Blackmagicdesign Ultimatte 12 Bedienungsanleitung

Ultimatte 12

September 2022

Operations Manual

Welcome

Thank you for purchasing Blackmagic Ultimatte.

Ultimatte has been the premiere keyer used in the film and television industries for

decades and no other keyer comes close to the performance that Ultimatte can achieve.

It’s powerful enough to handle fine detail on key edges as well as retaining stronger colors,

even when those foreground colors are close to the key color. Even uneven green and

blue screen backdrops can be handled.

However, what makes Ultimatte so powerful is its ability to map shadows onto the new

background layer combined with its color spill management that lets you create extremely

realistic environments. In many ways, Ultimatte is much more than a keyer as it’s really a

real time advanced compositor for creating photorealistic virtual environments. Ultimatte

lets you move your talent to any location at the click of a button and the results look real.

This instruction manual contains all the information you need to get started with Ultimatte

as well as detailed instructions on how to operate Ultimatte using Blackmagic Ultimatte

Software Control from your computer or Smart Remote 4.

Also, please check the support page on our website at www.blackmagicdesign.com for

the latest version of this manual and for updates to your Blackmagic Ultimatte’s software.

Keeping your software up to date will ensure you get all the latest features! We are

continually working on new features and improvements, so we would love to hear from you!

Grant Petty

CEO Blackmagic Design

English

Contents

Introducing Ultimatte 5

What is a Matte? 5

Types of Mattes 6

Getting Started 9

Plugging in Power 9

Setting the Language 9

Connecting your Camera Foreground 10

Connecting to a Switcher 11

Monitoring 11

Setting the Auto Composite 11

Monitor Cascade 12

Connectors 13

Supported Video Formats 15

Using the Front Control Panel 16

LCD Display 16

Quick Preset Buttons 17

Menu 17

Lock 17

LCD Menu Settings 17

Setup Settings 18

Network Settings 19

Matte Status 20

Input Status 21

Reset 21

Controlling Ultimatte 22

Ultimatte Software Control 22

Installing Ultimatte Software 22

Connecting your Computer 23

Assigning a Unit Number 24

Selecting the Ultimatte Main Unit 26

Ultimatte Software Control Layout 27

Main Menu Buttons 27

Information, File Control and Auto Key 27

Groups 28

Functions 28

Status Bar 28

Monitor Out 29

Setting Controls 29

Using the Media Pool 30

Supported File Formats for Stills 31

Stills Background and Layer Options 31

Ultimatte Compositing Workflow 32

Quick Guide to Building a Composite 33

Setting the Foreground Backing Color 33

Setting Screen Correction 34

Setting the Matte Density 35

Perfecting your Composite 35

Advanced Ultimatte Controls 37

Adjusting Matte Controls 37

Adjusting Foreground Flare Controls 42

Adjusting Foreground Ambiance Controls 44

Adjusting Brightness, Color,

Contrast and Saturation 45

Additional Background Settings 47

Additional Layer Settings 47

Matte Input Settings 49

Settings 52

System 52

Media 52

Inputs 52

Outputs 53

Monitor Cascade 55

On Air Settings 55

GPI and Tally Settings 56

Monitor Out Settings 58

Presets 60

Saving and Managing Presets 60

Assigning presets 61

Importing and Exporting Presets 62

Archives 63

Ultimatte 12

4Ultimatte 12

Creating an Archive 63

Restoring an Archive 64

Customizing the Menus 65

Camera Control via Ultimatte 12 HD Mini 66

Connecting to a Network 68

Setting the IP Address 68

Setting the IP Address for your

Smart Remote 4 69

Assigning Unit Numbers 69

Blackmagic Ultimatte Setup 71

Updating the Internal Software 72

Using Smart Remote 4 73

Connecting Power 73

Connecting to Ultimatte 73

Turning on Smart Remote 4 74

Updating your Smart Remote 4 74

Uninstalling Software 74

Installing Ultimatte Smart Remote Setup 77

Connecting a USB Keyboard and Mouse 78

Rack Installation 79

Installing Front Rack Ears 80

Installing Rear Rack Ears 80

Installing Chassis Bumpers 80

Rack Mounting 81

Developer Information 83

Controlling Ultimatte using Telnet 83

Blackmagic Ultimatte 12 Ethernet Protocol 84

Help 100

Regulatory Notices and

SafetyInformation 101

Warranty 102

Introducing Ultimatte

Ultimatte is a family of advanced professional real time compositors forHD, Ultra HD and 8K

liveproduction. All Ultimatte models share the same powerful keyer functions and can be

controlled from your computer using the Ultimatte Software Control application, or by using

aSmart Remote 4 hardware control panel.

This instruction manual will show you the different types of mattes used when building your

composite, including what they are and how they work, plus provides all the information you

need to get started with your Ultimatte and master all the controls and features!

Ultimatte 12 HD Mini Ultimatte 12 HD

Ultimatte 12 4K

Ultimatte 12 8K

What is a Matte?

Before we get started using Ultimatte, it’s a good idea to look at the types of mattes you can

use and how they are arranged in your composite. A basic knowledge of matte types will let

you jump right in and start refining your composite.

