Chapter 2

Understanding Lighting

LESSONS:
Lesson 2.1 – Different Styles of Lighting I
Lesson 2.2 – Different Styles of Lighting II
Lesson 2.3 – Different Styles of Lighting III
Lesson 2.4 – Different Styles of Lighting IV
Lesson 2.5 – Different Styles of Lighting V
Lesson 2.6 – Understanding Genre
Lesson 2.7 – Lighting for Different Genre
Lesson 2.8 – Mood Lighting I
Lesson 2.9 – Mood Lighting II
Lesson 2.10 – Mood Lighting III
Lesson 2.11 – Mood Lighting IV
Lesson 2.12 – Chroma Shoot I
Lesson 2.13 – Chroma Shoot II
Chapter: 2 Word: 4736

Understanding Lighting Reading Time:

Lesson 2.1 Different Styles of Lighting

Learning Outcomes:
 Understand theory of light as it applies to camera lenses and lighting
 Understanding and practical implementation of different styles of lighting
 Use lighting equipment for moving image production
 Will be able to use light aesthetically as a part of visual narrative to create mood and
enhance drama
Objectives:

 Understand the aesthetics of lighting

 Understand different moods and representing the same through lighting as a part of visual
narrative

Overview:

This lesson specifically focuses on different styles of lighting. This lesson explores about the
importance and significance of lighting and how it helps in composition to create a narrative. Majorly
this lesson concentrate on Side light and Bounce light.

Lighting a frame or scene is one of the fundamental components of cinematography. Light is like
sculpting giving carve or shape to a frame or scene using it to hide or reveal key elements of the
visual story, tying together the narrative and the visual. Light is a principle tool for composition, one
that directs the attention of the audience. The influence lighting has on isolating the actor’s
emotions or camera movement, acting, the editing, the soundtrack; the mies-en-scene cannot be
ignored.

John Alton in his book “Painting with Light” he mentioned importance and what values light tries to
bring out:

 Orientation – which helps the audience to understand and see the location of the scene.
 Mood or feeling
 Pictorial beauty, aesthetic pleasure.
 Depth, perspective, third dimensional illusion.

Further to discuss, lighting is a fundamental to film because it creates a visual mood, atmosphere,
and sense of meaning for the audience. From designing a film set to blocking actors lighting plays
like a star. Lighting setup affects every step of cinematic process or vice versa.

Lighting locates and helps in focusing eye of the audience. The lighting setup directs the eye of the
audience to the required actor, prop or part of a scene.

The psychology of characters can be reflected through adjustment by the amount, size, colour, and
harshness of light surrounding a character. Emotions can be adjusted by altering these
characteristics.

The genre of the film can be defined by lighting. Mood can be clearly expressed through lighting. For
example, one of the film genres most known for its distinct lighting style is film noir, characterized by
stark contrasts between light and dark, dramatically patterned shadows, and unique framing and
composition choices.

Different Types of Lighting:

Side lighting is used to highlights the contours of their face by reflecting light from the side of the
face or an object. It creates a dramatic effect of high contrast.

Side light or edge light serves the same function as backlight by creating a slight glow around the
object to make it pop out from rest of the frame. It helps to give a depth to a dimensional object.

Since sidelight is similar to backlight, why do we use one and not the other? There are three factors
that influence our choice.

1. We want our photos or shots to look more real instead of distracting and calling attention
towards the lighting effect. Both the lights are meant to look subtitle in the picture. Any light
being stronger than the object may lead to make it look unrealistic. the sidelight or backlight
2. The side light is preferred over the back light because it provides wider range of shots
focusing on different angles of on object over that of an object’s back. Backlight can cause
unwanted, multiple shadows making the object look unnatural and creating a disturbance.
When creating or designing light for the shot, we need the object to look more motivated
and shadows on one side.
3. The last reason a sidelight might be preferred over a backlight is that mostly the backlight
might be seen in the frame during the shot.
Pics courtesy: https://gofilmnow.com/blog/cinematic-lighting/

Bounce Lighting Is a unique technique where the subject is not exposed to primary light source. A
reflector is used to bounce the light from the primary source onto the subject to soften and spread
the light.

Aprajito, the second instalment of Apu Trilogy released in 1956, is a great example to understand the
bounce lighting and its origination. Just like Pather Panchali shot in 1955, Satyajit Ray shot the sequel
in outdoor location, Benaras. But due to heavy monsoon, Ray couldn’t shot the courtyard sequence
on location.

