While capturing green screen videos used to be a acquired skill and expensive process, recording onto a green screen is now a common process amongst videographers and photographers.
Because of this, I have rounded up some of the best lights for green screens that will allow you to capture stunning footage/ photography for your next project! Lets begin!
What is the purpose of using a green screen?
Green screen is the commonly used term for chroma key compositing. In chroma key compositing, two different images or video feeds are layered together, with one of them being a replacement for a single color background used behind the primary scene or image.
Before digital photography and videography, either blue or black were the background colors most often used.
The primary scene is filmed or imaged with the single color background. Then, the background is replaced with another scene. In this way, the primary action or image can be filmed anywhere, at any time, and then the compositing finishes the scene or image.
In the olden days of movies, a travelling matte was sometimes used to substitute for location shooting. A car dash and seats were set up in studio in order to have better control over exposure, lighting, even the audio for the desired scene. A prepainted or preprinted backdrop was used as the background.
Alternately, rear projection was used in much the same way. It worked as well for still images as for motion pictures. A projection screen was set up as the backdrop and an image or some movie footage was projected on the screen.
This way, a pivotal conversation scene in a car, for instance, could be filmed in studio and yet it looked like the pair was driving over the Golden Gate Bridge. More or less, anyways. It tended to look a little cheesy, but we allowed suspension of disbelief to take charge, making the scene acceptable.
As movie making and still photography got more sophisticated, the chroma key process was developed and refined. An advantage of chroma key compositing over mattes and front or rear projection was that chroma key results looked more natural and more believable.
Early on, chroma key backgrounds were mostly filmed with a blue backdrop, sometimes a black one. When describing the process, many photographers and cinematographers would refer to it as Blue Screening.
With a few refinements added, especially in regards to using computer programs to make the composites, Blue Screen has become Green Screen.
So, why the change from blue or black to green? Well, any solid color could be used. When TV stations started using Blue Screen techniques for their local weather reports, it caused some unnatural effects when newsmen and women wore clothing that was close to the color value of the chroma key. Seeing a weather forecaster’s head and hands floating in front of the precipitation map of Walla Walla was disconcerting for average viewers.
A new color was introduced and has taken hold throughout much of the industry. It’s green, but it’s a hue and shade of green that isn’t common in the natural world or in most architecture. That didn’t stop the internet army from adjusting the images and footage of prominent public figures who may have worn that color as clothing, though. All in good fun.
Best way to arrange your lights with a green screen
Even though we are probably using a computer video editing program to do the final compositing, properly lighting the scene in the first place is still important. Shadows or hotspots on the green screen backdrop can interfere with the smooth transitioning to a final image.
Proper lighting for green screen can transition easily for other types of scenes and for still photography. What we are basically attempting to accomplish is a well lit subject that is separated from an evenly lit background.
Here is one of the ways we can get the job done:
1. Set up our green screen background
If we are framing a medium distance scene, such as what we might use for an instructional video or an interview framed similarly to a head and torso portrait, we can use a simple background stand and a medium size backdrop. Be careful to place the background so that it fills the frame.
As with any background, seeing the top edge or any of the sides of the backdrop will distract the viewer.If we are shooting something larger or want to include full length people views, we will need to extend the backdrop material beyond the background stand to cover the floor.
Again, be sure to extend the material far enough to cover whatever shows in the framed shot.Keep the material as smooth and tight as possible. Any wrinkles or folds in the material will affect the final composite in a negative way. Easier to fix before shooting the scene than to adjust in our editing program.
2. Adjust the main (key) light
The key light is the main light source for illuminating the subject. It also controls a large percentage of the exposure value of the scene. Several of the simpler portrait or product still lighting techniques may be utilized for video lighting.Go ahead and adjust your light and posing to create modeling effects with light and shadow if desired. Basic cinematography rules can be applied in these steps.
Generally, we’re trying to create a natural look.One of the more common mistakes made when setting up the key light is not taking into account the direction of light and shadow in the composited background. If the Sun is high and to the left in the background scene, keep your key light high and to the left for lighting the subject.Same caution applies whether it is video footage or still imaging.
For natural, believable composites, double check your light color, quality, and direction in both the background and the main image or footage.
3. Use fill lights to enhance or obscure detail
Fill lights fill in light. Simple name for a simple concept. The fill light or lights get placed or adjusted in such as way as to complement, but not overpower the key light. Otherwise, the fill would turn into the main light.Adjusting the ratio of fill to main light can either open up shadow detail in the primary subject or keep it partially obscured.
If your lights have adjustable power settings, use that for ratio control. Otherwise, physically move the lights closer or further.Let your own style or client needs determine how much fill to add.
Though often listed as a separate light type, let’s also put any hair light here in the fil category. Watch the direction of any hair light. Match the main lighting configuration and the composite feed.
4. Back light separates subject
This light and the next are typically what makes the green screen composite work well or not. While separation from the background tends to allow for easier compositing, we can do it too well. If the subject is lit strongly from the rear, our composite may not look natural. For many scenes, a very neutral light placement and color will work best.
We want to avoid bright spots bleeding around from the back of our subject. You might find that using a similar ratio for back light to screen light as we do for key to fill works well.Since it’s digital video we’re discussing, go ahead and preview or review your scenes. You could even create a diagram with notations.
5. Backdrop or screen light
This is different from a back light. A back light is behind the subjects but pointed towards the subject. The backdrop or screen light illuminates the backdrop material.Even lighting is crucial in this step. Variations in exposure value will generally affect the final composite in a negative way.
Even lighting applies in respect to not just side to side, but also top to bottom. Several lights may necessary to make it work. Ensure that the screen is not brightly lit that it affects the exposure of the main subject. Additionally, some control of the light pattern is beneficial, as well.
