450:
habit, until other practical considerations caused the television industry to move from blue to green screens. Broadcast-quality colour television cameras use separate red, green and blue image sensors, and early analog TV chroma keyers required RGB component video to work reliably. From a technological perspective it was equally possible to use the blue or green channel, but because blue clothing was an ongoing challenge, the green screen came into common use. Newscasters sometimes forget the chroma key dress code, and when the key is applied to clothing of the same colour as the background, the person would seem to disappear into the key. Because green clothing is less common than blue, it soon became apparent that it was easier to use a green matte screen than it was to constantly police the clothing choices of on-air talent. Also, because the human eye is more sensitive to green wavelengths, which lie in the middle of the visible light spectrum, the green analog video channel typically carried more signal strength, giving a better signal to noise ratio compared to the other component video channels, so green screen keys could produce the cleanest key. In the digital television and cinema age, much of the tweaking that was required to make a good quality key has been automated. However, the one constant that remains is some level of colour coordination to keep foreground subjects from being keyed out.
762:
reshot. The material being used affects the quality and ease of having it evenly lit. Materials which are shiny will be far less successful than those that are not. A shiny surface will have areas that reflect the lights making them appear pale, while other areas may be darkened. A matte surface will diffuse the reflected light and have a more even colour range. In order to get the cleanest key from shooting green screen, it is necessary to create a value difference between the subject and the green screen. In order to differentiate the subject from the screen, a two-stop difference can be used, either by making the green screen two stops higher than the subject, or vice versa.
617:
51:
553:
544:
423:
2755:
234:
2765:
2129:
644:" is accomplished with a white backdrop. Ordinary stage lighting is used in combination with a bright yellow sodium lamp. The sodium light falls almost entirely in a narrow frequency band, which can then be separated from the other light using a prism, and projected onto a separate but synchronized film carrier within the camera. This second film is high-contrast black and white, and is processed to produce the matte.
410:
the camera's position and thus render an image that matches the perspective and movement of the foreground perfectly. Modern advances in software and computational power have eliminated the need to accurately place the markersââ âââ the software figures out their position in space; a potential disadvantage of this is that it requires camera movement, possibly contributing to modern
719:. However, this makes it easy for objects to be accidentally removed if they happen to be similar to the background, or for the background to remain due to camera noise or if it happens to change slightly from the reference footage. A background with a repeating pattern alleviates many of these issues, and can be less sensitive to wardrobe colour than solid-colour backdrops.
745:
506:, colour is represented by three numbers (red, green, blue intensity levels). Chroma key is achieved by a simple numerical comparison between the video and the pre-selected colour. If the colour at a particular point on the screen matches (either exactly, or in a range), then the video at that point is replaced by the alternate background.
919:
Modern examples of these functions are best described by two closed nested surfaces in 3D RGB space, often quite complex. Colours inside the inner surface are considered green screen. Colours outside the outer surface are opaque foreground. Colours between the surfaces are partially covered, they are
571:
A chroma key subject must avoid wearing clothes which are similar in colour to the chroma key colour(s) (unless intentional e.g., wearing a green top to make it appear that the subject has no body), because the clothing may be replaced with the background image/video. An example of intentional use of
436:
The principal subject is filmed or photographed against a background consisting of a single colour or a relatively narrow range of colours, usually blue or green because these colours are considered to be the furthest away from skin tone. The portions of the video which match the pre-selected colour
409:
into composited shots, even when using handheld cameras. Reference points such as a painted grid, X's marked with tape, or equally spaced tennis balls attached to the wall, can be placed onto the coloured background to serve as markers. In post-production, a computer can use these markers to compute
714:
In principle, any type of still background can be used as a chroma key instead of a solid colour. First the background is captured without actors or other foreground elements; then the scene is recorded. The image of the background is used to cancel the background in the actual footage; for example
174:
map which is really a large blue or green background. Using a blue screen, different weather maps are added on the parts of the image in which the colour is blue. If the news presenter wears blue clothes, their clothes will also be replaced with the background video. Chroma keying is also common in
603:
are in the air, Spider-Man had to be shot in front of a green screen and the Green Goblin had to be shot in front of a blue screen. The colour difference is because Spider-Man wears a costume which is red and blue in colour and the Green Goblin wears a costume which is entirely green in colour. If
449:
Green is used as a backdrop for TV and electronic cinematography more than any other colour because television weather presenters tended to wear blue suits. When chroma keying first came into use in television production, the blue screen that was then the norm in the movie industry was used out of
365:
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.
765:
Sometimes a shadow can be used to create a visual effect. Areas of the blue screen or green screen with a shadow on them can be replaced with a darker version of the desired background video image, making it look like the person is casting a shadow on them. Any spill of the chroma key colour will
761:
because it is best to have as narrow a colour range as possible being replaced. A shadow would present itself as a darker colour to the camera and might not register for replacement. This can sometimes be seen in low-budget or live broadcasts where the errors cannot be manually repaired or scenes
636:
used for analog video signals and digital images and movies retain more detail in the green channel. Green can also be used outdoors where the light colour temperature is significantly blue. Red is avoided as it is in human skin, and any other colour is a mix of primaries and thus produces a less
514:
In order to create an illusion that characters and objects filmed are present in the intended background scene, the lighting in the two scenes must be a reasonable match. For outdoor scenes, overcast days create a diffuse, evenly coloured light which can be easier to match in the studio, whereas
458:
Before electronic chroma keying, compositing was done on (chemical) film. The camera colour negative was printed onto high-contrast black and white negative, using either a filter or the high contrast film's colour sensitivity to expose only blue (and higher) frequencies. Blue light only shines
627:
was originally used for the film industry as making the separations required a film that would only respond to the screen colour, and film that responded only to blue and higher frequencies (ultraviolet, etc.) was far easier to manufacture and make reliable than film that somehow excluded both
463:
blue in the scene, so this left the film clear where the blue screen was, and opaque elsewhere, except it also produced clear for any white objects (since they also contained blue). Removing these spots could be done by a suitable double-exposure with the colour positive (thus turning any area
607:
For a clean division of foreground from background, it is also important that clothing and hair in the foreground shot have a fairly simple silhouette, as fine details such as frizzy hair may not resolve properly. Similarly, partially transparent elements of the costume cause problems.
