.Chroma Key | Chroma Key Software chroma key

Posts Tagged ‘chroma key’

postheadericon Studio Flash Equipment

Being able to draw continuous power at a significant level makes it possible to deliver light that can be diffused, reflected or redirected in all kinds of ways, and still reach the subject at a level that allows good depth of field. A mains flash unit works in the following way. As the power supply is in the form of an alternating current in a relatively low voltage, the first part of the circuitry is a transformer and associated rectifier (or more than one in the case of larger units). The transformer steps up the voltage and the rectifier converts the alternating current to a direct current (in other words, it converts AC to DC). This uni-directional high-voltage source then supplies the capacitor that stores the charge. On command, the high-voltage output in the capacitor is discharged through the flash tube.

Given the light output possible from just a single flash tube-and the fact that it is practically instantaneous-it is not surprising that mains-powered flash is the lighting equipment of choice in studios. Output is measured in watt-seconds, or joules, and typical units are between 200 and 1000 joules. To make use of the extremely high output of the mains flash capacitors, the flash tubes are much larger than in on-camera units. Instead of a short straight tube, the most common design for medium-power units is circular. High-output units may use spiral tubes. One result of the need for high output and larger tube size is that the peak flash duration is longer than that of an on-camera flash-sometimes as slow as a few hundredths of a second.

As with other photographic equipment, such as cameras, there are many competing systems, and these are often not compatible. This is particularly the case with mains flash, in which the power units, connectors, and flash-heads cannot normally be interchanged. Before buying anything, make all the comparisons you can, and anticipate your future needs. You might, for instance, eventually need several identical lamps, or a set of specialized lights-one for still-life main illumination, and others for backgrounds, and son on. Also if you expect to shoot on location as well as at home or in the studio, the weight and transportability of the equipment will be important.

UPDATED! Green Screen Wizard Full Version 7.0 offers the latest in green and BLUE screen software power and control behind an amazingly simple and accessible user interface. This chroma key software provides professional photographers, as well as photography enthusiasts, a simple way to do green screen removal and substitutes their choice of digital background. Green Screen Wizard is a self-contained chroma key removal program that does not require Photoshop or other photo editing application to produce beautiful green screen photos. Learn more now and try a free demo version!

Follow my blog with Bloglovin

postheadericon Studio Flash

Mains-powered flash units offer the ultimate lighting control: a full range of light fittings and no problems with moving subjects. The real limitation of on-camera flash is that its full-frontal direction and harsh quality are rarely flattering-probably the last thing you would choose if you had control. The limitations of tungsten lighting are that it does not combine with daylight easily and that the great heat output limits the fittings you can attach. For the extra effort of planning and setting up lights, you can achieve a much wider range of effects with powerful, separately triggered flash heads. There are two kinds: high-output portable flash powered by rechargeable batteries; and mains-powered flash, which is normally used in studios. Both can be used with a variety of fittings, and it is these-the diffusers, reflectors, and spots-that control the quality of the light.

Lighting in a controlled environment is the essence of studio shooting, and digital cameras take this to another level of ease and convenience. Many models, and particularly prosumer ones, allow the camera to be operated directly from a computer. Once the camera is locked on the tripod and the lights are in position, you can simply sit down with a laptop and shoot from the comfort of your keyboard and mouse.

UPDATED! Green Screen Wizard Full Version 7.0 offers the latest in green and blue screen software power and control behind an amazingly simple and accessible user interface. This chroma key software provides professional photographers, as well as photography enthusiasts, a simple way to do green screen removal and substitutes their choice of digital background. Green Screen Wizard is a self-contained chroma key removal program that does not require Photoshop or other photo editing application to produce beautiful green screen photos. Learn more now and try a free demo version!

Follow my blog with Bloglovin

postheadericon Making More of Flash

With the addition of the ambient light instead of totally replacing it, on-camera flash can achieve interesting effects, and even subtlety. Experimentation is less complicated than ever before with digital camera models.

