User Manual Grass Valley Model 2200 Digital Production Switcher Software Release 5.
Customer Support Telephone Numbers North America (800) 547-8949 Fax: (530) 478-3181 Elsewhere Distributor or sales office from which equipment was purchased. Tektronix Grass Valley Products is committed to providing the most responsive and professional product support available. We have a fully staffed, highly trained support team ready to respond to anything from a simple question to an emergency repair. Support is available via telephone or email.
Contents Preface Welcome to the Model 2200 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi Organization of This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi Related Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii How to use this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii Conventions used in this manual . . . . . . . . . . . . . . . . . . . . .
Contents Description of Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-14 Chromatte Advanced Chroma Keyer . . . . . . . . . . . . . . . . . . . . . . . . 1-14 BORDERLINE Key Edge Generation . . . . . . . . . . . . . . . . . . . . . . . . 1-14 Secondary Wipe Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-14 Effects Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-15 Look Ahead Preview .
Contents Setting Editor Port Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring GPI Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DPM Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Video Connection (Aux Buses and Return Inputs) . . . . . DPM Capabilities (Fixed and Pooled) . . . . . . . . . . . . . . . . . . . . Control Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Contents Coring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-16 Layering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-17 E-MEM Effects Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-18 Effects and Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-18 Enables and Delegates . . . . . . . . . . . . . . . . . . .
Contents Layered Mode Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-35 Chroma Keying Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Auto Chroma Keying Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . Auto Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Basic Manual Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Optimization Adjustments . . . . . . .
Contents Frame Store Operations (Option) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-74 Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-74 Output Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-74 Still Image Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-75 Building A Recursive Effect . . . . . . . . . . . . . . . . . . . . . . . . . . .
Contents Appendix A — Shaped and Unshaped Video Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-1 What are Shaped and Unshaped Video? . . . . . . . . . . . . . . . . . . . . . . . . A-1 Input Shaped and Unshaped Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-2 Configuring the Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-3 Examples of Operation With Shaped & Unshaped Fill Video . . . . .
Contents Appendix C — Super Black Definition of Super Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-1 Objective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-1 Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-1 Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preface Welcome to the Model 2200 This manual is intended to provide you, the video switching system operator, with the information you need for operating this Model 2200 Digital Production Switcher. Organization of This Manual This manual is organized as follows: Section 1, System Overview – Describes the switcher and how it is operated via the control panel.
Preface Related Documents The following manuals comprise the entire set that may be used with the Model 2200 series switcher. • Operation Reference • Installation and Service • Model 2200/4000Parts List • Model 2200 Control Panel Drawings Manual • Model 2200/4000 Drawings Manual • Serial Protocols Manual There are also various Options Manuals, Application Notes, Field Mod Notes, and Release Notes available for the Model 2200 and other Grass Valley products.
How To Use This Manual If you are an experienced switcher operator, you may choose to go directly from Startup to operating the switcher, and refer to the Control Panel Descriptions section in the Operation Reference manual only when you need to know more about the operation of a specific control.
Preface Conventions used in this manual The following graphical and typestyle conventions are used throughout this manual. Button References A control panel button is shown as follows: AUTO SETUP Panel Knob References Similarly, a control panel knob is shown as follows: LUM Menu References Many Model 4000 features may be accessed via the menu display and its associated “soft” buttons and “soft” knobs.
Conventions used in this manual . Soft Knobs CHROMA KEY MENU FOREGROUND CORING = 7.
Preface xvi
1 System Overview This section presents a general description of the Grass Valley Products Model 2200-2 Production Component Digital Switching Systems. The Control Panel and Signal Processor descriptions provide a basic knowledge of the Model 2200 basic architecture. Basic Architecture The Model 2200 is a component digital switcher. It can manipulate CCIR 601 serial component digital and analog component video and key signals through the use of 10-bit digital processing.
Section 1 — System Overview Standard Features 1-2 ■ 2 Mix/Effects Systems ■ Auto-Timed Inputs ■ Shaped and Unshaped Video Input Conditioning ■ Fineline Keying ■ Key Channel Throughout ■ 10-Bit Data Processing Throughout ■ Full Complement of Wipe Patterns ■ E-MEM with Disk Storage ■ 100 E-MEM registers for Keyframe effects ■ Multiple-event Keyframes/Effects within a single E-MEM Register ■ User-Preference Programming ■ Safe Title / Area Generators ■ Extensive Masking ■ Complex M
Optional Features Optional Features ■ BORDERLINE® on all Keyers ■ Dual Chroma Keyers for each M/E ■ Second Wipe Pattern Generator for each M/E ■ Kaleidoscope Run Control and Effects Recall1 ■ Two-Channel Effects Send ■ Three Additional Timed Aux Buses ■ Key Outputs ■ Preview Outputs ■ Tally Outputs ■ DPM Port ■ Redundant Power Supplies ■ Module Extenders Refer to the end of this section for descriptions of the optional features. 1.
Section 1 — System Overview Physical Description The switcher consists of three main areas: the Control Panel, the Signal Processor Frame, and the Frame Power Supply (see Figure 1-1) The electronic circuitry for the Model 2200 is contained on circuit boards and modules in the Signal Processor Frame and Control Panel.
SERIAL CROSSPOINT MATRIX ANALOG AND SERIAL INPUT MODULES Video/Key Signals In MIX EFFECTS PROCESSOR MIX EFFECTS PROCESSOR MIX EFFECTS PROCESSOR CONTROL PROCESSOR TP0625-07 EFFECTS SEND MATRIX ANALOG AND SERIALOUTPUT MODULES Physical Description Video/Key Signals Out Signal Processor Frame Processor Frame Power Supply Status Terminal CONTROL PANEL LOGIC CONTROL PANEL POWER SUPPLY Control Panel Figure 1-1.
Section 1 — System Overview Control Panel The Control Panel is the operator interface for the Model 2200 system. The operator performs all actions via buttons and knobs and a software-driven menu.
Physical Description The Control Panel also provides connectors for a status terminal and the data link to the Signal Processor Frame.
Section 1 — System Overview Video and Key Inputs and Outputs Inputs Two types of input modules may be installed in the Signal Processor Frame to suit the needs of your installation. The following types of input modules are available. NOTE: Each of the serial or analog inputs can be treated by the switcher as either a video input or a key input. ■ Serial Digital Input Module – provides 8 inputs, auto-timed within a range of ±18 microseconds. Two modules are supplied in the standard configuration.
Physical Description Outputs Output modules are placed in the rear bay of the Signal Processing Frame.
Section 1 — System Overview Functional Description General Overview Figure 1-3 shows a simple video flow diagram for the Model 2200. Video and key signals enter the input modules of the Model 2200, which consist of component analog and/or component serial digital formats. The analog signals are converted to digital format, and all inputs are timed and conditioned. The digital signals are then passed to the Video and Effects Section where keying and mixing take place.
Functional Description Each M/E has two keyers and two background buses (A and B) as inputs. In standard mode, Keyers 1 and 2 can be mixed into a composite video and key which can be forwarded to the output, or M/E 1 can be reentered into M/E 2. In layered mode, Background Buses A and B are also used as keyers. Preview capability allows monitoring of sources at many points in the signal flow. You can preview video from the M/E mixers, switched preview bus, or mask bus. Eight GPI inputs are provided.
Section 1 — System Overview Component Analog Chroma Key Inputs DUAL CHROMA KEY INPUT MODULES Video Signals In Key Signals In SERIAL DIGITAL INPUT MODULES DUAL CHROMA KEYER M/E1 & M/E2 Chr.
Functional Description SECONDARY WIPE OPTION 0622-104R Aux Bus 1A-4B Video and Key M/E 1 & M/E 2 MIXERS Frame Store Video and Key FRAME STORE FOR VIDEO, KEY, AND MASK STORAGE Mask Store Output Mask Store Input M/E 1 and M/E 2 Program Video and Key M/E Pvw Video SERIAL DIGITAL AND ANALOG OUTPUT MODULES Outputs (Standard and Option Frame Store Video and Ke PREVIEW DSK Pvw Video PGM/PST MIXER AND DUAL DSK Mask and Switched Preview Program Video & Key M/E 1 and M/E 2 Program Video and Key Progr
Section 1 — System Overview Description of Options The following options are currently available for the Model 2200 switcher. For more details on these options, refer to the appropriate subpanel descriptions later in this manual. Chromatte Advanced Chroma Keyer Each foreground keyer in M/E 1 and M/E 2 has access to an optional component chroma keyer.
Description of Options Effects Send Effects Send provides a method of integrating digital effects devices into the switcher mix/effects system. Up to two send channels can be used to route the video and key from an M/E to and from an external digital effects system. Look Ahead Preview Look ahead preview processing is provided for both M/Es with this option. Submodules mount on the M/E 1 and M/E 2 Mix/Wipe Modules.
Section 1 — System Overview Remote Aux Bus The Remote Aux Control Panel Option allows you to control the Model 2200’s aux buses from a remote location. As many as 32 Remote Aux Panels can be daisy-chained to the switcher. There are three Remote Aux Panel configurations available, identified by the number of rack units (RUs) each occupies in the equipment rack. The panels are designed to control 32 external inputs (16 unshifted and 16 shifted).
2 Startup and Configuration This section describes turning on the system, setting up user preferences, and setting up system parameters. Powering Up The Model 2200 is designed for continuous operation. Use the following procedures to power-up the switcher when it has been turned off. 1. Turn the power switch on the front of the Signal Processor Power Supply to the ON position. Verify that the power supply voltage LEDs on the front of the Power Supply are lit and that the fans in the Processor are on. 2.
Section 2— Startup and Configuration Booting-Up When the system is turned on, the switcher will initialize into a defined default state. This default state may be either a userdefined default or a GVG factory default of switcher enabled levels, as selected in the Define Defaults Menu (see Section 3, Model 2200 Operation Reference manual). Software Setup The system parameters to be used at your site are usually configured following installation of the equipment.
Software Setup CONFIGURATION MENU /config USER PREFS > SYSTEM PARAM > INPUTS > OUTPUTS > EXTERN I/F > AUX BUS FORMATS> To begin the setup process, press the CONFG button on the Menu Display Subpanel to display the Configuration Menu and the submenu choices. 1. USER PREFS > — Set up operating parameters, such as Keyer and Preview preferences and default switcher states. 2. SYSTEM PARAMS > — Set aspect ratio, the matte generator limiter and the system clock. 3.
Section 2— Startup and Configuration Configuration Sub-Menus USER PREFERENCES ■ Keyer Prefs ■ Preview Prefs ■ Beeper Prefs ■ Define Defaults ■ E-MEM Prefs SYSTEM PARAMETERS ■ Aspect Ratio ■ Matte Gen Lim ■ Set Clock Menus (Date /Time) INPUTS MENUS ■ Analog Video Inputs ■ Analog Key Inputs ■ Analog Input Timing ■ Map Inputs and Name Crosspoint Button ■ Chroma Key Inputs ■ GPI Inputs OUTPUTS MENU ■ 2-4 Output Digital Resolution Menu
Software Setup EXTERNAL INTERFACE MENUS ■ Editor I/F ■ DPM I/F ■ Peripheral I/F ■ GPI Outputs AUX BUS FORMAT MENU ■ Aux Bus Shaping 2-5
LATCH NORMAL DSK DROP KEY MEMORY CLEAR KEY MEM SHIFT MODE KEYER PREFS PREVIEW PREFS BEEPER PREFS E-MEM PREFS DEFINE DEFAULTS CONFG (Part 1) PVW SELECT PVW MODE DIM PVW PUSH TO PVW BEEPER ON/OFF WARNING END OF KNOB KNOB CENTER INACTIVE KNOB USER PREFS SYSTEM PARAM INPUTS OUTPUTS EXTERN I/F AUX BUS FORMAT RUN LEVER KEYFRAME EDITING MASTER E-MEM M/E SELECT GVG DEFAULT SET DEFAULT 4X3 ASPECT RATIO FIELD DOMINANCE SET CLOCK MATTE GEN LIM See CONFG Part 2 16 X 9 SELECT CONFIRM ON OFF ON OFF M/E 1 M
See CONFG Part 1 CONFG (Part 2) USER PREFS SYSTEM PARAM INPUTS OUTPUTS EXTERN I/F AUX BUS FORMAT ANLG VIDEO INPUTS ANLG KEY INPUTS ANLG INPUT TIMING MAP INPUTS CHR KEY INPUTS GPI INPUTS See CONFG Part 3 CARD SELECT INP n FORMAT INP n SETUP INP n FORMAT INP n SETUP CARDS 1– 8 (INPUTS 33–64) RGB BETA ON/OFF YUV RGB MII BETA ON/OFF YUV MII CARD SELECT INP n SETUP INP n SETUP CARDS 1– 8 (INPUTS 33–64) NO SETUP KEY SETUP CARD SELECT INP n TIMING INP n TIMING CARDS 1– 8 (INPUTS 33–64) 1–4 1–4 VIDEO/KEY
Section 2— Startup and Configuration OUTPUT SELECT RESOLUTION/DITHER OUTPUT SELECT RESOLUTION/DITHER 10 BIT/ON 10 BIT/OFF 8 BIT/ON PGM ME1 PGM ME2 PGM ME3 PGM PEAK WHITE PEAK BLACK BOTH OFF DIGITAL RES OUTPUT SELECT LUM LIMITER CHROMA LIMITER 0764-00(PT 3) M/E 1 PGM M/E 2 PGM M/E 3 PGM DSK PGM DSK CLEAN AUX 1 AUX 2 AUX 3 AUX 4 8 BIT/OFF M/E 1 PVW M/E 2 PVW M/E 3 PVW DSK PVW DSK DIRTY 10 BIT/OFF PEAK OFF 8 BIT/ON DPM 1 BAUD PARITY See CONFG Part 2 DPM 2 2400 4800 9600 19200 38400 DPM 3 DPM 4 K
Software Setup Setting User Preferences Use the User Preferences Menus to gain access to keyer, preview, and switcher defaults submenus. 1. From the Configuration Menu, press the USER PREFS > button to access the User Preferences Menu. ANALOG INPUT TIMING MENU /config/inputs/anlg_inp_timing INPUTS 33-36 C0 4 37-40 41-44 45-48 49-52 53-56 57-60 61-64 CARD 1 CARD 2 CARD 3 CARD 4 CARD 5 CARD 6 CARD 7 CARD 8 CARD 2 1 1 1 1 1 1 1 1 1 1 2 2 3 3 4 CARD SELECT INP 37-38 TIMING 2.
