Ultimatte 12 facilitates the deployment of virtual studies in Ultra high definitionPara Paul Vlahos, CEO de Ultimatte, con el UHD empezando a tomar posiciones, la adopci n del set virtual se hace obligatoria .
Ultimatte es una empresa que, desde su fundaci n por parte de Petro Vlahos (Grecia, 1916-2013), siempre ha contado con la t cnica de chroma key en su ADN. De hecho, se le considera como el inventor de esta t cnica ya que refin el proceso de color conocido como bluescreening o, alternativamente, greenscreening para resolver la transparencia, el recorte y la refracci n del color key sobre los personajes de forma magistral.
En la pasada edici n de NAB, la compa a present la ltima versi n (v12) de su popular soluci n Ultimatte lanzada por vez primera en 1978, con la que se adapta a las necesidades del mercado en una fuerte apuesta por la Ultra Alta Definici n.
Paul Vlahos, actual CEO de Ultimatte, considera que desde que su padre introdujo el chroma hace cuatro d cadas durante el rodaje de la m tica pel cula Ben Hur hasta la actualidad, esta pr ctica ha sido clave en el desarrollo del cine y la televisi n. Ahora, cuando el 4K, est en boca de todos, los chroma keys deben seguir dando respuesta con la m xima calidad posible.
Los estudios virtuales crecieron cuando el v deo en alta definici n se hizo relevante y, a partir de entonces, los sets en SD empezaron a parecer desgastados'. Con el tiempo, esos mismos sets construidos en HD, instaban a la adopci n del set virtual. Con la UHD empezando a tomar posiciones, esa adopci n se hace ahora obligatoria .
Sets de todo el mundo cuentan con pantallas verdes desiguales', en las que colores y brillos del suelo rara vez coinciden con los de las paredes. Adem s, la iluminaci n se presenta como un reto, puesto que iluminar talento y fondo a menudo genera complejidades a la hora de iluminar tambi n la pantalla verde.
Sin embargo, ahora que los estudios virtuales de todo el mundo parecen adoptar definitivamente el 4K, evitar esas complejidades en su conjunto era un reto para nosotros. Es por ello que hemos lanzado Ultimatte 12 al mercado, con nuevas soluciones que mejoran notablemente la preservaci n del detalle y las sombras, y que no generan bordes , a ade Vlahos.
Hasta la llegada de Ultimatte 12, la invasi n del verde alteraba los dem s colores, ocasionando un aspecto opaco y desaturado en rosas, purpuras y rojos, que tambi n ten an inapropiados tonos c lidos en las reas destacadas y un borde marr n f cilmente apreciable. Adem s, cuando los tonos de piel eran ajustados, los amarillos se convert an en naranjas. El nuevo modelo corrige todas esas complejidades.
Vlahos subraya que sus avances son tan palpables que incluso son apreciables por el ojo desentrenado. El m s importante es la integridad del color almacenado: una pared lisa detr s de un actor sentado en una mesa tiene menos invasi n del color verde en comparaci n con un estudio virtual donde el actor est de pie, sobre una superficie verde y delante de dos paredes con la mitad de una esfera de integraci n .
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Ultimatte 12 facilitates the deployment of virtual studies in Ultra high definitionPara Paul Vlahos, CEO de Ultimatte, con el UHD empezando a tomar posiciones, la adopci n del set virtual se hace obligatoria .
