History Main / VideoInsideFilmOutside

* ''Edward VIII'' (aka ''Edward the King'' in the USA). Because of the show's perceived prestige, as a CostumeDrama about UsefulNotes/TheBritishRoyalFamily, the exterior footage was shot on more expensive but better quality 35mm.

** The Blu-ray box sets of Tom Baker's final season and Creator/PeterDavison's first season are inversions to HD remasters downscaling film elements to match the video elements as stated in the opening paragraphs -- instead, the surviving film elements were remastered in proper high-definition, amplifying the visual disconnect with the upscaled videotaped footage.

* ''Series/TheHitchhikersGuideToTheGalaxy'' (The 1981 BBC version.)

By the mid-1980s, this dual format began to be phased out as so-called "outside broadcast" cameras became more efficient, higher-quality and more portable. Betacam supersided bulky reel-to-reel and fuzzy UsefulNotes/UMatic tape, and computerized video editing[[note]]At first, it was not fully-fledged digital video editing, but linear editing. That means selectively copying from one tape to another, which is very basic editing.[[/note]] allowed for the same flexibility for video in post as film did, without the need to develop film. So much so that TV shows and commercials that were shot on film often transferred footage to video for editing. Productions therefore began to adopt either completely filmed or completely videotaped formats. Lower-budget productions preferred the latter because videotape had lower cost and faster turnaround compared to film. Film-based productions that required heavy amounts of computer-based special effects, such as ''Series/StarTrekTheNextGeneration'', would typically transfer the film footage to videotape (a technique known as telecining, most commonly used for creating broadcast and home video masters of movies) to allow it to be digitally edited with ease[[note]]CGI could be incorporated on film, as was the case with movies intended for cinemas. But it was easier to use videotape due to the faster turnaround[[/note]]. The CGI could also be rendered faster in SD, rather than requiring HD resolutions for film. The fact that broadcasting stations could more easily air pre-recorded videotape than film certainly helped (though when UsefulNotes/HighDefinition became the norm, it made remastering these programs a nightmare thanks to the fact that it would require duplicating the entirety of post-production to match the existing SD versions; ''TNG'' managed to get by with it, but many other such shows, including its own SequelSeries ''[[Series/StarTrekDeepSpaceNine Deep Space Nine]]'', haven't been as lucky).

An unfortunate side-effect of Video Inside, Film Outside is that it has rendered most, if not all, of these productions unsuitable for high-definition remastering; most remasters simply treat the filmed portions to match the quality of the taped ones. Theoretically, the original film can be re-scanned in HD, but not all of the original film's negatives were kept, meaning the film footage will forever be SD.

* ''Series/NotOnlyButAlso'' - notable in that the colour videotapes were wiped and only the film sketches survived.

* ''Series/DoctorWho'' got into this in a big way in the from the mid 1960s through the 1970s, after spending its first two seasons preferring to shoot everything, even "outside" scenes, in a studio on video.[[note]]Though even then there were occasional exceptions, with the show's first film-outside moment occurring in the last story of the first season.[[/note]] In the 1980s, as technology improved, it transitioned into doing location shooting in video as well. It's been commented that ''Series/DoctorWho'' fans are rather good at spotting the difference because of the levels of use. (It should be observed that the quality of the film stock used on the show was grainy and poor.) It would be less noticeable on black and white episodes, which only exist as film copies of the original videotapes - except that for remastering purposes a technique called [=VidFIRE=] was developed, in order to restore the smoother 'video look' exclusively to scenes shot in the studio. Ultimately, due to a combination of difficulty with some film stock towards the end of his first season, as well as a severely reduced budget, starting with Creator/ColinBaker's second and final season, and lasting the whole of Creator/SylvesterMccoy's tenure, the series was shot exclusively on video.

** "[[Recap/DoctorWhoS12E3TheSontaranExperiment The Sontaran Experiment]]" was all shot on videotape despite being set entirely in a BBCQuarry. This was for several reasons: one was to save money as it was a [[BottleEpisode two-parter with virtually no budget]] that ended up in the season as an artifact of the new production team's desire to abolish the 6-parter format, and the other was as an experiment to see if it was possible to do everything on video from then on (until [[Recap/DoctorWhoS23E1TheMysteriousPlanet 1986]], it wasn't).

