MEDIA SERVER User Manual Software Version 3.
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® Media Server User Manual Copyright ©2004 High End Systems, Inc. All rights reserved. Information and specifications in this document are subject to change without notice. High End Systems, Inc. assumes no responsibility or liability for any errors or inaccuracies that may appear in this manual.
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Declaration of Conformity according to ISO/IEC Guide 22 and EN45104 Manufacturer's name: High End Systems 2105 Gracy Farms Lane Austin, TX, 78758 USA Distributor's name: High End Systems, Inc.
1 Important Safety Information Instructions pertaining to continued protection against fire, electric shock, and injury to persons are found in Appendix D. Please read all instructions prior to assembling, mounting, and operating this equipment. Important: Informations De Sécurité. Les instructions se rapportant à la protection permanente contre les incendies, l’électrocution, excessif et aux blessures corporelles se trouvent dans l’Annexe D.
Introduction The High End Systems Catalyst® Media Server utilizes Catalyst software to allow simultaneous preview and play back of multiple still images or movie files. Catalyst software add effects such as crossfading (dissolves), montages, masking, strobing, color changes, and 3D geometry—all rendered in real time. The resulting composite image can be triggered from a lighting console using DMX-512 protocol; or, in the case of userdefined Presets, with a computer keyboard, mouse or touchscreen.
Introduction Feature MIDI Show Control Input Serial Control Devices RS422 Control Devices Pro * DV ** Xpress** Yes Yes Yes 4 3 0 3 2 0 MIDI Timecode Input Yes Yes No Presets Yes Yes Yes Movie Audio Support Yes Yes Yes Turnkey or Software Only Version Both Both Software only * The Pro version of Catalyst software can, in theory, play 8 movies back simultaneously if you have the appropriate hard drive array.
Table of Contents Contacting High End Systems® ........................................................................................ii Important Safety Information .......................................................................................... iv Warning Labels ................................................................................................................. iv Introduction .......................................................................................................
Table of Contents Lesson 3: Image Color and Scale ................................................................................... 15 Set up Layer 1 .............................................................................................................. 15 Set Layer 1 Rotation, Position, and Scale .................................................................. 15 Playback .......................................................................................................................
Table of Contents Dual Outputs Widescreen Layers ................................................................................ 40 Chapter 6: Media Playback ............................................................................41 Libraries and Files ............................................................................................................ 41 Preloaded Library Folders ...........................................................................................
Table of Contents 32 Invert Mask 2 .......................................................................................................... 68 35 Mask Fading ............................................................................................................ 68 36 Invert Mask 1 Fading .............................................................................................. 68 37 Invert Mask 2 Fading .............................................................................................
Table of Contents Chapter 10: Visual Effects .............................................................................91 0 Movie on Non-Infinite Plane ..................................................................................... 91 1 Movie on Infinite Plane with Black Border ............................................................. 92 2 Movie Unity Scaling .................................................................................................. 93 4 Full Screen ....................
Table of Contents Chapter 12: Art-Net™ Protocol ....................................................................119 Setting Up the Server for Artnet .................................................................................. 119 Assigning a DMX In Panel to Art-Net .......................................................................... 121 Chapter 13: Audio ........................................................................................123 Audio Input .................................
Table of Contents Chapter 18: Presets .....................................................................................143 Creating a Preset ............................................................................................................ 144 Catalyst Control Window ........................................................................................... 144 Editing DMX Values in the Layer Panels ................................................................. 144 File Tab Settings ......
Table of Contents This Machine .............................................................................................................. 172 Remote Machines ....................................................................................................... 173 Chapter 21: Multiple Servers .......................................................................175 Synchronizing Multiple Servers ...................................................................................
Chapter 1: System Overview Catalyst Media Server Layers are designed to be controlled in a DMX-512 environment, The software’s user interface is used for configuration and diagnostic purposes and can also define presets for standalone operation. Media selections and manipulations can be accomplished by and recorded to a lighting controller. User-defined presets can be triggered with a computer keyboard, mouse or touchscreen.
System Overview Selecting Media for Playback Any content to be played back from the Catalyst Media Server is stored within computer folders accessible from the application. The folder names begin with a three-digit number from 000-253. This is known as the folder’s index number and corresponds directly to a DMX value for the Library parameter. For example, when the DMX value of the Library parameter is 11, the selected folder is the 011 Artbeats folder.
Chapter 2: QuickStart This Chapter describes the steps to quickly setup and begin using a Catalyst Media Server system. These instructions also ship with your product as a Startup Sheet for the model you purchased. If you purchased a Software Only version of the product, setup instructions shipped with your product. For information on configuring hardware to run Catalyst Media Servers software, visit the High End System website support section [http://www.highend.
CHAPTER 2 QuickStart See “Product and Safety Information” for more information on warranties provided by High End Systems for your product. Setting up the Server Rack 1. Position the server rack upright on a platform constructed by latching the lid and the roadcase base together. 2. The server rack contains a PowerMac® G5, the Catalyst Interface Box (CIB) a power conditioner and a Digital Video Amplifier (VDA).
CHAPTER 2 QuickStart Hardware Connections Catalyst Media Server models feature Dual or Single Output capability. Use the hardware setup for your model. Connecting Preview Monitors and Outputs Catalyst Pro Dual Output Versions 1. Locate the DV1 (VDA) on the back of Catalyst Media Server rack. P1 and P2 Monitor Ports 2. Plug the PowerMac LCD monitor data cable to the P1 monitor port on the DV1. If you are using two preview monitors, connect the second monitor to the P2 monitor port. 3.
CHAPTER 2 QuickStart Catalyst DV Single Output Versions 1. Locate the Extron Video Distribution Amplifier (VDA) on the back of Catalyst Media Server rack. 2. Plug the PowerMac LCD monitor data cable into the local monitor port on the VDA. 3. Connect an Output device to the RGBHV connectors on the CIB. VDA Output 1 Monitor Media Server CIB DMX Console Catalyst DV Connected to a DL1 digital light for output and utilizing an emulation monitor Connecting the Media Server to a DMX-512 Link 1.
CHAPTER 2 QuickStart Catalyst Software Application Setup At the front of the Catalyst Media Server rack, press the PowerMac G5power button to turn on the computer. The desktop appears with icons for the Macintosh HD, the Content drive and the User Manual (in .pdf format). 1. Move the mouse pointer to the bottom of the screen. A strip of icons forming the Dock will pop up that includes three Catalyst icons.
CHAPTER 2 QuickStart Configuring the Catalyst Software The following steps give you a basic default startup configuration for the Catalyst Pro 8layer software version. Your version may have fewer layers or fewer outputs, but the general steps are the same for all Media Server Software. Choose Output Options Catalyst Pro Media Servers can display independent views of the Layer content on each output.
CHAPTER 2 QuickStart 4. Click in the number field to type in the start channel. Remember that each layer requires an uninterrupted range of 40 channels for independent DMX control. 5. Patch each layer to your lighting console using the DMX Start Channels assigned with the Catalyst DMX In panels. TIP: Each layer's DMX patch within the lighting console must match the corresponding layer's DMX Start Channel in the DMX In panel. For more information on setting DMX Start channels, see “Understanding DMX512”.
CHAPTER 2 QuickStart 10 Catalyst® V3 Media Server User Manual
Chapter 3: Tutorials The following lessons provide a quick introduction to programming Catalyst with a lighting console. General knowledge of your lighting console is required to complete these tutorials. For information on programming without a console, see Chapter 18: “Presets”. Note: The sample content files in these tutorial lessons were selected from content shipping May 1, 2004.
CHAPTER 3 Tutorials Add the Logo 5. On the lighting console, select Layer 2. Set the Intensity parameter for Layer 2 to a DMX value of 255(100%). The Catalyst Output 1 screen should change to solid white. 6. Set the Library parameter to a DMX value of 0. This should select the preloaded Catalyst Library folder 000 (HES Lithos). 7. Set the File parameter to a DMX value of 71 (HES-logo-color). This selects the movie file numbered 71 in Library folder 0.
CHAPTER 3 Tutorials Lesson 2: Crossfading Between Layers Once you display content on different Catalyst layers, you can fade the layers in and out using the Intensity parameter. This creates a crossfading or dissolving effect between layers. In this lesson, you’ll play a movie on Layer 1 and record it in your lighting console as a cue or look. Then you’ll build and record another cue with a three-second crossfade to a colorful movie playing on Layer 2. Set Up First Cue 1.
CHAPTER 3 Tutorials Setup the Second Cue and Playback 9. On your lighting console, select Layer 2. Change the Intensity parameter to a DMX value of 255 (100%). 10. Use your lighting console’s cue timing options to assign a 3 second time value to the Intensity parameter. 11. Record these DMX settings and timing information as Cue 2 on your lighting console. 12. Clear your lighting console’s programmer or editor. The Catalyst Output 1 screen should change to all black. 13.
CHAPTER 3 Tutorials Lesson 3: Image Color and Scale In this lesson, you’ll use a Layer’s Position Controls to make an image appear to zoom away into the distance. In addition the Layer’s Color Controls are used to color the image. Set up Layer 1 1. Clear or remove any information in your console’s programmer or editor. 2. On your lighting console, select Layer 1. Set the Intensity parameter to a DMX value of 255(100%). 3. Select Library 0 (HES lithos) and File 5 (comets).
CHAPTER 3 Tutorials 9. Adjust the DMX value of the Scale parameter to the midpoint of its 16-bit DMX value range. This shrinks the Layer’s image to a tiny point. On a Wholehog console, the 16-bit DMX values of the Scale parameter are displayed are in terms of percentage. 50% is equal to the midpoint of the 16-bit DMX range. 10. Use your lighting console’s cue timing options to assign a 3-second time value to the Z-axis Rotation, Y position, and Scale parameters.
