![]() You access the secondary functions by holding a particular button down for two seconds until the button's red LED blinks to let you know the secondary function is active. The buttons are labeled, but there are more features than buttons, so many buttons have two functions. If you do need to make an adjustment, simply touch a button for the setting you'd like to tweak, and then rotate the one knob on the DVK-100. In all our testing, I did not find the default setting to be problematic at all. The only feature the DVK-100 does not have is the ability to adjust the softness of the keying edge. It is so much harder to fix a bad key in post than it is to fix it while you are still shooting. This is what makes a little box like this so useful - you can tweak and adjust your foreground, background, lighting, and all the variables and make sure you get the key you envision during the shoot while you can still make changes. By moving the right edge of the key into the frame and matching it with a vertical element in the background, we were able to make it look like the talent was peeking out from something in the background - all in real time. The DVK-100 has the ability to manually adjust top, bottom, left, and right sides of the source so you can dial out anything outside of the active keying area. Then a great portion of what the camera sees is not going to be perfect chroma green - it will be floor, light stands, chairs, etc. But with a live key, positioning talent in the upper right hand corner of the screen means you are pointing the camera down and to the left. With a computer key this is not a problem because you can crop and reposition the keyed person later on in post. Lastly, our cyc is a little narrow, crammed into a corner of our studio. Fortunately, the DVK-100 has a Spill Adjustment that dialed that sickly green right out of the shot. This is a typical problem and one that few, if any, video mixers could ever hope to touch. We tried a close-up shot and found the background put a green cast on the face of our talent. This cleaned up both sides of our key and we were looking good. The DVK-100 has an Edge Adjustment feature that allows you to shrink the keying edge to the actual edge of your talent. Then we fine-tuned the key to eliminate a green edge on the left and a white edge on the right. We didn't even have to get all the wrinkles out of the fabric. For those who have done live keying before, setup is quick, and the manual gives good explanations of how to fine-tune various parameters, such as using density to separate similar colors.ĭuring testing we were able to get clean keys of both the wall and the fabric on the floor without too much trouble. For newbies, it covers everything down to the BNC to RCA adapters you need to connect to the video out of consumer gear. ![]() The instructions in the 30-page user guide are pretty well-written. We get uncompressed chroma at full resolution out of the camera's analog outputs. There are no FireWire inputs, but we did not miss them because the DV signal that would pass over FireWire is chroma-reduced (4:1:1) and then compressed. This way, you can easily do two different keys without having to reposition cameras or swap a bunch of cables.Īlthough it doesn't have component input, few video cameras offer component output from the camera itself. The DVK-100 has composite and Y/C inputs for two different cameras and a third input for your background. Another camera supplied the background, but it could come from anywhere. In testing the Datavideo chromakey system, we ran the Y/C output of a Sony DSR-370 DVCAM camcorder into the camera input of the DVK-100. We still have the green drape we used before we had the wall painted and we put that on the floor and found that the greens don't even match. The real trick these days is producing a clean key without a lot of fussing on the background.Īdmittedly, we are lucky to have a new cyc wall, but the raised floor of our studio wasn't painted green. It also does blue chromakey and a luma key (key out black). We just added a green cyclorama (seamless on three walls to the floor) to our studio for chromakeying purposes, so we welcomed the opportunity to try out Datavideo's DVK-100 chroma keyer. Video mixers do not have the ability to subtly finesse a chromakey, if they do it at all. I've used my share of video mixers that offer chromakey and have found that they generally produce awful results - ragged edges, odd halos, and then the green wall reflects off the talent and makes them look a little sick. The solution is to see the key when you shoot. These are times that cause some serious hair-pulling. Plus, they held up a water bottle that had a green label that has now been keyed out. There's a wrinkle in the fabric that no one noticed. Educational Institution and Student Discounts.
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