FS7: Green Screen Workflow

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PMP1115

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I did a quick search before posting my question, but wanted to ask FS7 users specifically their Green Screen Workflows. I'm shooting a talking head, medium shot, with 70-200 Canon EF, internally to the XQD Cards using XAVCHD, 1080p30.

Should I shoot SLOG-3, grade and then key? Or just burn a look profile l MLUT in? And if I choose to bake one in, which one do you recommend?

This isn't a very long interview, maybe 2-3 minutes with a handful of cuts. Any feedback would be appreciated.
 
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IF you are controlling the light, I would not use CineEI. I would use a Hypergamma or a custom paint setting, I would even be OK shooting the one I posted in the butterfly shot post today.
http://www.dvxuser.com/V6/showthrea...ike-it&p=1986554276&viewfull=1#post1986554276

But I would do some tests first. The biggest thing in green/blue screen shoots is the lighting. Both matching your background and controlling spill will make your job easy.

If you have Doug's Field guide and/or his videos on the FS7 use one of his profiles. They are great as is and can also be customized to your own liking. Custom mode is a great way to shoot, better than burning in LUTs as Doug states.

Here is a link to Doug Jensen's Videos and field guide.
http://www.vortexmedia.com
 
Thanks. I was kind of in a jam and ended up just going SLOG3, CineEI and actually going UltraHD 30p. Going back and forth between 50% and 100% crop finishing in 1080 worked really well.

I do need to figure out a workflow though with applying LUTS. I ended up using catalyst browse to create a base 709 look. I then further tweaked the color using the new lumetri panel in Premiere, but when I used dynamic link to send my sequence to after effects to use Keylight, none of those color changes came along.

In after effects, I then applied the LUT using "Apply Color LUT", then applying key light, then using curves to manipulate further. Then I went back and forth scaling the source footage from 50% and 100% crop at the edit points to avoid the jump cuts.

Rendered out to Pro Res 422 and imported back into Premiere. Still need to iron out this workflow, but I also am excited to use the morph tool and see how i can make it work for me on green screen shoots, and how to get them into AE, etc. Right now its a looking like a lot of trial and error to figure it out.
 
When I was talking with Alistair Chapman he recommended using Custom Matrix mode and a standard gamma (or hypergamma) for green screen work.

Put simply, it gives more information in the codec to the green channel that you eventually key out. SLOG is all about getting the maximum dynamic range and so assigns less information to each channel.
 
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