MEDIA SERVER User Manual
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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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Important Safety Information Instructions pertaining to continued protection against fire, electric shock, and injury to persons are found in Appendix B. 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 B.
Introduction The High End Systems Catalyst® Media Server allows simultaneous preview and play back of multiple still images or movie files, adding effects such as crossfading (dissolves), montages, masking, strobing, color changes, and 3D geometry—all rendered in real time, and triggered from a lighting console using DMX-512 protocol. The Media Server plays many types of content—Quicktime video files, JPEG and GIF still images, and any other industry-standard format supported by Apple’s Quicktime player.
i Catalyst® V3 Media Server User Manual
Table of Contents Contacting High End Systems® ........................................................................................ii Important Safety Information .......................................................................................... iv Warning Labels ................................................................................................................. iv Introduction .......................................................................................................
Table of Contents Adding Trails to Layer 2 .............................................................................................. 18 Lesson 5: Shutters ........................................................................................................... 19 Understanding Shutters .............................................................................................. 19 Set up Layer 1 ........................................................................................................
Table of Contents Red, Green, and Blue ....................................................................................................... 48 Color Effects ..................................................................................................................... 49 0 RGB Subtract ............................................................................................................. 49 1 RGB Subtract High Contrast .........................................................................
Table of Contents 74 Solarize Invert ......................................................................................................... 73 80 RGB Layer Blend 1 ................................................................................................. 73 81 RGB Layer Blend 2 ................................................................................................. 74 82 RGB Layer Blend 3 .................................................................................................
Table of Contents 42 Movie on NxN Consecutive .................................................................................... 99 43 Movie on NxN Consecutive Random Color ........................................................... 99 44 Movie on NxN Consecutive Random Frame ......................................................... 99 45 Movie on Random Flicker ..................................................................................... 100 46 Movie on Random Color Flicker .....................
Table of Contents Remote Machines ....................................................................................................... 131 Multiple Servers ............................................................................................133 Synchronizing Multiple Servers ................................................................................... 134 Assigning Master Sync ID Numbers ........................................................................ 135 Synchronizing Content ....
Table of Contents Understanding DMX-512 ...............................................................................159 8-bit vs. 16-bit DMX ....................................................................................................... 159 Lighting Consoles ........................................................................................................... 159 Catalyst DMX Protocol ..................................................................................
Table of Contents 8 Catalyst® Media Server User Manual
Chapter 1: System Overview Catalyst Media Server Layers are designed for control from a DMX-512 lighting console, and the software’s user interface is used only for configuration and diagnostic purposes. All selections and manipulations of media are accomplished by and recorded to a lighting controller; the Media Server is simply a playback device.
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. These instructions also ship with your product as a Startup Sheet for the model you purchased. Inspecting Your Catalyst Media Server The Catalyst Media Server is contained in a roadcased equipment rack designed to protect the product during transport. As you unpack the Media Server rack, verify that it is undamaged.
CHAPTER 2 QuickStart 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). • The Catalyst DV model utilizes an Extron® VDA • The Catalyst Pro version contains a DV1 Dual VDA 3.
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 theMacintosh HD, the Content drive and the User Manual (in .pdf format). 1. 2. Move the mouse pointer to the bottom of the screen. A strip of iconsforming 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 6layer 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.
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. 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 20. On your lighting console, select Layer 2. Set the Intensity parameter to a DMX value of 255(100%). 21. 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. 22. Adjust the DMX value of the Z Rotation parameter so the Layer 1 image starts spinning slowly— 20 rotations per minute, for example. 23.
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 32. Adjust the eight Keystone Correction parameters to change the shape of the shutters. 33. Adjust the Z Rotation parameter to rotate the shutters. 34. When finished, clear or remove any information in your lighting console’s programmer or editor.
Chapter 4: 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 4 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 4 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 4 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 4 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 4 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. Configure the Output panels as follows: • Mix 1 & 2 with FX for Output 1 displays Layers 1 and 2 stacked on top of each other.
CHAPTER 4 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. When this occurs the P1 and P2 monitors behave as preview screens.
CHAPTER 4 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 5: 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 5 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 5 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 DV/DVCPRO NTSC TV bound footage or anything -NTSC that requires a 720x480, 29.
CHAPTER 5 Custom Content 2) Applying an offset to the RGB values of the original 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.
CHAPTER 5 Custom Content 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. The Finder screen launches, displaying the directories and files on the root folder of the Catalyst Media Server. 3. Browse to Applications>Catalyst v3>Library Files. A new window opens showing the Library folders currently in the Library Files folder.
