Chroma key compositing (or chroma keying) is a technique for compositing (layering) two images together. A color range in the top layer is made transparent, revealing another image behind. The chroma keying technique is commonly used in video production and post-production. This technique is also referred to as color keying, color-separation overlay , green screen, and blue screen. It is commonly used for weather forecast broadcasts, wherein the news presenter appears to be standing in front of a large map during live television newscasts, though in actuality it is a large blue or green background. When using a blue screen, different weather maps are added on the parts of the image where the color is blue. If the news presenter wears blue clothes, his clothes will also be replaced with the background video. A complementary system is used for green screens. Blue and green are used because they are the colors least like skin tone.[3] Chroma keying is also used in the entertainment industry for special effects. Software today, such as Pinnacle Studio, makes it possible and relatively easy for the average home computer user to create videos using the "chromakey" function and greenscreens.
The History of Greenscreen
In filmmaking, a complex and time-consuming process known as "travelling matte" was used prior to the introduction of digital compositing. The blue screen and traveling matte method were developed in the 1930s at RKO Radio Pictures and other studios, and were used to create special effects for The Thief of Bagdad (1940). At RKO, Linwood Dunn used a travelling matte to create "wipes" – where there were transitions like a windshield wiper in films such as Flying Down to Rio (1933).
The credit for development of the bluescreen is given to Larry Butler, who won the Academy Award for special effects for The Thief of Bagdad. He had invented the blue screen and traveling matte technique in order to achieve the visual effects which were unprecedented in 1940. He was also the first person in special effects to create these effects in Technicolor, which was in its infancy at the time.
In 1950, Warner Brothers employee and ex-Kodak researcher Arthur Widmer began working on an ultra violet travelling matte process. He also began developing bluescreen techniques: one of the first films to use them was the 1958 adaptation of the Ernest Hemingway novella, The Old Man and the Sea, starring Spencer Tracy.
The background footage is shot first and the actor or model is filmed carrying out their actions against a bluescreen. To simply place the foreground shot over the background shot would create a ghostly image over a blue-tinged background. The actor or model must be separated from the background and placed into a specially-made "hole" in the background footage. The bluescreen shot was first rephotographed through a blue filter so that only the background is exposed. A special film is used that creates a black and white negative image — a black background with a subject-shaped hole in the middle. This is called a 'female matte'. The bluescreen shot was then rephotographed again, this time through a red and green filter so that only the foreground image was cast on film, creating a black silhouette on an unexposed (clear) background. This is called a 'male matte'.
The background image is then rephotographed through the male matte, and the shot rephotographed through the female matte. An optical printer with two projectors, a film camera and a 'beam splitter' combines the images together one frame at a time. This part of the process must be very carefully controlled to ensure the absence of 'black lines'. During the 1980s, minicomputers were used to control the optical printer. For The Empire Strikes Back, Richard Edlund created a 'quad optical printer' that accelerated the process considerably and saved money. He received a special Academy Award for his innovation.
One drawback to the traditional traveling matte is that the cameras shooting the images to be composited can't be easily synchronized. For decades, such matte shots had to be done "locked-down" so that neither the matted subject nor the background could shift their camera perspective at all. Later, computer-timed motion control cameras alleviated this problem, as both the foreground and background could be filmed with the same camera moves.
Petro Vlahos was awarded an Academy Award for his development of these techniques. His technique exploits the fact that most objects in real-world scenes have a color whose blue color component is similar in intensity to their green color component. Zbigniew Rybczyński also contributed to bluescreen technology.
For Star Trek: The Next Generation, an ultraviolet light matting process was proposed by Don Lee of CIS and developed by Gary Hutzel and the staff of Image G. This involved a fluorescent orange backdrop which made it easier to generate a holdout matte, thus allowing the effects team to produce effects in a quarter of the time needed for other methods.
Some films make heavy use of chroma key to add backgrounds that are constructed entirely using computer-generated imagery (CGI). Performances from different takes can even be composited together, which allows actors to be filmed separately and then placed together in the same scene. Chroma key allows performers to appear to be in any location without even leaving the studio.
Computer development also made it easier to incorporate motion into composited shots, even when using handheld cameras. Reference-points can now be placed onto the colored background (usually as a painted grid, X's marked with tape, or equally spaced tennis balls attached to the wall). In post-production, a computer can use the references to adjust the position of the background, making it match the movement of the foreground perfectly. Modern advances in software and computational power have even eliminated the need to use grids or tracking marks – the software analyzes the relative motion of colored pixels against other colored pixels and solves the 'motion' to create a camera motion algorithm which can be used in compositing software to match the motion of composited elements to a moving background plate.
Weathermen often use a field monitor to the side of the screen to see where they are putting their hands. A newer technique is to project a faint image onto the screen.
Billa 2, directed by Chakri Toleti reveals the past of billa and shows how he turned into a gangster or don.
