4:2:2 on HDMI output?

[Shane Ross]

[clyde villegas] “Do you get full HD with 4:2:2 color subsampling out of the HDMI port of the 5D?”

Yes. But only when you aren’t recording, but it only sends out the LCD signal…so you get the info you see, or if you turn all that off, you get the grey bars on the top and bottom. Useless, basically.

[clyde villegas] ” I’ve read somewhere that you won’t. “

When you press RECORD on the camera, the signal becomes SD.

[clyde villegas] “However, there may be some new updates from Canon allowing the camera to do that. “

Not yet.

[clyde villegas] “How about the 7D?”

It’s the same for all the CANON models…5D, 7D, T2i, 1D….

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Clyde Villegas]

Thanks a lot, Shane.

If you can’t get 4:2:2 from a Canon DSLR, can you use it for chroma-keying jobs as good as footages shot from a 4:2:2 HVX200?

ut in omnibus glorificetur Deus

[Shane Ross]

[clyde villegas] ” can you use it for chroma-keying jobs as good as footages shot from a 4:2:2 HVX200?”

I haven’t tried it…so no clue. Because of the 4:2:0…I don’t think it’ll be as clean as DVCPRO HD 4:2:2. But that’s just saying…

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Michael Locke]

Greetings all; actually, the latest firmware for the 7D outputs 1080i even when recording, BUT still has the red record dot showing and was never intended as a recordable signal. https://cheesycam.com/canon-60d-vs-7d-hdmi-output-resolution-test/ It’s just better resolution for external monitors while shooting. The dream of “raw” HDMI…ML

[Pete Burger]

It’s definitly not as good as 4:2:2 footage, but it works pretty well. Key (no pun intended) for any kind of chroma-keying work is an evenly, well lit green- or bluescreen. Footage itself IMHO is secondary. You can achieve good results even with DV footage.
With the shallow DOF of your DSLR and a fast lens you can bring your background out of focus and that will help pretty much with keying.
Did a lot of greenscreen work for a shortfilm, that was shot on a 5DMkII recently. Had no problems at all with After Effects and Keylight.

[Clyde Villegas]

I think I’ve read somewhere, also here at the Cow, that you should not blur your background. I’m not sure if I understood that correctly…

ut in omnibus glorificetur Deus

[Pete Burger]

I wouldn’t claim to be a greenscreen-expert, but I did quite a lot of keying the last couple of years, and in my experience, it’s a lot easier, the softer/blurrier the background is.

The hardest footage to key – at least for me – is always footage, where either the screen isn’t lit evenly and/or you can see the structure of the screens fabric.
In After Effects there even are presets, to blur the greens or blues for keying.

The only reason I can think of, why not to use “blur”, is when choosing you DOF too shallow, so that you not only blur the background but also the “edges” of your talent. This can give you a very hard time in keying.

[Clyde Villegas]

Thanks a lot guys!

ut in omnibus glorificetur Deus

[Norman Willis]

I have not tried it yet, but they say it helps to convert to Cineform .avi or .mov. It interpolates 4:2:0 to 4:2:2.

Like I say I have not tried it, but they say it helps.

$99.00 B&H or Videoguys.com

Norman Willis
http://www.nazareneisrael.org

[Jim Hagan]

Peter have you done any greenscreen with your T2i(550D). Combining keyed footage with Lightwave 3D is what I’m most interested in and thinking of purchasing the Canon T2i. What’s your thought’s on this?