OPERATING INSTRUCTIONS

f o r

ULTIMATTE-5

ULTIMATTE CORPORATION

18607 Topham Street

Reseda, California 91335 USA

Telephone 818-345-5525

Telex 662453 Ultimatte RSDA

OCTOBER 1985

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TABLE OF CONTENTS

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CHAPTER 1 - GENERAL DESCRIPTION

Introduction . . . . . . . . . . . . . . .

Purpose of Equipment . . . . . . .

Physical Description . . . . . . . . .

Warnings.

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Unpacking . . . . . . . . . . . . . . . .

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CHAPTER 2 - INSTALLATION

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Power Supply Connections. . . . . . . . . . . . . . . . . . .

Main Unit Rear Panel . . . . . . . . . . . . . . . . . . . . . . .

Tally Connector . . . . . . . . . . . . . . . . . . . . . . . . . . .

Remote Control Rear Panel . . . . . . . . . . . . . . . . . .

Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Typical Setup . . . . . . . . . . . . . . . . . . . . . . . . . . .

Setup for NTSC Background . . . . . . . . . . . . . . .

Connection of Multiple Remotes . . . . . . . . . . . .

Connection of Multiple Remotes and Main Units

Important Considerations . . . . . . . . . . . . . . . . . . . .

Power-up Procedure . . . . . . . . . . . . . . . . . . . . . . . .

Delay Line Adjustments . . . . . . . . . . . . . . . . . . . . .

CHAPTER 3 - BASIC REQUIREMENTS

Introduction . . . . . . . . . . . . . . .

Cameras . . . . . . . .

Selection Criteria . . . . . .

Detail or Contour Control . .

Diffusion or Fog Filters .

Tube Focus and Beamwidth

Registration Adjustment . .

W h i t e a n d B l a c k B a l a n c e .

Backing . . . . . . . . . . . . . . . . . .

Color Purity . . . . . . . .

Lighting the Backing . . . .

Texture of Backing. .

Choice of Blue vs. Green . .

Ultimatte Blue Screen . .

Lighting . . . . . . . . . .

A m o u n t o f L i g h t . .

Lighting Techniques . . . . .

Bounce Light . . . .

Contrast . . . . .

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TABLE OF CONTENTS (Core)

Color Temperature . . . . . . . . . . . . . . . . .

Floor Lighting . . . . . . . . . . . . . . . . . . . .

Polarizing Filter . . . . . . . . . . . . . . . . . . . . .

Encoders . . . . . . . . . . . . . . . . . . . . . . . . . .

Testing Encoder . . . . . . . . . . . . . . . . . . .

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C H A P T E R 4 - O P E R A T I N G I N S T R U C T I O N S

Introduction . . . . . . . . . . . . . . . . . .

Preparation for Use

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Condensed Control I dentif ication

Detailed Control Identification

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FG Select . . . . . . . . . . . . . . . . . . . .

BG Select . . . . . . . . . . . . . . . . . . . .

FG Matte . . . . . . . . . . . . . . . . . . . .

FG/BG . . . . . . . . . . . . . . . . . . . . . .

FG/Color Logic

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FG Adjust

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BG Matte . . . . . . . . . . . . . . . . . . . .

BG Adjust

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BG Field. . . . . . . . . . . . . . . . . . . . .

Window . . . . . . . . . . . . . . . . . . . . .

Component Out . . . . . . . . . . . . . . .

B/WLogic . . . . . . . . . . . . . . . . . . .

Glow/Title . . . . . . . . . . . . . . . . . . .

Matte-l n . . . . . . . . . . . . . . . . . . . . .

Program/Memory

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LIST OF ILLUSTRATIONS

Ultimatte-5 System

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Remote Control Unit Power Selector Switch . . . . . . . . .

Main Unit Power Selector Switches . . . . . . . . . . . . . . . .

Main Unit Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . .

Remote Control Unit Rear Panel . . . . . . . . . . . . . . . . . .

Typical Connection of Ultimatte-5 . . . . . . . . . . . . . . . . .

Connection for NTSC Background . . . . . . . . . . . . . . . . .

Connection of Four Remotes to One Main Unit. . . . . . .

Connection of Multiple Remote and Multiple Main Units

Circuit Board F8021

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Set Construction to Eliminate Hard Edge at Back Corner

Remote Control Front Panel . . . . . . . . . . . . . . . . . . . . .

Foreground Select Control Group

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Background Select Control Group . . . . . . . . . . . . . . . . .

Foreground Matte Control Group

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Foreground/Background Control Group

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Foreground/Color Logic Control Group . . . . . . . . . . . . .

Foreground Adjust Control Group . . . . . . . . . . . . . . . . .

Background Matte Control Group . . . . . . . . . . . . . . . . .

Background Adjust Control Group . . . . . . . . . . . . . . . . .

Background Field Control Group . . . . . . . . . . . . . . . . . .

Window Control Group . . . . . . . . . . . . . . . . . . . . . . . . .

Component Out Control Group . . . . . . . . . . . . . . . . . . .

Black/White Logic Control Group

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Glow/Title Control Group . . . . . . . . . . . . . . . . . . . . . . .

Matte-In Control Group . . . . . . . . . . . . . . . . . . . . . . . . .

Program/Memory Control Group . . . . . . . . . . . . . . . . . .

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LIST OF TABLES

Table No.

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Ultimatte-5 Specifications

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Main Unit Rear Panel Connections . . . . . . . . . . . . . . . . .

Summary of Operating Controls and Indicators . . . . . . .

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III

REMOTE CONTROL UNIT iv

MAIN UNIT

Figure l-l. Ultimatte-5 System

l-l. INTRODUCTION.

T h i s i s t h e o p e r a t i o n m a n u a l f o r t h e U l t i m a t t e - 5 m a n u f a c t u r e d b y U l t i m a t t e C o r p o r a t i o n , R e s e d a ,

California. This manual is divided into four sections:

G e n e r a l D e s c r i p t i o n , I n s t a l l a t i o n , B a s i c

Requirements, and Operating Instructions. A separate service manual is also available for the Ultimatte-5.

1-2. PURPOSE OF EQUIPMENT.

The Ultimatte-5 is a linear electronic system for the production of composite video images in which a foreground subject is superimposed on one or more layers of background scenes.

1-3. PHYSICAL DESCRIPTION.

The Ultimatte-5 (figure 1-l) consists of two units, t h e m a i n u n i t a n d t h e r e m o t e c o n t r o l u n i t . T h e two units are interconnected by a single coaxial c a b l e . O n e r e m o t e c o n t r o l u n i t m a y b e u s e d t o provide control signals for up to four main units.

C o n v e r s e l y , u p t o f o u r r e m o t e c o n t r o l u n i t s m a y be connected to a single main unit. Both the main u n i t a n d t h e r e m o t e c o n t r o l a r e c o n f i g u r e d f o r mounting in a 19.inch electronic equipment rack.

S p e c i f i c a t i o n s a p p l i c a b l e t o t h e U l t i m a t t e - 5 a r e given in table l-l.

CHAPTER 1

GENERAL DESCRIPTION

1-4. WARNINGS.

Before connecting power to the Ultimatte-5 unit:

1. Verify that power supply is strapped for the power source being used (par. 2-2).

2 . D o n o t m a k e a n y i n t e r n a l a d j u s t m e n t s t o p o t e n t i o m e t e r s i n s i d e c h a s s i s o f m a i n u n i t or remote control.

1-5. UNPACKING.

The Ultimatte-5 is normally shipped in two packages, one containing the main unit and one containing the remote control unit. Carefully remove the units from these two packages and inspect for any damage which may have occurred during shipping. Check the contents of each package against t h e e n c l o s e d p a c k i n g l i s t t o v e r i f y t h a t p o w e r cords, instruction manuals, and other accessories a r e i n c l u d e d . N o t i f y y o u r d e a l e r o f a n y d i s c r e p a n c i e s .

The blue ana green-colored cards packea with your unit permit testing and initial setup of your unit.

These cards are painted with the pure blue and pure green colors which should be used to paint the backings in your studio.

A p i e c e o f p o l a r i z i n g f i l t e r i s a l s o i n c l u d e d w i t h your unit to permit evaluation of test results when a polarizing filter is placed over the camera lens.

1-l

1 - 2

T a b l e l - l . U l t i m a t t e - 5 S p e c i f i c a t i o n s

Size:

M a i n U n i t

Remote Control

Power Source

Random Access Memory

Glow or Titles

External Matte (Key) Signal

Inputs outputs

Black Burs

Windows

Backing Required

Background Matte

Black/White Balance

19 in. wide x 7 in. high x 19 in. deep

19 in. iwide x 7 in. high x 4 in. deep

Both rnain unit and remote control are individually connected to a source of ac power. Depending on internal power supply connections, this may be 115 vat 60 Hz or 230 vat 50 Hz.