486:
The most important factor for a key is the colour separation of the foreground (the subject) and background (the screen) â a blue screen will be used if the subject is predominantly green (for example plants), despite the camera being more sensitive to green light.
631:
In television and digital film making, however, it is equally easy to extract any colour, and green quickly became the favoured colour. Bright green is less likely to be in the foreground objects, colour film emulsions usually had much finer grain in the green, and
478:. The background negative was then packed with the female matte and exposed onto a final strip of film, then the camera negative was packed with the male matte and was double-printed onto this same film. These two images combined creates the final effect.
356:
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 colour whose blue-colour component is similar in intensity to their green-colour component.
402:(CGI). Performances from different takes can 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 leaving the studio.
498:
relative to a reference oscillator. Chroma key is achieved by comparing the phase of the video to the phase corresponding to the pre-selected colour. In-phase portions of the video are replaced by the alternate background video.
932:) position, the values of nearby pixels, the value from reference images or a statistical colour model of the scene, and values from user-drawn masks. These produce closed surfaces in space with more than three dimensions.
394:
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.
123:
industries. A colour 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
730:
in digital colour images to encode (1-bit) transparency; this is sometimes referred to as "magic pink". This is not a photographic technique and the extraction of the foreground from the background is trivial.
241:
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
752:
using green-screen chroma key. Note the lack of shadows on the screen. The whiter area near the center of the image is due to the angle this photo was taken from, and would not appear from the video camera's
1161:
If the foreground is a person then blue or green backing colour is recommended as these colours are not present in human flesh pigments. In fact, human skin colour is 70% red for all people regardless of
837: â„ 1 means the pixel is fully in the foreground object, and intermediate values indicate the pixel is partially covered by the foreground object (or it is transparent). A further function
152:; chroma keying can be done with backgrounds of any colour that are uniform and distinct, but green and blue backgrounds are more commonly used because they differ most distinctly in hue from any
935:
A different class of algorithm tries to figure out a 2D path that separates the foreground from the background. This path can be the output, or the image can be drawn by filling the path with
530:
The depth of field used to record the scene in front of the coloured screen should match that of the background. This can mean recording the actors with a larger depth of field than normal.
387:
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,
582:. The actor can also be filmed against a chroma-key background and inserted into the background shot with a distortion effect, in order to create a cloak that is marginally detectable.
572:
this is when an actor wears a blue covering over a part of his body to make it invisible in the final shot. This technique can be used to achieve an effect similar to that used in the
1271:
Johnson, Erskine. "Video's
Special Effects Men Becoming Master Magicians of Hollywood; Many Tricks." (NEA syndicated article) Gloversville (NY) Leader-Herald, 6 December 1957.
522:. This can look unnatural or cause portions of the characters to disappear, so must be compensated for, or avoided by using a larger screen placed far from the actors.
212:
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.
464:
containing red or green opaque), and many other techniques. The result was film that was clear where the blue screen was, and opaque everywhere else. This is called a
156:. No part of the subject being filmed or photographed may duplicate the colour used as the backing, or the part may be erroneously identified as part of the backing.
518:
A studio shot taken in front of a green screen will naturally have ambient light the same colour as the screen, due to its light scattering. This effect is known as
920:
more opaque the closer they are to the outer surface. Sometimes more closed surfaces are used to determine how to remove green spill. It is also very common for
350:
television broadcasts, incorporating patents granted to RCA's Albert N. Goldsmith. A very early broadcast use was NBC's George Gobel Show in fall 1957.
2381:
1367:
1603:
1474:
659:. This requires no light to shine on the background other than the LEDs, which use an extremely small amount of power and space unlike big
1233:
1140:
700:
295:, a scene featuring a genie escaping from a bottle was the first use of a proper bluescreen process to create a travelling matte for
2532:
2522:
2386:
1751:
1536:
1509:
1393:
1281:
1579:
1546:
1519:
1492:
1351:
1217:
302:
995:
2804:
2598:
322:
243:
218:
2794:
1321:
213:
1634:
1185:
964:
321:
travelling matte process. He also began developing bluescreen techniques: one of the first films to use them was the
246:
patented a travelling matte technique, again based on using a black background. This was used in many films, such as
2543:
428:
391:
cameras alleviated this problem, as both the foreground and background could be filmed with the same camera moves.
674:
There is also a form of colour keying that uses light spectrum invisible to human eye. Called Thermo-Key, it uses
561:
A model wearing blue clothing in front of green screen. The shadows cast onto the green screen are not ideal (see
380:
created a "quad optical printer" that accelerated the process considerably and saved money. He received a special
2799:
2768:
2722:
1262:"Studio: The World--NBC Introduces 'Chroma-Key' to Extend Scope of TV Settings." Electronic Age, January 1958, 8.
297:
798:
There are several different quality- and speed-optimised techniques for implementing colour keying in software.
2603:
2538:
2527:
687:
2789:
1020:
667:. This advance was made possible by the invention in the 1990s of practical blue LEDs, which also allow for
248:
31:
17:
790:, as well. The background must be bright enough to allow the camera to create a bright and saturated image.
2406:
2066:
757:
The biggest challenge when setting up a blue screen or green screen is even lighting and the avoidance of
1840:
187:
can also be used in conjunction with chroma keying, such as to move the background as the subject moves.
1611:
1371:
2608:
2266:
2195:
1924:
1744:
1005:
711:, thus allowing the effects team to produce effects in a quarter of the time needed for other methods.
616:
574:
399:
388:
171:
226:
used double exposure to add background scenes to windows which were black when filmed on set, using a
2583:
2401:
2373:
1237:
715:
in a digital image, each pixel will have a different chroma key. This is sometimes referred to as a
2588:
2578:
2573:
2568:
2051:
1784:
1423:
Yasuda, K.; Naemura, T.; Harashima, H. (2004). "Thermo-key: human region segmentation from video".
