Ok peep it….Here’s how to take out or “key” your green screen out.

If one Chroma Key effect doesn’t work try adding an additional COLOR KEY EFFECT on it. Use the same steps as above……

What the &^%(%!!! I do’t get anything you just said……..Still confused?

Watch the Video Below click on the link to see it done by Lynda.com tutorials….

http://www.lynda.com/home/Player.aspx?lpk4=38809

Her’s more on Chroma by Lynda tutorials……….  http://www.lynda.com/home/DisplayCourseN.aspx?lpk2=633

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A rich variety of features for creative shooting are incorporated into this camcorder such as “Slow & Quick Motion”, which is also commonly known as “over-cranking” and “under-cranking”, selectable gamma curves, slow-shutter, interval recording and Picture Profile™ feature.

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This is only the beginning of what this camera can be.

The following links of Director of Photography Philip Bloom demonstrate the capabilities of this camera.

http://www.vimeo.com/4484926

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Philip Bloom demonstrates the features of this remarkable camera.

http://www.vimeo.com/882030 

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If you don’t have DirecTV, you’ve missed some good looking TV. Friday Night Lights is always very well produced, and the DirecTV promotional spot for the show reflects that.

Ah, green screen. Of course! And I actually thought the background for Tim Riggins’ scene was real. The magic of TV strikes again.

Last night I attended the very successful #TMETRU09 online flash meeting which was also been shown on JustinTV and followed on Twitter using the same hashtag. Read about it here

My presentation (blogged about by Kathy Schrock)was the use of Green screen in iMovie’09 which led to many people enquiring about a similar effect in Windows for Movie Maker. Doug Belshaw posted a link in the FlashMeeting and also explained to have a look through Google to find how; so I did.

Here’s the easiest to follow guide I have found and also a YouTube video demonstrating the principle. I’ll definitely give it a go and let you know how it works. By the way, from what I gather it’s best to use a well lit blue screen and not a green screen on MovieMaker.

Steps to take to get Chroma Key (Green screen effect) in Windows Movie Maker

Many, many thanks to Doug and Dai for making the whole event possible.

I just got my film back from processing today…I’m so excited about it!!! I will post it when its edited. Here are some more behind the scenes pictures in the mean time.

Slow motion dancing!

Ironing the green screen. My crew did so much ironing…I am so thankful for their help.

My model, Stanley, was the best.

Our ghetto slate…we shot on Friday the 13th but that’s not the title.

Very happy to be blogging about this project.

Next Interactive has come to Moving Box to produce all the media content for  an iphone app they are developing. It is still in the super secret confidential who said that phase of things but production is slated to begin next week. What I can tell you is that its a forward thinking socially conscience endeavor to create  awareness about  certain national and global issues the user might be unaware of. Mobile apps are becoming a global phenomena that speak to Moving Box’s attraction to cutting edge technology and movements. Always trying to stay current here at the Box.

Will keep you updated as visual material surfaces.

- Dr. Z

A year 5 class from Totley All Saints Primary School were in the CLC this week to practise their German. The morning was spent creating an animation of the numbers 1-30, with small groups taking 4 or 5 numbers each, planning their animation and recording the voiceover. The film can be seen below:

In the afternoon we used Comic Life to create posters on the colours and some short conversations, and used this as a prompt for some green screen filming.

The pupils worked really well in their animation groups, and produced some lovely German throughout the day.

Green screen is an amazing photography technique in which you photograph a subject against a green or blue color backdrop. Once you photograph the subject, you can change the background with any desired image. In this type of photography, you should keep few factors in mind in order to prepare a quality and visually appealing picture. mostly we use green or blue color in background instead of others color because these two colors are sensitive to image sensors in the camera. you should also use superior quality camera and proper lighting system. all these things help in removing any kind of shadow on the face of subject and developing high quality image and video.

