How Green Screen Worked Before Computers

[Dixavd]

As a jerk with a laptop and a copy of After Effects - I'm jealous of your ability to do that in an Afternoon.

[scottmanley]

This is great. On a similar note you should read about how they restored the classic Dr Who series 'Daemons'. They had an official 16mm monochrome film print, and a fan in the US had recorded a colour version on U-Matic video tape which was much lower resolution. The restoration team rigged up a system where the luminance signal from the film was combined with chroma signal from the tape and produced the version we can now watch on DVD. 

[patsmusic]

I love how laid back he is! He acts like your just a friend!

[Larry]

My friend owns that Quantel Paintbox that the BBC used in the 80s.

One of them anyway,   I think they owned three in the end as they were in such demand (mostly for title sequences).

[ElDaumo]

looking at doctor who special effects, they might still use that paintbox

[catfish]

A travelling matte... as opposed to the guy who sometimes accompanies Tom on his wild travels. That's a travelling Matt.

[michaelwatson]

We called the television version Chromakey. In North America p, we started out using blue screen. With very careful lighting, proper camera angles, and well adjusted cameras it worked not half bad. Later, we shifted to green screen for chromakey, and that seemed to get better results. Occasionally we did work out moving both cameras in sync. In addition to these matting formats, film and television also used front and rear screen projection. Any one or more of these might be used in a movie or program, or even in one scene depending on the desired effect.

[FlorianEagox]

It actually sounds super fun to watch a live, green screen performance, with two cameras actively filming scenes.

[upengraden]

Legend has it... The green screen is made with a blue screen...

[myfavoritemusic]

i love these subtitles. You speak so fast! Thank you some Finnish guy who went through and translated this video! Kiitos!

[pnkfreud]

Tom Scott: "These days, green screen is easy"

Microphone Boom: "Are you sure about that"

[djcfrompt]

Every time I heard 'traveling matte' I was thinking of Matt Gray on holiday.

[Flemtality]

There it is: 2:01

I knew he couldn't get through an entire video without some kind of British mention.

Tom Scott, professionally British.

[baldy]

Incredibly well done. I've taught this to a couple of film classes but kids always have trouble grasping the concept of the sodium yellow light. Your explanation was excellent.

Something else to consider - we can look back at this and see how clever that was. Imagine being in that time and coming up with something so brilliant. Wow.

Nice job. I need to subscribe to your videos.

[Finkelfunk]

"Today a jerk with after effects can do that in an afternoon"
_Edited by: Tom Scott_
Well played sir.

[ZanderSwart]

this video still holds up 10 years later. Tom has some special talent, thank you Tom.

[benashworth]

The Disney sodium vapor process camera is still a step above modern green screen technology when it comes to mattes for gauzy or translucent materials. They only were able to make one as the prism inside of it that split the sodium light was never able to be duplicated correctly, but that one camera was used on a number of movies until the 90's.

[williefleete]

in the vid he talks about that TV signals werent transmitted in separate RGB channels and that it needed backwards compatibility. long ago, in the dark ages of TV, black and white TV's were commonplace but colour TV's were seeping in, they wanted to make sure B/W tv's would still work with colour signals. the colour TV signal has a few extra differences which are ignored in B/W sets because they either couldnt handle the faster signals or filtered out in the front end/IF strip (if not you would get "chroma dots", the "colourburst" which is in the back porch of the horizontal (line) sync pulse is usually 8 cycles at 3.58 (NTSC) or 4.43(PAL) this sets up the crystal in the colour set but is ignored in B/W sets, the chrominance signal (colour information) again is ignored in B/W sets but the phase shift of the signal compared to the colourburst (which sets the local crystal oscillating) is used to determine what colour gun(s) in the picture tube is fired, the luma signal determines how bright the gun(s) needs to be.

[jbkjbk]

I always feel really good about myself when i've already watched the mystery video at the end of nerd³'s videos

[Sideshowspike]

I really enjoy your editing on this. I don't know how I'm just now seeing it, but I love it. You did such a good job explaining, but also it was very high quality and fit for the descriptions you gave, Excellent!