** The Blu-ray box sets of Tom Baker's final season and Creator/PeterDavison's first season are inversions to HD remasters downscaling film elements to match the video elements as stated in the opening paragraphs - instead, the surviving film elements were remastered in proper high-definition, amplifying the visual disconnect with the upscaled videotaped footage.

* In ''Series/ToastOfLondon'', it is used as StylisticSuck in the CutawayGag when Toast reminisces about his time playing an alien in a 1970s episode of ''Series/DoctorWho'' - the modern-looking digital production suddenly turns to ugly-coloured 4:3 (letterboxed) footage at 50FPS. The visual effect is so bang-on that it it looks almost like dubbed old footage.

* ''Series/AllCreaturesGreatAndSmall''

* Season 2 of the original series of ''Series/TheTwilightZone'', though there are only six episodes ever recorded on videotape ("The Lateness of the Hour", "[[ChristmasEpisode The Night of the Meek]]", "The Whole Truth", "Twenty-Two", "Static", and "Long-Distance Call"), using four video cameras on a studio soundstage at CBS Television City, as a cost-cutting measure mandated by CBS programming head James T. Aubrey. However, videotape was a relatively primitive medium in the early 1960s. CBS had to shoot "Live to Tape" because editing videotape was next to impossible back then. Even worse, the requisite multicamera setup of the videotape experiment made location shooting difficult, severely limiting the potential scope of the storylines, so the crew had to abandon the videotaping project.

From the very beginning of regular television broadcasting in Britain in 1936, up until the 1980s, British TV drama and comedy shows were made using multiple electronic (video) cameras in studios. That was fine for the interior scenes, but when it came to location shooting, the cameras and (after their introduction in 1958) videotape machines were so big and heavy they needed large outside broadcast trucks to transport them to the location, to say nothing of the complex power supplies providing their multiple operating voltages. Even though video stock allowed for quicker turnaround as it did not have to be developed the way film did, editing was imprecise compared to film, making working with video in post-production impractical for anything longer than remote news packages. The cameras also required very high light levels to avoid picture noise, which compounded the impracticality of working with them on location. Consequently, many shows used 16mm film and audio tape recorders for exterior footage, since the equipment was much more portable (often battery-operated) and film was easier and more forgiving to light and could be edited easily. This meant that interior and exterior shots have a completely different look. (Typical shooting schedules called for scenes filmed on location to be done first, with the studio scenes being videotaped on a later date.)

Although somewhat jarring to today's younger audiences, the lack of visual continuity was taken as normal by British viewers (and overseas viewers of British imports). There were exceptions: for example, as early as 1975 ''Series/DoctorWho'' occasionally used videotape for exterior location scenes as well as in the studio (though the vast majority of stories pre-1986 were straight examples of this trope). In the US and West Germany, most shows were done completely in either film or video, while most other countries avoided outdoor shots as much as they could until the arrival of colour TV and U-Matic tape in the 1970s.

By the mid-1980s, this dual format began to be phased out as so-called "outside broadcast" cameras became more efficient, higher-quality and more portable Betacam supersided bulky reel-to-reel and fuzzy UsefulNotes/UMatic tape, and computerized video editing allowed for the same flexibility for video in post as film did, without the need to develop film, so much so that productions that were shot on film often transferred footage to video for editing. Productions therefore began to adopt either completely filmed or completely videotaped formats, with lower-budget productions preferring the latter because of the lower cost of videotape and faster turnaround compared to film. Film-based productions that required heavy amounts of computer-based special effects, such as ''Series/StarTrekTheNextGeneration'', would typically transfer the film footage to videotape (a technique known as telecining, most commonly used for creating broadcast and home video masters of movies) to allow it to be digitally edited with ease[[note]]CGI could be incorporated on film, but it was easier to use videotape due to the faster turnaround[[/note]]; the fact that broadcasting stations could more easily air pre-recorded video footage certainly helped (though when HD became the norm, it made remastering these programs a nightmare thanks to the fact that it would require manually re-editing the film footage to match the old telecines; ''TNG'' managed to get by with it, but many other such shows, including its own SequelSeries ''[[Series/StarTrekDeepSpaceNine Deep Space Nine]]'', haven't been as lucky).

The technique almost completely died out in the late [=2000s=], as productions switched to using HD video cameras, which gave a look in-between video and film and was ultimately cheaper than both of the former two options combined. Consequently, this has become a ForgottenTrope for the most part, with later use only occurring as a result of creators intentionally choosing to {{invoke|dTrope}} it.

