green screen shoot: HVX FW to PowerBook 15″ thru FCP to SATA — will this work?

[Alex Viarnes]

Jeremy,
I said a flat line at 40 ire … so what are we disagreeing about ??? as far as the scope in fcp I’ve just never had a problem with it, the values are the same on my panasonic monitor,maybe a couple of ire apart.
Happy friday
Aloha
-A

[E. Eric johnson iii]

thank you for the input!

i did a quick test a few days ago and i’m going to do another one in the next week. i went with the 40 flat line green and shot a little bit directly into FCP. strangely, though it doesn’t mean anything, it makes the files QT without a FCP wrapper on it. this works out well since it’s going to AE.

when we do the shoot, i’m going to encourage the client to bring his tower to test the key on site.

it’s great to know in a pinch that FCP capture will work, but i’m now putting a panisonic monitor on my wishlist!

thank you for the help!

e3

e. eric johnson iii
eric@lillmonster.net
lill monster founder/producer-director
water channel: producer/virtual set operator
HomeandGardenCreative.com: producer/editor

now in principal photography – START 2 FINISH: What It Really Takes to Race A Bike

[Dean Sensui]

I’m in the process of finishing up a 15-second commercial spot that was entirely shot with green screen. Some of the shots involved flying hair and it keyed very nicely.

Details:

Used green screen fabric from eefx.com. Nice stuff. Almost no wrinkles despite being shipped folded up in a box. Allows for very flat and even lighting. Only had to use two tota lights to cover a 10-foot-wide section.

To ensure even lighting, I just used the zebras in the camera. Programmed one of them to 60 IRE and dialed the iris until zebras were just barely showing up. This has two advantages: one is it will give you instant feedback regarding green screen exposure. The other is that it will tell you exactly where you’re too dark or too light at a glance. A waveform monitor won’t tell you where it’s off — it could be at the top, bottom or middle of that side of the screen. And a spot meter is too tedious.

Once the green screen was set, the talent is lighted separately and the lights on the talent are adjusted for proper exposure. The camera’s exposure settings are based on the green screen.

The result (1080p30) was shots that keyed remarkably easily. Just one click in keylight and it was 95% there. A little adjustment in screen softening and shrinking and the final key was about as good as I’d ever gotten it.

Here’s a sample frame from the production: https://imaginationhawaii.com/keying.html

Dean Sensui — http://www.HawaiiGoesFishing.com