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Chroma Keyer & Video Compositing Systems

Ultimatte 9

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Item #:MO786893
Condition:Reference Item
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Model Description:
has been specifically designed for the special purpose of virtual studio applications

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Chroma Keyer & Video Compositing Systems

USEDUltimatte 9

SKU# EQ510980U

has been specifically designed for the special purpose of virtual studio applications

Price:Click Here to Contact Us

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Model Details

Ultimatte 9 is the third generation of Ultimatte’s all-digital compositing devices and represents the culmination of over 20 years of experience in the field. It features the Emmy and Oscar winning technology that has gained Ultimatte Corp. the reputation for the best blue- and green-screen compositing in the world. A fully linear matting system, it produces totally realistic composites even when the foreground contains smoke, shadows, soft edges, and other transparent and translucent characteristics.

The Ultimatte 9 has been specifically designed for the special purpose of virtual studio applications - the most dynamic (and most challenging) technology luring the broadcast production community today. The Ultimatte 9 offers a feature set that produces a polished virtual production where visual improvements can be seen on the screen while bottom line production costs are reduced.


 • Conforms to CCIR 601 and RP 175 Standards
• 10-bit or 8-bit Serial Inputs and Outputs
• Internal Foreground and Matte Processing: 4:4:4:4
• 525/625 auto-selectable

Additional Detailed Information:
 A dynamic set, whether real or virtual, is one where a creative lighting director adds drama and depth to the set by using a host of tools like a computerized lighting grid to turn lights on and off, to fade lights in and out, to add colored lights, and to add spot lights on key elements and talent. If you’re using a virtual set, you cannot use these real tools because you’d be altering the colors of the blue walls and floors, violating one of the cardinal rules of bluescreening. How does one simulate a real set’s lighting attributes? A good lighting director is still needed to add dramatic lighting changes to the background scene. Then, let the Ultimatte-9 do its magic. The Ultimatte-9 will automatically alter the foreground’s levels and colors to match those in the background based on where the talent is in the set. There are no changing lights on the blue set, yet, the final picture appears as if real lights are changing. The Ultimatte-9 is automatically adjusting the appropriate controls, without the operator turning any knobs or manually making the adjustments.
 Ultimatte 9 includes automatic background defocusing that requires no software
programming or physical hookup to the camera or computer. There is no need to assign
the computer’s valuable computational power, which is needed for rendering texture and
detail, to defocus the background for realistic close-ups. Ultimatte 9 overcomes the
logistics problems of when to defocus, where to defocus and how much to defocus, to
provide a totally appropriate and realistic depth of field effect.
Additionally, there are times when specific elements of the background should not be
defocused. Using the Defocus Key input, an externally generated alpha channel will
indicate to the Ultimatte-9 not to defocus on a particular object.
 A truly realistic composite requires the foreground to match the color influence of the
background set and lighting colors. Not only are programmable controls for RGB black,
RGB gamma, RGB level and RGB saturation of both foreground and background provided,
but also the Ambience logic has been added to analyze the background and adjust,
automatically and in real time, additional foreground color parameters. When the Ambience
feature is enabled and dramatic lighting or set changes occur on air, the foreground will
automatically adjust and perfectly track these background color changes.
 Detail generators in the cameras, chromatic lens aberration, compression, excessive screen
spill, over lighting, and an assortment of other esoteric phenomena can create distracting
edge effects in final composites. Ultimatte 9 provides two distinct tools sets to eliminate
these edge effects. AdvantEdge produces a flawless edge without the detail loss associated
with typical choking and softening techniques. Additionally, sub-pixel matte sizing and
positioning controls can be used alone or in conjunction with AdvantEdge for further matte
edge refinement.
 Evenly lit cycloramas are difficult to achieve and many times portions of the backing,
typically near the top of the back wall, are over-exposed, creating problems with the
matte. New to Ultimatte 9 is an over-exposure control that corrects the problem with no
loss in the final composite.
 The Ultimatte Smart Remote allows for greater access to controls with reduced menu
layers. Users can now create their own menus to solve special production problems or
to satisfy personal preferences. You can also control up to four Ultimatte 9 units with
one remote while displaying "on air" tally lights. The high-contrast display and inputs for an optional keyboard and mouse interface provide the optimum in user convenience.
 You can configure the 8-input router so that any of the inputs can used for the
Foreground, the Background or a Matte signal, providing much more versatility than
a fixed input configuration.

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