Blackmagicdesign Ultimatte 12 Operation Manual
Operations Manual
Ultimatte 12
November 2017
English,
日本語, Français, Deutsch, Español,
中文, 한, Русский
and
Português.
Languages
To go directly to your preferred language, simply click on the hyperlinks listed in the
contents below.
English 3
日本語67
Français 132
Deutsch 197
Español 262
中文 327
한 392
Русский 457
Português 522
3
Welcome
Thank you for purchasing your Blackmagic Ultimatte 12.
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.
Ultimatte 12 is the latest model of Ultimatte and this new model includes entirely new algorithms and
color science, incredible edge handling, greater color separation, amazing color fidelity and better
spill suppression than previous models.
The new Ultimatte 12 is also Ultra HD as it includes advanced 12G-SDI design, however the 12G-SDI
connections also switch between all SD, HD and Ultra HD formats up to 2160p60. This means
Ultimatte 12 has the flexibility to work in HD today but then switch to Ultra HD whenever you need.
This instruction manual contains information you need to get started with Ultimatte 12 as well as
alsocontaining detailed instructions on how to operate Ultimatte 12 from the Smart Remote 4
control panel.
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 12’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
Advanced Contrast Crossover Master
When the ‘advanced contrast’ button is enabled in the functions section, contrast adjustment
characteristics will acquire an “S” shape cur ve. The crossover point of the “S” shape can be
moved by the source ‘contrast crossover’ master control.
Fade Control
A fade control is available for the foreground, background and layer sources. This setting lets
you fade the foreground or layer source, if enabled, until it is lo longer visible.
When the primary matte is disabled in the matte settings, you can use this feature to fade
between the foreground source and background source to line up props or set items in the
foreground with the background source.
When adjusting the fade or fade-mix control from 0% to 100%, the selected source will gradually
fade until no longer visible.
Color Correcting Black and White Levels
The ‘black/white level’ menu for each background, foreground and layer source lets you make
specific color corrections to the black level and white level. By adjusting the respective red,
green and blue color correction controls you can adjust each respective color level without
altering the overall gain.
Adjusting Color Contrast and Saturation
The ‘contrast /saturation’ menu provides controls to adjust contrast for each color channel in the
selected source. Adjusting the contrast control for each channel will increase or decrease the
amount of contrast in the gamma, or mid level gain.
When the ‘advanced contrast’ button is enabled in the functions section, contrast adjustment
characteristics will acquire an “S” shape cur ve. The crossover point of the “S” shape can then
be moved by the source ‘contrast crossover’ control. This gives you greater control over how
contrast affects the gamma tonal region.
Color Reset
If at any time you want to restore the color correction back to its default state, simply tap the
color reset button in the functions section.
Source Freeze Button
If you are working with still graphics as your sources, this feature allows for greater flexibility.
You can take a still image from each source by tapping the respective ‘freeze’ button in the
functions section. This stores a still frame in temporary memory which you can use as
the source.
The freeze feature can be helpful if you have limited playback equipment. For example, you can
save a still from a playback source graphic, then on the same playback deck, load a different
source and plug it into a different source input on your Ultimatte. This effectively doubles the
amount of sources you can use with your playback equipment.
TIP Any adjustments to color for the black and white level will only occur after the
matte signal generation and will not affect the source.
313131Changing Settings
Additional Background Settings
Background Filter
In many situations, particularly with computer generated backgrounds, the graphics will appear
too sharp compared to the foreground subjects. Sometimes, this sharpness can cause aliasing
artifacts if the antialiasing filters are not set properly in the background rendering system.
Advancing the background filter control will gradually apply a horizontal low pass filter to the
background scene, minimizing aliasing artifacts.
Background Gradient
Enabling this button will replace the background video with an internally generated horizontal
gradient signal. This gradient signal can be used to better demonstrate the impact of
background color controls on the background image.
Test Signal
This setting lets you use a colored field as the background in the final composite.
Additional Layer Settings
Test Signal
This setting lets you use a colored field as the layer source in the final composite.
Layer Input
Enabling this function allows the layer elements to be added to the composite scene.
Layer Input Realistic/Linear/Additive
This function selects between three modes of combining the layer input elements with the
foreground objects and the background scene in the composite image.
Realistic
Most accurate method of combining colored transparent and semi transparent layer
elements, as well as opaque layer elements, with the foreground objects and the
background scene.
