I am running some tests today, and wondered about some setting.
From our XDCAM I am running HDSDI out to our Kona LHe card.
In Final Cut, I want to set it up to record at 30p, but I don't see that option.
I can input by: AJA Kona 1080psf 23.98 Apple ProRes 422
AJA Kona 1080i 29.97 Apple ProRez 422.
What setting should I use for Chroma Key.
Would running straight from the camera into the Kona card produce a better image than recording 1080 30p, onto the blueray in the camera?
Also, some of the footage for backgrounds has already be shoot at 1080i.
Is this going to look strange mixing frame rates between the key footage, and background footage?
[Darren McFarlan]"...some of the footage for backgrounds has already be shoot at 1080i.
Is this going to look strange mixing frame rates between the key footage, and background footage? "
Yup, Very Strange indeed. Especially if you don't want the shot to scream, "THIS IS A CHROMA KEY!"
Interlaced video has twice the apparent motion of progressive-scan video. So if there's motion in both the background and in the foreground, the viewer will certainly smell a rat. So the interlaced/progressive die was cast as soon as the background was shot.
If you can, capture through the Kona card at 1080i. Capture in Prores. It's a LOT better than... what? H.264 on a Blu-Ray disc? That really stinks.
And don't use FCP to pull the key. Use Motion or After Effects. Yeah, you can get fancy chroma keying plugins for FCP, but are they going to help you create light wrap and fake shadows to really sell the shot? Nope. But if all you're after is the look of the local weatherman giving the forecast, knock yourself out.
Keying interlaced footage is NOT a problem. I don't know whoever said it was, and I do it all the time. Those people must have had their thumbs up a very uncomfortable orifice, if you ask me.
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