this guy staged sort of the same distance is this one right here pointed screen get plugged in the let's not turn it on just yet bill let's move this guy to the side of that chair right there you've got a framed up it's actually looking pretty good we kill the house lights let's get we have one of those moles let's get a mall over here on bill you want to help him with that mall yeah let's go right here with gordon just kicking on actually don't take it out let's get some diffusion for it it's a fusion and toss that on there bill we got that we got it over here way got that role if that's what you thought of immediately uh good point that at the screen good kicking on that's good. Just leave it right there. I mean like directly behind them will that make it worse? All right pointed uh go left, go and pan it left a little bit more right there you understand? All right there let's let's track the camera about a foot and a half left let's get more centered sam and pan it to senate center I'm up way it's the froth just it's almost like he's. So basically what what we're trying to do now is blind. Sam apparently is just to do a really bad, bad version of lining a green screen. Obviously, that is terrible. There's clearly so many issues right now. Let's. Go ahead and roll on it. We're going to film some of this stuff so then start can take it later and we locked down so it's not moving around at all. Okay, so start going to take this later and show exactly why you're not going to do all of these things but problems right now we got a hot spot on the left. We got a crazy shadow on there. Then we've got a really dark screen on the back. All right? You can go ahead and cut on that what's up good, let's. Go ahead and pan that right, let's. Put a crazy hot spot right on the side here. Okay, roll on that too good. All right, go ahead and cut that off. Let's, move it over. Well, what do you want to clear some of these bags to right there so we can get that light let's, try right here, so if it's not in shot, but it won't be right here, let's bring it up the bill it's bringing up about here let's just have a kicker on him. Actually, you want to kick this on having do pretty much the exact same things this is doing. Can you get that for me? All right, lock it down. Let's, come right here, that's where you stop about here? Wei have a dimmer on that let's just let's. Actually, just get a little more diffusion on it. Yeah, let's just do do we have another piece of diffusion we could throw on that way? Spotted her flooded go and bring it down. Toss another piece of diffusion on. Send it back up right there. Let's, get a dimmer over here on this guy and actually, could we get this going? Can we get something right ran to this now we're trying to balance everything out. Bill, we need to bring that in a little bit it's rapping on his face a little bit too much so mainly we want the head on the shoulder so let's bring that is much over as we possibly can. So let's go right here with it let's, bring this guy in a little bit to see how we're getting that line between these two let's try to blend that a little bit, so let's open the barn doors up josh is kind of the king of green screen lighting now that he's been doing it for so many years he always lights are keys for film writing such so I'm just copying josh right now all right let me get you look right at the camera you're currently hosting film right you got to go all right kick that off back on just keep checking it until we get something that were like uh I like kind of what we're getting from it right now let's leave it there all right let's look at the camera again good thank you liking that cool uh let's raise that up a bit and see if we can get a little more on his shoulder so so actually bring it down first let's tilt to fix your down and they will raise it back up so we're getting the edges of his shoulder at the tops of his shoulder there and his hair as well do we happen to have a dimmer on that guy right now let's do that way we have a second dimmer around here do you have it all do you want to help him get that done? I think we're good here way switch exposure yeah a little bit make that pop a bit more like let's pop into yeah we're gonna adjust that what's poppin on him a little bit more cut off a touch of the shoot a little bit less no more a little more let's go half on the shoot word let's give it a little bit more headroom cool you think king of green screen lighting are you appeased let's frame center all right and uh let's go ahead and roll on it and sam give me the intro to film right? Welcome to film right? I'm your host same cleary awesome. All right, now put your hands straight out good. All right, go ahead and cut on that what else do we need to get for this? Are we moving to tracking for the key uh do you like the subject too dark? We'll do. We'll do that now but if you're looking at the it's the same guy same principle all right, so if you look at the background we could kick this off uh you could see how much more flat all the way across we have our screen right? So we're getting a much more of the fluid look all the way across. No, I mean, you can see we do have a little bit of shadow but we'll be able to deal with that easily enough when you get those crazy shadows it's gonna be really difficult to do? I think he knows or some of the best things to light a green screen with I'm often using my leads because I don't have key knows but ladies work great too but usually I'm going something cooler on the screen then something warmer on the subject to help separate a bit more do you have anything to say basically look at the green screen is it's not a magical color so it's not just like oh it's a random color green point is that you're trying to extract the subject from whatever's behind it that's why you want his flat as possible it's not like even a blue screen like it's not just like oh here's because we've seen it tons of times were like oh it's just not working because then you see it and it's this horrible lighting like that is the whole point of it is to just extract them from whatever's behind them and that's why he's so far from it you don't want you want is a little balance is possible just so that it is easiest possible to separate them out kill that backlight phil let's actually move you back towards the screen can actually show you that that's too far even come right right here you see on how the greens wrapping around his neck you can't really see in camera but if you look on his back how much green you see on this back uh he had a lot of spill a lot of green right here that's going to show up in your key so we're going back move away from that it's getting a little less and then kick that on we're going to start countering that with the backlight without the backlight that greens overpowering it a bit, taking it over. So we got that warmer back like to start washing that out, so we'll get a better key later on less work for stark, like, even if you get a perfect key and you're like, this still doesn't look riel like besides the fact that you don't color match it, you still wantto it's almost like you're trying to like the person and this thing separately, because if you're trying to match the environment, you might want to look at whatever the environment is and try to get the sort of similar lighting angles because if you have, like, oh, here's, the background it's, sunset, but then you're this harsh light on stockpiling, correct? We're talking it no matter what you do you're like, well, the colors look right, but the lighting's, not it's, just like the thing from mystery when you're with someone asked about matching golden our house like you like them. But then you're gonna harsh shadows it's just not gonna match. Yeah, that's a great point right now. We're just setting up for sort of ah, stand up type key that we would do for something like film riot but when you're trying to match them into environment what I'll always do is take screenshots of the environment throat onto my ipad and then as I'm lighting them on the key just keep referencing that so I'm setting it up perfectly to that and it's really it seems a lot more difficult than it is but if he's in like you know a dark alley okay slit you know I mean it's it's not too difficult to do just got to see where the lights are in the scene and sort of match what they're doing matched their tone you can't grate it later if you have a bunch of lights that are very very warm but there's one light and you're seeing that's very cool you're not going great that later later so you need to set that one light to be cool to match what the environments doing so it's a really good point I start let's roll one more time uh yeah let's going roll on it see how it does for us and then give me that opening again from the time welcome the film right I'm your host sam cleary yeah let's pull that away uh let's go afoot right there stop go a little forward all right uh cut and roll once more one more time I what feeling welcome to film right? I'm your host sam clear you've got no crazy ours you gotta go you gotta go that was like the same uh, lipton version actor studio what's your favorite curse word. All right, let's cut on that. All right, cool. So let's, start moving this stuff out of the way. Let's, start cutting lights, give this stark is going to start importing it and we're going to take a look at what we actually just shot versus you know what it's doing again? You know, kick kick that back on so we have the one light happening then without it, stick it out. So we have this, you know, this crazy hot spot on this side even punched in? I mean, you're going to be able teo probably pull a key from that, but it's going to be difficult? I mean, one thing you could do is, you know, multiple keys happening for those different colors was going to be really hard. You want to set yourself up for the easiest situation when you get the post, because easiest situation means the best results came back on. We're getting a nice, solid color all the way across and again, which is what I was talking about before with light meters taking that light meter and taking it across the screen if you do have one to help make that perfectly balanced all the way across, we are getting something yet ing on edges from what I'm seeing but you can handle that easily enough as long as your subject everything around your subject is good to go you can handle the rest of that and post so you got that starkie do you want to take over all right let's start let's move this stuff out of the way grab this for you I want to play that wait no no are you plug didn't want to stick with your secretary bryan can you tell us one more time what we're doing what we're moving into so uh so we just let the screen we showed you how to light the screen you need that solid luminous all the way across the screen to really have that green popping out at you you want to separate the subject from the screen as far away as possible to try to minimize that spill you want to light your subject a little warmer than the green definitely separating that and everything we didn't touch on is don't have the subject where green obviously or you're going to have someone who's floating it has happened but even colors that are close to green khun b problematic depending on your cameras for instance to see one hundred because it's for two o some of the colors are getting swash and it's a little difficult we might see some of that one starts actually king it yeah so like some colors like even like a scion have given us a lot of trouble in post where sometimes we just have to mask around that piece of the shirt through the entire bit and it's it could be a real pain so you gotta be careful also what your subject is wearing a cz well and why he we finish setting this up? Are there any questions on anything that we've done thus far from you guys are over here all right? So vinnie had asked, how do you get rid of shadows on a green eso as we just showed which I should have probably talked out as we were doing it, so we first put the light more front so we're kicking in on the subject and that's kicking his shadow directly onto the screen. It was also harsh light not a soft light, so we defuse that with we've doubled up on our diffusion move the light a little more site also it's kicking the shadow off screen raise it up a bit so it's also lowering the shadow and that just takes off so it's a matter of angling your light and defusing your light then we bring in a fill on the other side to control how contrast it isthe all right, cool let's do one more, so the effects question is it possible to perform screen replacement the effects if the camera focuses in and out of the screen that is start question, and I think we're going to answer that later with tracking. If it's focused just focusing, yeah, you were just fake it. Yeah, sochi it, and then you would just faked the focus on the background. S o d focusing or being sharp on the screen won't really matter so much for your key. It's, actually, good. If it's the screen's a little bit out of focus that way, any wrinkles or anything like that will kind of be softened up. Bye bye. You know your your depth of field.