50:
604:
both were shot in front of the same screen, parts of one character would be erased from the shot.
2635:
2593:
985:
372:
331:
1816:
1313:
1307:
1025:
970:
591:
515:
direct sunlight needs to be matched in both direction and overall colour based on time of day.
474:
in digital keying. Copying this film onto another high-contrast negative produced the opposite
398:
Some films make heavy use of chroma key to add backgrounds that are constructed entirely using
108:
1991:
358:
2517:
2272:
2173:
2161:
1737:
1484:
1341:
1175:
679:
585:
Difficulties emerge with blue screen when a costume in an effects shot must be blue, such as
579:
259:
used a white backdrop to include human actors with cartoon characters and backgrounds in his
2490:
1241:
1045:
641:
223:
1035:
285:
to create "wipes" â where there were transitions like a windshield wiper in films such as
183:
may instead be carried out on subjects that are not in front of a green (or blue) screen.
8:
2620:
2305:
2205:
2137:
2026:
1828:
1714:
1397:
160:
2034:
1986:
1934:
1919:
1914:
1892:
1821:
1585:
1448:
1030:
1000:
708:
503:
292:
287:
282:
274:
201:
786:
levels. In the case of video cameras, underexposed images can contain high amounts of
543:
2730:
2683:
2411:
2280:
2178:
2095:
2056:
1973:
1929:
1575:
1542:
1515:
1488:
1440:
1347:
1317:
1213:
1181:
1040:
916:). This is fairly close to the capabilities of analog and film-based screen pulling.
826:
692:
664:
633:
552:
491:
438:
153:
1401:
2678:
2673:
2653:
2648:
2233:
2006:
2001:
1981:
1939:
1897:
1875:
1799:
1720:
Stargate
Studios Virtual Backlot Reel 2009 â A demonstration of green screen scenes
1691:
1589:
1567:
1452:
1432:
437:
are replaced by the alternate background video. This process is commonly known as "
326:
125:
1148:
495:
2708:
2698:
2693:
2658:
2560:
2396:
2343:
2260:
2255:
2166:
2061:
1050:
1015:
980:
958:
779:
668:
648:
406:
362:
306:
209:
205:
88:
924:() to depend on more than just the current pixel's colour, it may also use the (
2758:
2703:
2688:
2668:
2663:
2446:
2228:
2114:
2083:
2039:
1996:
1868:
1833:
1806:
1724:
1466:
1055:
940:
411:
381:
377:
261:
167:
116:
84:
1719:
1571:
1098:
1081:
939: = 1 as a final step. An example of such an algorithm is the use of
2783:
2643:
2441:
2223:
2215:
2148:
2016:
1956:
1880:
1863:
1769:
1470:
1436:
1303:
336:
314:
227:
68:
The corresponding frame in the final version in which the actor impersonates
1696:
1679:
432:, where a visual effects scene using bluescreen chroma key is in preparation
2615:
2478:
2434:
2250:
2245:
2240:
2156:
2109:
2078:
2011:
1855:
1566:. 2008 19th International Conference on Pattern Recognition. pp. 1â4.
1538:
Digital
Compositing for Film and Video: Production Workflows and Techniques
1511:
Digital
Compositing for Film and Video: Production Workflows and Techniques
1480:
1444:
783:
767:
620:
Demonstration of the creation of visual effects techniques using chroma key
600:
367:
353:
278:
184:
104:
69:
55:
1638:
695:
matting process was proposed by Don Lee of CIS Hollywood and developed by
678:
as the key colour, which would not be replaced by background image during
422:
2473:
2296:
2200:
2044:
1949:
1907:
1902:
1845:
1811:
1060:
990:
953:
896:
are user adjustable constants with a default value of 1.0. A very simple
787:
704:
696:
660:
656:
470:
318:
256:
92:
42:
2625:
2468:
2188:
1944:
1885:
975:
596:
163:
120:
38:
54:
The practicality of green-screen compositing is demonstrated by actor
2485:
2458:
2453:
1962:
1678:
Aksoy, Yagiz; Aydin, Tunc; Pollefeys, Marc; Smolic, Aljoscha (2016).
1664:
782:. Underexposing or overexposing a coloured backdrop can lead to poor
180:
144:), or by various terms for specific colour-related variants such as
2740:
2463:
2071:
1088:
posted to
Crosson's secondary YouTube channel "Iman" on 8 May 2011.
675:
586:
233:
112:
2128:
1680:"Interactive High-Quality Green-Screen Keying via Colour Unmixing"
1115:
2512:
1794:
723:
1729:
943:. Most research in recent years has been into these algorithms.
2735:
2338:
2328:
1010:
758:
749:
176:
63:
A frame in a full-motion video shot in the actor's living room.
2363:
2358:
2348:
2318:
1789:
1760:
1105:
posted to
Crosson's YouTube channel "Alphacat" on 4 May 2011.
865:) is needed to remove green spill on the foreground objects.
833: †0 means the pixel is fully in the green screen,
310:
100:
96:
778:
Another challenge for blue screen or green screen is proper
2353:
2333:
2313:
2183:
2100:
1210:
The Green Screen
Handbook: Real-World Production Techniques
707:
orange backdrop which made it easier to generate a holdout
624:
128:
and post-production. This technique is also referred to as
2429:
2323:
2088:
1677:
770:
of the lenses used can affect the success of chroma key.
744:
652:
347:
343:
141:
1562:
Yamashita, Atsushi; Agata, Hiroki; Kaneko, Toru (2008).
111:
from the subject of a photo or video â particularly the
651:
curtain in the background, along with a ring of bright
370:
were used to control the optical printer. For the film
1422:
107:
range). The technique has been used in many fields to
628:
frequencies higher and lower than the screen colour.
