Ross has a new chroma keyer in there MD Switchers that looks really good. They have alpha and color wheel outputs that make it easy to adjust. And they are able to key through glass. But like everyone has already said if you do not take care of the lighting and Camera setting first you are going to be hurting.

Scott hit the nail on the head. One of my clients likes to use chroma keys and they have a Sony 8000 and I think Sony 910 cameras. The camera ops change and sometimes the V1, there is no LD since we are talking about sports, so the cam era op and the utilities do the studio lighting. Some days we have an easy time, others seem tough. Maybe a bulb in a light is aging, maybe the truck is warmer or cooler then normal. The 8000 CAN do a GREAT job, but sometimes the TV gods don't like us and the CK sucks. It is real good to hear "wait, the overheads lights are still on..." after the V1 and myself were struggling to get the camera and key to look right.

The best chroma keyer is not in a switcher. It is the group of people who set up the effect. Lighting, video, engineering,set design,graphics, art dept, and the TD. Even wardrobe and make-up. All have an effect on a quality chroma key, long before it enters the switcher. I cannot speak personally for the Ross, but GVG, Sony and Thompson all have very high quality chroma keyers. All of them would be finicky if the first issues are not properly addressed. Scott