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Today's practicality of green-screen compositing is demonstrated by in a self-produced video. Dell 720 driver. Top panel: A frame of Crosson in full-motion video as shot in his own living room. Bottom panel: Frame in the final version, in which Crosson, impersonating, 'appears' in the White House's. Chroma key compositing, or chroma keying, is a / technique for (layering) two or streams together based on color hues ( range).

The technique has been used heavily in many fields to remove a from the subject of a photo or video – particularly the, and industries. A color range in the foreground footage is made transparent, allowing separately filmed background footage or a static image to be inserted into the scene. The chroma keying technique is commonly used in and post-production. This technique is also referred to as color keying, colour-separation overlay ( CSO; primarily by the ), or by various terms for specific color-related variants such as green screen, and blue screen – chroma keying can be done with backgrounds of any color that are uniform and distinct, but green and blue backgrounds are more commonly used because they differ most distinctly in hue from most.

No part of the subject being filmed or photographed may duplicate the color used as the backing. It is commonly used for, wherein a is usually seen standing in front of a large map during live television, 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 or her clothes will also be replaced with the background video. Chroma keying is also common in the entertainment industry for visual effects in and video games. Contents • • • • • • • • • • • • • • • • • • History [ ] Predecessors [ ] Prior to the introduction of and, was used to introduce elements into a scene which were not present in the initial exposure.

This was done using black draping where a green screen would be used today. First used this approach in 1898. In 1903, by used double exposure to add background scenes to windows which were black when filmed on set, using a to expose only the window areas. In order to have figures in one exposure actually move in front of a substituted background in the other, a travelling matte was needed, to occlude the correct portion of the background in each frame.

In 1918 patented a travelling matte technique, again based on using a black background. This was used in many films, such as.: 4 In the 1920s, used a white backdrop to include human actors with cartoon characters and backgrounds in his.: 5 Bluescreen [ ] The blue screen method was developed in the 1930s at. At RKO, used an early version of the to create 'wipes' – where there were transitions like a windshield wiper in films such as (1933). Credited to, a scene featuring a genie escaping from a bottle was the first use of a proper bluescreen process to create a traveling matte for (1940), which won the that year.

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In 1950, employee and ex- researcher began working on an travelling matte process. He also began developing bluescreen techniques: one of the first films to use them was the of the novella,, starring. Was awarded an Academy Award for his refinement of these techniques in 1964. 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. Also contributed to bluescreen technology. An with two projectors, a film camera and a 'beam splitter', was used to combine the actor in front of a blue screen together with the background footage, one frame at a time.

In the early 1970s, American and British television networks began using green backdrops instead of blue for their newscasts. During the 1980s, were used to control the optical printer. For the film, created a 'quad optical printer' that accelerated the process considerably and saved money.

He received a special for his innovation. For decades, travelling 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, cameras alleviated this problem, as both the foreground and background could be filmed with the same camera moves. Meteorologists on television often use a field monitor, to the side of the screen, to see where they are putting their hands against the background images. A newer technique is to project a faint image onto the screen.