 Hi, today we're going to check out the new rules of green screen Back when I started as a TV commercial director More than 10 years ago green screen was a prevalent but incredibly painful thing green screens were made from plastic They were shiny. They kept creases in them for a long period of time We had no option but to light them with tungsten or HMI that was really difficult to do it spilled green everywhere it clashed with skin tones and Once you've got the footage into post you had to overlay multiple different Kears that had different ranges and use garbage mats and basically Finesse the green screen hour after hour to try and get something that was usable Maybe even tracking and rotoscoping out things that went wrong. It was generally hard work Finicky and not something that you really look forward to I'm working on a project and the DP suggested that we green screen the Car scene so that we have more control I immediately said I don't want to get messed up with green screen again It's a real headache and he said how long since you've done any green screen so I did some research and Green screen has changed I have to say there have been a couple of factors one is the development of Chroma green and Digi green which are ones are darker and ones are brighter green that give you really consistent keys Another is the cameras the acquisition and also the software So I thought we would dive in today and see what are the new rules of green screen step one start with the Right material do not go and get a bed sheet from target get a proper Chroma key green if you're going to shoot outside and not have the control over the brightness or If you're shooting inside get a digi green and you'll almost have a nice usable key With probably the ambient coming in from your main lights you should however light it separately And if you can light with green light if you have RGB LEDs and you're able to light with green You'll get the right exposure with much less brightness and as a result have less spill You want your green screen and your subject to be at least six feet away from one another so that you're not Contaminating your subject with spill from the green and you want to light them separately So you want to light the green screen with green like your talent the way that you want and have a nice clean Separation between them you want definitely want to shoot in at least 4-2-2, but most probably raw Raw has a whole separate channel for the green screen So you're not going to get any color contamination or chroma subsampling that'll mess up your key You want a 40% brightness green screen in rec 709 So you can adjust use your false colors to do this You could also use your zebras or something like that the easiest way is to see a nice consistent line across your Histogram a waveform monitor that's going to tell you that your green screen is below 50% and your subject is above 50% You also want your shutter speed above 100 of a second or a 90 degrees if you're using that measurement this reduces motion blur and stops their green being dragged into the blurred elements of your main subject if you're not going for that saving private Ryan Staccato motion you can add motion blur back in post, but it's going to be a lot easier once you've key to subject So here's my shot. I'm going to take it into resolve and add it to fusion now I'm just going to go to matte and find the delta keyer Drag it in between my input and output and then use the eyedropper to select the green It is literally one click if you have done your shooting the right way because delta in DaVinci resolve uses artificial intelligence and look you you see here It's separating even the individual hairs from the background It is vastly different to the way it was done 10 years ago with chroma keying or Ultraman I'll go back out to my timeline drag this up to the top layer put my selected Background underneath it and now I can go into the color tab and by clicking in between layers I can grade the clips individually this took all of five minutes to get a Beautifully keyed out background now all you have to do is get the two to match maybe adding some atmosphere in between and really just finessing the Composition you can now do green screen almost as easily as you can calibrate your footage So I encourage you to experiment with it see how you can push back the limits of storytelling Expand the world that you're creating and generally push your filmmaking to a new level Thank you very much for watching leave your questions in the comments, and I will see you next time