Why Rough Backgrounds Work: Chroma Key Tips for Creating Cinematic Scenes on a Budget

A Quick Refresher on Chroma Key Filmmaking

If you’ve read my previous articles, you might be thinking, “Here we go again.” Yes, we’re talking once more about combining green screen shooting with chroma key compositing to make films.

To recap: this technique allows you to shoot actors and backgrounds separately, then combine them to create the illusion that the actors are performing in a real location.

People often ask, “Why go through all that trouble? Why not just shoot on location?” It’s true that filming on-site captures both actors and backgrounds simultaneously, and it seems easier.

Most films do exactly that—secure permits, gather cast and crew, and shoot on location.

But the biggest problem with this traditional approach is cost.

On a full day of location shooting, how many usable shots do you think you’ll get? Maybe 20–30. If the scenes are complex, you might only get 10.

Let’s say you want to shoot in a scenic rural area. Even with a small team, transportation, meals, and lodging can easily cost ¥100,000 (about $700). That’s ¥10,000 per shot. Multiply that by the hundreds of shots needed for a feature film, and even a modest indie project can cost millions of yen.

And that’s without paying anyone. If you include standard wages, even a “low-budget” film can easily cost tens of millions.

For DIY filmmakers like us, that’s simply not feasible. And even if you can afford it, spending more doesn’t guarantee better quality.

From an audience’s perspective, they might wonder:

• “Did this scene really need such an expensive shoot?”
• “Couldn’t they have just filmed in a local park?”

That’s why I recommend using green screen and chroma key compositing.

With this method, one person can shoot background footage on location, while the actor’s scenes are filmed elsewhere—even at home. No travel required. You can create a variety of scenes without leaving the house.

For the kinds of films I make, this approach cuts production costs to one-third or even one-fifth. Yes, compositing adds some post-production work, but it’s minimal compared to shooting costs. Plus, it gives you flexibility with framing and background changes—ideal for visually driven projects.

Why Your Backgrounds Don’t Need to Be Perfect

Over time, I’ve learned that background footage doesn’t need to be flawless. Here’s why:

1. Backgrounds Are Often Out of Focus

It’s standard practice to open a scene with a wide shot that establishes the setting. This part should be solid.

But for dialogue scenes—especially bust shots or close-ups—the background is usually blurred to highlight the actor. As long as the composite doesn’t look unnatural, even roughly shot photos can work just fine.

2. Viewers Fill in Spatial Layouts with Imagination

Let’s say you’re filming at a shrine. You get great background shots of the main building and guardian statues. But when you turn the camera around to shoot the actor’s reverse angle, you might end up with a view of nearby houses—breaking the illusion.

In that case, don’t overthink it. Just lie a little.

If there’s a forest on the opposite side, shoot that and use it as the reverse background. Technically, it’s inaccurate—but viewers won’t notice. Their brains will construct the idea of a shrine surrounded by forest, regardless of the actual layout.

3. AI Tools Let You Modify Backgrounds Later

Sometimes you plan to shoot at a familiar location, only to find unexpected elements that clash with your vision.

For example, I recently visited a historic house in a nearby park to shoot backgrounds for my new comedy Ghost of the Dinosaur. The house doubles as a museum, so the entrance had display cases and the walls were covered in photos. Even the hearth was fenced off.

In the past, I might’ve thought, “This won’t work.” But now we have AI tools.

I use Adobe Photoshop, which now includes AI features. You can select unwanted objects—like a display case—and the software will intelligently fill in the background, making it look like the object was never there.

So don’t worry if something unwanted sneaks into your shot. Prioritize composition and shoot anyway.

Tips for Easier Compositing

During that same shoot, I thought, “This would look better as a tatami room, not a wooden floor.” If you want a tatami look, you can achieve it through compositing.

Just shoot extra photos of tatami mats from angles that match your scene. With careful editing in Photoshop, you can create a convincing tatami room.

Don’t Be a Slave to Your Storyboards

Background shoots are usually based on pre-drawn storyboards. But don’t get too attached.

Live-action isn’t animation—you’ll never match the storyboard perfectly. And storyboards are just rough ideas, not sacred blueprints.

At the shoot, you’ll notice differences between reality and your sketches. That’s okay. Be flexible and adapt to what’s actually possible.

As production progresses, you’ll likely realize that obsessing over storyboard details was unnecessary. As long as the core idea stays intact, your film will reflect your vision.

In short: don’t stress about making your background footage perfect. With smart planning, compositing, and a little help from AI, you can create cinematic scenes on a budget.

Hope this was helpful.