Frage von CrashDummi:
hello people
I'm planning a film about, well let's say 70% against greenscreen is rotated. I want to shoot in HD and just wondering which of the semi-professional cameras there for me s.besten would be likely. I tend to JVC GY-HD100, as has an unmatched price / performance ratio. I have seen material and must say that this class really is Cinelook. In my opinion stands for the Canon XLH1 in nothing after, in spite of 720 lines (Canon 1080).
But as their properties are in relation to green screen. Has anyone already made experiences in this regard, or with other HD cameras? Has anyone a better alternative?
Thank you very much
Urs
Antwort von rush:
hey, so I do not know me there now like this ... but I believe that the camera is not the most crucial criterion for good box-aufhanmen is ... but rather the optimum illumination dre green / bulebox and the subsequent endemic of the signal Keyt and a fall likely to cut the program ... to pay attention to jedenfall synonymous;)
Antwort von ropro:
About HDKameras I do not know much, but that the MPEGKompression the consumer HDKameras subsequent keying is not exactly easy on the hand. Especially in fast movements are safe on blocks and other artifacts that have to be carefully removed. This should, however, with After Effects, I believe, be feasible.
The JVC shall at 720p, the Canon can only look 1080i, or 1080p, it creates synonymous?
I assume, since you already ansprichst the Cinelook that you want to have synonymous 24 frames / sec.
This means you take the Canon you'd have to deinterlace, 1080 / 2 = 540 lines as are available, although it has a good (= expensive? Any) software that can rausholen more.
For the JVC professional speaking Exchangeable optics, which I do not know how good that is compared with the Canon, which has indeed built a good image Stabilization.
lg
ropro
Antwort von prem:
Have you ever looked at the Panasonic HVX 200? 4:2:2 color sampling is probably not entirely irrelevant, and DVCPro HD is probably synonymous in Comparison to HDV format for the better green screen shots.
If synonymous probably depends on whether you have to transfer the Twisted later to 35 mm, or whether the movies will be shown - here the HVX 200 could be a problem because of the Resolutionein (because there's so synonymous have endless here to) discussions, but otherwise provides, the material probably still s.ehesten look out on the cinema (at least judging from the forth of what I could see so far). If you are still a 35mm Adabter with schedule, should the cam probably from her look to be pretty awesome.
But beware: only the U.S. Verison has 24p.
Greeting
Jan
Antwort von Sir_quigley:
I do not think much of the Panasonic HVX 200th 4:2:2 That sounds tempting, but I have no lust to spend ¬ 3000 for P2 cards, so I do not set all of 10min to ner hard drive needs to run to copy it;)
I also want that the JVC 24p;)
No. times in earnest. My screen is working properly before s.wichtigsten nem to green and in the framework of ¬ 5,000 (Camera) [/ url]
Antwort von Sir_quigley:
The P2 cards are of course an argument, but as long as you rotate the avatar s.Set front of a green screen, you could theoretically synonymous directly connect a laptop and record the data there - then there's nothing you can save time and change with you, even the annoying capturing.
The P2 cards are my opinion only a problem for run and gun stories, because I had (with no desire 'nem laptop jump through the edge of the I would be very limiting to), but in the studio or is it really s.Set irrelevant (because the laptop can even stand right next to it).
But if 24p is duty that falls on the PAL version of the HVX from anyway.
With the JVC HDV just bothers me (I'd rather wait a little longer, until the P2 cards will be cheaper, or perhaps another Pana HVX200a synonymous with 24p for Europe brings - but this is) will probably continue.
Greeting
January