An unfortunate side-effect of Video Inside, Film Outside is that it has rendered most, if not all, of these productions unsuitable for high-definition remastering; most remasters simply treat the filmed portions to match the quality of the taped ones.

The rough American equivalent is the [[http://news.cnet.com/8301-33620_3-57410231-278/the-soap-opera-effect-when-your-tv-tries-to-be-smarter-than-you/ "soap opera effect"]], so named for the fact that many soap operas are shot on video to save money. This became more of a problem after progressive TV displays became the norm for Western homes; because the videotape these older programs were shot with used interlaced video, the picture would see visible combing when displayed untreated on a progressive display (CRT televisions could handle this just fine, as they, like the tape, were also built around displaying interlaced video). To address this problem, a variety of deinterlacing methods were introduced-- first in the TV sets, then by the broadcasters themselves-- to ensure that the image would look clean on the LCD monitors of today. The most common method was to use software to separate each pair of interlaced frames and fill in the gaps, leaving the resulting footage to look twice as fast as it would on an interlaced display. Thus, the "soap opera/costume drama effect" chiefly describes footage that runs unusually smoothly, at the cost of seeming distinctly "off" to audiences acclimated to 24-30 fps footage in TV shows and movies.

By the mid-1980s, this dual format began to be phased out as so-called "outside broadcast" cameras became more efficient, higher-quality and more portable Betacam supersided bulky reel-to-reel and fuzzy UsefulNotes/UMatic tape, and computerized video editing allowed for the same flexibility for video in post as film did, without the need to develop film, so much so that productions that were shot on film often transferred footage to video for editing. Productions therefore began to adopt either completely filmed or completely videotaped formats, with lower-budget productions preferring the latter because of the lower cost of videotape and faster turnaround compared to film. Film-based productions that required heavy amounts of computer-based special effects, such as ''Series/StarTrekTheNextGeneration'', would typically transfer the film footage to videotape (a technique known as telecining, most commonly used for creating broadcast and VHS masters of movies) to allow it to be digitally edited with ease[[note]]CGI could be incorporated on film, but it was easier to use videotape due to the faster turnaround[[/note]]; the fact that broadcasting stations could more easily air pre-recorded video footage certainly helped (though when HD became the norm, it made remastering these programs a nightmare thanks to the fact that it would require manually re-editing the film footage to match the old telecines; ''TNG'' managed to get by with it, but many other such shows, including its own SequelSeries ''[[Series/StarTrekDeepSpaceNine Deep Space Nine]]'', haven't been as lucky).

From the very beginning of regular television broadcasting in Britain in 1936, up until the 1980s, British TV drama and comedy shows were made using multiple electronic (video) cameras in studios. That was fine for the interior scenes, but when it came to location shooting, the cameras and (after their introduction in 1958) videotape machines were so big and heavy they needed large outside broadcast trucks to transport them to the location, to say nothing of the complex power supplies providing their multiple operating voltages. Even though video stock allowed for quicker turnaround as it did not have to be developed the way film did, editing was imprecise compared to film, making working with video in post-production impractical for anything longer than remote news packages. The cameras also required very high light levels to avoid picture noise, which compounded the impracticality of working with them on location. Consequently, many shows used 16mm film and audio tape recorders for exterior footage, since the equipment was much more portable (often battery-operated) and film was easier and more forgiving to light and could be edited easily. This meant that interior and exterior shots have a completely different look.

* Season 2 of the original series of ''Series/TheTwilightZone'', though there are only six episodes ever recorded on videotape ("The Lateness of the Hour", "[[ChristmasEpisode The Night of the Meek]]", "The Whole Truth", "Twenty-Two", "Static", and "Long-Distance Call"), using four video cameras on a studio soundstage at CBS Television City, as a cost-cutting measure mandated by CBS programming head James T. Aubrey. However, videotape was a relatively primitive medium in the early 1960s, thus the editing of tape was next to impossible. Even worse, the requisite multicamera setup of the videotape experiment made location shooting difficult, severely limiting the potential scope of the storylines, so the crew had to abandon the videotaping project.

