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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Scarlet green screen footage?

Timothy,

Sorry I'm not in the office to grab any .r3ds....

But In my experience the Scarlet has performed great. What we do (to minimise the noise in the blues) is light at 5600K. And so far, no problems at all.
 
don't have anything on me, but... it's only grainy (noisy) if you don't light it. in any case, remember red cameras let you decide if you want to use noise reduction (rather than having it built-in, on the fly, in-camera). also remember to black shade... i recommend exposing for 320 ISO, just to make sure you don't accidentally underexpose.
 
yeah, also recommend daylight balanced lighting. not that you can't use tungsten... i have. but with any digital sensor (or film) you're fighting a losing battle against it. so just think about it.
 
Timothy Carr said:
I heard it was quite grainy. Does anyone have any r3d green screen files?
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Be careful when taking an opinion of someone else. Always test for yourself. If they were having issues it's most likely user error. Either not lighting properly or not exposing properly. It's too easy to blame things on the camera.
 
I've been watching how the blue screens were done for the hobbit and green screens Prometheus ... it's so cool to know that I have the same sensor as those guys. Prometheus is interesting in how HUGE the sets are and how they just barely need green screening (aside from the outdoor shots). There's a real good vfx review on green screening with prometheus at http://www.fxguide.com/featured/prometheus-rebuilding-hallowed-vfx-space/ also they now have a great podcast up too ... http://www.fxguide.com/fxpodcasts/fxpodcast-prometheus/ .

The Prometheus work flow I think is a bit better suited for us Scarlet guys.
 
The only issue you might see with pulling keys on your Scarlet footage is that the 6:1 compression will be visible in your matte. Compare your keys from your 6:1 compression to 4:1 and 3:1. You should see the difference when pulling keys on very fine details. (like hair)
 
Justin Johnson said:
The only issue you might see with pulling keys on your Scarlet footage is that the 6:1 compression will be visible in your matte. Compare your keys from your 6:1 compression to 4:1 and 3:1. You should see the difference when pulling keys on very fine details. (like hair)
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Not true. RED One MX shoots a max of 7.5:1 and it doesn't show any noise or visible compression artifacts. Even before with Redcode 36 - 9:1 there was no issues. What you have seen is most likely noise from underexposure.
 
We shoot our green screens at 8 to 1 and they are with out a doubt the best results for keys that we have ever had.
 
We're about to shoot a little short in a stationary train at night and comp moving city night skyline in post. I'm planning on using a collapsible green backdrop outside the train windows for certain angles and we're going to be limited with setting up lights to get a uniform green. Hearing there's issue with non uniform green is worrying. Is this the same issue on the Epic? Any suggestions or tips appreciated.
 
Al Lougher said:
We're about to shoot a little short in a stationary train at night and comp moving city night skyline in post. I'm planning on using a collapsible green backdrop outside the train windows for certain angles and we're going to be limited with setting up lights to get a uniform green. Hearing there's issue with non uniform green is worrying. Is this the same issue on the Epic? Any suggestions or tips appreciated.
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Non uniform green is not really an epic issue, it's a keying issue. It's always best on any camera system to light your green screen uniformly. However, if you make sure to light your greenscreen uniformly around your subjects, the rest can usually be taken care of with garbage masks, especially if you have straight lines such as train windows. When you say "collapsible backdrop" I think that you mean one of the 8 foot versions, I'd go with something bigger such as a 12 or 20 ft green screen backdrop. These are easily rented and will allow you to get the screen further away from the windows so you do not have to deal with green spill on your subjects which is difficult to get rid of in post. A couple of 2k's with diffusion will get enough light on a 12x12 to give you a good key.
 
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