Evaluation for Green Screen project

                                                    
                                                         Evaluation for Green screen



What went well ?per-production/ filming/ Editing  

For this 

• Per production

For this project me and my group members did  pre production in the first week by discussing about the ideas and stories .

We had different idea about the film story. as we know this project was suppose to be as a fun project. I offer the a different idea for filming with kind of  dream genre which i was influence from

 LA LA LAND IN those days.
We put our idea on the spider gram/

I think we had good pre production for planning the green screen project. In our group we could use each of our idea and add to the whole idea or some time take the extra things from whole the story.

We chose our locations  it was in the college and green screen studio.
Green screen idea was a



We choose the actress and acter for the rolling in the the green screen project.

What have learnt? Media Terminology 
In this project I learnt a lot of things from the lessons. As I knew instruction of doing a film project I was confident about about previous those.So for this session of project I add the new thing to the previous  things.
For me It was wander-fol to repeat a new filming project. It was kind of experience to repeat some part of a filming project like (Pre production , communications and dealing to  achieve to get to the an ideally idea.I learnt how modify the part of story which it might is not going to be as 

What would you changed ? 

Green screen

                                           

                                      Green screen Editing ( Adding background and Sound )

For this project we started in by shooting in the green screen.
Me and my group member worked in the Green Screen recorded 35 different shoots in the Green screen studio ( mid shot  , close up , panning shot, exterime close shot ).
I edited my by work using the Adobe premier. 
I imported my videos in the sources area by adding the background pictures and sounds.
I download few moving pictures and background videos to the import area as well.

I worked on my Green screen videos by changing the studio green screen background to the the background which I was downloaded from internet you tube and SFX.
I first did my schelteing edit for all of my videos normal videos and green screens videos. Then I started to work on the green screen videos by using its the Technics.
For editing the green screen videos I Searched Ultra key in the effect box. I  drudged  and droped  the ultra key to the  my video track . I then drudged and drooped my moving videos underneath the green screens videos. I selected the Effect control.

I clicked on the tool which it select the colors. I clicked on the green screen background on the green area and it the green screen background changed to the moving videos.
I  druged and droped on the all of my green screen video and I did same prossecs for all of them.

I used the motion, position , Scale,

I used the motion to move the background and fit it.
I used the scale to moving the video

I worked on the video translation. I added two new translations in this project. I added two translations( wipe+ cradient  for between the green screen in the begging and i used the desolve transation + Non - additive

For this project we used the Effect control by clicking on the Green screen videos.

green screen what we did

                                                         
                                                   Green screen and schelet edit 

We worked on the green screen project today. We continued green screen editing by putting the background.
I worked with the Effect and its options . I added the Ultra key to timetable . I worked on the green screen by adding the Ultra key  . I chose Green color and I tough on the green screen background. I add the pictures to  my source and by adding the ultra key change my video backgrounds. I added few moving pictures to my video background.
I used the scale to change my background size and I croped the extra spaces in the green scrren.
I used motion.
I used the mate generation to
Also I used Translation effect. I add to my videos deep to black dissolve.Cross desolve
I added black devolve,
 change my background sizes by using the scale.

I select  and moved the diagram numbers .I changed  choke , soften, contrast , mid point , to change the background color. Also for my video color a I used th

Green screen project editing

                                                                    

                    What we did with green screen today choosing the ultra key editing 

Today learned how to work with green screen effects. We learned how to work with
We started by writing an story board. we wrote about the program

In this lesson we wrote on the spaidergram the green screen technices to edit  step by step and also we repeated the effects we knew already.

for using the Green Screen effect  first we import the videos in the project and I worked on them by using them in the surcces window and then I drug and drop it to the program window.

For using the green screen it was same processes was exactly same process until hereto adding the video to program and  croping the video by using the  start marks and fnish mark ending.

Proposal for Green screen project

                                                     Proposal for Green screen project
The idea of film 

 We have to make a 30 second-1 minute green screen video and it has to be a dream sequence.We got put into groups of 3-4. Me and my group thought of a story and how we are going to film it. We are film using a green screen as well as filming outside. As a group, we have to plan it and film it together but edit it separately to show our individual skills on Adobe Premiere.

There is a guy who sees this beautiful girl sitting on a bench, minding her own business. He starts daydreaming about her dancing with him in a very romantic place with romantic music. They stop. start leaning towards each other for a kiss and the guy wakes up, he is in reality, still standing and looking at her. He shakes his head and walks away.