Section 2— Startup and Configuration be a shifted crosspoint. The SHIFT button light will remain ON while the bus is in this state. To unshift a bus, press and hold the SHIFT button. Select a crosspoint button. The bus is now unshifted, and the SHIFT button lamp is OFF. 3. Select the KEYER PREFS > submenu.
Software Setup 3. Press CLEAR KEY MEMORY to invoke the Clear Key Memory Menu.
Section 2— Startup and Configuration Setting Preview Preferences From the User Preferences Menu, press the PREVIEW PREFS> button to display the Preview Preferences Menu. NOTE: It is important to note that these menu setups affect only the PVW output connectors and the PVW Monitor(s).
Software Setup NOTE: The optional M/E Preview Mezzanine must be installed for each M/E in order to select AUTO and LOOKAHEAD Preview Modes. THESE SELECTIONS will not be displayed in the MENU if the mezzanine board is not installed. The Preview Mode choice depends on how many monitors you have per M/E, and how you wish to use them (see Figure 2-2). AUTO – Use this mode to automatically toggle between PGM and PVW (next transition) when a single M/E monitor is used.
Section 2— Startup and Configuration M/E 2 PGM Out PGM M/E 2 PVW Out PVW Switcher Fixed Lookahead 2 Monitors per M/E Switcher PVW Out PGM Out - Low Tally AUTO Lookahead - Hi Tally 1 Monitor per M/E Switcher PVW Out PGM Fixed PGM (In effect, no PVW function enabled.) 1 Monitor per M/E Figure 2-2.
Software Setup 3. Use the DIM PVW button to dim the preview of all keyers using a mask in that M/E or PGM/DSK, or to turn off the preview dim function so that the preview never dims regardless of masking. 4. Assign a Dim Preview mode to one of the following: ALL KEYERS – the preview of all keyers using a mask in that M/E or DSK will dim the Preview monitor. DELEG KEYR – only the keyer which is currently delegated and inserting a mask in that M/E or DSK will dim the Preview monitor.
Section 2— Startup and Configuration Beeper Preferences You may wish to customize the beeper alert system. Beeper preferences are selected on the Configuration/User Preferences Menu/Beeper Preferences Menu shown below. BEEPER ON/OFF — Use to enable or disable the beeper alert system. WARNING — Use to enable or disable beeper warnings. (For example: On the Keyer Copy Menu, if you try to copy M/E 1 Key 1 to M/E 1 Key 1 (copy a key onto itself) you will get a beep with Beeper Prefs selection: WARNING ON.
Software Setup Defining System Defaults Use the Define Defaults Menu to change the default values that are stored in memory and used when the switcher is turned on. (You may also use the CLEAR WORK BUFR button). The values stored in the User-Defined Default Buffer (battery-backed RAM) are loaded into the Working Buffer when power is applied to the switcher. This sets the initial state of the switcher parameters.
Section 2— Startup and Configuration E-MEM Preferences You may wish to customize the E-MEM system. E-MEM preferences are selected on the Configuration/User Preferences Menu/E-MEM User Preferences Menu shown below. RUN LEVER — Use to enable or disable the E-MEM run lever. KEYFRAME EDITING — Use to enable or disable keyframe editing. MASTER E-MEM — Use to enable or disable 300-Style E-MEM control.
Software Setup Setting System Parameters Use the System Parameters Menu to set the aspect ratio (ratio of television picture width to height), to select the matte generator chroma limiting algorithm, and to set the system clock.
Section 2— Startup and Configuration Using Field Dominance If the Model 2200 output is going to be recorded onto tape that will later be edited along with other tape, it is important that changes take place consistently on the same field. They can occur on either Field 1 or Field 2 of the frame, but need to be on the same field every time. If this is not done, there will be a “flash” at the edit in the resulting taped video.
Software Setup The MATTE GEN LIM button is used to choose the matte generator chroma limiting algorithm. The selections are: XMITABL – Prevents the total signal (luminance and chrominance) from exceeding the NTSC transmission standard. VALID RGB – Limits colors to those which generate red, green, and blue values within the 0 to 100% range. BOTH – Selects a valid RGB color limiter which also prevents the encoded signal envelope from exceeding NTSC transmission level. This is the system default mode.
Section 2— Startup and Configuration Setting the System Clock Use the Set Clock Menu to set the system date and time. 1. From the System Parameters Menu, press the SET CLOCK > soft button to display the Set Clock Menu. SET CLOCK MENU YEAR =1994 config/system param/set clock CLOCK MONTH = March April 1, 1994 8:31 AM Press "CONFIRM" button to update the clock setting. DAY =4 DATE TIME SELECT CONFIRM If the date and/or time are incorrect, they may be reset as follows: 2-22 2.
Software Setup 4. Set the time by selecting TIME with the SELECT button and using the soft knobs to select the (HOUR), (MINUTE), and (SECOND). SET CLOCK MENU HOUR = 5 PM config / system param / set clock CLOCK MINUTE =7 December 5 1993 5:07:53 PM Press "CONFIRM" button to update the clock setting SECOND =0 DATE TIME SELECT CONFIRM 5. Press the CONFIRM button to enter the new time. 6. Press the top level CONFG button to return to the Configuration Menu.
Section 2— Startup and Configuration Configuring Switcher Inputs Primary video and key inputs to the switcher are numbered 1 through 64. Any of these inputs can be treated as either a video signal or a key signal. Each input, including Black and Background, can be mapped to any vertical column of source select (“crosspoint”) buttons. NOTE: The external video and key assignments are set up following installation to correspond to the video and key inputs connected to the frame.
Software Setup Inputs Use the Inputs Menu to enter or change the various configuration settings for your inputs.
Section 2— Startup and Configuration Setting Analog Video Inputs Use the Analog Video Inputs Menu to select the component format with setup or no setup for each analog video input. 1. From the Inputs Menu, press the ANLG VIDEO INPUTS > button to select the Analog Video Inputs Menu as shown below.
Software Setup Setting Analog Key Inputs Use the Analog Key Inputs Menu to select the component format for each analog key input. 1. From the Inputs Menu, press the ANLG KEY INPUTS > button to select the Analog Key Inputs Menu as shown below.
Section 2— Startup and Configuration Setting Analog Input Timing Use the Analog Input Timing Menu to match the timing of each analog/key input to the key bus. From the Inputs Menu, press the ANLG INPUT TIMING > button to select the Analog Input Timing Menu.
Software Setup Mapping Crosspoints Use the Map Inputs Menu to define the format for each video or key input. NOTE: This function is applied to a key input only if the external key is being used with video or superblack. From the Inputs Menu, press the MAP INPUTS > button to select the Map Inputs Menu.
Section 2— Startup and Configuration 4. Use the appropriate soft knob to select the desired type of input. Note that input formats are displayed when selecting input type. NOTE: Undefined buttons default to black. 5. If mapping a chroma key input, use the CHROMA KEY INPUT soft knob to assign the chroma key type for the currently selected crosspoint button. Refer to “DPM Map Aux Bus Menu” under “DPM Configuring,” in this section, for use of the LOG CHANNEL function of the LOG/PHYS ASSIGNMENT button.
Software Setup Naming Crosspoint Buttons After mapping the input, you may name the crosspoint by pressing NAME XPT BUTTON >. The Name Xpt Button Menu appears as shown below. NAME XPT BUTTON MENU space ' ( ) - / * : .
Section 2— Startup and Configuration Formatting Chroma Key Inputs If you have installed the optional Chroma Key Inputs, you need to assign input formats. Use the Chroma Key Inputs Menu to select and adjust chroma key parameters. 1. From the Chroma Key Inputs Menu, select the appropriate input to change. As each button is pressed, the input format will change to the default setting for that input. CHROMA KEY INPUTS MENU config/inputs/chr key inputs COARSE TIMING = 24.25 CLOCKS =(24.
Software Setup Assigning GPI Inputs Use the GPI Inputs Menu to set GPI assignments for signals that can be used to trigger Model 2200 functions. These assignments must correspond to the physical GPI connections described earlier in this section. Eight GPI inputs are provided. All of these accept pulse-type GPI inputs except Aux Tally Back, which is level-sensitive. 1. From the Inputs Menu, press the GPI IN> button to select the GPI Inputs Menu.
Section 2— Startup and Configuration 2. To assign the GPI inputs, first press GPI SELECT to select the desired input. 3. Select the type of category to be assigned (Misc, Auto Trans, etc.) by pressing the appropriate soft button. 4. Turn the FUNCTION SELECT knob to assign a specific function (Aux Tally, etc.). 5. After the desired function has been selected for each GPI, press PROGRAM GPI to enter the selection, which is indicated in the display table.
Software Setup AUTO TRANS — Enables selection of the Auto Transition GPI function. The following transitions may be triggered with GPI pulses: M/E 1, M/E 2, F-F, and F-F PST BLK CUT — Enables selection of the Cut GPI function. The following cuts may be triggered by the GPI: M/E 1, M/E 2, and F-F E-MEM — Enables selection of the E-MEM GPI function. The following E-MEM functions may be triggered by the GPI: RECALL ME 1, RECALL ME 2, RECALL MSTR, AUTO RECALL, EFX DISSOLV, AND SEQUENCE.
Section 2— Startup and Configuration Configuring Outputs Select OUTPUTS from the Configuration Menu. The OUTPUTS Menu shown below appears: OUTPUTS MENU config/outputs PGM M/E1 PGM M/E2 PGM PEAK WHITE OFF BOTH OFF PEAK PEAK OFF PEAK WHITE 2-36 PEAK BLACK OFF PGM BOTH PEAK OUTPUT SELECT LUM LIMITER CHROM LIMITER DIGITAL RES> 1. Select the desired output from PGM, M/E 1 PGM or M/E 2 PGM with the OUTPUT SELECT button. 2.
Software Setup 3. Use the CHROM LIMITER button to set the chrominance to the following conditions: ■ PEAK — keeps the chrominance between 100% chroma saturation levels ■ OFF — allows chrominance levels to vary between the full legal D1 limits Setting Output Resolution and Dither The Output Digital Resolution Menu allows you to set digital outputs to either 8-bit or 10-bit resolution with dithering on or off.
Section 2— Startup and Configuration OUTPUT DIGITAL RESOLUTION MENU config / outputs / digital res M/E 1 PGM M/E 1 CLEAN M/E 2 PGM M/E 2 CLEAN AUX 1 AUX 2 10 BIT/ON 10 BIT/ON 10 BIT/ON 8 BIT/ON 8 BIT/ON 8 BIT/ON M/E 1 PVW M/E 2 PVW DSK PVW DSK DIRTY 8 BIT/ON 8 BIT/ON 8 BIT/ON 8 BIT/ON M/E 1 PGM 10 BIT/ON 10 BIT/OFF 8 BIT/ON 8 BIT/OFF M/E 1 PVW 10 BIT/OFF 8 BIT/ON OUTPUT SELECT RESOLUTION/ DITHER OUTPUT SELECT RESOLUTION/ DITHER 2200 2-38
Software Setup Configuring External Interfaces The External Interface menus set the operating parameters for the Editor Interface, DPM Interface, and the GPI Interface. The External Interface Menu is shown below: EXTERNAL INTERFACE MENU config/extern if EDITOR I/F> DPM I/F> PERIPHERAL I/F> GPI OUTPUTS> Press the EDITOR I/F> button to advance to the Editor Menu. NOTE: DPM I/F and PERIPHERAL I/F Menu descriptions and functions are included in the next section. See “DPM Configurations” on page 2-42.
