It’s the night before this green screen shoot and I think I’ve done all I can. I’ve prepped the cameras, synced the menu settings, charged the batteries, loaded up my grip equipment.
Granted, I haven’t seen the choreography, heard the music or discussed specific shots. It’s like a documentary shoot with demanding technical needs.
Yippee! 
Or, more appropriately, what high definition format will I shoot?
Yes, it’s true, I’ve given up on shooting film (either 35mm or 16mm) for this project. Why? Because my film is acting intensive, I’m a perfectionist and I just know in the pit of my stomach that we’ll be shooting tons of takes. Even if it weren’t a function of money, it’d also be one of practicality. I’d probably be shooting 400′ loads and that gives me either 4 minutes (in 35mm) or 11 minutes (in 16mm) per mag. Compare that to a 30 minute tape that doesn’t require a loader and, well, it starts to make good sense.
But I’m not out of the woods yet. There are tons of options for HD acquisition. Of the commercial feature films shot digitally today, there are three high-end choices: the Panavision Genesis (SUPERMAN RETURNS), the Thompson Viper (ZODIAC) and the Sony CineAlta (SIN CITY). All three are great 1080p cameras but all three are so expensive, technically complicated and proprietary that it just doesn’t make sense for an ultra low budget short film.
No, I think I’m down to either the Varicam or the HVX200. Both are made by Panasonic (renown for their DVX100 series) and both can shoot 720p @ 24p (which Macs w/ Final Cut Pro can seem to edit natively). What are the big differences?
The HVX200 records onto 4 or 8 GB P2 cards, so there is no digitizing from tapes. The camera is slightly bigger than today’s handicams which allows you to be inconspicuous. Lastly, the camera is very inexpensive to rent.
The Varicam records onto 15, 30 or 60 minute tapes, it’s a shoulder mounted camera (broadcast size) and it rents for 2x-3x of the HVX200.
Both, by the way, can record at “off” speeds; it can shoot fast and slow motion.
So why am I going with the more expensive Varicam? First, better lenses are available. Second, the P2 cards present some problem both with “dumping” and storage. Third, the camera has 2/3″ CCDs vs. the 1/3″ of the HVX200 (so it naturally get a more shallow depth of field). Lastly, it commands greater respect. I know, that last one is lame but it’s true.
But if you have any experience with any of the above mentioned cameras, let me know.
I’ve been hired to shoot some green screen work in less than a week and I’ve been searching the web, reviewing my notes and recalling personal experiences. Just thought I’d share my findings and recollections.
The specs are pretty simple: a woman dances in front of a green screen. In post, the editor will pull the green background, replace with images. Also, the editor will take the dancer and animate/color her (think of the iPod commercials).
We’re shooting with two DVX100A cameras @ 30p and it seems to be a pretty straight forwards affair.
- Light the green screen evenly and well.
- Get the subject to be about one-stop brighter than the green screen (I’m shooting for an f=4/2.8 for the subject and green screen, respectively).
- Get the dancer as far from the green screen as possible (to prevent green spill onto the subject).
- Give the dancer a good back/edge light (will make keying out the green a lot easier). I think a stop over key should be more than fine.
Easy? Well, I don’t want to jinx it. I’ve shot some green screens in the past and the big problems I’ve run into are 1) subjects directed to move large distances (i.e., the whole length of the stage) and 2) lighting packages that just can’t cover that kind of space.
Even though I haven’t seen the choreography, the stage or the lighting package (the director is taking care of that), the one thing that nags at me is the dancer’s costume. I have no idea what the dancer will be wearing. Why am I worried? If the dancer wears something frilly, wispy, frayed or with intensely jagged edges, that could pose a problem when pulling the matte.
For those that don’t know, standard definition digital video compresses every frame with extreme prejudice, especially when it comes to color and green screen work only exacerbates that issue. What looks like a fine edge on a tattered wrap will look like preschool Lego blocks after we pull the green screen.
If I had my way, I’d put the dancer in a ninja uniform, mask and all (and I’m talking Snake Eyes, not Storm Shadow).
Aside from tests, I think I’m covered.
Anyone have anything to add/suggest?
As I crank along on this editing job, I have a few more useful tips for ya.
Tip #2: When you’re shooting video, resist the siren song to just keep rolling and rolling and rolling tape. If you’re giving someone detailed directions (more than a few words), cut the tape. If you’re changing camera setups, cut the tape. If you’re giving your back a rest, cut the tape. Consider it a type of digital conservation.
Tip #3: Unless these videos are for home viewing only, turn off the auto-focus and auto-exposure. It looks terrible. It makes baby Jesus cry. And while you might find that funny, making baby Jesus cry, just you remember that he’s coming back and looking to kick some serious ass; your name might be first on the list. Don’t believe me? Read the Book of Revelations.
And why don’t you put some bars and tone at the head and tail of that sucker, too.
Because of my patience, technical inclination and organizational ability, I land many, many gigs in post-production. Sometimes I work as a Final Cut Pro consultant, sometimes I clean up another assistant editor’s mess, sometimes I cut public service announcements for worthy causes.
Therefore, occasionally I will hand y’all tips that’ll make your life (and my own) much easier.
Tip #1: Record 30-seconds of bars and tone at the head and tail of your videotape. What? Your camera doesn’t generate bars and tone? Then hit record and put your hand over the lens. Don’t lay down important moments on the first and last timecoded moments of your tape. If you do, and you ask for my help, I’ll let you try and digitize that part of the tape your damn self. I’ll be getting a coffee. 
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