Ok, ich mag keine Rap-Musik, aber dennoch möchte ich auf eine interessante Produktion in 3D hinweisen, die mir vor kurzem begegnet ist. FVM productions aus Salach, einem Kaff in Baden Württemberg, produziert für Danny Fresh das Musikvideo „Zahl nix dafür“. Das Video ist gut gemacht und auf Francesco Faranna mit seinem Team bei FVM productions sollte man achten.

Das 3D-animierte Musikvideo wurde im FVM productions Studio vor Green Screen aufgenommen und danach in deren Multimedia-Werkstatt digital erstellt. Derzeit läuft das Video auf MTV. Der Mannheimer Rapper vertraut auf die Video- und Animationskompetenz des FVM Teams um Francesco Faranna. Damit setzt Faranna seinen Weg vor. Hat er sich doch durch Video-Produktionen und 3D-Animationen für das Musik-Label Nuclear Blast und Arbeiten für viele andere Musiker einen Namen gemacht. Wie gesagt, ich mag die Musik nicht, aber die Arbeit von FVM productions schätze ich sehr.

Danny Fresh wurde zunächst vor Green Screen abgefilmt und dann im Rechner nachbearbeitet. Dort wurde die gesamte Umgebung, in der der Rapper sich bewegt digital erstellt, mit Hintergründen, Formen und visuellen Effekten versehen und anschließend mit der Musik synchronisiert. Das gesamte Compositing wurde von FVM productions durchgeführt. Mit einer frisch aufgerüsteten Serverfarm verfügt FVM productions über alle technischen Voraussetzungen, solche komplexen Kombinationen aus realem Film und digitaler Produktion zu realisieren.

Der Mannheimer Rapper will absichtlich mit seiner Forderung: „Zahl nix dafür“ provozieren. Danny Fresh ist Popakademie-Dozent aus dem Umfeld der Söhne Mannheims und ruft ironisch zum illegalen Download von Musikstücken auf. Er votiert für mehr Qualität im Deutschen Rap und HipHop und distanziert sich von dümmlichen Produktionen in diesem Genre. Das Video ist eine Visualisierung des Liedes. Wie auch der Song bewegt es sich immerzu und bietet einen großen Fundus an Anspielungen. FVM productions unterstrich mittels fein abgestimmter Symbolik die gewünschte Aussage des Künstlers, blieb dabei jedoch immer subtil und auf hohem Niveau. So gibt es auch außerhalb des roten Fadens eine Menge zu entdecken.

At least, that’s what GreenWriter.org is hoping that you’ll be able to do. Every year, according to this new organization, screenwriters print out 180 million sheets of paper in their efforts to sell their stories.

Within six months of its web site launch, Green Writer hopes to save half that amount, or 90 million pages, by providing a place for screenwriters to freely upload their work in various formats.

Daniel Riser, founder of GreenWriter.org, spoke to triplepundit – people planet profit, he said: “I had just finished a screenplay that took me two years to complete. Rather than print it out, I wanted to find an online venue. I was shocked to find nothing but online scams charging $60 to $1500 to upload a PDF with the “promise” that a few producers might read it. Immediately, I shelved my screenplay and started developing my own website. As my research progressed I discovered about 180 million sheets of paper were printed every year by the screenwriting industry alone. That’s when Greenwriter really found its voice.”

An excellent resource for writers looking to get their scripts to the right people — without all the printing and mailing hassles.

So for all the future screenwriters out there, you now know what to do!

To continue reading Daniel Riser’s interview click HERE

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Watch this, it only takes 1 minute! You can say a lot in 1 minute, and hopefully save the world while you’re at it. 1minutetosavetheworld.com is an international short film competition on climate change.

Amongst judges were Franny Armstrong (director of The Age of Stupid), Bruce Parry (presenter of TV’s Tribe), Mark Lynas (author of Six Degrees) and Shekhar Kapur (director of Elizabeth)

The competition was backed by Greenpeace, Unite for Climate, World Development Movement and nef (new economics foundation).

A paper boat, talking cats and a polar bear playing video games were yesterday voted as the best short films likely to “save the worl in a minute.”

The winning films will be shown later this year at the UN Climate Change Conference in Copenhagen, with the overall winner receiving a handy £1,000.

