"Film-making is it technological fulfillment of our most basic human need, the need to communicate."
- Matte is used to manage transparency, with white values being translated as fully opaque and black values are translated as completely transparent. In a static matte, you simply black matte over the lens and that single matte is the same for the entire shot. In a travelling-matte shot, you need to create a matte that is exactly the same shape as the person. In each frame, the actress moves, so a new matte is required for each frame. It is possible to create these individual mattes by hand, but it takes a tremendous amount of time. The blue screen behind the actress makes it easy to create all of the mattes automatically using optical or digital techniques.
- Chroma key against green or blue screens. Remember to avoid casting shadows on your screen or screen reflecting tint on the object. Shoot from distance to avoid image distortion by the lens. Avid objects to create shadows that is seen in the frame. Soft LED lights for even lighting are preferred to get that tight band (no slants or spikes) waveform or check to see uniform "zebras" stripes in the camera monitor when you overexpose by opening its iris/aperture.
- The brightness/gamma levels and warm or cold tone (by lighting) has to have the right level of diffusion to match the background during compositing. You can do this later if you add artificial keying or blend modes; and colour correction, on a duplicated and opacity reduced layer. The classic “skip bleach” effect is high-contrast and reduced saturation.
- Rotoscoping: drawing frame by frame (animation),
- Double exposure combination (film camera), & The Glass shot with matte painting (later filled in with elaborate drawing on glass without the cost of constructing sets)
- Motion control photography: programmed camera movement to composite several elements (still & video)