32K in each main unit permits up to four control setups to be stored for each of eight program sources.

Inserts solid or transparent glow or titles from an external character generator.

Accepts external matte (key) signal.

Accepts all inputs. RGB/Y RGB/Y, R-Y, B-Y/Y IQ(YUV)NTSC/

Y IQ(YUV)/NTSC(PAL).

Y RGB/Y, R-Y, B-Y/YIQ/NTSC MIX/MATTE + a n d -.

Requires connection of external black burst input for timing (sync).

Unit produces soft or hard-edge windows. Produces normal or reverse windows; allows shutoff of background scene within window area.

Matting logic for blue, green, white, and black backings.

Red by reversing blue and red cables.

Automatic background matte setting. Also provides dynamic background matte tracking through color changes in backing from back wall, through coving, to floor.

Provides RGB black balance and RGB white balance to permit matching of color tones in foreground and background blacks and whites.

2-l. INTRODUCTION.

This chapter describes a number of methods for connecting the Ultimatte-5 into a video production setup. All signal connections in and out of the main unit and remote control unit are on customerprovided 75.ohm RG59/U coaxial cables terminated in BNC connectors.

2-2. POWER SUPPLY CONNECTIONS.

Units being shipped to North America are set for

115.vat power input. Those being shipped to

Europe are set for 230 vat. If it is necessary to verify or change this:

1. On remote control back panel, loosen two ‘/4turn Dzus-type fasteners and remove panel.

2. Set remote control power selector switch

(figure 2-l ) to either 115V or 230V.

3. Replace back panel on remote control.

CHAPTER 2

INSTALLATION

4. On main unit bottom panel, loosen ten %turn Dzus-type fasteners with a Phillips screwdriver and remove panel.

5. Set main unit AC POWER selector switch

(figure 2-2) to 115 or 230.

6. If power input is lower than normal, set main unit LINE VOLTAGE selector switch (figure

2-2) to (LOW), which accommodates input power levels of 105 or 210 vat.

7. Replace bottom panel on main unit.

2-3. MAIN UNIT REAR PANEL.

Most signal connections to and from an Ultimatte-

5 unit are made through the connectors on the rear panel of the main unit. The layout of this panel is shown in figure 2-3 and each connection is described in table 2-1.

115Vl23OV SWITCH \

Figure 2-l. Remote Control Unit Power Selector Switch

2-l

2-2

Connection

T A L L Y

REMOTE 1-4

OUTPUTS:

Y R G B

Y,R-Y,B-Y or Y IQ

NTSC MIX

MATTE - o r +

WINDOW MON

Figure 2-2. Main Unit Power Selector Switches

Table 2-l. Main Unit Rear Panel Connections

F u n c t i o n

Eight lines are connected here from the external switcher so that as each program source (camera or recorder) is selected by the switcher, the

Ultimatte-5 can select the corresponding control settings from memory.

(See par. 2-4.)

’

Permits connection of four remotes to one main unit. Unit under controt is as selected by front panel PROGRAM/MEMORY ULTIMATTE

SELECT 1-4 switches.

Normal output signal to external encoder.

For connection to component analog tape recorder. Format is front-panel selectable by COMPONENT OUT SELECT switch.

I Used generally when background scene is from an NTSC or PAL source.

Positive and negative matte signals are provided simultaneously so they may be recorded for future processing.

When T-connected to a monitor, permits viewing window positions.

Connection

INPUTS:

BLACK BURST

EXT WINDOW

M A T T E

GLOW

BG INPUTS:

NTSC

Y R G B

RGB

Y,R-Y,B-Y/YIQ(YUV

FG INPUTS:

Y R G B

RGB

Y,R-Y,B-Y/YIQ(YUV

NTSC MIX

Table 2-l. Main Unit Rear Panel Connections (Cant)

F u n c t i o n

All inputs are looped.

This signal provides all timing information required by the Ultimatte.

Sync and blanking are generated internally.

May be used to insert a second window from the external sources.

Accepts a recorded matte signal for reverse order of crossing and postproduction cornpositing.

Permits connection of titles from external character generator or connection of glow input.

The four background source inputs may be connected simultaneously and then be selected by the BG SELECT switches. These are, for example:

An NTSC (or PAL) signal from a tape machine or camera.

A Y RGB signal from a camera or telecine converter (or second RGB).

An RGB signal from a camera.

A signal from a component analog tape machine.

Four foreground inputs may be connected simultaneously and then be selected by the FG SELECT switches. These are, for example:

A Y RGB signal from a camera or telecine converter (or second RGB).

An RGB signal from a camera.

A signal from a component analog tape machine.

Any processed foreground signal encoded to NTSC (or PAL) format may be returned to the unit for combining with an NTSC (or PAL) background.

2 - 3

2-4

2-4. TALLY CONNECTOR.

The mating plug for the rear panel TALLY connector is supplied and is a 15-pin subminiature “D” connector. Tally inputs to this connector from the external switcher may be a closure to ground, a logic level to ground, or a momentary contact to ground. The circuitry is prioritized so that if more than one closure is received simultaneously, the highest tally number will be displayed.

Pin number assignments on the “D” connector are:

1

2

3

4

5

6

7

8

9

Camera 1

Camera 2

Camera 3

Camera 4

Camera 5

Camera 6

Camera 7

Camera 8

Ground

1 0

1 1

1 2

1 3

1 4

1 5

Ground

Ground

Ground

Ground

Ground

Ground

2-5. REMOTE CONTROL REAR PANEL.

The rear panel of the remote control unit (figure

2-4) contains four BNC connectors for connection of control cables to up to four Ultimatte-5 main units.

2-6.

CONNECTIONS.

Methods of connecting the Ultimatte-5 are shown in figures 2-5 through 2-8. Each setup is described in the following paragraphs.

2-7. TYPICAL SETUP.

(See figure 2-5.) In the typical setup, the Ultimatte-5 processes a foreground

Figure 2-4. Remote Control Unit Rear Panel

2-5

FOREGROUND

INPUT

BLACK BURST

BACKGROUND

I N P U T

R-

G

B---c c

R---+

G -

-

Bd

R E M O T E

CONTROL

UNIT t

MAIN

UNIT

OUTPUT

. - - - B - - -

EXTERNAL

NTSC

+ OR

PAL

O U T P U T

Figure 2-5. Typical Connection of Ultimatte-5

2-6

FOREGROUND

I N P U T

B L A C K B U R S T - - - - - - d

BACKGROUND NTSC

I N P U T

MAIN

UNIT

NTSC (PAL) MIX

OUTPUT

-

Figure 2-6. Connection for NTSC Background

scene and a background scene to produce an RGB composite output to an external encoder. The encoder further processes the signals to a video recorder format such as NTSC or PAL.

Note that all input and output connections are made to the rear panel of the main unit, which is connected to the remote control unit by a single coaxial cable. Black burst is always required for timing information. The foreground input shown as RGB could be in any of the alternate formats

Similarly, the background input and Ultimatte-5 output signals could be in any of the selectable formats, as desired.

2-8. SETUP FOR NTSC BACKGROUND. (See

figure 2-6.) When the background scene is from an

NTSC (or PAL) source, the foreground scene is processed, then encoded to an NTSC format and then mixed with the background to obtain an

NTSC composite.

As in figure 2-6, foreground input could be in any selectable format with an RGB output to the external encoder. The encoder produces a composite in the same format as the background, which is mixed in the Ultimatte-5 to produce the composite NTSC

(PAL) MIX output signal.

2-9. CONNECTION OF MULTIPLE REMOTES.

(See figure 2-7.) One main unit may be controlled by one, two, three, or four remote control units on a priority basis. This makes it possible to control a single main unit from one to four locations

(stages) with a corresponding reduction in equipment duplication.

The priority is established by connection to the main unit. The remote connected to main unit

MAIN

UNIT

Figure 2-7. Connection of Four Remotes to One Main Unit

2-7

REMOTE 1 connector will have priority whenever it is selected. Selection is made by enabling the correspondingPROGRAM/MEMORY ULTIMATTE

SELECT I-4 switch on the front panel of the remote control. If the ULTIMATTE SELECT switch on remote control 1 is deselected, control reverts to remote control 2, then in turn to remote con trol 3 and remote control 4.

Z-10. CONNECTION OF MULTIPLE REMOTES

AND MAIN UNITS.

(See figure 2-8.) The Ultimatte-5 system has the capability for one remote control unit to control up to four main units and for one main unit to be controlled by up to four remotes. While it is unlikely that the setup shown in figure 2-8 would be used, some combinations of multiple units are frequently desirable.

When making a two-level mix, one remote may control two main units. In this case, the output of one main unit would be the input to the other so that the composite created at the first level becomes the background for the second level. If the same person is used as the foreground subject in two successive levels, he will appear as “twins” in the final composite.

2-l 1. IMPORTANT CONSIDERATIONS.

