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That Greenscreen Tutorial (Finally) (Patreon)

Published:
2020-07-27 21:31:12
Imported:
2026-06
Tags:

Content

Okay! Sorry I've been quiet the past while! I was forcing myself to wrap up this guy! Only took me 6 months, but here we go! I ended up not including a ton of things I probably could have, but I wanted it to get people jazzed at the thought of doing something like this, and I felt like including a bunch of additional hotkeys/options might be a bit overwhelming. I think this is a fairly happy medium?? Thanks again for all the support, you guys :D Let me know if you have any questions/thoughts about the video!

Files

Wild Tricks for Greenscreen in Blender

Part one (Motion Tracking) here: https://youtu.be/lY8Ol2n4o4A Thanks to everyone at the Patreon! https://www.patreon.com/IanHubert Example of a final shot (Dynamo Dream Teaser): https://youtu.be/qG31WSioSxk Get Blender at Blender.org !

Comments

Robert Gyurko

I love seeing the new blender badge! So cool what the blender community is doing

Kai Christensen

Like the few questions I still had concerning the whole "process" have been answered now.

bittergourd

Holy. Cow. Balls. Of. Cheese! THIS WAS EPIC!

EpicNinjaWizard (edited)

Comment edits

2026-09-20 10:00 thank you so much for this, we're working on a project like this as we speak so your timing is impeccable. thanks for helping us make apeshit movies!
2020-07-27 22:09

Karribu (edited)

Comment edits

2026-09-20 10:00 This is great, i need to learn it. I'd be lying if I understood even 20% of what you went over though, I'll have to watch it quite a few times :D
2020-07-27 22:26

Erich Stenzel

Ian. This stuff is brilliant! I am getting too old and my mind is weak. I think at this point I'd be better off just hiring you to make all of my CG movie thingies! :-)

Ed Park

Amazing as always! Out of curiosity, would you (or anyone else) use the Unreal Engine for VFX work? Apart from live VFX and being able to easily build large worlds I'm wondering where its strengths/advantages are compared to Blender.

Daniel Short

This is wonderful. As a compositor, I've been waiting for a greenscreen tutorial in Blender. Thank you.

Carter Burr-Kirven

Well, fundamentally everything in Unreal is designed around real-time applications. They might have expanded beyond that, they're certainly trying to get into the animation market as well, but that means the workflow of the program isn't really designed with VFX in mind. Sure, you can import cameras, export renders... If your only experience is with Unreal, and you want to use it instead of trying to learn a new program, you could certainly make it work and get it done! But if you're looking at the programs in the abstract, Unreal is, like I said, still fundamentally built for real-time workflows, and if you're aiming for photorealism, as in most VFX, you're never going to get as close with a real-time engine—which is built around cheats and cut corners and optimizations—as you are with a proper rendering engine. That’s just my two cents, though!

Ed Park

Hi Carter, based on what I've seen and tried so far I think that's an accurate assessment (that its core strength lies in being real time). Although, with how quickly Epic is advancing the state of the art makes me think that they're rapidly narrowing the gap. The sheer amount of technical settings they expose in lighting, rendering, and texturing leaves my head spinning. Plus, their photorealistic character is jaw dropping (https://docs.unrealengine.com/en-US/Resources/Showcases/PhotorealisticCharacter/index.html). It would be interesting to combine work like Ian's done and use Unreal together in a production using each for their strengths in the right parts.

Carter Burr-Kirven

Definitely! Every day I'm wowed more and more by what they're putting in there. Render passes, ray traced refraction... And in the end, hey, if your shot looks good, it looks good! It's not like the viewer knows or cares how you made it

Carter Burr-Kirven

Plus oh MAN I wish Blender had decals. And a foliage painter.

Ed Park

Haha so true! :)

Blake Rizzo

*cries in after effects*

Kathleen Judge

amazing. I need to watch and stop every 3 seconds to follow along :-) dense info

Christopher Tedin

Astounding! Encouraging filmmaker friends to support you via patreon. Keep this up please!

