Figure 10.24

A diagram of tapeless workflow on the set.

Audio Media Workflow

For double-system sound, most sound recordists name the media files by scene and take numbers on the fly. Because audio files are relatively small, you can usually record all the day’s media onto one card and hand it over to copy at the end of the day.

Shooting Blue-Screen Effects

One of the most important processes used in creating special effects is compositing, which means building a single shot out of two or more shots, or layers. And a key tool for compositing is shooting with a blue or green screen. Blue/green-screen sets are designed with a blue or green area, usually the backdrop, that can later be removed and filled with another shot or image.

If you have a special effect that is dependent on blue-screen shooting, then there are a few things to remember when shooting. Most of the work of getting a good blue-screen plate comes in the lighting (see Color Plate 16 and also Chapter 6, “Lighting”). However, there are still some things to remember when shooting blue-screen shots:

nUse a field monitor and pay close attention to the quality of the blue screen in your shot. Are the actors casting shadows on the screen? Is the blue screen reflecting on their clothing?

nIf you have access to a laptop computer, consider taking it to the set with you. There, you can shoot some quick test footage and do a simple composite on your computer. This is the best way to determine if your blue-screen effect is working.

238 The Digital Filmmaking Handbook, 4E

nShoot at a high shutter speed. Motion blur makes keying very difficult, if not impossible and it can always be added later in post.

nFinally, be very careful of your camera’s built-in sharpening mechanism. One of the byproducts of sharpening is that high-contrast areas—like the border between an actor and a blue screen—can develop “halos” of color. These halos can interfere with your postproduction compositing process.

As an example, consider Figure 10.25. This shot shows a custom-made prop—a “universal remote control” that was painted blue to facilitate compositing of a computer-generated control panel. Check the edge of the blue area, though. Because the camera oversharpened, there’s a discernible halo that is visible even after compositing.

By simply dialing down the camera’s sharpening feature, you can usually eliminate these artifacts.

Figure 10.25

When shooting elements for blue-screen compositing, make sure that your camera’s sharpening setting is not causing halos that will prevent you from getting a good composite.