Art Director Bansi Chandragupta assured Ray that he would make the same courtyard in the Calcutta
studio. However, the exact shadow less light of the narrow Benares lanes and courtyards had to be
matched.

It simply was a herculean task for any cinematographer or photographer to achieve in those days.

Those days, subtle facial contrast – the gradual shadow from the bright side of the face for a person
sitting, with a window on her side to the dark side – was unknown. The contrast was abrupt and
chiselled. Sometimes overall soft shadow would be attempted to create a romantic effect, by passing
light through diffusion material such as muslin or silk.
Such lighting schemes were not at all useful for the kind of wide area, shadow less, lighting that Ray
demanded in Aparajito. Mitra had spent many a sleepless nights before he came out with the
solution. A few tests conducted at the studio convinced the team that such a thing could be done.

Subrata Mitra ultimately turned to nature for the solution. He found out why the Benares skies
created visibly shadow less light. Very gradual, subtle, shadow formations across the face, and
among foreground, middle-ground, and background. The congested clutter of buildings and narrow
lanes made sure that the courtyard never received direct sunlight. The source of light was the sky.

The solution to Ray’s problem was to make an artificial sky inside the Calcutta studio. Mitra figured
out that sky is a very wide patch of the porous reflector – a big, diffuser or simply a bounce-screen.

Mitra erected such a screen under the studio ceiling. He used layers of yellow, or off-white, painter’s
frames for this, in layers. He bounced studio lights form ground upwards from all four corners. He
passed some light, through the diffusion material, from the ceiling too. Together that created a
lighting texture exactly similar to the one produced by the Benares sky.

Subrata Mitra’s team executed this lighting technique in 1956, when nobody in the world had ever
achieved something like this. The next popular execution would be by Sven Nykvist, for the Swedish
Director Bergman’s film, Through a Glass Darkly, in 1961.

Today, bounce light technique is a very common and widely used by cinematographers all over the
world. But not many would know that this was achieved for first time way back in 1956 by an Indian
cinematographer.

Subrata Mitra kept perfecting his technique of lighting by being inspired from nature, to the
minutest details. Adding layers of different colored dhotis, or other weaved material of different
textures, layered at different angles to each other, he was able to produce different accelerations of
tonal contrast brightness to darkness in different steps for different moods.

Later, in Charulata 1964, he simulated the bounce lighting through individually controllable direct-
diffused box-lights, much like today’s softies. In subsequent years, his students such as Balu
Mahendra and KK Mahajan would popularize this lighting system across Indian industries.

Lesson 2.2 Different Styles of Lighting

Learning Outcomes:
 Understand theory of light as it applies to camera lenses and lighting
 Understanding and practical implementation of different styles of lighting
 Use lighting equipment for moving image production
 Will be able to use light aesthetically as a part of visual narrative to create mood and
enhance drama
Objectives:

 Understand the aesthetics of lighting

 Understand different moods and representing the same through lighting as a part of visual
narrative

Overview:

This lesson specifically focuses on different styles of lighting. This lesson explores about the
importance and significance of lighting and how it helps in composition to create a narrative. Majorly
this lesson concentrate on Practical light and DIY light.
Practical lighting is achieved by using light sources that are visible within the scene like lamps, light
fixtures, candles, and television sets. They are used to enhance the cinematic feel of the ambience
rather than to light up the key subject.

DIY Light: DIY stands for "Do it yourself" which is a method of building, modifying or repairing things
without directly involving experts or professionals. It is a great tool for amateur filmmakers for a
shooting a short movie as it gets very handy. Importantly it decreases the cost of hiring or renting
out heavy lights along with light attendants/boys. Practical lighting is one major use of DIY lighting.

In filmmaking, diegetic describes anything that exists within the world of the narrative. Diegetic
lighting is the one that comes from within the story. This might be light from a focus light on the
painting or sunlight coming in through a ventilator. Most of the light we are used to seeing in movies
is diegetic. Cinematographers are often very concerned with motivating their lighting. This means to
validate the light source from the story that audience sees.

Pic Courtesy: A frame from ‘Stranger Things’ Netflix

http://bucktheorem.blogspot.com/2016/08/stranger-things.html

“Theatrical” or “expressionistic” might be the words to describe non- diegetic lights. It is light that
does not have any literal source within the world of the film but which is intended to direct the
audience’s attention or express and emotion or mood.

