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Chroma key compositing, or chroma keying, is a visual-effects and post-production technique for compositing (layering) two or more images or video streams together based on color hues (chroma range). The technique has been used in many fields to remove a background from the subject of a photo or video – particularly the newscasting , motion ...
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Live-action shooting for compositing is variously called "chroma key", "blue screen", "green screen" and other names. Today, most compositing is achieved through digital image manipulation. Pre- digital compositing techniques, however, go back as far as the trick films of Georges Méliès in the late 19th century, and some are still in use.
Most sets were a combination of practical sets and chroma key backgrounds. For example, in the Glass Stepping Stones scenes, the set, designed as if in a circus tent for the players performing for the VIPs, was only 1.5 metres (4.9 ft) off the ground, using chroma key screens to simulate the height in post-production.
Most sets were a combination of practical sets and chroma key backgrounds. For example, in the Glass Stepping Stones scenes, the set, designed as if in a circus tent for the players performing for the VIPs, was only 1.5 metres (4.9 ft) off the ground, using chroma key screens to simulate the height in post-production.
This alleviated the need to save the images, exit the host compositing application, start Primatte, load the images, create the chroma key, save the images, start the host application, load the images and continue creating the composition. Since then it has been ported to almost every major compositing and editing software application on the ...
The two video sources had to be frame and line synchronous. The chroma key colored areas were detected with a phase looked loop (PLL). An example of an integrated circuit that could be used for this is the MC1378 by Motorola. Digital video chroma key operation is not programmatic either. A state machine, implemented in digital circuitry, is used.
[10] All of these approaches share one notable weakness: they cannot take arbitrary videos as inputs. In video, distinct from film, Chroma key requires the background of the original video to be a single color. The other two techniques require more information in the form of synchronized but slightly different videos. [11]