For that reason, I'm considering swapping out the Sigma 18-35 lens for something with a wider field of view.

However, because there is very little room for me to move back from the green screen area to shoot, my BMPCC + Metabones BMPCC Speed Booster (.58x crop) + Sigma 18-35 lens can't get the talent in the frame from head to toe when they step more than a few feet away from the wall. I wanted some depth to my green screen area so that I could shoot 'talent' moving around, do and track camera moves and composite 3D objects, backgrounds, etc. I have a few additional related questions:ġ) Do you guys think the forthcoming 400 Mbps ALL-I update for the GH5 will make the GH5 even better for keying than it is now?Ģ) I painted a 12' wall and a perpendicular 9' wall in my basement with Rosco DigiCompHD paint and put down Rosco chroma floor (what a great find that was, it sure beats slipping on the muslin cloth I'd tried to weigh down at the corners). What do you use to denoise your footage before keying, HockeyFan12? Does that help stop the 'dancing noise' I often see after keying? Can it be as simple as adding Keylight or zMatte beneath a denoise filter in After Effects, or do you render out a denoised clip and key that instead of the original? Maybe in really challenging scenes? I generally denoise everything before keying anyway and that recovers some lost color resolution from the temporal denoising and smooths everything out. It makes sense that the GH5 would key better but I would definitely try both before buying either.

Haven't noticed any real difference between 444XQ and 422HQ for keying tbh. 4:X:X defines the color resolution of the recording codec following internal RAW conversion, whereas RAW has yet to be converted into anything. The GH5 should have more color information to start with due to its greater pixel density and I find 4:2:2 more than good enough for keying anyway. I haven't used either (at least not extensively) but RAW isn't 4:X:X in the traditional sense of the term.

Bmpcc 4k green screen