273:
The blue screen method was developed in the 1930s at
1561:
766:
make the result look unnatural. A difference in the
405:
Advances in computer technology have simplified the
494:, colour is represented by the phase of the chroma
414:techniques whereby the camera is always in motion.
30:"Green screen" redirects here. For other uses, see
2382:Linguistic relativity and the colour naming debate
1282:"The Keys To Chromakey: How To Use A Green Screen"
1108:
722:There is some use of the specific full-intensity
268:
175:the entertainment industry for visual effects in
27:Compositing technique, also known as green screen
2781:
72:"appearing" outside the White House's East Room.
1476:Star Trek: The Next Generation Technical Manual
825: (alpha) has a meaning similar to that in
1465:
589:'s traditional blue outfit. In the 2002 film
444:
361:also contributed to bluescreen technology. An
346:'s trade name for the process, as used on its
1745:
1368:"Creating an invisible cape in After Effects"
1335:
1333:
1309:DV Filmmaking: From Start to Finish, Volume 1
1099:"President Obama on Death of Osama bin Laden
453:
41:. For musical tonality depending on key, see
459:through the colour negative where there is
216:first used this approach in 1898. In 1903,
2764:
1752:
1738:
1658:
1656:
1339:
1330:
1177:Experimental Filmmaking: Break the Machine
1082:"President Obama on Death of Osama SPOOF-
1695:
1370:. Library.creativecow.net. Archived from
1135:
1133:
237:Simplified principle of travelling mattes
2533:International Commission on Illumination
1203:
1201:
1199:
1197:
821:is applied to every pixel in the image.
743:
615:
421:
232:
49:
1653:
1425:IEEE Computer Graphics and Applications
1302:
1091:
103:streams together based on colour hues (
14:
2782:
2523:Color Association of the United States
1534:
1507:
1207:
1130:
303:Academy Award for Best Special Effects
37:For the electronic music project, see
1733:
1632:
1194:
1173:
170:is seen standing in front of a large
1637:. University of Utah. Archived from
1541:. Taylor & Francis. p. 29.
1514:. Taylor & Francis. p. 27.
611:
441:", "keying out" or simply a "key".
24:
2387:Blueâgreen distinction in language
1662:
1535:Wright, Steve (22 November 2017).
1508:Wright, Steve (22 November 2017).
1240:. 14 February 2005. Archived from
1234:"Illusions Take Home First Oscars"
1226:
562:
25:
2816:
1759:
1708:
578:films to create the effect of an
230:to expose only the window areas.
2763:
2754:
2753:
2544:International Colour Association
2127:
1343:Location Lighting for Television
1312:. O'Reilly Media, Inc. pp.
872:() function for green screen is
739:
551:
542:
481:
2539:International Colour Consortium
1671:
1626:
1596:
1555:
1528:
1501:
1459:
1416:
1386:
1360:
1296:
1274:
1174:Ramey, Kathryn (30 July 2015).
195:
2604:List of Crayola crayon colours
2528:International Colour Authority
1265:
1256:
1167:
1074:
965:Drew Carey's Green Screen Show
793:
688:Star Trek: The Next Generation
647:A newer technique is to use a
269:From bluescreen to greenscreen
13:
1:
1067:
1021:Primatte chromakey technology
801:In most versions, a function
734:
281:used an early version of the
200:Prior to the introduction of
159:It is commonly used for live
32:Green screen (disambiguation)
2407:Traditional colours of Japan
2184:Achromatic colours (Neutral)
2067:Multi-primary colour display
1684:ACM Transactions on Graphics
1665:"Greenscreen code and hints"
1604:"So you wanna make a theme?"
1097:The final (composite) video
7:
1841:Spectral power distribution
1608:skinyourscreen.com articles
1346:. Focal Press. p. 42.
946:
773:
533:
509:
445:Processing a green backdrop
10:
2821:
2805:Film and video terminology
2267:Colour realism (art style)
1925:Evolution of colour vision
1006:Motion control photography
454:Processing a blue backdrop
417:
400:computer-generated imagery
342:The name "Chroma-Key" was
190:
36:
29:
2795:Film and video technology
2749:
2721:
2634:
2584:List of colours (compact)
2559:
2552:
2503:
2422:
2402:Colour in Chinese culture
2372:
2304:
2295:
2214:
2147:
2136:
2125:
2025:
1972:
1854:
1777:
1768:
1635:"High Quality Chroma Key"
1572:10.1109/ICPR.2008.4761643
1340:Bermingham, Alan (2013).
1212:. John Wiley & Sons.
1180:. CRC Press. p. 70.
1147:. BorisFX. Archived from
525:
429:The Spiderwick Chronicles
134:colour-separation overlay
58:in a self-produced video.
2589:List of colours by shade
2052:Digital image processing
1785:Electromagnetic spectrum
1437:10.1109/MCG.2004.1255805
2594:List of colour palettes
1697:10.1145/3072959.2907940
986:Front projection effect
595:, in scenes where both
407:incorporation of motion
373:The Empire Strikes Back
332:The Old Man and the Sea
219:The Great Train Robbery
95:(layering) two or more
2800:Television terminology
1817:Structural colouration
1026:Rear projection effect
971:Federal Standard 1037C
754:
621:
433:
301:(1940), which won the
238:
77:Chroma key compositing
73:
2599:List of colour spaces
2518:Color Marketing Group
2273:On Vision and Colours
2206:Tinctures in heraldry
2189:Polychromatic colours
2174:Complementary colours
2162:Monochromatic colours
1715:How Blue Screens Work
1564:Every color chromakey
1394:"What is Thermo-Key?"
1208:Foster, Jeff (2010).
1116:"What is Chroma Key?"
996:Live action/Animation
747:
619:
425:
236:
53:
2790:Cinematic techniques
2579:List of colours: NâZ
2574:List of colours: GâM
2569:List of colours: AâF
2491:Tint, shade and tone
2374:Cultural differences
1725:ChromaKey SourceCode
1641:on 30 September 2018
1633:Ashihkmin, Michael.
1046:Sodium vapor process
748:A live broadcast of
384:for his innovation.