CHAPTER 3 Tutorials Lesson 4: Trails The Trails parameter creates an afterimage that follows an image as it moves, then slowly fades away. Understanding Trails Unlike other Catalyst 3 effects, you can apply Trails only to Layer 1, the bottom Layer in the Layer stack. However, the Layer 1 Trails effect can also encompass content from higher layers, as long as Layer 1 is visible beneath them.
CHAPTER 3 Tutorials Adding Trails to Layer 2 6. On your lighting console, select Layer 2. Set the Intensity parameter to a DMX value of 255(100%). 7. Select Library 0 (HES lithos) and File 28 (comet). Using the preloaded Catalyst content, you should now see a greyscale pinwheel image on Output 1. 8. Adjust the DMX value of the Z Rotation parameter so the Layer 1 image starts spinning slowly— 20 rotations per minute, for example. 9.
CHAPTER 3 Tutorials Lesson 5: Shutters Any Layer can be used to shutter or crop content on underlying layers using the Shutter settings of the Visual Effects parameter. Understanding Shutters When a shutter Visual Effect is activated on a layer, that layer changes to a shutter only layer. Any assigned content for the layer will not be displayed. Instead, an adjustable transparent frame is displayed above underlying layers. A shutter Visual Effect will not function on Layer 1.
CHAPTER 3 Tutorials 18. Adjust the eight Keystone Correction parameters to change the shape of the shutters. 19. Adjust the Z Rotation parameter to rotate the shutters. 20. When finished, clear or remove any information in your lighting console’s programmer or editor.
Chapter 4: Windows Menus The Catalyst Interface The Catalyst Graphical User Interface is composed of the Catalyst Control, Library, and Two Output windows (One Output window for the Xpress version).They are accessed through the Windows Menu at the top of the screen. The user interface provides configuration, command and preview functions. Selection Tools Three mechanisms are used to select and adjust interface settings: Menu A pop-up menu lets you scroll through the list to the desired file or setting.
CHAPTER 4 Windows Menus Catalyst Control Window Components The Catalyst Control Window contains the following panels: CIB Paneldisplays status of the CIB connection and switches sync functions. Output Control panelssets the output display. Catalyst Pro and Catalyst DV have dual outputs, Catalyst Xpress has one output available. Layer Panels allow preview and control of DMX parameters for each available layer. Catalyst Pro provides eight layers; Catalyst DV, five; and Catalyst Xpress, three.
CHAPTER 4 Windows Menus CIB Panel Turnkey Catalyst systems utilize a Catalyst Interface Board (CIB) to connect to a DMX console. User configured systems utilizing Catalyst Software only versions may substitute an ArtNet box, see the High End Website for additional configuration information at http://www.highend.com/support/digital_lighting/catalystsupportguide/index.asp When a (CIB) is connected properly to the media server, the mini display window will say CIB OK.
CHAPTER 4 Windows Menus Full Screen Display On/Off turns the full screen display mode on and off. The hot key to turn on full screen display for Output 1 is A, and the hot key to turn it off is S. The small monitor image displays the current resolution, screen refresh, and bit depth of the attached monitor is. If a second monitor is not hooked up it will say No Screen.
CHAPTER 4 Windows Menus DMX In Panel Use the DMX In panels to patch layers as well as other inputs for DMX control.
CHAPTER 4 Windows Menus Custom Serial Inputs The Catalyst Media Server can control peripheral devices such as video switchers or projector shutters through the PowerMac’s Universal Serial Bus (USB) ports. This feature lets non-DMX controlled devices coordinate automatically with events and images in your show. For more information, see Chapter 15: Serial Control on page 129. Midi Time Code Input Catalyst Media Servers can receive MIDI timecode and a Layer’s playback can synchronize to the timecode.
CHAPTER 4 Windows Menus Library Window On the top of the PowerMac monitor, Click on Library within the Windows menu to open the Library window. The Library window of the Catalyst Media Server has the following functions. • Lists and describes content files and folders available to the server • Displays details about the Color and Visual Effects.
CHAPTER 4 Windows Menus Folders Tab Clicking on the Folders tab on the top of the Library window displays the folders currently assigned as Library Folders. Additional folders from internal or external drives, as well as network sources, can be assigned to Catalyst. Any properly labeled folders and files in an assigned Library Folder become available content. Folder Assignment Number 1. Click on a Folder assignment number to open the Choose a Folder window. 2.
CHAPTER 4 Windows Menus The Folders tab of the Library Window now displays the newly assigned folder. 3. Press the Scan Files... button to begin a scan of all available media files. The scanning window will open and display the scan progress. When the scan is complete the scanning window will close and the new media becomes available to the Catalyst Media Server. Note: Pressing Shift during a scan will perform a Quick Scan where no thumbnails will be created.
CHAPTER 4 Windows Menus Color FX Tab Clicking on the Color FX tab on the top of the Library window displays reference information for the Color Effects parameter. Colored fields indicate the functionality of other parameters associated with each effect. For more information, see Color Effects on page 57. Geometry FX Tab Clicking on the Geometry FX tab on the top of the Library window displays reference information for the Visual Effects parameter.
CHAPTER 4 Windows Menus Presets Tab The preset tab contains fields that allow the programmer to name, edit and store preset created for programming without a DMX console. For detailed information, see Chapter 18: Presets on page 143.
CHAPTER 4 Windows Menus Output Windows The output windows (Two for Catalyst Pro and DV versions, and one for Catalyst Xpress software version) allow the programmer to view the content according to the output selection criteria set in the Catalyst Control Window’s Output panel(s). Depending on the system configuration, these windows can display a preview of the content or emulate the actual output of the local server.
Chapter 5: Output Displays The Catalyst Media Server supports two output signals. Each signal is split, and can be displayed simulataneously on any output device (DL1 digital light, video projector, LED wall, etc.) and a monitor display. DV1 Video Distribution Amplifier The Catalyst Media Server uses the DV1 dual video distribution amplifier to split and amplify the PowerMac’s two video outputs for display on preview monitors as well as output devices.
CHAPTER 5 Output Displays Configuring Output Displays The Catalyst Control window contains the Output panels. Each panel can be activated with the On/Off button in the top right corner of the panel. On/Off button 1. Click on the monitor icon to pop up a menu of resolution settings for the output. The display settings should match those configured on the display device. Consult the display device’s documentation for the recommended resolution and refresh rate settings. Monitor icon 2.
CHAPTER 5 Output Displays 3. Click on the Output Settings field of the Output panel to open a pop-up menu and select one of the options. Output Setting Fields All Catalyst Media Server software products contain the following Output Setting fields. • No Output • Separate outputs No FX displays all configured Layers simultaneously in a grid. Each Layer displays only its content playback, and ignores all other DMX parameters.
CHAPTER 5 Output Displays Output Configurations Single Output with Redundant Monitor VDA Output 1 Monitor Media Server CIB DMX Console Catalyst DV Single Output configuration With Single Output versions, the monitor can only display whatever signal is being sent to the output.
CHAPTER 5 Output Displays Dual Output Device With Preview Monitor CIB DV1 Output 2 Monitor Media Server Output 1 DMX Console Dual Output with Preview Monitor In this example, Output 1 displays all layers combined, and Output 2 displays each layer individually for preview purposes.
CHAPTER 5 Output Displays Dual Outputs with Emulation Monitors Output 2 CIB DV1 P1 and P2 Monitors DMX Console Media Server Output 1 Dual Output with Redundant Monitors Output 1 and Output 2 each display individually assigned layers. Each monitor displays the same image as its respective output.
CHAPTER 5 Output Displays Dual Outputs with DL1 Dimming Control Output 2 CIB P1 and P2 Monitors DV1 DMX Console Media Server Output 1 Dual Output with DL1 output dimmer at 0 Output 1 and Output 2 each display individually assigned layers. Each monitor displays the same image as its respective output. Using a DL1 digital lighting fixture or a projector with remote shuttering controls, the output displays can be hidden from view and the P1 and P2 monitors behave as preview screens.
CHAPTER 5 Output Displays Dual Outputs Widescreen Layers Output 1 and Output 2 each display one half of the images from all assigned layers. Layer selections are automatically split and assigned to an output. CIB Output 2 DV1 P1 and P2 Monitors Media Server DMX Console Output 1 Combined outputs Configure the Output panels as follows: • Widescreen Layers Left for Output 1 displays the left half of assigned layers. • Widescreen Layers Right for Output 2 displays the right half of assigned layers.
Chapter 6: Media Playback Libraries and Files Choosing content from a lighting console for a Catalyst Layer is a simple process of assigning DMX values for the Library and File parameters. These DMX values directly correspond to the desired Folder and File index numbers on the hard drive. Preloaded Library Folders The table below describes the preloaded content Library folders that ship with the Catalyst Media Server. (Note: Content included is subject to change.
CHAPTER 6 Media Playback Referencing Content with the Use Layer By setting a layer’s Library parameter DMX value to 254, you can then use the File parameter’s DMX value to select another layer’s content to use in place of an actual file. The DMX value of the File parameter directly corresponds to the layer number (1-4 for example). This turns the first layer into a reference layer, an “alias” of the selected layer’s file—that is, a duplicate instance of the file playing on the selected layer.