Class Materials

bonus material with purchase

1080p Screen Insert
2.40 Aspect Wide Screen Template
Rule of Thirds
Storyboard Template
Storyboard Template
Class Footage - 1
Class Footage - 2
Class Footage - 3
Class Keynotes
Stark Assets
Guerilla Filmmaking Outline
Gear Guide

Ratings and Reviews

Samuel Befekadu

I bet this class will be awesome. the course is given by Ryan Connolly!! I have been watching this guy for more that 5 years. I just wasn't serous about film making then. but now since i love film making why not try to be one of them by learning form the best in the field like Rayn. he has been inspiration for a lot of film maker from his YouTube channel Film Riot. his way of teaching so funny and entertaining . I bought this course to learn Ryan Connolly's killer skill. Thanks creative live and Ryan Connolly!

Will Green

Great class! It starts at a very simplistic level and covers the full spectrum of filmmaking. I would not necessarily buy this course for advanced film students, however it is an amazing review for beginner students to intermediate students. I would love to see a BTS of a short film from start to finish. I've seen all of Ryan's BTS shorts and I would greatly enjoy a much more intricate play by play of the short. THAT"S SOMETHING I WOULD PAY A LOT TO SEE. An 18 hour compilation of prepro - post of a short would be awesome.

Jonathan Beresford

Love Ryan and everyone at Film Riot. Excellent course of the excellent quality I've come to expect from them. I just wIsh he'd act more. So funny.

Student Work