This is part of the reason why magenta screens are not heavily used. As you work with chroma screens, you'll find other exceptions such as not shooting an actor with golden blond hair against a green screen because the golden color is susceptible to bleed as a result of the colors being too close to each other on the color wheel. If everyone’s wardrobe is blue, you wouldn’t want to use a blue screen. Like everything, there are some minor exceptions to this rule. Typically, green screens are for shooting in the studios, blue screens for shooting outside, and magenta for covering objects that need to be placed into a green field bordering a blue sky. This is why it is important to control exactly how much green you are keying out so you don’t remove parts of the image you want to keep while removing the green screen. In other words when you key out a green screen, you are inherently getting rid of everything that is that color green in a shot. When you chroma key, the computer program takes all of a singular color or luminance value and removes it. Before we get into some common lighting problems, let’s take a look at how chroma keying actually works. Compositing is a multi-step process that often starts with a key or a rotoscope. It is a process that employs multiple skills including keying, color correction, rotoscoping, matting an object and lighting correction. Compositing includes adding things to shots, removing things from shots and painting things out from shots in addition to bringing shots together. Typically, compositing is the art of taking multiple images that were not captured together and blending the assets to make them look like they are one singular image. Keying is a compositing technique, but it’s not the only one. We'll also examine some common visual effects (VFX) techniques that can be used to fix bad chroma shots.
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