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postheadericon Incandescent Lights

Photographic tungsten lamps and also the newer high-performance flicker-free fluorescent lamps have the edge over flash that one could work by eye, whilst they are not as good at stopping movement.

Tungsten lighting is incandescent, created by burning a tungsten filament in a controlled rate inside a sealed transparent envelope. When designed specifically for photography, the light output is high as well as the color temperatures are controlled in just about any design. Some lamps can be obtained having a blue coating into the glass, giving one temperature that approximates that relate to daylight. These are generally intended more for use in mixed lighting conditions, which includes put together with daylight, compared to straightforward studio use.

The more efficient sort of tungsten lighting is the tungsten-halogen lamp. This uses a similar coiled tungsten filament, however it burns for a much higher temperature in halogen gas. As an outcome, these lamps maintain virtually the same light output and color temperature throughout their life; in addition they last longer than traditional lamps and so are smaller regarding their equivalent wattage. Available wattages range from 200 to 10,000, although the strongest are meant for cinematography; the highest normal wattage for still photographic lights is 2000. Light output is similar to that from a new tungsten lamp of traditional style of the identical wattage.

A newer development, particularly highly relevant to photography, where the camera’s white balance settings can take care of color differences, is high-performance fluorescent. The lamps used are flicker-free, nearly as bright as tungsten, color-balanced for 5400K or 3200K, in addition to being cooler and less expensive to run.

The orange cast of domestic tungsten lamps, which happens to be far more obvious for the camera than to the attention, needs white balance adjustment, although not always on the maximum.

Tungsten lamps are the standard, traditional kind of lighting for domestic interiors, and that is in which you are possibly to get them. Outdoors, as well as in large interiors made use of by the general public, they may have mainly been substituted with fluorescent and vapor lighting. A tungsten lamp is incandescent-that is, it shines by burning-and its brightness depends on the amount where the filament is heated. As this therefore depends on the wattage, you will get a concept of the brightness, as well as the color, from the rating of your lamp. The colour range, which can be between orange and yellow, depends on the colour temperature.

Color temperatures are perhaps the first thing to consider when shooting by available light in houses. If you enter a shuttered, tungsten-lit room directly from daylight, you can immediately notice how orange it seems. Usually, however, we view tungsten light during the night, and it also does not take the eye long to adapt and to notice as almost white. However, photograph a tungsten-lit interior uncorrected-that would be to say, that has a “daylight” white balance setting-and you might be astonished at the orange cast, which will not be everything you remembered. The color temperature values to the usual ratings of domestic lamp are lower-that is, redder-than the 3200K rating for traditional “incandescent” white balance correction, therefore will still appear rather warm despite this setting, although normally this really is quite acceptable. Much like so many things in photography, the complete solution is not a purely technical one. The ultimate criterion is what looks right, not what measures perfectly.

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 Composing Photo with Street Lights

Downtown street lighting and display lighting continues to get brighter and more colorful around the world, and is perfect material for digital shooting. The light sources available outside at night are the same types as those that we have just looked at, but in different proportions. Vapor lamps are used much more extensively outdoors than indoors, because of their higher output; this is particularly true of street lighting and floodlighting. Tungsten as street lighting is increasingly less common, but can be seen in shop and other windows, and as car lights. Overall, entertainment and shopping districts in cities are getting brighter and more interesting.

Although the light sources are the same as those used to illuminate interiors, their effect is very different. The scale of the usual type of outdoor shot is greater, and the surroundings do not give the same degree of reflection as do interior walls and ceilings. As a result, there is much more pooling of light: in a typical scene there are any lights, and they are localized. Only very rarely are there enough lights in a concentrated area to give the impression of overall illumination. This happens, for instance, in the busiest part of a downtown night-club district; at some open-air night-markets; and, as you might expect, in sports stadiums. A general solution to this is to shoot at dusk, when there is just a little residual daylight.

In most night-time city views, however, there is either one well-lit area, such as a floodlit building, or a pattern of small lights. In many ways, this type of light causes fewer difficulties than an interior, and there are fewer occasions when you might need to decide on the principal light source and correct the color. The impression of a color cas occurs when most of the picture area is affected; when there are other lights in the image, color balance becomes a much less important consideration.