Below are four of the category winners, including the overall best film, Paper Boat by Arun Rose.

Who gets your vote?

Best Film – Paper Boat

Runner-up – Bear in mind

Best film by a professional – When I am 18

Best youth film – Stop global war-ming

Best viral film – Cats against climate change

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I thought it would be good to do some advertisement for those little known but very helpful guides to encourage green filming practices:

EMA
The EMA Green Seal program permits the Environmental Media Association to simultaneously promote sustainable production methods and highlight those in the industry who’ve made strides incorporating such practices into both film and television productions.

UK Film Council – Environmental strategy

The UK Film Council has recently announced plans to make London the greenest place to film. This page outlines their overall strategy and links to a guide for greener filming.

Film New Mexico – Greem Filmmaking program

This website provides many resources for productions wishing to film in New Mexico, including a green filmmaking guide, and outlines incentives for filming in the state that benefit environmentally sensitive productions.

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Film catastrofico diretto da Roland Emmerich, prodotto da Centropolis Entertainment, Sony Pictures e distribuito dalla Sony Pictures.

Roland Emmerich e Harald Kloser hanno scritto la sceneggiatura di questo film e hanno venduto i diritti alla Sony Pictures.

Per realizzare questo film ci sono voluti 200.000.000 $.

La responsabilità degli effetti speciali è stata affidata alla Sony Pictures Imageworks e le scene sono state girate ai Vancouver Film Studios.

Più di 100 artisti hanno lavorato sui 1300 effetti speciali presenti nel film, tra cui eruzioni vulcaniche,terremoti e inondazioni.

Gli artisti presso la società VFX Uncharted Territory hanno costruito dei blocchi di città in 3D con 60.000 immagini ad alta definizione come riferimento. Poi sono stati eseguiti i ritocchi finali.

Il regista, spiegando una delle tantissime scene, ha ripreso i suoi attori in stanze con schermi blu (bluescreen) e posizionati su una piattaforma in acciaio, sotto questa vi erano delle pompe pneumatiche per simulare terremoti e movimenti del suolo causate da crolli vari. Questo per avere una reazione naturale degli attori al movimento del finto suolo ricostruito poi in post produzione in 3D.

La Digital Domain, con la supervisione di Mohen Leo, ha lavorato sulla seconda parte del terremoto e su Washington DC dopo che è stata colpita da una nube di cenere vulcanica. Lo si era stabilito da subito che tutto l’ambiente e la distruzione doveva essere creato in 3D. Sono stati creati palazzi, strade, alberi, vetture ecc.  Ad ogni oggetto creato in 3D si è dato un effetto particolare nella scena ed è stato dato anche una secondo effetto grafico, una revisione aggiuntiva per rendere il più realistico possibile la scena finale. Grazie ad un software chiamato Drop hanno potuto gestire al meglio la rottura di palazzi e i crolli, ad esempio, lavorando e simulando su pezzi geometrici. In un terremoto ogni cosa si move ed è soggetta alla scossa, quindi anche in animazione 3D doveva essere così. Il regista ha voluto che il terremoto venisse realizzata e visualizzato come un’onda che si muovesse, alzando strade,suolo, case e tutto ciò che vi era. Questa è stata la parrte più difficile da realizzare.

Nella scena sotto si possono vedere i passaggi per realizzare una scena del film. Nella prima foto si notano gli attori che recitano la loro parte su una piattaforma con pompe pneumatiche, è stato ricreato una parte del paesaggio distrutto e al fondo vi sono i pannelli verdi (greenscreen). Nella seconda foto invece è stato inserita la scena creata in 3D con un altro software al posto dei pannelli verdi. Nella terza e quarta foto invece viene fatto interagire la scena realmente girata tra i pannelli verdi e la scena creata in 3D, sincronizzando ogni oggetto e persona nel dettaglio.

