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Re: Ultimatte advice

>    Hi Bob,
>        Thanks for the quick come-back, I sure appreciate it. I've been to your   
>    web page and I think it's a great idea.

Me too.  But it's not my web page.

>    My worries are more in the area of how differently film and video act in this 
>situation.  . Here I have to go on a certain article of faith that everything is 

I've been told that the mystery and faith is one of the beauties of
shooting film <g>.  As you surmised, having the blue VERY even is
critical.  Also, remember that all things being equal 35 has about
half the depth of field of video for the same f-stop, so physical
irregularities in the back wall should not be very relevant.  Make
sure you have sufficient depth to keep the entire subject in focus,
though, as soft edges don't do real well.

>    Our Ultimatte is packaged for remote work, so I did plan to interface 
>directly to the Davinci component and pull the matte and FG right there. I am 
>concened with what I can do as a colorist to pull a good matte if things ain't 

Well, the usual stuff <g>.  I don't really have a specific answer, but
in general you want to use the tools available to you make sure the
blue is nicely saturated and check any changes on the hi-con.  What
happens when you shoot is really more critical than what is doable in
telecine in terms of how well the final product works.

What I find remarkably helpful is to have the background available
when cutting the matte from blue, so that I can see if the inevitable
errors can be buried in places in the BG where they're not visible or

>Have you had any better results post-keying by using the Ultimatte ext 
>matte later, rather than the switcher linear keyer or a digimatte key? We will be 
>posting from telecine to Beta analog comp so that is an option I can arrange if 
>you think it is worth it.

The external keyer in the Ultimatte is VERY good, but not necessary if
you have a digimatte keyer in good shape.


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