Comments

B.Verlik wrote on 3/9/2005, 9:11 PM
If you're worried about red and fleshtones, wouldn't you really worry about pink?
Fleshpainter wrote on 3/10/2005, 1:14 AM
Typically it's green for video, blue for film. Exceptions apply when the subjects clothing or foliage can't be changed.
Cunhambebe wrote on 3/10/2005, 2:42 AM
Now I'm curious.......Why blue for film and green for video??????
"I personally wouldn't use red cause our skin tone is near it."
- Software such as Combustion or Inferno can correct that easily."
busterkeaton wrote on 3/10/2005, 3:31 AM
I think it has something to do with the color sampling of DV which is 4:1:1 makes green easier to chromakey.

I found this info here

Blue was originally used in film because it is the one colour that does not appear in skin tones; skin tones are made up of red and green. In film the blue layer of the film (as in Super16 and 35mm film) is the sharpest, however it is also the grainiest, with DV on the other hand the blue channel is the grainiest, or noisiest.

farss wrote on 3/10/2005, 4:31 AM
Actually it gets a little messier than that. There are differences in how PAL and NTSC samples color, so in general green for NTSC and blue for PAL. Most film keying is done today with green screens.
You can also use white or black (shooting in white / black limbo) and a luminance key, sometimes this works better than chroma key for DV.
Bit that doesn't get anywhere near enough attention is getting the subject to look like they belong in what they're being keyed onto.
I've seen many technically great keys but very few that although perfect didn't screeaaam KEYED. That's why the film guys spend way so much effort on the lighting for any composite.
You can also get a good key off the sky on a clear day, doesn't get much cheaper than that.
Bob.