Shooting Blue/Green screens with RED

[Red Follower]

I was wondering, how much does the high quality (2K/4K Raw) filming effect the chroma key of the blue and green screen colours? Or is there no difference? If there is, are there any lighting setups one has to use to get the right colour on the footage?

**not sure if the high quality capturing ability of the camera overexposes the colour of the blue/green screens**

Thanks

[Red Follower]

Any ideas on this matter? :umm:

[Simon Blackledge]

I've keyed some posted GS shots at 4k that I would only be happy with if the delivery was 1080..

[Graeme Nattress]

Green should be better than blue.

I saw a key today that a customer had emailed - one click in Shake and was the most bloody awesome key (on hair too) that I've seen.

I think it all goes back to the fact that the key to a good key is lighting.

Graeme

[Kevin Halverson]

For anyone who has had the opportunity to work on a proper, pre-lite cyc can certainly attest to the fact that, its all about the lighting! Having had the opportunity to work on a few, I can confirm that it makes the task so much easier when all you have to do is light the talent and not have to worry about much else.

[sbroock]

About to blow your minds.

Graeme -- I'm pretty sure we are talking about what I think we are talking about. And yeah. It is staggering.

The RED is unbelievable at pulling keys.

Wait.

No.

That just doesn't do it justice.

It is like nothing you've seen.

Getting ready to start a new thread with a hint of the info we are about to share from an amazing day of shooting with #39.

Impacting in a few.

:)

[Thom Steinhoff]

Green should be better than blue.

Graeme,

This thread got me thinking... Red will great greenscreen, I'm sure, but, if you knew this next shot was going to be greenscreen (a camera setting) and had extra bandwidth (only shooting at 24 fps vs 30) is there anything you could do to the green channel to make the key even more accurate?

Say, by putting it in "greenscreen mode" there is far less compression on the green channel than normal? Or if you knew the green channel would be used to pull a key, would you use different algorithms to compress it?

If you had full compression on the other channels and zero compression on green would you get a far superior key? What about half the level of compression?

This came up before, and you wrote about taking one step out of the debayering process and you were going to add a checkbox (though I forgot what the particular step was)--is that still the case?

Just a thought. Can't wait to see the latest keys as they sound amazing, but you know the redcode "secret sauce"--could it pull an even better key with less compression on the green chanel?

[Robert Berger]

Last week I have been shooting greenscreen with red 0044.
I worked like i used to do with film.
320 asa and a half stop over for the greenscreen.

used the gamma 709 en imported to fc and used colour and and at the studio they made a amazing compositing with the material.

I used mine 85 and 135 mm arriflex lenzen.

With this test shots and the outside shots i confirm that the RED ONE is a 320 asa camera.

I realy love this camera!! Nothing extra is needed!!

with kind regards
Robert

[Red Follower]

Wow great response! thanks guys. So basically, for those who've tested RED with a green or blue screen, green works better than blue? what about when it comes to red objects ... how does that compare with either blue or green screen with a RED camera?


I know that on film, it is better to use blue screens when you have bright red objects in front, but in RED's case, green being the best colour, how does it affect red objects infront of the screen?

Thanks

[sbroock]

We actually shot a woman on Friday in a maroon/red dress. Will let you know the results.

Be sure to check out the sample I just posted in a new thread describing our big day at Kerner Optical in SF. Absolutely insane.

http://www.reduser.net/forum/showpost.php?p=97990&postcount=1

[Red Follower]

Great! thanks alot sbroock! will keep checking ...