I'm new to a lot of this stuff. I had gathered that green screen worked better with video and blue screen worked better with film. If RED is digital but looks like film, will one be a better choice then the other or will both work well?
Sorry about the subject title, a bit corny, but this post just called out for it.
I was involved in a green screen test that worked awesome. We shot a guy with long, fuzzy, blonde hair on a green screen. We exported a still as a 4K dpx file through RedAlert. In Shake, after just one click to select the key color, we had an awesome key that really didn't get any better the more we played with it.
Typically, blonde people on a green screen is discouraged, but in this case, we had a great success.
I think that the big difference maker was the fact that we were dealing with 4:4:4 images at 4k. We compared the results we could get after converting the file to ProRes and it was very obvious that the ProRes 4:2:2 compression was much more difficult to key. It still worked, but you had to work with it to get good results.
So I would say that green was good. Anyone tried keying off of blue?
The the current build, there has been quite a bit of noise in the blue channel when compared with the other channels in some circumstances. So that would leave me to believe that green would key better than blue. We'll have to see if there are changes in build 16 once it's released.
The Bayer pattern has twice as many green photosites as compared to blue and red. So, the de-Bayering process has more original image information to work with when reconstructing green.
Even if Graeme's algorithms do a very good job on reconstructing any color, I'd say green is your best bet. In particular when shooting under Tungsten lighting, since blue get's the least amount of energy and tends to get noisy.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
Green is the best, and be sure to light with daylight balanced light for best results. However Blue does work well also.
We are just completing a green-screen music video shot on RED which was lit with tungsten lighting - at first the key was looking pretty bad, but experimenting with different processing settings from the RAW yielded a very good key in the end.