Q. i need to know what video format will look best after being edited on a green screen
A. Great answer by Chilli Yum Yum! But if I may, I have a few things to add:
Remeber that there are many aspects to "green screening". The type of camera you use is the least of your problems. Other things to consider are:
1) Lighting: In order to get the cleanest key possible, make sure the green screen is evenly lit. Minimize shadows at all costs.
2)Remember that there is no magic effect that will make all the green go away. Even professional chroma keying applications, like that in Adobe After Effects involve several different color keys to remove each shade of the green. Taking the example of After Effects, the best key involves several "color key" efffects, followed by a "simple choker" and then the "keylight".
Now to answer your question :P
Chilli Yum Yum is correct on all points. I don't know how much I can add, but:
Theoretically, the cameras that do the best keying are the ones that do the least Color Subsampling, meaning ones that do not discard much Chromanince or Lumanince. No consumer camera does this, so at best, you have 4:1:1. Panasonic DVCPro models are a step up from that, at 4:2:2. Still DVCPro cameras aren't exactly cheap. The HVX200 and HPX170 may be your best bets, even so they're $5,000. But all of that has already been mentioned.
So, moving on, the BEST camera for chroma keying would be one that has no color subsampling on ANY channel, for instance one with a native RGB output. In most cases, this would only be found on an extremely expensive camera, but luckily we have Red Digital Cinema...yay! Now, Red is developing a professional camera for the prosumer market called Red Scarlet. Although we don't know all the specs yet (we will November 13 actually), Scarlet will have NO color subsampling. Full RGB color! Most likely, Scarlet will also be considerably cheaper than the HVX or HPX (around $3,000 supposedly), and that's not all it can do, and as much as I would like to get into that, I don't want to get too far off topic...http://www.red.com/
Remeber that there are many aspects to "green screening". The type of camera you use is the least of your problems. Other things to consider are:
1) Lighting: In order to get the cleanest key possible, make sure the green screen is evenly lit. Minimize shadows at all costs.
2)Remember that there is no magic effect that will make all the green go away. Even professional chroma keying applications, like that in Adobe After Effects involve several different color keys to remove each shade of the green. Taking the example of After Effects, the best key involves several "color key" efffects, followed by a "simple choker" and then the "keylight".
Now to answer your question :P
Chilli Yum Yum is correct on all points. I don't know how much I can add, but:
Theoretically, the cameras that do the best keying are the ones that do the least Color Subsampling, meaning ones that do not discard much Chromanince or Lumanince. No consumer camera does this, so at best, you have 4:1:1. Panasonic DVCPro models are a step up from that, at 4:2:2. Still DVCPro cameras aren't exactly cheap. The HVX200 and HPX170 may be your best bets, even so they're $5,000. But all of that has already been mentioned.
So, moving on, the BEST camera for chroma keying would be one that has no color subsampling on ANY channel, for instance one with a native RGB output. In most cases, this would only be found on an extremely expensive camera, but luckily we have Red Digital Cinema...yay! Now, Red is developing a professional camera for the prosumer market called Red Scarlet. Although we don't know all the specs yet (we will November 13 actually), Scarlet will have NO color subsampling. Full RGB color! Most likely, Scarlet will also be considerably cheaper than the HVX or HPX (around $3,000 supposedly), and that's not all it can do, and as much as I would like to get into that, I don't want to get too far off topic...http://www.red.com/
Can you recommend any green screens or camcorders?
Q. range 200-300 dollars.
A. back in the day of analog, it was impossible to do green screen effects from video tape. the foreground object had to be a live camera and nothing else. the backgound is unimportant, so that could be analog tape. Then came miniDV and that changed everything. miniDV offered chroma resolution that was 6 times sharper than VHS. so for the first time the forground subject could be recorded on tape and a computer video editor used to make the overlay. Now that we have modern file base cameras that use SD cards or DVD discs. These are super compressed, with 200:1 being typical. So now the foreground subect blurs or pixelates into macro blocks any time there is motion, spoiling the green screen overlay even from so-called HD cameras. So Pallidin is absolute correct to suggest that you need miniDV camcorder.
as to the greenscreen, that can be anything. personally i prefer cyan blue as that gives a sharper chroma contrast to skin tone. TV studios usually just paint it on a wall (wow you thought this was high tech?). me, i used king size flat bedsheets, not having a suitable wall to work with. The secret is in the lighting. the screen needs its own light and it must be even top to bottom and side to side. the subject has to be lit from the top angle to prevent shadows on the screen. unless seated, it is hard to do in a normal room that has only 8 foot ceiling clearance. if you have a garage with open ceiling, use that for the studio. Also you need to put a light behind the subject, some times call a hair light. This sharpens the hair line at the top/sides of the head, after all you don't want your leading lady's platinum blonde to turn green due to a poor key.
as to the greenscreen, that can be anything. personally i prefer cyan blue as that gives a sharper chroma contrast to skin tone. TV studios usually just paint it on a wall (wow you thought this was high tech?). me, i used king size flat bedsheets, not having a suitable wall to work with. The secret is in the lighting. the screen needs its own light and it must be even top to bottom and side to side. the subject has to be lit from the top angle to prevent shadows on the screen. unless seated, it is hard to do in a normal room that has only 8 foot ceiling clearance. if you have a garage with open ceiling, use that for the studio. Also you need to put a light behind the subject, some times call a hair light. This sharpens the hair line at the top/sides of the head, after all you don't want your leading lady's platinum blonde to turn green due to a poor key.
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