Process screen photography is the use of a pure-chroma or high-contrast screen as a background in order to separate a foreground object from this background. The foreground object may then be added or composited into another scene. There are several types of Process Screens for various situations.
The most common type of Process Screen photography is the use of blue or green screen when shooting Live Action foregrounds for compositing into another background. Similar process screen techiniques may be used when photographing Miniatures and Automobiles. However, as these are often static subjects, Red Phosphour or Hi-contrast (white screens) may be used in conjunction with repeat-pass Motion Control techniques to provide an optimum matte edge.
I've been shooting and compositing various types of process photography for 14 years, taking solid cues from such industry pioneers as Jonathan Erland and others, back in my early days at Apogee. As Jon continues to push the state of the art in chroma-screen development, I continue to take his excellent advice. I use his Chroma screens whenever logistics will support it. I have even employed the use of Front Projection and Reverse Front Projection screen photography, though it's rare that I can justify their use anymore. It's more often easier to clean up a compromised chroma screen than to live with the compromises that the projection systems offer.
Image #1:From the Kent TV Commercial "Hawaiian Dreams"- 2 cameras were used to photograph the actor. Out the window (frame) was a blue screen. A complimentary reverse "reflection" angle was simultaneously photographed and later composited in to simulate a glass window. A matching camera angle was photographed for the exterior background. Pin Reg film transfers, Matte Painting and Composting by CIS.
Image #2:From the TV Pilot "The Messenger" - Blue Screen composite and TV Screen-like disappearance by CIS.
Image #3:From the Coca Cola TV Commercial "Skateboard" - A large bottle shaped skating environment
(including ramp) was created for this commercial and painted Ultimatte green.
A background cyc was painted green as well. The bottle was shot a high speed
to give the flowing liquid it's scale. Pin Reg transfers by POP (now
Riot), exquisite digital composites by Sight Effects.
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