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Re: Help with Ultimatte...FDL 60



Dave,

I've done a lot of ultimatte work from film with good results. I understand
that you have limited tools. One of the critical things for matting is
resolution something the line array FDL 60 is not noted for( also image
stabilization), however what you may want to consider is using the ultimatte
45 in telecine as a meter just to determine the bluescreen levels. Then
record the film with those setting directly to betacam component. (digital
betacam if you've got it.)

Take the ultimatte 45 into the edit suite run the betacam into the
foreground, creating a highcon and suppressed foreground. At the same time
in the edit suite you would have the background material and be able to
adjust the ultimatte more precisely.

When you pull theSuppressed foreground matte instead of inserting black
where the blue is, pick a color that closely matches the background color in
that area of the screen. This will help hide any edge that may still be
present in the final composite.

You then have a choice of compositing in the 45, or compositing with the
highcon and suppressed foreground and background through the edit bay
switcher as an external key. I find that this at least gives you two tools
to produce a good matte with.
It's difficult to have a timed background, foreground  and highcon in
telecine and have them arrive in time and with the same blanking at the
record machines ( although it can be done).
I would also recommend shooting  5248 if they have enough lights, you need
all the help you can get with film ultimattes. Bob Kertesz production advice
is wise to follow, I do.
I hope this is of some help to you. Please let me know how it turns out.

Good Matting,

Craig Talbert    ctalbert at halcyon.com



At 08:44 PM 10/19/95 -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 
>
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