How has this video been edited? The video begins with a monologue about love and heartbreak by an unseen narrator. this video has a lot of short clips that have all been edited to suite the song. this music video has no start or end, it starts with the same scene. Multiple scenes of Rhianna and her lover are inter-cut throughout the narration, depicting them in different love and hate situations with each other. The two are shown as completely enamored with each other while engaging in fun activities together, including going on rides in a fairground and eating in fast food restaurants. During the chorus, images of drugs, various pills and dilated pupils are shown, while brief scenes of Rhianna and her boyfriend preparing to engage in sexual intercourse and their various stages of undress are shown. The chorus continues and the video abruptly cuts to Rhianna and other people at an outdoor rave, dancing to music. Calvin Harris features as the DJ during this scene.
Sences from the music video
This scene shows another shot of Rhianna being projected against by a blank wall in a room, this looks professional and very effective when the audience is watching.
The close up on the eyes in this shot show the eyes diluting. This happens when people have too much of a certain drug so this could be the diluting of the eyes after having a certain drug.
This scene is a jackpot machine with losers bouncing around the screen. This could mean that Rhianna and her partner are only going to lose what they have and this love means nothing.
The colours of this cigarette are changing into rainbow colours. This close up could be the bright and colourful colours you see while you are 'high'
This is scene shows them together, this shot is a 360 arc; this emphasizes that they are drunk because when people are drunk the room starts spinning around
This shot shows Rhianna being projected against a blank wall in a corner which makes this shot very effective and professional
Welcome to the world of Blue Screen / Green Screen composting! Once the exclusive domain of Hollywood special effects artists, blue screen composting expanded to include video and computer imaging. There are many mysteries to the successful execution of a blue screen composite and considerable confusion as to what a blue screen composite is.
What is Blue Screen Imaging?
(First a note about terminology: when I first wrote this page in 1995, the common term in use was "blue screen" composting. Since then the vogue has shifted to calling it "green screen". The broader term from the days of film optical effects is "traveling matte composite", but that has fallen out of favor. For now, this page will mainly refer to the process as blue screen, but almost everything here applies to green screen effects too, except where noted.)
Creating a blue screen composite image starts by photographing a subject in front of an evenly lit, bright, pure blue (or green) background. The composting process, whether photo-chemical or digital, replaces all the blue in the picture with another image, known as the background plate.
Blue screen composites can be made optically for still photos or movies, with dedicated real time hardware for live video, and digitally using software to composite still and motion images. Until the the 1990s most blue screen composting for films was done optically, and all television composites were done using analog real time hardware.
In addition to blue, other colors can be used. While green has become the most common; sometimes red has been used for special purposes.
Another term for Blue Screen is Chroma-Key. Chroma-Key is a television process only. A more sophisticated television process is Ultimate; also the name of the company that manufactures Ultimate equipment. Ultimate has been the ultimate in video composting for 20 years. With an Ultimate unit it is possible to create composites that include smoke, transparent objects, different shades of blue, and shadows. Ultimate now makes software that works with other programs to create digital mattes, either as a standalone program, or as a filter for programs such as Photoshop and After Effects from Adobe.
How does Chroma Key work?
The Chroma Key process is based on the luminance key. In a luminance key, everything in the image over (or under) a set brightness level is "keyed" out and replaced by either another image, or a color from a color generator. (Think of a keyhole or a cookie-cutter.) For example, a title card with white on black titles is prepared and placed in front of a camera. The camera signal is fed into the keyer's foreground input. The background video is fed into the keyer. The level control knob on the keyer is adjusted to cause all the black on the title card to be replaced by the background video. The white letters now appear over the background image.
Luminance keying works great with titles, but not so great for making live action composites. When we want to key people over a background image, problems arise because people and their clothing have a wide range of luminance tones. Hair, shoes and shadow areas may be very dark, while eyes, skin highlights and shirt collars can approach 100% white. Those areas might key through along with the backdrop.
Chroma Key creates keys on just one color channel. Broadcast and high end consumer cameras cameras use three independent sensors, one for each primary color-- Red, Green and Blue. Many cameras can output these RGB signals separately from the composite video signal. So the original chroma key was probably created by feeding the blue channel of a camera into a luminance keyer. This works, sort of, but soon manufacturers created dedicated chromakeyer's that could accept all 3 colors, plus the background composite signal, and the foreground composite signal. This made it possible to select any color for the key and fine tune the selection of the color tint, chroma level and luminance level.
As keyer's became more sophisticated, with finer control of the transition between background and foreground, the effect became less obvious and jarring. Today's high-end keyer's can make a soft key that is essentially undetectable. Some of the best modern Special Effects Generator Switchers from Grass Valley Group, Sony, and others can create composites rivaling the performance of a dedicated Ultimate unit. (Though they are not as good at removing blue spill, working through water or fabric, etc.)
Why Blue? Can't other colors be used?
Red, green and blue channels have all been used, but blue has been favored for several reasons. Blue is the complementary color to flesh tone--since the most common color in most scenes is flesh tone, the opposite color is the logical choice to avoid conflicts. Historically, cameras and film have been most sensitive to blue light, although this is less true today.
Green has its own advantages, beyond the obvious one of greater flexibility in matting with blue foreground objects. Green paint has greater reflectance than blue paint, which can make matting easier. Also, video cameras are usually most sensitive in the green channel, and often have the least noise in that channel. A disadvantage is that green spill is almost always objectionable and obvious even in small amounts, while blue can sometimes slip by unnoticed.
Sometimes (usually) the background color reflects onto the foreground talent creating a slight blue tinge around the edges. This is known as blue spill. It doesn't look nearly as bad as green spill, which one would get from green.
Traditionally, a single camera was used as the Chroma Key camera. This creates a problem on three camera sets; the other cameras can see the blue screen. The screen must be integrated into the set design, and it is easier to design around a bright sky blue than an intense green or red. However, modern Special Effects Generators (Usually just called "Switchers" in the US, more accurately called "Vision Mixers" in the UK and elsewhere) can accommodate multiple camera sources, whether as RGB analog, or SDI video, inputs.
Useful Tips
If you are going to step into the world of Chroma Keying, you need a few things first.
You need foreground footage, for starters. Foreground footage is your subject, and your color screen. You also need background footage, which is the scenery that is going to be replacing the color screen.
The color screen needs to be evenly lit so that it is the exact color all the way across. Shadows caused by poor lighting can wreak havoc on the Chroma Key process. Also, be aware of your foreground subject lighting. It is important to have two separate sets of lights, and to have the subject far enough away from the screen that the foreground lighting will not interfere with the screen lighting in the back.
Once the subject has been properly lit and the background color successfully keyed, it is time to add the new background scene.
When these two are placed together, your actor is suddenly transported from a large blue screen to anywhere you want the only limits are your imagination, and of course, what kind of film you can get your hands on.
This is a video all about chroma key!
Get Loose music video- Green Screen BEFORE and AFTER