Anche la Double Negative, guidata da Alex Wuttke, ha collaborato nella realizzazione degli effetti grafici del film. Essi hanno lavorato sulla rottura della terra e la fuoriuscita della lava. Per realizzare le bombe di lava lanciate sulla città, la DN, ha fatto uso del software Maya, questo servito per il posizionamento e per la tempistica dell’animazione. I dati così forniti sono stati inseriti ed elaborati dall’altro software Houdini in cui si è fatto interagire tutto l’ambiente con la lava, l’impatto delle bombe di lava con il suolo, le varie esplosioni, rotture di strada e del terreno ecc. Lavorare su Houdini non è stato facile, hanno simulato la caduta di ogni singola bomba di lava, calcolando la traiettoria e la potenza con il quale impattavano sul suolo. Per gli ultimi ritocchi hanno spedito tutti i dati di nuovo su Maya, per effettuare il rendering.

La Sony Imageworks ha lavorato sulla stazione nel mezzo dei monti dell’Himalaya. Hanno modellato tutto in Maya e hanno lavorato molto sulla texturing Arche e sula raytracing fornito dal render Arnold. La ray tracing va a calcolare il percorso della luce e la sua interazione con l’ambiente circostante.

La corsa in limousine è stata realizzata posizionando l’autovettura in una stanza con pannelli blu (bluescreen),  la macchina è stata posizionata sopra ad una piattaforma con delle pompe pneumatiche per simulare le sterzate, buche e urti, solo gli attori erano reali. Fra le tecniche di simulazione computerizzata utilizzate dalla Sony Pictures per la realizzazione di questa scena c’è un software chiamato  Drive-A-Tron e sviluppato dalla Californiana Sway Studio. Si tratta di un software che permette di ottenere scene  3D credibili di automobili in movimento. Drive-A-Tron simula la dinamica dell’auto non solo tenendo conto di molti componenti come comportamento del corpo vettura, delle sospensioni, delle gomme e del tipo di terreno. Grazie a un vero posto guida dotato di volante, gli operatori possono condurre l’auto lungo il percorso.

Interessante è il cannone creato per lanciare le macchine, si tratta di un cannone che con aria compressa riesca a scagliare le automobili in aria, vetture ovviamente alleggerite

Concludo postando qui sotto le parole del regista per quanto riguarda il riferimento a Berlusconi :

“Volevamo che un capo di Stato di un Paese importante restasse indietro nella fuga perchè si era fermato a pregare Abbiamo scelto quello italiano”, dice Emmerich in un’intervista, che poi aggiunge “Non c’è dubbio che, in un caso come quello del film il vostro primo ministro sarebbe il primo a correre in Cina per salire sull’arca di Noè. Per dirla tutta, ha già comprato un posto”.

ShortsUP, o iniţiativă Oricum si Feeder.ro, în parteneriat cu Vodafone România, prezintă, pe 27 noiembrie, o selecție de scurtmetraje de excepție în cadrul evenimentului Green Screen. ShortsUP/ Green Screen se desfășoară sub înaltul patronat al  Ambasadei Regatului Unit al Marii Britanii în România.  

Într-o perioadă în care mesajele eco sunt aproape golite de conținut prin repetarea lor obsesivă, credem că argumentul care ne mai poate schimba atitudinea față de mediu este EMOȚIA. De aceea, ShortsUP a pregătit o colecție de scurtmetraje răscolitoare, integrate într-o experiență complexă ce include documentare, animații, ficțiuni, dar și un concert unplugged cu Alexandrina Hristov și două expoziții de artă. Evenimentul îsi propune să readucă, măcar pentru câteva ore, puțin din paradisul pierdut prin industrializare și consumism.

Între scurtmetrajele lunii noiembrie se remarcă: Carpa Diem, ficțiune pe cât de șocantă pe atât de amuzantă despre risipa de apă, recunoscut de UNESCO drept cel mai bun film despre drepturile omului în 2007, Becoming, un experimental premiat la mai multe festivaluri de gen desfășurate anul acesta sau Milky Way, cel mai bun documentar la Filmul de Piatra în 2009.