When a section of an image is intended to be composited over another image, it requires

an accompanying matte, either generated internally by Ultimatte, or supplied via an external

source. A matte is also known as an ‘alpha’, or ‘key’, and is displayed as a grayscale image.

The matte determines what will be visible in the accompanying source image that is being

composited. The source image to be composited is called the ‘fill’.

Black regions in the matte will allow those regions in the corresponding ‘fill’ image to be visible

in the composited output, and any areas that are white will be cut out, or removed, showing the

image behind it. Variations of gray means those areas of the corresponding fill image will be

partially transparent.

5What is a Matte?

An example of a final output comprised of background, foreground and layers composited together

Types of Mattes

Different matte types are used for specific purposes to separate areas of the corresponding

image into foreground and background elements, or to include or exclude sections of the matte

you want to keep or discard.

Below is a description of the types of mattes used.

Background Matte

The background matte lets you extract a section from the background and place it over

theforeground.

For example, you may have a virtual set as your background image that has a partition on one

side. Using a background matte that precisely matches the partition in your virtual set, you can

extract the partition from the background and the talent can walk behind it. This is an excellent

way to create a foreground element using the background image and keeps the layer input free

for additional foreground items. It’s important to note that elements to be extracted from the

background must be completely opaque.

6What is a Matte?

Matte

This is the primary matte you will be working within your composite. This matte is derived using

the source connected to the foreground input. Typically a presenter in front of a green screen.

The matte is generated internally by analyzing the backing color in the source video and will

determine what is visible in the foreground image.

TIP Objects that obscure the backing color, either partly or completely, will be visible in

the composited image. In the matte, fully opaque black means the corresponding areas

in the fill image will be completely visible. Shades of gray means partially transparent.

Garbage Matte

A garbage matte excludes areas of a source you don’t want to include in your composite.

For example, there may be lights and gripping equipment visible around the edges of your

foreground image. If you want to mask out these unwanted areas, a garbage matte lets you

do that. Garbage mattes can be generated externally so they precisely match shapes in your

source video, and connected to the garbage matte input.

7What is a Matte?

TIP You can create an internal mask using the ‘window’ controls on your Ultimatte.

This can be a great tool for creating a rough, fast garbage matte. For more information

on how to set up window masks, refer to the ‘matte input/window’ section.

Holdout Matte

This matte is similar to a garbage matte, however, it lets you mask out areas from within the

visible foreground so they are ignored by the matte.

For example, imagine a portion of a virtual set needs to appear green in the foreground.

This will present a challenge because anything green will key out and reveal the background

underneath. A holdout matte can be created to exclude that particular area within the set, which

will prevent it from being keyed.

Layer Matte

The layer matte lets you add more foreground elements to the scene. For example, if you want

to add graphics over the top of the composite.

The layer matte can include transparency elements and you can swap the layer positioning

in the final composite. For example, you may want to change the layer order during your

production so the layer input appears in front of, then behind, the talent. You can even set

atransition rate so the order change is a smooth mix transition.

For more information, refer to the ‘Matte input settings/setting the layer order’ section.

8What is a Matte?

Getting Started

Getting started with your Ultimatte is as simple as plugging in power, plugging in your

camera foreground, connecting your background source and then plugging the automatically

generated composite into a switcher. This getting started section will show you the basics of

setting up a fast auto composite for your live production. The model used in this section is an

Ultimatte 12 HD Mini which has HDMI connectors, but all SDI Ultimatte models share similar

features and the setup is exactly the same for their SDI connectors.

Plugging in Power

To power your Ultimatte, plug a standard IEC cable into your Ultimatte’s power input on the

rear panel.

BACKGROUND CAMERA FG

PGM OUT PGM OUT MON OUT

RETURN MON IN

ETHERNET

Setting the Language

Once powered, the LCD display will prompt you to select your language. Using the settings dial,

scroll to the language you wish to use and press the flashing ‘set’ button to confirm your selection.

3LOCK

SET

1 Use the settings dial to select your language

3LOCK

SET

2 Press the ‘set’ button to confirm your setting

9Getting Started

Connecting your Camera Foreground

With power connected, you can now plug your camera into the camera foreground input.

BACKGROUND CAMERA FG

PGM OUT PGM OUT MON OUT

RETURN MON IN

ETHERNET

Connecting the Background

Now plug your background source into the ‘background’ input. Forexample, this could be

a video feed from a gaming console, oravirtual set from a HyperDeck video feed, or even

a still graphic you can load into the media pool using Ultimatte Software Control. For more

information, refer to the ‘using the media pool’ section.

BACKGROUND CAMERA FG

PGM OUT PGM OUT MON OUT

RETURN MON IN

ETHERNET

Generating an Auto Composite

As you plug in your sources, Ultimatte will automatically build your composite and you can

see it happening on the front panel’s LCD. Once all sources are connected, the automatically

generated composite is ready for output.

1MENU

2SET

3LOCK

NOTE The foreground input will determine the video format for all inputs. For example,

if you have 1080 HD connected to the foreground input, make sure all the other

sources are set to 1080 HD.

10Getting Started

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