Chromakey: 1080/60i or 1080/30p?

yeah but 30p will give you an odd look- not video nor filmic in my opinion. 24p is the ideal format for compositing, it can be easily output to 60i after you're done with the comps too. And you save 20% rendering time 30 frames - 6 = 24 frames.

Noah
 
you can do what ever you want with it after the key, but keying interlaced source material is just not a good idea...
 
Thanks guys. It's pretty much what I'd suspected.

Obviously though, 60i video keying has been done for many years, particularly on news and sports TV shows, which are often live. I'd be interested in hearing some insights on that, particularly the live aspect.

Otherwise my immediate interest is in shooting chromakey for a client using an HVX200A with FCS2 and either After Effects or Shake. It'll be mainly talking head(s), and likely destined for lo-rez web streaming. I plan to use 1080/24pa for acquisition (thanks for the tip on that), against a green fabric 10x12' Westcott chromakey backdrop hung on a dedicated support frame. I've got two 3200K Kino 4x4s and a variety of Lowels: 3 Pro lights, an Omni, a Tota and a Rifa 88 softbox.

I had planned to use the Kinos to light the greenscreen, possibly augmented by one or more of the Lowels to even it out, and the Rifa, Omni and Pro(s) for the subject(s). Not likely more than two subjects I think...

I know I must separate the talent from the screen and the camera from the talent (and zoom in), and light the screen well and very evenly, and the talent well and separately.

Any additional insights on all of this will be much appreciated!
 
Yeah it's been done if you're talking about the weatherman but surely you're aiming for better quality than that. I'd suggest a test for yourself and you can see why keying a solid progressive edge is a lot easier than the inconsistent jagged edge you get from interlaced material.

Noah
 
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