Jan van den Hemel (edited)

Comment edits

2026-09-20 10:00 So inspiring! I'm trying to budget a small movie and it's such a puzzle doing everything on locations with actors. So tempting to shoot the whole thing on a greenscreen stage. This gives me hope.
2020-07-28 05:04

IanHubert

Oh cool!!! And yeah... the trade off always seems to be a bit of convenience shooting-wise, for a bunch of time post-wise. It's the reason I've been so jazzed about the virtual production stuff lately. Even if I can just capture the motion tracking data in real time, that'll save me SO much time in the long run (and honestly- having to shoot shots while also ensuring you have enough trackable points in view at all time is SUCH a pain in the ass/stress-inducer on set). Do you know when you'd be shooting?? That's exciting :D

IanHubert

Ahahaha, yeah a lot of this is slightly easier in AE (masking, for example. Having to jump into another workspace to generate a mask is a bit of a pain- although I guess I could have my masking workspace on one monitor, and compositing on another?), but not enough easier to justify the 66 bucks a month I've been paying, maybe??

IanHubert

Man yeah- I've been trying to see if you can do a realtime virtual production workflow in blender, and.. it can do a lot, but it definitely doesn't seem QUITE as optimized as UE in terms of realtime flexibility. I should look into how hard it is to translate blender scenes over into Unreal- it's just getting increasingly powerful, haha But yeah for the time being I still love path tracers :D. Maybe it's all in my head, but it still FEELS a little more textural in the final render.

IanHubert

AH! I'm so glad it helps! I'm excited to see what apeshit movies you're working on!!!

IanHubert

Ah! I hope it makes sense with more viewings! I probably should have re-worked it to make more sense off the bat. I think in this case it's particularly confusing because I'm spending a lot of time addressing issues that folks don't even think about until they run into them, and they wouldn't run into them unless they were trying to do something really darn similar.

IanHubert

Ahahaha, thanks Erich! Yeah this one's a bit confusing :/ Let me know if there's anything specifically you'd want clarified, though!

IanHubert

Yeah!! It feels so good sticking it on there! Although someone pointed out it's obscured by the length data in the thumbnails. Super cool they put out a kind of unifying badge for the community.

IanHubert

AH! That's awesome! Yeah especially after that video you posted the other day (that was you, right?? If so- that was awesome! TOTALLY nailed the lighting!!) I'm crazy stoked to see what you do!

Blake Rizzo

yeahhhhhhh true. I'm more familiar with after effects compositing than in blender compositing. It's been really cool to see the Blender equivalents that I've never used before! What do you do in the trickier roto situations? Screen replacements and what not? Or tricky hair situations?

Alex Gonzalez

How do you add such good lens flares? I've been spending a lot of time trying to fiddle around with different glare node setups in the compositor but it never seems to produce anything close to this. Great video by the way!

Kai Christensen

My guess would be that’s after effects, which if I remember correctly he still uses for final touches like that.

Samuel Sargeant

Gonna need to watch this once, twice, or like 642,315 more times to wrap my head around it. But fuck man, this is rad.

Bo Maryniuk

Trick with camera movement around an actor on her heels, please. Slowly and without funky glitches. :-)

shonal bose

Is it possible to have baby step by step guidance coz I got a massive panic attach trying your method..am constantly failing....parenting and projection is kind of confusing but if I watch it a couple of million times I might get it...haha hahaha lol

Tom Smith

Whoa... that's like a 1 semester class in 10 minutes

KtRN

Thank you btw for not just making this available for Patreons only - this is an absolute treasure trove, I'm very glad you decided to make this a public tutorial! Brilliant! Can't wait for the announced making of ^^

Kai Christensen

Finally done with my test shot! (https://youtu.be/oiwTsVM5oGY) And wow, I've made a bunch of mistakes BUT THAT'S OK because I *recognized* them and won't make them again. I am curious as to why the background clips in front of my head momentarily -- I've got a friend who says he's had similar things happen when using an image-as-plane far in the background. ANYWAYS I think I'm gonna move on to trying to make a more in depth shot now using the experience I gained making this one!

Kai Christensen

And yeah, I know the city in the background could use some work 😅

akim mohideen

nice work man.. like to see the original footage pls

Kai Christensen

I've edited my above comment so that the URL points to a breakdown of the shot now.

Ry Ken

Wow wow wow 😳 freaking awesome

Ry Ken

What video can you share the link

Kai Christensen

I posted it lower down in this comment section

Ry Ken

any way we can get a slow down version of this tutorial? that would be awesome but i know would be boring for you lol

Carter Burr-Kirven

You can always watch the video at a slower speed—is there a particular spot that's tripping you up? This video is perhaps more focused towards concepts and techniques then literal button presses, but all the information you need should be in there, even if it's only stated once! Where in particular are you feeling like you could use more detail?