Section 2— Startup and Configuration Setting Editor Port Parameters The Editor Interface Menu shown below allows you to set the Baud, Parity and Switcher Address for the switcher editor port, J3, on the Com I/O Module in Slot C1. EDITOR INTERFACE MENU config/extern if editor if SWITCHER ADDRESS = 30 hex 2400 4800 2-40 9600 ODD 19200 EVEN 38400 NONE BAUD PARITY 1. Select the desired switcher editor port BAUD rate with the BAUD button.
Software Setup Configuring GPI Outputs Use the GPI Outputs Menu to set E-MEM levels for each assigned GPI. You can also set up GPI outputs which trigger each time there is a cut on the PGM Bus, and set the length of the GPI trigger signal. This menu is accessed from the Config/External If Menu.
Section 2— Startup and Configuration DPM Configurations Digital Picture Manipulators (DPMs) are external video devices connected to the switcher. In this discussion, reference is also made to DPM levels, which are E-MEM levels into which DPMassociated information is learned.
Software Setup The system defaults to all aux buses being part of the MISC E-MEM level. When an aux bus is configured for use with an external DPM, its settings are no longer saved in the MISC level but are saved in the relevant DPM level when an E-MEM register is learned. Information (such as aux bus crosspoint selection) is learned for each DPM on separate E-MEM levels.
Section 2— Startup and Configuration system is the logical arrangement of channels (1, 2, 3), not the physical channels used. In systems with multiple DPM channels, it is desirable to have a predictable relationship between aux buses and DPM channels (e.g., aux bus 1 feeding DPM channel 1, aux bus 2 feeding channel 2, etc.). It is also desirable to have a particular switcher crosspoint button always select the same DPM channel return input.
0347-02-29 Software Setup Kaleidoscope Physical Channels Model 4000 A B CDE Switcher Input Routing Switcher Output Routing Logical Aux 1 Logical Aux 2 Logical Aux 3 Logical Aux 4 Logical Aux 5 Logical Aux 6 Logical Aux 7 Kaleidoscope Channel Pool A Phys Aux 1 Phys Aux 2 Phys Aux 3 Phys Aux 4 Phys Aux 5 B C D E Logical Logical Channel Channel 1 5 Logical Logical Logical Channel Channel Channel 2 4 3 Effects Send Capable Video Non-Effects Send Video Kaleidoscope Logical Channels Figure 2-3.
Section 2— Startup and Configuration 0347-02-30 There are circumstances where output routing is not desirable. For example, the DPM may have more than 5 channels. In that case, a router or patch panel may be inserted between the switcher and Kaleidoscope (Figure 2-4). In this example, switcher output routing is turned off, so the menu selection for CHANNEL ROUTING in the DPM Setup Menu should be set to SWR IN. This still provides the return video from the switcher being on a consistent crosspoint.
Software Setup Control Connection Three forms of control connection to the DPMs are supported. These are ■ CPL (Control Point Language) ■ PBusII (Peripheral Bus II) ■ GPIs Control Point Language — CPL is the communication protocol used to couple the switcher and Kaleidoscope. One of its uses is to convey the physical-to-logical channel mapping information described previously. It is also used for run control of effects, aux bus selection (including front/back switching) and tally.
Section 2— Startup and Configuration Peripheral Bus II (Port A3 Only) — PBusII is used for run control of effects using triggers. With current software, PBusII triggers are learned into the MISC E-MEM level. For example, when using PBusII as the control connection for a DPM-700, the following should be set in the DPM Setup Menu: PORT ASSIGN = NONE CHANNEL ROUTING = OFF GPIs—Both input and output GPIs may be used as triggers as part of the control interface between the DPM and switcher.
Software Setup For Kaleidoscope: 1. Set the DPM TYPE to KSCOPE. 2. Turn the VIDEO DELAY soft knob to select 2 FIELDS. It is important to set this delay correctly. 3. Turn the CONTROL DELAY soft knob to select 6 FIELDS. 4. Press the PORT ASSIGN button to assign PORT A1 to the DPM. The baud rate for Port A1 is fixed at 307 K baud. 5. Set CHANNEL ROUTING for BOTH or SWR IN, depending upon your system configuration, as described previously under “DPM Configurations.” 6.
Section 2— Startup and Configuration Processor and pressing the RESET button located near the top of the Control Processor module. Communication should now be established between the Model 2200 and Krystal. For a DPM-700: 1. Set the DPM TYPE, to OTHER FIXED. 2. Set AUX BUS CONTROL to SWITCHER. (The DPM-700 cannot control the aux bus.) 3. Turn the VIDEO DELAY soft knob to select 2 fields. It is important that this be set correctly. The CONTROL DELAY soft knob has no effect with the DPM-700. 2-50 4.
Software Setup Kaleidoscope Source Button Mapping The DPM K’Scope Sources Menu, shown below, allows you to map Kaleidoscope video source crosspoints to your switcher video source crosspoints. The first time you use this menu you must set user defaults. After setting defaults you can map crosspoints as required. Map Kaleidoscope video source crosspoints as follows: 1. From the DPM Setup Menu, press DPM K’SCOPE SOURCES> to access the DPM K’Scope Sources Menu. 2. Push SET DEFAULTS to set user defaults. 3.
Section 2— Startup and Configuration Mapping DPM Aux Buses Set up the aux bus-to-device assignment as follows: 1. From the DPM Setup Menu, press DPM MAP AUX BUSES> to access the DPM Map Aux Buses Menu.
Software Setup For example: To use Kaleidoscope physical Channel D, you must assign at least 4 physical aux buses to DPM use (physical Aux 4 mapped to physical Channel D). NOTE: All aux buses assigned to a DPM must be in consecutive order. 4. For DPM 100 or 700 set the NUMBER OF CHANNELS and CHANNEL 1= soft knobs as appropriate for your installation. NOTE: Assigning an Aux Bus to a DPM level saves the parameters under the DPM level, rather than the MISC level for E-MEM operations.
Section 2— Startup and Configuration Example 1: Switcher-to-Kaleidoscope Configuration Physical Channel A Aux Bus B 1 C 2 D 3 E 4 F Switcher Kaleidoscope Figure 2-4. Switcher-to-Kaleidoscope Cabling – Ex.
Software Setup Example 2: Switcher-to-Kaleidoscope Configuration Aux Bus Physical Channel 1 A 2 B 3 C 4 D Switcher 1 Aux Bus 1 E 2 F 3 G 4 H Switcher 2 Kaleidoscope Figure 2-5. Switcher-to-Kaleidoscope Cabling – Ex.
Section 2— Startup and Configuration The following sample menu shows how you might set up the DPM Map Aux Buses Menu for use with Kaleidoscope.
Software Setup Mapping DPM Inputs Set up the Kaleidoscope video and key return input numbers as follows: 1. From the DPM Setup Menu, press DPM MAP INPUTS> to bring up the DPM Map Inputs Menu. DPM MAP INPUTS MENU config/extern if/dpm setup/dpm map inputs DPM 2 PHYSICAL CHAN 1-PRI CHAN 2 CHAN 3 CHAN 4 CHAN 5 CHAN 6 CHAN 7 SECONDARY LOGICAL VIDEO INPUT KEY INPUT 23 6 19 42 63 29 - VIDEO INPUT = 19 KEY INPUT = 42 DPM 1 DPM 2 DPM 3 DPM 4 CHAN 2 DPM SELECT CHANNEL SELECT 2.
Section 2— Startup and Configuration 6. Set up the aux bus format as described under the Aux Bus Format heading later in this section. Make sure that any aux buses assigned to Kaleidoscope are configured for KEY operation of their B aux buses. NOTE: It is not necessary to set the format for aux buses that are to be used for Effects Send. When Effects Send is selected, the B bus of each selected aux bus is automatically configured as a key.
Software Setup 3. Select LOG CHANNEL with the LOG/PHYS ASSIGNMENT button. MAP INPUTS MENU VIDEO INPUT =4 (DIG SER/RGB/SETUP) config/inputs/map inputs KEY INPUT =1 (DIG SER/8 BIT/SETUP/SYNC) XPT BUTTON XPT BUTTON NUMBER NAME 38 (SHIFT-14) UNSHAPED CHROMA KEY INPUT = NONE (INTERNAL) VIDEO Use the Preset Bus to select button number. SHAPED VIDEO LOG CHANNEL PHYS CHANNEL VIDEO/ KEY FMT LOG/PHYS ASSIGNMENT NAME XPT BUTTON > 4.
Section 2— Startup and Configuration PERIPHERAL INTERFACE MENU config/extern if/peripheral if NOTE: The Peripheral Bus port is labelled "Port A3" on the rear of the frame electronics. 2400 4800 9600 ODD 19200 EVEN 38400 NONE BAUD PARITY PERIPHERAL TRIGGERS> Select the desired switcher peripheral port BAUD rate and parity parameters. These should be set the same for the switcher and the peripheral device. For a DPM-700 set the baud rate to 38400 and parity to NONE.
Software Setup 1. From the Peripheral Interface Menu, press PERIPHERAL TRIGGERS> to open the Peripheral Triggers Menu. PERIPHERAL TRIGGERS MENU config/extern if/peripheral if/peripheral triggers DEVICE NO. FUNCTN NO. DEVICE NUMBER =1 LEVEL A 1 1 - B 1 4 DPM 1 C 1 0 0 D 15 1 - E - - - F 0 2 - G 17 1 - H 3 15 - FUNCTION NUMBER =4 <>LEVEL = DPM 1 B FIRE B TRIGGER SELECT 2. Increment TRIGGER SELECT to select the designator to be assigned (A through H). 3.
Section 2— Startup and Configuration The device functions for a DPM–700 depend on whether the DPM is operating in trigger mode, or E-MEM recall mode, as listed in Table 2-2. Table 2-2.
Software Setup Formatting Aux Buses There are nine pairs of Aux buses on the Model 2200, designated A1 through A5, and B1 through B5. Aux pairs one through four are not configurable (video/key only). Aux buses pair five can be configured as video/video or video/key signals. In addition, Aux buses 1-4 (A and B) may be configured for either shaped or unshaped video output. 1. From the Configuration Menu, press AUX BUS FORMAT> to select the Aux Bus Format Menu.
Section 2— Startup and Configuration The Aux Bus Shaping Menu allows you to select the output configuration to be always shaped or always unshaped on aux buses 1-4. Thus the configuration should be set according to the input needs of the external device connected to the aux bus. The switcher then internally decides whether to turn on shaping or unshaping circuitry according to the nature of the video/key pair feeding the aux bus.
Software Setup AUX BUS SHAPING MENU config / aux bus format / aux bus shaping PHYSICAL LOGICAL AUX BUS 1 AUX BUS 1 AUX BUS 2 AUX BUS 3 AUX BUS 4 AUX BUS 2 AUX BUS 3 AUX BUS 4 ON OFF OFF OFF ON AUX BUS 1 OFF PHYS AUX SELECT UNSHAPER NOTE: Since the process of unshaping the video signal results in dividing the video signal by its key, level errors, especially around black, may produce extreme signal levels where the key is at or near zero.
Section 2— Startup and Configuration 2-66
3 Switcher Concepts This section describes a few basic concepts that you should know before you operate your switcher. You might be tempted to skip over this section, especially if you are an experienced switcher operator. Nevertheless, we suggest that you to browse it anyway, because it explains operating concepts that help you more fully understand how the switcher works.
Section 3 — Switcher Concepts Clear Working Buffer The Current Working Buffer (CWB) is an area of system memory that stores the current switcher state. That is, it tracks the settings of switch and variable control functions on the control panel, as well as those of many switch and control functions set in the menus.
Clear Working Buffer Clear Work Buffer Operation Modes With Version 5.0 and later software, there are four modes of operation for the CLEAR WORK BUFR button: ■ Single press of the CLEAR WORK BUFR button — Clears the Current Working Buffer except Keyers. This clears the CWB to User-Defined Defaults for all enabled levels, but leaves the key memory portion of the CWB unaffected. ■ Double press of the CLEAR WORK BUFR button — Clears the Current Working Buffer including Keyers.
