MattDavis
Well-known member
I'm in the post stage of my first C100 shoot which includes ext GVs and most importantly int chromakey interviews.
I shot the chromakey interviews with both the internal C100 codec and an external recorder - the PIX220, with ProRes HQ 422. Prior to the shoot, I did tests at home with both the internal keyer of FCPX and Primatte in Adobe After Effects.
My Sony PMW-EX1 could generate great results for use in FCP7 with DVmatte Pro from DV Garage. This was a 'hybrid keyer' which used some clever tricks to make a clean key from 4:2:0 footage. When DV Garage played with their competition from FCPX and Motion, they decided to stop work on their software - I was very upset as I got better results from DVmatte Pro than I did the horrid keyer in FCPX.
However, I have to say that I've come to respect it. It does work on 4:2:0, but only on very well lit and exposed footage, when you've dialled back all the automatic stuff.
KeyLight in AE is very, very good and will pull a key from 4:2:0 footage though it prefers better. It will take longer, it will require more steps in your workflow, but you will get better results.
If at all possible, record your chromakey on a 4:2:2 codec albeit at 8 bit. You will gain 10-20% better results than the internal codec with far fewer issues. However, you can - if you are very very careful - achieve great results with the internal codec.
I've found that the C100 straddles my EX1 - an external recorder makes things easier and captures more detail in things that move, but otherwise matches the 4:2:0 footage and its resolution helps (the FS100 has less resolution and generates poorer results).
The bottom line is the quality of your keyer. That will define the quality more than the recording format of your footage if using the C100, thanks to different keyer's ways of making the key. That may mean a more complex workflow.
I shot the chromakey interviews with both the internal C100 codec and an external recorder - the PIX220, with ProRes HQ 422. Prior to the shoot, I did tests at home with both the internal keyer of FCPX and Primatte in Adobe After Effects.
My Sony PMW-EX1 could generate great results for use in FCP7 with DVmatte Pro from DV Garage. This was a 'hybrid keyer' which used some clever tricks to make a clean key from 4:2:0 footage. When DV Garage played with their competition from FCPX and Motion, they decided to stop work on their software - I was very upset as I got better results from DVmatte Pro than I did the horrid keyer in FCPX.
However, I have to say that I've come to respect it. It does work on 4:2:0, but only on very well lit and exposed footage, when you've dialled back all the automatic stuff.
KeyLight in AE is very, very good and will pull a key from 4:2:0 footage though it prefers better. It will take longer, it will require more steps in your workflow, but you will get better results.
If at all possible, record your chromakey on a 4:2:2 codec albeit at 8 bit. You will gain 10-20% better results than the internal codec with far fewer issues. However, you can - if you are very very careful - achieve great results with the internal codec.
I've found that the C100 straddles my EX1 - an external recorder makes things easier and captures more detail in things that move, but otherwise matches the 4:2:0 footage and its resolution helps (the FS100 has less resolution and generates poorer results).
The bottom line is the quality of your keyer. That will define the quality more than the recording format of your footage if using the C100, thanks to different keyer's ways of making the key. That may mean a more complex workflow.