Many factors contribute to picture quality (as will be discussed in the next chapter). In terms of connections:

1. It is important that the R, G, and B input and output cables be of the same type and be of equal length.

2. It is important that the timing relationship between background and foreground scenes be within 0.5 microsecond of one another and within 1.0 microsecond of black burst (par.

2-13).

2-8

Figure 2-8. Connection of Multiple Remote and Multiple Main Units

3. During initial setup, route RGB from camera directly to the Ultimatte-5, not through the external switcher. Once a good output is obtained from Ultimatte, the switcher can be cabled in and the results compared.

4. It is recommended that all unused inputs to the main unit be terminated with a 75.ohm

load.

2-12. POWER-UP PROCEDURE.

Do not power-up the Ultimatte-5 having connected black burst or the cuitry will not function properly.

without first power-up cir-

1 .

Connect black burst to main unit rear panel

BLACK BURST INPUT.

2 .

Connect coax cable from main unit to remote control unit.

3 .

Plug in remote control to ac line.

4 .

Plug main unit into ac line.

2-13. DELAY LINE ADJUSTMENTS.

When using an NTSC format background, it may be necessary to make an internal adjustment to the delay lines in order to obtain proper timing of foreground and matte signal. Do this adjustment with power on, after the system is in operation and has been satisfactorily checked out otherwise.

1. Aim camera at a blue screen with a white vertical stripe on it (such as a piece of adding machine tape) so that part of blue backing is visible on both side of the white stripe.

2. Provide a 75% grey NTSC background from external switcher.

3. Ohserve output of Ultimatte-5 on a picture monitor and on a waveform monitor (if available).

4. Adjust delay lines (as described below) to eliminate any vertical black line which may be observed adjacent to either side of vertical white stripe foreground.

a .

Loosen ten X-turn Dzus-type fasteners from top cover of main unit with Phillips screwdriver and remove top cover.

b.

Release the three X-turn fasteners that lock top circuit board in place and hinge it back out of the way to gain access to second circuit board (F8021).

C

Adjust the six delay lines (figure 2-9) by simultaneously moving both input and output jumpers on each delay line from OUT to IN or vice versa.

N O T E

The delay line on left of figure 2-9 will have the greatest effect; the one on the right (with only one jumper) will have the least effect on the output.

d. Attempt to obtain equal white or black lines on each side of white stripe.

5. Reassemble unit and remove any test connections.

2-9

2-10

Figure 2-9. Circuit Boar-d F8021

3-1. INTRODUCTION.

T h e U l t i m a t t e - 5 i s e s s e n t i a l l y a “ t r a n s p a r e n t ” d e v i c e . I t p e r f o r m s a d d i t i o n s , s u b t r a c t i o n s , a n d multiplications of the signals applied to it, but the f i n a l o u t p u t i s a l w a y s a p r o d u c t o f t h e i n p u t s .

Thus, the other factors which affect picture quali t y a r e e q u a l l y a s i m p o r t a n t a s t h e U l t i m a t t e i n d e t e r m i n i n g t h e q u a l i t y o f t h e f i n a l c o m p o s i t e image. This chapter discusses the requirements for such related components as cameras, backings, lighting, filters, and encoders.

3-2. CAMERAS.

The higher the quality of the signal going into the

Ultimatte, the higher will be the quality of the outp u t . T h e l i m i t a t i o n o f t h e U l t i m a t t e t o c o m p o s i t e an image is the limitation of the camera to resolve that image.

Since the Ultimatte operates on the R-G-B components of the video signal, it is important that the camera have relatively quiet signals on all three channels (high signal-to-noise ratios). It is possible t o h a v e a c a m e r a w h i c h p r o d u c e s a r e l a t i v e l y acceptable encoded picture but which has a large amount of noise on one channel. After processing i n t h e U l t i m a t t e , t h a t n o i s e m a y d e t e r i o r a t e t h e final composite to a greater extent. Most cameras will produce acceptable results under good conditions. It is when conditions are less than ideal that t h e d i f f e r e n c e s a m o n g c a m e r a s b e c o m e m o r e noticeable. These conditions include inadequate l i g h t i n g , f o r w a r d - f a l l i n g s h a d o w s , a n d e x c e s s i v e black gloss.

3-3. SELECTION CRITERIA.

In selecting among several cameras, first select the one that has the best color registration of all three channels. Next select the one that is the most quiet on all three channels. A camera equipped with a fixed lens of

CHAPTER 3

BASIC REQUIREMENTS

h i g h q u a l i t y w i l l p r o d u c e a b e t t e r p i c t u r e t h a n a camera equipped with a zoom lens. Anyone doing composite work will save substantial setup time using a set of fixed prime lenses, as there will be much less difficulty in judging perspective through a fixed lens.

3-4. DETAIL OR CONTOUR CONTROL.

Caref u l l y a d j u s t t h e d e t a i l o r c o n t o u r c o n t r o l o n t h e camera in use to prevent excessive “edginess” on foreground images. A moderate edge on the image is quite acceptable when observed from the proper viewing distance, but excessive edginess will defeat the natural-looking composite normally produced by the Ultimatte-5.

3-5. DIFFUSION OR FOG FILTERS.

W h e n shooting composite images, it is recommended that diffusion filters or fog filters not be used. These filters introduce excessive noise into the composite image with the result that foreground figures bleed into blue backings, or vice versa. Black objects may acquire a blue tint. If these filters are used, the results must be examined with great care and adjustments made where necessary.

3-6. TUBE FOCUS AND BEAMWIDTH.

If one of the camera’s color tubes is slightly out of focus, fringing may occur, particularly in longer shots. If the beamwidths of the three tubes differ, edging may be observed on the leading and trailing edges of moving objects. Make sure the camera is in good adjustment at all times.

3-7. REGISTRATION ADJUSTMENT.

A camera w i t h m i n o r r e g i s t r a t i o n d i f f e r e n c e s b e t w e e n t h e three tubes may produce an acceptable image on a direct monitor, but the registration differences will be greatly magnified by the cornpositing process.

The Ultimatte recognizes a color edge as the location of an object; thus, a registration error is the same as a physical displacement of that object.

3-l

This will be recognized from the presence of opposi n g c o l o r f r i n g e s o n t h e o p p o s i t e e d g e s o f f o r e ground objects.

3-8. WHITE AND BLACK BALANCE. It is

important that the camera be properly white balanced and black balanced. When the camera is irised up and down, the white should track through grey and blacks should remain black. If a through-the-lens teleprompter is being used, it should be switched o n d u r i n g t h e w h i t e a n d b l a c k b a l a n c i n g p r o c e dures. If a white card is being used for white balance and placed near the blue screen, it should be placed so that blue bounce light from the backing will not fall on it and cause color distortions.

3-9. BACKING.

The backing is the painted screen in front of which foreground subjects are photographed. It is most often blue, but may also be green, white, or black.

Black and white are primarily used in the product i o n o f a n i m a t e d o b j e c t s . T h e t e r m “ b a c k i n g ” i s separate and distinct from the term “background.”

Background refers to the background scene which is cornposited with the foreground subjects to produce the final product.

3-10. COLOR PURITY.

Ultimatte is a linear system for cornpositing images. Unlike chroma-key, which is a switching system, Ultimatte will provide a composite in all areas of the backing from those which are fully illuminated down into deep shadows. Therefore, the backing color must be uniquely reflective. For this reason, special blue and green paints have been developed and are available from

Rosco Laboratories, Inc., Port Chester, New York

(and other cities). The blue paint has a very high blue reflectance and a very low green reflectance

(vice versa for the green). The use of this paint is highly recommended. (Also see paragraph 3-14.)

T h e s a m p l e c a r d e n c l o s e d w i t h t h e U l t i m a t t e - 5 should be used in initial tests to demonstrate how w e l l t h e u n i t w o r k s a n d w h a t t h e b a c k i n g c o l o r should be.

T o e v a l u a t e b l u e b a c k i n g s p a i n t e d w i t h o t h e r paints, place a white card against it and shoot the card and a portion of the backing. With the white set at 100 units of video, the blue content of the backing should be 70 units minimum, the green content of the backing should be 35 units maximum, and the red content of the backing should be

25 units maximum. While some acceptable backings h a v e b e e n m a d e w i t h o t h e r t h a n U l t i m a t t e b l u e paint, the green backing is much more difficult to achieve with commercial paint.

Be extremely careful of paints that burnish when touched, especially if it is necessary to walk on the backing, as burnish marks will show through as defects in the final image.

3-11. LIGHTING THE BACKING.

When there is enough separation to do so, place blue gels on the lights illuminating the blue screen and use white lights on the foreground subject. This will improve the quality of the light from the backing. It is even possible to use a white backing illuminated only by b l u e f i l t e r e d l i g h t . I t i s n o t r e c o m m e n d e d t h a t backlighted blue transmission screens be used with

Ultimatte, as edging and loss of foreground image may resu It.