Linear
Traditional method of combining opaque layer elements with the foreground objects
and the background scene in the composite image. This method will not produce
accurate results with transparent colored layer elements. This method should be
selected if the layer elements are not premultiplied.
Additive
Traditional method of combining opaque layer elements with the foreground objects
and the background scene in the composite image. This method will not produce
accurate results with transparent colored layer elements and should be selected if the
layer elements are premultiplied.
NOTE When using a layer source graphic in realistic layer mode with semi
transparent objects, the image source background needs to be 100% white. The
RGB elements in the source layer should not be premultiplied by its matte. All
feathering of transition regions along edges of the matte should be within the
boundaries of the layer elements. For example, make sure feathered edges do not
extend into the white backing region of the source image.
323232Changing Settings
Matte Input Settings
Blackmagic Ultimatte 12 can accept 4 different matte inputs, each assigned to a specif ic function.
These 4 matte inputs are:
Background matte
Garbage matte
Holdout matte
Layer matte
Background Matte
The background matte is associated with certain elements in the background scene that need
to be treated as their own layer. By converting these background elements into layer elements,
they can be moved in the layering order in front of the foreground objects. These background
elements that are converted to layer elements can only be opaque elements.
Garbage Matte
The garbage matte is associated with the boundaries of the foreground screen. It is used to
artificially extend the screen area, so that the background scene can be added in these areas.
The garbage matte should have a large soft transition area, from black to white, so that the
garbage matte blends better with the real screen area.
If foreground objects enter these soft transition areas of the garbage matte, these objects will
gradually become transparent and mixed with the background scene until they are fully
faded out.
In an alternate process, Blackmagic Ultimatte 12 can gradually apply the garbage matte clean
up function in the soft transition areas so that the foreground objects can still enter these
transition areas without becoming transparent.
Holdout Matte
The holdout matte is associated with elements of foreground objects which have similar colors
as the screen color. The holdout matte can be used to prevent these por tions of foreground
object areas with similar color as the screen from becoming partially or fully transparent.
Additionally, the holdout matte can be used to retain or remove the foreground object colors
that are similar to the screen color.
Layer Matte
The layer matte is associated with the ‘layer in’ elements. The layer matte is used to determine
the opacity of the corresponding ‘layer in’ source. The layer elements associated with the layer
matte could be opaque or can have varying levels of transparency with different colors.
Window
The window setting lets you create internally generated mattes that can be set with rectangular
only proportions. Enable window by tapping the ‘window’ button, then set the input source you
want to apply the window to by tapping on the respective matte button in the functions section
of the touchscreen.
TIP Pressing the ‘file clear’ button will not change the layer input mode.
333333Changing Settings
Adjust the positioning of the window edges using the following controls:
Window Position Top, Bottom, Left and Right
These knobs adjust the position of the top, bottom, left and right edges of the window.
The default position is beyond the edge of the frame. As it is dialed in, the edge moves
into the frame and goes all the way to the opposite position of the frame.
Window Softness Top, Bottom, Left and Right
Sometimes you may want to reduce the harshness of a window edge in the garbage
matte. To do this, increase the softness control for the window edge you want to adjust.
The default position is beyond the edge of the frame. As it is dialed in, the edge moves
into the frame and goes all the way to the opposite position of the frame.
Transition Rate
This control sets the rate, in number of frames, by which the objects in the background scene,
defined by the background matte and the layer input elements, will move in front of or behind
each other in the composited image.
When the transition rate is set to 0, the changes in the layering order will be an abrupt cut.
When the rate is increased, the transition will be a smooth mix dissolve. The maximum transition
rate is 120 frames.
The transitions are initiated by selecting one of up to six different layering orders defined in the
functions section.
Setting the Layer Order
In the functions section you will see buttons that indicate the layer order. These buttons
determine the order of how the foreground source, background source, and the layer source
elements are arranged in your composite. The buttons available will depend on which mattes
you have enabled.
The first name in a button is the top element in the layering order, and the last name is bottom
element. For example, you’ll notice that the background is always the bottom element in
the scene.
When both background matte elements and layer source elements are used, the
6 possible combinations are:
FG / LY IN / BG LY / BG
Foreground source as the top layer, followed by the layer source elements, followed by
the background layer elements separated from the background source, then followed
by the background source.
