![]() The background is a LONG panorama, so use a video editing program to line it up so the photo fills the screen vertically, focus on one end of the panorama and then slide the panorama across the screen (using keyframes and motion) as if panning the camera. To save drive space and hang onto as much resolution as we can from the footage, we can resize this either with Quicktime 7 or a video editing program to a proper HD resolution of 1280×720 at 30fps. ![]() It is also horizontally compressed (a mistake probably, as you can see above) as the dimensions are 1280 by 1080 which mixes two standard HD formats – 1280×720 OR 1920×1080, not both. The green screen shot was single frames (a common way to work with uncompressed footage), so to make that easy to handle you have to make it into a video. (Resizing videos, making videos out of image sequences and sliding large images to make pans are outside the scope of this article, but we will return to these techniques at another time.) How you do this is not relevant to the tutorial. We need to end up with two videos of 720p at 30fps. We need to make the assets we are using a common size so they fit together in the composite. ![]() The background plate (because we needed to fake a pan across a city skyline) is a really high-resolution panoramic shot of Singapore by Erwin Soo from Wikipedia. Our green screen shots in this instance came from the excellent free green screen library at Hollywood Camerawork. Uncompressed shots make for better composites, but for the purposes of a demo, we’ll take what we can get. They tend to be professionally shot which is a boon but are usually compressed which is not. There are plenty of examples around the web of shots you can play with. Then you have the background plate which is the bit you want to show through the green bits of the foreground, making the whole thing look as though the background and foreground were filmed at the same time. You have the foreground plate and the green screen bit with an actor filmed in front of a green screen. Obviously, to get the best green screen composites you have to shoot good “plates.” “Plates” are the main bits of the shot that you bolt together in movie visual effects. In this article we give you an introduction to node-based compositing and show you how to do a basic green screen composite shot with Blender. It’s not what the software is designed for, but it does a bangup job of green screen compositing, as you will soon see. Unlike Lightwave, it is a modern node-based compositor like Nuke or Fusion. Just like commercial packages like Lightwave 3D, it is also a very capable compositing package. Blender is an open-source cross-platform 3D graphics program, but this doesn’t mean it’s a low-rent option.
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