317:began working on an
305:that year. In 1950,
291:(1933). Credited to
2626:List of web colours
2621:List of RAL colours
2027:Colour reproduction
1992:LĂŒscher colour test
1829:Colour of chemicals
1404:on 21 February 2009
1398:University of Tokyo
1145:Chroma Key Tutorial
1141:"The Chroma Effect"
1080:From YouTube video
703:. This involved a
359:Zbigniew RybczyĆski
298:The Thief of Bagdad
214:George Albert Smith
140:; primarily by the
109:remove a background
2035:Colour photography
1987:Colour preferences
1930:Impossible colours
1920:Colour vision test
1915:Colour temperature
1893:Colour calibration
1822:Animal colouration
1614:on 29 October 2007
1031:Reverse bluescreen
1001:Matte (filmmaking)
755:
637:clean extraction.
622:
580:invisibility cloak
434:
366:During the 1980s,
288:Flying Down to Rio
275:RKO Radio Pictures
239:
74:
2777:
2776:
2717:
2716:
2499:
2498:
2423:Colour dimensions
2412:Human skin colour
2291:
2290:
2281:Theory of Colours
2179:Analogous colours
2123:
2122:
2057:Colour management
1974:Colour psychology
1856:Colour perception
1581:978-1-4244-2174-9
1548:978-1-315-28399-9
1521:978-1-315-28399-9
1494:978-0-671-70427-8
1353:978-0-240-51937-1
1219:978-0-470-52107-6
1084:BEHIND THE SCENES
1041:Signal processing
1036:SchĂŒfftan process
827:alpha compositing
699:and the staff of
693:ultraviolet light
663:, and require no
634:lossy compression
612:Background colour
504:digital colour TV
492:analog television
249:The Invisible Man
202:travelling mattes
179:and video games.
154:human skin colour
16:(Redirected from
2812:
2767:
2766:
2757:
2756:
2557:
2556:
2302:
2301:
2234:Secondary colour
2145:
2144:
2131:
2007:National colours
2002:Political colour
1982:Colour symbolism
1940:Opponent process
1898:Colour constancy
1876:Colour blindness
1807:Spectral colours
1775:
1774:
1754:
1747:
1740:
1731:
1730:
1702:
1701:
1699:
1675:
1669:
1668:
1663:Cannon, Edward.
1660:
1651:
1650:
1648:
1646:
1630:
1624:
1623:
1621:
1619:
1610:. Archived from
1600:
1594:
1593:
1559:
1553:
1552:
1532:
1526:
1525:
1505:
1499:
1498:
1463:
1457:
1456:
1420:
1414:
1413:
1411:
1409:
1400:. Archived from
1390:
1384:
1383:
1381:
1379:
1374:on 28 March 2019
1364:
1358:
1357:
1337:
1328:
1327:
1300:
1294:
1293:
1291:
1289:
1278:
1272:
1269:
1263:
1260:
1254:
1253:
1251:
1249:
1244:on 15 March 2005
1230:
1224:
1223:
1205:
1192:
1191:
1171:
1165:
1164:
1158:
1156:
1151:on 15 March 2005
1137:
1128:
1127:
1125:
1123:
1112:
1106:
1095:
1089:
1078:
729:
717:difference matte
555:
546:
468:, similar to an
327:Ernest Hemingway
309:employee and ex-
283:travelling matte
206:optical printing
161:weather forecast
126:video production
21:
2820:
2819:
2815:
2814:
2813:
2811:
2810:
2809:
2780:
2779:
2778:
2773:
2745:
2713:
2630:
2548:
2505:
2495:
2418:
2397:Blue in culture
2393:Colour history
2368:
2287:
2261:Colour analysis
2256:Colour triangle
2210:
2167:black-and-white
2139:
2132:
2119:
2062:Colour printing
2021:
1968:
1850:
1764:
1758:
1711:
1706:
1705:
1676:
1672:
1661:
1654:
1644:
1642:
1631:
1627:
1617:
1615:
1602:
1601:
1597:
1582:
1560:
1556:
1549:
1533:
1529:
1522:
1506:
1502:
1495:
1467:Sternbach, Rick
1464:
1460:
1421:
1417:
1407:
1405:
1392:
1391:
1387:
1377:
1375:
1366:
1365:
1361:
1354:
1338:
1331:
1324:
1301:
1297:
1287:
1285:
1280:
1279:
1275:
1270:
1266:
1261:
1257:
1247:
1245:
1232:
1231:
1227:
1220:
1206:
1195:
1188:
1172:
1168:
1154:
1152:
1139:
1138:
1131:
1121:
1119:
1114:
1113:
1109:
1096:
1092:
1079:
1075:
1070:
1065:
1051:Special effects
1016:Optical printer
981:Film production
959:DaVinci Resolve
949:
938:
923:
899:
895:
891:
887:
879:
875:
871:
856:
844:
840:
836:
832:
824:
820:
816:
812:
808:
804:
796:
780:camera exposure
776:
742:
737:
727:
649:retroreflective
614:
569:
568:
567:
566:
558:
557:
556:
548:
547:
536:
528:
512:
484:
456:
447:
420:
412:cinematographic
363:optical printer
323:1958 adaptation
307:Warner Brothers
271:
224:Edwin S. Porter
210:double exposure
198:
193:
185:Motion tracking