3-12. TEXTURE OF BACKING.

The most important requirement for obtaining a quality composite is a backing of uniform color quality. Any defects in the backing such as seams, wrinkles, scuff marks, or a change in texture from wall to cove to floor will be seen as differences in background intensity when the composite is made.

One method of set construction which is useful in eliminating hard shadows or texture changes at the j u n c t i o n o f h o r i z o n t a l a n d v e r t i c a l s u r f a c e s i s shown in figure 3-l. Since there is no actual corner, t h e r e w i l l b e a m i n i m a l d i f f e r e n c e i n r e f l e c t i o n from the two surfaces.

3-2

3-13. CHOICE OF BLUE VS. GREEN.

The choice of blue versus green backing is determined by the presence of a detail edge from the camera’s detail generator. If a white or yellow foreground subject i s b e i n g c o m p o s i t e d w i t h a l i g h t - c o l o r e d b a c k ground scene, the camera may produce a hard det a i l e d g e w h e n p h o t o g r a p h i n g t h e f o r e g r o u n d against a blue backing. In this case, a green backing w o u l d s o l v e t h e p r o b l e m , r e s u l t i n g i n a m o r e natural-looking composite.

Conversely, a dark foreground subject being combined with a dark background would photograph more naturally against a blue backing. When there is a substantial contrast between foreground and b a c k g r o u n d s u b j e c t s ( d a r k a g a i n s t l i g h t o r l i g h t against dark), either backing color will be acceptable.

A s e c o n d r e a s o n f o r c h a n g i n g b a c k i n g c o l o r i s when the color of a foreground object (solid object or wardrobe) is too close to the color of the backi n g . D i s t o r t i o n s m a y r e s u l t f r o m t h e s u b s t a n t i a l signal processing required to discriminate these colors. Switching to a backing of contrasting color s o l v e s t h e p r o b l e m . C o m p a r i s o n o f r e s u l t s w i t h both color backings may be desirable in making the optimum decision.

R e d b a c k i n g s m a y b e u s e d f o r p r o d u c t s h o t s i f there is no red in the foreground image. However, where people are involved, the use of red backings is inadvisable. If a red backing is used for a product shot, reverse the red and blue cable connections for both the input and the output.

3-14. ULTIMATTE BLUE SCREEN.

A flexible plastic sheeting has been developed which can be rolled up and down or stretched in a frame. This material has such a high blue reflectance that a wide range of subjects may be composited in front of it. It is recommended for difficult scenes and is

V E R T I C A L S U R F A C E O F S E T

GAP ----,

Fd

H O R I Z O N T A L S U R F A C E O F S E T

Figure 3-I. Set Construction to Eliminate Hard Edge at Back Corner

3-3

available in sizes up to 40x100 feet from Stewart

F i l m s c r e e n C o r p . , T o r r a n c e , C a l i f o r n i a . T o d a t e , no blue or green paper has been found suitable as backing material.

3-15. LIGHTING.

I n g e n e r a l , t h e p r o p e r l i g h t i n g o c c u r s w h e n t h e amount of incident light (in foot candles) on the backing is the same as the arnount of incident light on the subject. However, the amount of light used is much greater than with normal photography.

3-16. AMOUNT OF LIGHT.

Composite photogr a p h y i n f r o n t o f a b l u e s c r e e n r e q u i r e s t w o t o three times more light than normal photography.

Lens vignetting cannot be tolerated, as it interferes w i t h w i n d o w g e n e r a t i o n a n d o t h e r c o m p o s i t i n g functions and aggravates noise problems. This is less likely to occur at smaller apertures made possible by higher light levels.

As discussed later in this chapter, there are times when it is desirable to use polarizing filters. These filters cut down some of the light to the camera tubes so more light helps to compensate.

3-17. LIGHTING TECHNIQUES.

W h e n l i g h t i n g the set, it must be kept in mind that the amount of light on the backing will determine the extent to which the background scene is lighted in the composite.

W h e n a k e y - l i g h t s h a d o w i s i m p o r t a n t , s t a r t b y lighting the set with the key light. Orient the key light to cast a shadow in the same direction as the shadows in the background scene. Then add light as needed to illuminate the backing, being careful not to completely wash out the key light shadow.

The intensity of the shadow is thus controlled by t h e a m o u n t o f f i l l a d d e d t o t h a t s h a d o w . A g a i n , consider the intensity of the background shadows when making this decision.

3-18. BOUNCE LIGHT.

When setting up a shot, some bounce light from the backing will light up the edges of the subject, yet when the image is p r o c e s s e d , t h e b a c k i n g a n d m o s t o f t h e b o u n c e light from it will be suppressed to black. Think of the backing as a piece of black velvet which reflects no light. Also think about the background scene. If it is light and would be expected to light up a subj e c t i n f r o n t o f i t , p r o b a b l y m o r e s i d e l i g h t i n g o f the subject is necessary. This is best produced by t w o l i g h t s o u r c e s , a t a p p r o x i m a t e l y h e a d l e v e l .

W i t h a d a r k b a c k g r o u n d , t h i s s i d e l i g h t i n g w o u l d not be desirable.

Had the subject actually existed as an element in the background scene (rather than being composited into it), whatever brightness existed in the background scene would have illuminated the sides and back of the subject. The blue backing does not provide the backlight the scene would have provided and backlighting must therefore be added on the s e t .

3-19. CONTRAST.

Approximate contrast between l i g h t i n g o f f o r e g r o u n d a n d b a c k g r o u n d s u b j e c t s should be accomplished by adjustment of lighting on the foreground scene. The Ultimatte-5 contains a FG CONTRAST control which can be used to add contrast to the foreground subject.

3-20. COLOR TEMPERATURE.

Never use strawcolored filters when lighting a foreground subject.

Only white light is needed. Do not mix the color temperatures of lamps used to light the backing, as this will result in color tinting of the background scene. Lights with a color temperature of 5600°K o r 3200° K a r e a c c e p t a b l e w i t h b l u e b a c k i n g s .

A blue-colored light should not be used on a foreground subject, as it will cause the subject to become transparent.

3-21. FLOOR LIGHTING.

T h e f l o o r s h o u l d b e iighted frorn sources near the camera rather than

3-4.

from overhead lights. Overhead lights may produce a glare which the camera will see as white light, and this will appear as flare in the composite.

3-22. POLARIZING FILTER.

The use of the polarizing filter can solve certain problems that will arise with backlighting and with reflective subjects. Floor glare, as mentioned earlier, can result in an unwanted white haze in the final composite.

Mount the polarizing filter on the camera lens and rotate it until the glare disappears. The use of polarizing filters on shiny product shots such as autom o b i l e s m a y e l i m i n a t e t h e n e e d f o r d e g l o s s i n g spray.

Polarizing filters are supposedly of neutral density, but frequently are not. It is best to white balance the camera again with these filters in place. When using a polarizing filter, it is necessary to open the camera lens one to one-and-one-half stops. This is the reason for using high illumination on the set.

3-23. ENCODERS.

The final picture quality is dependent on the quality of the encoder used. Always use a broadcastquality video-type encoder to prevent deterioration of the final product.

3-24. TESTING ENCODER.

When an encoder has been selected for use, it is recommended that it be tested to evaluate the output quality. Connect the

RGB from the camera to the input of the encoder, t h e n c o n n e c t t h e o u t p u t o f t h e e n c o d e r t o t h e A side of a monitor. Connect the camera’s internal encoder output to the B side of the monitor. Switch between the two to assure that the external encoder is at least as good as the camera’s internal encoder.

If the external encoder cannot be adjusted to perform satisfactorily, the user must accept the fact t h a t t h e e n c o d e r , n o t t h e U l t i m a t t e - 5 , i s l i m i t i n g the final picture quality. This same test should be made with the switcher in and out of the circuit to evaluate its quality also.

3-5/(3-6 blank)

CHAPTER 4

OPERATING INSTRUCTIONS

4-l. INTRODUCTION.

This chapter contains the information required to o p e r a t e t h e U l t i m a t t e - 5 . E a c h o f t h e 1 5 c o n t r o l groups on the remote control panel is discussed in detail and the function of each switch or control

(potentiometer) is described. There is no standard operating procedure. The Ultimatte-5 is extremely versatile and facilitates opera.tion in a broad variety of situations. It is up to each operator to determine the ideal operating sequence for each application.

4-2 PREPARATION FOR USE.

W h e n t h e U l t i m a t t e - 5 i s c o n n e c t e d t o a p o w e r source, it will come on with most switches in their n e u t r a l p o s i t i o n s . H o w e v e r , c o n t r o l s m a y b e s e t

Table 4-l. Summary of Operating Controls and Indicators

Control Name F u n c t i o n Group Name

FG SELECT t o a n y p o s i t i o n . B e f o r e s t a r t i n g o p e r a t i o n s f o r a new setup, adjust all controls to their index position and set all switches so that the red indicators are off (to the extent possible).