Section 3 — Switcher Concepts Auto Delegation Some of the switcher subpanels are delegated to other subpanels under conditional control of the operator or system. This feature is called “auto delegation.” The effect of auto delegation is that pressing a button on one subpanel may activate the related controls on another subpanel. For example, the single Chroma Keyer subpanel is used for controlling all Chroma Keyers, and is activated by pressing the CHR KEY button on one of the M/E Keyer subpanels.
Crosspoint Bus Crosspoint Bus A crosspoint bus consists of a group of switches called crosspoints, each with a different video or key input. The row of switches has a common output called a bus. The various crosspoint buses on the switcher’s control panel make up the Source Select Subpanel (the large matrix of buttons that occupies the left 1/3 of the control panel), which is used for connecting the video and key input buses to the crosspoint output buses that feed transition and effects circuits.
Section 3 — Switcher Concepts Transitions A transition is a change from one video picture to another. The switcher provides three methods for making video transitions: ■ Cuts ■ Mixes ■ Wipes Cut Transition A cut is an instantaneous switch from one picture to another. A background cut, for example, switches the on-air Program output instantly from the picture selected on the Program bus to the picture selected on the Preset bus. A cut can also be used to switch a key on or off air instantaneously.
Transitions Starting Video Midway Transition Ending Video Figure 3-1.
Section 3 — Switcher Concepts Wipe Transition A wipe is a transition from one picture to another in which a shaped edge moves across the screen revealing the new picture (see Figure 3-2). A background wipe removes the old Program Background picture as it wipes on the new Preset Background picture. A key wipe reveals the key over the existing background or removes it without affecting the existing background. A wipe transition can also change the background and the key(s) at the same time.
Keys Keys A key is an effect in which parts of one picture are inserted into another to create a composite picture. For example, keys are used to insert captions, to place a small news scene or graphic over the shoulder of a newscaster, or to place the image of a weather reporter in front of a weather map. There are several types of keys, each of which serves a different purpose. These will be briefly described on the following pages.
Section 3 — Switcher Concepts To use an example, suppose you want to insert a green logo into some background video. You could print the logo in white on black paper and then focus a camera on it. You can then apply the signal from the camera to the switcher’s keyer where it will be used as a key signal. Next, you can select a green matte video to apply to the keyer as the fill video.
Keys Linear Key A linear key is similar to a luminance key except that the gain of the key is set to a value of one (also called “unity”) so that the edges of anti-aliased key sources are faithfully reproduced. Antialiased sources, such as the output of a character generator or graphics system, have soft edges that produce a mix between the fill and the background at the key edge. A linear key preserves this edge, as well as DPM soft edges, drop shadows, etc.
Section 3 — Switcher Concepts Shaped and Unshaped Video Shaping and unshaping are generally involved only in keying and compositing situations. Whenever a key is performed, there are always three signals: the key source, the key fill (fill video), and the background video. The key signal cuts a hole in the background, into which the fill video is inserted. Devices such as character generators often output both the key signal and the fill video.
Shaped and Unshaped Video Input Shaped and Unshaped Video Video coming into a switcher may or may not already be shaped, depending upon its source. The Configuration Menu has a selection for you to define whether the source video for each video input is shaped or unshaped. This is what tells the switcher how to process the signal.
Section 3 — Switcher Concepts Super Black Super Black is a video level that is lower than the usual black level (7.5 IRE in NTSC; 0 IRE in PAL and Component video). It is inserted into the background of a video signal to improve the contrast for luminance self keying. The Super Black level is variable and is often limited by the device that is used to record the signal. Typically 0 IRE is used, although values as low as -5 IRE or -10 IRE may be used.
Chroma Key Chroma Key A chroma key is a key in which a particular color that you select in the background of a scene is detected and replaced with a new background scene. This gives the illusion that foreground objects are positioned in front of a new background. For example, the fill video selected on the Key bus may be a weather reporter standing in front of a blue wall, and the new background video may be a weather map (Figure 3-3).
Section 3 — Switcher Concepts Both background and foreground suppression include menu controls for selecting the hue to be replaced and for adjusting the luminance and chrominance levels in the areas of the picture where suppression is applied. NOTE: Refer to The descriptions and illustrations in Chroma Keying Operations in Section 4 of this manual. Coring Coring is a video noise-reducing operation in which pixels below a predetermined luminance threshold are replaced by “clean” black pixels.
Layering Layering Lamina™ Video Compositing is a feature that enables up to four video layers to be composited in a single mix/effects system. The composite image can then be used as a key source or a background in another mix/effects system or the downstream keyer. This allows multiple-layer effects to be created in one recording pass. Layering is enabled on an M/E-by-M/E basis in the M/E Mode Menu.
Section 3 — Switcher Concepts E-MEM Effects Memory The E-MEM® Effects Memory system provides a way of storing switcher effects for later use. With E-MEM you can set up an effect with the control panel and “learn” a snapshot of it into memory. Later, you can recall that effect with the press of a button. The switcher will immediately return to the state it was in when the effect was learned. The E-MEM Subpanel allows you to store, recall, and modify effects and keyframes in E-MEM registers.
E-MEM Effects Memory Enables and Delegates Grass Valley Switchers have two groups of operations that relate to Enables and Delegates: ■ E–MEM Register operations that include Learn, Recall, Put, Get, and Run ■ E–MEM Keyframe-editing operations that include Cut, Copy, Paste, and Modify Each E-MEM register is partitioned into sections (or “levels”) corresponding to the Enable buttons on the E-MEM panel and representing functional areas of the control panel and associated menu selections.
Section 3 — Switcher Concepts When ENABLES is selected in the Timeline Menu, all enabled levels are also delegated; thus all enabled levels are affected by changes made on the control panel. When a level is not enabled, its timeline does not appear in the Timeline Menu. ■ In ENABLES mode, pressing the Enable button toggles the E– MEM enabled status of that level or channel either on or off. This does not change the status of any other enabled levels or channels.
Keyframing / Timelines / Effects Editing Keyframing / Timelines / Effects Editing Switchers are able to store more than one switcher state (a “keyframe”) on each enabled level in a single E-MEM register. A series of keyframes in an E-MEM register is called a keyframe effect. Effects animation can be accomplished by building and running keyframe effects. The effects editing portion of the E-MEM Subpanel, in conjunction with the Timeline Menu, allows you to create, store, and modify keyframe effects.
Section 3 — Switcher Concepts Timeline Menu The following is a simple example of a Timeline Menu. TIMELINE MENU KF editing enabled 1 > ———— Run Cursor Register 8 2 3 1:00 8 Keyframes 4 5 KF TIME 2 Duration 7:00 6 7 RUN RUN DEL START 8 KF Master Timeline EFF DUR M/E 1 6:00 M/E 2 6:00 M/E 3 6:00 PGM PST DSK 6:00 BKGD 6:00 MISC 6:00 DPM 1 6:00 DPM 2 6:00 DPM 3 DPM 4 LAST PAN / ZOOM ZOOM 1.
Effects Send (Option) Effects Send (Option) Effects Send is a system that provides a close interface between the switcher’s mix/effects system and a digital picture manipulator (DPM). Effects Send takes the key and fill video outputs of an effects keyer and sends them to the DPM for manipulation. The manipulated key and fill outputs from the DPM then re-enter the switcher’s mixers via the aux buses.
Section 3 — Switcher Concepts Frame Store (Option) The primary functions of the Frame Store option are storage of still video and key images, and creation of dropshadows behind keys. Controls for manipulation of these functions are found on the Frame Store Subpanel and in the Frame Store menus. Either 2-two field pictures and keys, or 1 four-field picture and key, can be frozen in the Frame Store. Aux bus pair 4A/4B supplies the inputs to the frame store video and key channels.
Mask Store (Option) The video, key, and mask outputs from the frame store are routed to the switcher crosspoint matrix and may be used as primary switcher inputs. The mask channel output may also be used as a source for the mask generators. The frame store outputs (video and key) are provided to output modules for use by external devices. When shadow mode is selected, panel controls provide adjustment of the horizontal and vertical offset of the shadow and the opacity of the shadow.
Section 3 — Switcher Concepts 3-26
4 Switcher Operations About this Section This section of the User’s Guide demonstrates basic operation of the Model 4000 series switcher.This section of the User’s Guide demonstrates basic operation of the Model 4000 series switcher. Each operation is presented in numbered steps to add clarity to the procedures. If you are new to video switching or if you encounter unfamiliar terms, review Section 3, “Concepts.
Section 4— Switcher Operations Starting Conditions The switcher, and any connected external devices, should be in a “known,” or User Default state before beginning any of these tasks. Select “GVG Defaults” on the Config/User Prefs/Define Defaults Menu, if you are not sure what setups you need. Switcher Hardware Setup The following requirements are needed in order to complete the procedures in this guide. 4-2 ■ Two separate video sources.
Starting Conditions Figure 4-1. Source 1 Figure 4-2.
Section 4— Switcher Operations Clearing the Switcher CLEAR WORK BUFR It is best to reset the switcher to a known state before beginning any of these procedures. Step #2 below clears all switcher areas except crosspoints.
Starting Conditions 4. To clear the Current Working Buffer — including Keyers: Double press1 of the CLEAR WORK BUFR button: Same as above, with addition of key memory parameters of the selected crosspoints that are cleared to the standard defaults. Current crosspoints remain selected. 5. To clear a Single Crosspoint Key Memory: Hold a key bus crosspoint, single press CLEAR WORK BUFR button: Clears only the key memory portion of the Current Working Buffer for switcher key crosspoints held down.
Section 4— Switcher Operations Transitions - Mix/Effects Bus Operations A transition is a change from one combination of picture elements to another combination. This change can take the form of a cut, a mix, or a wipe and can be used to switch background scenes or insert or remove a key. We will use a Mix/Effects bus to demonstrate basic transitions. Set up the switcher crosspoint buses as follows for this Transitions subsection: M/E 1 PVW M/E 2 PVW 1.
Transitions - Mix/Effects Bus Operations NOTE: To ensure that Preview Mode is set to Lookahead, access the Config/User Prefs/Preview Prefs Menu. Set PVW MODE on M/E 1 to LOOK AHEAD. 4. Select the M/E 1 BKGD A Transition button. Only the B Bus scene will appear on the Preview monitor. (All key ‘ON’ lights on the transition panel should be out if the CWB state was recalled correctly.) 5. Press the M/E 1 CUT Transition button.
Section 4— Switcher Operations Starting On Air Picture Ending On Air Picture Figure 4-3.
Transitions - Mix/Effects Bus Operations Background Mix A mix is a dissolve from one picture to another. You can mix between A and B bus sources as follows: 1. Select Source 2 on the M/E 1 A bus background crosspoint row. The A bus appears on the PGM monitor. 2. Select Source 1 on the M/E 1 B bus background crosspoint row. The B bus appears on the Preview monitor. 3. Select the BKGD A Transition button. 4. Select the MIX Transition button. a. Move the M/E 1 lever arm from one limit to the other.
Section 4— Switcher Operations Starting Video Midway Transition Ending Video Figure 4-4.
Wipe Operations Wipe Operations The wipe usually signals the end of one scene and the beginning of another. A wipe is a transition between two video signals that takes the shape of a pattern. The effect is that of one picture pushing the other off the screen. Background Wipe TRANSITION EFF SEND BKGD B ON EFF SEND EFF SEND EFF SEND BKGD A KEY 1 KEY 2 ON ON ON OVER OVER LAYERED MIX WIPE CUT AUTO TRAN KEY PRIOR 1. Select Source 1 on the A bus background crosspoint row. 2.
Section 4— Switcher Operations 7. As an alternative to using the lever arm, you can press AUTO TRANS to do an automatic transition. To pause an auto transition in progress, press AUTO TRANS again. To resume the transition, press it a third time. You can also start an auto transition and finish with the lever arm or vice versa. 8. Experiment with different wipe parameters to create different pattern effects. Figure 4-5.
Wipe Operations Most pattern modifiers are located on the Wipe Subpanel. Positioning the lever arm to the middle position allows the wipe parameters to be seen as changes are made: Wipe Direction – Select the desired direction: NORMAL, REVERSE, or FLIP FLOP. NORMAL = the original video is in the black part of the icon; the new video is in white. REVERSE = the opposite of NORMAL FLIP FLOP = cycles between NORMAL and REVERSE wipes. If NORMAL button is lit, the next transition will be Normal, or vice versa.
Section 4— Switcher Operations Rotation Type – Adjust the three Rotation Type Controls on the Wipe Subpanel as desired: ROT POS = set the rotation angle of object controlled with turns of ROTATE Knob. ROT SPD = Selects continuous rotation. ROTATE Knob sets speed and direction. ROT MAG = locks the rotation movement to the lever arm. ROTATE Knob sets amount of rotation. Aspect – Stretch the Wipe Pattern either horizontally or vertically.