89:post-production
64:
59:
46:
35:
28:
23:
22:
15:
12:
11:
5:
2818:
2808:
2807:
2802:
2797:
2792:
2775:
2774:
2772:
2771:
2761:
2750:
2747:
2746:
2744:
2743:
2738:
2733:
2727:
2725:
2719:
2718:
2715:
2714:
2712:
2711:
2706:
2701:
2696:
2691:
2686:
2681:
2676:
2671:
2666:
2661:
2656:
2651:
2646:
2640:
2638:
2632:
2631:
2629:
2628:
2623:
2618:
2613:
2612:
2611:
2601:
2596:
2591:
2586:
2581:
2576:
2571:
2565:
2563:
2554:
2550:
2549:
2547:
2546:
2541:
2536:
2530:
2525:
2520:
2515:
2509:
2507:
2501:
2500:
2497:
2496:
2494:
2493:
2488:
2483:
2482:
2481:
2476:
2471:
2466:
2461:
2451:
2450:
2449:
2447:Pastel colours
2439:
2438:
2437:
2426:
2424:
2420:
2419:
2417:
2416:
2415:
2414:
2409:
2404:
2399:
2391:
2390:
2389:
2378:
2376:
2370:
2369:
2367:
2366:
2361:
2356:
2351:
2346:
2341:
2336:
2331:
2326:
2321:
2316:
2310:
2308:
2299:
2293:
2292:
2289:
2288:
2286:
2285:
2277:
2276:(Schopenhauer)
2269:
2264:
2258:
2253:
2248:
2243:
2238:
2237:
2236:
2231:
2229:Primary colour
2220:
2218:
2212:
2211:
2209:
2208:
2203:
2198:
2193:
2192:
2191:
2186:
2181:
2176:
2171:
2170:
2169:
2153:
2151:
2142:
2134:
2133:
2126:
2124:
2121:
2120:
2118:
2117:
2115:Colour mapping
2112:
2107:
2106:
2105:
2104:
2103:
2093:
2092:
2091:
2076:
2075:
2074:
2069:
2059:
2054:
2049:
2048:
2047:
2042:
2040:Colour balance
2031:
2029:
2023:
2022:
2020:
2019:
2014:
2009:
2004:
1999:
1997:Kruithof curve
1994:
1989:
1984:
1978:
1976:
1970:
1969:
1967:
1966:
1959:
1954:
1953:
1952:
1947:
1937:
1932:
1927:
1922:
1917:
1912:
1911:
1910:
1900:
1895:
1890:
1889:
1888:
1883:
1873:
1872:
1871:
1869:Sonochromatism
1860:
1858:
1852:
1851:
1849:
1848:
1843:
1838:
1837:
1836:
1826:
1825:
1824:
1819:
1809:
1804:
1803:
1802:
1797:
1792:
1781:
1779:
1778:Colour physics
1772:
1770:Colour science
1766:
1765:
1757:
1756:
1749:
1742:
1734:
1728:
1727:
1722:
1717:
1710:
1709:External links
1707:
1704:
1703:
1670:
1652:
1625:
1595:
1580:
1554:
1547:
1527:
1520:
1500:
1493:
1471:Okuda, Michael
1458:
1415:
1385:
1359:
1352:
1329:
1323:978-0596008482
1322:
1304:Aronson, David
1295:
1273:
1264:
1255:
1225:
1218:
1193:
1186:
1166:
1129:
1107:
1090:
1072:
1071:
1069:
1066:
1064:
1063:
1058:
1056:Video switcher
1053:
1048:
1043:
1038:
1033:
1028:
1023:
1018:
1013:
1008:
1003:
998:
993:
988:
983:
978:
973:
968:
961:
956:
950:
948:
945:
941:active contour
936:
921:
897:
893:
889:
885:
877:
873:
869:
868:A very simple
854:
842:
838:
834:
830:
822:
818:
814:
810:
806:
802:
795:
792:
775:
772:
741:
738:
736:
733:
680:postprocessing
613:
610:
560:
559:
550:
549:
541:
540:
539:
538:
537:
535:
532:
527:
524:
511:
508:
483:
480:
455:
452:
446:
443:
419:
416:
389:motion-control
378:Richard Edlund
270:
267:
262:Alice Comedies
255:In the 1920s,
244:Frank Williams
197:
194:
192:
189:
168:news presenter
117:motion picture
91:technique for
85:visual-effects
26:
9:
6:
4:
3:
2:
2817:
2806:
2803:
2801:
2798:
2796:
2793:
2791:
2788:
2787:
2785:
2770:
2762:
2760:
2752:
2751:
2748:
2742:
2739:
2737:
2734:
2732:
2729:
2728:
2726:
2724:
2720:
2710:
2707:
2705:
2702:
2700:
2697:
2695:
2692:
2690:
2687:
2685:
2682:
2680:
2677:
2675:
2672:
2670:
2667:
2665:
2662:
2660:
2657:
2655:
2652:
2650:
2647:
2645:
2642:
2641:
2639:
2637:
2633:
2627:
2624:
2622:
2619:
2617:
2614:
2610:
2607:
2606:
2605:
2602:
2600:
2597:
2595:
2592:
2590:
2587:
2585:
2582:
2580:
2577:
2575:
2572:
2570:
2567:
2566:
2564:
2562:
2558:
2555:
2551:
2545:
2542:
2540:
2537:
2534:
2531:
2529:
2526:
2524:
2521:
2519:
2516:
2514:
2511:
2510:
2508:
2506:organisations
2502:
2492:
2489:
2487:
2484:
2480:
2477:
2475:
2472:
2470:
2467:
2465:
2462:
2460:
2457:
2456:
2455:
2452:
2448:
2445:
2444:
2443:
2442:Colourfulness
2440:
2436:
2433:
2432:
2431:
2428:
2427:
2425:
2421:
2413:
2410:
2408:
2405:
2403:
2400:
2398:
2395:
2394:
2392:
2388:
2385:
2384:
2383:
2380:
2379:
2377:
2375:
2371:
2365:
2362:
2360:
2357:
2355:
2352:
2350:
2347:
2345:
2342:
2340:
2337:
2335:
2332:
2330:
2327:
2325:
2322:
2320:
2317:
2315:
2312:
2311:
2309:
2307:
2303:
2300:
