Live Green Screen

Is there a way to do live green screen with imovie HD 6. If so how. I have a computer connected to a live tv feed, but I don't know how to put the two together. Thanks

iMovie doesn't support color-keying and it is not meant as a 'live' tool/'mixer', it is a post-production editing app for imports from camcorders..
geethree.com offers a color-key plug-in, which allows blue/green-boxing..
do some research at sites as versiontracker.com, there's a wide range of socalled VJ software, .. not my domain, but those are meant for realtime-effects ..

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    I want to setup a stand (for example in a shopping centre) where I can give the opportunity for people to star in their own movie and they will get a DVD straight after them being filmed.
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    further spec needed:
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    Thanks for the reply Mylenium.
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    Mylenium
    Thanks Mylenium for the clear reasons for this, I need a quality that is not pixelated to be displayed on a TV at home when the people take their DVD home to view. Suggestions on resolution?
    HAs anyone else got any low budget solutions?
    Some Context: I am teaching myself everything in order to do this - unemployed and know i can make this work though. I have never been involved in the field before I got this idea so I have great gaps of knowledge here.

  • Live type files look grainy and do not fill the background when used for green screen backgrounds.

    live type files look grainy and do not fill the background when used for green screen backgrounds. Ideas?

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  • Live Stream Green Screen with Adobe Premiere

    So at my school I am head tech for the morning news which is a live broadcast that is sent throughout the entire school. Right now we have a blank green background and my Teacher asked me to setup a way for us to broadcast the news with a green screen live. After about a month of attempts none have proven worthy for the situation is not the best:
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    - The new computers do have extra VGA outputs, so could you possibly convert that to s-video? (Cus they are both analog?)
    Like I said, this is a very sticky situation. My closest idea is that we could some how stream the green screen video from the new PC to the old one that would then broadcast it, but I do not know how to do that and the camera will not register with Premiere even when plugged in via converter... I believe it is because we do not have a capture card, the only capture card I could even use though would have to be external for I cannot open the new PCs under the school policies. If anyone has any suggestions or ideas on how I could solve this enigma, that would mean a million.

    Green screen (99.9% of the time) is caused by outdated or corrupted video drivers: http://forums.adobe.com/thread/945765

  • Green Screen on Flash media Live Encoder 3 URGENTT!!

    Hi,
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    Windows Seven
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    Image link: http://i28.tinypic.com/24fcu9w.jpg
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    Similar issue: FMLE on Mavericks does not recognize my external camera. Worked in Mountain Lion.
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  • Live demo match move on green screen- on stage

    Hi
    Some professional organizations are considering a multi-faceted demonstration of camera match movement and on site - live - demo of track solution and compositing.  Any advice regarding what hardware / software might best meet the goal would be appreciated and considered.
    Camera will probably be something like this:
    http://media.panavision.com/ReferenceLibrary/pdfs/Phantom/Phantom35HD_1sheet.pdf
    On a dolly on track ( probably fischer 10 )
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    Yes, every time I see a green screen cyc, I think of that one scene from The Exorcist. Can't disassociate the two in my mind/memory. I can still recall the William Freidkin piece on that film in American Cinematographer. Also, their articles on The French Connection, and 2001 A Space Odyssey. Great mag back in those days. Wish that I had not moved, and recycled those.
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    Hunt

  • Live capturing directly into timeline for Green Screen

    Basically i am doing a live event where i am using a green screen and people can choose different backgrounds which i will chroma key in but i want to know if it's possible on premier to capture directly into a timeline so i can essential have a chroma keyed output of what it will look like in the program window? I have been able to do this before when using Final Cut but at the moment it looks like I'm going to have to capture it first and then and then just add the clip to the timeline.
    Any advice or help would be great, thank you

    Got this to work! *Here's how:*
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    Turn on camera and open Final Cut Pro 7.
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    Capture Preset: HDV
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    Click Log & Capture.
    Start recording onto tape in the camera.
    Start Capture Now.
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    So glad this works ...

  • Green screen pictures

    Can you use the green screen feature on pictures?

    No, it doesn't let you add the green screen effect to images.    However, Veescope Live allows you to import still images and export them keyed at the full resolution.  You can download the free trial version and key your images with that.

  • Which material is better for Green Screen?

    Which material is better for Green Screen? Polyester or Muslin??

    woof
    check this out...is same as my link above type material.. is not shiny..is matte...spongy...stretchy...nice. If you have worked an 18 hour day on job and don't wanna do the 10 hour turnaround for next call time...you can even "sleep on it ".
    http://www.fxguide.com/featured/pan-am-retro-green-screen-world/
    go grips ! ( or was that go vikings ? ! )
    ps.. the 'comments' on that web site for pan am are from non pro's... silly ...
    they are not comments that have a clue whats up in pro work...sorry..but is fact.
    the DIT station ( live during shots ) could mix the background and live shots live...so you 'see' on monitor what you get at end of edit and keying.
    trust me, this is very advanced.
    dont worry about the small stuff.. just test and shoot and test and shoot and get what you need.. live ..no post work is good work.
    dont know how else to say this.. guess you had to be there.
    try to imagine live and keyed at same time...melt the pictures in link you see in your head...original with screen, end result with key...is fun

