Step Two — Keying the green screen footage
In post, we looked at the various clips from the three cameras. At this time, I was unable to import the REDOne footage on my older Mac G5, although Paul Sulsky was able to bring it into Final Cut Pro easily on his Intel Mac. Once in FCP it becomes an Apple Pro Res file. We converted the Apple Pro Res file to DvcProHD and also to Animation Codec. Both of which I was able to get into After Effects on my Mac G5 with no problems. The animation codec files were the best, but they were also huge, several times the size of the DVCProHD files.
For the driving scene I used a clip from Blue Rock's Sony HVR-1 HDV camera which worked fine. I also got fairly good results from my Sony HDR HC5 consumer camera. Next time, I have to remember to turn off the sharpness setting, which gives the footage a bit of a halo.
I captured the Sony HVR-1 HDV footage directly from the tape into FCP and then brought it into After Effects. In AE you can drag the footage to the composition symbol at the bottom of the project page. (The funny icon between the file folder and the trash can.) This opens the footage in it's own composition.