From the very beginning of regular television broadcasting in Britain in 1936, up until the 1980s, British TV drama and comedy shows were made using multiple electronic (video) cameras in studios. That was fine for the interior scenes, but when it came to location shooting, the cameras and (after their introduction in 1958) videotape machines were so big and heavy they needed large outside broadcast trucks to transport them to the location, to say nothing of the complex power supplies providing their multiple operating voltages. Even though video stock allowed for quicker turnaround as it did not be developed the way film did, editing was imprecise compared to film, making working with video in post-production impractical for anything longer than remote news packages. The cameras also required very high light levels to avoid picture noise, which compounded the impracticality of working with them on location. Consequently, many shows used 16mm film and audio tape recorders for exterior footage, since the equipment was much more portable (often battery-operated) and film was easier and more forgiving to light and could be edited easily. This meant that interior and exterior shots have a completely different look.

By the mid-1980s, this dual format began to be phased out as so-called "outside broadcast" cameras became more efficient, higher-quality and more portable Betacam supersided bulky reel-to-reel and fuzzy UsefulNotes/UMatic tape, and computerized video editing allowed for the same flexibility for video in post as film did, without the need to develop film, so much so that productions that were shot on film often transferred footage to video for editing. Productions therefore began to adopt either completely filmed or completely videotaped formats, with lower-budget productions preferring the latter because of the lower cost of videotape and faster turnaround compared to film; film-based productions that required heavy amounts of computer-based special effects, such as ''Series/StarTrekTheNextGeneration'', would typically transfer the film footage to videotape to allow it to be digitally edited with ease[[note]]CGI could be incorporated on film, but it was easier to use videotape due to the faster turnaround[[/note]]; the fact that broadcasting stations could more easily air pre-recorded video footage certainly helped (though when HD became the norm, it made remastering these programs a nightmare thanks to the fact that it would require manually re-editing the film footage to match the old telecines; ''TNG'' managed to get by with it, but many other such shows, including its own SequelSeries ''[[Series/StarTrekDeepSpaceNine Deep Space Nine]]'', haven't been as lucky).

Although somewhat jarring to today's younger audiences, the lack of visual continuity was taken as normal by British viewers (and overseas viewers of British imports). There were exceptions: for example, as early as 1975 ''Series/DoctorWho'' was occasionally produced on videotape, even for on-location exteriors. In the US and West Germany, most shows were done completely in either film or video, while most other countries avoided outdoor shots as much as they could until the arrival of colour TV and U-Matic tape in the 1970s.

By the mid-1980s, this dual format began to be phased out as so-called "outside broadcast" cameras became more efficient, higher-quality and more portable Betacam supersided bulky reel-to-reel and fuzzy UsefulNotes/UMatic tape, and computerized video editing allowed for the same flexibility for video in post as film did, without the need to develop film, so much so that productions that were shot on film often transferred footage to video for editing. Productions therefore began to adopt either completely filmed or completely videotaped formats, with lower-budget productions preferring the later because of the lower cost of videotape and faster turnaround compared to film. It almost completely died out in the late [=2000s=], as productions switched to using HD video cameras, which gave a look in-between video and film and was ultimately cheaper than both of the former two options combined. Consequently, this has become a ForgottenTrope for the most part, with later use only occurring as a result of creators intentionally choosing to {{invoke|dTrope}} it.

By the mid-1980s, this dual format began to be phased out as so-called "outside broadcast" cameras became more efficient, higher-quality and more portable Betacam supersided bulky reel-to-reel and fuzzy UsefulNotes/UMatic tape, and computerized video editing allowed for the same flexibility for video in post as film did, without the need to develop film. Productions therefore began to adopt either completely filmed or completely videotaped formats, with lower-budget productions preferring the later because of the lower cost of videotape and faster turnaround compared to film. It almost completely died out in the late [=2000s=], as productions switched to using HD video cameras, which gave a look in-between video and film and was ultimately cheaper than both of the former two options combined. Consequently, this has become a ForgottenTrope for the most part, with later use only occurring as a result of creators intentionally choosing to {{invoke|dTrope}} it.

