Which blue for blue screen?

[Tamanegi65]

Thanks for all the info – unfortunately we need to keep the cyc in focus as it will also have tracking markers for matchmoving. 🙂

[Tamanegi65]

DVCPROHD is 4:2:2. We haven’t done a shoot yet where we bypass the tape transport and record direct to hard drive – but we might do that for a few key shots in an upcoming film, then I believe we’ll have 4:4:4.

[Tamanegi65]

Yes, true – we’ll get the telecined footage either as an uncompressed mov or a tga sequence – should be nice to work with.

So is the general concensus that the type of paint isn’t really that important?

[Chris Smith]

My vote is pick the cheapest.

[Roman Flute]

Lighting is going to be your most important thing – doesn’t matter what back you are using. Also – go to the color/telecine session – I have had great blue screen until somebody gets a wild hare and decides to adjust the color on the talent – you can do that for them later in post. But bad lighting / bad transfer will make your days turn into nights… The main keyers out there are great – so usually the only problem I run into is what I am getting. And if you get bad keys – there are still some tricks… We look at stuff on a waveform shooting HD and Video – and check out levels by that. Film – you need to depend on your lightmeter readings.

RF