2298:
2294:
2283:
2282:
2278:
2275:
2274:
2270:
2268:
2265:
2262:
2259:
2257:
2254:
2252:
2249:
2247:
2244:
2242:
2239:
2235:
2232:
2230:
2227:
2226:
2225:
2224:Colour mixing
2222:
2221:
2219:
2217:
2216:Colour theory
2213:
2207:
2204:
2202:
2199:
2197:
2196:Light-on-dark
2194:
2190:
2187:
2185:
2182:
2180:
2177:
2175:
2172:
2168:
2165:
2164:
2163:
2160:
2159:
2158:
2155:
2154:
2152:
2150:
2149:Colour scheme
2146:
2143:
2141:
2135:
2130:
2116:
2113:
2111:
2108:
2102:
2099:
2098:
2097:
2094:
2090:
2087:
2086:
2085:
2082:
2081:
2080:
2077:
2073:
2070:
2068:
2065:
2064:
2063:
2060:
2058:
2055:
2053:
2050:
2046:
2043:
2041:
2038:
2037:
2036:
2033:
2032:
2030:
2028:
2024:
2018:
2017:Chromotherapy
2015:
2013:
2010:
2008:
2005:
2003:
2000:
1998:
1995:
1993:
1990:
1988:
1985:
1983:
1980:
1979:
1977:
1975:
1971:
1965:
1964:
1960:
1958:
1957:Tetrachromacy
1955:
1951:
1948:
1946:
1943:
1942:
1941:
1938:
1936:
1933:
1931:
1928:
1926:
1923:
1921:
1918:
1916:
1913:
1909:
1906:
1905:
1904:
1901:
1899:
1896:
1894:
1891:
1887:
1884:
1882:
1881:Achromatopsia
1879:
1878:
1877:
1874:
1870:
1867:
1866:
1865:
1864:Chromesthesia
1862:
1861:
1859:
1857:
1853:
1847:
1844:
1842:
1839:
1835:
1832:
1831:
1830:
1827:
1823:
1820:
1818:
1815:
1814:
1813:
1810:
1808:
1805:
1801:
1798:
1796:
1793:
1791:
1788:
1787:
1786:
1783:
1782:
1780:
1776:
1773:
1771:
1767:
1762:
1755:
1750:
1748:
1743:
1741:
1736:
1735:
1732:
1726:
1723:
1721:
1718:
1716:
1713:
1712:
1698:
1693:
1689:
1685:
1681:
1674:
1666:
1659:
1657:
1640:
1636:
1629:
1613:
1609:
1605:
1599:
1591:
1587:
1583:
1577:
1573:
1569:
1565:
1558:
1550:
1544:
1540:
1539:
1531:
1523:
1517:
1513:
1512:
1504:
1496:
1490:
1486:
1482:
1478:
1477:
1472:
1468:
1462:
1454:
1450:
1446:
1442:
1438:
1434:
1430:
1426:
1419:
1403:
1399:
1395:
1389:
1373:
1369:
1363:
1355:
1349:
1345:
1344:
1336:
1334:
1325:
1319:
1315:
1311:
1310:
1305:
1299:
1283:
1277:
1268:
1259:
1243:
1239:
1235:
1229:
1221:
1215:
1211:
1204:
1202:
1200:
1198:
1189:
1187:9781136071508
1183:
1179:
1178:
1170:
1163:
1150:
1146:
1142:
1136:
1134:
1117:
1111:
1104:
1102:
1094:
1087:
1085:
1077:
1073:
1062:
1059:
1057:
1054:
1052:
1049:
1047:
1044:
1042:
1039:
1037:
1034:
1032:
1029:
1027:
1024:
1022:
1019:
1017:
1014:
1012:
1009:
1007:
1004:
1002:
999:
997:
994:
992:
989:
987:
984:
982:
979:
977:
974:
972:
969:
967:
966:
962:
960:
957:
955:
952:
951:
944:
942:
933:
931:
927:
917:
915:
911:
907:
903:
883:
866:
864:
860:
852:
848:
828:
799:
791:
789:
785:
781:
771:
769:
763:
760:
751:
746:
740:Even lighting
732:
725:
720:
718:
712:
710:
706:
702:
698:
694:
690:
689:
683:
681:
677:
672:
670:
669:emerald green
666:
662:
658:
654:
650:
645:
643:
642:yellow screen
640:A so-called "
638:
635:
629:
626:
618:
609:
605:
602:
598:
594:
593:
588:
583:
581:
577:
576:
564:
563:even lighting
554:
545:
531:
523:
521:
516:
507:
505:
500:
497:
493:
488:
482:Major factors
479:
477:
473:
472:
467:
462:
451:
442:
440:
431:
430:
426:Film set for
424:
415:
413:
408:
403:
401:
396:
392:
390:
385:
383:
382:Academy Award
379:
375:
374:
369:
368:minicomputers
364:
360:
355:
351:
349:
345:
340:
338:
337:Spencer Tracy
334:
333:
328:
324:
320:
316:
315:Arthur Widmer
312:
308:
304:
300:
299:
294:
290:
289:
284:
280:
276:
266:
264:
263:
258:
253:
251:
250:
245:
235:
231:
229:
228:garbage matte
225:
221:
220:
215:
211:
207:
203:
188:
186:
182:
178:
173:
169:
165:
162:
157:
155:
151:
147:
143:
139:
135:
131:
130:colour keying
127:
122:
118:
114:
110:
106:
102:
98:
94:
90:
86:
82:
81:chroma keying
78:
71:
67:
66:Bottom panel:
62:
57:
52:
48:
44:
40:
33:
19:
18:Green-screens
2616:Colour chart
2479:Fluorescence
2435:Dichromatism
2297:Colour terms
2279:
2271:
2251:Colour wheel
2246:Colour solid
2241:Chromaticity
2110:Colour space
2079:Colour model
2012:Chromophobia
1961:
1687:
1683:
1673:
1643:. Retrieved
1639:the original
1628:
1616:. Retrieved
1612:the original
1607:
1598:
1563:
1557:
1537:
1530:
1510:
1503:
1481:Pocket Books
1475:
1461:
1431:(1): 26â30.