[[AC:1970s]]
* ''Series/MontyPythonsFlyingCircus'' has several sketches {{lampshad|eHanging}}ing this.
** "Society for Putting Things on Top of Other Things". A character (on videotape) looks out of the door. The moment he does so the scene switches to 16mm, and he declares, "Good Lord, I'm on film! How did that happen?" After repeating the experience with the room's other doors and windows and determining that they are "surrounded by film", the characters come up with the idea to dig an underground tunnel; while not actually shown, it would have worked because such a scene would have been filmed on set and thus on video.
** A sketch in which Creator/GrahamChapman's army officer character tries to halt a sketch that's on film. "You can't stop this sketch! We're on film!" "Well, that doesn't make any difference to the viewers at home, does it?"
** The sketch immediately following the first appearance of the Spanish Inquisition, where Graham is recruited by a BBC executive, played by Creator/JohnCleese, to be TheStraightMan in another sketch. As they walk toward the location of the other sketch, Cleese observes that "We're on film at the moment."
* ''Series/{{Porridge}}''
* ''Series/BlakesSeven''
* ''Series/{{Colditz}}'': Except for the final episode (which was entirely on film). The series also used it for effect like ''Doctor Who'' - the Colditz courtyard was a studio set, shot on film to reinforce the idea it was outside.
* ''Series/DoctorWho'' managed to bump into a number of interesting variations of this trope throughout the 70's:

* ''Series/DadsArmy''

** "[[Recap/DoctorWhoS12E3TheSontaranExperiment The Sontaran Experiment]]" was all shot on videotape despite being set entirely in a BBCQuarry. This was for several reasons - one was to save money as it was a [[BottleEpisode two-parter with virtually no budget]] that ended up in the season as an artifact of the new production team's desire to abolish the 6-parter format, and the other was as an experiment to see if it was possible to do everything on video from then on. (Until 1986, it wasn't.)

* The early seasons of ''Series/MightyMorphinPowerRangers'' mixed video in the scenes with American actors with film in the Japanese ''Franchise/SuperSentai'' footage. And fitting the trope name, most of the former is on soundstages and the latter on outside locations (specially [[BBCQuarry the quarry]] every single Toei production uses for fight scenes!).
** An even more obvious example came from ''[[Series/PowerRangersInSpace In Space]]'', ''[[Series/PowerRangersLostGalaxy Lost Galaxy]]'' and ''[[Series/PowerRangersLightspeedRescue Lightspeed Rescue]]''- all three had various interior sets (mainly the Astro Megaship and the interiors of Terra Venture's command tower and the Lightspeed Aquabase) which would be shot on tape, but however they did it, it would have even smoother-looking footage than the normal American stuff.

* ''Series/DoctorWho'' got into this in a big way in the from the mid 1960s through the 1970s, after spending its first two seasons preferring to shoot everything, even "outside" scenes, in a studio on video.[[note]]Though even then there were occasional exceptions, with the show's first film-outside moment occurring in the last story of the first season.[[/note]] In the 1980s, as technology improved, it transitioned into doing location shooting in video as well. It's been commented that ''Series/DoctorWho'' fans are rather good at spotting the difference because of the levels of use. (It should be observed that the quality of the film stock used on the show was grainy and poor.) It would be less noticeable on black and white episodes, which only exist as film copies of the original videotapes - except that for remastering purposes a technique called [=VidFIRE=] was developed, in order to restore the smoother 'video look' exclusively to scenes shot in the studio. Ultimately, due to a combination of difficulty with some film stock towards the end of his first season, as well as a severely reduced budget, starting with Creator/ColinBaker's second and final season, and lasting the whole of Creator/SylvesterMccoy's tenure, the series was shot exclusively on video.

* ''Series/DoctorWho'' got into this in a big way in the 1970s after spending the 1960s preferring to shoot everything, even "outside" scenes, in a studio on video.[[note]]Though even then there were occasional exceptions, with the show's first film-outside moment occurring in the last story of the first series.[[/note]] In the 1980s, as technology improved, it transitioned into doing location shooting in video as well. It's been commented that ''Series/DoctorWho'' fans are rather good at spotting the difference because of the levels of use. (It should be observed that the quality of the film stock used on the show was grainy and poor.) It would be less noticeable on black and white episodes, which only exist as film copies of the original videotapes - except that for remastering purposes a technique called [=VidFIRE=] was developed, in order to restore the smoother 'video look' exclusively to scenes shot in the studio. Ultimately, due to a combination of difficulty with some film stock towards the end of his first season, as well as a severely reduced budget, starting with Creator/ColinBaker's second and final season, and lasting the whole of Creator/SylvesterMccoy's tenure, the series was shot exclusively on video.

