The keying tools don't care how the filming was done, only that there's a reliably-similar color across the pixels you want to remove.
Jeff and Dave,
Thanks for writing.
We used it on "Solar Crisis". It's a film based technology invented by
E> Widmer who used to work for Kodak and later Warner and Universal.
It is U/V Fluorescent Tubes behind a screen as opposed to Sodium Vapor
Travelling Matte (Disney - Ub Iwerks) which is front lit along with Blue and
Green Screens which are front lit also.
Since U/V is a vary narrow frequency on the edge of the visible spectrum, I
was curious as to whether or not Premiere Pro would "SEE" it and could dig
Blue Scarecrow Entertainment
Once an image gets to Premiere, it is no longer has "UV lighting" or "Sodium" or incandscent or anything else. It is simply a video clip. As Dave stated, all that matters is this: is there a clean, uniform background color in the video clip, that is different than the subject, with clear delineation between the two? Yes, then you can key it.
Safe Harbor Computers
If you have some footage from your prior project (Movie)...do a test.
Premiere Pro and After Effects both use an eyedropper to get the color. If it is unique, all the better. But it has to be in the visible spectrum.
That would be great if I did, but I don't have access to the 65mm plate
footage. I was the Assistant Special Effects Supervisor (mechanical) and
Richard Edlund was the Visual Effects Supervisor from Boss Films; and
Richard closed the doors to Boss Films in 1997 due to stiff competition.
Maybe I can shoot some test material with a scorpion finder (U/V
fluorescent) and see if that works. I'd be interested in finding out what
the vector scope looks like with Adobe's On-Location software.
If not I'd like to try sodium vapor. Disney's Ub Iwerks had great luck with
it. and it has a very narrow bandwidth; 589.0nm - 589.6nm. Yellow sits at
570nm. The only drawback is that it has to be front lit whereas the U/V is