The localization of the light sources makes measurement difficult. Use it as a guide rather than as a completely accurate recommendation, and bracket exposures around the figures given. For many night-time scenes, the accuracy of the exposure is not, in fact, very critical. Overexposure often does little harm, as it opens up the shadow areas in a scene. The best answer is to experiment, which is of course what digital cameras allow.

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 Incandescent Light

The orange cast of domestic tungsten lamps, which is much more obvious to the camera than to the eye, needs white balance adjustment, although not always to the maximum.

Tungsten lamps are the standard, traditional form of lighting for domestic interiors, and this is where you are most likely to find them. Outdoors, and in large interiors used by the public, they have mainly been replaced by fluorescent and vapor lighting. A tungsten lamp is incandescent-that is, it shines by burning-and its brightness depends on the degree to which the filament is heated. As this in turn depends on the wattage, you can get an idea of the brightness, and the color, from the rating of the lamp. The color range, which is between orange and yellow, depends on the color temperature.

Color temperature is perhaps the first thing to think about when shooting by available light in houses. If you enter a shuttered, tungsten-lit room straight from daylight, you can immediately notice how orange it looks. Usually, however, we see tungsten light at night, and it does not take the eye long to adapt and to see it as almost white. However, photograph a tungsten-lit interior uncorrected-that is to say, with a “daylight” white balance setting-and you may be surprised at the orange cast, which will not be what you remembered. The color temperature values for the usual ratings of domestic lamp are lower-that is, redder-than the 3200K rating for standard “incandescent” white balance correction, and so will still appear rather warm even with this setting, although normally this is quite acceptable. As with so many things in photography, the complete answer is not a purely technical one. The ultimate criterion is what looks right, not what measures perfectly. This color temperature, as we will see later in the section on photographic lighting, is normal for photographic tungsten and tungsten-halogen lamps.

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 Skylight

Indirect lighting from the sky – that is, when the sun is shaded by an obstruction – is soft and potentially attractive, but its color varies widely. Traditionally, artists’ studios were built with large north-facing windows because the gentle illumination was consistent. Known as “north light” or skylight, this light may appear tot he eye to be consistent, but in reality it has very unreliable color properties. This meant that it was generally avoided during the days of color film, but fortunately digital cameras can easily neutralize the color. Skylight is blue because of the scattering of short wavelengths in the atmosphere. The blueness varies with the weather conditions and the altitude (it is more blue in the thinner air of mountains). Its effect is weakened by clouds and by any bright object, such as a white building, that reflects sunlight. Although skylight is what remains on a sunny day when the direct sunlight is blocked, it behaves, from the points of view of taking pictures, as a light source in itself.

Skylight is most important when you are photographing entirely in shade. What happens in this situation is that, because there is only one kind of illumination visible and it is consistent, the eye expects it to be neutral in color; in other words, white. Occasionally it is, but more often it is not, and that is when the white balance of a digital camera comes into its own. The “shade” setting can vary according tot he manufacturer, but is typically around 8000K. Some camera menus allow this to be raised or lowered. Remember that the eye is a poor judge of color temperature in shade, but check to see how blue the sky looks, as this makes up most of the illumination, added to by local reflecting surfaces (such as walls, sand, or water).

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 Chroma Key Problems

Chroma key technology has been a common tool for this days but looking for the best software is not as simple as we think. A lot has explored and take advantage of this handy and amazing technology. This imaging technique, however, could not be maximized because the users lacked technical understanding of how it works. There are a lot of problems encountered that can only be discovered only on the output. Most common dilemmas are actually attributed to lighting of backdrop and some spill reflected on the foreground subject. This dilemmas are actually very easy to solve. In addressing light problems, you should just put in mind always to make the lighting even that no shadows are seen. Correct position of light source, which should either on the side or on the back, will solve the problem. Of course, green or blue screens are the best backgrounds that you may use. On the other hand, your subject must be lit separately. Its light should not be the same as that you are using for your background. Your background should have a softer light to achieve best results. Lighting your subject to any color or whatever lighting effects, except the color you used on your backdrop, will be alright. Take note that the bigger the subject on the screen the better for chroma keying. By following the aforesaid suggestions, you avoid the blue/green fringe on the object or the subject and the most basic chroma key software available will produce wonderful results. One of the best chroma key software I have used until now is that of green screen wizard.

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!

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