GREEN SCREEN w/ Anamorphic 16:9 24pA

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I'd like to get some advice about trying to shoot a performance subject on green screen background with DVX100 in 16:9 anamorphic, using the 24p advanced setting.

I want to edit in FCP4 and go out to 35mm film eventually.

I've been reading that the miniDV compressed image makes it difficult to get a good looking green screen image. I'm planning a shoot next week, but if it's going to end up looking less than great, I'd just as soon use a black or white background and double expose imagery over the performer (a single musician).

Any help from experienced users would be greatly welcomed. Thanks.
 
Re: GREEN SCREEN w/ Anamorphic 16:9 24pA

Thanks for all the cool replies. ::)
 
Re: GREEN SCREEN w/ Anamorphic 16:9 24pA

It is true, DV footage does present some difficulties when green screening, however nothing a good keying program can't overcome. Your best bet is to try some test footage infront of the same green screen you will be using, with the same lighting and bring it into FCP and see how good it will key. Try different gamma/Matrix settings on your camera as that will alter your results. The best advice, light your screen evenly and your subject, subjectively :) and you will have good results.
 
Re: GREEN SCREEN w/ Anamorphic 16:9 24pA

[quote author=Dan Chapman link=board=Events;num=1088371874;start=0#0 date=06/27/04 at 14:31:03]I'd like to get some advice about trying to shoot a performance subject on green screen background with DVX100 in 16:9 anamorphic, using the 24p advanced setting.  

I want to edit in FCP4 and go out to 35mm film eventually.

I've been reading that the miniDV compressed image makes it difficult to get a good looking green screen image.  I'm planning a shoot next week, but if it's going to end up looking less than great, I'd just as soon use a black or white background and double expose imagery over the performer (a single musician).

Any help from experienced users would be greatly welcomed.  Thanks.[/quote]

Final Cut Pro right now is the only editor that has a tool specifically designed to do compositing with the DV25 codec inside of a standard editor. You can do it from an add on package like Combustion also if you are not on FCP 4.5.

The Pro50 codec was designed to handle green screen a lot better, so if you are shooting a green screen project you may want to rent a pro50 camera, or even splurge on a pro100 package for HD. If you are stuck in the DVX100 range for budgets, then right now FCP is the best solution for green screening out of the box.
 
Re: GREEN SCREEN w/ Anamorphic 16:9 24pA

HI there,
I would do a complete test if I were you.
DV and DVCam formats have high compression ratios wich introduce artifacts that make it difficult to make clean mattes. Also, spill from blue/green screen make it even more difficult. If that is your option, use procomp filters to minimize spill and do not forget to make a full test.
Cheers,
Pedro
 
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