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by Steven Gladstone · Posted
Green screen compositing today is ridiculously easy compared to days gone by. Years ago, when shooting and finishing on motion picture film, one had to shoot the subject against a green screen, then create film mattes, and combine it all using an optical printer. Generation loss, contrast shifts, and registration problems were the bane of the filmmaker. This doesn’t even begin to encompass all the other problems, such as matte lines, elements that drift out of alignment, transparency issues, and garbage mattes. The introduction of high-