Forget Chroma key for stills. It's a video thing and cameras have the
facility built in.
It requires extremely careful wardrobing and lighting with the
background and foreground lit separately plus a good distance between
the subject and the background.
GREY is the colour for stills if you want to drop out backgrounds.
Also, if you want it to be easy in Photoshop, you need to carefully
control the lighting. But at least you don't get a green or blue edge
tint on your subject.
Try and shoot something white or reflective against a green or blue key
background and then try and drop that into, say, a grey, white, brown,
pink, ivory or cream background in PS... you'll have a nightmnare
getting rid of the green edge.
If you shot it on a grey background then you can drop it into anything
and make it look good with minimal effort.
Herschel
Quoting mark@xxxxxxxxxxxxxxxxxxxx:
Well it may be finally time to replace the backdrop. Now the choice.
Old school or chroma key? With the traditional black/gray I can use the
image just as it is captured with minimal post processing. The chroma
key gives far more flexiblity, but every image must have far more post
processing.
Now the big question is there a way to post process in some sort of
batch method of post processing when you use a chroma key background?
If you could batch process and extract all the images for a session and
put them on a background of your choice, then the green screen makes
sense. The flexibility would be worth it. If not it is probably a time
sink. Is there an advantage of colors between blue an green???
I also saw where b&h had chroma key paint for about $60 a gallon.
Anyone ever use it on fabric like muslin or canvas?? Will it hold up on
fabric or is this something you would use on a studio drywall? Thanks
in advance for your help.
Mark
