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tempting to use lights with a green spike for example (Architectural or non-Kino Flo fluorescents or cheap LED sources) and this may work well if controlled correctly (it can also reduce the amount of light needed) however most shooting environments are in constant flux and unless you are renting or using the fixtures for a single purpose or set up, contamination (especially on skin) can be a major issue in pulling a clean key. Green is your enemy - If producing high quality images is our aim, we need to take real care of skin tones, but we need to ensure we can easily pull off detail like hair convincingly. In order to do this we need to work to keep all green light including spill and bounce light confined to the screen area itself. We need to be aware of the psychology of colour on the human - Green denotes the colour of illness and or decay and it is a colour we should not really use on skin. It creates a sickly looking person that is not pleasing to the eye. High quality skin tones make images look glossy. Fighting Green - There are times when contamination cannot be avoided generally due to lack of space. In this situation some minus green gel (magenta) on the back lights can counter the contamination and do a great job of helping to provide that clean problem free key. But an issue may arise when you put the background in as you will see a magenta rim around your subject in the foreground, so beware. Summary The art of pulling a good matte is the careful and full analysis of the foreground subject and the background to be inserted. Recording as much resolution and digital information that the edit system may need, including recording at a 4:2:2 sub- sampling compression ratio or better and lighting the foreground sympathetically with the light in the background. Lighting the green or blue screen evenly and at an exposure level of 1 F-stop below the foreground, and placing the camera at a correct orientation as to create a foreground image that sits seamlessly into the back ground. If you can achieve all this, you will find the postproduction processes a pleasure and the illusion will be seamless and complete. David Morphy is the technical director and one of the founding partners at Cirro Lite a company renowned for its technical innovation and market leading solutions.  David has been involved in high end lighting technology for over 30 years, he started his career in the music industry working with visually creative acts like Pink Floyd, Genesis and the Rolling Stones.  In 1992 he started Cirro Lite with John Coppen to promote new technology with the aim of launching Kino Flo in Europe, his first major screen job was for ILM (George Lucas) who were contracted to do the special effects for the “Helicopter in the tunnel” sequence on the first Mission Impossible film on the 007 stage in Pinewood.  For this Sequence ILM insisted that a plane full of Kino Flo units loaded with Spiked Blue 420nm bulbs to light the screen in order to hit the release date for the feature.  This was a first in Europe and the start of a whole new wave of digital effects work now common place in the industry. David brings this knowledge and more to the creative use of light in image creation. TV-BAY MAGAZINE | 77 TV-BAY074FEB13.indd 77 11/02/2013 16:54