Lesson 2.3 Different Styles of Lighting

Learning Outcomes:
 Understand theory of light as it applies to camera lenses and lighting
 Understanding and practical implementation of different styles of lighting
 Use lighting equipment for moving image production
  Will be able to use light aesthetically as a part of visual narrative to create mood and
enhance drama
Objectives:

 Understand the aesthetics of lighting

 Understand different moods and representing the same through lighting as a part of visual
narrative

Overview:

This lesson specifically focuses on different styles of lighting. This lesson explores about the
importance and significance of lighting and how it helps in composition to create a narrative. Majorly
this lesson concentrate on Hard light and Soft light.

Hard lighting is a lighting that draws attention to a specific actor or part of a scene by creating harsh
shadows.

Shadows are key to understand hard light and soft light.

Hard light creates an abrupt transition between the light and the shadows. It creates an easily visible
line between the brightest portions of the image and the shadows. It is clearly a high contrast
lighting. There’s often bright highlights and dark shadows in the same image. This type of light is
known for being edgy and dramatic. Hard light is often used for portraits of strong characters.

Soft lighting is a lighting aesthetic with little to no harsh shadows that’s bright yet balanced. Soft
lighting can also be called as Fill light. It can reduce shadows without creating the additional ones. it
helps making the subject more beautiful or youthful as the softness does not creates focus on the
contours of the subject hiding spots and wrinkles.

By reflecting or bouncing the light off a larger surface or shooting it through a dedicated diffuser we
can soften the light.

Overcast Day - Shooting outdoors on an overcast day is very effective as it is close to shooting under
a giant softbox. The clouds are naturally diffusing the light of the sun thus flattering our subjects for
us.

Hard light can be used to show high contrast drama for example- ongoing conflict inside or outside
of the subject. This kind of light basically brings a lot of attention, is unrealistic and to enhance the
mood in the shot.

In fact, to create dynamic and cinematic images we can mix hard and soft light both and doing just
this can give us an excellent approach to scene.

Lesson 2.4 Different Styles of Lighting

Learning Outcomes:
 Understand theory of light as it applies to camera lenses and lighting
 Understanding and practical implementation of different styles of lighting
 Use lighting equipment for moving image production
 Will be able to use light aesthetically as a part of visual narrative to create mood and
enhance drama
Objectives:

 Understand the aesthetics of lighting

 Understand different moods and representing the same through lighting as a part of visual
narrative

Overview:

This lesson specifically focuses on different styles of lighting. This lesson explores about the
importance and significance of lighting and how it helps in composition to create a narrative. Majorly
this lesson concentrate on High Key lighting and Low Key light.

High Key Lighting is a certain lighting technique with no shadows and intense brightness, bordering
on overexposure. This technique is called High-key lighting and is commonly seen in television
sitcom, music videos, or commercials.

This form of lighting has a whole range of whites and light tones. These images have extremely
minimal mid-tones and blacks. In high key lighting, the mid-tones or mid-range tones become white.
The whites, become whiter. It would be incorrect to say that it is devoid of black tones, it just has
extremely minimal amounts of the said tone.

In beauty and makeup commercials, a high-key look gives you fewer shadows and makes your talent
look flawless and elegant. It creates an even amount of light that spreads across an entire scene. This
lighting technique has been creating magical photographs and video footage in the food and product
industry.

A high-key lighting style often involves a soft key light directly above the camera — and not too close
to the talent. Positioning the light directly in front of the talent creates less shadow, making the skin
look softer and smoother. High-key lighting also produces a beautiful catch light in the talent’s eyes.

High key light can be used to create Optimistic, upbeat, youthful, light, and airy feel to the image or
scene.
Pic Courtesy: www.google.com

Low-key lighting is a lighting technique with a lot of shadows to create a sense of mystery or
suspense.

Low-key lighting is key to enhancing the feel of isolating a subject or conveying drama. Not necessary
that a scene shot with low-key lighting must be scary, but, if we want our audience to be uneasy,
low-key lighting is a good bet. Low-key lighting helps to minimize distractions in our frame, so it
really helps to guide our audience’s eyes where you want them to be.

We typically use low-key lighting to convey moody, dark and sombre undertones.

There are however exceptions to the rule completely. Woody Allen and Tim Burton have made
comedies in low key. On the other hand, Jaws is mainly normal to high key, but is a horror movie.

Both Marvel and DC make movies based on fantasy and superheroes. One is normal to high key,
while the other is mostly low key.