4-3. CONDENSED CONTROL

IDENTIFICATION.

The operating panel of the Ultimatte-5 is shown in figure 4-l. Table 4-l is a condensed explanation of the function of each control.

4-4. DETAILED CONTROL IDENTIFICATION.

The balance of this chapter contains detailed descriptions of each control group keyed to an enlarged illustration of the controls in each group.

B G S E L E C T

RGB switch

Y RGB switch

Y/R-Y/B-Y switch

YlQ(YUV) switch

BACKING COLOR switch

FG ONLY switch

RGB switch

Y RGB switch

Y/R-Y/B-Y switch

YlQ(YUV) switch

NTSC(PAL) switch

BG ONLY switch

Selects an RGB foreground input.

Selects a Y RGB foreground input.

Selects a

Y/R-Y/B-Y

foreground input.

Selects a Y IQ or YUV foreground input.

Selects logic for blue or green backing.

Permits only foreground image to be viewed.

Selects an RGB background input.

Selects a YRGB background input.

Selects a

Y/R-Y/B-Y

background input.

Selects a Y IQ or YUV background input.

Selects an NTSC (or PAL) background input.

Permits only background image to be viewed.

FG MATTE

MATTE SET switch

MATTE DENSITY control

Provides silhouette against neutral field for setting density of foreground matte.

Sets matte density appropriate to transparency of subject.

4-1

4-2

r

Group Name

FG MATTE

(cant)

FGiBG

FG COLOR

LOGIC

FG ADJUST

BG MATTE

BG ADJUST

BG FIELD

Table 4-l. Summary of Operating Controls and Indicators (Cant)

Control Name F u n c t i o n

M A T T E D E N S I T Y B A L c o n t r o l

BLACK GLOSS control

BACKING PURITY control

Optimizes matte density for certain foreground colors.

Prevents print-through on dark glossy objects.

Permits use of backings with less-than-perfect color balance.

'1

CLEAN-UP control

FADE/MIX control

BALANCE control

Allows progressive removal of unwanted foreground detail and backing imperfections.

Permits foreground to be faded out or FG/BG mix.

Proportions foreground removal and background replacement when using CLEAN-UP control.

GATE 1 control

GATE 2 control

GATE 3 control

WHITE BALANCE control

Permits reproduction of blue in foreground subject

(blue backing).

Permits reproduction of magenta in foreground subject (blue backing).

Eliminates blue flare on green foreground subjects

(blue backing).

Permits adjustment of whites in foreground to match whites in background.

FG LEVEL control

FG CONTRAST control

BLACK RGB/WHITE RGB controls

Provides control of foreground level.

Adjusts contrast of foreground subject.

Permit adjustment of black and white balance to neutral or to match background.

VERT TRACK ENABLE switch

RATE control

VEIL COLOR RGB controls

BG LEVEL BAL control

BG LEVEL control

SHADOW control

BG DE FOCUS control

Enables a dynamic background matte that tracks backing changes.

Adjusts how tightly backing changes are tracked.

Permit elimination or introduction of veiling.

Sets level for background turn-on signal.

Sets clip for background turn-on signal.

Retains forward-falling floor shadows and enhances shadow detail.

Simulates follow focus when subject approaches camera, and for normal-appearing closeups.

SELECT switch

LEVEL control

COLOR RGB controls

Replaces background video with flat field.

Adjusts level of flat field.

Set color of flat field.

4-3

Group Name

WINDOW

Table 4-l. Summary of Operating Controls and Indicators (Cant)

Control Name

F u n c t i o n

COMPONENT

O U T

B/W LOGIC

GLOW/TITLE

MATTE IN

P R O G R A M /

M E M O R Y

I NT +/- switch

INT N/R switch

EXT N/R switch

H O L D B L U / G R N s w i t c h

LEFT/RIGHT/TOP/

BOTTOM controls

SELECT switch

B/W logic select switch

MASTER DENSITY

DENSITY R/G/B controls

Permits window to be a frame (+) surrounding the subject or an area (-1 which may be placed anywhere.

Reverse (R) shuts off background scene in window area.

Selects normal (N) or reverse (RI for external w i n d o w i n p u t .

Permits holding original blue (or green) color of blue object or reflection within reverse window area.

Set each window edge as desired. Complete cw rotation changes from hard edge to soft and vice versa.

Selects output format of OUTPUTS connectors for use with component analog recorder.

Sets up logic to composite for either a black or white backing.

Sets threshold at which objects begin to become transparent.

Permit threshold to be set for each color independently without affecting subject color or brightness,

MASTER LEVEL control

R/G/B controls

DENSITY control

FRONT/REAR control

INVERT switch

PE D control

LEVEL control

Sets level of brightness of glow or title.

Set color of glow or title.

Sets degree of transparency of glow or title. Glow covers or emanates only from edges.

Places titles in front of or behind foreground subject,

Used for reverse order of crossing.

Eliminates setup when used.

Compensates for low-level recording

ULTIMATTE SELECT 1-4 switches

TALLY indicator

F I LE 1-4 switches

MEMORY switch

Select one of four Ultimatte-5 main units which will be controlled by remote control unit.

Indicates program source selected by switcher.

Select one of four previously established setups from memory.

In SET, all controls and switches are live and access memory. On HOLD, unit operates from memory, with exceptions.

4-4

4-5. FG SELECT.

(See figure 4-Z.)

The six foreground select switches are used to configure the unit as desired to process the foreground scene. One of the first four mutually exclusive input selectors is pressed to select the type of foreground input signal to be used from among those c o n n e c t e d t o t h e F G I N P U T S c o n n e c t o r s o n t h e r e a r p a n e l o f t h e m a i n u n i t . T h e B A C K I N G

COLOR switch is set to configure the logic of the unit to the backing color in use and the FG ONLY switch is enabled as desired.

All pushbutton selections change during the vertical interval. The remote control may be used as a v e r t i c a l i n t e r v a l s w i t c h e r t o s w i t c h , f o r i n s t a n c e , from a camera source to a tape player source by selecting the input source desired. The transition will occur during the vertical interval.

4-6.

RGB.

T h e r e d - g r e e n - b l u e i n p u t i s n o r m a l l y from a television camera connected to the R-G-B input connectors on the rear panel.

4-7. Y

RGB.

The luminance-red-green-blue input is from a Rank Cintel scanner, telecine camera, or other device connected to the Y-R-G-B input connectors on the rear panel. This channel may also be used as a second RGB channel with nothing con netted to the “Y” input connector.

4-8. Y, R-Y,

B-Y.

The luminance (y), red minus y, blue minus y input is normally from a composite analog tape recorder, camera, or other device connected to the Y, R-Y, B-Y input connectors on the rear panel.

4-9. YIQ

(YUV).

The Y IQ (or YUV) input is selected when a signal source of this format is connected to the YIQ input connectors on rear panel.

4-10. BACKING COLOR.

The backing color switch c a n b e s e t t o B t o c o n f i g u r e t h e u n i t f o r a b l u e backing color or to G to configure the unit for a green backing color.

4-l

1. FG ONLY.

The foreground only switch is u s e d t o r e m o v e t h e b a c k g r o u n d s c e n e f r o m t h e o u t p u t s i g n a l s o t h a t f o r e g r o u n d o n l y m a y b e viewed.

Figure 4-2. Foreground Select Control Group

4-5

Figure 4-3. Background Select Control Group

4-12. BG SELECT.

(See figure 4-3.)

The six background select switches are used to configure the unit as desired to process the background scene. One of the first mutually exclusive i n p u t s e l e c t o r s i s p r e s s e d t o s e l e c t t h e t y p e o f background input signal to be used from among those connected to the BG INPUTS connectors on t h e r e a r p a n e l o f t h e m a i n u n i t . T h e B G O N L Y switch is enabled as desired. All pushbutton selections change during the vertical interval.

4-13.

RGB.

The red-green-blue input is normally from a television camera connected to the R-G-B input connectors on the rear panel.

4-14.

Y

RGB.

The luminance-red-green-blue input is from a Rank Cintel scanner, telecine camera, or other device connected to the Y-R-G-B input connectors on the rear panel. This channel may also be used as a second RGB channel with nothing connected to the “Y” input connector.

4-15.

Y,

R-Y, B-Y.

The luminance (y), red minusy, blue minus y input is normally from acomponent a n a l o g t a p e r e c o r d e r , c a m e r a , o r o t h e r d e v i c e connected to the Y, R-Y, B-Y input connectors on the rear panel.

4-16. YIQ

(YUV).

The YIQ (or YUV) input may be selected when a signal source of this format is connected to the Y IQ input connectors on the rear panel.

4-17. NTSC (PAL).