CHAPTER 6 Media Playback Video Playback Play Mode The Play Mode parameter controls how movie files will playback. By assigning a corresponding DMX value to this parameter, you can play a movie file or segment in the following ways: DMX Value Play Mode Description 0 1 In Frame Out Frame Displays the frame selected by the In Frame parameter. Displays the frame selected by the Out Frame parameter.
CHAPTER 6 Media Playback DMX Value 10 11 12 13 14 15 40 41 42 43 44 70 71 80-99 100 101 103105 44 Play Mode Description Plays the movie in a continuous loop starting at the In frame and repeating Play Loop Forward when it reaches the Out frame. Playback pauses whenever Intensity = 0 when Intensity >0 and resumes when intensity is > 0 again. Plays the movie in a continuous loop starting at the Out frame and repeatPlay Loop Reverse ing when it reaches the In frame.
CHAPTER 6 Media Playback Playback Speed The Playback Speed parameter controls the speed of the selected movie file’s Play Mode. A DMX value of zero plays back movie files at the original recorded speed. A value of 1 pauses playback. DMX values from 2 to 255 represent increasing speed, from 1 percent to double the original recorded speed.
CHAPTER 6 Media Playback 46 Catalyst® V3 Media Server User Manual
Chapter 7: Movement and Size X, Y, and Z Rotation The Rotation parameters provide image rotation with 16-bit precision in forward and reverse directions around the selected axis. X-axis rotation produces the effect of a top-to-bottom flip. Y-axis rotation produces a left-to-right flip. Z-axis rotation spins the image in a circle.
CHAPTER 7 Movement and Size The layer’s image can be rotated on each axis by adjusting the DMX value of the appropriate X, Y, and Z Rotation parameters. The suggested default value for each channel is the midpoint of the parameter’s 16-bit DMX range, which is equal to no rotation. Increasing the DMX value from the midpoint indexes the image clockwise; as reducing the DMX value below the midpoint, indexes the image counterclockwise.
CHAPTER 7 Movement and Size X Position The X Position parameter adjusts the layer’s image horizontally along the X-axis. The midpoint of the 16-bit DMX value range centers the image on the X-axis. X Position parameter DMX values below the DMX midpoint move the image left, and values above the DMX midpoint move the image right.
CHAPTER 7 Movement and Size Y Position The Y Position parameter adjusts the layer’s image vertically along the Y-axis. The midpoint of the 16-bit DMX value range, centers the image on the Y-axis. Y Position parameter DMX values below the DMX midpoint move the image down, and values above the DMX midpoint move the image up.
CHAPTER 7 Movement and Size Scale The Scale parameter adjusts the size of the layer’s image up to 8x its original size. When the midpoint of the 16-bit DMX value range equals 0x, the image shrinks to invisibility). When the DMX value is increased from the midpoint, the image is enlarged. In addition, when the DMX value is reduced below the midpoint, an inverted image is enlarged.
CHAPTER 7 Movement and Size Image Movement Time The Movement Speed parameter provides smoothing of movements created with the Catalyst application. Sometimes the transmission speed of DMX-512 can result in choppy image movements during slow Layer position movements. The Movement Speed parameter provides a variable smoothing of movements with DMX values from 0255—the higher the DMX value, the slower the movement speed.
CHAPTER 7 Movement and Size Aspect Ratio The Aspect Ratio parameter allows horizontal or vertical image compression from full image size to a thin line (1-4 pixels). The Aspect Ratio function compensates for dissimilar aspect ratios encountered in various video formats. For example, a movie created with a 16:9 aspect ratio can be changed to a 4:3 aspect ratio. DMX values from 0 to 128 squeeze the image horizontally, and DMX values greater than 128 compress the image vertically.
CHAPTER 7 Movement and Size 54 Catalyst® V3 Media Server User Manual
Chapter 8: Intensity and Color Intensity The Intensity parameter adjusts layer brightness levels from black (DMX = 0) to full intensity (DMX = 255). By crossfading the Intensity parameter of layers, a dissolve between layers can be created.
CHAPTER 8 Intensity and Color Red, Green, and Blue The Catalyst Media Server uses an additive RGB color mixing system that modifies image color by filtering specific percentages of red, green, and blue. With the Red, Green, and Blue parameter DMX channels, a DMX value of 0 filters out all of a color, and a value of 255 filters none of it. If each channel’s DMX value is set to 0, all color is filtered out and the result is black.
CHAPTER 8 Intensity and Color Color Effects The Color Effects parameter alters a layer’s content by applying variations to the image’s colors. In addition, some Color Effects change the behavior of the Red, Green, and Blue parameters. This chapter describes the Color Effects and their capabilities. 0 RGB Subtract When the Color Effects parameter is assigned a DMX value of 0, the Layer’s image can be tinted. The Red, Green, and Blue parameters each remove existing color from the layer’s image.
CHAPTER 8 Intensity and Color 1 RGB Subtract High Contrast When the Color Effects parameter is assigned a DMX value of 1, the Layer’s image can be tinted. This is a higher contrast version of the RGB Subtract Color Effect. The Red, Green, and Blue parameters can remove existing color from the layer’s image. The Layer’s original image without a Color Effect. The Layer’s image with the RGB Subtract High Contrast Effect.
CHAPTER 8 Intensity and Color 3 Transparent Blacks When the Color Effects parameter is assigned a DMX value of 3, any black in a Layer’s image becomes transparent, revealing underlying Layers. The Red, Green, and Blue parameters can remove existing color from the layer’s image. Layer 1 Layer 2 Transparent Blacks applied to Layer 2 reveals Layer 1 image.
CHAPTER 8 Intensity and Color 4 Transparent Whites When the Color Effects parameter is assigned a DMX value of 4, any white in a Layer’s image becomes transparent, revealing underlying Layers. The Red, Green, and Blue parameters can remove existing color from the layer’s image. Layer 1 Layer 2 Transparent Whites applied to Layer 2 reveals Layer 1 image.
CHAPTER 8 Intensity and Color 10 RGB Subtract Inverted Color When the Color Effects parameter is assigned a DMX value of 10, the colors in a Layer’s image are inverted. The Red, Green, and Blue parameters can remove existing color from the layer’s image. The Layer’s original image without a Color Effect. The Layer’s image with the RGB Subtract Inverted Color Effect.
CHAPTER 8 Intensity and Color 12 RGB Subtract Super High Contrast Inverted Color When the Color Effects parameter is assigned a DMX value of 12, the colors in a Layer’s image are inverted. This is a super higher contrast version of the RGB Subtract Inverted Color Effect. The Red, Green, and Blue parameters can remove existing color from the layer’s image. The Layer’s original image without a Color Effect. The Layer’s image with the RGB Subtract Color Effect.
CHAPTER 8 Intensity and Color 14 RGB Subtract Inverted Color CMY When the Color Effects parameter is assigned a DMX value of 10, the colors in a Layer’s image are inverted and converted to CMY. The Red, Green, and Blue parameters can remove existing color from the layer’s image. The Layer’s original image without a Color Effect. The Layer’s image with the RGB Subtract Inverted Color CMY Effect.
CHAPTER 8 Intensity and Color 16 RGB Subtract Super High Contrast Inverted Color CMY When the Color Effects parameter is assigned a DMX value of 16, the colors in a Layer’s image are inverted and converted to CMY. This is the highest contrast version of the RGB Subtract Inverted Color CMY Effect. The Red, Green, and Blue parameters can remove existing color from the layer’s image. The Layer’s original image without a Color Effect.
CHAPTER 8 Intensity and Color 21 Black and White High Contrast When the Color Effects parameter is assigned a DMX value of 21, the Layer’s image becomes black and white and can not be tinted. This high contrast version of the Black and White Color Effect is transparent, revealing underlying layers. The Red, Green, and Blue parameters do not function with this Color Effect. The Layer’s original image without a Color Effect. The Layer’s image with the Black and White High Contrast Effect.
CHAPTER 8 Intensity and Color 23 Black and White Variable Super High Contrast When the Color Effects parameter is assigned a DMX value of 23, the Layer’s image becomes black and white and can not be tinted. This super high contrast version of the Black and White Color Effect is transparent, revealing underlying layers. The Red, Green, and Blue parameters each adjust the amount of the related color making up the final value of the black and white image. The Layer’s original image without a Color Effect.
CHAPTER 8 Intensity and Color 30 Mask When the Color Effects parameter is assigned a DMX value of 30, the Layer’s image becomes black and white and can not be tinted. Any black in a Layer’s image becomes transparent, revealing underlying Layers. The Red parameter adjusts the Layer’s percentage of transparency to vary mask softness. The Green, and Blue parameters do not function with this Color Effect. The Layer’s original image without a Color Effect. The Layer’s image with the Mask Effect.
CHAPTER 8 Intensity and Color 32 Invert Mask 2 When the Color Effects parameter is assigned a DMX value of 32, the Layer’s image becomes black and white and can not be tinted. Any white in a Layer’s image becomes transparent, revealing underlying Layers. The Red parameter adjusts the Layer’s percentage of transparency to vary mask softness. The Green, and Blue parameters do not function with this Color Effect. The Layer’s original image without a Color Effect.
CHAPTER 8 Intensity and Color 40 Alpha Invert as Red When the Color Effects parameter is assigned a DMX value of 40, the portions of a Layer’s image without an alpha channel become red and can not be tinted. Any alpha channel portions of the image become transparent, revealing underlying Layers. The Red, Green, and Blue parameters do not function with this Color Effect. The Layer’s original image without a Color Effect. The Layer’s image with an Alpha Invert as Red Effect.