LY IN / FG / BG LY / BG
The layer source is the top layer, followed by the foreground source, followed by the
background layer separated from the background source, then followed by the
background source.
LY IN / BG LY / FG / BG
The layer source is the top layer, followed by the background layer elements separated
from the background source, followed by the foreground objects, then followed by the
background source.
BG LY / LY IN / FG / BG
The background layer elements separated from the background source are the top
layer, followed by the layer source, followed by the foreground source, then followed by
the background source.
BG LY / FG / LY IN / BG
In this combination, the background layer elements separated from the background
source are the top layer, followed by the foreground source, followed by the layer
source, then followed by the background source.
343434Changing Settings
Contents
Ultimatte 12
Contents
Getting Started 6
Plugging in Power 6
To power Ultimatte 12 6
To power Smart Remote 4 6
Connecting the Smart Remote
4 to your Ultimatte 7
Turning On the Smart Remote 4 8
The Smart Remote 4 Status Bar 9
Selecting the Ultimatte Main Unit 9
Connecting Video Sources and Outputs 10
Monitor Cascade Feature 11
Setting an Auto Composite
using the File Clear Button 11
Connecting Sources and Outputs 12
SDI Inputs 12
SDI Outputs 12
What is a Matte? 13
Types of Mattes 13
Controlling Ultimatte with
SmartRemote 4 15
The Control Panel Layout 15
Main Menu Buttons 15
Information and File Control 15
Groups 16
Functions 16
Status Bar 17
Monitor Out 17
Connecting to a network 18
Setting the IP Address for Ultimatte 12 18
Setting the IP Address for your
Smart Remote 4 18
Setting the Main Unit’s IP
Address on Smart Remote 4 19
Ultimatte Compositing Workflow 19
Quick Guide to Building a Composite 20
Setting the Foreground Backing Color 20
Setting Screen Correction 20
Setting the Matte Density 21
Changing Settings 22
Adjusting Matte Controls 22
Matte Density 22
Black Gloss 22
Red, Green and Blue Density 22
Matte Reset 22
Clean Up Settings 23
Veil Settings 24
Shadow Level and Shadow Threshold 24
Matte Process/Screen Correction 24
Matte Correct Horizontal Size 25
Matte Correct Vertical Size 25
Screen Sample 25
Filter 26
Matte Reset 27
Cursor Position Last 27
Auto Screen Sample 27
Adjusting Foreground Flare Controls 27
Flare 1 Settings 28
Flare 2 Settings 28
Flare Reset 28
Advanced Flare 28
Adjusting Foreground Ambiance Controls 29
Making Foreground
Ambiance Changes 29
Ambiance 1 Settings 29
Adjusting Brightness, Color,
Contrast and Saturation 30
Contents
White Level Master 30
Black Level Master 30
Contrast Master 30
Saturation Master 30
Advanced Contrast Crossover Master 31
Fade Control 31
Color Correcting Black and
White Levels 31
Adjusting Color Contrast
and Saturation 31
Color Reset 31
Source Freeze Button 31
Additional Background Settings 32
Background Filter 32
Background Gradient 32
Test Signal 32
Additional Layer Settings 32
Test Signal 32
Layer Input 32
Layer Input Realistic/Linear/Additive 32
Matte Input Settings 33
Background Matte 33
Garbage Matte 33
Holdout Matte 33
Layer Matte 33
Window 33
Transition Rate 34
Setting the Layer Order 34
Configure Settings 35
Inputs 35
Outputs 35
On Air Settings 37
Setting Up a GPI Event List 39
GPIO Pinout 40
Monitor Out Settings 40
Monitor Setting Buttons 40
Saving and Loading Preset Files 43
Customizing the Menus 45
Updating the Internal Software 46
Updating your Smart Remote 4 46
Uninstalling Ultimatte SR4 v1.0.5 47
Developer Information 52
Controlling Ultimatte using Telnet 52
Blackmagic Ultimatte 12 Ethernet Protocol 53
Help 64
Regulatory Notices and
SafetyInformation
65
Warranty 66
Getting Started
Getting started with your Blackmagic Ultimatte 12 is as simple as plugging in power, connecting
your foreground, background and layer SDI video sources, and plugging the SDI outputs into
video equipment such as a switcher, monitor or recording deck.
This section of the manual will show you everything you need to know to get started using your
Blackmagic Ultimatte 12.