The National Television Standards Committee (NTSC) or European system Phase

Alternating Line (PAL) input may be selected when a tape recorder or any other encoded video source in this format is connected to the NTSC input connectors on the rear panel.

4-18. BG ONLY.

The background only switch is used to remove the foreground scene from the output signal so that background only may be viewed.

4-19. FG MATTE.

(See figure 4-4.)

The foreground matte controls are used to adjust d e n s i t y o f t h e f o r e g r o u n d m a t t e , w h i c h w i l l o p t i mize the foreground in the final composite output.

4-20. MATTE SET.

When enabled, the matte set switch causes the foreground subject to appear as a black silhouette against an internally generated white field for the purpose of adjusting the other controls in this control group.

4-6

Figure 4-4. Foreground Matte Control Group

4-21. MATTE DENSITY.

The matte density control is used to adjust density of the foreground subj e c t f r o m t r a n s p a r e n t ( c c w ) t o e x t r e m e l y o p a q u e

(cw). in use, this control is first set fully ccw. It is then turned clockwise until the entire subject silh o u e t t e j u s t b e c o m e s o p a q u e , b u t w h e r e s e m i t r a n s p a r e n t a r e a s o f t h e s u b j e c t r e m a i n s e m i t r a n s p a r e n t . I f t h i s c o n t r o l i s a d v a n c e d t o o f a r , d a r k e d g e s m a y a p p e a r a r o u n d t h e f o r e g r o u n d subject.

4-22. MATTE DENSITY BAL.

The matte density balance control is used to improve the edge characteristics of certain colors (mainly reds and greens).

Normally a matte edge is achieved too soon on red subjects. Therefore, i f t h e f o r e g r o u n d s c e n e i s mainly of people’s faces (predominantly red flesh tones), adjust this control in the ccw direction to drop some of the red from the turn-on signal.

If the scene is of green foliage, adjust this control c w t o d r o p s o m e o f t h e g r e e n f r o m t h e t u r n - o n signal. Where both reds and greens appear in the foreground scene, adjust the control for optimum e d g e c h a r a c t e r i s t i c s o n t h e m o s t i m p o r t a n t e l e ments in the scene.

4-23. BACKING PURITY.

T h e b a c k i n g p u r i t y control is normally set to HI when using the recommended backing paints (par. 3-10). However, if a backing is in use which does not have good color purity, it is set between HI and LO as necessary to obtain a background scene turn-on signal.

For instance, when using a high-quality blue backing, the unit will recognize and properly composite cyan and magenta tones in the foreground subject.

I f t h e b a c k i n g i s o f l e s s e r c o l o r p u r i t y , s u c h a s c y a n o r m a g e n t a , g o o d c o r n p o s i t i n g c a n s t i l l b e a c c o m p l i s h e d b y t u r n i n g t h i s c o n t r o l t o w a r d L O , and avoiding the use of cyan and magenta wardrobe.

4-24. BLACK GLOSS.

The black gloss control is adjusted to prevent dark, shiny objects in the foreground scene from appearing transparent. The use o f t h i s c o n t r o l w i l l a l s o i n c r e a s e t h e d e n s i t y o f shadows cast by the foreground subject. Use this control only when necessary or shadows may be accented unnaturally and edges may start to appear hard.

4-7

FADE MIX

Figure 4-5. Foreground/Background Control Group

4-25.

FG/BG.

(See figure 4-5.)

The controls in the foreground/background group are used to adjust the relative densities or importance of the foreground subject as opposed to the background scene.

4-26. CLEAN-UP.

T h e c l e a n - u p c o n t r o l c a n b e adjusted to cause the background scene to turn on s o o n e r t h a n i t w o u l d o r d i n a r i l y w h i l e s i m u l t a n e o u s l y p a r t i a l l y t u r n i n g o f f t h e f o r e g r o u n d s u b j e c t in its most transparent areas. This is useful for removal of unwanted foreground detail such as support wires or footprints and for removal of backing imperfections such as seams or joints.

A l s o , i f t h e b a c k i n g c o n t a i n s a s e a m o r w r i n k l e which is visible in the composite output, the cleanup control can be adjusted to remove this seam or wrinkle.

T h e c l e a n - u p c o n t r o l s h o u l d b e m o v e d f r o m i t s index marks only when necessary for the types of conditions described above, as use of this adjustment removes fine-edge detail from the image.

4-27. FADE/MIX.

T h e f a d e / m i x c o n t r o l h a s t w o f u n c t i o n s , d e p e n d i n g o n t h e p o s i t i o n o f t h e F G

SELECT/FG ONLY switch (par. 4-5/4-l 1). When

FG ONLY is off, this control is in the fade mode and when FG ONLY is on, it is in the mix mode.

I n t h e f a d e m o d e , t h e f a d e / m i x c o n t r o l m a y b e adjusted to gradually fade out the foreground subject, ultimately leaving only the background scene in the output.

In the mix mode, both the foreground and background subjects fully appear in the output superimposed on one another. The relative strength of t h e t w o s c e n e s i s d e t e r m i n e d b y r o t a t i o n o f t h e control. This mode is useful for arranging set pieces in the foreground so that they match objects in the background scene.

4-28. BALANCE.

The balance control proportions the clean-up between the FG and BG and should b e a d j u s t e d w i t h e a c h i n c r e m e n t o f c l e a n - u p t o obtain the most pleasing picture. (The balance control also affects the fade/mix function.)

4-a

Figure 4-6. Foreground/Color Logic Control Group

WHITE

BALANCE

. -

GATE 3

4-29. FGKOLOR LOGIC. (See figure 4-6.)

The controls in the foreground color logic group permit adjustments to be made so that specific colors in the foreground subject can be reproduced naturally in spite of technical difficulties which might otherwise interfere with natural reproduction.

4-30. GATE 1. The gate 1 control is adjusted to

permit blues in the foreground subject to be reproduced when using a blue backing (otherwise blue foreground objects will appear cyan).

Gate 1 allows the blue of R-G-B to rise above green to the extent that green was above red. Thus, a blue shirt on the foreground subject will remain blue, because in a blue shirt there is more green than red. However, blue light from the backing failing on a white shirt will not be seen as blue flare because green did not rise above red in the lighting of the white shirt. There is a slight increase in noise level when using gate 1, 2, or 3.

In the case of green backing, gate 1 permits greens in the foreground subject to be reproduced.

4-31. GATE 2. The gate 2 control is adjusted to

permit magentas in the foreground subject to be reproduced when using a blue backing. Gate 2 allows the blue of R-G-B to rise above green to the extent that red was above green. When gate 2 is open, facial tones may have a slight purplish cast to them. Gate 2 is used only when purple (magenta) is important in the wardrobe or foreground subject.

In the case of a green backing, gate 2 permits yellows in the foreground subject to be reproduced.

4-32. GATE 3. The gate 3 control is adjusted to

eliminate blue flare on green foreground subjects

(such as plants) when using blue backing. Gate 3 prevents the blue of R-G-B from rising above the lower of red or green. When gate 3 is in use, cyan and blue colors in the foreground scene will be distorted to a greenish cast, and thus should be used only when reproducing green plants against a blue backing. In the case of a green backing, gate 3 prevents a cyan flare on blue foreground objects.

4-33. VVHITE BALANCE. The white balance con-

trol permits adjustments of maximum blue of foreground subject whites to match background white.

In the index position, blue of R-G-B is made equal to R-G-B for white; however, if a foreground subject has light blonde hair which is reproducing nearly white, this control may be adjusted for more natural reproduction of hair color. This will also result in somewhat warmer than normal white tones on other white objects in the foreground.

4-9

LEVEL l

Figure 4-7. Foreground Adjust Control Group

G

FG

CONTRAST

BLACK

3

WHITE

4-34. FG ADJUST.

(See figure 4-7.)

The foreground adjust group contains eight controls for the purpose of achieving special adjustments to the level, contrast, and color balance of the foreground subject. They do not affect matting functions or background picture.

4-35. FG LEVEL. The foreground level control permits adjustment of the level of the foreground scene relative to the level of the background scene.

For instance, when simulating night scenes, a reduction in foreground level may be desired. At other times, this control may be manipulated to match the overall appearance of the foreground to that of the background.

4-36. FG CONTRAST. The foreground contrast control increases contrast of the foreground subject by making dark areas even darker. It is especially useful in simulating night scenes. It may also be used to match sunlit backgrounds or to increase foreground contrast to match the contrast of the background tape.

4-37. BLACK RGB-WHITE RGB. The black

R-G-B and white R-G-B controls permit the color mix of black and/or white subjects in the foreground to be matched to that of similar objects in the background. This color matching of foreground/ background whites and foreground/background blacks is vital to a realistic-looking composite.

It is more desirable to make these adjustments in the Ultimatte-5 than in the camera, as the camera color controls should always be left at standardized levels. These controls are somewhat interactive and black should be matched before white.