It’s the vision, the concept behind motivating the lighting that matters. However, it is important not
to be formulaic. The audience has to be made to connect with the frame on a personal level. To do
that, we must first feel it. That’s the takeaway.
Pic Courtesy: www.google.com

Lesson 2.5 Different Styles of Lighting

Learning Outcomes:
 Understand theory of light as it applies to camera lenses and lighting
 Understanding and practical implementation of different styles of lighting
 Use lighting equipment for moving image production
 Will be able to use light aesthetically as a part of visual narrative to create mood and
enhance drama
Objectives:

 Understand the aesthetics of lighting

 Understand different moods and representing the same through lighting as a part of visual
narrative

Overview:

This lesson specifically focuses on different styles of lighting. This lesson explores about the
importance and significance of lighting and how it helps in composition to create a narrative. Majorly
this lesson concentrate on Motivated lighting.

Motivated lighting
A cinematographer should always question himself/herself as to where within a scene, the light is
coming from.

Motivated lighting is a controlled lighting technique meant to imitate natural light sources in the
scene like the sun or the moon.

Motivated lighting may be used to replicate the presence of practical lighting on a scene also. The
goal is to enhance the scene with lighting that appears to be naturally present on the scene.

When you use motivated lighting the goal is to replicate the light source on your scene to that of a
natural light source. Commonly a window is used with motivated lighting. Of course, we don’t always
have the vantage point of the sunlight or moonlight shining in through a window exactly when we
need it to be and at the magnitude we need to make the scene appear as realistic as we need it to.
With experience and proper study of light however, we can keep inching closer to achieving the
perfect motivated lighting to denote natural light.

Different types of motivated lighting can be achieved depending on the requirement of the scene.
Motivated light sources appear most natural and are most widely accepted by audience as a
necessary element or source to the scene. In fact, motivated lighting sources are ideal because they
are one of few lights on the set in which the audience doesn’t wonder where the light came from or
why it is the way it is. There’s motivation to it and an understanding of why we have the light on the
scene.

The following types of Motivated Lighting may be included:

Lamps or candles on a table, if the scene takes place in a restaurant.

If the scene takes place in a dining room, a chandelier hanging above may act as the motivated light
source.

In a bedroom, table lamps.

A bar scene may include neon bar lights.

A window that allows external light to shine in a hotel room.

Pic Courtesy: No Country for Old Men https://www.theparisreview.org/blog/2017/05/09/master-
light/

Pic Courtesy: Motivated lighting from carried lanterns in The Assassination of Jesse James
https://www.studiobinder.com/blog/film-lighting-techniques/#The-cinematic-types-of-lighting-in-
film

Pic Courtesy: Lanterns create motivated light sources that sell the lighting choices in The
Assassination of Jesse James. https://www.studiobinder.com/blog/film-lighting-techniques/#The-
cinematic-types-of-lighting-in-film

Question:

Q. What is bounce lighting?

Q. What is side lighting?

Q. Define the importance and significance of motivated lighting in visual narrative.

Q. “Practical light is motivated light in visual narrative”. State your opinion.

Suggested Reading:
https://www.youtube.com/watch?v=ryAB-suoAeg

https://www.youtube.com/watch?v=8AdhogkkTVs

https://www.youtube.com/watch?v=-B9X9ToFNmg

https://www.youtube.com/watch?v=YCPsy_LQqYc

Lesson 2.6 Understanding Genre

Learning Outcomes:
 Understanding different genres and its impact on visual narrative
 Exploring styles and visual design for different genre
 Analysing the evolution of genre and its impact on audiences viewing
experiences/understanding
Objectives:

 Understand what is genre

 Understanding different types of genre and sub-genre
 Exploring the evolution of genre
 Its impact on visual design and viewers reception

Overview:

This lesson focuses on different understanding different genres and sub-genre. Also analysing the
evolution of genre and its impact on audiences viewing experiences/understanding.

What is Genre?

The word ‘Genre’ comes from a French dictionary (originally Latin) which means kind or class. It is
classification of a film or films with similarities in terms of narratives, characters, filming techniques,
or other formal features.

Genre is a group of films that have similar techniques or conventions with identifiable types,
categories, classifications or groups of films such as:

 Content
 Subject matter
 Structures
 Themes
 Mood
 Period
 Plot
 Settings
 Recurring icons
 Stock characters
 Narrative events
 Situations
 Motifs
 Styles
 Props
 Stars
Genres with their own distinctive subject matter, style, formulas, and iconography within the larger
film genre with identifiable sub classes are called as Sub-genes.

