Green Screen Shoot in P-51 Mustang Cockpit
Posted 20 April 2018 - 02:50 PM
Posted 20 April 2018 - 03:10 PM
From someone who is currently working on a project that is heavily chroma-key dependent, I'll chime in here:
First, shooting this outside could actually be your friend vs a studio. The sun is an amazing light source - but you'll likely need some bounce cards to bounce some of the light to fill in shadows and clean up 'green wash' on your actors and props to make keying easier.
Second, your better off with a 10-bit or even RAW recording with full 4:4:4 when shooting chrome key work. This is because unlike with regular film making, its not just about highlight roll-offs, compression artifacts etc --- it's about getting a realistic looking key. Color sampling and bit depth, as well as less compression will be a lifesaver here. Regardless, as long as you're not shooting a difficult to key scene, 8-bit 4:2:2 should be enough. Personally, if you have the budget, I'd rent a camera that can shoot RAW for this shoot. RAW in a chroma key environment is a lifesaver.
Third, how are you posting this? Actually SHOOTING things on a green screen is not the hard part --- it's making it look good in post. What software are you using? I'd highly recommend Fusion or Nuke when doing film compositing - avoiding the likes of the motion-graphics centers After Effects. Just keep in mind that proper green screen work requires that you ensure your lighting matches from the live action to the background plate, as this is a dead giveaway. You'll also likely need to understand light wrap, etc.
Let me know if there is anything else I can help you with.
Posted 20 April 2018 - 03:54 PM
What are you planning on compositing onto the green screens? If it's just blue sky, then it might make more sense to roll the plane outside and shoot angles that give you real sky.
Posted 20 April 2018 - 04:46 PM
I'd consider surrounding the plane with big day blue muslin frames instead of green screen, blow some smoke past the cockpit now and then. But yes, you don't want the reflections of the hanger in the side of the glass so you'd either need to extend the green screen to cover that, or day blues or blacks to block the reflections.
Posted 21 April 2018 - 03:32 PM
Thank you very much for the generous help!
I strongly agree that it's best to try and get everything in camera and really like the idea of surrounding the plane with sky blue muslin and/or using the real sky instead of a green screen. As for the reflections, it will be even more challenging to manage them as well as the backdrop in the space and budget we have, but I will give some more thought as to how this could be arranged.
One thing that will work in our favor that I neglected to take into account for the initial previz scene is that the plane is at a pretty significant angle when sitting on the ground, so we should be able to get a natural sky for the POV shot, and whatever muslin we use for the shot of the pilot won't need to be mounted as high as I thought (I think ~5m high should be fine).
There are some elements other than sky that need to be added outside the plane, but only birds need to be added to the sky in the rear-facing shot, and I think that could be easily managed with a sky-colored muslin and a small amount of roto. The POV shot will involve some more elaborate work (looking down at a landscape and diving towards a German squadron). Maybe I could shoot against the real sky for that shot and roto in the German squadron and ground, and add a layer of haze between him and the ground to keep the color palette somewhat close to what is shot.
There is a significant change in plane orientation as it dives. Any thoughts on ways to sell this with natural lighting and without a rotatable cockpit set?