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How to Light Green Screen Series Bundle

$59.99

Product Description

If you are an Inner Circle member please contact shelly@hurlbutvisuals.com before purchasing for a special discount.

Contains over 60 minutes of extensive video content and analysis.

In this bundle you will receive:

How to Light Green Screen Series: Using Kino Flo Super-Green Tubes

You will learn:

  • How to light a green screen utilizing the Kino Flo Super Green Tubes
  • How to rig, label, cable and position your Kino Flo tubes
  • How to determine the correct distance that your lights need to be from the screen
  • How to meter exposures on the green screen
  • How to expose the screen correctly for best separation
  • How to use false color settings on your monitor to increase your speed
  • How to control green screen bounce light contamination with grip support and flags

This instructional is a must-have for filmmakers who really want to learn the correct ways of working with green screens. Shane Hurlbut, ASC will take you step by step through his process of lighting green screens utilizing the Kino Flo Super Green Tubes. He will show you how to determine the distance your lights need to be from the screen, exposing the screen correctly for separation, and using his false color settings on your monitor to increase your speed as well as avoiding pitfalls and failures of how not to light a screen. Pulling from Shane’s 25 plus years of experience, you will learn how to rig, label, cable, position, light, balance and control your green screen with ease!

How To Light Green Screen Series: Lighting Your Subject

You will learn:

  • How to best light for a green screen interview
  • How to ensure that your subject can move around freely
  • How to successfully produce the best key light and backlight
  • Why you should light for areas rather than specific marks
  • Why you should light with a larger source
  • How to create a more even field of light
  • How to use different color temperatures to separate your subject from the green screen

When working with a green screen, knowing how to light your subject is essential. Shane Hurlbut, ASC will take you through his process of professionally lighting talent to avoid light contamination while ensuring distinct separation. Here’s where experience really comes into play, and rather than wait 25 years to build up your own, you can take advantage of Shane’s!

There are many variables to consider—Is this an interview? Is your subject moving around? In this instructional video, Shane will provide you with his personal tips and tricks, leaving you with a toolbox worth of advice on how to shape, form, and create the best image! Shane will take you through how to successfully produce a key light, backlight, and fill light, as well as how to shape this light using toppers, siders, and bottomers. You’ll be well on your way to being able to professionally light your screen so that your subject separates from it beautifully!

How To Light Green Screen Series: Lighting a Moving Subject

You will learn:

  • How to light a highly mobile subject on green screen
  • How to balance light intensity between your green screen and your key light
  • Why Super-Green tubes only appear to light a green screen brighter
  • How to give the green screen the appearance of being lit by ambient light

In this installment, Shane Hurlbut, ASC goes through the process of lighting a dynamic subject in front of a green screen using white Kino Flo tubes and Maxi lights. You’ll learn how to set a good key light, see why Super-Green tubes don’t actually brighten your green screen more than other lights, and determine how to best light your screen to give the sense that your scene is being lit by ambient light. You’ll also get a few tips and tricks for pulling focus along the way!

Whether you want to shoot a moving spokesperson selling baby oil or an actor running away from a giant explosion on Jupiter, this is where you’re going to learn the essentials of shooting a mobile subject in front of a green screen from a pro!

How To Light Green Screen Series: Lighting With Just Two Lights

You will learn:

  • How to work with smaller green screens
  • How to position your lights to get the most out of them
  • How measuring distance and being exact can make or break you
  • How to light green screen evenly with lights on stands
  • How to utilize the light’s qualities to make it work for you
  • How to light in tight spaces
  • How to use false color to get your lighting in the pocket
  • Why lighting from above gives you an extended background
  • How Cineos, Kino Flos, Open Face, & Fresnel lights affect your green screen
  • How to deal with the overlap of two lights when lighting your green screen from the ground
  • Why lighting with Cineos just might be your best option

Welcome to Part 4 of our How to Light Green Screen Series! Lighting your green screen evenly can be a trickier than you think, but master cinematographer Shane Hurlbut, ASC will walk you through step by step how he lights green screen when he’s only got 2 lights.

Shane will show you what it looks like when using Kino Flo, Open Face, Maxi, Fresnel, and Cineo light sources while working with a smaller green screen. He discusses how to measure the distance of your lights from the screen while sharing his tips for lighting evenly, how to deal with overlapping beam patterns from your lights, and the benefits of lighting overhead. Master the art of green screen with this series!


How did I learn to light a green screen?  I had 4 amazing mentors that showed me their unique style and etiquette while I was coming up the technician ladder as a gaffer and key grip. Each one was different, some things I loved and some things I felt were over kill.  I took the best of all 4 and turned that into my own style and etiquette.

In this Green Screen Series you will learn all the latest techniques on how to rig, light, expose, balance and light your talent in front of it.  We will pull back the curtain so that you can understand what process lets your talent move within a green screen freely as well as if you only have two lights, which ones will do the best job.  Every storyteller will come across this ask, have you lit green screens, can I see some of your work?  When I was first starting out as a cinematographer, I got asked to show my work a lot, not in a demo reel , but breaking it down to showcase that I could deliver what I promised.  The proof is in the pudding and this art of CGI is fastly becoming a huge requirement for all artists to understand and master.

All videos were edited on HP Z840 workstations using HP Z24x DreamColor monitors.

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