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Best recording format for chromakeying in post production
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Please can someone tell me what is the best format to record to in vMix if I want to process the chromakeying in post production (Keylight in After Effects). I am using 10bit Sony cameras connected to vMix via a 4xsdi Magewell PCI card and would like to keep the workflow all 10bit if possible.
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I could be wrong, but I'm not sure that vMix has an internal 10bit video signal path. As for recording formats, one of the AVI options, possibly with 3rd party codecs (eg Blackmagic, if you install their Desktop Video package) could give you the ability to create uncompressed recordings.
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ProRes or DNxHD (VC3 in vMix) are good solutions with 4:2:2 sub sampling.
Guillaume
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If you use a BlackMagic device for capture, vMix will pass and record 10 bit 4:2:2 HD-SDI video. Since the Magewell Quad is also a 10 bit device, I would expect it could be used in vMix and recorded at 10 bit 4:2:2. Dependent on the drivers and software provided with the Quad card. About as good as it will get for Chroma Key recordings. Though the files generated will be uncompressed and large in size. SSD/NVMe drive space is recommended. 
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only usefull if the camera outputs 422 so you can record it as 422.
420 recorded as 422 will not have any effect.
i wonder if you can notice the difference between 420 and 422 in the end result when chroma keying... it depends on so many factors and if you doing wide or closeup settings, have items around like flowers, lighting, quality of your screen etc etc.
when all is perfect maybe 422 would finish it all.
ps 422 was essential in times when interlaced recording was the norm ( for chromakey) , now with progressive there is not much difference anymore. one could argue there is more to be expected from recording in 50p ( at 1080 ). and at higher color quality ( so more mbit , p.e. 50 oor 100)
just start simple and fix problems when they arrise....
just my little contribution here...
stefan
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Originally Posted by: h2video.nl 
i wonder if you can notice the difference between 420 and 422 in the end result when chroma keying
Early in my career I spent a few years doing Ultimatte work for commercials. From that experience, I believe that 4:2:2 sampling can be important, most especially if there's a lot of detail in the shots. Compositing hair, smoke, bubbles in a glass of coke...that all benefits from better chroma resolution. OTOH, super-sampling is awesome, too. If you're shooting 4K but delivering 1080p you have tons of chroma detail relative to the finished goods. In that case, that scaling is a bigger factor that sampling structure.
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