Which gives an 86% difference between G and R&B. If you only have access to Rosco, #86 ("Pea Green") is the closest to Lee 738, but not quite as nice. I instantly ordered a bunch of T12 sleeves of 738 for my cheap fluorescents when I saw this. (!!!) The difference jumps from 58.5% to 92%! Our matte can now utilize 92% of the values between 0-255. Compensating by opening up the aperture, our reading is: With the 738 on, we lose roughly 1/2 stop of light. You literally can't buy a better greenscreen material than the CC Digital Green. This is the best we can do without help from the lighting. This means our core color difference matte will only have 58.5% of the values between 0-255 to work with. The difference between our G channel and the R&B channel is 58.5%. R:31% G:92% B:36% (sampling the screen to the left of the "brown patch" on Macbeth) Without the gel, the greenscreen is reading at: I tested by gelling a flash unit and photographing a professional greenscreen from Composite Components. So for a relatively small decrease in exposure, you can almost eliminate the red and blue light which is corrupting your greenscreen. Since filters are subtractive, a good green filter will hold back most of the red and blue light, but allow most (but not all) of the green light to pass through. The theory is, if you throw green light at the greenscreen, it has no choice but to reflect a greener green for the camera. In the quest to get a more pure green greenscreen, I've been testing lighting gels from Rosco and Lee.
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