This genre is different then I usually work with which is good because I should try different things. We are going to add a romantic themed background such as, night, starry sky with a city view. We haven't decided who our actors will be yet. The girl would be wearing a dress or a skirt and the guy would wear a suit or any other formal outfit.

We are going to film in the studio where the green screens are and use a camera provided by college. We decided that we are not adding dialogue because then we would have to add it with voice overs as it will be very loud in the studio.

Technical element of your green screen 

We are going to use camera recorder. 

Natural light -outside and inside Consider white balance for lighting 

Non linear film -flash back

This film will be by kind  of a non leaner story. Film story is about a girl and guy which one of them is dreaming all part of story. Films has flahs back so it is type of leaner film.

 Multi strand-more then one actors 

 alisticopen ending film , answers left in the end of film

 Camera shots,establishing shot,close ,panning shot ? 

We are going to use close up, mid shot, wide shot panning shot,establishing shot, 

You can refer to the storyboard on the website media college.

Sound digital( real sound that the actor can hear ) you can use ? 

We are going to use digital sound then edit it  by the Translation effects adobe premier.

Noun digital sound (sound the actors can not hear; music.sound FX.  
We are going to add sound by the editing.

EDITING ,transition,effects,cross cutting of digital editing (between two shots ) black and white,split screen . 

The project is going to be a  Green screen effect .

I am going to  add cross cutting , dissolve shot,Split screen, deep to black, Cross zooming.

How many actors will star in your green screen ?  We are going to have two actors. 

A male and a female.

Who is your audience ?Think about demographic.

We are going to make film for teenagers. 

 The audience are going to be watching a short and dreamy film which it related to them. The film story will impress them because it would happen.

      The props which we are going to use. We are going to use formal dress for boy  and girl.

This is the film story by showing by the designing. This is part of idea for making a short film,

Green screen.

There are two characters an actor and actress.

Film will  to be a short film with the 30 to 60 second.

The locations we are going to use are outside and in inside. So we are going two locations which it is going to be editing by the Green screen.

We are going to use green screen effect with the adobe premier for this project. 

                            This is the sound details of our green screen film that we suggest to add to it.
                             we suggest to chose appropriate songs which it could be right sound for the                                          green screen video.
                            There is website and you tube adders for downloading the sounds.

Story For Green Screen project

                                                          Story For Green Screen project

• First part

A girl and a guy become interested to each other in the class when they are sitting in front of  teacher in the  the class. Girl turn his head to the guy few time time and she try to motivate the guy which he is in behind of her.The guy is looking at his paper on the desk in front of computer but he realised at the end the girl requestion by her behaviour and he is looking at her.

• Second part  

After happening in the class.
The girl is sitting on the sofa in the common room and speaking with her friends in the break time . Guy is walking  from corridor  and going to go through the door to get to stairs. Suddenly  he see the girls and her friend which are sitting on the floor and talking. He look at the girl eays for a second and girl is looking at him as well.
The girls are still sitting on the sofa in the  in the common room.
Guy is coming back from outside, he starts to speak with girl, girl's friend leave her and say you in the class to her.
Girl and guy sit on the sofa for few second ,chating (they ask to each other and talking funny way) . Then  guy look at his watch, they realise the time is over and brake time is finished they go back to class immediately.

• Third part

Tomorrow of meeting day.

Guy and girl are going  to meet each other in their free time.Girl and buy put on their best cloth by staying in front of mirror. They change different  

Green screen Films research

                       

                                     Green screen Films research

Avatar is kind of a green screen which it is really famous in the cinema. I have seen this film few years ago. His director is Games Cameron. When I watched this film I did now too much about Green screen .
I like this kind of film feature.
For this film I can say green screen has been using in every different scenes. This film has kind of real story content but it is it's been by the fantasy features.

The Best Cinematography – The Many Looks Of Avatar

Posted on December 17, 2014 by Helen Kantilaftis

Avatar wasn’t just a theatrical release in 2009, it was a full blown force of nature. The biggest box office hit of all time, Avatar also revolutionized motion capture and 3D in Hollywood and picked up several Oscar nods and wins, including a nomination for Best Picture. It also won the Academy Award for Best Cinematography for its director of photographer, Mauro Fiore, an Italian-American who has also shot the films Training Day, The Island, Real Steel, and Runner Runner, to name a few.