CHAPTER 8 Intensity and Color 42 Alpha Invert as Blue When the Color Effects parameter is assigned a DMX value of 42, the portions of a Layer’s image without an alpha channel become blue and can not be tinted. Any alpha channel portions of the image become transparent, revealing underlying Layers. The Red, Green, and Blue parameters do not function with this Color Effect. The Layer’s original image without a Color Effect. The Layer’s image with an Alpha Invert as Blue Effect.
CHAPTER 8 Intensity and Color 44 Alpha as Red When the Color Effects parameter is assigned a DMX value of 44, the portions of a Layer’s image with an alpha channel become red and can not be tinted. Non alpha channel portions of the image become transparent, revealing underlying Layers. The Red, Green, and Blue parameters do not function with this Color Effect. The Layer’s original image without a Color Effect. The Layer’s image with Alpha as Red Effect.
CHAPTER 8 Intensity and Color 46 Alpha as Blue When the Color Effects parameter is assigned a DMX value of 46, the portions of a Layer’s image with an alpha channel become blue and can not be tinted. Non alpha channel portions of the image become transparent, revealing underlying Layers. The Red, Green, and Blue parameters do not function with this Color Effect. The Layer’s original image without a Color Effect. The Layer’s image with Alpha as Blue Effect.
CHAPTER 8 Intensity and Color 50 Lookup 1 Color Wheel When the Color Effects parameter is assigned a DMX value of 50, a color-wheel based formula is applied to the Layer’s image colors. This effect does not allow tinting. The Red, Green, and Blue parameters do not function with this Color Effect. Original image. Image with the Invert Lookup 1 Color Effect. 51 Lookup 2 False Color When the Color Effects parameter is assigned a DMX value of 51, the Layer’s image becomes mutated can not be tinted.
CHAPTER 8 Intensity and Color 52 Lookup 3 Black and White Solarize Highlights When the Color Effects parameter is assigned a DMX value of 52, the Layer’s image becomes magenta and can not be tinted. The Red, Green, and Blue parameters do not function with this Color Effect. The Layer’s original image without a Color Effect. The Layer’s image with the Lookup 3 Effect.
CHAPTER 8 Intensity and Color 61 Gamma Color When the Color Effects parameter is assigned a DMX value of 61, the Layer’s image becomes red and can not be tinted. The Red parameter adjusts the overall gamma of the image. The Green, and Blue parameters do not function with this Color Effect. The Layer’s original image without a Color Effect. The Layer’s image with the Gamma Color Effect applied. The Layer’s image with the Gamma Color adjustment.
CHAPTER 8 Intensity and Color 62 Gamma Color Separate Channels When the Color Effects parameter is assigned a DMX value of 62, the Layer’s image is displayed with high contrast. The Red, Green, and Blue parameters adjust the corresponding color gamma of the image. The Layer’s original image without a Color Effect. The Layer’s image with the Gamma Color Separate Effect. The Layer’s image with the Gamma Color Separate Effect Green channel adjustment.
CHAPTER 8 Intensity and Color 63 Gain Color Separate Channels When the Color Effects parameter is assigned a DMX value of 62, the Layer’s image is displayed with high contrast. The Red, Green, and Blue parameters adjust the corresponding color gain of the image. The Layer’s original image without a Color Effect. The Layer’s image with the Gain Color Separate Channels Effect. The Layer’s image with the Gain Color Separate Channels Effect and Blue channel adjustment.
CHAPTER 8 Intensity and Color 65 Quantize Color Separate Channels When the Color Effects parameter is assigned a DMX value of 65, the Layer’s image is displayed with a reduced set of representative colors. The Red, Green, and Blue parameters adjust the corresponding color in the image. The Layer’s original image without a Color Effect. The Layer’s image with the Quantize Color Separate Channels Effect. The Layer’s image with the Quantize Color Separate Channels Effect and Red channel adjustment.
CHAPTER 8 Intensity and Color 70 Convert to YUV When the Color Effects parameter is assigned a DMX value of 70, the Layer’s image RGB color information is converted to a different color space. The Red parameter adjusts the illuminance of the image. The Green parameter adjusts the U component and the Blue parameter adjusts the V component. The Layer’s original image without a Color Effect. The Layer’s image with the Convert to YUV Effect.
CHAPTER 8 Intensity and Color 72 Mega Saturation When the Color Effects parameter is assigned a DMX value of 72, the Layer’s image can not be tinted. The Red parameter adds and subtracts from the color saturation of the image. With no color saturation the image is black and white. The Green, and Blue parameters do not function with this Color Effect. The Layer’s original image without a Color Effect. The Layer’s image with a Mega Saturation Effect.
CHAPTER 8 Intensity and Color 74 Solarize Invert When the Color Effects parameter is assigned a DMX value of 74, the Layer’s colors are inverted, the image becomes solarized, and it can not be tinted. The Red, Green, and Blue parameters do not function with this Color Effect. The Layer’s original image without a Color Effect. The Layer’s image with the Solarize Invert Effect.
CHAPTER 8 Intensity and Color 81 RGB Layer Blend 2 When the Color Effects parameter is assigned a DMX value of 81, the black portions of the Layer’s image become transparent and the image can be tinted. The Red, Green, and Blue parameters can remove existing color from the layer’s image. The Layer’s original image without a Color Effect. The Layer’s image with the RGB Layer Blend 2 Effect.
CHAPTER 8 Intensity and Color 83 RGB Layer Blend 4 When the Color Effects parameter is assigned a DMX value of 83, portions of the Layer’s image become transparent and the image can be tinted. The Red, Green, and Blue parameters each remove existing color from the layer’s image. The Layer’s original image without a Color Effect. The Layer’s image with the RGB Layer Blend 4 Effect.
CHAPTER 8 Intensity and Color 85 RGB Layer Blend 6 Add When the Color Effects parameter is assigned a DMX value of 85, black portions of the Layer’s image become transparent and the image can be tinted. The Red, Green, and Blue parameters each remove existing color from the layer’s image. The Layer’s original image without a Color Effect. The Layer’s image with the RGB Layer Blend 6 Effect.
CHAPTER 8 Intensity and Color 89 RGB Layer Blend 10 Maximum When the Color Effects parameter is assigned a DMX value of 89, dark portions of the Layer’s image become transparent and the image can be tinted. The Red, Green, and Blue parameters each remove existing color from the layer’s image. The Layer’s original image without a Color Effect. The Layer’s image with the RGB Layer Blend 10 Effect.
CHAPTER 8 Intensity and Color 100 Tint When the Color Effects parameter is assigned a DMX value of 100, the Layer’s image is converted to black and white and the image can be tinted. Black portions of the image become transparent. The Red, Green, and Blue parameters can remove existing color from the layer’s image. The Layer’s original image without a Color Effect. The Layer’s image with the Tint Effect.
CHAPTER 8 Intensity and Color 102 Fade to Hue When the Color Effects parameter is assigned a DMX value of 102, the Layer’s the image fades to a color rather than to black. The red control sets the fade percentage (100% = original image; 0% = only the color remains). The image will fade to the hue selected by the Green parameter, based on a spectrum wheel (red-violetindigo-blue-green-yelloworange-red). The Blue parameter does not function with this Color Effect.
CHAPTER 8 Intensity and Color 104 RGB > BGR When the Color Effects parameter is assigned a DMX value of 104, the colors of a Layer’s image are swapped and can be tinted. The Red, Green, and Blue parameters can remove existing color from the Layer’s image. The Layer’s original image without a Color Effect. The Layer’s image with the RGB > BGR Effect. 105 RGB > GRB When the Color Effects parameter is assigned a DMX value of 105, the colors of a Layer’s image are swapped and can be tinted.
Chapter 9: Strobing and Trails Strobing The Strobing parameter creates flashing or pulsing of the layer’s image as though it were lit by a strobe light. Each strobing pattern is controlled by a range of 24 DMX values that govern strobing speed of that pattern. The strobe’s speed generally refers to the intervals when the image is turned on. The suggested default DMX value of the Strobing parameter is 0, which produces no strobe effect. Other DMX values for the parameter determine the strobing pattern.
CHAPTER 9 Strobing and Trails Trails The Trails parameter creates an afterimage that follows a moving image as it moves on layer 1. The DMX value of the Trails parameter varies the length, or duration, of the trails. The suggested default DMX value of 0, creates no trails. A value of 255 creates very long trails. The Trails effect is available only on Layer 1. However, trails are also applied to all content on other layers that become visible on Layer 1.
Chapter 10: Visual Effects The Visual Effects parameter applies various changes to a layer’s content. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters are linked to selected Visual Effects, and their function changes based on the Visual Effect. This chapter describes uses of the Visual Effects and their capabilities. 0 Movie on Non-Infinite Plane When the Visual Effects parameter is assigned a DMX value of 0, the Layer’s content plays on a transparent plane.
CHAPTER 10 Visual Effects 1 Movie on Infinite Plane with Black Border When the Visual Effects parameter is assigned a DMX value of 1, the Layer’s content plays on a non-transparent black plane. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect.
CHAPTER 10 Visual Effects 2 Movie Unity Scaling When the Visual Effects parameter is assigned a DMX value of 2, the Layer’s content will be displayed pixel for pixel without any scaling. The Scale parameter is disabled with this selection. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect.
CHAPTER 10 Visual Effects 5 Movie Keystone 1 When the Visual Effects parameter is assigned a DMX value of 5, the Layer’s content plays on an adjustable transparent plane. The Keystone Correction parameters adjust the shape of the Layer. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect. Layer 1 with no Visual Effects Layer 2 with no Visual Effects Layer 2 with Keystone adjustments over Layer 1.
