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In the 1960s, Petro Vlahos refined the use of motion control cameras in bluescreen and received an Academy Award for the process.

Alpha compositing, in which digital images could be made partially transparent in the same way an animation cel is in its natural state, had been invented in the late 1970s and was integrated with the bluescreen process in the 1980s.

Digital planning began for The Empire Strikes Back in 1980, for which Richard Edlund received the Academy Award for his work to create an aerial-image optical printer for combining mattes, though this process was still analog.

When the live action portion of a scene was filmed, the background portion of the film wasn’t exposed.

Once the live action was filmed, a different cut-out would be placed over the live action.

During this time a new technique known as the bi-pack camera method was developed.

This was similar to the in-camera matte shot, but relied on one master positive as a backup.

The film would be rewound, and the filmmakers would film their new background.

This technique was known as the in-camera matte and was considered more a novelty than a serious special effect during the late 1880s.

In addition, the new in-camera matte was much more cost effective, as the glass didn’t have to be ready the day the live action was shot.

One downside to this method was that since the film was exposed twice, there was always the risk of accidentally overexposing the film and ruining the footage filmed earlier.""The in-camera matte shot remained in use until the film stock began to go up in quality in the 1920s.

One of the drawbacks of the old mattes was that the matte line was stationary.