Plugging in Power
To power Ultimatte 12
Plug a standard IEC power cable into any of the two power inputs on the rear panel.
Plug power into any of the two power inputs on the main unit’s rear panel.
To control your Ultimatte 12 main unit, you will need to connect to a Smar t Remote 4 control
panel. Up to 8 Ultimatte 11 or Ultimatte 12 main units can be can be controlled by a single
SmartRemote 4 control panel.
To power Smart Remote 4
Plug the included power adapter into the DC power input on the rear panel. The screw ring is
used to secure the connector to the port.
Plug the power adapter into Smart Remote 4’s power input
NOTE Blackmagic Ultimatte 12 is equipped with two power supplies. This means you
can connect an alternative power supply for redundancy. Ultimatte 12 will automatically
switch to the second power source if your main power source fails.
LOOP
IN
LOOPINLOOP
IN
LOOPINLOOP
IN
GPIO BG FGBG MATTE
LOOPINLOOP
IN
LAYER LAYER MATTEH MATTE
USB
ETHERNET
OUT
IN
REF FILL MATTE
121
2
1
2
PGM
1
2
TALENT
OUT
IN
MONITOR
LOOP
IN
AC IN G MATTE
INPUTS
OUTPUTS
66Getting Started
Connecting the Smart Remote 4 to your Ultimatte
Connect the Smart Remote 4 to your Ultimatte 12 via Ethernet using a standard CAT 5e or CAT
6 Ethernet cable. We recommend using a CAT 6 shielded cable as it will prevent any potential
interference from nearby equipment.
Plug your Ultimatte main unit into the Smar t Remote 4’s left side Ethernet port using a CAT6 Ethernet cable
The Ultimatte 12 main unit has a default IP address of 192.168.10.220. If you are using a new
smart remote with your Ultimatte 12, then the smar t remote will automatically detect the main
unit so you won’t need to change any IP settings.
If you are connecting an Ultimatte 12 to a network that uses a different IP address, subnet mask
and router, you can change the IP settings for your Ultimatte to suit your network. Refer to the
‘connecting to a network’ section for more information.
TIP The power adapter’s outside screw ring also serves as the negative contact,
with the positive contact being the center pin of the connector. If you want to secure a
ground connection to the chassis of your Smart Remote 4, you can attach it to the
terminal lug located next to the power input.
LOOP
IN
LOOPINLOOP
IN
LOOPINLOOP
IN
GPIO BG FGBG MATTE
LOOPINLOOP
IN
LAYER LAYER MATTEH MATTE
USB
ETHERNET
OUT
IN
REF FILL MATTE
121
2
1
2
PGM
1
2
TALENT
OUT
IN
MONITOR
LOOP
IN
AC IN G MATTE
INPUTS
OUTPUTS
77Getting Started
Turning On the Smart Remote 4
To turn the smart remote on, press the power button located at the top left corner of the
control panel.
When power is activated, the power button will illuminate blue and the smart
remote will initiate the software start up sequence
At its heart, Smart Remote 4 is a small portable computer running the Windows® operating
system. When the start up sequence is complete, the Ultimatte control software will launch
andthe control panel will appear on the touchscreen.
The status bar near the bottom of the touchscreen will prompt you to select an Ultimatte
main unit.
When the Smart Remote 4 start up sequence is complete, the Ultimatte control
software will launch and the status bar will prompt you to select an Ultimatte main unit
TIP If you are adding an Ultimatte 12 to an existing system that includes Ultimatte 11,
you will need to update your Smart Remote 4 to the latest SR4 internal software.
Refer to the ‘updating your Smart Remote 4’ section for more information.
ONLINE / ON AIR
QUICK LOAD
QUICK SAVE
ALT
1 2 3 4
5 6 7 8
UNITS
FILE
CLEAR
SMART REMOTE 4
1 2 3 4 5
MATTE
MATTE MENU
MATTE
PROCESS
SCREEN
SAMPLE
CLEAN UP
FILTERFILTER
FOREGROUND BACKGROUND LAYER MATTE IN CONFIGURE
MATTE
CUSTOM
MENUS
MONITOR
OUT
CUSTOM
MON OUT
MATTE
RESET
CURSOR POS
LAST
AUTO SCREEN
SAMPLE
PGM
OUT
FG
IN
BG
IN
COMBINED
MATTE
INTERNAL
MATTE
FILL
OUT
FUNCTIONS
MONITOR OUT
MAIN MENUS
GROUPS
ACTIVE FILE: Ultimatte
REF SOURCE - FG IN
BACKING COLOR
1
2
3 4
5 6 7 8
88Getting Started
The Smart Remote 4 Status Bar
You can see all the Ultimatte units being controlled by your smart remote by glancing at the
status bar on the touchscreen. Up to 8 units can be controlled, and each unit icon will illuminate
green when identified on your network. When a unit is selected for control, the icon will
illuminate blue. For more information on how to set up and control multiple units over a network,
refer to the ‘connecting to a network’ section.