Wipe Operations Pattern Mixing Use the Pattern Mix Mode to mix a selected wipe with either the M/Es Secondary Wipe Generator (if available) or the selected wipes. This example assumes you have the Secondary Wipe Generator; if you do not, select TEXTURE instead of NORMAL in Step 3. CONFG M/E MODE KEYER CHR KEY WIPE EMEM KEY FRAME AUX BUS MATTE FRAME STORE MASK LAST MENU MISC 1. Press the WIPE Top Level Menu button on the Wipe Subpanel.
Section 4— Switcher Operations Learning User Wipes If you develop a wipe setup that you like and you want to save it temporarily, you can do so using the User 1– 6 buttons on the Wipe Subpanel. 1. Press LEARN USER WIPE, followed by one of the six User buttons, such as USER 1. The current wipe setup, including Border, Edge, and Aspect settings, will be stored in the User button you selected. 2. To recall a stored user wipe, simply press the appropriate User button.
Wipe Operations Figure 4-6. Pattern Mix Transition — Example 2 The effect shown in Figure 4-6 was created as follows: Primary Wipe Generator creates the circle wipe. Secondary Wipe Generator is used to create a random matrix wipe.
Section 4— Switcher Operations Figure 4-7. Pattern Mix — Complete The effect shown in Figure 4-7 was created as follows: Primary Wipe Geneator creates a rectangle wipe Secondary Wipe Generator creates a vertical wipe. The Primary mixes with the Secondary. The Secondary mixes to texture.
Wipe Operations Fade to Black Cut, wipe, or fade the switcher output to black at any time by simply pressing the PST BLACK button on the Transition Subpanel. Then, pressing the CUT button cuts to black, while AUTO TRANS or a Lever Arm transition will do either a mix or wipe to black depending on the delegation status on the Transition Subpanel. The transition to black takes precedence over the entire output of the M/E. Therefore everything will go to black regardless of panel delegation.
Section 4— Switcher Operations Setting Transition Rates You can adjust the transition rate for an auto transition or Key mix(DSK mix on the 4000-2B) using any rate from 1 to 999 frames: 1. In the E-MEM Subpanel , select TRAN RATE. The query: SET WHICH RATE? displays. 2. Delegate to the Transition subpanel that you want to set an auto transition rate for by pressing M/E 1, ME/2, PGM/PST, or DSK. You can change all at once by pressing ENABL ALL. 3. The display queries: RATE = ? 4.
Wipe Operations 6. If entering a transition rate for an M/E, the display queries: KEY 1 RATE = ? 7. Use the E-MEM numeric keypad to enter the number of television frames for the KEY 1 transition rate. Enter a rate from 0 – 999. The display queries: KEY 2 RATE = ? 8. Use the E-MEM numeric keypad to enter the number of television frames for the KEY 2 transition rate. Enter a rate from 0 – 999. 9.
Section 4— Switcher Operations Background and Matte Generator Operations Use the Background and Matte Generator controls to create a number of interesting mattes to serve as effects backgrounds or fills. The following topics are covered in this subsection: ■ Matte selection ■ User Defined Wash ■ ■ Matte and Texture Menus ■ Super Black Secondary Wipe Wash Matte Selection To create a simple background matte, follow the procedure below: 1. Select a background source crosspoint on the A Bus.
Wipe Operations 2. Select BKGD 2. 3. Adjusting the matte controls (Hue, Saturation, and Brightness) will now affect the second matte color. 4. Press and hold the User Defined Wash button. Adjust the Softness, Offset (or position) to enlarge the edge, or use TEXTURE to add a texture effect. 5. Optional. To fine tune the look of the texture with the texture modifiers: Double press the User Defined Wash button to invoke the Matte Menu; then select the Texture Menu.
Section 4— Switcher Operations Luminance and Linear Keying Operations Keys enable you to insert one picture into another to create a composite effect. For example, you may want to add a caption to a scene. For more information about keying, refer to Section 3: Switcher Concepts. To create a luminance or linear key, do the following: 1. Select Key 1 on the M/E 1 Transition Subpanel. 2. Select the Title 1 crosspoint button on the Key 1 Bus.
Luminance and Linear Keying Operations 5. Clip and gain adjustments are done differently for luminance and linear keying. In the Luminance Key Mode, clip and gain have a wider range of control. In Linear Key Mode, clip and Gain adjustments produce a modified Linear Key. This is indicated by the LUM KEY button being lit as well as the LIN KEY. To clear the modification, press LIN KEY again; the LUM KEY light will go out.
Section 4— Switcher Operations 9. For keying from a black on white source, select Keyer INVERT. For keying from a white on black source, leave INVERT off. 10. To mask parts of the key that you don’t want to see, select INH MASK and select either a box wipe pattern, or a video source to serve as the mask source. Use the mask control knobs on the Masks Subpanel (LEFT/RIGHT/TOP/BOTTOM) when adjusting the box mask. 11. To use a wipe, select either Primary or Secondary wipe on the Mask Subpanel.
Luminance and Linear Keying Operations Figure 4-8. Pattern Mix Border (Using Primary & Secondary Wipe Generators.) The effect shown in Figure 4-8 was created as follows: Primary Wipe Generator creates a rectangular wipe. Secondary Wipe Generator creates a vertical wipe to add perspective. Finally, a Pattern Mix is performed between the two wipes. 16.
Section 4— Switcher Operations Key Transition Effects keys can be cut, mixed, or wiped on air in much the same way as backgrounds. Both the effects keys and a background can be transitioned on or off together or separately. The Downstream Keyer has separate controls and must be transitioned separately. 1. Set up the key. 2. Select Transition KEY 1, KEY 2, and/or BKGD on the Keyers Subpanel to choose which layer(s) the transition will affect. 3.
Preset Pattern Keying Operations Preset Pattern Keying Operations A preset pattern key (Figure 4-9) cuts a key hole in the background in the shape of a wipe pattern. The procedure for creating a preset pattern key is as follows: Select the Keyer KEY 1,KEY 2, or DSK button to delegate the keyer you want to use. 1. Select a Key bus crosspoint to provide the fill video. For an over-the-shoulder box, as shown in the figure, the fill video would be a compressed picture from a DPM. 2.
Section 4— Switcher Operations 5. To adjust the opacity of the key layer, adjust KEY OPACITY in the Keyer Menu. 6. Transition the key on air as explained previously. Figure 4-9.
Preset Pattern Keying Operations Figure 4-10. Preset Pattern Key — 2 The effect shown in Figure 4-10 was created as follows: Preset Pattern Key over background, with dropshadows added using the Pattern Generator.
Section 4— Switcher Operations Layered Mode Operations The M/E Keyers may be used in a Layering Mode. In Layered mode, the A and B buses function as keyers rather than background buses.This mode is selectable on the M/E Mode Menu. To set up Layered Mode: 1. Access the M/E Mode Menu, or double press the BKG B button on the Transition Panel. 2. Select M/E 1. 3. Select LAYERED Mode. 4. Adjust the KEY OPACITY soft knobs to adjust the opacity of each layer as required.
Chroma Keying Operations Chroma Keying Operations Chroma keying allows you to key out a particular color in a scene and replace it with new background video. A typical application is to position a reporter in front of a blue wall and set up a chroma key to replace the blue wall with a weather map.
Section 4— Switcher Operations Figure 4-12. Chroma Key – Foreground (Blue) Auto Chroma Keying Procedure Chroma Keyer setup involves a number of interactive adjustments. Understanding the Auto Keying procedure significantly increases the quality of the keys produced. The studio setting has a major impact on the ability to produce a natural looking key. 4-34 ■ Lighting on the background should be as flat as possible. ■ The background itself should be a highly saturated color.
Chroma Keying Operations Figure 4-13. Chroma Key – Composite The Chroma Keyer accommodates a wide range of scenes and conditions. Very lifelike keys can be obtained with a well planned chroma key set. Usable keys can also be obtained when conditions are less than optimal by compromising edge softness. Many of the Keyer controls affect the image in subtle, unexpected ways, and many adjustments can easily be overdone. The following steps prepare the switcher so that you can setup a key.
Section 4— Switcher Operations 3. Select a neutral gray as the initial background signal. These adjustments can either be made manually or via an automatic setup mechanism. To use the Auto Setup continue with the following text; to use the Manual Adjustment procedure refer to page 4-37. NOTE: All knobs on the Switcher panel incorporate acceleration logic, that means the *speed* you turn a knob affects the amount a parameter is modified for the same *rotation*.
Chroma Keying Operations Basic Manual Adjustment If you prefer, you may perform the initial adjustments manually. Following these steps once or twice gives you a feel for what Auto Setup does for you in a few seconds. 1. On the control panel, set the Key CLIP and GAIN approximately in the middle of their ranges. 2. On the control panel, set SHDW ON to off, BKGD SUPR to on, set the LUMA suppression to minimum, and CHROMA suppression about mid-way. Set SELECTIVITY to maximum. a.
Section 4— Switcher Operations c. Adjust GAIN slightly making the background barely opaque (black if looking at SHOW KEY) d. Re-adjust CLIP slightly to make the foreground opaque and the GAIN slightly to make the background opaque in that order. CLIP has more effect on GAIN, so adjust it first, and readjust GAIN if CLIP is changed. NOTES: A Chroma Key is most natural if the gain is kept low. Going further than necessary hardens the key edge, but may be unavoidable under certain conditions.
Chroma Keying Operations 2. Turn FGD RESHAPE off. 3. Optimize the CLIP and GAIN. Refer to Step 4 under Basic Manual Adjustment on page 4-37, but do not start from scratch settings. Remember, adjust CLIP first, then GAIN. 4. Optimize SELECTIVITY to obtain as much foreground as possible looking closely at areas which contain some blue fringing (for example, hair or glass). Observing the SHOW KEY display may help this with adjustment. 5.
Section 4— Switcher Operations NOTE: Some artistic license may be used here: back off the LUMA background suppression to add some of the set's lighting variation present in the foreground signal into the background video, in essence creating shadows. If lighting variations are too great, turn on FGD RESHAPE in the CHR KEY/KEY ADJUST menu and set the LUMA background suppression (on the panel) to minimum.
Chroma Keying Operations NOTE: SEC COLOR SUPRESSION is subtle and only applies to areas of the key which are translucent. a. Set SEC COLOR SUPPRESS to on, and set the SUPPRESS MODE to CHROMA. If you did not use Auto Setup, adjust the SEC COLOR SUPPRESS ANGLE to match the chroma keyer's hue. The angle indicated in () next to the menu knob indicates the offset. Note that Auto Setup does this for you. b. Set SEC COLOR SUPPRESS SELECTIVITY to mid range and SEC CHROMA SUPPRESS LEVEL to maximum.
Section 4— Switcher Operations NOTES: Key edge-cleanup is not possible if FGD RESHAPE is off. Attempting to make these adjustments in that mode most likely makes the key worse, not better. You may also find adjusting LUMA background suppression also makes the edge less visible. This depends on the background luminance levels of the foreground and background sources. 10. Adjusting Shadows: To enhance the shadows, in the Keyer panel press the SHDW ON button, and adjust the shadow OPACITY to maximum.
E-MEM (Effects Memory) Operations E-MEM (Effects Memory) Operations The E-MEM Effects Memory System includes 100 internal storage registers that you can use to store (learn), recall, and modify switcher panel setups. There are ten “banks” with ten registers in each bank. Switcher panel setup data saved in E-MEM registers can be recalled at a later time. The setups may also be saved and recalled from floppy disk (refer to Floppy Disk Drive Operations on page 4-83).
Section 4— Switcher Operations New Operational Mode Available – Version 5.1 and later Version 5.1 added a new operational mode to the existing mode on the E-MEM system: ■ Normal mode – pre-existing functionality ■ 300 Style mode – functional only for 3-M/E Switchers This mode setting is found in CONFIG/USER PREFS/E-MEM PREFS/ menu under the MASTER E-MEM selection. This document discusses the Normal mode operation first, then the Model 300 Style mode.
E-MEM (Effects Memory) Operations Learn A Register We will look at how the Learn operation works with Auto Run, Auto Recall, and Effects Dissolve in the Normal mode.
Section 4— Switcher Operations Recall A Register We will look at how the Recall operation works with Auto Run, Auto Recall, and Effects Dissolve in the Normal mode. Auto Recall ■ Auto Recall ON — Switcher recalls learned enables before recalling the effect ■ Auto Recall OFF — Switcher does not recall the learned enables.
