![]() ![]() Sky Captain and The World of Tomorrow (2004) had almost no real sets or props, relying on Chroma Key in every shot.It was invented by Larry Butler, who won the Oscar for it. The first film to use the chroma key process was The Thief of Bagdad back in 1940.It can be fairly tricky to create a viable Chroma-Key effect, especially with amateur equipment-often, it requires fiddling with hue and saturation, and even then, there is often a faint, tell-tale 'border' around the subject where the green-screen footage and the 'real' actor don't match up. Also notable for causing occasional unintentional hilarity - when background and foreground are poorly matched, or the SFX budget is low, the effect is anything but seamless. ![]() See notes at Ninja.Īlmost all productions use Chroma Key at some point, but there are some standout examples. The suit looks like a Ninja outfit, and that is not a coincidence, as it serves the same purpose as the black outfits traditionally worn by Japanese stagehands. Performers in recent Jim Henson Productions shows have used these suits to perform with puppets without having to raise them above their heads. A garment that can be used for this purpose is a one-piece jumpsuit in the background color, with a full-face mask, and a mesh eye piece, called a "gimp suit" or, in the case of a blue background, a "blueberry" in the trade. The invisibility effect can be used intentionally to allow a performer, or part of his body, to interact with props while remaining unseen. Normally, wardrobe and prop designers simply avoid using greens in the capture range, but this is not always possible you'll occasionally see bloopers where weather forecasters have part of the meteorology map show up on their ties, for example. The original run of Doctor Who, for instance, used green or yellow backgrounds even when blue was the most common color at The BBC, because a large number of its effects shots involved the TARDIS, a timeship that takes the form of a blue police phone box The problem with using yellow was that foreground objects and actors always had a prominent yellow fringe around them. Thus, sometimes the background color is chosen because of the colors to be used in the foreground action. If any part of an actor or prop is colored the same as the background, that part will disappear. Magenta is sometimes used, as is black, but the latter is problematic, as it's almost impossible to shoot a person without having some black visible on their person, in eyes or shadows. Green became popular because digital editing systems can isolate green with less light in the background, and because lime green is less common than bright blue in costuming. Blue was a popular choice in the early days of color motion pictures, because it is complementary to the oranges found in human skin. The color used is now entirely arbitrary. ![]() CGI is the most common today, but it can be other live action footage, models, stop motion or cel animation just as easily. The background inserted via Chroma Key can be any visual image. The old analog Matte Shot, done with precise blocking of the camera frame.Double-exposing the film, which results in a slightly transparent foreground but is cheap.Film the background separately, and project it onto a screen behind the actors while filming, typically via rear projection.Finding one that already exists, and film on location.The main methods of controlling the background for live-action shots are, in increasing order of technological sophistication: It relies on filming the subject in front of a solid-color background-any color will do, so long as it's not used in the foreground-and adjusting the editing system to replace that color with the background signal. More commonly known as green screen or blue screen (though that one also has a different meaning), the process by which a subject filmed on a camera can be seamlessly inserted into a scene generated by other means. ![]()
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