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Chroma key compositing, or chroma keying, is a special effects / post-production technique for compositing (layering) two images or video streams together based on color hues (chroma range). The technique has been used heavily in many fields to remove a background from the subject of a photo or video – particularly the newscasting, motion picture and videogame industries. 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, colour-separation overlay (CSO; primarily by the BBC〔(【引用サイトリンク】title=What is Chroma Key? )〕), 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 human skin colors. No part of the subject being filmed or photographed may duplicate a color used in the background.〔 It is commonly used for weather forecast broadcasts, wherein a news presenter is usually seen standing in front of a large CGI 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 or her clothes will also be replaced with the background video. A complementary system is used for green screens. Chroma keying is also used in the entertainment industry for special effects in movies and videogames. The advanced state of the technology and much commercially available computer software, such as Autodesk Smoke, Final Cut Pro, Pinnacle Studio, Adobe After Effects, and dozens of other computer programs, makes it possible and relatively easy for the average home computer user to create videos using the "chromakey" function with easily affordable green screen or blue screen kits. ==History== In filmmaking, a complex and time-consuming process known as "travelling matte" was used prior to the introduction of digital compositing. The blue screen method was developed in the 1930s at RKO Radio Pictures. At RKO, Linwood Dunn used an early version of the travelling matte to create "wipes" – where there were transitions like a windshield wiper in films such as ''Flying Down to Rio'' (1933). Credited to Larry Butler, a scene featuring a genie escaping from a bottle was the first use of a proper bluescreen process to create a traveling matte for ''The Thief of Bagdad'' (1940), which won the Academy Award for Visual Effects that year. In 1950, Warner Brothers employee and ex-Kodak researcher Arthur Widmer began working on an ultraviolet 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. One drawback to the traditional traveling matte is that the cameras shooting the images to be composited cannot 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 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. Zbigniew Rybczyński also contributed to bluescreen technology. An optical printer 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, minicomputers were used to control the optical printer. For the film ''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. 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. 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. 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. The comedy show Tosh.0 in particular is known for filming entirely with greenscreen and then cutting the image being produced by the computer to show Daniel Tosh standing directly on the purely green set. This is always done at the very end of the show. Computer development also made it easier to incorporate motion into composited shots, even when using handheld cameras. Reference-points can 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 compute 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 even eliminated the need to accurately place the markers - the software figures out their position in space (a disadvantage of this is that it requires a large camera movement, possibly encouraging modern film techniques where the camera is always in motion). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Chroma key」の詳細全文を読む スポンサード リンク
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