Where Would You Color-Correct in This Workflow?

I shot talent in front of a green screen. I am putting the pre-liminary edit together in FCP. From there, I'll use Automatic Duck to move the project to After Effects. There, I'll use Keylight to remove the greenscreen using Keylight. Then I want to insert a solid orange background and eventually return to FCP. Given gamma issues going back and forth with FCP/AE and the potential for an alpha channel I'm curious where one should color correct the talent.

why not shoot the talent against orange and save yourself a lot of work?
There's a lot to be said about practicals, but it takes a lot of lighting if you want an "electronically flat" background. Even the lens will be working against you. White is particularly difficult.
But if you still wanted to engineer the shot as a matte-screen, why not use the target bg colour as the matte colour? Because of how cameras and codecs work. Its a fundamental issue.
Usually there's a primary sensor which is producing a tristimulus representation of the scene. Then those values are perverted and compromised in ways that allow it to be stored in an economically feasible way. If only there was a way of recording the original sensor values that didn't require a skyscraper full of recording medium! I'm thinking specifically about the so-called "4K" RED and what you would actually need to store an RGB motion picture file of about 45.59 MegaBytes per frame. And even then there would be issues with the de-Bayering.
Until further notice, orange is a combination of all three values of red, blue and green. Mattes work better with a single primary like blue or green. Red is out for obvious reasons (flesh tone), and blue is usually regarded as too low-luminance and noisy to be useful. Green it is.
Green is also the major Luminance contribution (about 60%) to the Y signal in YCbCr, so its a better choice. Its a trade-off that will require de-coding and spill control, but this is our reality.
So, shooting it as intentioned -- maybe. You would still need a fair amount of time and effort to do it right -- spill, flare, evenness, footprints on the set, cyclorama blending... let me count the ways...
jPo
Message was edited by: JP Owens

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Where Would You Color-Correct in This Workflow?

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