The PERFECT REDCODE RAW KEY

[John Tissavary]

Major DPs on studio features HATE spending extra time and manpower ($$$$$) to light green screens evenly with a specific subject to screen exposure ratio per the request of their VFX guys.

Ack! Don't I know it.

Having pulled keys from stuff shot by some of the best DP's out there (Storaro, Bill Pope, list goes on) in my near 20 years of feature film digital vfx, I can say that over 50% of the footage I've received from 35mm and Vista caused significant problems in pulling a key that will hold up on a 60 foot projection. So camera and medium isn't the biggest hurdle, and I don't think Red is going to fix anything that is broken on 35 or Vista, but...

I think it'll be easy to pull good keys from well lit & shot Red footage because of the latitude and good acheivable S/N ratio, but if someone out there is expecting a camera to do the work for you, good luck... find a project that doesn't need vfx.

Pulling a 'perfect' key (no such thing, really) is more a matter of the compositor's skill. Tools such as they are now do allow a lot latitude, but it's most important that the compositor have experience with a wide range of subjects & lighting conditions.

No matter what, the money has to be spent somewhere. If it's cheaper in post and good producer will encourage latitude in production. If it's cheaper in production then the greenscreens will need to be lit to save time in post.

cheers,

jt

 

[mezmo]

Hi Guys,
My old rule for green screen was to light it big,flat and soft.
Get contrast in with anti-fill and travel the key light with actors
if you have to. But yes it's a bugger, especially large areas 200'
plus,i hate it, can't see proper after a day of it,dont do it anymore.
Yey. Mezmo.