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Chroma keying in premiere pro6/5/2023 If you can live with a 5% loss, it might be 15-20% better than 4:2:2 of same resolution, but all of this is a rough estimate and your mileage may vary. This is why you don't hear about people using it, its just not practical. This is because Prores and Cineform aren't truly lossless and you would need a 100% uncompressed video codec with ridiculously large file sizes like 16 bit TIFF/PNG/EXR. and if the dither algorithm isn't perfect, you won't gain any advantage because normally, a 4:2:0 4k image will key better than a 4:2:2 image due the 4x more luma per chroma information.Īs to getting the same power of 444 in a downscaled image, in a perfect world, you might only lose 5% information. Prores and Cineform have a 444 RGB codec but your file sizes will be massive, perhaps even bigger than the original you are trying to save space with. (If the chroma-key clip is selected in the Timeline, you can apply the filter. Open the Effects panel, twirl down Keying, and drag the Ultra Key effect on top of the chroma-key clip. Then, place the first background clip on V1. After Effects has tools that would allow you to sync the motion of the background with the foreground. First, place the chroma-key clip (the one with the two color backgrounds) on V2. Note: this won't fix banding in skies because it is a local domain transform only and is not aware of group pixel issues. Correct answer by RobShultz Community Expert, Q1-Select the background and go into effect controls to set the size and position where you'd like it to be. The luma will scale from 8 to 10 bit and the chroma from 4:2:0 to 4:4:4. From what I undestand, you'd need to convert your YUV video to 444 RGB, in 16 or 32 bpc environment, do a bicubic downscale to HD with full RGB dithering and capture in a 444 RGB video codec.
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