Life in a green screen studio can be exciting, if you are not one of the cameramen, that is. It can be so lifeless and boring to keep preparing and rearranging the lighting and all of the apparatus that is there in the studio. On the other hand, for you and I who watch only the finished product, life in a studio (that boasts of the best quality of green screens) looks to be very exciting. One wonders how it is feasible to capture on film someone being chased by a tiger or something even worse.
There are photos in papers and magazines of football players at a match. Sometimes, there is a image of a particular player whose expression is caught for perpetuity, or so we think. It is sort of possible this expression was caught in the bounds of a green screen studio and not on the soccer field. A picture of the football match in progress is superimposed on the green screen which has already served as the background in the studio. The soccer player is asked to stand in front of the screen, a look of ecstasy on his face, to copy that which he had when he made that brilliant pass in a significant league match against an arch rival team.
Of course, not all footage is orchestrated on a green screen studio; there are a few photographers who risk their lives to capture live action on film. These are people who belong to a completely different breed. Their love for the art of photography can take them to places that they have never been to and get them involved in situations that could sometimes even cost them their lives. For example, award winning photographers don’t win awards based totally on stills that are taken in a studio with a green screen. Rather, they win awards based primarily on pictures taken out in real life without the special effects that are conveniently and simply created using a green screen studio.
In a similar fashion, there are lots of photograph executives who are sure that it is important to capture wild animals on film, risking their lives in the act. One classic example of this is the sad story of Steve Irwin, who was fatally attacked by a stingray. There is no chance of trying to duplicate this sort of a taking place inside a green screen studio; unless of course, someone is attempting to make a film on Irwin, whereby the actor has to enact the final moments of the ‘croc hunter’ as Steve Irwin was fondly called.
Here, the actor will get asked to do all of the movements and facial expressions that Irwin would have demonstrated in his final moments against the background of a green screen studio. Once this is done, the superimposing of the underwater battle between the stingray and the dying Irwin would be carried out by the film editing and compositing techniques that are aided by the newest software, available in the film industry today.
There are so many other websites giving various forms of advice on how to use green screen but a lot of them are not very specific or precise. Before following these, be sure to check my own articles and reviews on Green Screen Techniques and Green Screen Studio, You can also reach me at 1-323-851-3825 or [email protected]
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