CHAPTER 10 Visual Effects 9 Setup Image Keystone 1 When the Visual Effects parameter is assigned a DMX value of 6, the Layer’s output changes to a grid pattern. This grid pattern is useful for determining the results of Keystone adjustments. The Keystone Correction parameters adjust the shape of the Layer.
CHAPTER 10 Visual Effects 11 Movie on Sphere Wireframe When the Visual Effects parameter is assigned a DMX value of 11, the Layer’s content is wrapped around a wireframe sphere. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect. A Layer with no Visual Effects A Layer with its layer wrapped around a wireframe sphere.
CHAPTER 10 Visual Effects 13 Movie on Sphere Lit When the Visual Effects parameter is assigned a DMX value of 13, the Layer’s content is wrapped around a solid sphere with an illumination effect. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect. A Layer with no Visual Effects A Layer with its image wrapped around a solid sphere with illumination.
CHAPTER 10 Visual Effects 15 Movie on Disc Wireframe When the Visual Effects parameter is assigned a DMX value of 15, the Layer’s content is wrapped around a wireframe disc. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect. A Layer with no Visual Effects A Layer with its image wrapped around a wireframe disc.
CHAPTER 10 Visual Effects 17 Movie on Disc Silhouette When the Visual Effects parameter is assigned a DMX value of 17, the Layer’s content is wrapped around the edges of disc. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect.
CHAPTER 10 Visual Effects 21 Movie on Magic Lantern When the Visual Effects parameter is assigned a DMX value of 21, the Layer’s content is wrapped around hollow cylinder. The Parameter 1 (FX1) parameter adjusts the size of the cylinder and the Parameter 2 (FX2) parameter adjusts the number of times the content is repeated on the cylinder.
CHAPTER 10 Visual Effects 22 Movie Stretched When the Visual Effects parameter is assigned a DMX value of 22, the Layer’s content is stretched into vertical slices. The Parameter 1 (FX1) parameter adjusts positioning of the stretch within the content, and the Parameter 2 (FX2) parameter adjusts the length of the stretched slices.
CHAPTER 10 Visual Effects 23 Movie Panorama Slices When the Visual Effects parameter is assigned a DMX value of 23, the Layer’s content is sliced into strips and placed side by side. The Parameter 1 (FX1) parameter adjusts the number of slices. The Parameter 2 (FX2) parameter does not function with this Visual Effect. The Layer’s original image. 102 The Layer’s image sliced into strips placed side by side.
CHAPTER 10 Visual Effects 24 Movie on Magic Lantern 2 When the Visual Effects parameter is assigned a DMX value of 24, the Layer’s content is wrapped around solid cylinder. The Parameter 1 (FX1) parameter adjusts the size of the cylinder and the Parameter 2 (FX2) parameter adjusts the number of times the content is repeated on the cylinder.
CHAPTER 10 Visual Effects 30 Movie on Cube 4 Sides When the Visual Effects parameter is assigned a DMX value of 30, the Layer’s content is wrapped around four sides of a cube. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect A Layer with no Visual Effects The Layer’s image on four sides of a cube 31 Movie on Cube 6 Sides When the Visual Effects parameter is assigned a DMX value of 31, the Layer’s content is wrapped around six sides of a cube.
CHAPTER 10 Visual Effects 32 Movie on Colored Cube 6 Sides When the Visual Effects parameter is assigned a DMX value of 32, the Layer’s content is wrapped around six sides of a cube. Each side of the cube is tinted with a different color.
CHAPTER 10 Visual Effects 40 Movie on NxN Simultaneous When the Visual Effects parameter is assigned a DMX value of 40, the Layer’s content can be tiled in both the horizontal X-axis and the vertical Y-axis. The Parameter 1 (FX1) parameter adjusts the number of tiles on the horizontal X-axis. The Parameter 2 (FX2) parameter adjusts the number of tiles on the vertical Y-axis.
CHAPTER 10 Visual Effects 41 Movie on NxN Simultaneous Random Color When the Visual Effects parameter is assigned a DMX value of 41, the Layer’s content can be tiled in both the horizontal X-axis and the vertical Y-axis. Each tile of the image will randomly change color. The Parameter 1 (FX1) parameter adjusts the number of tiles on the horizontal X-axis. The Parameter 2 (FX2) parameter adjusts the number of tiles on the vertical Y-axis.
CHAPTER 10 Visual Effects number of tiles on the horizontal X-axis. The Parameter 2 (FX2) parameter adjusts the number of tiles on the vertical Y-axis. 45 Movie on Random Flicker When the Visual Effects parameter is assigned a DMX value of 45, the Layer’s content randomly turns on and off with a result similar to the Strobe parameter effect. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect.
CHAPTER 10 Visual Effects 60 Rectangle Shuttered When the Visual Effects parameter is assigned a DMX value of 60, the Layer’s content is replaced with a non-transparent white rectangular image. This effect mimics a rectangular shuttered light. Keystone Correction parameters adjust the shutter sides and the color parameters let you mix the color. All the position, rotation and scale and strobe parameters adjustments can be used with this effect.
CHAPTER 10 Visual Effects 61 Rectangle Graduated Color Shuttered When the Visual Effects parameter is assigned a DMX value of 61, the Layer’s content is replaced with a non-transparent white rectangular image. The Parameter 1 (FX1) parameter selects graduated color from the top of the rectangle. The Parameter 2 (FX2) parameter selects graduated color from the bottom of the rectangle. The Keystone Correction parameters adjust the shape of the image.
CHAPTER 10 Visual Effects 62 N Sided Shape Shuttered Black When the Visual Effects parameter is assigned a DMX value of 62, the Layer’s content is replaced with a transparent polygon on a black plane. The Parameter 1 (FX1) parameter adjusts polygon’s number of sides. The Parameter 2 (FX2) parameter does not function with this Visual Effect. All the position, rotation and scale and strobe parameters can be used with this effect.
CHAPTER 10 Visual Effects 70 Shutter Shuttered Black When the Visual Effects parameter is assigned a DMX value of 70, the Layer’s content is replaced with a transparent rectangular image on a black plane. The Keystone Correction parameters adjust the shape of the image. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect.
CHAPTER 10 Visual Effects 71 Shutter Shuttered Color When the Visual Effects parameter is assigned a DMX value of 71, the Layer’s content is replaced with a transparent rectangular image on a white plane. The Keystone Correction parameters adjust the shape of the image. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect.
CHAPTER 10 Visual Effects 72 Iris Shutter Black When the Visual Effects parameter is assigned a DMX value of 72, the Layer’s content is replaced with a transparent circular image on a black plane. The Parameter 1 (FX1) parameter adjusts the softness of the circle’s edge. The Parameter 2 (FX2) parameter does not function with this Visual Effect. 114 Layer 1with no visual effect Layer 2 with no visual effect Layer 2 with no Parameter 1 (FX1) parameter adjustments over Layer 1.
CHAPTER 10 Visual Effects 100 Movie on Teapot Filled When the Visual Effects parameter is assigned a DMX value of 100, the Layer’s content is wrapped around a solid teapot. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect Layer with no visual effect A Layer with its image wrapped around a solid teapot. 120 Colored Sphere When the Visual Effects parameter is assigned a DMX value of 120, the Layer’s content is replaced by a colored sphere.
CHAPTER 10 Visual Effects 123 Spectrograph When the Visual Effects parameter is assigned a DMX value of 123, the Layer’s content is replaced with a waveform of the audio input. The Parameter 1 (FX1) selects different types of audio waveforms. The Parameter 2 (FX2) parameter does not function with this Visual Effect. Waveforms can also be modified by Color, position, scale and aspect ratio parameters. Several Variations of Waveforms are Available in the Spectrograph Parameter.
Chapter 11: Keystone and Shutters Keystone Correction The shape of a projected image is affected by the angle of projection. A rectangular image may appear on a wall as a trapezoidal shape. Keystone correction compensates for this effect by allowing adjustments to the geometry of the layer’s image. The eight Keystone Correction parameters each adjust one corner of the layer’s image horizontally along the X-axis or vertically along the Y-axis.
CHAPTER 11 Keystone and Shutters Shutter Effects The eight Keystone Correction parameters also adjust the shape of shutter effects on a layer. To activate the shutter affects of the Keystone Correction parameters, the Visual Effects parameter must be assigned to a DMX value between 60 and 72. A DMX value of 70 (Shuttered Black) is the most commonly used. When a shutter Visual Effect is activated on a layer, that layer changes to a shutter only layer.
Chapter 12: Art-Net Protocol ™ As an alternative to using standard DMX connections through the CIB, Catalyst Media Servers can receive DMX-512 over an Ethernet network using Art-Net™ protocol. Artnet is an open protocol developed by Artistic Licence to distribute DMX over Ethernet. Catalyst software is compatible with Artnet, and a suitable Artnet DMX Input device can be used to send DMX into Catalyst from a lighting console.
CHAPTER 12 Art-Net™ Protocol Note: Consult your manufacturers instruction manual for the correct IP settings, which may be different to the ones described. The default IP address setting is 2.0.0.x, where x is an integer value from 0 - 255. Some ArtNet boxes can use an alternative IP address, which is 10.0.0.x. The Subnet Mask for Artnet is 255.0.0.y, where y is the position of the SubNet switch on your Artnet interface. Generally, this would be set to zero.
CHAPTER 12 Art-Net™ Protocol Assigning a DMX In Panel to Art-Net Assigning Catalyst DMX In panels to respond to Art-Net instead of standard DMX is a simple process. Next to the On/Off button in each DMX In panel is a field used to assign the DMX source. Click on the field to open a pop up window with available sources. You can then select CIB (when standard DMX is used) or one of ten ArtNet channels.
