HVX-200 for chromakey ?

L

Lente Loco Studios

Active member
has anyone done some chromakey with HVX-200 I would like to see some samples
was it hard to pull off?
how is the final product?
is this tha camera to buy for this type of work?
thank you
 
I'm planning to do it next week. Doing it in dvcpro50 and correct lighting, this camera is the camera to do this.
 
I chroma-keyed on our stations green screen in 720p. Then dropped it into Canopus Edius and applied a chroma-key effect. I used another 720p shot as the background. The composite required no adjustment.

One word...stunning.

Our post production technical director said the final effect was equal or better than our Big Sony camera going thru our Very Big Grass Valley switcher. Of couse his is real time...and I had to do a quick render of the 20 second clip.:love4:

Still, you should be very pleased with the final results if properly lit.

jim

ps. I wish I had time to post a clip...very busy these days.
 
How are you guys planning to match the grain signature of the HVX footage if the composite is not both HVX footage? Does the match grain in Shake react well to this kind of grain look or does it look for film grain?
 
the hvx should be cool for chroma keying, barry posted some nice grabs. there is some question as to whether the hvx delivers true 422 in hd, but in dvcpro50 even the naysayers admit the 422 is legit. i'd be interested in a chroma key off between the hvx and the jvc hd100 through its component outs in 422.
 
My new HVX just slid through the door this morning.

I haven't the chance to put it through the paces, since my dealer was out of P2 cards. But no big deal, as I was planning to go into green screen testing right away.

So here's the question:

What green paint should I get (flat latex obviously)?

More specifically, what shade of green? Greener the better, ofcourse, but....

Will a lighter shade of green work? Seems to me that a lighter shade needs less light... (I'm using fluorescent tubes daylight).

Or shall I stick to green that's in the 50% grey in value, and crank up the lights.

I've read up a lot of green screen tutorials, but there wasn't too much discussion on what shade of green works best.

Thanks
 
stabwound said:
What green paint should I get (flat latex obviously)? I've read up a lot of green screen tutorials, but there wasn't too much discussion on what shade of green works best.
Click to expand...

Okay, the best paint in the world is from these guys;

http://www.digitalgreenscreen.com/prodindex.html

Expensive, but much better than the Rosco paints. Why? It's designed to provide the best green-blue-red separation when lighting it to the same level as your main subject key. This is very important when working with wide shots where you need to have your subject touching or standing on the screen surface.

If you don't have to have screen-subject interaction, then you can use every trick in the book to get a better green such as lighting the screen with green fluorescents and keeping the screen as far away from the subject as possible to minimize green light bouncing from the screen (called spill).

Regards,

Jim Arthurs
 
Thanks for answering, Jim.

I'm afraid the expensive pro paints are out of the question.

The HVX purchase was quite draining for me... and I've still got stuff on the shopping list (mics etc) to deal with.

I'll test the home hardware stuff and see how it works out. It wil be of interest to "no budget" indie types like me.
 
stabwound said:
Thanks for answering, Jim.

I'm afraid the expensive pro paints are out of the question.

The HVX purchase was quite draining for me... and I've still got stuff on the shopping list (mics etc) to deal with.

I'll test the home hardware stuff and see how it works out. It wil be of interest to "no budget" indie types like me.
Click to expand...

Personally I think it's worth it for real paint considering every millisecond of every shot has that background in it.

If that doesn't make sense to you then you should try to find some digital greenscreen fabric and see if your hardware store can match it. Use MATTE paint - you don't want reflections and hotspots.
 
Elvis:

Yah... exactly what I'm after! Great link.

Joelnet: I concur it's best to get the real thing (paint). If I was doing a paying gig I'd pop for the whole shebang... then you'd want the least headaches with unexpected glitches.

However, if the elcheapo method works just as good (or almost), then I'd much rather put the dough on something I can't scrimp on like good mics.

Thanks for the tip on matte paint.
 
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