CHAPTER 5 Custom Content 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. Confirm all files are named so that the name begins with the ### format (000-255). For example, “051SeascapeBlue.” When adding content to folders with existing content, ensure no image files share the same three digit number. 7.
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 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:s 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 11 12 13 14 15 40 41 42 43 44 80-99 100 101 103105 Play Mode Description Plays the movie in a continuous loop starting at the Out frame and repeatPlay Loop Reverse ing when it reaches the In frame.Playback pauses whenever Intensity = 0 when Intensity >0 and resumes when intensity is > 0 again. Plays the movie once, starting at the In frame point and stopping when it Play Once Forward reaches the Out frame.
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 46 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). Tthe 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. 94 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. 106 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: Library Window The Library window of the Catalyst Media Server is primarily used as a reference screen. It lists and describes content available to the server as well as details about the Color and Visual Effects. In addition the screen is used to configure Library folder assignments. On the top of the PowerMac monitor, Click on Library within the Windows menu to open the Library window.
CHAPTER 12 Library Window 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 Click on a Folder assignment number to open the Choose a Folder window.
CHAPTER 12 Library Window The Folders tab of the Library Window now displays the newly assigned folder. 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 quickscan where no thumbnails will be created.
CHAPTER 12 Library Window Colour FX Tab Clicking on the Colour 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.
CHAPTER 12 Library Window Geometry FX Tab Clicking on the Geometry FX tab on the top of the Library window displays reference information for the Visual Effects parameter. Colored fields indicate the functionality of other parameters associated with each effect.
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Chapter 13: Monitoring Information When using DMX to control a Catalyst Layer, all settings within the Layer panel will automatically adjust in real time to reflect the current DMX values sent from a lighting console. The information displayed on the Layer panels is intended for reference only and can not be recorded directly to the Media Server. General Layer Panel Information Layer Panels are displayed in the Catalyst Control window on the PowerMac monitor.
CHAPTER 13 Monitoring Information Layer Panel: File Tab Click the File tab to display the fields shown in below: File Library Out fra Playback Mode Playback speed In frame Current frame Library. Indicates the currently selected Library Folder and its DMX value. File. Indicates the currently selected File name and its DMX value. Playback Type. Indicates the currently selected Playback mode and its DMX value. Playback Speed.
CHAPTER 13 Monitoring Information Scale. The slider and numeric value indicate the sizing of the image. Z Rot. The slider and numeric value indicate the rotation of the image around the Z-axis. X Rot. The slider and numeric value indicate the rotation of the image around the X-axis. Y Rot (Y Rotation). The slider indicates the rotation of the image around the Yaxis. Smooth. Indicates the DMX value of the Movement Speed parameter.
CHAPTER 13 Monitoring Information Layer Panel: FX Tab Click the FX tab to display the fields shown below: Visual Effect Keystone correction Numerical fields Visual Effects. Indicates the name of the currently selected Visual Effect and its DMX value. Aspect. Indicates the DMX value of the Aspect Ratio parameter. FX 1. Indicates the DMX value of the Parameter 1 (FX1) parameter. FX 2. Indicates the DMX value of the Parameter 2 (FX2) parameter. Keystone Correction Preview.
Chapter 14: Diagnostic Displays The Catalyst Media Server offers twelve diagnostic displays accessible from keyboard hotkeys.
CHAPTER 14 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 trasfer function across both displays. Use this to verify that all displays are using the same output gamma when overlap is critical. DMX Input Channels This screen displays DMX values for the parameters of each activated DMX In panel.
CHAPTER 14 Diagnostic Displays 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 14 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 14 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 14 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 Diagostic Screen for Catalyst Pro 6-layer Version.
CHAPTER 14 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 14 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 14 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 14 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 14 Diagnostic Displays Remote Machines This screen displays information about Catalyst Media Servers connected together over an Ethernet network. .
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Chapter 15: 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 15 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 15 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 15 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 15 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 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 15 Multiple Servers Sending Remote Commands to Servers In addition to synchronizing and monitoring other Catalyst Media Servers on an Ethernet network, you can send remote commands to networked servers. 1. To set up a server to accept remote commands from another server, locate the CIB Connection panel at the top of the Catalyst Control window on the PowerMac. 2. Click on the Remote field in the bottom right corner of the CIB Connection panel to open a pop-up menu.
Chapter 17: Audio Input On any layer, choosing a Visual Effects parameter DMX value of 123 changes the Layer’s output a waveform display of an audio input into the Catalyst Media Server. The waveform can then be manipulated with the Layer’s parameters in the same manner as 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 17 Audio Input 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 16: 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 16 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. 136 Choose the desired setting and click to select..
Chapter 18: 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 18 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 18 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 18 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 18 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 19: 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 20: 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 20 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. 146 Click on OSX Serial Setup... to open the Serial Port Setup window.