  • Green Screen using AVC-Intra 100 ugly

    Been using the hpx300 for approx two months mostly in 720p with great results. Just wraped our first true HD green screen shoot using avc-intra 100 at 24p with the intent of producing a white background mac-ad type, 5 min talking head corporate piece in SD. I had the camera mounted at 90 degrees to capture the 1920 pixels of subjects head-to-toe so I could then manipulate individual zoom and placement in post within a SD timeline. I've got two issues: one is that the images in post seem noisy, and any movement, as in subjects walking across screen, is a total mess - I say seem because all recording and playback on location looked just fine on a 1920x1200 monitor via blackmagic i/o box. I normally do basic editing in premiere with much help from AE for composting and color correction etc. Keylight has always worked great in the past. I must have something wrong with settings in the avc-intra HD content? Secondly, workflow is a bit convoluted... Keylight doesn’t apply in premiere, and AE doesnt do avc-intra. The workaround is to export avc-intra premiere timeline to AE and key that.  In theory it should work just fine, but again my images are just noisy. Could this PR to AE workflow degrade image quality?  Any suggestion greatly appreciated! Thanks, Matt

    Poster must be busy shooting more stuff....
    Found some info on that " hollywood camera " site.....
    IS HD REALLY HD- GREENSCREEN ISSUES
    These plates were all shot with an HVX-200, mostly with the 100 MBps DVCPROHD codec. This was good enough for us for Visual Effects For Directors because we had specific needs, but we don't consider them good enough for full film production.
    Here's why:
    COLOR SAMPLING: We      prefer all green screen to be 4:4:4, so every pixel has a unique color.      4:2:2 only updates the color every second pixel, but green screen      desperately depends on a sharp, accurate, scientific color transition.      With 4:2:2, you're operating in half resolution. But if you downsize, like      we downsized to 720x480, you're at full resolution again. So because we're      delivering in SD, the plates are 4:4:4 for us. They'll just be 4:2:2 for      you if you're delivering for an HD movie.
    PIXEL ASPECT: When      a camera is listed as 1920x1080 HD, that's really stretching the truth.      You'll see that all our plates are in 1280x1080, which is the original      camera resolution, meaning that the plate has to be stretched 150% on the      X-axis to be in the right aspect. In other words, you're only operating at      66% resolution on the X-axis. Did someone say "smearing"?
    NOT EVEN 4:2:2: By      the time 1280 has been stretched to 1920 to make up for the 1.5:1 pixel      aspect ratio, 4:2:2 has been stretched out too, basically becoming      4:1.5:1.5
    LENS RESOLUTION: Nobody      besides DPs really thinks about the fact that a lens has a resolution.      Zoom lenses are made of many lens elements in a clever configuration, and      each element introduces some blur. That's why top-notch DPs like to use      prime-lenses cut from diamonds from King Solomon's mines, because if the      lens limits the resolution, it doesn't really matter how well you record      the signal after that. Some people have come to the conclusion that the      HVX-200 is really a 720p camera, because the 1080p resolution doesn't      really come through. We tend to agree, but we don't want to start a      religious war, and will say that it's just our personal experience. On top      of that, we've used a $500 wide-angle adapter on some shots, which really      butchers the pixel resolution, so even though we're recording at 1080p,      we're really not. But 1080p allowed us to record with the 100 MBps      DVCPROHD codec, which meant that we still got a very respectable resized      SD signal out of it.
    BAYER PATTERN: Most      cameras use a Bayer pattern on the chip, so that every pixel is EITHER      Red, Green, or Blue — but not at the same time. A full Red-Green-Blue      pixel is derived mathematically by interpolation. It's no wonder that some      organisations are starting to call for an objective standard for what      really constitutes a pixel, because a Bayer pixel is definitely not a real      pixel — more like half a pixel. By the way, there are twice as many Green      pixels than Red or Blue in a Bayer sensor, so you're far better off using      green screen than blue screen on video.
    HALO: Even      with the internal sharpness generator completely disabled, the HVX-200 has      a clear black fringe several pixels wide on the right side of actors on      green screen. Panasonic vehemently denies it, but it's very easy to see.      In this      picture, notice that white areas get a fringe, but darker areas, like      her legs or hair, don't. Panasonic's explanation has been that it's just a      shadow from the lighting (huh?), but the halo is on the KEY side — so the      only plausible explanation is a quantum singularity localized to the actor      which bends light as it passes by her body. We think it comes from the      Bayer pattern, but we're not sure. And Panasonic shouldn't feel bad. A Nikon      D80 does it too.
    HEAVY COMPRESSION: Even      though it seems like a lot that we're recording at 100 MBps in the      DVCPROHD codec, if you calculate the bit-rate per true output-pixel, we're      actually still compressing at a whopping 15:1.
    NOISE: Video      cameras in this price range tend to have rather high noise, and on top of      that, they're usually 8 bits per color channel. This can result in some      highly visible shadow noise that almost pixellates when the brightness is      just on the edge of a bit-threshold. You can see some of our plates doing      this.
    An HVX-200 and all its brothers and sisters in its price range simply don't have the horsepower for full pixel, high dynamic range, high resolution, uncompressed production that you need to do truly professional green screen. Green screen is ultimately a scientific process, and is one of the most demanding things you can do with your camera. Regular live-action images are MUCH easier for your camera to handle, so for regular filmmaking, your camera is fine, don't feel bad.
    We have nothing against the HVX-200 or its brothers or sisters — come on, we shot a whole DVD set about visual effects on it — but it's important to really understand what the limitations are. It's fine to own your own camera for regular filming. For green screen, you should consider renting the very best you can afford — and make every decision right, which is where we come in.
    Thanks for reading!
    Rod