Animația Varmints, nominalizată la premiile Bafta 2009, are în centru o creatură fragilă care se zbate să păstreze rămășițele lumii tihnite pe care a cunoscut-o cândva. Cu ce preț va reuși, în fața urbanizării violente? 

Pentru a face mai puternică și mai memorabilă interacțiunea publicului cu tema lunii noiembrie, ShortsUP, împreună cu Muzeul Țăranului Român îi invitată pe participanți, înainte de vizionare, să creeze obiecte din lemn și din lut împreună cu meșteri renumiți, utilizând doar energia produsă de propriul corp.

Tot înainte de proiecția filmelor, de la 20.00, poate fi admirata expoziția de arta digitală a Galeriei 115, «Back to Nature», o selecție de lucrări special concepută pentru ShortsUP/Green Screen. 

Alexandrina Hristov, una dintre cele mai ingenue artiste de soul & indie, va susține de la 23.00 un concert unplugged în cadrul ShortsUP/ Green Screen, și va expune totodată o serie de picturi realizate de ea, care se încadrează în tema evenimentului.

ShortsUP, organizat de Asociatia Oricum și Feeder.ro, împreună cu Vodafone România, aduce în fiecare luna cele mai titrate scurtmetraje din întreaga lume, în cadrul unor experiențe  cinematografice interactive, în care publicul face parte din scenariul evenimentelor.

Biletele sunt disponibile pe www.eventim.ro sau direct la intrare, în seara evenimentului. Prețul unui bilet este de 20 RON și oferă acces la programul întregului eveniment.

Programul complet al evenimentului:
20.00 – 21.00 – GET GROOVING
Expoziție de artă digitală Galeria 115 – “Back to nature”
Expoziție de pictură Alexandrina Hristov – “Lavmitender”
Inveți să faci oale din lut doar cu consum propriu de energie și măști tradiționale împreună cu meșteri autentici
21.00 – 23.00 – SCURTMETRAJE
Proiecțiile au loc în cinematograf și în sala “Spectacole” din cadrul Muzeului Țăranului Român.
23.00 – 24.00 – CONCERT
Alexandrina Hristov

Mai multe informaţii puteţi afla de pe site-ul www.shortsup.ro

A year 7 class at Talbot Special School came to the CLC to create a film about life during World War 2 as part of a unit of work on the topic. The students learnt all about air raids, how families built Anderson shelters in their gardens, rationing, wartime songs and poems. They built fantastic sets for an animation, and recorded songs and poems to include in the film, using the green screen to add suitable photos as a backdrop. The project really brought the topic to life, and helped the students understand how life may have been back then. What particularly impressed me was how well the class worked as a team on the animation, taking it in turns to take the pictures, direct and move the characters, and always supporting their less able peers. You can see an extract of the film below:

Chroma key is a technique for mixing two images or frames together, in which a color (or a small color range) from one image is removed (or made transparent), revealing another image behind it. This technique is also referred to as color keying, colour-separation overlay, greenscreen, and bluescreen. The biggest challenge when setting up a bluescreen or greenscreen is even lighting and the avoidance of shadow, because it is best to have as narrow a color range as possible being replaced. A shadow would present itself as a darker color to the camera and might not register for replacement. This can sometimes be seen in low-budget or live broadcasts where the errors cannot be manually repaired. The material being used affects the quality and ease of having it evenly lit. Materials which are shiny will be far less successful than those that are not. A shiny surface will have areas that reflect the lights making them appear pale, while other areas may be darkened. A matte surface will diffuse the reflected light and have a more even color range. In order to get the cleanest key from shooting greenscreen it is necessary to create a value difference between the subject and the greenscreen. In order to differentiate the subject and screen a two-stop difference can be used, either by making the greenscreen two stops higher than the subject or vice versa.

Prevent windscreen fluid from freezing up on cold winter nights by mixing one part water with two parts white vinegar and filling the reservoir with the blend. This should keep the system free of ice crystals in cold conditions, enabling you to clean muddy windscreens in the morning. 

Thank you to Friends of the Earth……

Love Your Environment!