Ultimatte joins Blackmagic Design stable

Ultimatte joins Blackmagic Design stable

Blackmagic Design’s biggest news at IBC wasn’t a product – it was the reveal that they had acquired respected chromakey solution Ultimatte.

Blackmagic have a reputation for acquiring niche companies and using their existing products as a jumping off point to create innovative, low cost technology (see: DaVinci Resolve, Teranex, Cintel), and we’re excited to see how they develop the already impressive Ultimatte lineup.

ultimatte_12_blog

“I went to the Ultimatte stand after the announcement – very impressive stuff,” our Product Manager Meg said after IBC. “The Ultimatte 12 is available in HD and 4K, and one thing I really liked about the virtual sets was the fact that they are dynamic – you can have a moving image set up in the windows of the virtual set. On the stand they used some footage of the outside of the RAI centre that they had shot with a GoPro, and having it in the windows made the virtual set look a lot more active. And that the lighting settings include the shadows from the green screen really adds realism to the virtual set.”

Also impressed are the film and television academies, who’ve gifted Ultimatte with an Oscar and an Emmy. Blackmagic CEO Grant Petty, summed the firm up with: “For the past 40 years, Ultimatte has been the industry standard hardware and software used to key these people in front of weather maps, stock charts, and other info graphics. In fact, many broadcasters use Ultimatte to place entire news teams, weather reporters, talk show hosts, sports commentators and more into completely virtual sets.

“Ultimatte uses advanced 4:4:4:4 image processing and provides enhanced matte controls that lets customers accurately separate the subject from the background. Customers also get matte correction features, indirect and direct lighting features, spill suppression tools, edge artifact controls and more, all in realtime.”

We’re excited to see how this partnership plays out and, while we’ve not heard any official release announcements, we’re crossing our fingers and hoping that they’ll at least have a prototype by next year’s NAB.

For more on the latest IBC releases, take a look at our roundup post, give us a call on 03332 409 306, email broadcast@Jigsaw24.com or pop your details in the form below. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

Get 0% finance on a NewTek TriCaster 460

Get 0% finance on a NewTek TriCaster 460

It’s the time of year when vendors and distributors, having made it through Black Friday intact, are overcome with the kind of relief and seasonal fellow-feeling that leads to limited time Christmas offers. Case in point: Digibox’s 0% finance offer on NewTek’s TriCaster 460.

Until December 30th, you can buy a TriCaster 460 from any NewTek Elite Partner (hi, that’s us) and get 0% finance on your purchase – as long as it’s a 460, and you’re not buying the specially-priced ‘education’ models – these are discounted enough already, apparently.

If you’re not sure whether TriCaster 460 is the right model for you, you can download a helpful guide from NewTek here, although with support for HD, SD, SDI, analogue inputs and pan-tilt-zoom cameras, it’s hard to think of a scenario where it’d struggle. You also get 16 switcher channels, support for four cameras, six external and five internal video switcher sources and a hard drive with the capacity to record up to 70 hours of footage.

And you’ll get it all without having to pay interest, as long as you’re quick.

Buy now

 

Want to know more about the NewTek TriCaster? Get in touch with the team on 03332 409 306 or email tricaster@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Studio Lighting for Chromakey

Studio Lighting for Chromakey

When you’re shooting against a chromakey backdrop, good lighting can be the difference between being able to pull a really clean key from your final image and shooting something that’s mostly noise and falls apart as soon as you attempt to do anything to it in post (shooting in 4:2:2 will also help). Here are a few things you’re going to want to keep in mind…

1. Aim for soft, even, overhead lighting

To pull the cleanest possible key from anything shot against a chroma wall, you need your backdrop to be evenly lit, with no obvious of areas of highlight and shadow (any variation will translate to noise in your image, and make it far harder to get usable footage. The easiest way to do this is to light your chromakey backdrop from above, as this will reduce overlap, using a soft light like a KinoFlo or Ianiro 5502 (we actually put together an Ianiro kit specifically for chromakey lighting)

2. Position your subject carefully

You want to keep your subject about two metres away from your chromakey backdrop, because you don’t want their shadow to mess up your carefully balanced backdrop lighting. If you’re working on an infinity curve (a curved green, blue or white backdrop that has no corners and so can be used to give the impression that the space behind your subject goes on forever), you might want to hide their shadow there, too. Using something like a fresnal should help with this – just be careful not to give them bright and shiny legs, as that will look strange.

3. Remember the inverse-square law

There’s a scientific explanation of this that you’re welcome to go and Google, but it practical terms it means that the closer your subject is to your lighting, the brighter their face will be and the darker the backdrop will be, as you have to expose for the subject. The brighter and more headache-inducing your chromakey backdrop is, the easier you’ll find pulling your key, so try and light your subject from as far away as possible without splashing your subject lights over your green screen and creating hotspots.

