Rosco DigiComp Blue HD Digital Compositing Paint 3.8L

Rosco Digicomp Blue Paint 3.8L

READ: How to paint green screen

The flexible vinyl acrylic binder results in product with excellent adhesion to a wide variety of substrates and a matte finish.

Available in one gallon and five gallon sizes. Clean up with soap and water.

The DigiComp system of products is designed to allow seamless compositing for film, video and digital use. The system of paint, fabric and tape is ideal for a wide variety of uses both in the studio and on location.

All DigiComp products are available in DigiComp Blue and DigiComp Green. DigiComp color standards are precisely manufactured for clean separation with little or no post production "touch-up" needed.

Why should I use Rosco Blue or Green Screen paint? Can I match the colour at my local paint store?

Most mixing machines found at local paint/hardware stores cannot achieve the colour

saturation needed for a good compositing screen. All Rosco Blue and Green Screen paints are manufactured using a single-source pigment.

This means that instead of mixing together different coloured pigments to create the specific greens & blues needed – we use one pigment of green or blue to create the paint colour.

This means less interference from other colours in the spectrum and a cleaner key.

All Rosco paints are also manufactured to have an Ultra-Flat finish; this means no gloss in the finish at all.

Any kind of sheen/gloss in your green/blue screen will appear as white on camera and may spoil your key – so a flat finish is very important. Most “flat” finishes available from paint or hardware stores have a slight sheen to them.

How do I clean my painted Rosco Green/Blue Screen?

Unfortunately, there is no good way to clean a painted Rosco Green or Blue Screen. As with

any paint, the attribute that makes a painted surface cleanable also adds a gloss/sheen.

Because the flat-finish is so important to a blue or green screen, our paints do not result in a

cleanable surface. Your best option is to re-paint.

When should I use Green vs Blue or vice-versa?

The answer to this depends on a few factors, but a good rule of thumb Film = Blue and Digital =Green. The blue layer of the film emulsion is more sensitive, so blue screen is more effective and the chips in most digital/HD cameras are more sensitive to green so green screen is more effective.

However, you have to couple that rule of thumb with what you’re shooting in front of it. If your set or costumes have a lot of blue elements in them (like Cookie Monster or Superman’s suit) then green screen would be a better choice.

What is the difference between Chroma Key Blue/Green and Digital Blue/Green (like Rosco’s Digicomp or Ultimatte)?

When should I use one vs. the other?

There are two kinds of compositing colours – Chroma Key and Digital. The main difference

between the two is simply the purity of the colour.

When we first released our Chroma Key product, it was designed for the analog Chroma Key Switchers that would take out the entire band of green or blue and replace it with an image – usually a weather map.

Today’s digital compositing software can lock onto very specific colours and while it still makes sense to keep those colours one of the primary blue or green, by making the colour a ‘pure’ green or blue for the equipment makes the compositing easier for complicated keying. We achieve this ‘purity’ of colour for the camera by using specific fluorescent blue or green pigments to manufactu