While Avatar’s dominance was no surprise to anyone, its win for Cinematography was interesting considering its competition. Avatar is nearly seventy percent computer generated, in some respects practically an animated film, and Fiore had only been behind the camera for less than a third of the movie’s running time. Its competitors in the Cinematography category included a gritty indie film shot on 16mm, a stylistic Tarantino World War II film, a gloomy Harry Potter sequel and a black & white German drama. However, Avatar bears the marks of a Mauro Fiore-shot film, and despite its abundance of digital effects, is a superbly photographed movie worthy of its award.

The film’s digital and live action elements are inseparable, however, and it’s impossible to talk about the look of Avatar without understanding its technical foundation. Director James Cameron famously spent fifteen years developing the technology and the world of Avatar, waiting until it was physically possible to bring his vision of a distant alien world to life. Much of the film was shot with the Fusion Camera System, a digital 3D apparatus co-developed by Cameron and since used with several other films. The Fusion allowed Cameron, Furio and the crew to shoot in 3D with a revolutionary quieter, smaller setup. It used stereoscopic lenses—two separate lenses on the same horizontal plane—to mimic the vision of two human eyes. By capturing two images slightly adjacent to one another, it created the same three-dimensional depth people see with their eyes. By adjusting the intraocular distance between the two lenses, the filmmakers had control over how much depth was in a given shot.

The Fusion was able to reduce the distance between lenses to an incredibly small amount while also incorporating ten other types of motion that gave the filmmakers an unprecedented amount of control to compose a three-dimensional image. It could do all this and still be stripped down to even perform handheld and Steadicam work, which was crucial to Cameron’s intense direction. The Fusion also allowed for several types of cameras to work with it. In Avatar, Fiore shot with three different HD Sony models. Cameron, a famously hands-on filmmaker, would often operate the camera himself while Fiore blocked the scene.

Fiore, obviously new to this system, took several weeks to get acquainted with the equipment before he felt confident enough to shoot with it. This included getting familiar with how the Fusion would handle light, something any DP needs as much control over as possible. During this testing period, Fiore found the Fusion created a ghosting effect that would blur images with especially bright and especially dark objects within the same frame. Fiore was able to block his set to account for this, keeping certain objects apart, lighting them appropriately, and even using smoke to temper the effects of the contrast and ghosting.

Another technical innovation Avatar introduced to Hollywood was its virtual cinematography. For shooting in the animated world of Pandora, Cameron and his team could use a handheld controller similar to the one used in video games. Using a monitor that would show the motion-capture actors in their pre-rendered animated states, the team had full control over the scale and motion of the virtual camera. By switching the scale, the camera could tower over the digital figures as if atop a 100 foot crane. The controller could also operate the camera as if it were on dolly tracks, or a Steadicam rig, or even handheld. In effect, it was total cinematic control over the digital image.

Despite these major technical innovations, Avatar still had to rely on traditional filmmaking methods to be a fully realized movie. The live-action shooting, while a smaller proportion of the production, was key as the foundation for the motion-capture and digital creations of the film. To help see what they were shooting, Cameron and Fiore were able to watch their dailies in 3D and make adjustments as they progressed.

Shooting in 3D, even with the Fusion, limited the range of depth of field for the cinematography team. This was especially concerning given how complex the jungle world of Pandora looked on screen, and with everything in focus, the audience’s eye could easily be overwhelmed. Fiore directed the audience’s attention by creating depth-of-field through light and contrast, as well as blocking. A longer lens was used for many shots, especially when giving the perspective of Jake, Avatar’s protagonist. In order to ground the fantastical world and story of the epic, Cameron used his human protagonist and handheld camera work to give the film a more naturalistic foundation.

Light was perhaps the most important element to the cinematography team, and is also what helped Fiore get the Avatar gig in the first place. It was his characteristic use of light in the jungle-set war film Tears of the Sun that helped convince Cameron Fiore was the right man for the job. By using the strong beams of sunlight that permeated the towering trees of Pandora, Fiore created a lush, vibrant image that made the planet feel real. By painting with light, Fiore helped give Avatar its distinctive look.

Light was also Fiore’s key to seamlessly merging Avatar’s digital effects with its live action. Had the filmmakers fail to blend the two into a coherent movie, Avatar might have been remembered as a optically-jarring flop as opposed to the visual masterpiece its now known as. Fiore realized early on in the production that he could use reflective paint and reflective material on certain objects that would react to UV light in a way that differentiated them in post-production, allowing the green screen around them to feel invisible.