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Chapter 13: Audio Audio Input Audio Inputs to the Media server can be displayed on any layer by choosing a Visual Effects parameter DMX value of 123. This effect changes the Layer’s output to a waveform display of the audio input. The waveform can be manipulated with the Layer’s parameters in the same manner as other content played back from the hard drive. The audio feed is input into the Catalyst Media Server via the PowerMac’s audio in connection. Configuring the Audio Feed 1.
CHAPTER 13 Audio Activating the Audio Input 7. Use the Audio Input panel on the Catalyst Control window to activate Audio Input. Click on the round On/Off button to activate the Video Input panel When the Visual Effects parameter is assigned a DMX value of 123, the Layer’s content is replaced with a waveform of the audio input. The Parameter 1 (FX1) selects different types of audio waveforms. The Parameter 2 (FX2) parameter does not function with this Visual Effect.
CHAPTER 13 Audio Audio Output Audio Playback In normal video only operation, Catalyst software will ignore audio tracks in a movie. Catalyst software uses video acceleration algorithms to get the best possible performance from the Macintosh computer. When using the audio playback feature, Catalyst software prioritizes the playback of the audio in a movie, over the playback of video. This means that video performance may be affected by the playback of multiple audio and video layers.
CHAPTER 13 Audio have a video input card like a Blackmagic Decklink Extreme installed, you can use the card to output audio. You can also use other Core Audio compatible audio devices, including Firewire and USB devices. 3. By clicking on the Input tab, you can also configure the Audio Input device for use with the Spectrograph visual effect. Setting Up DMX with Audio Each layer has a separate volume control which can be patched as a single DMX channel.
Chapter 14: Video Input Choosing a Library parameter DMX value of 255 for any layer switches that layer's content source from the Media Server hard drive to a video feed input. The video feed can then be manipulated with the Layer’s parameters in the same manner as content played back from the hard drive. Connecting the Video Feed Video feeds are input into the Catalyst Media Server via the PowerMac’s FireWire connection or with an optional video input card.
CHAPTER 14 Video Input 3. Click on the small monitor icon to toggle on and off a live preview of the Video Input. This preview is for test purposes only and should be switched off during normal Catalyst use.Click on the Settings... field to pop up a menu of display options for the Video Input. Monitor Icon 4. 128 Choose the desired setting and click to select.
Chapter 15: Serial Control The Catalyst Media Server can control peripheral devices such as video switchers or projector shutters through the PowerMac’s Universal Serial Bus (USB) ports. Using the RS-232 serial communications protocol, the Catalyst Control window’s Custom Serial panel transmits RS-232 control commands to the peripherals as a response to changed DMX values. This feature lets non-DMX controlled devices coordinate automatically with events and images in your show.
CHAPTER 15 Serial Control panels in the Catalyst Control window. Trigger 1 uses the top Custom Serial panel. Trigger 2 uses the bottom Custom Serial panel. 3. Click the field showing the DMX start channel number. Type the value of the channel to assign to the serial device. Each serial device uses one DMX channel. Assigning the Interface and Data Format The RS-232 standard specifies several different data drivers for the PowerMac computer. The Media Server can send commands using any of these drivers.
CHAPTER 15 Serial Control OSX Serial Ports. •Any USB to Serial devices plugged into the computer will appear in this menu section. 3. Select the RS-232 driver for the attached serial device. The No Output status changes to show the selected serial driver. Next, set the serial device’s baud rate (transmission speed) and data format (the method the device uses to encode its RS-232 messages).
CHAPTER 15 Serial Control 3. For the command string itself, you will define your own string command as required by the triggered device. In addition, the Catalyst software includes several pre-defined strings as examples. If you choose a built-in string, you can use it as is, or customize it as needed. Custom String Command In the Serial String box type the string itself. A string can be text, a hexadecimal value, or a combination of both.
CHAPTER 15 Serial Control 4. After defining the desired action, click Send Now to test this string on your serial device. 5. Close the Edit General Serial Preset window by clicking the O.K. button. 6. Repeat with the other Custom Serial panel buttons until you have entered all the command strings needed.
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Chapter 16: MIDI Timecode Catalyst Media Servers can receive MIDI timecode and a Layer’s playback can synchronize to the timecode. Connecting MIDI Timecode Devices Many aftermarket companies manufacture USB to MIDI devices for use with the PowerMac computer. Typically these devices consist of a USB connector on one end and a number of MIDI connections on the other. Contact High End Systems technical support for recommended USB to MIDI devices.
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Chapter 17: Sony 9-pin RS422 Some versions of Catalyst software include the ability to control video equipment using the Sony 9-pin RS422 editing protocol. Devices using this protocol include Omega video decks, Doremi players, Sony broadcast products, as well as JVC and Panasonic products. Consult your playback device specifications for further information. When properly configured.
CHAPTER 17 Sony 9-pin RS422 Assigning the Interface and Data Format 1. Click on the Device field to pop up a menu of serial devices: Device field 2. 138 Click on OSX Serial Setup... to open the Serial Port Setup window.
CHAPTER 17 Sony 9-pin RS422 3. Click on the Device field to pop up the menu of devices and click on the properly configured device: Click on the properly configured device. When properly configured and connected, the Sony 9-pin device panel displays green and blue transmit and receive lights. Transmit and Receive indicators Manual testing of the device is available by clicking on the playback buttons on the Sony 9-pin device panel.
CHAPTER 17 Sony 9-pin RS422 Assigning a DMX Value 1. In an unused DMX In panel, click the left button to turn on the panel. The button’s center and edge turn from gray to yellow 2. Click the description of the layer, to the right of the channel number. On the pop-up menu, select Sony 9Pin RS422 1. 3. Click the field showing the DMX start channel number. Type the value of the DMX start channel to assign to the Sony device. The Sony 9-pin device uses six DMX channels.
CHAPTER 17 Sony 9-pin RS422 The 3rd channel is timecode Hours. The 4th channel is timecode Minutes. The 5th channel is timecode Seconds. The 6th channel is timecode Frames.
CHAPTER 17 Sony 9-pin RS422 When the Play Mode parameter is se t to Sync to Sony 1 and the deck is played, the Layer’s movie should play and stay in sync with the deck. When the video deck is played or stopped, the Layer’s movie will do the same. Example 2 To sync to something with a timecode of 1hr 45 min 0 sec 0 fr: Use the Out Frame to set a positive offset. To calculate this value, round up to the nearest hour. With the above example, the time code is 15 minutes before timecode 2hr.
Chapter 18: Presets Presets are lighting console style cues set up within the Catalyst application. Presets are available in Pro, DV and Express versions and can control all layers and every parameter within Catalyst. The Presets programming screens are located in the Library window. Select Library from the Windows pull down Menu, and click on the Presets tab in the library window.
CHAPTER 18 Presets Creating a Preset Note: Before programming Presets without a DMX desk, check that DMX is turned OFF in the Catalyst Control Window DMX In panel for every affected layer. A Yellow ring designates that DMX In is ON Catalyst Control Window Each layer has a panel in the Catalyst Control window with File, Position, Color and FX (Visual effects) tabs.
CHAPTER 18 Presets File Tab Settings Library File Name Current frame File Info Out frame Playback mode Sync Options Playback speed In frame Volume Control Visual Segment Size Reference File tab on Layer panel Library Select from the drop-down list of available library folders. Note the following special reserved libraries: • Library 254 (Use Layer) is reserved for layer functions. See Referencing Content with the Use Layer on page 42.
CHAPTER 18 Presets Position Tab Settings The Position tab displays image size and position, and provides previews of advanced positioning features like Smooth and Rotation. Numerical values to the right of the sliders display the precise coordinates of the image. For more detailed information about these parameters, see Movement and Size on page 47. Position Scale Rotation Smooth Position Tab x pos (X Position) Sliders moves the image right and left along the X axis.
CHAPTER 18 Presets Color Tab Settings The Color Tab displays color settings for the selected image. For more information on these parameters, see Chapter 8: Intensity and Color on page 55 and Chapter 9: Strobing and Trails on page 89. Color Effects Color Setting Trails Strobe Intensity Color Tab The following Color tab options are available: Color Effects This menu displays the name of the color effect currently applied to the image.
CHAPTER 18 Presets FX Tab Settings The FX tab lets you preview geometric (visual) effects applied to the image and adjust aspect ratio and keystone correction. Visual effect Shutter/ Keystone Correction Aspect Ratio Parameter 1 Parameter 2 FX tab on Layer panel Visual Effects These selections are made from the pop-up menu. For a complete description of visual effects, see Visual Effects on page 4. FX Sliders These three numerical sliders vary in function with the effect selected.
CHAPTER 18 Presets Naming the Preset To assign a preset name: 1. Open the Library window and select the preset tab. 2. Scroll through to pick the preset you wish to program. 3. Click on no name next to the Preset number and type the name. 4. Press Enter to store the Preset name. Editing a Preset 1. Click on a layer to open the Edit Preset window. 2. Click on the Layer Tabs to select the relevant layer. 3. Click the Snapshot button to view the current DMX value information for that layer.
CHAPTER 18 Presets Storing a Preset After selecting and manipulating content on layers, use the Command Options to store the preset. Load and Run Preset ctrl + This tells you how to trigger the preset from the Mac keyboard. Run Layer This runs the information recorded into the preset on a specific layer.
