Vfx green screen footage free download

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Food and Beverage. Green Screen. We also like to saturate colors a little higher in the camera because it compresses slightly better. If you have enough to track inside the room, you don't need a single marker on the green screen, which can be liberating.

This shot is a completely failed matchmove because there are no markers. This is incompetent, and the person who did it should be fired. If we can't somehow fake it, it's a reshoot. The fact that the green screen is terribly uneven and over-exposed is the least of our problems.

First do a move in 3D that you think looks almost right. Then 2D track a point on her body and pin the artifical 3D plate to it. That will transfer the live-action camera-wobble to the background plate and save the shot � but only if she doesn't move too much. It also saves us that she doesn't touch the floor. If she touched the floor and also moved, the shot could be impossible to fix. These first three Keying plates are mainly an exercise in transparency, which is extremely demanding of both the cinematography and of the keyer.

ISSUES: On the cinematography side, the green screen should be extremely even, because the keyer can't resolve the shawl if the difference between two parts of the green screen is greater than the difference between the green screen and the shawl. On the keyer side, you can't do this with just any old keyer, so this is a real test. Your alpha channel should be zero in the green areas. With good keyer settings � settings that make the shawl look right � the dark spots will show up in the foreground.

TRY THIS: Always first try for perfect transparency � don't try to get settings that both get the transparency right and make the background fully transparent. Even better, the actor doesn't even touch the dark spot in the upper left, so you can just garbage matte it.

The wall has over a stop of difference, and the area around the feet is basically unlit. You should still be able to pull a spectacular key, but you may have to use multiple keyers for different parts, so you can optimize the settings.

You should not try to remove the contact shadows on the ground, they're a good thing. This is a straight close-up with lots of opportunity to key some hair in a high resolution.

Well, OK, the green screen is exposed a little darker than we like it. Sharpness is an artificial edge enhancement that destroys the key, but after you're keyed it, you need to add some sharpness back.

Also, we've included 80 frames so you get to deal with the noise � you can never just key a still, you have to see how it plays. If you ever wanted to know which kinds of glasses you can key, here's your chance to find out. Metal often results in holes in the matte, which can sometimes be ignored. More visibly, the reflection in the glasses reflect the sound stage, not the new environment.

Flourescent soft-bank reflections can look out of place on a mountain-top! Also see what it takes to keep the Metal Glasses solid. Motion blur is a bit of a problem on a green screen, and one reason is the quality of the key. But at some point, they keyer just has to make a decision about what's transparent and what's solid, and that can result in a visible transition we call Blobbiness, especially if the green screen is also uneven. Try keying this over very bright or very dark backgrounds and see the difference.

Here, it's uneven in the upper left, and the smoke itself also casts a shadow, increasing the contrast. Try compositing the smoke over very bright and dark backgrounds. You may have to either used very crunched settings. Or you might try multiple keyers with different settings for different times, and crossfading between them. It's normal to need the live-action characters to interact with the virtual set, like sitting or touching. In this plate, she walks over and sits on a chair, which can be changed into anything you want in the composite.

But it's not always that simple � people actually sit differently on different chairs, so it doesn't always look right. It's hard to see how much there really is because our eyes compensate, but if you cut her out, you'll find that she looks like The Incredible Hulk.

We also have a wild over-exposure in the top corner, which ends up behind her head. The keying will also take some work, especially if you want to keep the contact shadows. Looking at virtual objects looks ridiculous if don't have something real to look at. Here we have a ball on a microphone-stand, which is doubling as a parallax-stand � notice the tracking markers on it. Here we're assuming that the ball represents the eyes of a 3D character. ISSUES: There's no way to track a 3D cup in a satisfying way � this is going to take some poor tracking artist a very long time, and it'll never look completely good.

On top of that, unless the virtual cup has the exact same shape, it has to be roto'ed. You sometimes see people do this on a green screen, not realizing that it will cause two weeks of hell afterwards. There's no point in tracking a virtual cup when you can just use a real one. Wrinkles dramatically increase the color range the keyer has to accept as green, and you have to totally crunch the key to remove the wrinkles � and the keyer has to spend all its strength on the wrinkles instead of making a spectacular key.

TRY THIS: You can of course let the keyer just extract the shadow as part of the key, but you have much more control if you turn the shadow into a separate element � then you can control the density and color of the shadow easily. This seemingly innocent shot is the pinnacle of hardcore compositing, and is extremely difficult.

ISSUES: In addition to figuring out how to manage the shadows, you have to deal with getting the markers out of the shadows, and again there are wrinkles. Thankfully, she doesn't step too close to the wrinkled areas. Also, we made a white balance mistake on this shot, so there's a yellowish tint to the green screen. See if you can figure out the channel-math needed to extract the shadow without getting double-shadows Hint: This is explained in the Receiving Shadows Sample Clip.

It seems counter-intuitive, but it's actually pretty straightforward to key a car on a green screen, despite massive reflections, as long as it's standing still and the shot is locked. ISSUES: When the car is reflecting green, the keyer has no way of knowing that the car isn't part of the green screen, and we get a hole in the matte. Also try to animate some movement, both in the car, and some camera shake in the entire composite. If you can, it's always best to not shoot cars on green screen in wide shots, where you see the outer edge.