Green screen was obviously a prominent part of Avatar’s shoot. Even the ceiling of many sets used green screen, which made it impossible for Fiore and his team to hide their lights. To work around this problem, Fiore cut stripes of green screen and hung them from the ceiling like curtains, in effect hiding the lights. Once the effects were superimposed on the green screen, the strips and ceiling all formed one single image.

Since many exterior scenes were also shot indoors with green screen, Fiore also had to block with light sources that weren’t physically there. In each shot he had to be aware of where the sun would be digitally added and theoretically light the scene. For one major sequence involving an army of soldiers, Cameron actually chose to shoot outside, night-for-day. At first, Fiore thought faking night for day was ludicrous but eventually saw Cameron’s reasoning. By lighting with their own equipment as opposed to the actual sun, they had total control over illumination and shadows. And if there was one thing Cameron cherished on his set, it was total control, even over the heavens.

Since light was one of Fiore’s few physical tools, he used it creatively to establish movement as well. When there were scenes shot in the interiors of vehicles, typically these vehicles were stationary, limited by the green screen set. To create the illusion of fast and twisting movement, Fiore placed lights on quick-moving cranes and other equipment. By changing light and shadows on the actors and props inside the vehicles, Fiore could create apparent velocity and movement.

By using light and adapting to Cameron’s advanced hardware, Fiore and the Avatar team were able to create a grounded, physical look for a fantastical, digital movie. As a watershed film in Hollywood’s technological evolution, the cinematography of Avatar shows how the old and new can be combined to make something not quite either.

Gravity Featurette Reveals How Alfonso Cuaron Made Movie Magic

BY SEAN O'CONNELL

3 YEARS AGO

8 COMMENTS

   

For the most part, I choose to believe that Alfonso Cuaron’s Gravity is magic. Not just "movie magic," which somehow brings our imaginations to life on screen. But actual magic. I’ve screened the film numerous times, and I can’t see the usual seams that exist in blockbuster pictures, the moments where you look at a scene and say, "Oh, there’s where they filmed against green screen" or "You can practically see the wires in that shot." 

Instead, I’m convinced that Cuaron somehow blasted Sandra Bullock and George Clooney into the stratosphere, then coached them on how to act in Zero-G conditions, creating the most believable space drama audiences have ever seen. Sadly, the video above (shared via The Hollywood Reporter) proves this isn’t the case. Cuaron filmed in various studios, and his cast had their feet planted firmly on the ground. Usually. 

The clip says Gravity is all about adversity. Yet, the movie has faced very little since opening in theaters in October. Reviews were overwhelmingly positive. The movie boasts a 97% Fresh grade on Rotten Tomatoes, with only 8 misguided fools giving it a rotten score. Financially speaking. Gravity is the sixth-highest grossing movie of 2013, banking $253 million domestically and $652M worldwide. All of the movies above Gravity on the box-office charts are sequels. For those who adore wholly original sci-fi storytelling, Gravity is a godsend. 

The purpose of the video, as you might imagine, is to put Cuaron’s accomplishment back on the radars of Oscar voters as we head into the final days of this year. The movie recently collected 10 nominations from the Critics’ Choice Movie Awards, but was topped by American Hustle and 12 Years a Slave, Oscar contenders who collected 13 noms a piece. Gravity should find its way into the major Oscar categories when those nominations are released. But behind-the-scenes featurettes like this remind Oscar voters of the amount of craft that does into a magic act like Gravity. I pray that it is rewarded with Oscar’s blessings, but understand that this is a very crowded year, and the movie already has plenty of victories under its belt. 

Looking for more blasts of the movie’s breathtaking visuals? Check out this full trailer, which shows Bullock and her director in their glory. 

http://www.cinemablend.com/new/Gravity-Featurette-Reveals-How-Alfonso-Cuaron-Made-Movie-Magic-40857.html

This is one of my favorite films.

This film is one of the best examples for using the green screen source's effects for editing.

It is really impressing film by its green screen features Specially when the guy is on the sea and have dialogue  with the tiger. Also when the guy get to the island and get to the jangle, when he face  a magical pool with a lot of colory fishes. They've been incrementally editing by the green screen effect.