Primary film genres and Sub genre include the following:

• Action Films: these films usually include big-budget physical stunts and chases, high energy,
possibly with rescues, battles, fights, escapes, races against time and crises featuring non-stop
motion, pacing and break-neck rhythm.

Sub-Genre: Spy, espionage, political thrillers, martial arts films, races against time

• Adventure Films are very similar to or often paired with the Action film genre. These are
exciting stories, with exotic locations and new experiences.

Sub-Genre: swashbucklers, serialized films, historical epics, expedition films, treasure hunts, disaster
films, strange mysteries

• Comedies are light-hearted plots intentionally designed to provoke laughter or amuse by

exaggerating the situation, language, action, relationships and characters.

Sub-Genre: Slapstick, screwball, spoofs, parodies, romantic comedies, black comedy, satirical
comedy

• Crime films display disturbing and illegal actions of criminals. Generally involves activities like
robbery, stealing, murders, rapes, underworld connections, black markets, drug involvements, etc.
which are outside the norms of the laws.

Sub-Genre: Gangster films, detective films, film noir, mysteries, serial killer films, suspense films,
thrillers, courtroom dramas

• Dramas are plot driven, serious films, portraying real life characters, life situations, settings
and stories involving intense character development and interaction.

Sub-Genre: Melodramas, romance, biographical films, 'adult' films, sports films, road movies, “guy”
films

• Epics are categorized as historical or imagined event, story-book, legendary, or heroic figure,
and add an over-generous setting and beautiful-lavish costumes, accompanied by opulence and
spectacle, dramatic scope, high production values, and a sweeping musical score.

Sub-Genre: Historical dramas, costume dramas, war films, medieval romps, period pictures,
adventure films, religious films

• Horror films are designed to invoke and frighten our hidden worst fears. They are often
designed to end to a terrifying, shocking finale, captivating and entertaining during the whole script
to give us an intense experience.

Sub-Genre: Science fiction, supernatural, teen terror, serial killers, satanic, monsters

• Musicals/dance films are the ones that focuses on music or dance in a significant manner or
it can include music, dance, song and choreography as a combination.

Sub-Genre: Broadway musicals, musical comedy, concert films, performance films, music
biographies
• Science Fiction/Sci-fi films are often combination of science, vision and imagination. they
often feature heroes, aliens, quests, fantastic places, distant planets, extraordinary monsters and
new technology. Sci-fi films generally includes multiple genres.

Sub-Genre: Futuristic films – visionary, horrific, graphic novels, medical miseries, devil machines,
mad science, space invaders

• War films generally depict wars between nations, particular humans, race, other species and
combat fighting on land, sea or air providing the primary plot for the film.

Sub-Genre: War dramas, military operations, anti-war films, POW stories, military training.

• Westerns are the major defining genre of the American film industry – a tribute to the early
days of the expansive American frontier. They are one of the oldest, most enduring genres with very
recognizable plots, elements, and characters.

Sub-Genre: Epic Western, the 'singing cowboy', the "spaghetti" Western, contemporary Western,
revisionist Western, comedy Western, "post-apocalyptic"

Genre offers the audience a set of pleasure;

• Emotional Pleasure: pleasure which an audience can react by relating the plot or scene with their
life events or imagination connected to the real world in form of happiness, anger, sadness, anger or
nostalgia.

• Visceral Pleasures: this kind of pleasure is the physical effect of visual experience on the viewers
like a kinetic pull, roller coaster ride feeling, a setback, etc.

• Intellectual pleasure: this a kind of pleasure where the audience is intellectually involved in the
plot by connecting the threads of the mystery or an event in the movie.

Question:

Q. What is Genre?

Q. What is the signification of genre in visual narrative?

Q. Define importance of genre in audience reception.

Suggested Reading:

https://faculty.washington.edu/farkas/HCDE510-Fall2012/Chandler_genre_theoryDFAnn.pdf

Lesson 2.7 Lighting for different genre

Learning Outcomes:
 Understanding different genres and its impact on visual narrative
 Exploring styles and visual design for different genre
 Understanding and practical implementation of lighting for different genres
Objectives:

 Understand what is genre

 Understanding different types of genre and sub-genre
 Exploring and analysing lighting different for different genres
  Practical implantation of lighting to shape visual narrative
 Understanding impact of genre lighting and its impact on audience reception

Overview:

This lesson focuses on different understanding different genres and sub-genre. Also analysing the
evolution of genre and its impact on audiences viewing experiences/understanding. This lesson
concentrate on designing lighting and its practical implementations.