E-MEM (Effects Memory) Operations 300 Style Mode – 3-M/E Switchers Only In 300 Style mode, when you do a Learn or Recall, the Master E-MEM allows individual M/Es to “skew registers” (that is, allows M/Es to point to different registers) than the Master E-MEM is pointing and allows the Master E-MEM to learn the individual M/E’s skewed register numbers. This operation does not change the content of those skewed M/E registers, because the operation does not write the current M/E settings into those registers.
Section 4— Switcher Operations Setup 1. Clear the switcher (see Clearing the Switcher). 2. You will need the following sources: a. Background still b. Character generator Basic E-MEM Operations The following topics describe enabling register effects, storing and recalling effects, Effects Dissolve transitions, and Learn Sequence operations. Enabling E-MEM Register Levels The E-MEM Enable buttons are used to set up switcher functions which may then be learned or recalled from an E-MEM register.
E-MEM (Effects Memory) Operations 2. Press E-MEM Subpanel Enables buttons M/E 1 and PGM/PST (buttons light). (You should have an effect set up on M/E 1. You may want to have sources selected on the M/E 1 ‘A’ and ‘B’ buses; one source selected on the PGM bus; and M/E 1 selected on the PST bus.) 3. Press LRN, BANK, 2, 3 to learn this current switcher panel setup and crosspoints into register number 23. Recall Enables 1. Change the crosspoints on M/E 1. 2. Ensure that AUTO RCL is on. 3.
Section 4— Switcher Operations Recalling an Effect 1. Turn off the LEARN button if it is lit. 2. Select BANK ↑ and 0 through 9. (This step is optional if the bank that you want is already selected.) 3. Select the register pushbutton (0-9) containing the previously stored panel setup. The panel setup stored in the register will immediately be recalled. 4. Observe the recalled effect on the Program monitor.
E-MEM (Effects Memory) Operations 4. Enter a rate from 0 – 999. If 1 or 2 numbers are entered, press ENTER to complete the rate entry. (If 3 numbers are used the completion is automatic.) 5. Enter the desired bank and register number. E-MEM Learn Sequence Operations Sequences made up of a series of learned registers can be easily built using the Learn Sequence mode. Learning A Sequence This procedure will make use of effects previously stored in registers 23 through 27. 1. Press LRN. 2. Press SEQ.
Section 4— Switcher Operations Play Back the Sequence 1. Press SEQ. 2. Press BANK 2, then 3 (register 23), which is the first register in the sequence built above. 3. The sequence will execute. Undo Function The UNDO button revokes the most recent E-MEM operation. To undo an accidental recall, press UNDO immediately after the recall. The panel setup prior to the recall will be restored. You can switch back to the recalled setup again by pressing UNDO a second time.
Keyframe Operations Keyframe Operations The switcher can store more than one switcher state (a “keyframe”) on each enabled level in a single E-MEM register. A series of keyframes in an E-MEM register is called an effect. Once stored in E-MEM memory, an effect can be recalled and caused to transition (“run”) between keyframes, either manually or automatically. There are two parts to this section. The Basic Editing section describes creating, storing, and modifying keyframes in an E-MEM effect.
Section 4— Switcher Operations Learn Keyframes To learn the first keyframe of the effect into an E-MEM register, setup a wipe pattern on a color background on M/E 1. Learn the switcher condition into empty register number 5. 1. Select M/E 1 on the PGM bus.Select M/E 1 on the A bus of M/E 2. 2. Select Source 1 on M/E 1 ‘A’ bus, select Source 2 on M/E 1, ‘B’ bus. 3. Select a Wipe pattern (such as a circle or star) for M/E 1. Use the Lever Arm to bring it to about 50% size.
Keyframe Operations 5. Press REV. Press RUN. 6. The effect now runs backwards, starting at keyframe #2, and ending with keyframe #1. NOTE: If the Enable source (for example, M/E 1) has been de-selected, it will appear as if the effect has been erased. Simply re-select the Enable button, and the effect will be “restored.” Advanced Keyframe Editing This subsection introduces more complex and advanced keyframe editing techniques.
Section 4— Switcher Operations 1. Recall the effect you created previously. 2. REWIND the effect to keyframe 1. 3. With the M/E 1 background/key still enabled, select another wipe pattern and “fly” it around the monitor. 4. Press INSRT BEFOR. You have just created a new keyframe #1. The ‘old’ keyframe #1 is now #2; the ‘old’ #2 keyframe becomes # 3. (You get the idea.) 5. Press GO TO KF. Press ‘3’ (E-MEM Keypad), ENTER, to go to keyframe #3. 6. Repeat Step 3 with yet another wipe pattern. 7.
Keyframe Operations 3. Use the E-MEM Run Lever, or the Timeline Menu RUN soft knob, to position the Time Cursor to time 0:15f between keyframes 1 and 2. 4. Setup a new keyframe - chose a new wipe pattern and move it around. 5. Press INSRT AFTER. Note that new keyframe #2 is added at the current (0:15f) Time Cursor position. Previous keyframe #2 becomes keyframe #3. Note that the overall effect time of 2:00 (2 seconds) has not changed.
Section 4— Switcher Operations The new rules are as follows: ■ If no delegated level has a keyframe at the current time (location of cursor), an Insert operation does an insert “on the path” on each delegated level. As before, an insert “on the path” does not increase the overall length of the timelines. ■ If any delegated level has a keyframe at the current time, an Insert operation does an insert “on a keyframe” on each delegated level.
Keyframe Operations On delegated levels that are on a keyframe, modification of the keyframe occurs if something has changed. On delegated levels that are not on a keyframe, an insert “on-the-path” is done if something has changed. 1. Go to the keyframe you want to change. 2. Make the changes. NOTE: There is no UNDO for MOD. 3. Press MOD once for a single keyframe change. a. Press MOD twice to make the same changes on all keyframes in the effect. b.
Section 4— Switcher Operations Run through the following steps to see how to manipulate timelines. 1. Recall the previous effect from the E-MEM register. Display the Timeline Menu. The display shows the current position in the effect. A cursor (called the ‘time cursor’) shows the current time position. 2. To change the duration of keyframe 1: a. Position the cursor at keyframe 1. Press KF DUR. b. Enter a new time of 3 seconds – press ‘3’ on the E-MEM Keypad. Press ENTER. c. 3. Press MOD.
Keyframe Operations Setting and Adjusting Start Times Timelines can be moved in relationship with each other by changing the start time of one timeline. 1. Recall a multiple level effect using M/E 1 and M/E 2. 2. Select Delegates Mode on the Keyframe Menu. 3. “Undelegate” M/E 1 by pressing its’ level enable button. 4. Note that the M/E 1 button goes to low tally, and its’ level indicator on the Timeline Menu becomes un-highlighted. 5. To adjust the start time: a.
Section 4— Switcher Operations Zoom and Pan Timeline Effects The ZOOM soft knob in the Timeline Menu is used to expand the timeline display for precise positioning of the Time Cursor. This allows you to examine adjacent keyframes in detail when you have a long timeline effect. The PAN soft knob moves the display across the screen to view any portion of the expanded display. (The PAN knob is active only when the display is not full size; that is, the entire timeline doesn't fit on the display.
Keyframe Operations Using Zoom and Pan You can use this procedure to see how the Zoom and Pan features work. 1. Recall an effect with 6 keyframes and a duration of 5 seconds. Place the time cursor at KF 1, 0:00. 2. Adjust the ZOOM soft knob to a setting of 1.9x in order to see keyframes 1 – 3 on the Timeline Menu. 3. Adjust the PAN soft knob to see keyframes 3 and 4. 4. Press FIND CURSOR. Note that KFs 1 – 3 are re-displayed, with the cursor still at KF 1. 5. Adjust PAN again to view KFs 4 – 6.
Section 4— Switcher Operations Cut, Copy, and Paste Keyframes You can change the position of keyframes with the Cut, Copy, and Paste functions. The current keyframe can be copied and removed from an effect by pressing CUT. NOTE: Be sure the level is not locked on the E-MEM register when doing cuts and pastes. Previous to version 5.
Keyframe Operations 4. Rewind and run the effect. Note that the first and last keyframes are identical. 5. Press GO TO KF, 4, ENTER. Press CUT. 6. Rewind and run the effect. Note that the effect is now back to its original form, and there are four keyframes total. Effects Editing with Get and Put Use Get and Put to copy entire effects from one register to another. Use PUT to copy the current effect into the selected register number. 1. Recall an effect from an E-MEM register. 2.
Section 4— Switcher Operations Constant Duration Mode Constant Duration editing changes the way keyframes are inserted and deleted. In Constant Duration mode, adding or deleting keyframes does not change the total effect duration. It does modify the preceding keyframe duration to keep the total effect duration the same. NOTE: The total effect length can be changed by inserting keyframes after the last keyframe, or before the first one.
Keyframe Operations HOLD stops a crosspoint from changing when an effect is recalled or a keyframe with new source information is encountered. All parameters hold at their starting values throughout the keyframe duration. HOLD stops the interpolation process between keyframes, causing a “pop” between changed positions. The CURVE pathtype function may be used with both Wipe (WIPEXFORM) and Framestore (FSTOREXFRM) Transform selections.
Section 4— Switcher Operations Effects Send Operations (Option) The Effects Send option (purchased separately) allows video/key signals in an M/E to be routed outside the switcher for processing by an external device such as a DPM (Digital Picture Manipulator), and then brought back into the same crosspoint (Looping mode), or another crosspoint (Non-Looping mode) for mixing and output. The switcher Aux Buses are used to output the video/key signals to the external device.
Effects Send Operations (Option) ■ Connect the DPM outputs to switcher primary inputs numbered J7 and J8 of the Serial Input Module. ■ Map the DPM Inputs (DPM Map Inputs Menu) ■ On the Config/Map Inputs Menu: Map DPM 1, Channel 1 video and key to crosspoints numbered 5 and 6, respectively. ■ Set up the DPM configurations: ■ On the Config/External Interface/DPM Setup Menu: DPM 1; Type=None; Port Assign=None; Channel Routing=Off Set Video Delay to 2 fields; Control Delay to 6 fields.
Section 4— Switcher Operations Effects Send Looping Mode Looping mode takes the output of an M/E Keyer, sends it to an external DPM, then returns the DPM output to the Mix/Wipe circuit of the same switcher M/E. 1. Access the Aux Menu. a. Use the LOG AUX SELECT button to select Aux 1. b. Press the EFX LOOP MODE button and select EXT LOOP. 2. Select Aux 1 from the row of BUS DELEGATE buttons. 3. Select button M/E 1 Key 1 from the row of EFFECTS SEND buttons.
Frame Store Operations (Option) Frame Store Operations (Option) The Frame Store function provides the ability to separately freeze, and store, video and key signals to use in building effects. In addition, the Drop Shadow feature lets you produce a “positionable” drop shadow when using Frame Store with a key source. Other video enhancements include: Mosaic, Pseudo Color, Filter, Crop, and Repositioning. Setup ■ Clear the switcher (see Clearing the Switcher on page 4-4).
Section 4— Switcher Operations Still Image Storage Video and key can be frozen either separately or simultaneously through the use of panel controls. In addition, the system has the ability to layer stills in a recursive manner. The system accomplishes this by sending the output of the frame store to the input of an M/E for combination with another image. A composite is generated that can be fed back to the input of the frame store and re-frozen. Building A Recursive Effect 1. Set up an effect on an M/E.
Frame Store Operations (Option) Video and Key The Frame Store function can be assigned to either a video channel or a key channel. Video and key channels may also be selected simultaneously if video and key channels are mapped to the same crosspoint.
Section 4— Switcher Operations Freeze Mode Freeze selects between “live” and “frozen” pictures. A frozen picture is like a snapshot you take with a still camera. The freeze/ unfreeze function toggles between the two states. Press the FRZE button once to freeze (it high tallies) , press a second time to unfreeze. When enabled, freeze stops data from being written to the frame store, resulting in a frozen image.
Frame Store Operations (Option) Mode The Grab feature updates frame store with new input data and freezes the new data. If freeze is off (moving video is coming out of the frame store), pressing the GRAB button turns on freeze. You can then press the FRZE button to turn freeze off. If freeze is on and GRAB is pressed, frame store is unfrozen for two fields and then frozen again. It holds two fields as it updates the other two.
Section 4— Switcher Operations Repositioning Use Repositioning (Frame Store/Video Store/Reposition Menu) to move a live or frozen image off the screen in any direction. Mosaics Use Mosaic to control the size and aspect of mosaic tiles in a live or frozen video. Pseudo Color Use Pseudo Color to generate special video effects such as color negative, shaped/unshaped video, and posterize/solarize for contour effects. These are bit-mapping effects.