Carter Burr-Kirven

Also, you're here on the Patreon, so you have access to all the older posts—scroll back a bit and you'll be able to find more detailed in-depth looks at each of the techniques! Ian's been developing and discovering each of these ideas over the past few months and sharing them on here before packaging them all up in this one video, so if you want more detail on the reprojection technique, for example, there's a whole video on that from when he was first playing around with it.

Ry Ken

yea ive been following ian ever since he started his patreon and seen all his videos even when he directed tears of steels. i havent try slowing the speed but will watch it again. im not asking for a step by step tutorial just alittle more info on the parenting image to camera than adjust with keyframe for me and some other great idea its alittle fast and over my head thats all . but ill watch it again in slower speed

Ry Ken

damn this is tooo awesome!!!!! im going to have to try this for sure

IanHubert

Thanks a ton for all that, Carter!! :D And yeah Ry, sorry the tutorial ended up going too fast! I was trying to hit that balance between showing enough to get the idea across and keep it exciting, but not bogging it down with too many "what-if's"- that said, did you already see the "Making a Shot" videos? I think you did, yeah? But if you haven't they're a bit slower (though they don't go into as much of a depth/alignment stuff, since that shot didn't need it as much). https://www.patreon.com/posts/making-shot-in-37501621 I think the tricky thing with this video in particular is it's addressing a lot of issues that people didn't even really know existed, so they're being introduced to the problem at the same time as the solution. Anyways- seeing some of your later comments, is it making a bit more sense now?? Definitely let me know if you have specific problems!

IanHubert

I DID spot the toaster!!! Oh man that looks cool. I think I responded on the most recent version, but the color temperature/camera move/all of that work so friggin' well. And oh- yeah, so- it's annoying. Eevee uses the origin to decide where the object is depth-wise sometimes, and since the footage's origin can sometimes be unexpected places (like- exactly on the camera, if you happen to be using the method I'm talking about in the above video), that throws the whole thing off. It's annoying, but what I do in cases like that is duplicate the footage, right click and re-set the origin to be on the object (that'll be the center of the footage), then parent THAT to the original footage file, which I hide on a different layer/composition. That was I still get all the original motion/rig, but I can have the footage correctly placed in 3d space as far as eevee's concerned, too- it should help the haze pass (if you're doing one?). Anyways, yeah man! This is looking awesome!

IanHubert

Man it's DEFINITELY confusing. One of the hard parts is most of the setup is a bit different depending on each shot, so the more specific I get, the less it'll be applicable in every circumstance. Do you have a piece of footage you're working with?? I can do a realtime walkthrough, for sure, yeah. I KIND of did in the first episode of the "Makign a shot" thing, but since he was mostly just sitting there it didn't go deep into the depth-fixing/lining-up-the-feet shenanigans. https://youtu.be/oiwTsVM5oGY We'l get it figured out!

Ry Ken

Yea thanks Ian for the reply completely agree with finding the right Balance within each video What helped me out a lot was just watching at a slower speed and going back reviewing in your older videos great videos

akim mohideen

hi ian.. thanks for this wonderful work. I like to know the choice of lens for the shot you used in the follow kaitlin shot

IanHubert

Oh thanks! And it was just the kit lens for the Sony A7iii- a 28-70mm :) I've been enjoying that setup for shooting this greenscreen stuff, since the wide lens and full frame sensor means I can shoot pretty darn wide (which is useful for tracking), and since I'm only making 1080p final videos, I can crop into the 4k footage to refine the shot a bit :D

akim mohideen

Thanks for replying but am sorry instead of focal length I asked what lens, actually like to know the focal length you used for that particular shot. (Kaitlin follow shot)

shonal bose

My friend this means a lot to me....but my green screen studio is locked ...definitely we will figure it out ...

IanHubert

Oh! I think I was as wide as you can get with that one, so 28mm :)

Mau Sosa

What camera or camcorder do you use to take these shots?

akim mohideen

He used Sony A7iii- and 28-70mm kit lens

akim mohideen

Hi ian. if you don't mind, can you give us a small tour of your green screen setup and about the lights you are using.

JØRGEN WETAAS BULL

the new "Engine Crash"-video doesn't play for me. same for anyone else?

Alex White

Yeah me too. I think he might've deleted it?