4-10

Figure 4-8. Background Matte Control Group

4-38. BG MATTE.

(See figure 4-8.)

T h e b a c k g r o u n d m a t t e c o m p r i s e s t h o s e c i r c u i t functions which cause the colors in the blue backing to be reduced to zero. Thus, the backing area which was blue will now appear to be black and the background scene can then be superimposed in this black area. This background matte is set autom a t i c a l l y b y t h e U l t i m a t t e - 5 a s a f u n c t i o n o f t h e backing color and brightness.

The background matte controls are used to make m a n u a l o v e r r i d e a d j u s t m e n t s t o t h e a u t o m a t i c adjustments.

4-39. VEIL COLOR/f?GB.

When excessive noise appears on one color channel, a red, green, or blue veiling may appear on the background scene. This can be eliminated by adjustment of the corresponding veil color control.

In order to simulate underwater scenes or to en hance reflections on glass, green veiling may be a d d e d t o t h e s c e n e . O t h e r s i m i l a r e f f e c t s a r e possible.

4-40. VERT TRACK ENABLE.

When using a backing which is a vertical wall at right angles to the camera, plus a floor which is at an oblique angle to the camera, the difference in camera angle to the two surfaces may produce a white haze or veiling in the floor area. This condition can be compensated for with the vertical track enable switch in conjunction with the rate control.

The rate control is advanced just until the milky veil disappears from the floor area, thus resetting the matte on a line-by-line basis from wall to floor to eliminate veiling. This technique retains all of the resolution the camera had before this correction and is superior to using the veil color controls alone.

4-41. RATE.

T h e r a t e c o n t r o l a d j u s t s d y n a m i c t r a c k i n g a s t o h o w t i g h t l y b a c k i n g c h a n g e s a r e tracked (see previous paragraph). Before engaging the vertical track and rate controls, the BG adjust shadow control (par. 4-45) should first be adjusted to eliminate as much veiling as possible.

4 - 1 1

I____^ 86 ADJUST -

86

LEVEL

BAIL

BG

LEVEL

Figure 4-9. Background Adjust Control Group

4-42. BG ADJUST.

(See figure 4-9.)

T h e b a c k g r o u n d a d j u s t g r o u p c o n t a i n s f o u r c o n trols which are used to achieve adjustments of the background: level, balance, shadow, and focus.

4-43. BG LEVEL.

The background level control permits adjustment of the level of the background scene relative to the level of the foreground scene.

This may be useful in simulating night scenes or in matching overall appearance of background and foreground.

4-44. BG LEVEL BAL.

T h e b a c k i n g m a y n o t always be uniformly illuminated, yet the brightness of the backing produces a linear signal which turns o n t h e b a c k g r o u n d p i c t u r e i n p r o p o r t i o n t o t h e brightness of the backing. The background level balance control may be used to change the level at which variations in backing brightness affect the turn-on of the background, thus achieving a more uniformly bright background scene.

The background level balance control is also used in conjunction with the windows (par. 4-48). When windows are being used, it is necessary to make adjustment of the BG level balance control in order to make the window edges invisible.

4-45. SHADOW.

The shadow control is used when the subject is backlighted or is casting a visible shadow. Because the shadow area is below clipping ievel, any noise in the camera tends to occur in the shadow. The shadow control substitutes a second control signal in the shadow area which causes the shadow noise to be reduced by 9 to 12 dB.

Further, in backlighted situations where glare is present, the glare would ordinarily obliterate the s h a d o w o r i n v e r t i t . T h e s h a d o w c o n t r o l w i l l , i n this situation, remove the glare, causing the shadow to be fully visible and darker than its surroundings,

4-46. BG DEFOCUS.

T h e b a c k g r o u n d d e f o c u s control does not function with NTSC or PAL backg r o u n d s . I t d o e s f u n c t i o n w i t h R G B , Y R G B , a n d component signals. It progressively limits the bandwidth of the background channels so that during a close-up of a foreground subject, the background scene will not be in sharp focus. This results in a simulation of the normal relationship between foreg r o u n d a n d b a c k g r o u n d f o c u s . A f o l l o w - f o c u s effect can be achieved by progressive use of defocus as the foreground subject approaches the camera.

4-12

BG FIELD

Figure 4-10. Background Field Control Group

4-47. BG FIELD.

(See figure 4-l 0.)

The background field controls are used during production when the background scene is not conveniently available, but it is desired to have something behind the subject. The BG field controls can then be used to produce an artificial background of the desired color.

The BG field controls work in conjunction with the window controls (par. 4-48). To use the BG field controls:

1. Press BG FIELD SELECT switch and note that red indicator comes on.

2.

Select a positive or negative (+ or -) window with the WINDOW +/- INT switch.

3. Select a reverse window by setting the WIN-

DOW N/R INT switch to R.

4. Adjust the WINDOW TOP/BOTTOM/LEFT/

RIGHT controls so that window will fill the entire background area.

5. Adjust BG FIELD RGB COLOR controls and LEVEL control to obtain desired hue and density of the background color.

A second function of the BG field controls is to avoid seeing the background scene through an object in the foreground which is essentially the same color as the backing. Thus, on a closeup of a subject with extremely blue eyes, the eyes may become transparent and the background scene will show through the eyes. In this case, a window is set around the eyes (but not extending beyond the head), and a background field of any color is placed in the window. Then the subject will have normally opaque blue eyes (or eyes of any other color selected for the background field).

4-13

d

0 eeai GR

Figure 4-l 1. Window Control Group

4-48. WINDOW.

(See figure 4-l 1.)

The use of the window controls permits the camera f i e l d t o o v e r s h o o t t h e b a c k i n g . T h e w i n d o w m a y be internally or externally generated and may have hard or soft edges. in fact, both an internally and a n e x t e r n a l l y g e n e r a t e d w i n d o w m a y b e u s e d s i m u l t a n e o u s l y o n d i f f e r e n t p a r t s o f t h e p i c t u r e field.

The window controls normally power-up in the off mode. Successively pressing the N/R INT switch g i v e s f i r s t a n o r m a l w i n d o w (N i n d i c a t o r o n ) , a r e v e r s e w i n d o w (R i n d i c a t o r o n ) , o r n o w i n d o w

(both indicators off). The same sequence applies to

EXT N/R.

4-49. +/-

INT.

This control permits the internally generated window to be a frame surrounding the subject (t), or an area which may be placed anyw h e r e w i t h i n t h e f i e l d (-1 t o r e m o v e a n i s o l a t e d foreground object.

4-50. N/R

INT.

When the normal-reverse switch is i n t h e n o r m a l (I\]) p o s i t i o n , t h e b a c k g r o u n d i s turned on and the foreground is turned off within t h e i n t e r n a l l y g e n e r a t e d w i n d o w a r e a . I n t h e r e verse (RI position, the background scene is turned off in the window area and the background field is turned on in this area (if selected by the BG field controls, par. 4-47).

4-51. TOP/BOTTOM/LEFT/RIGHT.

The top/bott o m / l e f t / r i g h t c o n t r o l s a r e u s e d t o p o s i t i o n e a c h edge of the internally generated window as desired.

At power up, the windows come up as hard-edged windows. If it is desired to have a soft edge on any s i d e o f t h e w i n d o w , t u r n t h e c o r r e s p o n d i n g t o p / bottom/left/right control to its full clockwise position. The window will then switch to a soft edge on the side selected and the control can be reset as desired. (Changing back to a hard edge is done in the same way.)

4 - 5 2 . N / R

EXT.

W h e n a n e x t e r n a l w i n d o w f r o m the switcher is connected to the rear panel connector marked INPUTS EXT WINDOW, this control can be used in the same manner as the N/R

INT c o n t r o l t o p r o d u c e a n o r m a l (N) o r r e v e r s e

( R) w i n d o w .

4-53. HOLD BLU/GRN.

T h e h o l d b l u e / g r e e n s w i t c h i s u s e d i n c o n j u n c t i o n w i t h a n i n t e r n a l l y or externally generated reverse window. When activated, it holds the original blue (or green) color of a blue object within the window area which would have otherwise become transparent. This control prevents the background from printing through the window area even though an object close to the backing color is included in the subject.

414

Figure 4-12. Component Out Control Group

4-54. COMPONENT OUT.

(See figure 4-l 2.1

On the rear panel of the unit, output connectors are provided. One set of output connectors (Y RGB) is always available to the encoder.

Another set of three outputs is available for use with a component recorder. The component output format may be Y lQ(YUV) or Y/R-Y/B-Yas selected by the COMPONENT OUT SELECT switch.

Recording the output of the Ultimatte-5 in component form makes it possible to reprocess the recorded signal, adding another level of foreground to it.

4-15

Figure 4-13. Black/White Logic Control Group

4-55. B/W l..OGIC. (See figure 4-13.)