While on-camera flash works well enough as the no-frills light that at the least helps you to capture a recognizable image, it totally changes the view of any scene, usually dropping the backdrop straight out of sight. Approaches of working around this, however, including diffusing the light and employing it combined with an extended exposure. Modest number of diffusion is achievable by fitting a translucent attachment into the flash head, but you will find physical limits to this particular because the diffuser attachment has got to sit through the lens. More usual in interiors with low, domestic-style ceilings is by using bounce flash, swiveling the head upwards in order that the light spreads by reflection (simply with white or pale ceilings).

Contributing to the ambient light, however, is among the best reasons like on-camera flash, and there are a couple of variations from it. The first is shadow fill. This is especially useful shooting towards light and detail in objects facing the camera is frequently lost in shadow. All digicams have got a setting for this, where a smaller dose of flash is boost the longer exposure to be able to provide a balanced combination. The other variation is streaking with rear-curtain synchronization. In this particular, the exposure and flash output are similarly balanced, however the flash is timed by the end of the exposure. If you experience movement, in the subject or because you slowly move the camera, you’ll encounter trails of light terminating in a sharply frozen image.

UPDATED! Green Screen Wizard Full Version 7.0 offers the latest in green and BLUE screen software power and control behind an amazingly simple and accessible user interface. This chroma key software provides professional photographers, as well as photography enthusiasts, a simple way to do green screen removal and substitutes their choice of digital background. Green Screen Wizard is a self-contained chroma key removal program that does not require Photoshop or other photo editing application to produce beautiful green screen photos. Learn more now and try a free demo version!

Follow my blog with Bloglovin

postheadericon On-Camera Flash

Whether built into the digital camera body or attached by way of a hotshoe connection, basic flash units were designed as convenience for getting the shot without any other useful light. In the variety of photographic lighting, on-camera flash is primarily a convenience, and it’s important to comprehend its limitations. Most on-camera flash units are built-in (some pop up on demand), however some are detachable and fit over the camera’s accessory shoe. All these units are prepared for compactness and user friendly set up within these as priorities, quality and selection of lighting take second place. Even if this kind of flash have their own uses on location, it doesn’t have nearly as many advantages as its manufacturers would love you to believe. Nevertheless, the subtle metering and exposure control from a digicam makes it possible to mix flash with existing lighting for a lot of dynamic effects.

Flash units work by means of a capacitor charged by battery. When triggered, the capacitor releases its full charge instantaneously via the flash tube, ionizing the gas inside. Intensity of the light output varies according to how big is the capacitor additionally, on the square in the voltage that the unit operates, and is normally quoted as a guide number.

The limitations of full flash illumination are those of frontal lighting. Put simply, lights is practically shadowless and it also falls off in proportion to the distance from the camera. A common purely flash-lit photograph has a tendency to feature flat illumination around the main subject plus a dark background. The outcome is clear, sharp, and with good color separation, but is generally lacking in ambiance. Typical good purposes of full-on flash are close-ups of colourful subjects, simply because these can usually benefit from the crisp precision and powerful colors afforded by flash illumination.
One of many special challenges in altering the style of light digitally is to create the effect of bright, sharp sunshine, but there is however software available that will aid. One of several fundamental question in image editing is how far you should go – that is certainly, how long you need to move away from the original since it was shot. In principle, anything and everything could be changed; in reality, it depends that which you personally feel is acceptable and on the amount of effort it is worth to you personally.

With daylight photography, the major hurdle is bringing sunshine into the picture. If you’ve ever waited for the break in the clouds to brighten up the scene, you will understand that there is a interest in this – also to a degree this can be accomplished digitally. The challenge, that you can check by comparing two versions of the identical view, overcast and sunny, is usually that sunlight affects everything and in many ways, right down to tiny shadows plus the glow reaching into shadows from sunlit surfaces.

Although clouds reduce brightness when they block sunlight, the quantity depends very much to the kind of cloud. If the clouds are indistinct and spread all over the sky, the light loss is on the simple scale from the light haze through thin high stratus to dark gray, low clouds. With distinct clouds, however, such as scattered fair-weather cumulus, light levels can fluctuate rapidly, particularly over a windy day. Light, white clouds usually cause a simple fluctuation approximately 2 stops as they pass in front of the sun from bright to shade in one step. Dark clouds with ragged edges, or two layers of moving clouds, cause more problems, as the light changes gradually and often unpredictably. In the 1st case, two light measurements are typically that’s necessary – one in sunlight, the additional as a cloud passes – as soon as this is done, you can just change the aperture in one to another, without having to take much more readings. When it comes to more complex moving clouds, constant measurement is essential, unless you watch for clear breaks and apply only these.

