I've set up this page of direct links to paint, fabric, and screens for blue and green screen compositing work at B&H Photo. From here you can buy blue and green paint, and fabric, to make great composites, with materials designed specifically for the task. Click on the highlighted links for price and more details for each item.
Digicomp is a line of precision color matched materials from Rosco, designed specifically for the demands of digital compositing. Paint--Fabric--Tape-- Each is perfectly matched to the other for seamless compositing of scenes. Available in Blue, Green, and Red, Digicomp simplifies composites that combine fabric and painted objects in one scene.
Rosco DigiComp paints are specially formulated to provide the proper luminance and RGB values for optimum operation of all digital compositing systems. They were designed to be used in conjunction with the complete DigiComp system of compositing materials
ROSCO Digicomp Blue Paint (1 gal.) ROSCO Digicomp Blue Paint (5 gal.) ROSCO Digicomp Green Paint (1 gal.) ROSCO Digicomp Green Paint (5 gal.)
DigiComp fabrics are made from 100% cotton materials and are impregnated with red, blue or green colors precisely matched to the DigiComp paints and tape.
ROSCO Digicomp Blue Fabric 59" X 10 yards ROSCO Digicomp Blue Fabric 59" X 20 yards ROSCO Digicomp Green Fabric 59" X 10 yards ROSCO Digicomp Green Fabric 59" X 20 yards
The DigiComp tapes are non-reflective gaffers tape which will not leave a sticky residue when removed.
ROSCO Digicomp Blue Tape 50 mm X 50 meters ROSCO Digicomp Green Tape 50 mm X 50 meters
PhotoFlex -- Chroma Key (Blue and Green reversible) This collapsible background is perfect for location shoots and simple talking head shots. Pin it to a wall, or hang it from a stand.
Light Meters are a great help in lighting the background evenly, and balanced between foreground and background. Here are two favorites.
- Spectra IVA The Spectra is a great value, and a true cine meter. This is the meter I've used for years, and prefer it, as it is designed specifically for film work. I prefer it over other, more expensive meters, that are stills meters first, and cine meters second. The readout is in f-stops or footcandles, and is large and easy to read. There is also an f-stop scale at the bottom of the display, with a pointer. This model has the backlit display. Very useful and available in different colors!
- Sekonic L-608Cine Super Zoom MasterAnother meter designed specifically for film work, this meter doubles as a spot meter, and is perfect for detecting minute variations in brightness of the background.
- Meters, Cases, AccessoriesMore useful light meters of all types, Cine, Flash, plus cases, batteries, etc.
Most books about compositing have been about the post production side, not the on set side, but there is finally a book that covers both: Bluescreen Compositing by John Jackman.
Digital Compositing for Film and Video by Steve WrightThis new book seems very useful for anyone making digital composites from either film or electronic masters. It is not specific to any one software package, but rather focuses on the tools that all have in common, and more importantly really explains well how they all work.
The Art and Science of Digital Compositing by Ron Brinkmann
Another interesting book is Digital Compositing in Depth by Doug Kelly. It includes a CD-Rom and is specific to Digital Fusion and other software programs.
The following is a good general text on Special Effects:
The Technique of Special Effects Cinematography Raymond Fielding's classic. It is about traditional film optical/mechanical effects; not video or digital effects.
Here's a page of useful books on Film and Video topics.
Other pages by me that may be of interest:
My general tips and tutorials site.
The NTSC Video Signal
My Home Page, with more links, and a resume.
Return to the Blue Screen page.