In addition to the use of blue and green backing, black and white may also be used as a backing color. Black and white are used primarily for animation production in conjunction with black-onwhite drawings.

4-56. B/W. The black/white switch is a threeposition, alternate-action device. When it is off, the system is working blue (or green) logic. In the black (B) position, the foreground subject becomes linearly transparent as it approaches black. In the white (W) position, the foreground subject becomes linearly transparent as it approaches white.

4-57. MASTER DENSITY. The master density control sets a threshold at which objects begin to become transparent. This applies to black objects on a black backing or white objects on a white backing.

4-58. R/G/B DENSITY. The R/G/B density controls permit a threshold adjustment to be set for each color independently, without affecting the subject color or brightness. It causes the selected shades of red (R), green (G), and blue (B) to become transparent at a desired brightness level.

4-16

F i g u r e 4-14. G l o w / T i t l e C o n t r o l G r o u p

4-59. GLOW/TITLE.

(See figure 4-14.)

The glow/title controls permit adding titles from a c h a r a c t e r g e n e r a t o r o r a h a l o - l i k e g l o w w h i l e a composite is being made. This avoids an additional generation of processing to add these effects. Titles will be discussed first.

T o a d d t i t l e s t o t h e c o m p o s i t e , t h e o u t p u t o f a character generator is connected to the rear panel

GLOW input.

4-60.

RGB.

The red (R), green (G), and blue (B) controls permit the titles (or glow) to be colored as desired.

4-61. MASTER LEVEL.

The master level control sets the level of brightness of the title (or glow).

4-62. DENSITY.

T h e d e n s i t y c o n t r o l p e r m i t s a d j u s t m e n t o f t h e o p a c i t y o r t r a n s p a r e n c y o f t h e title (or glow).

4-63. FRONT/REAR.

The front/rear control places the titles in front of (FRONT) or behind (REAR) the foreground subject. Manipulation of this control during cornpositing will cause the titles to walk through the subject.

4-64.

GLOW.

Glow is produced by looping through a small black and white monitor and camera. Both a negative and a positive matte signal are provided a t t h e r e a r p a n e l O U T P U T S c o n n e c t o r s . T h e selected output drives a monitor which is photographed by an auxiliary black and white camera.

This camera is somewhat out of focus and the camera output is fed back into the rear panel GLOW

INPUTS connector.

Operation of the glow/title controls when compositing glow is much as described above for compositi n g t i t l e s . T h e f r o n t / r e a r c o n t r o l c a u s e s g l o w t o emanate only from the edges of the subject in the

R E A R p o s i t i o n o r t o e n v e l o p t h e s u b j e c t i n t h e

F R O N T p o s i t i o n .

4-17

F i g u r e 4-15. Matte-In Control Group

4-65. MATTE-IN.

(See figure 4-15.)

T h e m a t t e - i n c o n t r o l s , i n c o n j u n c t i o n w i t h t h e r e a r p a n e l M A T T E I N P U T S c o n n e c t o r s , p e r m i t p r o d u c t i o n o f m u l t i p l e - l a y e r m a t t e s . T h i s f e a t u r e permits the introduction of a recorded matte signal f o r p o s t p r o d u c t i o n c o m p o s i t e s o r f o r r e v e r s e d order of crossing. (A second subject may be made to pass behind, in front of, or circle a previously matted subject whose matte signal was recorded.)

The use of recorded inputs requires that the foreground NTSC output be recorded on one tape mac h i n e a n d t h e M A T T E s i g n a l o n a n o t h e r . T h e s e t w o r e c o r d i n g s m u s t b e t i m e c o d e d a n d t h e n played back simultaneously together with a background scene to create a composite.

The matte or key signal is a linear signal which represents the original backing in terms of its luminence and visibility. It is a white signal in which the subject (or any solid object) looks like a silh o u e t t e ( b l a c k ) , s h a d o w s l o o k g r e y , t r a n s p a r e n t objects look grey, and the fully turned-on backing area looks white. This signal is used to turn on the background scene. Although it looks like a monochrome signal, it has sync and burst on it, which makes it easy to record.

4-66. INVERT.

T h e i n v e r t c o n t r o l i s u s e d t o c r e a t e r e v e r s e d o r d e r s o f c r o s s i n g f o r t w o f o r e ground subjects.

4-67. PED.

T h e p e d e s t a l c o n t r o l i s a d j u s t e d t o eliminate print-through caused by the pedestal on a tape machine output.

4-68. LEVEL.

The level control adjusts the overall level of the matte or key signal applied to the

Ultimatte-5.

4-18

Figure 4- 16. Program/Memory Control

G r o u p

4-69. PROGRAM/MEMORY.

(See figure 4-16.)

T h e U l t i m a t t e - 5 e m p l o y s a 3 2 K r a n d o m a c c e s s m e m o r y t o s t o r e c o n t r o l s e t t i n g s f o r u p t o e i g h t p r o g r a m s o u r c e s ( c a m e r a s , o t h e r U l t i m a t t e s , o r tape machines). Four files are available for each program source so that time-consuming setup conditions may be recreated by setting two or three switches.

4-70. ULTIMATTE SELECT.

A r e m o t e c o n t r o l u n i t m a y c o n t r o l u p t o f o u r U l t i m a t t e - 5 maim frames, When the unit is powered up, Ultimatte-1 is selected and the remote will be effecting control settings in the unit connected to the REMOTE 1 connector on the rear panel.

To deselect unit 1, press ULTIMATTE SELECT 1 switch. The indicator on switch 1 will go out and no further control operation on the remote panel will affect that unit. However, the previously selected remote control settings will be retained in the memory of the main unit.

4-71. TALLY.

The tally indicator shows, by means of a seven-segment display, a number from 1 to 8 corresponding to the program source selected by the switcher. The tally indicator is operated from inputs the switcher applies to the TALLY connector on the rear panel of the remote. If the remote unit is not connected to any main unit (all ULTI-

MATTE SELECT switches off), the tally will indi-

4-72. FILE.

T h e f i l e l/2/3/4 s w i t c h e s c o n t r o l access to the four memorv files that are available f o r e a c h p r o g r a m s o u r c e . A t p o w e r o n , f i l e 1 i s a c t i v a t e d a n d s e t t i n g a n y c o n t r o l o n t h e r e m o t e panel sets the control position on the Ultimatte-5 unit to which it is connected, and also sets the cont r o l p o s i t i o n i n t o m e m o r y f i l e 1 . S u b s e q u e n t l y , s e l e c t i n g f i l e s 2 , 3 , a n d 4 p e r m i t s s t o r i n g i n t o memory up to four sets of control settings for each p r o g r a m s o u r c e . T h e s e p r e s e t c o n t r o l f i l e s m a y then be recalled as desired when producing a new composite image. The files follow the tally and for each tally selected will return to the last file used for setting up that input.

4-73. MEMORY SET/HOLD.

At power up, the memory switch is in the SET position. This means that all front panel controls are live and access the memory. In the HOLD position, the unit operates from the memory file selected.

4-19

In HOLD, the physical positions of the front-panel c o n t r o l s w i l l n o t c o r r e s p o n d w i t h t h e i r p o s i t i o n s s t o r e d i n m e m o r y . H o w e v e r , t o m a k e a c o n t r o l a c t i v e d u r i n g H O L D , r o t a t e i t a t a s p e e d g r e a t e r than 15 degrees per second and then make the adjustment desired. The new control position will be stored into memory for that file.

To return the MEMORY switch to SET, press it in a n d h o l d f o r t w o s e c o n d s , o b s e r v i n g t h a t t h e

H O L D i n d i c a t o r g o e s o u t a n d t h e S E T i n d i c a t o r comes on.

There are two different SET modes. One does not affect biases, the other does. At power up, the SET indicator blinks on and off at a l-Hz rate, indicating that all lighting and camera changes and all control settings will produce a corresponding change in b i a s v o l t a g e s . A f t e r r e t u r n i n g f r o m t h e H O L D m o d e , a d j u s t m e n t o f a w i n d o w c o n t r o l , f o r i n stance, will not affect bias and the SET indicator will stay on steadily to so indicate. However, adj u s t m e n t o f o t h e r c o n t r o l s w i l l a f f e c t b i a s ( s e e table 4-2) and the SET indicator will again blink.

The safest method of shooting a new composite is to do so in the HOLD mode. This will ensure that all preset control settings will be preserved.

4-74. CONTROLS THAT ACTIVATE BIAS.

When the Ultimatte-5 is in the memory mode, any one of the controls listed in table 4-2 will activate bias.

Table 4-2. Controls That Activate Bias in Memory Mode

MATTE DENSITY

MATTE DENSITY BAL.

BACKING PURITY

BLACK GLOSS

SHADOW

GATE 1

G A T E 2

G A T E 3

WHITE BAL.

FG BLK. R

F G B L K . G

F G B L K . B

R VEIL

G VEIL

B VEIL

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