A strict f8 is not needed as long as your subject gets full focus on all edges. Many modern fast lenses have their sweet spot already at f5.6, some even at f4.

And short exposure times for fast moving objects are critical, yes. Think martial arts or the like. You can add motion blur with RSMB in post and it even helps with image integration.

To avoid green spill, your studio should ideally be black on all other walls. If it is not (or not even a studio), use large, painted black styro plates or the like on all light areas around your talent. Plus, put dark cloth in front of the actors as close to their feet as possible – never let them stand back with a lot of green in front of them.

The latter applies to full body shots only, of course. in all other cases, avoid any green around your actors.

If I can help with my own experience here are things to keep in mind when doing a greenscreen: 1) try not to go under f8, you want a perfectly well defined subject in focus without depth of field. (This also means you gonna have to rent a lot of lights) 2) shutter speed above 1/100 because you do not want motion blur for greenscreen. You add it later in post if necessary. 3) lit well your scene and have a flat green surface. Also be sure that your greenscreen is a correct green one, I've received many shots which didn't use the official green which needed then to be corrected. Many green screen aren't good for chroma keying. Test your greenscrene before using it. 4) do not forget to denoise your shot before performing a chroma key.

Also, I would suggest you to rather use nukex than after effects for compositing greenscreen. It has the same plugin (keylight & primatte) and many others useful tool that doesn't exist in AE and can sometimes be time saving when it comes to deal with complicated shots.

And the more resolution, the better for greenscreen. It ain't so much about the color depth (this is useful but in particular cases when you have to deal with extreme shots that needs a very precise range of color)

Not good enough to be called "as well as", which is the title of this thread. Likely "good enough" for most though.

edit: there was no context given by the OP, it's a general question of whether A is as good as B. No, A is not as good as B. That's a simple fact.

Now, is A just fine for local/regional commercials, for non-realistic weatherman style work? Sure. Fine. Neither the audience or anyone else would benefit from or could tell the difference between A and B in that scenario. Of course, in that context, any old camera is fine because we're establishing an audience that can't tell, doesn't care and a situation where it doesn't really matter anyway.

Also, it also doesn't matter if the footage is being handled by someone dependent on "a few clicks" and who looks at the work like that. It doesn't matter what the footage is or where it came from if it's the magical keying tool that's going to be the deciding factor in how good the result is.

I re-upped the video and with just 2 more clicks removed some of that green edging. Again this is not to say keying 4:2:0 footage is optimal but simply to say it's not nearly as big a nightmare as it's being made out to be.

@peaceonearth You are right. That can easily be corrected with a couple more clicks. The point was to show how easy is to key out 4:2:0 footage from a GH3 with it's compressed internal code and minimal effort by color picking the background. The ultra keyer has settings for removing spill from the edges adjusting saturation of color being keyed and to choke/soften the matte etc. The GH4 recorded to 10 bits in 4K uncompressed should key more cleanly.

60% of this video was shoot in front of a green screen using Gh3

You can download the original ProRes file so you can see what I was referring to about the hair. Vimeo really mushes up the details. Even around the crown which I thought might be a problematic key, it was a breeze.

@BurnetRhoades

Can you make tests or at least few illustrations showing issues, so everyone could understand?

You debayer the RAW and work high precision linear.

Cool, in this case we must talk about 422 ProRes.

And I still want to see good, well thought tests comparing 4K 420 and 2K 422 keying.

but RAW is the way to go.

What software for keying work directly with raw data?

The biggest problem in my experience hasn't been data rate, but color space. 4:2:0 is horrible to work with.

And GH4's 4K modes are 100 Mbps, which isn't really that high bitrate considering the resolution. If we split it in 4 (the same as 1080/2k) then it's 25 Mbps. Regular h264.

It is quite high, and no, you can't "just split" it, it is more complex. For usual interviews and such (about 90% of all green screen that small firms and amateurs do) it is near loseless.

And I think that such tests are necessary to do. Not so hard to make, really.

Vitliy You know RAW is better for VFX and green screen YES its heavier but its better.

I did not asked about that I know. I asked for tests comparing 2K raw and very high bitrate 4K.