UPDATED! Green Screen Wizard Full Version 7.0 offers the latest in green and BLUE screen software power and control behind an amazingly simple and accessible user interface. This chroma key software provides professional photographers, as well as photography enthusiasts, a simple way to do green screen removal and substitutes their choice of digital background. Green Screen Wizard is a self-contained chroma key removal program that does not require Photoshop or other photo editing application to produce beautiful green screen photos. Learn more now and try a free demo version!

postheadericon Photographic Lighting

What sets photographic lighting apart from other light sources is that it is designed specifically to work with cameras and certain popular kinds of subject. On-camera flash is a standard does-everything light., but has serious limitations when it comes to creating a carefully arranged, imaginative set-up. In professional photography, particularly in studios, lighting is a specialized, important, and costly concern. This has always been the case, but as pro-lighting manufacturers improve their equipment, the range increases and can cope with more and more specific lighting situations.

If you were planning to cover the full range of lit studio and location photography, you would eventually find a use for all the sources of photographic lighting covered here-and their even greater number of attachments. However, for cost, if nothing else, most photographers commit themselves to one type of lighting, at least to begin with.

While most of this applies to digital photography as much as to traditional film photography, digital capture is creating some major changes, albeit quietly and even a little subversively. Much of the effort that has gone into pro-lighting in the past has been to cope with the limitations of film. This applied especially to high-powered studio flash, where the systems developed in the 1960s and 1970s were designed for exact color fidelity and motion-stopping output. Digital, however, is much more flexible than film in its response to color, as well as being, in most cameras, more sensitive (the standard high-quality ISO setting is higher than traditional ISO 50 of fine-grained emulsions). A standard digital camera simply does not need the precision and power of expensive studio lighting. This may be heresy to the purists, but is good news to photographers with smaller budgets. You can use almost any sort of illumination, and the digital sensor, with the help of a good white balance menu, will generally cope with it. For example, if you have a light box for viewing transparencies and are wondering whether to moth ball it as you shift to digital photography, try using it as na area light, or for backgrounds. Never mind about color balance-the camera will take care of that.

UPDATED! Green Screen Wizard Full Version 7.0 offers the latest in green and BLUE screen software power and control behind an amazingly simple and accessible user interface. This chroma key software provides professional photographers, as well as photography enthusiasts, a simple way to do green screen removal and substitutes their choice of digital background. Green Screen Wizard is a self-contained chroma key removal program that does not require Photoshop or other photo editing application to produce beautiful green screen photos. Learn more now and try a free demo version!

postheadericon Neon Lighting Displays

Outdoor lights as subjects rather than illumination need more careful exposure to preserve color shapes, while fireworks are a special case that calls for anticipation. Although these are fluorescent lights, the colors typical of fluorescent lighting, and the white balance rarely needs to be accurate. Most displays are high up-well above street level-and the easiest technique is usually to stand back, across the street or further, and use a telephoto lens. For one exposure, use the fluorescent white balance setting, just to be able to see what difference it makes. Apart from this, take a series of different exposures, starting with meter reading and increasing the exposure from that. If you are using a tripod, there will be no need to increase sensitivity, and in any case you will need to keep the shutter speed at 1/30 second or slower to compensate for the tendency of fluorescent lamps to pulsate.

Which exposure looks best is usually a matter of taste, and the range of what is acceptable is quite wide. When comparing the results later, you should notice that short exposures give more intense colors, reproduce the tubes as thin lines, and show nothing or very little of the surroundings. Longer exposures give a thicker appearance to the display, which appears paler in color also. If you use a tripod and so have perfectly matched frames, it might be interesting to take two different exposures and combine them in a single image in Photoshop, keeping the color saturation of the darker frame.

Firework displays, like lightning, make their own exposure. Light intensity apart, there is little point in trying to use a fast shutter speed; the effect of a bursting firework is created by the streaking of the lights, even to the eye. A short exposure simply shows less of the display. Conversely, provided that the sky is really black, leaving the shutter open will not cause overexposure, but instead add more displays to the image. Two things to be careful of are the clouds of smoke from the fireworks that sometimes drift across the view, and the lights of the building s if you include the setting in the shot. Both of these set limits to the overexposure.