4. Backlight your subject from above, key from 45 degrees above the eyes and fill from 20 degrees below the eyeline

Like your chromawall, you want to try and light your subject from above. As well as helping you get enough shadow to avoid their face looking completely flat (for classic portrait lighting you want one side of their face to be a stop darker than the other), this will also make it easier to avoid having your subject lighting affect your nice, even backdrop. You can now get flexible lamp arms that will allow you to position your light directly above someone (Dedo’s DSTFX stand is a safe bet), but a ¾ light will do if you don’t have the budget for extra kit. In chroma your back light serves two purposes: cutting down on green fringes (if you’re shooting with a less than ideal camera for chroma) and separating the subject from the background.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ our Facebook page.

Simple Chromakey Setups

Simple Chromakey Setups

Believable chromakey (or Chroma Key) is now not only reliable but, provided it’s used properly, is also pretty attainable in most situations. With this being the case, plenty of manufacturers have begun to produce chromakey kits, which is pushing the technology forward and the price down. So, with the reality that every studio is now able to have a decent and cheap chromakey set-up, the question is no longer “Can we afford a chroma key set-up?” but rather:

“How much should we pay for it and how should we use it properly?”

There are basically two types of chromakey set-ups available at the moment; traditional green screen and reflective. They both work on the same principle of creating super-imposed keys on just one colour channel, R, G, or B.  Green (sometimes blue) is normally chosen as it is a less common wardrobe choice and modern cameras are generally more sensitive to green, meaning a higher level of accuracy can be achieved. Green and blue are also considered the colours least like skin-tone.

The subject then stands in front of a matte background of the selected colour and the signal is altered to replace that colour with an alternative signal – a nice weather map for example!

The signal alteration can be done in post-production through software with various editing packages and plug-in software solutions, but for live productions the foreground and background video must be combined using a hardware keyer.

And there it is – it’s as simple as that! Well, sort of…

Back to the two main types of chromakey set-ups. In a traditional green screen set-up the subject is in front of a bright green background. Set up correctly, this can produce amazing results, provided there is good even lighting on the screen and at least 3 point lighting on the subject. As such it is well-suited to a permanent set-up in a spacious studio. Lastolite’s collapsible backgrounds are great for this. Vivid colours and a wide range of sizes are available, or you can simply paint the background with Chroma paint.

With a reflective chromakey setup, the subject stands in front of a background containing millions of glass micro-beads that reflect light put out from a ring of green (or blue) LEDs mounted around the camera lens. The previously grey screen then becomes green. To the eye, the screen doesn’t appear particularly green; the camera picks up the single frequency light emitted by the LEDs creating a pure green matte background. At close range this can give fantastic results. Predictably, with increased distance the light drop-off means the screen may start looking grey again but, in terms of budget solutions, this method really can’t be beaten.

Backgrounds come in all sizes and, perhaps more importantly, so do the rings – meaning that a ring can fit any lens you care to mount it on and if it doesn’t fit immediately then the supplied adapters will make sure it’s snug. One of the main advantages in this set up is that lighting is only required for the subject. As with a traditional green screen the subject will require the usual key, back and fill lighting, but unlike a traditional set-up the screen itself doesn’t require lighting at all.

With the option to switch between a blue and green light ring, you can easily change the colour used for your chromakey (just in case a guest arrives in the studio wearing a bright green jump suit…). All light rings come with a control box to adjust the level of light emitted, and all that remains is the “tuning” of the keyer into your setup.

For smaller cameras (72mm) the Datavideo CKL-200 kit is good value and produces great results for professional corporate videos or educational projects. It has the added benefit of changing between green and blue at the flick of a switch. However, the keyer only has composite in and out, so isn’t of the highest quality available.

For larger cameras and broadcast standard kit (still at an attainable price) the Reflecmedia kits are not to be sneezed at. With the option of collapsible backgrounds it makes putting up the kit a cinch and taking it down only slightly less so! The light rings come in small (72mm), medium (112mm) and large (147mm) and with the whole gamut of adapters for differing lenses.

The Ultimatte DV keyer supplied with these kits has not only composite in and out, but also DV in and out. Admittedly not at the same time, but with the onboard frame store, it’s possible to import the background required, store it, and then digitally output the keyed video unlocking a whole new level of quality for affordable and reliable chromakey.

With great solutions at low-end prices there’s now no reason to miss out on a chromakey set-up whatever situation you’re in, and for a simplicity on a budget the reflective set-ups are so user friendly it’s pretty hard to go wrong.

Want to know more? Call us on 03332 400 222, email broadcast@Jigsaw24.com or take a look at our full broadcast range.