What is the best camera for Vfx

IDEOLOGICALLY DO NOT USE S-LOG  FOR GREEN SCREEN WITHOUT ADDITIONALS

JEOPARDY MOVIE(Ugandan)

The noise will kill you, If shooting in a low light area and planning to key, your likely to shoot and reshoot your scenes till you end up having enough lighting,

Because if you try  bringing  up blacks / shadows ,noise and grains will appear which if not expensively removed ,it will be alarming .

But this depends on different camera and their abilities to do different things As for the rest, they all pretty much key the same. No one stands out as being better or worse than another. You could base your decision on which one simply looks better to you as far as the basic image goes and the level of the editor, Director ,and vfx artist.

it's more difficult to do chrome keying on the LOG, say A7 series because it uses 420 chroma sub sampling on an 8bit codec .compared to 10bit (it has to be set advanced to get a better quality)

One final note on camera settings: If you have the hard drive space available, and time for backing up – then shooting on a camera that records RAW is the absolute best option for the best key. But it may not always need necessary – the data rates of raw footage are huge compared to normal video codecs, and may not be suitable for your workflow as they need to be handled properly in post, add on more cost in terms of data storage, and take a lot more time to backup on location. So always discuss your requirements with the editor / graphic artist who’ll be doing the keying, as well as your DOP.

AVOID SHOOTING WITH YOUR LENS WIDE OPEN

It’s a bit of a trend in recent years to have shallow depth of field in a lot of shots. Bit this is something best avoided in a green green shoot.

If a persons eyes are sharp, their shoulder soft and out of focus behind them, but then you have a sharp in focus backdrop – then then will look odd and unnatural.

It’s also harder for software to key footage that doesn’t have a sharp edge. So you want all of your subject in focus.

There is vignetting usually on lenses when wide open, best avoided for green green screen. The bigger range of colour and brightness the keying software has to remove, the harder it to to get a clean key. The image above shows the difference in vignetting between a lens wide open, and stopped down.

Lenses are usually a little softer wide open, so again stopping down with provide sharper footage

Also avoid fully stopping down. Once you go beyond F13, the iris becomes so small you get ‘iris diffraction’, where light curves off the edge of the iris and your footage wont look as sharp. Try and find the sweet spot for your lens, where it’s sharpest and has least vignetting.

Stopping down a lens does mean you’ll need to light your screen brightly enough. Don’t put the ISO of your camera up. Ideally you want that as low as possible so your footage is as free of noise as possible.

Every shoot is slightly different, but if you keep all the above tips in mind, you should be able to avoid some of the common green screen mistakes and produce a much higher standard of footage.

Written by: Peter Ford,Director – DP – Filmmaker Website: www.peterford.co.uk

TO SUMMERIZE, CAPTURING LOG SHOULD HAVE...

To summarize, capturing in log should have no impact on the quality of green screen work, provided you know how to color correct the footage as it should be. Having a codec with at least 4–2–2 color space as opposed to 4–2–0 will also make a difference in how well it works.