Mixed Reality

A Preparation Manual for Mixed Reality Shoots

How do you plan & execute an amazing Mixed Reality shoot? Here our expert gives some of the most practical and useful tips from his extensive experience.

Mixed reality shoot is often confused with the very popularly known chroma or green screen shoot.

These days, we all are exposed to how the fantastical backgrounds in big blockbuster movies look underwhelming on set. But with green screen (and major help from visual effects artists and compositors), filmmakers are creating worlds with an unbelievable sense of authenticity.

The technique behind the green screen actually dates back to the early 1900s. The blue screen was more popular at first because it worked better with celluloid film. Green screen is more common and practical now with the rise of digital filmmaking. And you, dear filmmaker, can take advantage of its increasing accessibility.


Green screen is a visual effects (VFX) technique where two images or video streams are layered—i.e. composited—together. Think about behind-the-scenes clips or bloopers reels from Hollywood movies. It’s hard to miss the sheer amount of green you see on set.

The green screen basically lets you drop in whatever background images you want behind the actors and/or foreground. It’s used in film production (and also in news and weather reports) to relatively simply place the desired background behind the subject/actor/presenter. When a background isn’t available—like a fictional, alien, historic, futuristic or even just hard-to-access location—green screen comes to the rescue!



Picture from our MR shoot for Bigg Boss 3 (Telugu)


The answer lies in storytelling. One major difference is the purpose. A chroma or a green screen shoot is mostly performed for a narrative which is controlled by a director’s vision and the script. Following the shoot, a VFX team works on it and the final output is delivered. However, objects and subjects shot for the purpose of Mixed reality are controlled by its user. Hence, it is very important to determine the user behaviour and most importantly to steer the narrative smartly. This allows the user to control the outcome within the narrative.

After the footage is shot, the compositors take over:

  1. The new background is composited (i.e. two images or video streams are layered together) into the shot.
  2. The chroma key singles out the selected colour (usually the green) and digitally removes it by rendering it transparent. This lets the other image to show through.
  3. When used with more sophisticated 3D techniques, this process can add any new element (smoke, fire, rain, etc.) into complex moving shots.

Zee Ertiga Mixed RealityExperience at our Mixed Reality booth (For: Zee Theatre) 


The technique is pretty much similar to any green screen or chroma shoot. However, the following points make all the difference:

  1. What would be the proportion of the object/ subject being shot when placed in the real environment?
  2. Who or what will accompany the object and/or the subject shot?
  3. Where is the output being delivered (device)?
  4. What would be the screen resolution?
  5. Will there be occlusion used in the final experience?

KRL6-0Audience interacting with Mixed Reality avatar of Nagarjuna (For: Bigg Boss 3, Telugu)


  1. Always shoot with the appropriate camera height.
  2. Make sure a VFX supervisor is present physically or available remotely.
  3. The camera feed matches the camera feed on the software being used to deliver the final scene for the user experience
  4. Make sure you have an HD Camera and windows laptop handy with a TeamViewer or any similar remote-desktop application installed in the same.
  5. Make sure the green used on the floor and backdrop is ironed and tight on the edges. Avoid wrinkles and patches.
  6. Make sure the subject/ object to be shot is not clad in anything that is in the colour green or belongs to the green colour family. All other colours are welcome.
  7. Glitter and mirror work on the costume is also discouraged.
  8. Sound is recorded and noted separately.
  9. Most importantly, only shoot in the supervision of a Mixed Reality director and a DOP who understands lighting.
We are happy to provide you with assistance remotely





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