My custom profile use EOS Standard as a base (which is awful by default, yes I know!) but I’ve tweaked it a little and it works for my kind of work. I’ve done some basic grading to the C-log shot but still I can’t extract as good key, it’s quite noisy if I don’t use quite harsh settings on the matte. And now I seem to remember why I stopped using C-log for green screen work … it’s much easier getting a clean key if I use my custom profile, at least in my workflow. Since I’m alone in the studio I filmed a mannequin while shaking it 🙂 using my preferred custom profile and then C-log (but slightly edited to get rid of some green tint). Since this thread got me curious and it was a long time ago since I used C-log for green screen I decided to do a little test. Maybe someone else will chime in with a more constructive suggestion – we wasted many days trying to get the thing to work, but just had to live with crappy results – we couldn’t reshoot with a proper camera. Looking at the specs of the camera, it should theoretically produce easily-keyable results. Not what you wanted to hear, but don’t feel alone in your frustration with this camera. But our conclusion was that for greenscreen work, the C300 is completely and utterly shit.
And we tried getting the output from the C300 in every way imaginable, with everything set to highest resolution, widest color space, various sharpness settings from none to lots, etc. No matter how I wrestled with Keylight plus some other keyers, I could not pull a decent key from the C300 footage. It was shot in the same studio with the same lighting setup as dozens of previous shots (shot with a Panasonic HPX170 or something like that) which always produced a beautiful key, regardless of subject – fine hair, motion blur – whatever.
Last year I was in the unfortunate position of having to key some footage from a C300. This post won’t really help in your workflow, but I have faced the same problem:
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