XH-A1, Colorspace, Chromakeying and Apple's Color
Hi Gang,
I have been a huge fan of Canon for a long time and have been pretty sure my next camera would be an XH-A1. However, Apple's new FCS6 and it's inlcusion of Color have gotten me to rethinking the issues of colorsapce in general and and more narrowly about chromakeying. Supposedly color grading and chromakeying are much easier and produce better results in a 4:2:2 colorspace. While an HVX-200 and other "pro" format cameras (DVCpro, XDCAM, etc) produce the 4:2:2 space, the XH-A1 does not. My question to XH-A1 owners and others "in the know" is whether this is really a limitation in what you can accomplish in post? If I plan on shooting a fair amount of green screen and working in Color to grade my projects, will I be frustrated with the HDV signal from the XH-A1? Thanks. |
seems most people are saying do all your editing in hdv then drop it in a Prores timeline for CC. ProRes is 4:2:2 10bit.
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I have done key work with footage from many different cameras, shot in many different formats, from 35mm to mini DV and everything in between, including footage from the XH-A1. And IMHO, the biggest issue I face for pulling a clean key is not the color space limitations of a particular format I may have to work with. But rather how the shot was lit during production.
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Quote:
http://www.freshdv.com/2007/04/nab-video-aja-io-hd.html |
You're really talking two different things here. Using Color in FCP would not be an issue at all shooting in HDV. You're simply color grading the footage. The thing would be when you render out your new graded files (you have to render them, it's not real time) you simply do this to a different codec like the new ProRes 422 or DVCProHD.
However pulling keys with HDV, it really depends on how high-end you're talking. I have pulled descent keys with standard-def DV footage for years when folks said not to. But this was for medium-budget range corporate work, so it was okay. If I'm doing higher-end commercial work or feature work you're probably better suited to use a different 4:2:2 format, or as mentioned bypass the MPEG 2 by using the HD-SDI output of the G1 or similar camera. |
The xh a1 does shoot at a sampling rate of 4:2:2
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