Frame Store Operations (Option) Mask Store Option The Mask Store function provides the ability to freeze and store mask signals to use in building effects. This function requires version 5.2 software and new Frame Store and Mask Store hardware. NOTE: You may want to browse the descriptions below; then experiment with the brush and screen selections provided on the Mask Store Menu. 1. From the Mask Store Menu, select either BLACK SCREEN or WHITE SCREEN for your Mask Store background.
Section 4— Switcher Operations Setting the BRUSH SOFTNESS to a low number (Softness=0%) creates a hard-edged brush which prevents leaks.) First, press the FILL SHAPE button to get a “cross hair” cursor. Then touch the graphics tablet pen inside the shape to be filled; the filling action begins. 4. The following screen message displays when the operation is complete: FILL REGION COMPLETE NOTE: The FILL SHAPE function times out 5 seconds after pressing the button.
Frame Store Operations (Option) Softening a Mask Store Image Soften the edges of a Mask Store image using the soften function available in the Mask Store Menu. Press the SOFTEN button repeatedly to obtain the desired softness. Note that you can not decrease the softness with the SOFTEN button, but you can revert to the last saved state by pressing the UNDO button. So we suggest you SAVE your mask before you start to adjust the edge softness, and save repeatedly throughout the softening process.
Section 4— Switcher Operations Setting up the Mask Draw 1. Use one of the two operations listed below to view the Mask Draw function: ■ Using the Map Inputs Menu, map a switcher crosspoint button to the Mask Store, then select that crosspoint for viewing. ■ To view the drawn mask on a preview monitor, go to the Preview Prefs Menu and turn on DIM PVW for the DELEGated KEYER (or for ALL KEYERS; however, with ALL KEYERS delegated some key areas may be dimmed and the cursor movement not visible). 2.
Frame Store Operations (Option) Mask Draw Using Key Channel Software Version 5.2 and later allows the Mask Draw feature to be used in a Model 2200 Switcher (the Model 2200 does not have a Mask Store module available) or in a Model 4000 Switcher which does not have the Mask Store Option installed. This mode of operation uses the Key portion of the new Frame Store module to freeze a mask.
Section 4— Switcher Operations 6. Use one of the two operations listed below to view the Key Store while using the Mask Draw feature: ■ Using the Map Inputs Menu, map a switcher crosspoint button to the Key Store, then select that crosspoint for viewing.
Floppy Disk Drive Operations Floppy Disk Drive Operations The switcher floppy disk subsystem is used to store and recall effects files stored in E-MEM registers, and to store and recall system configuration setups. You can also: ■ Format diskettes ■ Create directories and files ■ View the diskette by directory, file name, or file extension ■ Delete files and directories Format Diskettes 1. Press the main menu DISK button to bring up the main Disk menu.
Section 4— Switcher Operations Creating Directories and Files In this procedure you create two new directories; one for E-MEM files, and one for Configuration files. Then you will create one E-MEM file, and one Configuration file. 1. Insert a formatted diskette into the disk drive. 2. Select the DISK/Utility Menu. From the Utility Menu press CREATE DIR > to invoke the Name Directory Menu. 3.
Floppy Disk Drive Operations b. Press the NAME FILE button to complete this menu and invoke the Name File Menu. 3. In the Name File Menu, select the characters “Effect1” in the File Name box, then press the ACCEPT NAME button. (A maximum of eight characters may be used.) 4. Confirm the name with a “Yes,” when the Confirm File Save Menu displays. The system automatically appends an extension to the filename, for example, “.R23” for register 23.
Section 4— Switcher Operations Loading – Recalling E-MEM Files from Disk This procedure describes loading E-MEM files. You can load a stored E-MEM effect from disk into an E-MEM register (for example, register #23). You can also load an entire E-MEM bank (of 10 registers), or all E-MEM registers. NOTE: The register file extension (for example, .R23) mandates that the recall will be read into register number 23. 1. Insert your E-MEM effects diskette into the switcher disk drive. 2. Access the Disk Menu.
Floppy Disk Drive Operations Loading (Recalling) Configuration Files from Disk This procedure describes loading switcher configuration files. You can load all or part of a stored switcher configuration. 1. Insert your diskette into the switcher disk drive. 2. Access the Disk Menu. Press the CHILD DIRECTORY button to cause the switcher to read the diskette and list the parent directory. 3. Press CHILD DIRECTORY again to display the “Config” subdirectory and list its’ files. 4.
Section 4— Switcher Operations 4. Use VIEW BY NAME to list filenames in the current directory in alphabetical order. 5. Use VIEW BY EXT to list filenames by extension (such as .Rnn, for register, or .CFG, for configuration) in the current directory in alphabetical order. Deleting Files and Directories You can delete a single file or a group of files. You can delete a directory, or a directory and its entire contents, including all subdirectories and files within that directory. Deleting Files 4-88 1.
Floppy Disk Drive Operations Deleting Directories 1. Highlight the desired directory in the Disk Menu. 2. Press DELETE FILE. CAUTION You are allowed to delete all existing files and subdirectories within a directory you choose to delete. A Delete Menu dialog box will notify you of this before you perform the delete. 3. On the Delete Menu, press either DO DELETE, or CANCEL. (Note the dialog box indicating the directory name to be deleted.
Section 4— Switcher Operations 4-90
A Appendix A — Shaped and Unshaped Video NOTE: This appendix applies specifically to the Model 2200, Model 3000, and Model 4000 Switchers, but the general principals discussed here may apply as well to other switchers and other devices. Introduction The purpose of this appendix is to explain what shaped video and unshaped video are, where and why they are used, and what you need to do so your equipment will handle them properly.
Appendix A — Shaped and Unshaped Video Shaped Video—Fill video that has been “multiplied” by a key signal to produce a raster image to be inserted into a key hole cut in background video by the same key signal. (An example of shaped video is the fill video output of a character generator, which consists of characters on a black matte.) Unshaped Video—Previously-shaped fill or composited video that has been unshaped by an unshaping processor which “divides” the video by the key signal.
Input Shaped and Unshaped Video Configuring the Input Press the CONFG button on the Switchers main menu panel, then the INPUTS soft button in the Configuration menu, and the MAP INPUTS button in the Inputs menu to bring up the Map Inputs menu, shown in Figure A-1. For each crosspoint selected on the PST bus, you need to set the UNSHAPED VIDEO/SHAPED VIDEO selection to match the characteristic of the video input being mapped to that crosspoint (that is, whether the source video is shaped or unshaped).
Appendix A — Shaped and Unshaped Video Examples of Operation With Shaped & Unshaped Fill Video NOTE: Since the shaped fill video must be accurately timed to the key signal, it normally must come from the same external device that generates the key. Illustrations are included on the following pages to show what happens when the switcher input is configured properly and improperly to accept shaped or unshaped fill video.
Examples of Operation With Shaped & Unshaped Fill Video Figure A-3. Appearance of Shaped Video From DPM Figure A-4.
Appendix A — Shaped and Unshaped Video Correct Input Configuration Figure A-5 and Figure A-7 show how the switcher handles the fill video when the input shaped/unshaped selection in the Configuration/Inputs/Map Inputs menu is set correctly to match the input signal that is mapped to the selected crosspoint. Figure A-6 shows the appearance of the video on the monitor in both of these cases.
Examples of Operation With Shaped & Unshaped Fill Video Figure A-6 shows what the video looks like on the monitor when the SHAPED/UNSHAPED selection is made correctly in the menu. Figure A-6. Appearance of Video When Input Configuration is Set Correctly Correct Operation With Unshaped Fill Video Figure A-7 shows what happens when the DPM is set for an unshaped video output and UNSHAPED is selected in the Map Inputs menu.
Appendix A — Shaped and Unshaped Video x Keyhole in Background Invert Key Foreground (Key Fill) x Unshaped UNSHAPED selected in Map Inputs Menu (turns ON Shaping Circuit) + Shaped Video Figure A-7.
Examples of Operation With Shaped & Unshaped Fill Video Incorrect Input Configuration Figure A-8 and Figure A-10 show how the fill video is handled by the switcher when the shaped/unshaped selection in the Configuration/Inputs/Map Inputs menu is set incorrectly for the input signal that is mapped to the crosspoint. Figure A-9 and Figure A-11 show the appearance of the video on the monitor in each of these cases.
Appendix A — Shaped and Unshaped Video Figure A-9 shows what the video looks like on the monitor when the input fill video is shaped, but UNSHAPED is selected in the Map Inputs menu. Note dark halo effect . Figure A-9. Incorrect Video With Shaped Input and UNSHAPED Selected Incorrect Operation With Unshaped Fill Video Figure A-10 shows what happens when the DPM is set for an unshaped video output but SHAPED is selected in the Map Inputs menu.
Examples of Operation With Shaped & Unshaped Fill Video x 0000-03 Background Keyhole in Background Invert Key White Halo Around Key + Background plus Foreground Foreground (Key Fill) Unshaped SHAPED selected in Map Inputs Menu (turns OFF Shaping Circuit) Unshaped Video Figure A-10.
Appendix A — Shaped and Unshaped Video Figure A-11 shows what the video looks like on the monitor when the input fill video is unshaped, but SHAPED is selected in the Map Inputs menu. Note white halo effect. Figure A-11.
Output Shaped and Unshaped Video Output Shaped and Unshaped Video In addition to the input shaped/unshaped selections, the switchers have output selections that allow you to set the switcher output for either shaped or unshaped fill video. Shaped video is the preferred setting if the designation device can accept it. NOTE: The output shaped/unshaped selections for the Aux Buses apply only to the Aux 1 through Aux 4 outputs (Aux 1 and Aux 2 on the 2200) and only if the Effects Send option is present.
Appendix A — Shaped and Unshaped Video When the Effects Send option is not present, the SHAPED/ UNSHAPED selections for the Aux Buses are not visible in the menu.
Output Shaped and Unshaped Video When the Effects Send option is not present, the VIDEO/KEY FMT selections are not visible in the menu. AUX BUS SHAPING MENU config/aux bus format/aux bus shaping PHYSICAL LOGICAL AUX BUS 1 AUX BUS 2 AUX BUS 3 AUX BUS 4 AUX BUS 1 AUX BUS 2 AUX BUS 3 AUX BUS 4 SHAPED UNSHAPED UNSHAPED UNSHAPED SHAPED AUX 1 UNSHAPED PHYS AUX SELECT VIDEO/ KEY FMT Figure A-13. Model 4000 and Model 2200 Aux Bus Shaping Menu (Software v5.
Appendix A — Shaped and Unshaped Video Installation Considerations The concepts presented in this appendix are helpful when designing a video facility, interconnecting equipment, and configuring the equipment. Keep the following points in mind when putting a system together: ■ When interconnecting devices, the video output of the sending device and the video input of the receiving device must both be set for the same video format—either shaped or unshaped.
Installation Considerations Since the M/E keyers produce shaped video, GVG recommends the use of the Effects Send option for communicating between these switchers and Kaleidoscope. You should also use Aux Bus 1 through 4 (1 and 2 on 2200) switcher outputs to feed Kaleidoscope. Even without the Effects Send option, the 4000 and 2200 can communicate with Kaleidoscope using component digital interconnects between them via serializers and deserializers.
Appendix A — Shaped and Unshaped Video A-18
B Appendix B — Keyframe Facts Keyframe Timelines Master Timeline The Master Timeline is a tool for developing a consistent set of rules and operations for editing effects and synchronizing events across multiple independent timelines. The Master Timeline is a single timeline representation of the two-dimensional view of multiple E-MEM level timelines. The Master Timeline is composed of the timelines of all currentlyenabled E-MEM levels.
Appendix B — Keyframe Facts If the keyframes occur at different points in time on the various enabled E-MEM levels, it is possible that the keyframe durations on the Master Timeline will not match any of the individual E-MEM keyframe durations. The Master Timeline provides consistency so that when editing across multiple E-MEM levels, the relative keyframe positioning is maintained.
Enables and Delegates ■ Enabled and delegated (appears in Timeline menu; title is highlighted) ■ Enabled but not delegated (appears in Timeline menu; title is not highlighted) Level enables and delegations are both controlled via the ENABLES buttons on the E-MEM panel. A menu selection located both in the Keyframe and Timeline menus determines whether the ENABLES buttons control level enables or delegations.
Appendix B — Keyframe Facts be modified. Those levels which are enabled but not delegated will not be modified. It is recommended that you do selective insertions of keyframes by using the DELEGATES function. That is, that you only insert a keyframe on a level if it has value. Extra keyframes get in the way when it comes time to modify portions of the effect, especially if keyframes are moved in time.
Keyframe Path Control Path Vectors With respect to the path between keyframes, each keyframe is made up of three vector parameters as shown below. The soft knob controls act on these vector parameters to adjust the path into (entry) and out of (exit) the keyframe. The path through KF2 is parallel with an imaginary line drawn between KF1 and KF2. Tension Vector KF1 KF2 Tension = 0.
