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Re: Help with Ultimatte...



On Thu, 19 Oct 1995 20:44:34 -0700, you wrote:

>Help a brother colorist in need...
>    Against my better judgement, I've got a 35mm Ultimatte shoot in 
>about a week. Shooting it isn't any problem, but I've never tried using 
>the Ultimatte in transfer. I've got an Ultimatte 45,and a Bosch FDL 60 
>with a Davinci Classic. (yes, I also fly a Sopwith Camel and commute to 
>work in a Model T...). What I'm looking for from the group is any  
>advice and tips that can help flatten the learning curve. I know enough 
>to use 5293, and the DP has experience with lighting for Blue screen, 
>so I'm the only weak link...help?
>
>                                            Thanks,
>
>                                               Dave Koslow 
>
Hi Dave,

What area are looking for help with?

Shooting '93 (and rating it at 200 asa), keeping at least a good 20
feet between the subject and the screen (assuming you are not shooting
head to toe), lighting the blue as flat as possible at the same
reflected level (using a spotmeter) as the key on your subject, and
using no lens filtration of any sort will get you a good neg to start
with.  Also, BE SURE to use genuine Ultimatte paint.  The stuff that's
"almost the same" isn't nearly good enough in terms of the blue/green
ratio.

Keep the key to fill ratio moderate, use a LITTLE back and/or side
light (contrary to popular belief it doesn't have to have a straw
filter on it), and remember that the darker fill side and shadows will
tend to fill with blue, causing the matt to get noisy in those areas.
This is not necessarily a bad thing, just remember it will happen.

Then stay component in/out of the 45, use the flare control(s) to
minimize the blue haloing around the hair, keep checking the key
(hi-con) out to make sure you are close to full turn on, and you
should be OK.

Remember that it is not necessary to have the background fully turned
on to make a good matt.  This means that the hi-con out does not
necessarily have to be at both black and white clips, and in fact
having it at both clips generally means you're losing subtle detail in
the FG.  It is important that the final assembly of FG/BG be done on a
switcher with a linear keyer for the edges to stay soft (I am assuming
that you are pulling the suppressed foreground and hi-con in
telecine).

I am not as familiar with the 45 as I am with the 4 and the 6, so the
Ultimatte advice is kinda general.  Lemme know what I haven't touched
on that you need to know.

--Bob                     bob at bluescreen.com



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