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i thought 35mm would key better than this
hi guys
we shot some green screen material a couple of weeks ago and then had it telecinied onto digibeta. We have captured it with the kona card via SDI. But when i bring my captured, uncompressed QT clips into AE and try to key them with iether Keylight of Primatte, the edges are very bocky and soft and it is making it very difficult to pull a good key.
Should 35mm be so blocky? I am using prgressive footage and have changed primattes settings from DV, HDCAM and other, but it still wont fix the problem. I have also used remove grain, and tried to adjust the levels in a precomp to get some more contrast before keying, but no luck im afraid.
Any ideas or solutions are greatly appreciated?
Cheers
Chris -
2 Replies
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next time you might see if you can get the film captured to files rather than tape. just see if they can capture the codec and file format that you want to work in. then, rather than tapes getting delivered, you get hard drives. you’ll gain quality and save the steps of having to recapture your footage from tape.
you should always try to avoid using intermediate formats/codecs that are lossy if you want to work in uncompressed or lossless codecs.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
As the others have mentioned, when you shoot 35mm for chromakeying, you want to telecine to files. Next time make sure you get 2k dpx (10-bit) or tiff (16-bit) sequences. Even when your final delivery format is SD, you’re going to love keying at high resolution and downsampling afterwards.
But to help out on this particular crisis: make sure AE isn’t separating fields. Even if your footage is progressive, you need to make sure AE is interpreting it as such.
And second: I’ve had good results smoothing out jagged edges by using the Artifact Removal tools in Key Correct Pro.
https://redgiantsoftware.com/keycorrect.html
Bar3nd
Raamw3rk – digital storytelling and visual effects
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