Refer to the ‘connecting to a network’ section for information about how to set
up and control multiple Ultimat te unit s on your network
Selecting the Ultimatte Main Unit
With the Ultimatte unit icon illuminated green in the status bar, you can now select that unit to
control. Simply press the corresponding unit button on the left side of the control panel.
When selected, the unit button will illuminate blue and the touchscreen will now reveal all the
controls for that unit.
Press a unit button to selec t the desired Ultimatte main unit you want to control
ACTIVE FILE: Ultimatte
REF SOURCE - FG IN
BACKING COLOR
1
2
3 4
5 6 7 8
1
2
3 4
5 6 7 8
TIP If your Ultimatte 12 is connected to the Smart Remote 4 but its unit indicator is not
illuminated in the status bar, check your IP settings are configured correctly for the main
unit and Smart Remote 4. Refer to ‘connecting to a network’ for more information.
ONLINE / ON AIR
QUICK LOAD
QUICK SAVE
ALT
1 2 3 4
5 6 7 8
UNITS
FILE
CLEAR
SMART REMOTE 4
1 2 3 4 5
MATTE
MATTE MENU
CLEAN UP
LEVEL
SHADOW
LEVEL
SHADOW
THRESHOLD
MATTE
PROCESS
SCREEN
SAMPLE
CLEAN UP
FILTERFILTER
FOREGROUND BACKGROUND LAYER MATTE IN CONFIGURE
MATTE
CUSTOM
MENUS
MONITOR
OUT
CUSTOM
MON OUT
MATTE
RESET
CURSOR POS
LAST
AUTO SCREEN
SAMPLE
PGM
OUTFGINBGIN
COMBINED
MATTE
INTERNAL
MATTE
FILL
OUT
FUNCTIONS
MONITOR OUT
MAIN MENUS
GROUPS
ACTIVE FILE: Ultimatte
0% 100%
100%
100% 200%
100%
0% 100%
0%
RED DENSITY
0% 100%
100%
BLUE DENSITY
0% 100%
100%
BLACK GLOSS
0% 100%
0%
MATTE DENSITY
-100% 300%
0%
REF SOURCE - FG IN
BACKING COLOR
1
2
3 4
5 6 7 8
1
ONLINE / ON AIR
1 2 3 4
5 6 7 8
UNITS
99Getting Started
Connecting Video Sources and Outputs
With power connected and both units running, you can now plug your SDI video sources into
the BNC inputs, and plug your switcher, monitor and recording equipment into the BNC outputs.
The SDI input sources will generally be made up of your background, foreground, mattes and
any additional layers required to create your composite. Each input has its own loop output so
you can connect each source to a monitor or recording equipment.
Ultimatte 12 has resynchronizers on each input, so you don’t need to genlock all your sources.
The foreground source provides the reference, and all other inputs will automatically lock to that
input. However, an analog reference input is provided if you want to sync all sources to an
external reference source.
The SDI outputs on the right side of the rear panel let you connect the final composite output to
a switcher. You can also monitor each f ill and matte output, plus connect the talent output to a
monitor so the talent can see the composited output in your studio or on location.
For more information about all the inputs and outputs on your Ultimatte, refer to the ‘connecting
sources and outputs’ section of this manual.
NOTE The foreground input determines the video format for all other inputs.
For example, if you have 2160p59.94 video connected to the foreground input, ensure
that all of your sources have 2160p59.94 video connected to their respective inputs.
Ultimatte will detect a level A or level B 3G -SDI input automatically. The output is set to
level B by default, but you can change it to level A if needed.
To change the 3G-SDI output to level A or B:
1 Go to the ‘configure’ menu on your Smar t Remote 4.
2 Tap on the ‘system’ button.
A window will appear with checkboxes for level A and Level B 3G-SDI.
