The Broadcast Store - The World's Largest New and Used Full Service Pro Video Dealer.Sign In. New customer? Sign Up
Home | About Us | Contact Us| Recent Searches| New Product Catalog
0

Chroma Keyer & Video Compositing Systems

Ultimatte 11DLX

ULTIMATTE / 11DLX
BCS Price:Click Here to Contact Us
Item #:MO814419
Condition:Reference Item
Print This ModelEmail This Model
Model Description:
HD & SD multi-definition blue green screen compositing device. Available in Standard or Deluxe versi

Available Items

Chroma Keyer & Video Compositing Systems
ULTIMATTE / 11DLX

NEWUltimatte 11DLX

SKU# EQ510257N

HD & SD multi-definition blue green screen compositing device. Available in Standard or Deluxe versi

Price:Click Here to Contact Us

Request Info

Chroma Keyer & Video Compositing Systems
ULTIMATTE / 11DLX

NEWUltimatte 11DLX

SKU# EQ514009N

HD & SD multi-definition blue green screen compositing device. Available in Standard or Deluxe versi Deluxe version

Price:Click Here to Contact Us

Request Info

Chroma Keyer & Video Compositing Systems
ULTIMATTE / 11DLX

NEWUltimatte 11DLX

SKU# EQ514010N

HD & SD multi-definition blue green screen compositing device. Available in Standard or Deluxe versi Standard version

Price:Click Here to Contact Us

Request Info

Chroma Keyer & Video Compositing Systems
ULTIMATTE / 11DLX

USEDUltimatte 11DLX

SKU# EQ518925U

HD & SD multi-definition blue green screen compositing device. Available in Standard or Deluxe versi

Price:Click Here to Contact Us

Request Info

Model Details

The Ultimatte 11 HD/SD is the next generation, multi-definition, blue/green screen, compositing device. If your studio is set up for HD or SD, or you are planning to change from SD to HD, the Ultimatte 11 HD/SD is the perfect real-time compositing device at the right price.


The Ultimatte 11 HD/SD has been designed to address the needs of virtual studios. With enhanced Matte controls, streamlined Ambiance controls, in addition to complete FG and BG RGB color controls, the Ultimatte 11 HD/SD “places” the FG subject in the new environment in a very natural and realistic way.



Features:

Multi-Definition

The Ultimatte 11 operates with SD and HD 4:2:2 formats. The unit is automatically configured to the format of the signal connected to Input 1. (You cannot, however, mix HD and SD signals.)


Enhanced Matte Controls

The Ultimatte 11 incorporates modified matte algorithms to extend the ability of accurately separating the FG subject from the backing.


Matte Correction and Sizing

In addition to standard Matte Sizing, the Ultimatte 11 incorporates Matte Correction, which analyzes all matte transitions, and applies the appropriate amount of correction to the transitions which need modification.


Ambiance

With Indirect and Direct lighting features, the Ambiance controls in the Ultimatte 11 allow the “lighting” and the colors of the new background to have a subtle or a strong impact on the brightness and colors of the FG subject. Ambiance allows the FG subject to be more naturally and realistically placed in its new environment.


Four-Input Router

The Ultimatte 11 has four inputs with active loop outputs. The user can assign which of these inputs to be the Foreground, the Background or the external Matte.


Dual External Mattes

The Ultimatte 11 allows the user to input two external Mattes (4:0:0) simultaneously, and assign how each of these mattes will be used. One external Matte could be used as a garbage matte (force BG), while the second external Matte could be used as a holdout matte (force FG). Alternately, both external Mattes can be multiplexed into one signal (4:4), thus utilizing the full bandwidth of the SDI signal.


Monitor Output

In addition to the two FG+BG outputs and the Matte output, the Ultimatte 11 has a Monitor output. This output allows the user to view different stages of the compositing process [FG+BG, FG, BG, Combined Matte, Internal Matte, PRFG (processed FG)] without changing the viewed images on the FG+BG and the Matte outputs. The Monitor output can also be used as a “talent monitor” output, where the viewed image can be mirrored (horizontally) to allow the talent to interact with the new background in a more “natural” way.