For the best effect of the bursts, exposure times are usually between half a second and four seconds, but you can judge this for yourself by watching the initial displays and timing them from the moment the rockets reach their bursting height. There is no need to switch to a higher sensitivity: f4-f5.6 is a reasonable aperture with ISO 100-200. In any case, the exposure is not critical: try making a variety of exposures to determine this for yourself.

UPDATED! Green Screen Wizard Full Version 7.0 offers the latest in green and BLUE screen software power and control behind an amazingly simple and accessible user interface. This chroma key software provides professional photographers, as well as photography enthusiasts, a simple way to do green screen removal and substitutes their choice of digital background. Green Screen Wizard is a self-contained chroma key removal program that does not require Photoshop or other photo editing application to produce beautiful green screen photos. Learn more now and try a free demo version!

postheadericon Beauty of Mountain Light

Mountains have a special effect on photography; the clearer, thinner air makes lighting starker and brighter, and the weather can change in an instant. The sheer height of mountains helps to create some of their special conditions of light; their relief produces the others, through the frequently rapid changes that occur in localized weather. One of the most memorable weather conditions for photography is the clear, crisp air in sunlight that gives high visibility to long views and fine detail. This, however, is only one of variety of types of lighting found in mountains.

 

The air is thinner at altitude, and is therefore clearer, provided that the weather is fine. Since the air is thinner, there are fewer particles to scatter light into the shadow areas, which consequently can be very deep. Local contrast, as a result, is often very high. The skylight in shade is a more intense blue than at sea-level. This intensity is more than usually difficult to estimate and without correction can be stronger than you expect. The thin air is also a less effective screen against ultraviolet rays, and there is a higher component of these short wavelengths. This produces an unusually large difference between what you can see and what the camera’s sensor will record. Unless you want to make use of the blue cast to emphasize distance, use strong ultraviolet filtration. Remember also that, in reacting to the ultraviolet wavelengths, the sensor receives more exposure, and the distant parts of the scene will look paler than they do to the eye.

 

So much for the thinner atmosphere. The interesting part of mountain light comes from the changeable weather, and this is controlled strongly by the relief of ridges and valleys. In particular, clouds become an ever changing part of the local lighting which you’ll need to keep a constant eye on.

UPDATED! Green Screen Wizard Full Version 7.0 offers the latest in green and BLUE screen software power and control behind an amazingly simple and accessible user interface. This chroma key software provides professional photographers, as well as photography enthusiasts, a simple way to do green screen removal and substitutes their choice of digital background. Green Screen Wizard is a self-contained chroma key removal program that does not require Photoshop or other photo editing application to produce beautiful green screen photos. Learn more now and try a free demo version!

postheadericon Mist, Fog, and Dust

Thicker than haze, mist, fog, and dust tend to shroud scenes to hide all distant detail, bu these conditions can also offer strange, evocative scenes. Mist, fog, and dust can be so dense as to make even nearby difficult to see. The droplets or particles are so  large  that there is no selective scattering of wavelengths, just an overall diffusion. (Dust has its own color, and tinges the view yellow, light brown, or whatever.) Do not view these as problem conditions: they clear eventually – and when fog dissipates it often does so very quickly – and meanwhile can make interesting graphic images.

 

In dense fog, or when the sun is fairly high, there is little if any sense of direction to foggy light. If you choose the distance at which you shoot carefully and close to the limits of legibility, the color and tonal effect of the resulting pictures will be extremely delicate. Against the light, depending on the density, these conditions produce some form of silhouetting. Close to the camera, the subjects are likely to stand out quite clearly, wit good contrast. At a distance, the silhouettes and setting will be in shades of gray. As the conditions shift, thicken or clear, the nature of the images will change quite significantly. Dust in particular is a very active condition: it needs wind or movement to remain in the atmosphere. Back lighting gives the best impression of its swirling and rising, but then there are obvious dangers in using your equipment in such conditions.

