claimsfour wrote:
The key is poor, not because of the person who did it...but (I think) the BMCC's small sensor might not be up to handling a greenscreen.
Claimsfour,
Sorry, but the key is poor because it wasn't pulled well. The BMCC having a smaller sensor will not make the key worse. The color depth of the image (8 bit, 10 bits, 4:2:0, 4:2:2, raw, compressed, etc), the quality of the photography, and the quality of the screen are all driving factors that will facilitate pulling a good key. None of these are affected by the physical size of the sensor. That sort of random statement is where rumors get started.
Frankly, I'm not even sure the footage was shot in focus. I know that BMCC RAW is truly raw, and has no sharpening or any other processing going on, but the files simply look out of focus they are so soft. Starting with soft footage will always work against you.
I've worked in the effects and film industry for 30 years, going back quite a bit pre-digital. You can't just slap the image into a keyer, fiddle the knobs a bit, and have a great key. I have witnessed astonishing keys pulled from some of the worst greenscreen footage, and crap keys from really good material. If you don't know what you're doing, then don't be surprised when the results are weak.
When I get my BMCC I'll do my own shoot and my own tests. Until then, I'll chalk this bit of greenscreen footage up as appreciated, but not signifying anything of substance as to the ability of pulling keys from the BMCC.
Basically, pretty much everything Luke Armstrong wrote was quite correct. Take a look at his sig, and you'll see he's a compositor at CineSite. Look him up on IMDB and you'll see he's worked on a few projects you're familiar with. He's clearly speaking from experience as opposed to simple opinion.