3 Tap the desired level checkbox, then tap ‘apply’ to confirm the setting.
Tap ‘close’ to exit the window.
LOOP
IN
LOOPINLOOP
IN
LOOPINLOOP
IN
GPIO BG FGBG MATTE
LOOPINLOOP
IN
LAYER LAYER MATTEH MATTE
USB
ETHERNET
OUT
IN
REF FILL MATTE
121
2
1
2
PGM
1
2
TALENT
OUT
IN
MONITOR
LOOP
IN
AC IN G MATTE
INPUTS
OUTPUTS
LOOP
IN
LOOPINLOOP
IN
LOOPINLOOP
IN
BG FGBG MATTE
LOOP
IN
LOOP
IN
LAYER LAYER MATTEH MATTE FILL MATTE
1
2
1
2
1
2
PGM
1
2
TALENT
OUT
IN
MONITOR
LOOP
IN
G MATTE
INPUTS
OUTPUTS
TIP The loop outputs are helpful when making a fast assessment of all your sources
and associated mattes. For example, connecting each loop output to a multiview via an
ATEM switcher, or a Blackmagic MultiView 16 is a powerful way to monitor all your
sources simultaneously.
1010Getting Started
Monitor Cascade Feature
The powerful monitor cascade feature lets you view the monitor output from up to 8 Ultimatte 12
units via one single unit.
8 Ultimatte 12 units can be daisy chained via their monitor inputs and outputs, with the last unit
plugged into a monitor. Then when you select any of the 8 units on your smart remote to control,
the monitor output for that particular unit can be viewed from the monitor output on the last unit.
Below is an example showing how 2 Ultimatte 12 units are daisy chained for cascade monitoring.
With cascade monitoring, you can monitor the output of the currently
active unit being controlled by your Smart Remote 4
For more information on cascade monitoring, refer to the ‘configure settings/monitor
cascade’ section.
Setting an Auto Composite using the File Clear Button
With all your inputs and outputs connected, Ultimatte 12 will perform an automatic composite.
This is a starting composite that is set by default based on all your connected sources.
Thisstarting composite can be reset at any time by pressing the ‘file clear’ button.
If your lighting is optimized and your green screen environment has been carefully set up, the
automatic composite generated by Ultimatte can be all you need to achieve the desired effects.
You can now refine the background, foreground, and layer settings if you need to, and
generally finesse your composite to make the illusion of combining the virtual and live action
even more convincing!
Please keep reading this manual for more information on how to use all the settings and
features on your Ultimatte 12.
TIP To enable the monitor cascade feature on the touchscreen control panel, tap on
the ‘info’ icon in the files and information section, and check the ‘monitor cascade’
checkbox in the ‘options’ tab.
INPUT DISP
H/V
DELAY3DLUT 1
BLUE
ONLY
ZOOM PEAK
3D
LUT 2HMARKVMARK
LOOPINLOOPINLOOP
IN
LOOPINLOOP
IN
GPIO BG FGBG MATTE
LOOPINLOOP
IN
LAYER LAYER MATTEH MATTE
USB
ETHERNET
OUT
IN
REF FILL MATTE
12121
2
PGM
1
2
TALENT
OUT
IN
MONITOR
LOOP
IN
AC IN G MATTE
INPUTS
OUTPUTS
LOOPINLOOPINLOOP
IN
LOOPINLOOP
IN
GPIO BG FGBG MATTE
LOOPINLOOP
IN
LAYER LAYER MATTEH MATTE
USB
ETHERNET
OUT
IN
REF FILL MATTE
12121
2
PGM
1
2
TALENT
OUT
IN
MONITOR
LOOP
IN
AC IN G MATTE
INPUTS
OUTPUTS
ONLINE/ ON AIR
QUICK LOAD
QUICK SAVE
ALT
1 2 3 4
5 6 7 8
UNITS
FILE
CLEAR
SMART REMOTE 4
1 2 3 4 5
MATTE
MATTE MENU
CLEAN UP
LEVEL
SHADOW
LEVEL
SHADOW
THRESHOLD
MATTE
PROCESS
SCREEN
SAMPLE
CLEAN UP
FILTERFILTER
FOREGROUND BACKGROUND LAYER MATTE IN CONFIGURE
MATTE
CUSTOM
MENUS
MONITOR
OUT
CUSTOM
MON OUT
MATTE
RESET
CURSOR POS
LAST
AUTO SCREEN
SAMPLE
PGM
OUTFGINBGIN
COMBINED
MATTE
INTERNAL
MATTE
FILL
OUT
FUNCTIONS
MONITOR OUT
MAIN MENUS
GROUPS
ACTIVE FILE: Ultimatte
0% 100%
100%
100% 200%
100%
0% 100%
0%
RED DENSITY
0% 100%
100%
BLUE DENSITY
0% 100%
100%
BLACK GLOSS
0% 100%
0%
MATTE DENSITY
-100% 300%
0%
REF SOURCE - FG IN
BACKING COLOR
1
2
3 4
5 6 7 8
1
NOTE The file clear button will set an automatic composite with green selected as the
backing color by default. If you are using a different backing color, for example red or
blue, then you will need to set your Ultimatte to use that color. Refer to the ‘quick guide
to building a composite’ section for more information.
