If you're new to working with chroma-keyed shots, understand that having a proper "green screen" setup, especially one with even lighting, is the best thing that you can do for professional-looking results (not to mention the fewest post-production fixes later).
Generally, these things are most critical:
Here's more information about these key points.
CHOOSING A PROPER BACKGROUND MATERIAL
Your choice of background material can either help you—or add considerably to your headaches.
Choose a background image color that isn't present in your actor/subject, unless you're trying for a special effect. For example, bright green is often chosen because it's a color that doesn't appear naturally on people, thereby minimizing the chance of chroma-key color conflicts. A blue screen could cause overrun of the chroma-keyed image if, for example, your human subject has blue eyes. On the other hand, if your primary image includes plant with bright green leaves, then a blue background might be a better choice. The color choice depends on your shot's needs.
The surface itself should be as smooth as possible and have a matte finish, rather than a glossy one.
A common choice for green screen use is a painted wall. If the surface has a flat luster and is smooth (such as wallboard instead of plaster, which can be uneven) then it could work well. If you want to create a painted background for regular use, there are paints available that are formulated for chroma-key background surfaces.
Many creators like to work with backgrounds made from foam fabric, which is light absorbent and eliminates reflections. Felt-type fabric can work too, although it can sometimes be tough to get it completely smooth and wrinkle-free (which is essential).
Paper backgrounds can work as long as the finish is matte, and not shiny in any way.
CREATING SMOOTH, EVEN LIGHTING
This is one of the most important areas for you to focus on. For the chroma-keying process to work smoothly, SlingStudio Console needs a background with color that is as even as possible—otherwise you might have to lose some portions of the background by trying to smooth out lighting imperfections. In the long run, it's much easier to spend some time getting the lighting right while you can ... not after the shooting is done.
Darker or lighter areas on the background surface can appear to SlingStudio Console as different colors (colors other than the one you've chosen as a chroma-key color). This can cause the chroma-key feature to refuse to apply the secondary image to these lighter or darker areas. You then have to do a lot of tweaking and adjusting to get a satisfactory image (and you may not entirely succeed).
It's much better to spend the time necessary to create an evenly and softly-lighted background. Many successful video creators employ as many as five or six lights when they're using a chroma-keyed shot:
IMPORTANT: While a number of lights are used, note that you don't want bright lighting—you want even lighting. Avoid overlighting the set; less light can be better than more light, as long as it's even. If possible, the background should be slightly darker than the actor/subject.
MINIMIZING PROBLEMS WITH YOUR SUBJECT
Look out for these potential problems when you're planning your shot, as well as when you're actually setting it up. It's much easier to fix these things during production than afterward:
CHOOSING THE SHOT'S ACTION CAREFULLY
This may seem obvious, but it's still something to bear in mind: If your subject/actor somehow manages to move outside of the green screen, the shot is likely ruined. This kind of error cannot be fixed.
So it pays to do a dry run ahead of time, planning out any movements (and limits to movement) to avoid this kind of problem.