By the mid-1980s, this dual format began to be phased out as so-called "outside broadcast" cameras became more efficient, higher-quality and more portable Betacam supersided bulky reel-to-reel and fuzzy UsefulNotes/UMatic tape, and computerized video editing systems made videotape more practical on location and in post. Productions therefore began to adopt either completely filmed or completely videotaped formats, with lower-budget productions preferring the later because of the lower cost of videotape and faster turnaround compared to film. It almost completely died out in the late [=2000s=], as productions switched to using HD video cameras, which gave a look in-between video and film and was ultimately cheaper than both of the former two options combined. Consequently, this has become a ForgottenTrope for the most part, with later use only occurring as a result of creators intentionally choosing to {{invoke|dTrope}} it.

From the very beginning of regular television broadcasting in Britain in 1936, up until the 1980s, British TV drama and comedy shows were made using multiple electronic (video) cameras in studios. That was fine for the interior scenes, but when it came to location shooting, the cameras and (after their introduction in 1958) videotape machines were so big and heavy they needed large outside broadcast trucks to transport them to the location, to say nothing of the complex power supplies providing their multiple operating voltages. Even though video allowed for quicker turnaround as it did not be developed the way film did, editing was imprecise compared to film, making working with video in post-production impractical for anything longer than remote news packages. The cameras also required very high light levels to avoid picture noise, which compounded the impracticality of working with them on location. Consequently, many shows used 16mm film and audio tape recorders for exterior footage, since the equipment was much more portable (often battery-operated) and film was easier and more forgiving to light and could be edited easily. This meant that interior and exterior shots have a completely different look.

By the mid-1980s, this dual format began to be phased out as so-called "outside broadcast" cameras became more efficient, higher-quality and more portable Betacam supersided bulky reel-to-reel and fuzzy UsefulNotes/UMatic tape, and computerized video editing systems made videotape more practical on location and in post. Productions therefore began to adopt either completely filmed or completely videotaped formats, with lower-budget productions preferring the later because of the lower cost of videotape and faster turnaround. It almost completely died out in the late [=2000s=], as productions switched to using HD video cameras, which gave a look in-between video and film and was ultimately cheaper than both of the former two options combined. Consequently, this has become a ForgottenTrope for the most part, with later use only occurring as a result of creators intentionally choosing to {{invoke|dTrope}} it.

By the mid-1980s, this dual format began to be phased out as so-called "outside broadcast" cameras became more efficient and computerized video editing systems made videotape more practical on location and in post. Productions therefore began to adopt either completely filmed or completely videotaped formats, with lower-budget productions preferring the later because of the lower cost of videotape and faster turnaround. It almost completely died out in the late [=2000s=], as productions switched to using HD video cameras, which gave a look in-between video and film and was ultimately cheaper than both of the former two options combined. Consequently, this has become a ForgottenTrope for the most part, with later use only occurring as a result of creators intentionally choosing to {{invoke|dTrope}} it.

From the very beginning of regular television broadcasting in Britain in 1936, up until the 1980s, British TV drama and comedy shows were made using multiple electronic (video) cameras in studios. That was fine for the interior scenes, but when it came to location shooting, the cameras and (after their introduction in 1958) videotape machines were so big and heavy they needed large outside broadcast trucks to transport them to the location, to say nothing of the complex power supplies providing their multiple operating voltages. Even though video allowed for quicker turnaround as it did not be developed the way film did, editing was imprecise compared to film, making it impractical for anything longer than remote news packages. The cameras also required very high light levels to avoid picture noise, which compounded the impracticality of working with them on location. Consequently, many shows used 16mm film and audio tape recorders for exterior footage, since the equipment was much more portable (often battery-operated) and film was easier and more forgiving to light and could be edited easily. This meant that interior and exterior shots have a completely different look.

By the mid-1980s, this dual format began to be phased out as so-called "outside broadcast" cameras became more efficient and computerized video editing systems made videotape more practical on location. Productions therefore began to adopt either completely filmed or completely videotaped formats, with lower-budget productions preferring the later because of the lower cost of videotape and faster turnaround. It almost completely died out in the late [=2000s=], as productions switched to using HD video cameras, which gave a look in-between video and film and was ultimately cheaper than both of the former two options combined. Consequently, this has become a ForgottenTrope for the most part, with later use only occurring as a result of creators intentionally choosing to {{invoke|dTrope}} it.