John Zwick

Where engine crash video

Carter Burr-Kirven

Based off "guy posts a video he says he's not happy with and didn't want to post yet, feeling he could improve it with a little more work," followed by "video goes away," I have a theory

sofia

lmao

Dana Scully

Love it! I now have both inspiration and a headache simultaneously 😅

Heikki Repo

May I ask, what material is your green screen? :)

Daan de Bruijn

That would have been a great moment to launch your own Ian Hubert 'Crinkles' Green screen line!.. Now with integrated tracking points.. 😂

Bryon Lape

Well nuts. I tried another tutorial and I can't get this to work either.

Bryon Lape

Yeah, I was able to composite a 5 second clip as a bunch of transparent TIFs. Now working on putting the actor in a scene.

Mark Miller

Coming back to this after some playing and I've got a question. Do you have an approach for "downgrading" the quality of your CG to match your footage without downgrading the quality of the green screen elements that have been "put back" into CG elements? I'd typically add some blur and grain to CG elements, but filmed elements already have this pre-baked. Normally, I might handle this in post with compositing, but if I'm putting parts of a real scene "back" into CG elements (like behind glass), I need them to be part of the CG output. Maybe multi-pass where the "behind glass" parts are a separate pass that's composited in without any degrade? A quick tutorial on that kind of multi-pass would be sweet, unless there's an easier way.

Mark Miller

Oh man. I figured this out, and it's awesome. I split items into multiple collections, made render layers for each thing, and then I can composite them with different blurs/grains, etc. Blender is amazing.

Michael Sean McIntyre

I'm having a little stuttering on the final video. I think I might be the frame rate. I shot at 29.97, green screen composite render at 29.97, composed render at 29.97. I see in your video you have it set to 24 fps. Anybody else experimenting with frame rates?

IanHubert

Ah yeah- you definitely want all the settings to match whatever footage you originally shot the footage at :D Does everything seem to be working alright until the final export? Which format are you exporting to?

Michael Sean McIntyre

Here is the specific details of my process, (.mp4, 4k, 29.97 fps) from my camera going to Premiere to cut down to the take I want, exported to (.mpeg, 1080, 29.97 fps), keyed in the compositer, exported to tiff at 1080, 29.97 fps. Brought into After Effects to be sequenced at 29.97 fps and exported to (.mp4, 1080, 29.97 fps). Yes, it is smooth until the final export.

Render

how do you get the high rez and the low rez images

Kays Al-Atrakchi

Do you have any advice as to how to ensure that the footage that goes into Blender is rendered out with the same bit depth and quality? I am shooting with a Blackmagic Pocket 4K in raw, keying out the footage and exporting for Blender as 32bit EXR. I bring those into Blender no problem, yet when I go to render I'm picking up on some artifacts and noise that is not present in the original file. Any idea why?

ClovenLife

the biggest issue I'm having with this process is when the feet are on separate planes. The shadows are giving away that the foot further from the camera isn't touching the ground.

ClovenLife

In case anyone cares, solved this by projecting from camera like his first example instead of the default mapping applied by import image as plane. Then I animated an extrusion to match the lowest object in the frame

Steven Mclean

This is great stuff. Just getting around to watching it. Some interesting techniques here. I'm trying to figure out the best way to deal with green screen footage I have. Multiple people are walking in the shot but the camera is panning and dollying backward. There are a few tracking markers on the green screen but that's it. No parallax. Ugh. I'll probably end up trying to keyframe a camera manually unless anyone has any suggestions?

Lean Lowkey

when i shoot anything greenscreen i have a hard time getting the floor to line up properly. i usually shoot just on a tripod but the feet never match with the floor. the toes go through the floor plane first which i get because its a 2d layer at that point in 3d space, but there is always space between heels and ground, and sometimes more then others it is noticable. is there any suggestions to getting it to match better. does camera angle matter when shooting or height of camera.

James

Can anyone point me to a good green screen lighting/setup tutorial?

Kirin Hushino

yeah, you said we can get 3D assets if we purchase $7 or higher, but most of your posts don't have any blender files or 3D assets. can you upload all of them? that'd be nice if you do thanks.

Nathan Avraham

Ian, I know this is a while ago. But I don't understand why you would use emission over the regular principled BSDF shader when loading in your image sequence. Can you please a elaborate a little on this? What is the benefit of the emission, that it reflects light back into the scene when there is light pointed towards the person in the image sequence? doesn't the principled shader do that too without emission selected?