ISSUES: You'll find that it's actually quite easy to key through the windows and through the reflections in the glass. The hard part is the outer edge, which has to be roto'ed.

No keyer settings will give you a solid outer edge. Put some moving footage in the background. The problem will be that the reflections don't move as they should. Sure, you can fix some reflections in the window glass, but the entire car needs animated reflections, which is no small feat.

The lesson is to do green screen car shots as close as you can tolerate getting. But let us know if you do something cool! You may even include a few original clips with our permission. Link to this page instead. The plates have limitations that weren't important to us because we had specific needs, but for film production, we don't consider them good enough. Read why here. They are in original camera resolution, so the p plates have a pixel aspect of 1. This way, they become x and x respectively.

Virtual Set Plates Please download only the stuff you need. Matchmove Test Wide Loading the player Matchmove Test Close Loading the player Embassy Shootout Loading the player F15 Fly-Over Loading the player Window Set Extension Loading the player Failed Matchmove Loading the player Keying Plates Please download only the stuff you need. Godiva Close Loading the player Godiva Medium Loading the player This second plate is a little wider, but still no ground contact.

Godiva Wide Loading the player

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Looking at virtual objects looks ridiculous if don't have something real to look at. Here we have a ball on a microphone-stand, which is doubling as a parallax-stand � notice the tracking markers on it.

Here we're assuming that the ball represents the eyes of a 3D character. ISSUES: There's no way to track a 3D cup in a satisfying way � this is going to take some poor tracking artist a very long time, and it'll never look completely good. On top of that, unless the virtual cup has the exact same shape, it has to be roto'ed. You sometimes see people do this on a green screen, not realizing that it will cause two weeks of hell afterwards.

There's no point in tracking a virtual cup when you can just use a real one. Wrinkles dramatically increase the color range the keyer has to accept as green, and you have to totally crunch the key to remove the wrinkles � and the keyer has to spend all its strength on the wrinkles instead of making a spectacular key.

TRY THIS: You can of course let the keyer just extract the shadow as part of the key, but you have much more control if you turn the shadow into a separate element � then you can control the density and color of the shadow easily. This seemingly innocent shot is the pinnacle of hardcore compositing, and is extremely difficult.

ISSUES: In addition to figuring out how to manage the shadows, you have to deal with getting the markers out of the shadows, and again there are wrinkles. Thankfully, she doesn't step too close to the wrinkled areas. Also, we made a white balance mistake on this shot, so there's a yellowish tint to the green screen. See if you can figure out the channel-math needed to extract the shadow without getting double-shadows Hint: This is explained in the Receiving Shadows Sample Clip.

It seems counter-intuitive, but it's actually pretty straightforward to key a car on a green screen, despite massive reflections, as long as it's standing still and the shot is locked.

ISSUES: When the car is reflecting green, the keyer has no way of knowing that the car isn't part of the green screen, and we get a hole in the matte.

Also try to animate some movement, both in the car, and some camera shake in the entire composite. If you can, it's always best to not shoot cars on green screen in wide shots, where you see the outer edge.

ISSUES: You'll find that it's actually quite easy to key through the windows and through the reflections in the glass. The hard part is the outer edge, which has to be roto'ed. No keyer settings will give you a solid outer edge. Put some moving footage in the background. The problem will be that the reflections don't move as they should.

Sure, you can fix some reflections in the window glass, but the entire car needs animated reflections, which is no small feat. The lesson is to do green screen car shots as close as you can tolerate getting. But let us know if you do something cool! You may even include a few original clips with our permission.

Link to this page instead. The plates have limitations that weren't important to us because we had specific needs, but for film production, we don't consider them good enough. Read why here. They are in original camera resolution, so the p plates have a pixel aspect of 1. This way, they become x and x respectively. Virtual Set Plates Please download only the stuff you need. Matchmove Test Wide Loading the player Matchmove Test Close Loading the player Embassy Shootout Loading the player F15 Fly-Over Loading the player Window Set Extension Loading the player Failed Matchmove Loading the player Keying Plates Please download only the stuff you need.

Godiva Close Loading the player Godiva Medium Loading the player This second plate is a little wider, but still no ground contact. Godiva Wide Loading the player This last plate has full ground contact. Hair Detail Loading the player Sunglasses Loading the player Motion Blur Loading the player Smoke Loading the player Most keyers do a fine job with smoke.

Sheen Loading the player This plate is an experiment in keying high-sheen materials. Green Screen Interaction Please download only the stuff you need. Walking, Sitting Loading the player Eyeline Interaction Loading the player Drink From Cup Loading the player This shot is only included to show you what never to do. Shadow Extraction Please download only the stuff you need. Simple Shadow Extraction Loading the player Shadow extraction is easy enough with hard shadows.

Receiving Shadows Loading the player Use if you're doing shot from scratch. Green Screen Roto Please download only the stuff you need. Toy Car Roto Loading the player Jeep Side Roto Loading the player More Plates Hollywood Camera Work users include:. Main HD Plate. Main SD Plate. Z Buffer. Actor Highlight. SD Image Plane. Ocean Render. Cloud Render. F15 Fighter Jets. Glass Matte. Front Matte. Back Matte. Single Marker.

Two Markers. Window Set Extension. Dolly Without Markers. Close Shot HD Plate. Medium Shot HD Plate. Wide Shot HD Plate. Hair Detail.