CHAPTER 18 Presets Preset Window Buttons The Preset Editor window also features buttons at the bottom of the window: Run This runs the currently selected layer. Snapshot This snapshots the currently selected layer. Clear To Off This clears all programming from the currently selected layer and sets the parameters back to their default values. Active Snapshot Stop Cancel Cancels any programming changes OK Accepts programming changes.
CHAPTER 18 Presets Setting Crossfade Path and Fade Time After setting values for a layer’s parameters, crossfade path and fade time can be set for each relevant parameter. You can also adjust programming from this screen too. A crossfade path determines how a parameter fades from one value to another, and a fade time determines how quickly a parameter fades from one value to another. By default Catalyst will snap parameters, with a zero second fade time.
CHAPTER 18 Presets Triggering Presets Presents can be triggered from the keyboard, by using a mouse or touchscreen, using a single DMX channel or by using Midi Show Control. Triggering with a Keyboard, Mouse or Touchscreen Triggering Presets with a keyboard, mouse or a touchscreen requires the same approach. Go to full screen and hit the appropriate key to bring up the diagnostic screens – see ‘Diagnostic Screens’ for more details.
CHAPTER 18 Presets Preset Keyboard Mapping (UK and US Keyboards) Preset 1 1 Preset 11 Q Preset 21 A Preset 31 Z Preset 2 2 Preset 12 W Preset 22 S Preset 32 X Preset 3 3 Preset 13 E Preset 23 D Preset 33 C Preset 4 4 Preset 14 R Preset 24 F Preset 34 V Preset 5 5 Preset 15 T Preset 25 G Preset 35 B Preset 6 6 Preset 16 Y Preset 26 H Preset 36 N Preset 7 7 Preset 17 U Preset 27 J Preset 37 M Preset 8 8 Preset 18 I Preset 28 K Preset 38 , Preset
CHAPTER 18 Presets Different control platforms, particularly lighting desks, implement Midi Show Control in different ways. Catalyst allows any platform that supports Midi Show Control to trigger presets. Please see your control platform documentation to further details on how Midi Show Control has been implemented.
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Chapter 19: Custom Content The preloaded Catalyst Media Server content includes hundreds of still images and movie files. You can also easily install your own files. Content Requirements The Media Server software supports all file formats supported by Apple Quicktime— Quicktime itself, many other video codecs such as DV camcorder, and every major image file format. A complete list of supported formats is on Apple’s Web site at http://www.apple.com/quicktime/products/qt/specifications.html.
CHAPTER 19 Custom Content Rendering Content The Basics of Content Creation 1. Start with the highest quality source content possible. This gives you more options later, such as when you are color or gamma correcting the file, or scaling it for a different sized output, or other manipulation options. 2. Master to high quality source rather that directly out of the compositing application, or a 3D program. Instead, render out to an uncompressed DM (Digital Master file).
CHAPTER 19 Custom Content DV ALWAYS has the same data rate, and our tests indicate that one DV file plays back as well as any other, so it is much more predictable than PhotoJPEG. Other QuickTime codecs can be recommended in specific applications CODEC DV-PAL Recommended Use PAL TV bound footage or anything that requires a 720x576, 25 fps movie. Pro Cons Plays back very well, even multiple movies simultaneously.
CHAPTER 19 Custom Content Perceived Brightness How an image is rendered can greatly influence the perceived brightness of a projected image. By rendering content for light output, the performance of the output device can be dramatically improved. Optimization for DL1 projection of the following content samples were accomplished by: 1) Applying gain to the RGB values of the original content 2) Applying an offset to the RGB values of the original content.
CHAPTER 19 Custom Content Installing Libraries and Files Content can be added to the Catalyst Media Server from internal and external hard drives, CD-Roms and DVD-roms, as well as over an Ethernet network. The process consists of placing properly named and formatted files within correctly named folders. Creating a New Library Folder 1. Quit the Catalyst application by selecting File>Quit on the menu bar. 2. Double-click the Macintosh HD icon on the desktop of the PowerMac G5.
CHAPTER 19 Custom Content Adding New Files to a Library Folder 1. Double click on the newly created folder to open it. 2. From the Finder menu at the top of the screen, select File > New Finder Window. A new Finder window is displayed. 3. Browse to the drive and folder that holds your new file(s). 4. Select the file(s) you wish to add to your newly created Library folder. 5. Drag the new file(s) from the first folder into the desired Library folder. 6.
Chapter 20: Diagnostic Displays The Catalyst Media Server offers twelve diagnostic displays accessible from keyboard hotkeys.
CHAPTER 20 Diagnostic Displays This Computer This screen displays the assigned name of the Catalyst Media Server, the Output on which the information is being displayed, and the resolution of that Output. It also shows the current gamma transfer function across both displays. Use this to verify that all displays are using the same output gamma when overlap is critical Selecting Preset lists a number of Color Profiles that can be used to adjust content brightness perception.
CHAPTER 20 Diagnostic Displays DMX Input Channels This screen displays DMX values for the parameters of each activated DMX In panel. USB CIB DMX Input This screen displays DMX values coming into the Catalyst Media Server from the Catalyst Interface Box (CIB). Actively changing DMX values are highlighted in blue.
CHAPTER 20 Diagnostic Displays ArtNet DMX Input This screen displays DMX values coming into the Catalyst Media Server from an Art-Net Network. Actively changing DMX values are highlighted in blue. Use hotkeys T and Y (Output 1) or B and N (Output 2) to move forward and backward through the Art-Net Inputs.
CHAPTER 20 Diagnostic Displays Statistics This screen displays the amount of CPU time selected Media Server processes are using. Intended for internal diagnostics and technical support only.
CHAPTER 20 Diagnostic Displays Playbacks This screen displays playback parameter information and thumbnails for all enabled layers. Playback In and Out Library Option Frame File Info DMX # Playback File Name Speed File DMX # Frame Rate Playback Diagnostic Screen for Catalyst Pro 8-layer Version.
CHAPTER 20 Diagnostic Displays Color FX Preview This screen displays thumbnail previews of Layer 1 with each Color Effect applied to the current content for a designated layer along with all other selected parameter values. Numbered tabs move through layers. The << and >> tabs move you through the range of color effects. The example below shows the color effects 0 - 23 applied to layer five content with its current adjustments to position, scale and visual effects.
CHAPTER 20 Diagnostic Displays Geometry FX Preview This screen displays thumbnail previews of Layer 1 with each Visual Effect applied to the current content for a designated layer with all it’s parameter adjustments. Numbered tabs move through layers. The << and >> tabs move you through the range of visual effects. The example below shows the color effects 0 - 23 applied to layer five content with current adjustments for position, and scale.
CHAPTER 20 Diagnostic Displays File Preview Library This screen displays which Files in a Library Folder have content, indicated with a thumbnail preview or a green square. The << and >> tabs move you through the available library folders.
CHAPTER 20 Diagnostic Displays This Machine This screen displays details of each layer’s parameters on this Catalyst Media Server. Thumbnail previews of this server’s individual layer outputs appear along the bottom.
CHAPTER 20 Diagnostic Displays Remote Machines This screen displays DMX values for Catalyst Media Servers connected through an Ethernet network. Remote servers are identified by the named entered in the CIB panel of the Catalyst Window, see CIB Panel on page 23. Mimic. In addition to monitoring layer information, the output window for this machine will display a broadcasting server’s multilayer content. This is useful when an operator cannot directly view a remote server’s output.
CHAPTER 20 Diagnostic Displays 174 Catalyst® V3 Media Server User Manual
Chapter 21: Multiple Servers Catalyst Media Servers can communicate with one another over an Ethernet network. This function allows the capabilities of synchronizing content across multiple servers, monitoring remote servers, and sending remote commands to multiple machines. To connect several servers, power off all servers and run Ethernet cable from each server to a shared Ethernet hub.
CHAPTER 21 Multiple Servers Synchronizing Multiple Servers Synchronized playback allows two or more Media Servers to play media with accurate frame-by-frame synchronization over an Ethernet network connection. This applies to either simultaneous playback of the same media file on multiple servers, or to playback of coordinated clips utilizing different media files. Synchronizing only affects server playback rates, not the Layer’s content.
CHAPTER 21 Multiple Servers Assigning Master Sync ID Numbers The network can have up to 20 master layers at once, each with its own unique Sync ID number. Any layer can be synchronized to a master layer. All servers on the same network share the same set of 20 Sync ID values. Don’t assign the same ID value to two master layers, even if they’re on different servers. Using the Catalyst Control window on the PowerMac, you can assign unique Sync ID values to selected layers: 1.
CHAPTER 21 Multiple Servers 5. Using the DMX Folder and File parameters, select a folder and movie file for playback. It does not have to be the same movie as on the master layer. 6. With this slave layer, adjust the DMX value of the Play Mode parameter to a DMX value between 80 and 99. The exact value determines which SyncID is used for synchronization. For example, a DMX value of 80 synchronizes to SyncID number 1.
CHAPTER 21 Multiple Servers 5. Click on the Name field of the CIB Connection panel and type in a desired name for the server. Name field Using the Remote Machines Diagnostic Display Accessing the Remote Machines Display Screen 1. Using the keyboard, press “W” (Output 1) or “X” (Output 2) to activate the Diagnostic Displays. 2. Using the keyboard, press “E” (Output 1) or “C” (Output 2) to scroll through the Diagnostic Displays until the Remote Machines diagnostic display appears. 3.
CHAPTER 21 Multiple Servers 5. Exit the Diagnostic Display by pressing “Q” (Output 1) or “Z” (Output 2). Mimic Feature When the Mimic Button is selected, this machine will display a remote server’s multilayer content. This is useful when an operator cannot directly view the output of a remote server. Note: The local machine can mimic a remote server’s content only if it has the same content loaded.