1428:
1424:
1418:
1406:. Retrieved
1402:the original
1388:
1376:. Retrieved
1372:the original
1362:
1342:
1308:
1298:
1286:. Retrieved
1284:. Videomaker
1276:
1267:
1258:
1246:. Retrieved
1242:the original
1228:
1209:
1176:
1169:
1160:
1153:. Retrieved
1149:the original
1144:
1120:. Retrieved
1110:
1100:
1093:
1083:
1076:
963:
934:
929:
925:
918:
913:
909:
905:
901:
881:
867:
862:
858:
850:
846:
829:techniques.
800:
797:
777:
768:focal length
764:
756:
721:
716:
713:
686:
684:
673:
661:stage lights
646:
639:
630:
623:
606:
601:Green Goblin
590:
584:
575:Harry Potter
573:
570:
529:
519:
517:
513:
501:
489:
485:
475:
469:
466:female matte
465:
460:
457:
448:
435:
427:
404:
397:
393:
386:
371:
354:Petro Vlahos
352:
341:
330:
296:
293:Larry Butler
286:
279:Linwood Dunn
272:
260:
254:
247:
240:
217:
199:
196:Predecessors
158:
149:
146:green screen
145:
137:
133:
129:
80:
76:
75:
70:Barack Obama
65:
60:
56:Iman Crosson
47:
2474:Iridescence
2306:Basic terms
2201:Web colours
2157:Colour tool
2096:subtractive
2045:Colour cast
1950:Unique hues
1908:Colour code
1903:Colour task
1846:Colorimetry
1812:Chromophore
1645:23 February
1238:CRI English
1061:Virtual set
991:Live action
954:Compositing
794:Programming
705:fluorescent
697:Gary Hutzel
657:camera lens
655:around the
471:alpha matte
335:, starring
319:ultraviolet
313:researcher
277:. At RKO,
257:Walt Disney
166:in which a
150:blue screen
113:newscasting
93:compositing
43:Key (music)
2784:Categories
2636:Shades of:
2469:Brightness
2140:philosophy
1945:Afterimage
1935:Metamerism
1886:Dichromacy
1483:. p.
1408:21 January
1288:23 October
1248:21 January
1155:11 January
1068:References
976:Filmmaking
853:) â (
784:saturation
735:Tolerances
597:Spider-Man
592:Spider-Man
496:subcarrier
476:male matte
164:broadcasts
121:video game
61:Top panel:
39:Chroma Key
2486:Grayscale
2459:Lightness
2454:Luminance
2263:(fashion)
1963:The dress
1618:23 August
329:novella,
181:Rotoscopy
2759:Category
2741:Lighting
2464:Darkness
2284:(Goethe)
2084:additive
2072:Quattron
1690:(4): 1.
1473:(1991).
1445:15384664
1306:(2006).
947:See also
774:Exposure
676:infrared
599:and the
587:Superman
534:Clothing
510:Lighting
2723:Related
2684:Magenta
2609:history
2513:Pantone
1800:Visible
1795:Rainbow
1590:1424110
1453:8378941
1378:20 July
1118:. Lumeo
1101:(SPOOF)
928:,
900:() is (
861:,
857:,
849:,
845:,
728:#FF00FF
726:colour
724:magenta
701:Image G
665:rigging
418:Process
325:of the
191:History
83:, is a
2736:Qualia
2731:Vision
2679:Purple
2674:Violet
2654:Yellow
2649:Orange
2504:Colour
2344:Orange
2339:Purple
2329:Yellow
2138:Colour
1763:topics
1761:Colour
1588:
1578:
1545:
1518:
1491:
1451:
1443:
1350:
1320:
1216:
1184:
1122:3 July
1011:Muslin
904:, min(
888:where
759:shadow
753:angle.
750:Myx TV
671:LEDs.
526:Camera
439:keying
177:movies
119:, and
105:chroma
97:images
2769:Index
2709:Black
2699:White
2694:Brown
2659:Green
2561:Lists
2553:Names
2535:(CIE)
2364:Brown
2359:White
2349:Black
2319:Green
1834:Water
1790:Light
1586:S2CID
1449:S2CID
1314:52â53
1162:race.
788:noise
709:matte
691:, an
520:spill
311:Kodak
101:video
79:, or
2704:Gray
2689:Pink
2669:Blue
2664:Cyan
2354:Grey
2334:Pink
2314:Blue
2101:CMYK
1647:2010
1620:2008
1576:ISBN
1543:ISBN
1516:ISBN
1489:ISBN
1441:PMID
1410:2009
1380:2011
1348:ISBN
1318:ISBN
1290:2017
1250:2009
1214:ISBN
1182:ISBN
1157:2010
1124:2014
892:and
884:) â
817:) â
685:For
653:LEDs
625:Blue
204:and
87:and
2644:Red
2430:Hue
2324:Red
2089:RGB
1692:doi
1568:doi
1433:doi
912:),
502:In
490:In
461:not
348:NBC
344:RCA
222:by
172:CGI
148:or
142:BBC
138:CSO
99:or
2786::
1688:36
1686:.
1682:.
1655:^
1606:.
1584:.
1574:.
1487:.
1485:13
1479:.
1469:;
1447:.
1439:.
1429:24
1427:.
1396:.
1332:^
1316:.
1236:.
1196:^
1159:.
1143:.
1132:^
886:Bg
813:,
809:,
682:.
565:).
376:,
339:.
265:.
252:.
208:,
132:,
115:,
1753:e
1746:t
1739:v
1700:.
1694::
1667:.
1649:.
1622:.
1592:.
1570::
1551:.
1524:.
1497:.
1455:.
1435::
1412:.
1382:.
1356:.
1326:.
1292:.
1252:.
1222:.
1190:.
1126:.
1103:"
1086:"
937:α
930:y
926:x
922:f
914:b
910:b
908:,
906:g
902:r
898:g
894:B
890:A
882:b
880:+
878:r
876:(
874:A
870:f
863:b
859:g
855:r
851:b
847:g
843:r
841:(
839:g
835:α
831:α
823:α
819:α
815:b
811:g
807:r
805:(
803:f
136:(
45:.
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
