Green Or Blue Screen

[Ramis]

Hi everyone,

I've got a Music video coming up ,wich is going to be shot on Red , I had a unpleasant experience in the past shooting 2K (100fps) ,tungsten with blue screen , Therefore I'm definitely going for the HMI option, I've read that the new 16firmware has solved out , not entirely though ,the shadow's noise.
Since I'm going to shoot again in 2K (100fps) and chroma, by the way what's the best choice green or blue, any thoughts, opinions or tips will be extremely welcome.

P.S: We'll be shooting with rain effect, not in the wide shots , (3 D will be used for that purpose), but in close-ups, as far as I know, you're better off using a black background and a back light as usual, but ha ha!! Blacks and Red one .... it does not sound as a good idea to me .


Thanks to you all.

[Simon Blackledge]

Daylight
Greenscreen

Si

[Fredrik Callinggard]

To start with why 2K if it's for frame rate fine but otherwise?

As for green or blue - GREEN

As for tungsten or daylight - daylight but by now it's ok with tungsten. I was the guineapig on that with RED ad it's sorted.

[spitfire44]

just shot a spot for NIKE....used RED build 16 rated @ 320.... shot with a 6m x 8m bluescreen. I had 8x 5k's rigged on truss up top and since I wasn't worried about stop I skinned each with 1/4CTB. I had 2 more 5k's on the floor same config.....the subjects key light was 2x 20k's and 2x 10k's (one of each on each side in almost a semi circle) and very very soft for complete wrap around. the keys were clean as far as color....................there were no keying issues as far as I know and I would have heard of something by now....the spot will have a truckload of animation and effects.....oh, one more thing.....I had the subject stand in the center of a 5m diameter turntable, which obviously turned to some degree.
hope this helps...
Eric
PS....I woulda posted some pictures of the shoot, but sorry, I am not allowed. I will post a link when the spot is completed, which will be in 4 weeks or so.

[Jeff Kilgroe]

GREEN.

Green is the way to go for most subjects, whether you're shooting RED, film or HD. With RED and other bayer-sensor cameras, Greenscreen will give you more edge detail for keying if you light right and don't produce edge halos or shadows. Blue has its uses and sometimes you can't get away from using a blue screen. RED handles bluescreen quite well if you light it right -- 5600~6000K HMI or Fluorescents or outdoor (use the great HMI in the sky).

Where I see most bluescreen go bad with RED (and other digital camera systems, because most struggle with red or blue channels in relation to green), is people don't throw enough light on their set. You have to be careful of spill, but move the talent / subject furrther away from the screen, know when to shoot blue, etc.. Look at spitfire44's post above mine. That's a lot of photons he dumped out there, but reads like it worked just fine.

[Ramis]

These answers are really helpful, thanks to you all mates !

but , Should I have trouble by shooting
real rain (backlighted) and a dark blackground? Blacks and Red did not go together at all with previous firmwares...., and crushing blacks means losing rain drops...

[laguun]

100% green hmi.
The results are excellent.

[A. Bastaki]

green.

[Stephen Williams]

GREEN.

Green is the way to go for most subjects, whether you're shooting RED, film or HD.

Hi Jeff,

With film I strongly disagree with that as a blanket statement. I have been advised to shoot green many occasions, however when I shoot against both green & blue, the blue usually produces a better result. IMHO the overall color of the final composit should be taken into account.

Stephen

[Adam Clark]

aside from the obvious decisions based on the subject you will be shooting(are they wearing any blue or green?), you will also want to consider what you will be comping onto. for example, if the object will be comped over a blue sky- it would be beneficial to use the bluescreen if possible.