| Lighting a large chroma key drop is not very difficult | | | | Lighting the subject properly can make the difference |
| with a little attention to detail and a few studio | | | | between a seemingly natural or artificial shot. Once |
| multi-source instruments. Chroma keying requires a lot | | | | your subject is positioned, place the key light. Know |
| of work and practice to achieve believable results, | | | | what your planned background will be, including the |
| but the effort is rewarding. With a fundamental | | | | direction of the principal light. The shadows in the |
| chroma key technique and proper lighting, you will | | | | background image and the key light on the subject |
| stand a much better chance of getting the shot you | | | | must correspond. |
| want. | | | | Also, maintain the separation of the subject lighting |
| Lighting the Background | | | | and background lighting. Just as key light cannot |
| Successful chroma keying requires a lot of light for an | | | | interfere with blue screen lighting, backdrop lighting |
| even glow the blue screen with absolutely no | | | | cannot interfere with the foreground shot. This can |
| shadows. Start with two large lights, such as 650 | | | | be accomplished by first moving the subject away |
| ARRI'S. Set them up high enough on either side of | | | | from the background. Start at least three feet away, |
| the screen so they cannot interfere too much with | | | | and try to create as much distance as possible |
| the subject. | | | | between the background and blue screen. |
| This setup can remain fairly constant from shoot to | | | | Now incorporate the most crucial elements: a back |
| shoot; you can find a set up you like and use it | | | | light and a kicker. As they would in a normal shot, |
| every time you have a chroma key shoot. Factors | | | | these help separate the subject from the |
| such as interference from foreground lights can | | | | background and bring out the detail that may be lost |
| cause problems with this lighting, but these | | | | otherwise. They also serve the additional function of |
| adjustments can be fixed easily. | | | | minimizing spill. |
| When setting up lights, also consider the reflection of | | | | The most effective way to learn about chroma key |
| your blue screen. Too much light can cause color | | | | is through experimentation. After finding your ideal |
| bleeding, which occurs when the blue background | | | | setup, begin rearranging and readjusting. Try different |
| reflects onto the subject. The easiest way to reduce | | | | lights, bounce cards and gels. Play with the key light |
| the reflective properties of the blue screen is by | | | | and background light to come up with new or |
| diffusing lights with amber gels. | | | | interesting combinations. Above all, develop a |
| Lighting the Foreground | | | | foundation of patience and preciseness. |