  • Green Screen keying real-time.

    Hello, my boss is starting to do some green screen work. Besides little low-budget comedy skits, I don't know a professional work flow for this.
    What tools (hardware/software) do I need to preview the green screen key while we are shooting. If I didn't word that correctly... While I'm shooting somebody in front of the green screen, how can I get a real-time preview of my background while shooting in real-time so I know the subject is in the right place and lit correctly.
    We'll purchase moderately prices solutions or rent pricey solutions.
    Thanks for your time!
    -Monty

    Veescope Live. $100.
    http://www.dvdxdv.com/NewFolderLookSite/VeeScope/Products/VeescopeLive.try.htm
    Shane

  • Working with green screen in FCP

    Any clue why I'm having so much trouble? I'm trying to key out green screen in more than one layer.
    I shot HD footage at 1080i30p. I have live characters on green screen layered over still psd backdrops.
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    One or two keyed layers sort of works, more than that is slow as mud or causes crashes.
    Sometimes even one layer over a still backdrop will show a smear streaking defect.
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    Keep in mind that the most important part of keying happens in production. If the lighting is not perfect, meaning none of the key light should spill onto the green screen, and the proportions of light from foreground to background, and the evenness of the background light: keying will be difficult.
    To help yourself out, use garbage mattes to crop out any area that does not have action in it. That way you won't have to worry about pulling a perfect key for areas of your footage that don't matter. Only be concerned with the pixels just around your subject(s). You will not be able to do this well in FCP> Remember that FCP is an editing system, not compositing. Just because it CAN composite, doesn't mean that it SHOULD composite.
    In Motion you can keyframe infinite points to your masks and you can use trackers to follow your subject(s) so you don't have to set manual keyframes.
    I am sure you were looking for an easy answer, but unfortunately keying and copositing are not easy tasks.
    Hope this helps.

  • Strange problem when editing green screen clips

    Hi all,
    I work as a technician in a High School.
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    Closing iMovie and reopening doesn't work, restarting the macbook doesn't work. The problem seems to be saved to the project file, if I open a new project, the new project is fine, but if I re-open the broken one, it's still broken. The only thing we could do was completely restart and delete the project file.
    I hope this makes sense, due to this problem half of the class couldn't finish their work. The same problem has also occurred to another student who was working with green screen in iMovie 09 on an iMac.

    Hi Ted,
    I've seen this issue before. One thing to remember is that iMovie has a live rendering feature, so sometimes during playback, the viewer does not always display correctly.
    I don't know if you tried taking the green screen clip out, then re-adding it.
    Also, trying to simply delete the preference file can fix the problem. Home folder>library>pref>imovie.plist
    delete that and see if the problem persists.
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  • Is there a professional green-screen photo booth app I can use for events?

    Hi there,
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    There are no limits. But there is a known memory leak (which is being fixed for a later release).
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  • Green screen match move solution needed

    I've been asked to create a video version of a live performance which features musicans performing in front of a video backdrop of moving imagery. Their backdrop is not 16x9 and we don't really want to see any kind of frame around the projection, so I'm thinking perhaps we should simply green screen the talent and key the imagery in post to fill the background. This would make it easier to sync the imagery between shots and elimates the need to color-correct the video projection, but it introduces the problem of matching the background to the camera angle. If we were to use only stationary shots, I'd be inclined to think we might be able to simply approximate the geometry for each shot, as the imagery has no specific spatial relationship to the performers - it's simply the background. All we're concerned with is approximating the angle of the imagery so as not to jar the viewer when we cut between camera angles. However, it's likely that we'll want to incorporate some camera movement as well, which of course introduces a whole other set of complications. It appears to me that match move software is really designed to facilitate 3D object tracking and seems like extreme overkill for this project, particulary as the cost and complexity of this software is well beyond our budget. Is there another approach we should be considering?

    Thanks, I had hoped that the new camera tracker in AE would provide a simpler solution, but after looking at it in greater detail I can see that the level of complexity it introduces to each shot along with the time required to pull consistenly clean keys from a variety of angles would make the production of what is essentially an 80-minute music video a completely unsuitable option. Now looking for a rear-projection solution...

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