 How 'Life of Pi' Became a Visual Masterpiece

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BY SAMANTHA MURPHYMAR 12, 2013

There was nothing easy about the making of the Oscar-award winning film Life of Pi — a movie that took a book about philosophy and being lost at sea and turned it into a visually-stunning 3D experience.

Not only did the crew build the world's largest wave pool in film history and create an entire storyline around a boy on a boat with a tiger — which was actually an animation and wasn't even there during filming — actor Suraj Sharma (who plays Pi Patel) didn't even know how to swim. The entire film was also shot in 3D, not partially in 2D.

To kick off its Blu-ray release — which launched on Tuesday — the film exclusively gave Mashable a never-before-seen clip of how technology was used to bring the animated animals to life and recreate an ocean environment. Life of Pi also introduced a super-engaging website with behind-the-scenes content, clips and details about what went into creating such a high-tech production.

Life of Pi, based on a novel by Yann Martel, follows the story of a young Indian boy who survives a disaster at sea by taking refuge in a small boat occupied only by a Bengal tiger. The film earned director Ang Lee the coveted best director award at the Oscars and is a visual feast for the eyes, but putting it together wasn't as seamless as it looked.

"To make an impact with water, you usually need to create a 200-foot wave when shooting in 2D," Lee told members of the press at its DVD launch event. "I knew that to make it work with 3D, water had to become a character itself. I've never seen realistic water scenes in movies because water hits one side of a tank wall and bounces back like it would in a bathtub, but we needed to make it work."

To do so, Lee and his team decided to create a massive wave tank. It was built on an actual runway at a Taiwan airport — in fact, it was carved into the middle of the runway. After spending four months to develop, a 250-foot-long, 100-foot-wide and 9-foot-deep tank was able hold up to 1.7 million gallons of water. One wall was even movable, so they could take advantage of sunlight.

"I wanted something that could create an elongated wave, and show one side of it and having it dissolve from the other, so I could at least control the shape, size, pattern and rhythm," Lee said.

With the help of high-powered wind blowers and strategic camera work, they were able to make a deep sea swell. Typhoon-strength winds and a water cannon also were used to blast the actor, and make his reactions more real.

Acting in the middle of these effects was challenging. Sharma was alone in the middle of the tank, floating on a small boat. During an intense wave scene, he didn't even have contact with the crew because he was so isolated in the tank. They could only communicate with him by blasting a loud air horn — one blast meant "cut" and two meant "go again," and takes were filmed one after another. Sharma also had to reset the scene himself, by replacing props after every take.

After filming, the visual effects team then had to work their magic to turn the tank's surface into one that looked like the ocean.

The film also used animated technology to create the animals and insert them into scenes. Only one animal — a hyena, which was used in about seven shots — was on set. Everything else, including Pi the Tiger, was designed in a studio. But Sharma had to act as though they were in the boat, and remember not to walk on certain parts of the vessel if an animal was supposed to be there.

The writers also worked alongside the production team and continually changed the script to make it work.

"Thinking in 3D really helped me make the movie," Lee said. "In the future, I might consider doing the pre-visualization in 2D and add 3D, but I'm so thankful I went to the trouble of doing it this way. 3D is still very expensive, and right now, I want the freedom to go from low budget to high budget."

SEE ALSO: 6 Questions With Director Danny Boyle

Lee may be film tech-savvy, but when it comes to social media and personal use, he says "I don't even use email. I'm like a Flintstones person."

He also addressed the controversy surrounding a Facebook post that criticized him for forgetting to mention Life of Pi's visual effects team during his Best Director acceptance speech. Some Facebook members changed their profile pictures to a green screen to show support for the visual effects industry.

"I don't even work with those people [that said that], and they don't know how much we love each other," Lee said. "You only get 45 seconds for the speech ... and everyone is special. The visual effects team is as important as everyone else, from cinematography to the writers."

Images courtesy of Fox Home Entertainment

http://mashable.com/2013/03/12/life-of-pi-technology/#9SX35MA_pZqg

Game of Thrones by the Green Screen

Bringing the fantasy world of Game of Thrones to life: Video reveals behind the 

scenes secrets of the show's visual effects

• The compilation video was produced by VFX studio Mackevision
• Game of Thrones is shot in studios in Belfast as well as on location 
• However, many worlds are designed from scratch using 3D models
• And other scenes combine real-world locations with green screens 

By Victoria Woollaston for MailOnline

PUBLISHED: 15:17, 16 July 2015 | UPDATED: 18:43, 16 July 2015

 
 
 
 
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From castles in Northern Ireland to the freezing landscapes of Iceland's Lake Myvatin, Game of Thrones is set in some of the most beautiful locations around the world. 