Using barn doors on the backdrop lights is a good way to maintain precise control of the light pattern for this step.There are a variety of ways to accomplish the goal of proper green screen lighting, this is merely one way. The best lights for green screen compositing will help make the job easier.
How I found the best lights for green screen
The criteria for choosing good lights for chroma key compositing are similar to what we consider for basic lighting kits. As a side note, since a multitude of lights and a background system are required, costs may be a little higher than a basic lighting configuration. Still, we don’t have to break the bank for a quality system.
- Power. We need enough light to properly illuminate everything. Variable power settings are nice for adjusting ratios.
- Color Temperature. Using daylight balanced bulbs will ease the compositing stage of the process. If we can adjust the color temp of the lights, that’s even better.
- Wireless. For still imaging, if we are going to use strobes as our lights, wireless triggering is preferred. Either radio remote or slave triggering. That way we aren’t tripping over a multitude of cords. Continuous lighting eliminates this concern and opens up a lot more possibilities for video.
- Stable mounts and stands. Set it up and then avoid worries about things falling over. That’s what good mounting hardware and proper size stands allow us to do. Especially important for scenes that have movement coming into view from offscreen.
- Light modifiers for control. Soft boxes and umbrellas are pretty much standard with many kits. These modifiers let us adjust the light we throw on our subject and background. As mentioned in the configuration notes above, barn doors can be a valuable tool in chroma key compositing.
Top 5 Best Lights For Green Screen
1. Neewer 2 Pieces Bi-color 660 LED Video Light Review
One of the better options for multiple light kits is this extremely well made LED panel light. This kit includes two lights, two stands, and carrying cases.
Besides the quality construction we have gotten accustomed to from Neewer lighting products, the features of this light set it apart as a great option for green screening.
There is plenty of power to go around. The LED bulbs are bright and dependable. A variable power control lets us dim the light steplessly down to almost nothing. Power is supplied either through A/C wall current or rechargeable batteries.
Battery power as an option is nice as it lets us go location as needed. It also frees us up from a lot of cords which can cause trip hazards, allowing for more natural movement within scenes.
Battery life is decent, about 90 minutes worth of shooting time. Each lamp uses two Sony camcorder style rechargeable batteries. Since you’ll probably need four of five of the lights for your lighting configuration, all those batteries will add up a bit, making this light kit practical for slightly higher budgets.
Color temperature is variable, too. From cinema industry standard 3200K (Tungsten) to 5600K Daylight color balance.
Lights are mounted in a U-shaped bracket which fits on standard light stands. Barn doors complete the package for a truly outstanding and very usable light kit. If you were to visit a small studio used for vlogging, educational videos, or commercial advertising, lights of this type are very common.
2. GVM 2 Pack LED Video Lighting Kits Review
GVM light panels are amazingly full featured and are very high quality. Extra features increase usability for a wide variety of photographic and cinemagraphic projects.
Bright LED lamps are powered by batteries or A/C and can be used for still photography and video. The batteries are the standard Sony camcorder style rechargeable lithium ion battery packs. Each light uses two batteries which are available separately.
Light color temperature is adjustable from 2300K to 6800K. That’s from about as warm as regular household incandescent lamps to very cool white. This additional range could come in handy to match color temps to the composite.
Power levels are continuously variable, too. Both power and color temperature levels are controlled with round knobs. An easy to read digital display on the back of light shows what level or color you are at.
3. Fancierstudio 2000 Watt Lighting Kit Review
A complete studio in a box, this kit includes a background system and a boom arm for one of the three supplied lights.
Using CFL bulbs instead of LEDs, this light kit is very budget friendly while still offering lots of valuable features. The CFL bulbs are Daylight color temp.
All three lights are mounted inside of soft boxes, so the light quality is soft and even. Two of the lights use four CFL bulbs. The lamp socket has multiple switches; thus, you can vary the power output. Turn on one, two, three, or all four bulbs at once.
The lights are A/C power only and the cords are long enough for smaller spaces. A good power strip and extension cords will make light placement a little simpler.
The smaller light is meant to be mounted on the boom arm of one the stands. This will allow for a lot of different placement options, including using it as a hair light.
A background system is included which is why it qualifies as a complete studio in a box. The background stands raise up to well over the height of most people. Three different color backdrops are included, one of them is a green screen for chroma key compositing.
4. Bi-Color LED Video Light Stand Lighting Kit Review
A three light kit consisting of very slim light panels and high quality stands.
Extremely lightweight, even with two batteries apiece attached, these lights are well suited for location photo and video shoots.
LED bulbs provide a bright clear light and power levels are adjustable from full all the way down to 1% power. Color temps are variable from 3000K to 5800K. There’s an optional remote control for lighting functions.
A little more expensive than the other kits, it does have three lights in the kit as opposed to only two, and they are very high quality LED light panels. For location shoots requiring green screen footage, these lights are an excellent choice.
5. Neewer 2.6M x 3M/8.5ft x 10ft 800W 5500K Softbox Review
Neewer’s version of a complete studio in box, this kit has four lights, stands, and a background system.
The lights are split up as two soft boxes and two umbrellas. All of the lights use daylight balanced CFL bulbs. There is no variable power, so you will need to physically move the lights to change lighting ratios.
The background system is very usable and comes with three color backdrops including a green screen.
Pricing of this complete lighting system is very budget friendly making it one of the best lights for green screen compositing.
Current state of the art
Green screen compositing is a skill that can be learned by any videographer. The tools don’t have to be expensive, but you will need to learn how to make the best use of them. Digital video and the supporting programs have made this technique available to all who desire to try it.
Careful lighting arrangements, along with creative vision, will let you make awesome scenes that will rival the output of major film studios.
For more information on lighting, you can check out my best lights for food photography guide! Number 3 is my favourite.