 

Fog offers a wide range of opportunities. A valuable project on a foggy day is to restrict your shooting to one location, while trying to create as varied a selection of images as possible. As well as looking for different subjects and viewpoints and using lenses of different focal lengths, wait until the fog begins to clear to take advantage of the following shifting effects:

 

– delicate colors in directionless lighting

– dept of view with subjects at different distances from the camera, fading progressively towards the distance

– strong silhouettes against the light

– pale silhouettes

– clearing, shifting fog; a wide-angle lens is often best for showing different thicknesses of fog in one image

– a view from a high point of a sea of fog with clear air above, ideally with the tops of trees or buildings standing out

UPDATED! Green Screen Wizard Full Version 7.0 offers the latest in green and BLUE screen software power and control behind an amazingly simple and accessible user interface. This chroma key software provides professional photographers, as well as photography enthusiasts, a simple way to do green screen removal and substitutes their choice of digital background. Green Screen Wizard is a self-contained chroma key removal program that does not require Photoshop or other photo editing application to produce beautiful green screen photos. Learn more now and try a free demo version!

postheadericon Reduce Haze in Photography

Haze can be unwelcome if it hides detail, color, and crispness. The following are ways of reducing it:

Ultraviolet filter – This works on the short wavelengths only, so the effect is unlikely to be total. With black and white film, an orange or red filter has a stronger haze-cutting effect.

 

Polarizing filter – This works most strongly at right angles to the sun (in side lighting) and gives an overall improvement.

UPDATED! Green Screen Wizard Full Version 7.0 offers the latest in green and BLUE screen software power and control behind an amazingly simple and accessible user interface. This chroma key software provides professional photographers, as well as photography enthusiasts, a simple way to do green screen removal and substitutes their choice of digital background. Green Screen Wizard is a self-contained chroma key removal program that does not require Photoshop or other photo editing application to produce beautiful green screen photos. Learn more now and try a free demo version!
 

Frontal or side lighting – Either of these is preferable to back lighting, which exaggerates haziness.

 

Avoid distant views – The closer you shoot, the less atmosphere, and so the less haze. For this reason, a wide-angle lens may e in improvement over a telephoto.

postheadericon Haze in Photography

Haze softens sunlight, weakens colors, and brings an extra sense of depth and perspective to a scene. Depending on what you want from a photograph, you might want to reduce haze or exploit its special qualities.

 

Haze is the scattering of light by particles in the atmosphere. Fine dust and pollution produce it, as does high humidity. Haze varies considerably, not only in density, but in the wavelengths that are affected. The finest particles scatter the short wavelengths more than most, and produce bluish ultraviolet views over a distance. The haze from humidity, on the other hand, has a neutral color effect, and looks white over a distance.

 

There are two main visible effects of haze. One is on the view itself; the other is on the quality of light. The effect on a landscape is to make it appear paler at a distance; this is progressive, so that contrast, color, and definition gradually drain away from the foreground to the horizon. This effect is strongest when the sun is in front of the camera (but not necessarily low), and is what contributes most to aerial perspective – the impression of depth due to the atmosphere. To make this work strongly, however, you would need to shoot in such a way that there are at least a few obvious planes of distance in the scene; simply photographing a long view, with no foreground or middle ground, will create a pale image.

 

The effect of haze on lighting is to soften the hard edges of sunlight. The extra scattering reduces contrast and helps to fill shadows. The effect can be an attractive balance between sunlight and diffusion, particularly when the sun is a little in front of the camera, as in the photograph on the opposite page. The amount of haze varies as does its effects. Strong haze has much the same visible effect as light, continuous cloud.

UPDATED! Green Screen Wizard Full Version 7.0 offers the latest in green and BLUE screen software power and control behind an amazingly simple and accessible user interface. This chroma key software provides professional photographers, as well as photography enthusiasts, a simple way to do green screen removal and substitutes their choice of digital background. Green Screen Wizard is a self-contained chroma key removal program that does not require Photoshop or other photo editing application to produce beautiful green screen photos. Learn more now and try a free demo version!

Try a FREE DEMO today!
 Chroma Key Blue/Green Screen Fabric& Chromakey Greenscreen Supplies
Host your Wordpress Blog with GoDaddy.com
Find a sponsor for your web site. Get paid for your great content. shareasale.com.
Increase your website traffic with Attracta.com
blog search directory