But only so much of George R. R. Martin's fantastical world can be captured on location. 

To bring Daenerys' dragons to life, or realistically portray Arya's journey to Braavos, the makers use the very latest in visual effect technology.

And now a video has given a glimpse into the making of these spectacular scenes. 

Scroll down for video 

The video (animation pictured) was compiled by studio Mackevision. It reveals how visual effects, green screens and software were used to bring George R. R Martin's fantasy Game of Thrones books to life during season five of the TV show

The video was compiled by studio Mackevision, visual effects supervisor Joern Grosshans, visual effects producer Niels Rinke and Jonas Kluger.

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Mackevision is one of the VFX studios that was involved in producing the effects for Sky and HBO's fifth season of Games of Thrones.

HOW GREEN SCREENS WORK 

Green screens work using chroma keying.

This involves isolating a specific colour in an image and using software to make it transparent.

Luminance keying uses a similar process for isolating brightness values or black and white. 

This means other images can be superimposed on the shot and seen through the relevant areas.

During filming and editing, green colours are digitally removed and replaced with video footage to give the illusion of various scenes. 

In theory any colour could be used, but green is the least like skin tone. 

During the video, Arya Stark, played by Maisie Williams, is shown standing on a ship's deck with a green screen behind her which morphs into the sky and sea. 

The waterways of Braavos, as well as the giant Titan of Braavos statue, are shown being dropped onto a virtual landscape.

There is even a computer-generated shadow of the statue in the water.  

In the distance, houses and buildings are dropped onto the islands of the free city before a tint is applied to the image to make the sky look imposing. 

During the episode in which Cersei is forced to make a walk of shame, the thronging crowd is shown being populated in stages using computer imagery. 

While another shot shows the various layers needed to create the realistic facade of the House of Black and White. 

Game of Thrones is shot in studios in Belfast and Morocco as well as on location in Croatia, Iceland, Spain, Malta, Scotland and the US. 

The first season premiered in 2011 and the fifth season finished in June this year. 

Incredible insight into how the VFX for GOT are created

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‹ SLIDE ME ›

During the video, Arya Stark played by Maisie Williams (pictured) is shown standing on a ship's deck with a green screen behind her which morphs into the sky and sea. Move the slider to see the before and after shot

‹ SLIDE ME ›

During the episode in which Cersei is forced to make a walk of shame (pictured), the thronging crowd is shown being populated in stages using computer imagery

In addition to computer-generated worlds being designed from scratch, many of the scenes combine sets and locations with green screens.

For example, in one scene men are shown rowing on a real lake with small green screens positioned around it. 

These screens are used to add extra features such as bridges, and what appears to be a done-shaped church. 

In another, these select green screens are added to the sides and tops of buildings to make them appear larger and more grand than they are in real life.  

And throughout the video, virtual flying birds are added to the foreground and background of many scenes to make them look more realistic. 

‹ SLIDE ME ›

Game of Thrones is shot in studios in Belfast as well as on location in Morocco, Croatia, Iceland, Spain, Malta, Scotland and the US. However, many of worlds are designed from scratch (pictured) using 3D models

In addition to computer-generated worlds, other scenes combine sets and locations with green screens (pictured). Throughout the video, virtual flying birds are added to the foreground and background of many scenes to make them look more realistic

Green screens work using a technique known as chroma keying.

This involves isolating a specific colour in an image and using software to make it transparent. 

Luminance keying uses a similar process for isolating brightness values or black and white ranges. 

This means other images can be superimposed on the shot and seen through the relevant areas, but it also means that if a person is wearing something green, the background fills in that image too. 

During filming and editing, green colours are digitally removed and replaced with video footage to give the illusion of various scenes, locations and backgrounds. 

In theory any colour could be used, but green is the least like skin tone.

Read more: http://www.dailymail.co.uk/sciencetech/article-3163865/Bringing-fantasy-world-Game-Thrones-life-Video-reveals-scenes-secrets-s-visual-effects.html#ixzz4ZKqeUV5j
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http://www.dailymail.co.uk/sciencetech/article-3163865/Bringing-fantasy-world-Game-Thrones-life-Video-reveals-scenes-secrets-s-visual-effects.html