Ultimatte Services
QUALITY CONTROL
Having an Ultimatte HD on set, allows you to process the image using many of the same formulas as high-end post facilities. The traveling matte or alpha channel created is visible live on set, on a high resolution monitor. Matte densities can be seen in real time as you shoot, or even more importantly, BEFORE you pull the trigger. Lighting of the green screen, issues with the wardrobe, etc., are shown on both the process foreground and matte monitors, and can be corrected on the spot. As we say, it is much easier to tweak something on the set, than it is to try to move a light in post.
PRE-VISUALIZATION
With an HD source, added backgrounds can be test composited live on the set to ensure proper perspective and alignment. Action between layers can be compared accurately and lighting can be matched to a much higher degree than before.
Camera Original
CREATION OF PROCESSED FOREGROUND AND MATTE REELS
Having the Ultimatte system on the set bypasses a lot of the damage done by HDCAM and other compressed formats. The Ultimatte applies all its algorithms to the pure camera signal and creates elements, a processed foreground and a matte reel. The processed foreground is essentially what the camera sees with all of the green screen suppressed. Spill on cheekbones and green in transparent objects is removed in real time. Pre-viewing the final shot in real time, eliminates unnecessary tweaking of the lights and maximizes the use of the crew to only work on those areas that affect your composite. The traveling matte reel is created and recorded on a second HD recorder with matched time code. Using this process, post production compositing is reduced to a simple linear key for the most part. With the mattes already pulled you can shave hours or days off a project that has heavy green/blue screen demands. Many clients report using all the matte reels we’ve created “as-is” with very little cleanup required.
Matte, Key, or Alpha Channel
A quick garbage matte and a simple linear key. Elements cut together like butter.
Processed Foreground
No green or blue spill. It's all removed before the image is recorded.
Composited Image
EDIT CREATIVELY - NOT CLEANUP!
EXPERT OPERATION
We have 25 years experience with Ultimatte, having composited over 30,000 shots. While not trying to control the look or feel of a project, we often act as a 2nd DP, watching the matte channel and pointing out holes in the key source that can usually be fixed through simple lighting adjustments. Don’t spend your time in editorial cleaning up green spill and other mechanical problems. Use editorial for the creative process it is meant to be. Use In-Sync and Ultimatte 11 HD.
Now available from In-Sync - real-time HD Ultimatte compositing system for all Digital HD 1080i, 720p and Digital Cinema 24p/psf image standards. The Ultimatte HD has been fully tested for proven compatibility with Sony, Panasonic and other high definition cameras.
Visual effects production will never be the same with full resolution real-time compositing. Ultimatte’s 24P High Definition matte compositing system has been designed to meet the needs of visual effects production with digital cinema technology. With advanced features like dual link 4:4:4 I/O, internal 4:4:4:4 image processing, external matte input, automated ambiance color adjustment, support for all Broadcast HD and Digital Cinema 24p/psf image standards, as well as production-proven compatibility with Panavision® digital imaging cameras, makes the Ultimatte HD the perfect choice for real-time traveling matte generation.
The Ultimatte HD digital is part of the third generation of Ultimatte’s all digital compositing devices and features the Emmy® and Oscar® winning technology. A fully linear matting system, it produces totally realistic composites even when the foreground contains smoke, shadows, soft edges, and other translucent and transparent qualities. Ultimatte Corporation is the world's recognized leader in blue/green screen compositing technology and has been in business for over twenty-five years, continually refining, enhancing and improving the craft of traveling matte generation.
BASIC SPECS FOR THE ULTIMATTE HD
• Conforms to SMPTE 292M standards
• 10-bit SDI inputs and outputs
• 4:4:4:4 internal Foreground processing and Matte generation
• 4 Inputs each user selectable (BNC 75 ohm):
• FG Input 4:2:2 or 4:4:4 dual link
• BG Input 4:2:2 or 4:4:4 dual link
• Matte Input 4:2:2
• HD Digital Reference Input 4:2:2* 2 Outputs user selectable (BNC 75 ohm):
• Composite Output 4:2:2 or 4:4:4 dual link
• Processed Foreground 4:2:2 or 4:4:4 dual link* Dedicated Output (BNC 75 ohm):
• Matte Output 4:0:0* Internal garbage matte windows
• Flare suppression controls
• FG & BG Colorizing controls
• Matte controls including Matte Sizing
• Remote - RS422, DB9 Female
• GPI - Switch Closure/TTL, DB25
• PC Port - RS232, DB9 Female (on remote)
• PS/2 Mouse port (on remote)
• PS/2 Keyboard port (on remote)
• Power - Mains 90v - 240v AC, 50/60 Hz
• HD Main unit shipping weight 13.18 kg / 29 lbs
• Smart Remote shipping weight 5.91 kg / 13 lbs
Key Benefits
Automated circuits and menu-driven control functions make operating the Ultimatte HD simple.
Flare suppression removes all traces of blue spill from the foregrounds.
Matte shading controls can correct for uneven lighting on the backing without compromising the quality of the final composite. Matte shading requires no additional input and is intuitive in its use.
All settings can be stored in separate memory files.
A completely self-contained image compositing system that can be used with equal ease on a production stage, in a telecine suite or in an editing suite. It can composite elements from a live camera, tape playback or from a computer graphics system.
The Ultimatte HD's automatic circuits and simplified, menu-driven control functions remove the mystery from the operation of an Ultimatte. A simple touch of the reset button will produce a seamless composite image most of the time.
