Goodbye green screen: Framer’s new 'infinite' video sets

Quick Overview

The video documents the process of setting up a new virtual video studio for Framer Academy, moving from a temporary setup using a green screen to a custom-designed space featuring a large Ambient Light Rejection (ALR) projector screen to eliminate the need for green screen keying and achieve a more professional, brand-aligned look.

Key Points: The team relocated to a new office suite (24.5/260) in Southern California to establish the Framer Academy video studio. The initial challenge involved transitioning away from the cumbersome green screen setup, which required extensive post-production work like keying and color matching. The new setup centers around a 120-inch ALR projector screen with a sawtooth pattern designed to reject ambient light and maximize image contrast. The team installed sound dampening using moving blankets temporarily to control reflections and reverb in the otherwise echoey office space. The setup utilizes an Amaran T4c RGB light bar and an Amaran 300c light as key lighting, allowing for precise color control and synchronization with the projected background. The primary goal of the new setup is to achieve a cohesive, branded look where the virtual background appears to be physically present in the same space as the presenter, without the artifacts associated with green screen work.

Context: The video details the physical setup and rationale behind creating a new, dedicated virtual production studio for Framer Academy, which is moving away from traditional green screen techniques. The creators, including Joseph and Justin, are meticulously constructing the space to look more professional, flexible, and aligned with the Framer brand aesthetic, focusing on replacing the green screen workflow with a projection-based solution.

Detailed Analysis

The video chronicles the transition from an older, less efficient video production setup to a new, dedicated virtual studio for Framer Academy, located in Southern California. Initially, the team struggled with a workflow that relied on green screens, which caused downstream headaches regarding keying, lighting, and exporting massive files for After Effects. The solution involved building a space centered around a 120-inch Ambient Light Rejection (ALR) projector screen. This screen features a sawtooth pattern that rejects light from the top and bottom, meaning light spilling from the projector or other room sources is rejected, while the projected image remains sharp and accurate. To control the room's natural reverb, which is exacerbated by hard surfaces like walls and windows, the team temporarily covered walls with moving blankets for sound dampening. The lighting setup includes two Amaran T4c RGB light bars and an Amaran 300c light, providing full RGB control to perfectly match the color temperature and look of the projected background. The presenter demonstrates the flexibility of this system by switching between a bright, airy daytime background and a darker, moodier nighttime background, emphasizing that the projection system handles the environment lighting rather than relying on post-production keying. The key takeaway is achieving a highly controllable, immersive, and brand-consistent look without the limitations of traditional chroma key setups.