Additional Specifications

All internal processing: 4:4:4:4

(Setup) Files: 90 files

(User) Preferences: 20 files

Custom Menus: 4 menus per Preference file

Quick Save / Recall Files: 5 files

For more info and complete specifications, download the brochure



Additional Detailed Information:

Ultimatte-11 Deluxe Features:

There are three features that differentiate the new Ultimatte-11 Deluxe from the standard Ultimatte-11.

These features are:

1- Dual Link 4:4:4:4 GBRA input and/or output (FG In, BG In and FG+BG Out) for best quality

compositing

2- Bandwidth limitation artifacts correction for 4:2:2 (Y.Cb,Cr) signals

3- Noise reduction for the Blue and/or Red channels of images

Dual Link 4:4:4:4 Input / Output:

Almost all professional cameras internally generate images in full bandwidth (4:4:4) RGB color space. In

a similar manner, video monitors display images in RGB color space. The 4:2:2 Y, Cb, Cr format was

developed and adopted mainly because of its reduced bandwidth requirements and simplicity of

connectivity. Unfortunately, this reduced bandwidth (and dynamic range) caused some compromises in

Blue or Green image compositing (see 4:2:2 Correction for details). For best compositing results, there is

no alternative to full bandwidth and dynamic range RGB image.

The 4:4:4:4 GBRA Input option bypasses several pre-processing stages and delivers the unaltered image

to the main processing stages. The full bandwidth processing can apply equally to the FG and the BG

channels. To maintain the optimum results, the output can be set to 4:4:4:4 GBRA mode. To maintain

maximum flexibility, it is possible to individually select the FG Input, the BG Input or the FG+BG Output to

be 4:4:4:4 or 4:2:2. Depending on the configuration, the Alpha (Matte or Key) Input could be delivered as

part of the Dual Link signal, or could be a separate input. Similarly, the Alpha out could be part of the Dual

Link signal, or as a separate output.

4:2:2 Correction:

In a Y,Cb,Cr (4:2:2) video image, objects with high contrast and sharp transitions exhibit a “ringing”

artifact, even with the camera’s detail (contour) generating function turned off. This is due to the reduced

bandwidth of the Cb and Cr channels. While this phenomenon may not be objectionable in general, it can

cause unwanted artifacts in Blue/Green screen compositing. For example, a dark colored FG object with

sharp transitions shot against a bright green screen will show an overshoot and an undershoot (ringing) at

the transitions. These ringing artifacts are black and white (gray levels) in nature, and will be treated as

FG objects when processed through an Ultimatte, similar to gray strands of hair. When the green screen

color is removed and is replaced by a dark BG scene, the dark FG object will show bright gray lines at the

transitions. Attempting to solve this problem by using Matte sizing and Clean Up functions in the Ultimatte

will result in the loss of fine FG objects, like hair, and other semitransparent objects in the final composite

image.

The 4:2:2 Correction feature will eliminate or reduce the ringing artifacts in the transition region of FG

objects to the backing (the screen), while maintaining the original image within the opaque FG object. No

FG object detail is lost in this process. Only the ringing element is removed from the transition regions

while maintaining every strand of hair or semitransparent object.

Noise Reduction:

Imagers (CCD or CMOS) are inherently noisy and don’t exhibit uniform sensitivity to all wavelengths of

the visible spectrum. This results in higher noise levels in the Red and the Blue channels of an RGB

image, compared to the Green channel. In Blue or Green screen image compositing, all three channels of

the FG contribute equally to the processing of the original image. Therefore, the most noisy channel (B)

will have an impact on the least noisy channel (G).

The Noise Reduction feature can significantly reduce the noise levels in the FG Red and Blue cannels,

with no visible reduction in the fine detail information of the image (all controls at default settings). The

Green channel will retain its inherent noise level (e.g.: based on camera gain settings), as no noise

reduction is applied to this channel. The Noise Reduction feature is applicable in 4:2:2 mode of operation

only.



Additional Information

U11 Brochure 0808 V21.pdf
UM11ManSR2.pdf

Get Adobe PDF Reader

  Click for the BBB Business Review of this Computer Software Publishers & Developers in Chatsworth CA

Sign In

Email:
Password:
Forgot your Password?