Some more ex3 chroma key questions.

[Michael Pruitt-bruun]

the relationship between detail level and frequency is very helpful. i’ve been sitting in front of my field monitor, dialing various frequency settings up and down all morning. it gives me some sense of what it’s doing, but i’m only guessing if that ultimately aids or hinders a key.

regarding contrast and gamma, i’ve seen some things i shot get absolutely butchered on the way to the web. flat and lifeless, while still suffering from banding, properly exposed skin gets pushed over the edge while shadows are crushed.

these are subjects i’ve been trying to gather more information on for some time. the gulf between production and post can be huge sometimes. i always ask, “do you have an editor on board yet, and if so… what can i do to make their job easier?” usually doesn’t help. tests would be ideal, but again, not something people are willing to devote time to.

[Craig Seeman]

You’re welcome. I try to provide as much background detail as possible.

The sound bite version would be:
Dial down detail
Shoot Progressive
Match background plate gamma or allow for post grading to match

But doesn’t tell you the why especially why 4:2:0 works as well as it does on the EX (but certainly would be more problematic on a typical HDV camera by comparison), so I include lots of explanation.

One really should learn the entire production/post production workflow. I actually learned the camera end by being an editor primarily. Way too much material coming in from DPs had problems because they didn’t know the workflow. As an editor picking up a camera I had a huge experience seeing what was wrong so I was able to figure out how to get things right (or at least better).

[Craig Seeman]

[Michael Pruitt-Bruun] “regarding contrast and gamma, i’ve seen some things i shot get absolutely butchered on the way to the web. flat and lifeless, while still suffering from banding, properly exposed skin gets pushed over the edge while shadows are crushed.”

There’s nothing like bad compression to ruin good source. Way back when I was a youngling dubbing 2″ video to new formats called VHS and Betamax, the chief engineer reminded us that we’re actually the most important step in the process because it’s what the client is going to on their home TV set.

When I eventually became a senior editor I insisted on meeting with the client and producer/director before production began. If you’re on the production side you should explain to the client why this is important. It’s also why the client has to take into account compression for web at the start of a project.

Actually your situation is a perfect example. There should be an editor or experienced post person helping you through this. That there isn’t is why you’re here. No fault to you but it should be a lesson given to the client. It they’re ducking the cost of such consulting, they are walking into problems, which will cost them money or quality.

[Michael Pruitt-bruun]

yes, well… the client is a prominent PBS station. i have a good rapport with the unit, having worked with them for years, but there are certain institutional hurdles and restrictions on resources. it is only because i have worked with them so long that we have any hope of overcoming some of those hurdles and providing them with a more tailored product. people like DP’s and editors are generally just pieces that get plugged into the existing structure for as short a time as possible. however the producer has indicated that she would like to have the compositor on set for the initial set up of our first shoot, so it is possible that we may get to do some tests and evaluations on the spot. but time and budgets are at a premium, so i’m trying to have my ducks in a row.

[Craig Seeman]

[Michael Pruitt-Bruun] “the client is a prominent PBS station”

Having done stuff for PBS many years back, they are standards crazy (at least they were) so I’m surprised they’re not buttoned down end to end. They were when I did post work that was to be aired on PBS.

[Michael Pruitt-Bruun] “he producer has indicated that she would like to have the compositor on set for the initial set up of our first shoot”

Ah, that sounds like PBS!

I’m actually surprised they’d be OK with EX 4:2:0 source. NanoFlash and KiProMini were designed with clients like them in mind.

[Michael Pruitt-bruun]

times have changed. some units are able to continue more or less as they have for years (American Masters, Nature), but most are expected to do a great deal more with a great deal less.

a huge amount of programming at this station is done on the hvx200. location and studio.

[Bob Cole]

[Craig Seeman] “Progressive means better keys if you’re shooting in a 4:2:0”

Thanks for that advice. Very timely. I’m totally amazed by the chroma-keying that I can do now with the EX1R, 1080p30. Practically effortless, and I’ll be willing to use chroma-keys a lot more as a result.