From: Jud Yalkut (email suppressed)
Date: Sat Jan 21 2006 - 11:37:59 PST
Dear Owen and Frameworkers:
A few remembrance notes: Chromakey became accessible to a number of
film/video makers
when public television stations, in a new crusading policy,
opened their doors to them with the three main entities of the
Television Laboratory
at WNET-TV in New York, WGBH in Boston, and KQED in San Francisco.
Earlier experiments
in chromakey used more home-built equipment by "hippie engineers", who
also developed
colorizers for the early black-and-white video, and of course the
incredible almost simultaneous
creation of video synthesizers by Paik/Abe, Rutt/Etra, Eric Siegel, and
Stephen Beck. Some
early tapes like "Golden Voyage" by the Vasulkas used chromakeying to
achieve their almost
surrealist effects. I first used chromakey in 1972 with the opening of
WNET's TV Lab to make
"The Astrolabe of God". Chromakey was used there by Paik during his
residence in "Global Groove",
the "Suite 212" series and others; Shirley Clarke used it in
experiments there with her video
circus; Ed Emshwiller used it brilliantly in several piece combined
with digital imagery and dancers;
and, yes, Doris Chase in her works with Gus Solomon and other dancers;
and well as, I believe,
Bill and Louise Etra in New York, Scott Bartlett and Tom DeWitt, often
turning the video into
film by reshooting with frame adjustable or TVT-shutter film cameras.
Vanderbeek initiated a
number of projects in residence at WGBH which probably used chromakey,
such as "The
Vioence Somata", as well as Paik's four-hour two-channel simultaneous
broadcast of his "Video Commune".
In educational television
facilities in some universities in the early seventies, the main
special effects available was often
mainly chromakey and was thus utilized in conjunction with imagery
sometimes brought from outside.
This was the case with such pioneering facilities as Synapse in
Syracuse, New York. The main
video workshop which developed and made accessible powerful tools of
images processing was
and continues to be the Experimental Television Center in Owego, New
York.
Chromakey became one of the basic building blocks of video image
processing, along with
video feedback and electronuc colorization. - Jud Yalkut.
Date: Wed, 18 Jan 2006 22:48:05 -0500
From: owen <email suppressed>
Subject: Re: CSO
Hi,
Some of the late sixties early seventies film/television
experimentalists used chroma keys. Jud Yalkut, on this list, could
illuminate for us if he's listening.
I think Doris Chase used chroma keys in her wonderful dance films and
Ed Emschwiller too. Scott Bartlett did so in many films, and maybe
Stan Vanderbeek.
owen
On Jan 18, 2006, at 3:33 AM, Barbara Keating wrote:
> Hi all,
> does anyone have any information on films or videos
> using CSO (chromakey). I can find little snippets of
> technical stuff in bboks and online, but don't know
> films where it was/is used.
> thanks all
> best
> ,Barbara
>
> --- owen <email suppressed> wrote:
>
>> Wow sounds great.
>> owen
>>
>>
>>
>> On Jan 17, 2006, at 3:47 AM, C Keefer wrote:
>>
>>> A flashback to the 1960?s with a program of rarely
>> seen film and
>>> video by legendary light show artists from San
>> Francisco, New York,
>>> Los Angeles and London: Glenn McKay, Tony Martin,
>> Elias Romero,
>>> Mark Boyle and Joan Hills, Joshua White, Single
>> Wing Turquoise Bird
>>> and Jud Yalkut, plus the light show finale excerpt
>> from David
>>> Lebrun's "Hog Farm Movie." Featuring light, color
>> and liquid
>>> projections layered with film and handmade slides,
>> originally
>>> performed live at rock concerts. Selections from
>> this program were
>>> featured in the recent US exhibition "Visual
>> Music" at the
>>> Hirshhorn Museum.
>>
>>
>>
>>
> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at
>> <email suppressed>.
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.