#Chroma key davinci resolve 15 skin
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#Chroma key davinci resolve 15 software
#Chroma key davinci resolve 15 code

There is nothing wrong with this, it works, it is a very commonly used workflow but it isnвЂ™t necessarily always going to be optimum. Handle these transfer functions correctly via a colour managed workflow and both will вЂњlookвЂќ the same and both will grade the same within their respective capture limits.ДЇor an easy workflow you might chose to shoot the greenscreen elements using log with the same settings as the plates.

#Chroma key davinci resolve 15 code

We should consider that 709 and S-Log3 in a workflow where grading is a big part should not be though of as вЂњlooksвЂќ but simply as transfer functions or maps of what brightness/saturation seen by the camera is recorded at what code value. However a colour managed workflow can deal with this very easily. If the background plates have been shot using S-Log3 then some people donвЂ™t like keying 709 into S-Log3. If you are shooting outside with less control over the light perhaps Rec-709 wonвЂ™t have sufficient range.

#Chroma key davinci resolve 15 full

If you are shooting greenscreen in a studio then you should have full control over your lighting and in most cases 6 or 7 stops is all you need, so Rec-709 should be able to capture everything comfortably well. However you do also need to think about what it is you are shooting and how it will be used. If you were to ask someone whether it is better to shoot using 10 bit or 12 bit I am quite sure the automatic answer would be 12 bit because the general concensus is вЂ“ more bits is always better.ДЄ further consideration is that the Sony cameras operate at a lower ISO when shooting with standard gammas and as a result you will have an improved signal to noise ratio using 709 than when using S-log3 and this can also make it easier to achieve a good, clean, key. That is not an insignificant difference, itвЂ™s not far off the difference between shooting with 10 bit or 12 bit. Between Middle Grey and +2 stops there are going to be around 340 code values. Shoot using vanilla Rec-709 and you are using 929 code values (90-1019) to record 6/7 stops so each stop has on average across the entire curve has around 125 code values.

#Chroma key davinci resolve 15 skin

Between Middle Grey and +2 stops there are approx 155 code values вЂ“ this region is important as this is where the majority of skin tones and the key background are likely to fall. so on average across the entire curve each stop has around 55 code values. Shoot using 10 bit S-log3 and you have 791 code values available (95-886) to record 14/15 stops of dynamic range. Of course the 709 recording may not have as much dynamic range as an S-Log3 recording, but it will вЂњlookвЂќ more or less the same.Д¬omming back to shooting greenscreen and chromakey: If you use a colour managed workflow in DaVinci Resolve it is very easy to take a Rec-709 recording and map it to S-Log3 so that you can apply the same grades to the 709 as you would to material originated using S-Log3.

#Chroma key davinci resolve 15 software

I will also add that Rec-709 gets a bad rap because people donвЂ™t really understand how gamma curves/transfer functions actually work and how modern grading software is able to re-map the aquisition transfer function to almost any other transfer function.

So now when we have cameras with much greater dynamic ranges and 10 bit recording is it better to shoot for greenscreen using S-Log3 (or any other log curve for that matter) or perhaps Rec-709?Д«efore going further I will say that t here is no yes-no, right-wrong, answer to this question. For decades when I was doing a lot of corporate video work we shot greenscreen and chroma key with analoge or 8 bit, limited dynamic range, standard definition cameras and generally got great results (it was very common to use a bluescreen as blue spill doesnвЂ™t look as bad on skin tones as green).

IвЂ™ve covered this before, but as this came up again in an online discussion I thought I would write about it again.