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Jesuit Curia Streams with Blackmagic DesignВ Workflow September 2, 2021 Just get some more contrast in the form of shadows on your subject and it should be easier to pull a good key. As I said, youвЂ™ve done an outstanding job with lighting the green screen. While the 4:2:0 will limit what you an do, getting the lighting correct will help a LOT. вЂњDo you think my MAJOR problem is the lighting or the 4:2:0? Or are both major problems?вЂќ The other way to avoid spill is to move further away from the green screen. I saw the hair light, and one trick is to add a magenta gell to the hair light to offset the green spill. The most important thing about good lighting is shadows (unless you are shooting a product in a light box and want it to be shadowless). This is why I use a key light and bounce card instead of a fill light. There are no shadows but more importantly, the colors are washed out because of the amount of light. I just feel there is too much light on the subject. I have a fill with 2ea 5500k CFL bulbs and I have a kicker (hair) light that is 1ea 5500k bulb.вЂќ And I have a key light at full power with 4ea 5500k CFL bulbs. I have four lights on the screen and have waveformed the lighting such that is as evenly spread as possible. вЂњAs for lighting, I use 5500k CFL lighting on everything. If the file you linked to was directly from your camera, it is definitely 4:2:0. I am shooting with a Canon 70d, and I donвЂ™t know if itвЂ™s 4:2:0 or what. вЂњFrom what I see I guess the issue is the 4:2:0. I doubt you would need to switch to Premiere Pro just to get a good key. Webinar Replay: BCC 9 New Features Round-Up for Sony Vegas Pro

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You might want to watch my Boris TV Episode: Chroma Key & Mattes in Sony Vegas Pro I got a lot better results with the BCC Chroma Keyer than with the built in Vegas Chroma Key. So you are not starting with a lot of color information to begin with. You want to shoot chroma key with a camera that uses 4:2:2 or 4:4:4 chroma sampling. (2) You are shooting with a highly compressed AVC/H.264 format that using 4:2:0 chroma subsampling which is not good for chroma keying. There is also a fair amount of spill which makes your fingers look green and causes problems when keying.

This is why youвЂ™re having a hard time keying. There are just no shadows to pull your subject away from the background and so the image is very flat and not sharp at all. At a minimum a key light and a bounce card to create shadows and definition. The green screen should be lit evenly as you did with soft boxes but the talent should be lit with a separate set of lights.

(1) You are lighting your subject with the same flat lights as the background. veg and include any special instructions? This would help me greatly, and IвЂ™m sure it would help the many others who are having same/similar issues. The file is 110MB and is a quick download if any keying experts might want to have a go. But, IвЂ™d prefer to stick with SVP because I have so much knowledge of the product. At this point, IвЂ™m about ready to go to Premiere because I read they have a great keyer. BUT, I still get green screen in the webbing of my fingers, which is just something I cannot figure out how to make disappear. Using Sony Chroma Keyer is the best I can do. Using NewBlue Chroma Key Pro is doesnвЂ™t look great either. Using BCC Chroma Key, matte cleanup, choke it looks awful. I want to a) reduce motion blur and b) completely remove all the green. ItвЂ™s 1920Г—1080 30fps, 1/125 shutter and wide aperture for max light at that shutter. IвЂ™ve setup a green screen environ and have the proper three point lighting setup and am still having trouble keying perfectly. IвЂ™m not a pro, but IвЂ™m good enough to do a ton of great work. I have used SVP for at least 8 or 9 years.