1111Getting Started
Connecting Sources and Outputs
Each source input used in a composite should be carefully planned, so the elements that build
your shot can be arranged into specific layers. Each source should be connected to its
determined source input so you always know where everything is, and you can manage your
composite more effectively.
SDI Inputs
Background Input
Plug the background image into the BG IN connector. This is the image you want to use as the
background for your composite.
Background Matte Input
If you want to extract a section of the background to use as a foreground element, plug the
background matte source into the BG MATTE IN connector.
Garbage Matte Input
Plug a source containing an externally generated garbage matte into the G MATTE IN
connector.
Foreground Input
Plug the foreground image you want to composite over the top of the background into the
FG IN connector. The foreground image is typically the talent in front of a green screen.
Holdout Matte Input
Plug a source containing an externally generated holdout matte into the H MATTE IN connector.
Layer Input
The layer input is for any additional video or graphics you want to add to your composite.
Layer Matte Input
Similar to other matte inputs, this input lets you connect an externally generated matte so you
can precisely add the layer input source into your composite.
SDI Outputs
Below is a description of each output on your Ultimatte 12 main unit.
Source Loop Outputs
Each source input has its own dedicated loop SDI output.
Program Outputs 1 and 2
Plug a program output, marked PGM into an SDI switcher or recording deck, for example an
ATEM switcher or HyperDeck Disk Recorder.
Fill Outputs 1 and 2
Plug the fill outputs into a recording deck, and into a switcher for final compositing.
Matte Outputs 1 and 2
Plug the matte outputs into a recording deck, and into a switcher for final compositing.
The matte output includes the internal matte, plus the garbage matte and holdout matte
if enabled.
TIP Refer to the next section of the manual to find more information on the different
mattes you can use, including how to extract an element from the background to
composite over the foreground using a background matte.
12Connecting Sources and Outputs
Talent Out 1 and 2
The talent output lets your talent monitor the final composite so he or she can position
themselves in the frame and coordinate their actions to the composited image.
Monitor Output
Plug the monitor output marked MONITOR OUT into a monitor or recording deck. This
connector isalso used for daisy chaining to other Ultimatte 12 units when using the powerful
monitor cascade feature. Refer to the ‘configure settings’ section for more information.
Monitor Input
The monitor input is important for daisy chaining to other Ultimatte 12 units when using the
powerful monitor cascade feature. Refer to the ‘configure settings’ section for more information.
What is a Matte?
Before looking at how to use all the features and settings on your Ultimatte, it’s worth
taking a moment to look at the types of mattes you can use, and how they are arranged in
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.
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 is a powerful way to extract a section from the background and place it
over the foreground.
For example, you may have a virtual set as your background image. Inside the virtual set is a
row of tall marble pillars. Using a background matte that precisely matches the pillars in your
virtual set, you can extract the pillars from the background and the talent can walk behind them.
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.
TIP The talent output has a ‘mirror’ setting that lets you flip the talent output
horizontally. Using this feature, the talent can see his or her positioning without needing
to compensate for reversed camera left and right staging. Refer to the ‘configure
settings/talent mirror’ section for more information.
13Connecting Sources and Outputs
Matte
This is the primary matte you will be working with in 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.
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.
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 par ticular 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.
You can swap the layer positioning in the f inal 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.
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 grey means partially transparent.
