EMART Retractable Green Screen 75 x 79 Inch Collapsible Pull Down Chromakey
EMART gear: photography backdrop stands, background support, lighting and the small metal.
Chroma Key Panel Auto-Locking and Self-Rewinding Wrinkle-Resistant Photography Backdrop for Zoom, Streaming, Photo Studio
4.7 235 reviews
$13599
Currently unavailable
We keep our Retractable Green Screen 75 x 79 Inch Collapsible Pull Down Chromakey in the range because most shoots need one dependable frame, not five clever ones.
The build includes a collapsible frame, a retractable crossbar and a wrinkle-resistant weave. Specifications here are read straight off our own listing — no rounding, no best case.
Key features
- Clean Chroma Key Screen. Wrinkle resistant green screen optimized for camera chroma keying, make the subject have clear and natural edges
- Pop Up Innovation. Pull down the green screen and Auto-locking Design can lock the height to the place that you want
- Ultra Quick Set Up. Green screen build a studio in a few seconds, truly immersive broadcasting
- Save Your Space. Push the screen back down into the hard case and stash out of sight, easy to transport
- Dimensions. 75“(wide) x 79”(high)
Specification
| Reviews on the listing | 235 |
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Where it sits in the range
Chroma key panels, collapsible screens, washable polyester backdrops and tulle curtain sets from EMART — the fabric half of the set, cut to the span of our photography backdrop stands.
The job it does
A green screen is a background built to be thrown away in the edit, which puts all of the quality into the surface: matte, even and flat across everything the lens sees. Ours serve streaming desks, recorded interviews and product photography, and they hang from the same crossbar as every other backdrop we make.
Matching it to a photography backdrop stand
Work out the size from the room rather than from the catalogue. Measure the wall you shoot against, take a foot off each end for the legs, and what is left is the span a frame opens to and can honestly accommodate. Height is the figure people change their mind about later: seven feet suits a seated subject, while a standing full-length shot wants the frame fully expanded so the top edge of a seamless white, muslin, black or green surface stays out of shot. Space behind the subject matters as much as space across it — stood directly against the surface, anybody picks up its texture. In a small room, give yourself a little extra at the back so an additional panel or a prop can go in without everything having to move. As a general rule, choosing one size up costs less than choosing one size down.
Getting it standing
Setup, in order: extend each telescopic section, lock the adjustable collar, then square the base. The mounting fitting is standard, so heads and clamps from other stands assemble onto it without an adaptor, and it all happens quickly with two hands. A wide base is what keeps the support system stable when somebody walks behind the subject. Position two legs under the load, keep the third foot clear of the walkway, and hang anything heavy low rather than at full height.
Hanging it and holding it steady
Clamp the corners first and even out the middle afterwards — the top edge is the part that shows. Hooks along the crossbar keep the hang even, a spring clamp secures anything that moves, and one spare clamp per kit saves needing an improvised fix on a tripod or a light tube.
Travel, bag and care
It packs into the carry bag it arrives in — a portable, collapsible package small enough to live in a car boot between shoots, which is the only way gear gets used weekly. Material and durability are the same question here. Aluminum alloy is the light choice and steel the enhanced one, and the quality of a design shows in whether a section still locks after a year. Professional gear is rarely powerful; it is excellent at being predictable, which is practicality rather than polish. Care takes a minute: sections wiped, clamps back in the bag, the whole thing kept upright in a corner. A wrinkle in a surface is a storage problem rather than a fabric problem.
