It is not clear whether the scene involves a lot of outdoor stuff or just the stuff in the car itself. Where you expose the green will be different depending on which green it is and what you are lighting it with. I would not normally light a greenscreen two stops under key, but the best way to nail the best exposure for the greenscreen would be to shoot a few frames of test at various ratios so the post house can pick what THEY like the best.they are the ones who have to pull the matte. If you are trying to emulate rainy day, you can then control the light on the car to minimize hi-con sunlight bits from blowing the illusion Should I cover the whole setup with a black solid and light the screen separately ? Or should I try to get as much HMI-light into the car, trying anyhow to give it a non-lit-look ? And what about the 7246, two stops underexposed in the green area, will it become too grainy ? By the way, the VFX people were suggesting a greenscreen.Įspecially in 16mm, shoot with a clean lens - give your compositor a chanceĬonsider facing the greenscreen to the north (if you are in the northern hemisphere) which will keep it from getting lit with direct sunlight. I would normally light a greenscreen 1 to 2 stops under key, but if the greenscreen is lit by the sun or an overcast sky, it would be much brighter than anything I could pump into the car. So I have to do passes with greenscreen backings outside the car. Outside the car will be "frozen" rain, created digitally. In this special sequence I have "angels" talking inside a "frozen" car with a "frozen" driver. The shot is on Super 16 (SR 3 Advanced) and I intend to do all the exterior stuff on 7246 Daylight, filtering with Schneider Coral to warm it up and Schneider Classic Soft Filters. I have the following problem: I am doing a MOW with some green screen work, especially one big exterior SFX sequence: It`s a kind of "time frozen" set-up, that means some people are frozen and others are acting around them. All Camera and Lens evaluation from 2000 onwards.Lens Comparisons Anamorphic, Spherical, S35 & FF.The Agony of Choice - Vintage/New Lenses.ACES for cinematographers (video demo/class).ACES LUTs for use in a non-ACES environment.ACES-Geoff at AMPAS Cinematography Summit.