TIP A rectangular mask can be created internally using the ‘window’ controls. This can
be a great tool for creating a fast, rough garbage matte. For more information on how to
setup window masks, refer to the ’matte input settings/window’ section.
1414What is a Matte?
Controlling Ultimatte
with SmartRemote 4
All the matte generation and compositing features of your Ultimatte 12 are controlled using
theSmart Remote 4.
The controls and settings are accessed via the smart remote touchscreen, control buttons and
knobs. The settings for each soft control knob changes depending on which menu you have
selected on the touchscreen.
The Control Panel Layout
Touchscreen menus are displayed in sections, and although the interface can look intimidating
at first glance with all the different buttons and settings, it won’t take long before you will be
moving between settings instinctively as you build your composite.
Main Menu Buttons
Tap the menu buttons along the top of the touchscreen to select the different input sources you
want to adjust, plus select the matte for making adjustments to the primary matte, and generally
configure your Ultimatte 12.
Information and File Control
This section of the interface lets you save preset files and configure certain settings for
yourUltimatte.
To save a preset file, tap on the folder icon and use the dialog box edit functions to name and
save a file. Refer to the ‘saving and loading preset files’ section for more information.
To view status information and various configuration settings for your Ultimatte and Smart
Remote 4, tap on the information icon.
ONLINE / ON AIR
QUICK LOAD
QUICK SAVE
ALT
1 2 3 4
5 6 7 8
UNITS
FILE
CLEAR
SMART REMOTE 4
1 2 3 4 5
MATTE
MATTE MENU
CLEAN UP
LEVEL
SHADOW
LEVEL
SHADOW
THRESHOLD
MATTE
PROCESS
SCREEN
SAMPLE
CLEAN UP
FILTERFILTER
FOREGROUND BACKGROUND LAYER MATTE IN CONFIGURE
MATTE
CUSTOM
MENUS
MONITOR
OUT
CUSTOM
MON OUT
MATTE
RESET
CURSOR POS
LAST
AUTO SCREEN
SAMPLE
PGM
OUTFGINBGIN
COMBINED
MATTE
INTERNAL
MATTE
FILL
OUT
FUNCTIONS
MONITOR OUT
MAIN MENUS
GROUPS
ACTIVE FILE: Ultimatte
0% 100%
100%
100% 200%
100%
0% 100%
0%
RED DENSITY
0% 100%
100%
BLUE DENSITY
0% 100%
100%
BLACK GLOSS
0% 100%
0%
MATTE DENSITY
-100% 300%
0%
REF SOURCE - FG IN
BACKING COLOR
1
2
3 4
5 6 7 8
1
MATTE FOREGROUND BACKGROUND LAYER MATTE IN CONFIGURE
MAIN MENUS
MATTE MENU
1515Controlling Ultimatte with Smart remote 4
The available information and configuration settings are described below:
About
Displays detailed status information about your Ultimatte, including:
Model name
Software version
Video format
IP address
Subnet mask
Default gateway.
Smart Remote 4 Information is also included, such as:
Remote version
Flash version
Temperature
Fan speed
Blackmagic Design contact information should you need support.
Configuration
Provides an overview of connected SDI sources and will tell you whether they are locked or not.
Control Board Settings
Lets you customize the brightness of the Smart Remote 4’s LEDs and set the the internal
fan speed.
Options
Turns the mouse pointer on or off if you have a mouse connected to your smart remote.
Enables the monitor out cascade feature.
Groups
This section of the interface contains the majority of the setting menus. For example, if you
wanted to adjust the foreground ‘flare’ controls:
1 Tap on the ‘foreground’ main menu button to open the foreground settings.
2 Tap on the ‘Flare 1’ button in the groups section to select the flare controls.
The flare controls will now be visible on each side of the panel and you can adjust them using
the control knobs.
Functions
The functions section provides specific settings that can be selected, enabled or disabled.
For example, the reset button is located in this section if you need to restore particular settings
to their default state.
MATTE
PROCESS
SCREEN
SAMPLE
CLEAN UP
FILTERVEIL
CUSTOM
MENUS
MONITOR
OUT
CUSTOM
MON OUT
GROUPS
MATTE
MATTE
RESET
CURSOR POS
LAST
AUTO SCREEN
SAMPLE
FUNCTIONS
1616Controlling Ultimatte with Smart remote 4
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