CHAPTER 20 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 20 Sony 9-pin RS422 Assigning a DMX Channel 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 yellowl 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 20 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 20 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 21: Art-Net Protocol ™ Catalyst Media Servers can receive DMX-512 over an Ethernet network using the Artistic License Art-Net™ protocol. Art-Net is a communications system that allows DMX-512 to be transmitted over Ethernet. Catalyst Media Servers can directly receive the Art-Net protocol instead of standard DMX plugged into the CIB.
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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 Appendix A 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 Catalyst DMX Protocol Cha # Value dec.
Appendix B Catalyst DMX Protocol Cha # 9 Function 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 16 156 Y-axis Rotate (horizontal flip) Fine adjustment Z-axis Rotate (circular rotation) Coarse adjustment Z-axis Rotate (circular rotation) Fine adjustment Scale Coarse adjustment Scale Fine adjustment Value dec.
Appendix B Catalyst DMX Protocol Cha # Function 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 Moves image left from center of display Centers image left-to-right in display Moves image right from center of display Moves image down from center of display Centers image up-and-down in display Moves image up from center of display
Appendix B Catalyst DMX Protocol Cha # 29 158 Description Value dec.
Appendix B Catalyst DMX Protocol Cha # 29 30 Value dec.
Appendix B Catalyst DMX Protocol Cha # Function Description 30 Visual Effects (FX) (continued) Movie on N x N Consecutive Tiles—Random Frame Movie on Random Flicker Movie on Random Color Flicker Rectangle Shuttered Crop Top Bottom Rectangle Gradient Color Shuttered N-Sided Shape Shuttered Color Shutter—Black Shutter—Color Iris Shuttered Movie on Teapot—Filled Colored Sphere Spectrograph 31 32 Parameter 1 (FX1) Parameter 2 (FX2) Functions depend on Visual Effect (Channel 30) setting Value dec.
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 172 Catalyst® V3 Media Server User Manual
Index Index Symbols 16-bit DMXAppendix A-159Appendix A-160 A AccessoriesAppendix D-173 Alpha8-61 Alpha channel8-618-628-638-64 anti-aliasing4-22 Art-Net21-157 Aspect Ratio parameter7-4513-120 DMX protocolAppendix B-163 Audio Input10-10817-13917-140 Audio Input panel17-140 B baud rate18-145 Black and White8-568-578-588-668-71 Blue parameter3-158-4813-119 DMX protocolAppendix B-163 BNC4-21 Build Date14-121 C content5-2912-11112-11215-13516-14 1 contrast8-66 CopyrightAppendix C-169 copyrightAppendix C-
Index parameter3-113-123-133-173-195-346- 356-3615-135 DMX protocolAppendix B-161 File Preview Library Screen14-129 File Tab13-11815-135 Files Tab12-111 FireWire16-141 Fixture LibraryAppendix A-159 Flicker10-100 Folders Tab12-11212-113 Full Screen4-22 Full Screen Mode15-138 FX Tab13-120 invert7-43 Iris10-106 K Kaleidoscope10-91 Keystone10-8610-8711-10913-120 Keystone Correction parameters3-193-2010-8610-8710-101 10-10210-10410-10511-10911-11013 -120 DMX protocolAppendix B-167 L G Gamma8-668-688-698
Index Symbols NxN10-9810-99 R O Out Frame13-118 Out Frame parameter6-366-37 DMX protocolAppendix B-161 Output panel4-224-234-264-274-28 Output Settings4-23 Red parameter3-158-4813-119 DMX protocolAppendix B-163 reference layer6-356-36 Remote field15-13615-138 resolution4-22 RGB8-738-748-758-768-778-798-80 RGBHV4-21 roadcaseAppendix D-173 RS-23218-14318-14420-151 RS42220-151 P P1 Monitor4-214-27 P2 Monitor4-214-27 Panorama10-94 Parameter 1 (FX1) parameter10-8313-120 DMX protocolAppendix B-166 Paramete
Index DMX protocolAppendix Sync ID15-13415-135 Synchronize15-13415-135 Syncronize Timecode19-149 B-164 x D-173 Widescreen4-28 Wireframe10-8810-90 X T Teapot10-107 Temperature maximumAppendix D-171 tile10-9810-99 timecode19-149 Tint8-78 Trails3-179-82 Trails parameter3-179-8213-119 DMX protocolAppendix B-164 transparent3-128-518-528-548-578-59 8-608-618-628-638-648-738-748-758 -768-778-789-8210-8310-8610-106 U X Position parameter3-157-417-4411-110 DMX protocolAppendix B-163 X Rotation parameter7-3