CHAPTER 21 Multiple Servers 6. Click on any of the following commands to send it to all enabled machines on the network: Send Goto Fullscreens for All Connected. All Media Servers on the network that are set to Accept Remote Commands enter full screen mode on all outputs. Send Shutdown to All Connected. All Media Servers on the network that are set to Accept Remote Commands shut down. Send Restart to All Connected. All Media Servers on the network that are set to Accept Remote Commands reboot.
CHAPTER 21 Multiple Servers 182 Catalyst® V3 Media Server User Manual
Appendix A Understanding DMX-512 A lighting console typically utilizes a protocol called DMX-512 to communicate with automated lighting fixtures and conventional dimmers. This protocol consists of 512 unique channels of control per output link (universe). Each channel is capable of producing 256 values ranging from 0 to 255.
CHAPTER Understanding DMX-512 console, some Catalyst parameters might have different labels for parameter names and functions than are listed within this manual. Consult your lighting console manual for further information. DMX Output Displays. Although all lighting consoles output the same 512 channels of DMX per link, the on-screen labeling often differs.
Appendix B: DMX Protocol Chap # 1 Library 2 File 3 4 5 6 In Frame Coarse In Frame Fine Out Frame Coarse Out Frame Fine 7 Value dec.
Appendix B DMX Protocol Chap # 8 9 Function Playback Speed X-axis Rotate (vertical flip) Coarse adjustment 10 X-axis Rotate (vertical flip) Fine adjustment 11 Y-axis Rotate (horizontal flip) Coarse adjustment 12 13 14 15 186 Y-axis Rotate (horizontal flip) Fine adjustment Z-axis Rotate (circular rotation) Coarse adjustment Z-axis Rotate (circular rotation) Fine adjustment Scale Coarse adjustment Playback at 100% recorded speed Pause playback Playback at 0–200% recorded speed Value dec.
Appendix B DMX Protocol Chap # Function 16 Scale Fine adjustment 17 X Position Coarse adjustment 18 X Position Fine adjustment 19 Y Position Coarse adjustment 20 Y Position Fine adjustment 21 Aspect Ratio 22 Movement Speed 23 Intensity 24 Red 25 Green 26 Blue Description Actual size Adjusts normal image size from 0 to 8x actual size Moves image left from center of display Value dec.
Appendix B DMX Protocol Chap # 29 188 Function Color Effects Value dec.
Appendix B DMX Protocol Chap # 29 Function Color Effects (continued) Description Value dec.
Appendix B DMX Protocol Chap # 30 Function Visual Effects Value dec.
Appendix B DMX Protocol Chap # Function Description Value dec.
Appendix B DMX Protocol 192 Catalyst® V3 Media Server User Manual
Appendix C: Copyrighted Materials FAQ The following FAQ, written by Suzy Vaughan Associates for High End Systems, can help you determine the correct use for materials that may be copyrighted. I want to use a film clip in a promotional piece advertising my services. What do I have to do to be able to do that? First of all, you need to obtain permission to use the clip from its owners.
Appendix C Copyrighted Materials FAQ No. High End Systems has worked to provide clearance for the content that is provided with the Catalyst system. Any materials you received directly from High End Systems with the purchase of a new Catalyst system have already been properly licensed for your use in shows and presentations. That does not, however, license you to sell this content separately from the Catalyst system.
Appendix D Product and Safety Information Product Information Computer Specifications The following specifications apply to currently shipping Catalyst Media Servers; earlier G4-based systems upgraded to the Catalyst Media Server will have different specifications. • Dual 2GHz PowerMac G5 (or higher) • ATI Radeon 9800 Pro (or higher) • Mac OS 10.3.3 (or higher) • Quicktime 6.5 (or higher) Note for upgrading customers: Though Catalyst software will run on a Dual 1.
Appendix D Product and Safety Information Installing Power Cord Caps The Catalyst Media Server control rack may ship without an attached power cord cap. Different locations (even within the same country) may require a different power cord cap to connect the fixture to a power outlet. Because of the variety of power cord caps used worldwide, High End Systems, Inc. cannot make specific recommendations for the power cord cap. Contact a local authority for the type of power cord cap needed.
Appendix D Product and Safety Information Catalyst Accessories The following table lists accessories available for the Catalyst Media Server from your High End dealer/distributor. For more information, contact your High End Systems dealer/distributor or see .
Appendix D Product and Safety Information Advertencia De Modificación Del Producto Los productos de High End Systems están diseñados y fabricados para cumplir los requisitos de las reglamentaciones de seguridad de los Estados Unidos e internacionales. Las modificaciones al producto podrían afectar la seguridad y dejar al producto fuera de conformidad con las normas de seguridad relevantes.
Appendix D Product and Safety Information Warranty Information Limited Warranty. Unless otherwise stated, your product is covered by a one year parts,labor and technical support limited warranty. It is the owner’s responsibility to furnish receipts or invoices for verification of purchase, date, and dealer or distributor. If purchase date cannot be provided, date of manufacture will be used to determine warranty period. Returning an Item Under Warranty for Repair.
Appendix D Product and Safety Information Safety Information Warning: For Continued Protection Against Fire 1. This equipment for connection to branch circuit having a maximum overload protection of 20 A. Warning: For Continued Protection Against Electric Shock 1. If this equipment was received without a line cord plug, attach the appropriate line cord plug according to the following code: 2.
Appendix D Product and Safety Information Importantes Informations Sur La Sécurité Mise En Garde: Pour Une Protection Permanente Contre Les Incendies 1. Cet appareil de connection au circuit comporte une protection contre les surcharges de 20 A. Mise En Garde: Pour Une Protection Permanente Contre Les Chocs Électriques 1. Si cet équipement est livré sans prise de cable, veuillez connecter la prise de cable correcte selon le code suivant: • marron—phase • bleu—neutre • vert/jaune—terre 2.
Appendix D Product and Safety Information Información Importante De Seguridad Advertencia: Para Protección Continua Contra Incendios 1. Este equipo debe conectarse a un circuito que tenga una protección máxima contra una sobrecargas de 20 A. Advertencia: Para La Protección Continua Contra Electrocuciones 1. Si se recibió este equipo sin el conector de alimentacion, monte usted el conector correcto según ia clave siguente: • moreno—vivo • azul—neutral • verde/amarillo—tierra 2.
Appendix D Product and Safety Information Vigtig Sikkerhedsinformation Advarsel: Beskyttelse mod elektrisk chock. VIGTIGT! LEDEREN MED GUL/GROEN ISOLATION MAA KUN TILSLUTTES KLEMME ELLER .
Appendix D Product and Safety Information 204 Catalyst® V3 Media Server User Manual
Index Index Symbols 16-bit DMX: 179, 180 A Accessories: 193 Alpha: 69 Alpha channel: 69, 70, 71, 72 anti-aliasing: 34 Art-Net: 119, 139 Aspect Ratio parameter: 53 DMX protocol: 183 Audio Input: 116, 121, 122 Audio Input panel: 122 B baud rate: 127 Black and White: 64, 65, 66, 74, 79 Blue: 143 Blue parameter: 15, 56 DMX protocol: 183 BNC: 33 Build Date: 159 C Catalyst Interface Box: 33, 193 Catalyst Interface Box (CIB) settings shown in Device Control: 23 CD-Rom: 157 CIB Connection panel: 174, 175, 176 C
Index File Preview Library Screen: 167 File Tab: 24, 141, 173 Files Tab: 27 FireWire: 123 library 255 reserved for input from: 141 Fixture Library: 179 Flicker: 108 Folders Tab: 28, 29 Full Screen: 34 Full Screen Mode: 177 FX Sliders: 144 G Gamma: 74, 76, 77, 78 Geometry FX Tab: 30 Graduated Color: 110 Green: 143 Green parameter: 15, 56 DMX protocol: 183 H hard drives: 157 HighEnd Lithopatterns: 41 Hotkeys: 175 hotkeys: 159, 162 hue: 87 I illuminance: 79 image size: 153 In Frame parameter: 42, 43 DMX pr
Index Parameter 2 (FX2) parameter: 91 DMX protocol: 186 Play Mode parameter: 11, 13, 17, 19, 43, 131, 172, 173 DMX protocol: 181 Playback Speed: 141 Playback Speed parameter: 45 DMX protocol: 182 Playbacks Screen: 164 polygon: 111 Power rating: 191 Power Cord Cap: 192 PowerMac: 26, 27, 118, 121, 123, 125, 131, 157, 173, 174, 176, 191 specifications: 191 Preview Monitor: 37 Q Quicktime: 153, 191 R Red parameter: 15, 56 DMX protocol: 183 reference layer: 41, 42 Remote field: 174, 176 resolution: 34 RGB: 81
Index 71, 72, 81, 82, 83, 84, 85, 86, 90, 91, 94, 114 U Uptime: 159 USB: 2, 26, 33, 125, 126, 131, 133 Use Layer: 42 use layer: 172 V video feed: 22, 123 Video Input: 123 Video Input panel: 123 video switcher: 26, 125, 128 Visual Effects parameter: 19, 30, 91, 117, 118, 121 W Warranty: 195 waveform: 116, 121, 122 Wholehog: 11, 15, 16, 174, 193 Widescreen: 40 Wireframe: 96, 98 X X Position parameter: 15, 49, 52, 118 DMX protocol: 183 X Rotation parameter: 47, 52, 99, 118 DMX protocol: 182 XLR cable: 6,
