My original point was that I personally have no problem keying the things I THINK should be keyed...I get the impression these days that colorists feel like, "if it can't be keyed, then what could I possibly do with it?"
The advantages of working with the RAW file FAR outways the disadvantages. For example, here's ProRes 422 HQ compared to RAW. One exported from REDCINE-X with REDSpace Gamma and REDSpace Color...the second photo is from an R3D with the RED Tab settings set to REDSpace Gamma and Color. Here's what happens when you push the highlight saturation to .18s towards an orange hue...
ProRes HQ 422
RAW
This is why I laugh when people go around advising, "Just transcode to ProRes 422...you save space blah blah blah and you can't tell the difference blah blah blah." If the footage is shot really really well, then I don't see too much of a problem, but that's not the case a lot of the time. Having much more room to finesse the colors is much better than being able to key something. I don't even want to get into working in the low end with shadow detail or how soft ProRes can make things.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
Bunim-Murray Productions
