Surviving an Ultimatte Shoot

[Continued from Page 2]

Ultimatte In Post
In the case of scenes shot on film for eventual electronic release as commercials, for example, transfer of the film background and foreground elements to tape, and then performing the Ultimatte composite completely in the post-production phase has been a standard approach for some time. The background shot and the blue element foreground shot are easily able to be additionally manipulated in electronic post. Many effects easily achieved this way are impossible when staying completely in the film domain. Timing an Ultimatte into a post system can be a very time-consuming operation. Once done, notes on the techniques used, such a specific cabling and timing tweaks, should be kept to make the job easier the next time. The facilities' own engineer will be needed, since his expert knowledge of exactly where everything is run in the house will probably be crucially important to getting set up in reasonable time.

When your backgrounds are not even finished yet, as often is the case with computer-generated animations and graphics, Ultimatte in post will be your only alternative. Sometimes this is accomplished by shooting an additional "HiCon", or high-contrast silhouette element, provided by the Ultimatte device, and using this to provide a "hold-back mask" to be used in the editing system's switcher to assemble the final matte.

We feel better-looking final results are achieved not by doing this HiCon process, but by using the Ultimatte in post directly. Fine edges, environmental shadows, smoke, fine hair detail, glass, and specular reflections are all far better rendered more realistically with an Ultimatte actually there in the edit session. Adjustments and subtle shadings are still possible in this mode. As far as budget is concerned, this method will often be less expensive, since you will move faster in the original shooting process. You do have to be certain you shoot the elements correctly for this to succeed; but that's usually only a matter of having an Ultimatte expert on-set, witnessing the proceedings, and advising the D.P.

That's A Wrap
We think the eye of the viewer is getting tired of A.D.O.'d tumbling executives flying all about in corporate programs. Wiggle-cam has now been fully explored in the world of commercials.

The time is ripe for an old special effect to be the latest thing. Its appeal is its ability to create new realities without limit. Whether it's blue screen shot and processed all in film, or video to video Ultimatte To Go, or video or film elements matted at edit time with all the added power of electronic post, the process is simple and the rules for success are clear.

And now you know what you must do.

Bill Barrett, 53, started out as a grip over eighteen years ago; moved into video engineering at a major corporation, and finally into special effects. He now specializes in complex Ultimatte, Computerized Motion Control, Engineered Action Props, and other "classic Hollywood method" special effects. His friend of 23 years, and equal partner in Studio One, is Eda Sherman who also lives quietly in a nearby town, with her equally patient husband, Doug, of even longer years, near the old abandoned insane asylum. See exmples of their work and more at their web site at studioone-ct.com.

To Beginning of Article

Surviving an Ultimatte Shoot (And Edit), Page 3
	[Continued from Page 2] Ultimatte In Post In the case of scenes shot on film for eventual electronic release as commercials, for example, transfer of the film background and foreground elements to tape, and then performing the Ultimatte composite completely in the post-production phase has been a standard approach for some time. The background shot and the blue element foreground shot are easily able to be additionally manipulated in electronic post. Many effects easily achieved this way are impossible when staying completely in the film domain. Timing an Ultimatte into a post system can be a very time-consuming operation. Once done, notes on the techniques used, such a specific cabling and timing tweaks, should be kept to make the job easier the next time. The facilities' own engineer will be needed, since his expert knowledge of exactly where everything is run in the house will probably be crucially important to getting set up in reasonable time. When your backgrounds are not even finished yet, as often is the case with computer-generated animations and graphics, Ultimatte in post will be your only alternative. Sometimes this is accomplished by shooting an additional "HiCon", or high-contrast silhouette element, provided by the Ultimatte device, and using this to provide a "hold-back mask" to be used in the editing system's switcher to assemble the final matte. We feel better-looking final results are achieved not by doing this HiCon process, but by using the Ultimatte in post directly. Fine edges, environmental shadows, smoke, fine hair detail, glass, and specular reflections are all far better rendered more realistically with an Ultimatte actually there in the edit session. Adjustments and subtle shadings are still possible in this mode. As far as budget is concerned, this method will often be less expensive, since you will move faster in the original shooting process. You do have to be certain you shoot the elements correctly for this to succeed; but that's usually only a matter of having an Ultimatte expert on-set, witnessing the proceedings, and advising the D.P. That's A Wrap We think the eye of the viewer is getting tired of A.D.O.'d tumbling executives flying all about in corporate programs. Wiggle-cam has now been fully explored in the world of commercials. The time is ripe for an old special effect to be the latest thing. Its appeal is its ability to create new realities without limit. Whether it's blue screen shot and processed all in film, or video to video Ultimatte To Go, or video or film elements matted at edit time with all the added power of electronic post, the process is simple and the rules for success are clear. And now you know what you must do. Bill Barrett, 53, started out as a grip over eighteen years ago; moved into video engineering at a major corporation, and finally into special effects. He now specializes in complex Ultimatte, Computerized Motion Control, Engineered Action Props, and other "classic Hollywood method" special effects. His friend of 23 years, and equal partner in Studio One, is Eda Sherman who also lives quietly in a nearby town, with her equally patient husband, Doug, of even longer years, near the old abandoned insane asylum. See exmples of their work and more at their web site at studioone-ct.com. To Beginning of Article [an error occurred while processing this directive]