DVCPRO50i and Chroma Key

Now that I can produce 4.2.2 footage what difference should I see when using chroma key and has anyone got any good tips on creating a good chroma key in FCP-6

4:2:2 sampling will produce cleaner keys than 4:1:1 or 4:2:0 due to increased color sampling, but the real "key" to keying is lighting both background for "evenness" and forground for separation. lighting angle is critical in the composite so that the keyed object matches the background it is being composited on to achieve a "believable" composite

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  • Intermittent problem with cross dissolve and chroma key

    It seems that in 1 out of 10 videos I produce in Final Cut Pro there is a problem with the cross dissolve effect and chroma key. What happens is that during the cross dissolve, clip A fades out with a green tint and clip B fades in with a green tint.
    Today I am working with two videos that I captured using the same work flow on the same day. One project exhibits the tint while the second project does not. If I import the problematic footage into the good project the tint problem follows the footage. In the good footage, the cross dissolve produces a result that does not have a green tint. If I re-capture the "bad" footage the results are the same.
    Has anyone else experienced this and does anyone have an idea how to resolve this problem?
    Thank you.
    Dual G5   Mac OS X (10.4.6)  

    In my project, both clips are source clips with Chroma, Color Smoothing and Matte Choker applied. A dissolve from non-chroma clip to chroma clip works fine. Only problem is with two chroma clips. In my dissolve, the error appears as red fringing in the area between the two masks.< </div>
    You're using creative shorthand that doesn't help. "Chroma clip" means the clip to which you have applied all of these effects? What masks? Where are you getting the masks?
    To understand what's going on with all them itty bitty pixels in a stack of interactive effects, do me a favor: render out a short piece, say 10 seconds of each of your chromaclips as separate movies over transparency using the Animation codec. Reimport them and put them over a solid colored Dissolve between them using different types of dissolves. Post back and tell us (me) what's going on.
    I still consider this to be a bug -- nesting adds more steps to the workflow than if this bug did not exist. < </div>
    It's not a bug. Your pixels are running down a pathway. It's a question of building the correct pathway and having the correct pixel wranglers with the right kinds of cattle prods.
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  • Not sure how to explain but mac 27" desktop - keyboard and track pad safari and chrome keys pressed sending me different places

    Basically, if  iam opening an email in gmail it opens a tab for the email or if I am typing a password it opens documents. Trackpad and keyboard keys opening things I did not open.  Please help. I've restarted twice and it isn't helping. I've replaced batteries. Thinking it's internal and not the keyboard or track pad. thank you.

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  • Motion tracking and chroma key

    I shot a webmercial and during the product demonstration (on an iphone) the screen of the application is very close to the color of the green screen. I am having a hard time keying due to the similarity in colors. I duplicated the clip and created a bezier mask around the LCD screen of the iPhone, and tried to apply the motion tracking behavior in Motion, but it's not working well. Any ideas anyone, or a better way to do this?
    Thanks!

    Umm, okay, it's a closeup of the iPhone, Apple will like that.
    You may be approaching this all wrong or I'm still not understanding but try to think of the hand and the phone as a single object. All you need to do is not apply the greenscreen keyer to the hand-arm-phone object. You can protect that object by using a hand-drawn matte (also known as a garbage matte) but you can create a protection matte many different ways including pulling a hard luma key.
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    Umm, clear as mud, I know. The point I'm trying to make is the task is probably not as complex as you're thinking it is.
    If you were using AE, you'd use a four corner  motion tracking setup with trackers in each corner of the screen.
    PS: Thank you for the kind words, mostly I ust pi$$ folks off around here.
    bogiesan

  • When I chroma key what do I work on? Files in the browser first? Canvass?

    ...or timeline? If I have two 3 minute sections of green screen do i edit them first in the timeline sequence or do I first edit out the green screen and then create my short? Very unclear, it seems that I can chroma key but when I look at the movie in the timeline the green is still there!!!!! Check the two files I imported and chroma keyed and they look like the key was successful so I am seeing two different things Infuriating that I can't figure this out after 3 days!\\Thanks
    Don

    The way most people do it is to first add the clip to the timeline, then apply the chroma key filter to the clip. Double-click the clip and edit the filter settings in the viewer.

  • AVCHD Sony footage has lines in chroma key in FCP

    My footage shot on with Sony Nex-fs700 will not chroma key with placing blue vertical lines in the final key. The line appear only after I render.  My sequence settings match my footage.   Can anybody help. 
    Stinson

    I shot in 1080 24p FX and I set the sequence  to 24 fps and I was getting the vertical lines, flicker and lag in the image with any quick moments.  So I created a new sequence and placed a test clip on the timeline and FCP asked if I wanted match my clip to the sequnce and I said no.  I applied the color smoothing 4:2:2  and chroma key filters and  played the clip and it was fine but still with the vertical lines.  I then removed the color smothing 4:2:2 filter and  no vertical lines.  Still might send you a short clip just for kicks.
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  • Color correction and "sudo-chroma keying"-can they be done?

    So I just wrapped my cousin's wedding, but the ceremony and reception were both held in a bar, which made for less than optimal conditions. Besides the prolific dim lighting, there were neon signs, specifically Miller and Bud Light. Those signs were both blue, so if I put on my outdoor color corrector, the video looked nice, but then if I panned, the regular ambient lighting looked off. If I applied my indoor color corrector for the ambient lighting, it looked good, but as I got close to the neons, it again looked bad. My question is, can I keyframe the 3-Way Color Corrector so that when I'm by the neons, it's as good or the same coloring as when I'm looking everywhere else?
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    +>can I keyframe the 3-Way Color Corrector so that when I'm by the neons, it's as good or the same coloring as when I'm looking everywhere else?+
    good news, yes you can keyframe all the color corrector filters and it should work handily for your situation
    +>I'm thinking of something like the Magic Wand tool from Photoshop, but FCP doesn't have that.+
    try these, might be just what you need: http://www.lyric.com/fcp-plugins/lyric-effects/index.html
    +>The sequence is only ~5 minutes, so not that long, but what would make it easier on me?+
    your Brother got married in a bar under a Budweiser sign Brian, I'm guessing he won't mind having his wedding video reflect the reality of the surroundings, so why fake it? ... easiest on you would be to leave it as it is 'cos theres nothing worse than a dodgy effect.
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  • Chroma keying and color correction on same clip

    I have an image, with some people shot on a green chroma key background. I want to key it on another image, and desaturate it, except the yellow color.
    I have no problem keying out the green. I can also desaturate the image, with the deaturate filter, but if I apply the color corrector, and work with it to only keep the yellow color in the image, then my chroma keying is lost.
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