The Ultimatte 11 HD/SD Real-Time Blue/Green Screen Compositing Device from Blackmagic Designcombines hundreds of algorithmic changes to create convincing composites in real time. It is a hardware device that allows you to composite blue and green screen images with multiple layers in either SD or HD. Sporting four loop-through inputs and outputs, and internal 4:4:4:4 processing to protect image quality, the Ultimatte 11 hardware device is powerful and composites in real time. The unit auto detects and selects the format based on the signal fed to input #1, so you don’t have to worry about selecting the right signal from a menu, simplifying and speeding your workflow.
One of the advantages of the Ultimatte 11 is in how it easily composites semi-transparent layers, which are normally difficult to composite properly. It is ideal for working with virtual sets, and can sample the foreground image, mapping its noise structure and applying that to the background layers creating a more natural and realistic looking composite. The matte control algorithms, and individual matte correction and sizing provides precision control over your elements. The unit also allows you to input two mattes from external sources.
The traditional method of using a matte (alpha) to create a third layer has difficulty in dealing with semi-transparent elements. However, the Ultimatte 11’s layering feature allows a separate layer element, together with its associated matte (alpha) of various transparency levels, to be added properly to the composite scene.
Real foreground elements from a camera juxtaposed against a perfectly clean virtual background will create a fake looking composite. To address this problem the Ultimatte 11 introduces a new feature set, the Living Set. The Living Set samples the noise characteristics of the camera and then proportionally composites that “stamp” on the virtual background, creating the same noise characteristics matching the foreground camera, creating a seamless and natural looking composite.
The Ultimatte 11’s Clean-up Windows changes how the soft-edge mask works. Instead of merely dissolving to the background, thereby limiting the usable area, it uses the soft-edge mask to modulate the clean-up control, allowing your actor to cross into the soft-mask area without becoming transparent.
- Clean-up shrink and blur
- Layering with correct transparency levels
- Extended range controls to overcome foreground and wardrobe conflicts
- Matte correction and sizing for targeted correction of overdense transitions
- Flare suppression controls
- Clean-up Windows allows for variable clean-up versus global clean-up
- Two External Matte Inputs and Internal Windows allow for combinations of garbage mattes, layering mattes, holdout mattes and the new clean-up garbage matte
- User adjustable foreground delay allows you to compensate for virtual set render times
- Direct Ambience control allows background to affect color and brightness of foreground
- Indirect Ambience control allows background to affect color and brightness of foreground in subtle ways
- Foreground and Background Color Controls:
- White levels: Master and R, G, B
- Black Levels: Master and R, G, B
- Contrast Levels: Master and R, G, B
- Saturation Levels: Master and R, G, B