Please refer lesson Different styles of lighting 2.1 to 2.6.

Lesson 2.8 Mood Lighting

Learning Outcomes:
 Understanding different moods and its significance to visual narrative
 Designing and implementing lighting for different moods
 Understanding how lighting effects moods
Objectives:

 Understanding and creating lighting for different moods

Overview:

This lesson focuses on understanding and creating lighting for different moods.

Portrait: For this kind of lighting, china ball is placed on the right side of the model, left goes a white
Styrofoam board to fill in the shadows and a backlight up and behind of the model to help separate
the top of the head from the background.

Horror: placing a flashlight under the face and flickering light at the background can make the whole
setup pretty scary or horror.

Artificial Intelligence: ring-lights can be used to create very soft light around the face, the only
challenge faced is that it creates a ring reflection in the eye lens of the actor.

Sci-Fi: An additional drama can be creating by projecting each side of the face with different
coloured lights by even using simple household dimmers and colour lights.

Sadness: To get shadows for a dramatic effect we can pass light through a wet Plexiglas sheet can be
used to create a dramatic effect by passing a light through it which will get a cool rain effect.

Film Noir: Emphasizing shadows and harsh lighting creates a sense of volume and depth in visual
narrative that symbolises the film noir style. We can use a window blind to cast the shadows in the
background, and a cardboard box with a little hole or horizontal patterns cut out to focus the small
patch of light on the eyes.

World Leader: This effect can be created by amplifying the angle of the camera from little below of
the face and placing the china ball slightly above the subject in addition to placing black blankets on
both left and right.

The Interrogator: To create this kind of lighting, the subject needs to be placed between the camera
and the light and create an intimidating silhouette. And if some light is allowed to hit the camera
lens then it flares up.
 Angel: It is very similar to World Leader where the background is blasted with lot of light to make it
look heavenly.

Question:

Q. Define the significance of mood lighting in visual narrative.

Q. How do you lit for an interrogation scene.

Q. How do you lit for a political drama movie.

Q. What is film noir.

Suggested Reading:

https://www.youtube.com/watch?v=-B9X9ToFNmg

https://www.youtube.com/watch?v=YCPsy_LQqYc

Lesson 2.13 Chroma Lighting

Learning Outcomes:
 Understanding green/blue screen lighting
 Exploring the significance of green/blue screen lighting
 Execution of green/blue screen lighting
Objectives:
 Understanding and practical implementation of green/blue screen lighting

Overview:

This lesson focuses on how lit for green/blue screen and understanding chroma keying.

A green screen is set up in the background where the subject is being shot. It is generally replaced
later in editing, giving a large spectrum of backgrounds for the picture or shot. Besides the most
tangible advantage of using a green screen, it allows to produce any required or controlled setting
for a shot.

Appropriate lighting is extremely important for any green or blue screen project. If the green screen
is too dark, too bright, or uneven, or if the subject is not well lit, chances are you’ll have problems
pulling a good matte.

If the green background is evenly lit, the shadowed areas will be easier to key out. It’s more
important for backgrounds behind fine hair or transparent items such as glass or liquids. There
should be considerable distance between the subject being keyed out and the green screen, to avoid
reflective light spill off the screen onto your subject. The subject in the foreground needs to be lit
separately to control the exposure and direction of the light source(s).
Chroma-keying is the process where we can isolate a single colour or brightness value in an
electronic image and then making it transparent in post-production, allowing another image or
footage to be placed “beneath” the colour that’s been blanked out. Although the immense use of
green colour makes “green screen” and “chroma key” almost interchangeable to make any colour
work. Using green is as effective as no colour of the actor will be edited while using Chroma-key.

A blue screen is often used in case we have a green costume or prop.. This caused a complication for
the 2002 Spider-Man movie. A blue screen was used for effect shots of the Green Goblin and green
screens for the shots of web- slinger as blue was an integral part of the colour scheme.

Question:

Q. What is the importance of green screen?

Q. What is chroma key?

Suggested Reading:

https://www.newtek.com/blog/tips/basic-green-screen-lighting-techniques/

https://www.litepanels.com/en/applications/5-tips-for-lighting-a-green-screen/