Відео

One thing that I think is worth noting here that is the explanation doesn't quite finish this process all off. An optical printer is used to take the first matte (the travelling matte), seen at 3:41 and the counter-matte, seen at 3:47, which is ran through the printer along with the original colour negative, seen at 1:11. The original colour negative with the travelling matte, is put through the printer, which will only give the actors which is isolated (notice the actors are clear in white at 3:41 which enables this), then, the counter-matte is used with another, separate negative that has your desired, chosen background from elsewhere (and notice that at 3:47, the background is clear in white in this instance) to effectively draw an outline of the actors onto a new negative cutting out the parts of the background where the actors will be. Basically, you have two new negatives after this process, one with just the actors, and one with the background with the outline of the actors. The outline has been created onto the background film from elsewhere so you can slot the actors you've filmed onto it as explained below. You then run these two through the optical printer to combine to what will be the final, composited image, combining the two negatives into one, where they will slot/composite like a jig-jaw puzzle. What Jon Erland is talking about at 3:57 and beyond that is that you can sometimes get "matte-lines" or "fringes" which are errors in the image that can sometimes occur when compositing different elements together. These days, computers are used to give a much more refined look, but back then, this was the best they could do. That's the only thing this video is missing, but apart from that, it's a great video. You can find out more about this process illustrated here in the book called: "Movie magic : the story of special effects in the cinema" by John Bronsnan, page 110.

The least informative video ever.

Awesome! This made a lot of sense for me!

I seriously thought they made a film cut out on every frame!!

Jon Erland devised the bluescreen illuminated pylons for Star Wars.. They were as radical as the Dykstraflex

Jon Erland is a true genius. Could we get videos on the Blue Max front projection bluescreen system and the reverse-bluescreen system he created for FIREFOX (1982)?

I was always so confused how they did this on film. This is helpful.

You lost me... This is crazy, respect to everyone shooting and making movies like Star Wars etc... Awesome! Thanks for sharing!