• Apple Final Cut Pro Legacy

  dv chromakey workflow

  Posted by Ken Pugh on December 7, 2006 at 3:26 pm

  I have just puchased an AJA LA and have the following scenario, can anyone comment on whether this seems a reasonable workflow?

  I need to chromakey a person and I have the following gear:

  Camera DSR 570
  FCP 5.1 on a dual G4 125
  DSR 11
  Beta SP
  DVCPRO 450 (but being serviced)
  AJA IO LA

  My documentary was all shot DVCAM and edited with the DV25 PAL codec (F/W IO) prior to purchasing the AJA.

  My plan was to record with the DSR 570, then go out of the DSR 11 Y/C into the AJA then to SD 10 bit.

  Do the key in After Effects

  Then render to the DV codec for inclusion into the documentary (shame FCP can’t handle multiple codecs)

  Master to tape using F/W direct to the DSR 11

  In future, when the Panasonic deck returns I’m planning to shoot DVCAM then go out of the DVCPRO deck component into the DV50 codec using FCP. Then master DV50 component back to the Panasonic deck. Is this better than keeping a DV25 workflow IO using the DSR11?

  PS Sadly the DVCPRO deck does not have F/W

  Many thanks,

  Ken.

  Nate replied 19 years, 5 months ago 3 Members · 2 Replies
• 2 Replies

• 

  Mark Raudonis

  December 7, 2006 at 4:28 pm

  Ken,

  No matter how you get in an out of FCP, if you’re originating on DV, getting a good chroma key can be a challenge. Using your AJA to come in at 10 bit will NOT help out all that much.

  You’re aquiring on DV, and that’s where most of the information detail is lost. If you could aquire on DVCPRO 50, you’d have a much better go at it.
  Putting this info in a DVCPRO 50 timeline will help some, but it won’t make up for the information that was never recorded.

  Do a search on this board for “Chroma keying DV”. There has been TONS of stuff written about it. There are also great whitepapers and tutorials about this all over the net. Do your homework and you’ll find suggestions and solutions to help you out. This isn’t just a “one-click” solution. It involves the aquisition format, the camera, your lighting, your finishing codec, and the software used to cut the key. For example, we use “Ultimatte’s Advantage” to do our keying in After Effects. It’s a great plug in ,but it’s expensive.

  Good luck.

  Mark
• 

  Nate

  December 7, 2006 at 4:42 pm

  When Chromakey comes up here as a subject. You ussually have someone suggest Graem Nattress plug in filters… He is supposed to have a great DV Chromakey filter, that is affordable… I do Betacam SP myself, so I have never needed it. Let us know your results.

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