Appendix B — Keyframe Facts Tension Control In the example below, the keyframes are at right angles so the TENSION control operates on a 45° line drawn through the keyframe. This line is referred to as the Tension Vector and is parallel to a line drawn between adjacent keyframes (see illustration). The TENSION soft knob controls the length of the tension vector.
Keyframe Path Control In Example 2, the TENSION control is increased to 1.00, so that the Tension vector is shortened to non-existence through KF2. The path enters and leaves the middle keyframe in a straight line as it takes on an S-Linear motion; decelerating as it enters the middle keyframe and accelerating as it leaves. Example 2 No Tension Vector KF1 KF2 Tension = 1.
Appendix B — Keyframe Facts In Example 3, the TENSION control has been set to -1.00. This produces an effect of lengthening the Tension vector, causing the path through the middle keyframe to be longer and broader. The longer path will appear to make the image speed up through KF2 as it travels from KF1 to KF3. Example 3 Tension Vector KF1 KF2 Tension = -1.
Keyframe Path Control Continuity Control The continuity adjustment determines the angle of the path into and out of the keyframe. It is represented by vectors at 90 degrees to each as shown in Example 4. Example 4 Continuity Vectors +1.0 KF1 +1.0 -1.0 KF2 -1.0 Continuity = 0.0 KF3 The unmodified path shown above is identical to the unmodified path of the other controls.
Appendix B — Keyframe Facts With continuity set to 1.00, the entry path through the keyframe is pulled to point at the following keyframe or exit path. The effect of 1.00 continuity is that of motion dropping into and then out of the keyframe, similar to a bouncing ball (see Example 5). Example 5 +1.0 KF1 +1.0 -1.0 KF2 -1.0 Continuity = 1.
Keyframe Path Control With continuity set to -1.00, the paths between the keyframes become straight lines, accelerating through the keyframe (see Example 6). Example 6 +1.0 KF1 -1.0 +1.0 KF2 -1.0 Continuity = -1.
Appendix B — Keyframe Facts Bias Control The BIAS control determines whether the path will be “pulled” towards the previous or the following keyframe. With extreme settings, all of the biasing will occur either before or after KF2. With bias set to 0, the curve through the keyframe is gentle as shown in Example 7 below. Example 7 Tension Vector Bias Vector + KF1 KF2 Bias = 0.0 KF3 NOTE: A Tension vector MUST be present for Bias control to have an effect.
Keyframe Path Control With the bias set to 1.00, the path is pulled towards the previous keyframe. Entrance and exit to the keyframe are on a straight line from the previous keyframe (see Example 8), and the path of the effect travels completely through KF2 before turning towards KF3. Example 8 - + Entry Bias KF1 KF2 Bias = 1.
Appendix B — Keyframe Facts With the bias set to -1.00, the path is pulled towards the following keyframe. Entrance and exit to the keyframe are a straight line pointed to the following keyframe (see Example 9). Example 9 Tension Vector Exit Bias Bias + KF1 KF2 Bias = -1.
C Appendix C — Super Black Definition of Super Black Super Black is a video signal that is lower than the usual black level (7.5 IRE in NTSC; 0 IRE in PAL and Component video). The actual level of the signal below black varies from situation to situation and is often limited by the device that is used to record the signal. Typically 0 IRE is used, although values as low as -5 IRE or -10 IRE are being used.
Appendix C — Super Black Usage A typical use of super black is when a prerecorded element such as a flying logo is to be keyed in at the opening of a show. The flying logo is keyed over super black and recorded on tape. (The VTR must be adjusted to record the super black level and to reproduce it during playback). When the logo is to be used at the start of the show the tape is played and the luminance key clip and gain are adjusted to key the logo into the background scene.
Using the Super Black Output Drawbacks of using a Super Black Output: ■ The reconstruction of the video and key is rarely perfect, and quite a bit of control adjustment is necessary to produce the best results. ■ Keying from Super Black produces a hard-edged key only. No shadows, softness, or transparency can be used. Generating Super Black The basic equations for a Super Black Signal are as follows: Super Black Output = Input Key (Input Video - Super Black Value) + Super Black Value.
Appendix C — Super Black In the Model 3000, 4000, and 2200 Switchers, there are two ways to produce Super Black: First Method This is the traditional “Key over a Super Black Matte” Mode. With this method, you use one of the background matte generators as a Super Black generator. NOTE: When Super Black is enabled, the panel controls for that matte generator are non-functional. To set a matte to Super Black, use the Matte menu to turn on Super Black for the appropriate background generator.
Using the Super Black Output Each output module has four channels that are arranged with the video and key on adjacent channels. For example, the Program Output module is arranged as follows: Channel 3 -> Program Video Channel 4 -> Program Key The Configuration/Outputs menu allows you to turn Super Black on for a particular output. When Super Black is turned on for the channel 3 output, for example, the output is: Channel 3 Output = Program Key (Program Video – Super Black Value) + Super Black Value.
Appendix C — Super Black C-6
G Glossary A Abort: An instruction used to terminate execution of a computer program or routine. Audio Mixer: An electronic device that takes audio signals from any of several sources (such as microphones, tape recorders, etc.) to produce audio effects. (Also see Switcher, Video.) Accumulating Latch: Electronic circuitry that allows several signals to be latched on at the same time and then combined to produce a compound effect.
Glossary Background Video: (1) Video that forms a background scene into which a key may be inserted. Background video comes from the PROGRAM and PRESET background buses, or from the A and B Background buses in an M/E. (2) A video output generated by the Background generator within the switcher for use as background video in key effects. Blanking Processor: A circuit which strips blanking and sync from the source video and replaces it with blanking and sync from a reference source.
Glossary C Caption: See Title. Character Generator: An electronic device that produces letters, numbers, and symbols for video output. Chroma: The attribute of light combining hue and saturation, independent of intensity. The color perceived is determined by the relative proportions of the three primary colors. Chroma Key: A key effect in which the key signal is derived from the chroma information (hue and saturation) of the key source.
Glossary Control Processor: A circuit or group of circuits used to generate or alter control signals. Downstream Keyer (DSK): A keyer that inserts the key “downstream” of the effects system video output. CPU (Central Processing Unit): The section of a computing device that controls and causes the execution of instructions. A CPU on a single chip and is called a microcomputer. Dupe: A duplicate copy of a videotape, or to make such a copy.
Glossary setup change smoothly over a predetermined time to those of another effects setup. E-MEM® (Effects Memory): A GVG effectsmemory system capable of storing and recalling switch and control settings of switcher effects configurations. Encoded Chroma Key: A chroma key which uses an encoded video signal (e.g., from a VTR) instead of separate RGB or Y, CR, CB signals for deriving the key. Encoded Video: A video signal which contains both luminance and chrominance information in the same signal.
Glossary Background, and the source selected on B Background becomes selected on A Background. Floppy Disk: An electronic device which is capable of storing data and programs for ease of retrieval and use by a computer. (Also see Hard Disk.) Frame: One complete video picture consisting of two interleaved fields. In the NTSC system, one frame makes up a complete TV scanning cycle (1/30th of a second). In the PAL system, two frames (at 1/25th of a second) are required to make up a complete TV scanning cycle.
Glossary Hue: The attribute of light (wavelength, frequency) which determines the color perceived (red, blue, green etc). Specified by phase relationship to color burst in composite video. Any saturated color which is not one of the three primaries may be treated as a combination of two primaries. I Insert Key: A key in which a portion of the background signal is replaced with an insert (fill) signal.
Glossary Load: To transfer data to or from a storage device. set to force either foreground or background as desired. Looping Input, Loop-through: An input that includes two connectors. One connector accepts the input signal, and the other connector is used as an output for connecting the input signal to another piece of equipment or to a monitor. Matrix: (1) An array of input and output signal lines whose intersections form crosspoints.
Glossary Modem: A device that converts signals from a form compatible with data processing equipment to a form compatible with transmission facilities (such a telephone lines) and vice versa. Monitor: A device used for viewing video signals. Multiplier: An electronic control circuit, the output of which is the product of a video input and a control input, or the product of two control signal inputs. N NAB: National Association of Broadcasters. Nanosecond (ns): One billionth of a second.
Glossary Pattern Limit: A transition limit in which a preset position of the pattern edge between two video signals is stored in microprocessor memory. Full movement of the Mix/Effects lever arm or Auto Transition performs a mix or wipe to or from the preset limit. Source Select buttons on the main control panel. Pattern Modulation: An oscillation or modulation of the vertical and/or horizontal dimensions of a wipe pattern edge.
Glossary RAM (Random Access Memory): A computer memory system that allows rapid storage and retrieval of information. It is (usually) considered volatile in that the information is lost if power is interrupted. Raster: The area of a TV picture tube that is scanned by the electron beam. Real Time: Actual clock time in which events occur. Reboot: The process of re-loading the computer operating program (see Boot). Recall: To bring a setup from E-MEM memory and set up a switcher with it.
Glossary Split Key: A key mode in which the key signal and the key video are from different sources. Spotlight: A highlight effect produced by superimposing a full-strength video signal shaped by a wipe pattern over an attenuated (darkened) signal from the same video source. Subcarrier: A sine wave signal which is imposed on a video signal as a color reference. Subcarrier also forms color burst. The frequency of subcarrier is 3.58 MHz in NTSC and 4.43 MHz in PAL.
Glossary Video Key: A self key or chroma key in which the fill signal is video from the video key source or a matte from one of the matte generators. W Wipe: A transition between two video signals that is defined by the shape of a pre-selected pattern. The movement of the pattern edge is controlled by the Mix/ Effects lever arm or by an Auto Transition operation. As the pattern edge moves, one video signal replaces the other.
Glossary G-14
Index A C Analog Input Timing setup 2-28 Analog Key Inputs assigning 2-27, 2-28 Analog Video Inputs assigning 2-25, 2-26 Aspect Ratio setup 2-19 Auto Delegation 3-4 Auto Setup, Chroma Key 4-36 AUTO TRANS 4-9, 4-12 Aux Bus Mapping, DPM 2-52 Aux Bus Shaped/Unshaped 2-64 Aux Buses, formatting 2-63 Chroma Key Auto Setup 4-36 Auto Setup procedure 4-37 Background suppression 3-15 Definition 3-15 Foreground suppression 3-15 Inputs assigning 2-32 Keying 4-36 Chromatte Advanced Chroma Keyer 1-14 Clear Working Bu
Index D Date set 2-22 Defaults GVP Factory 3-2 User Defined 3-2 Deleting Files and Directories 4-91 DIM PVW button 2-15 Downstream Keyer 4-31 DPM Aux Bus assignments 2-52 Control Point Language 2-47 fixed device 2-44 GPI 2-48 Kaleidoscope 2-43 Map Inputs 2-57 pooled device 2-43 video signal path setup 2-42 DPM Aux Bus Menu 2-51, 2-52 DPM Configurations 2-42 DPM Returns mapping 2-58 DPM-700 setup 2-50 Draw Mode, Mask Store 4-79 Dropshadow Mode, Frame Store 4-78 DSK CUT 4-31 MIX 4-31 E Editor Interface, set
Index F Fade to Black 4-19 Features optional 1-3 standard 1-2 Field Modes, Frame Store 4-77 Fill, Luminance Key 3-9 Floppy Disk Drive Deleting Files and Directories 4-91 Loading Configuration Files 4-90 Loading E-MEM Files 4-89 Name A Config File 4-88 Name An E-MEM File 4-87 Store A Config file 4-88 Store An E-MEM file 4-87 View Files and Directories 4-90 Frame Store Dropshadow Mode 4-78 Field Modes 4-77 Freeze Mode 4-76 Grab Mode 4-77 Menu frozen images 3-24 Option 3-24, 4-74 Output Routing 4-74 Recursive
Index Pan 4-66 Paste 4-67 Path Control B-4 Put 4-68 Timelines 4-62 Zoom 4-66 Keyframe Path Menu 4-69 Types Curve 4-70 Hold 4-70 Linear 4-69 S-Linear 4-69 Krystal, setup 2-49 Option 3-25, 4-79 Softening the Image 4-82 Master Timeline 3-22, 4-62, B-1 Matte Effects 4-22 Mix Background 4-9 Definition 3-6 Lever Arm 4-9 N Non-Shaped Video A-2 O L Levels in Effects Editing Control Factors 3-19 Delegated 3-19 Enabled 3-19 Types 3-19 Lever Arm 4-31 Mix 4-9 Linear Key 4-26 Look Ahead Preview 1-15 LUM KEY 4-26 Lum
Index Peripheral Bus set triggers 2-60 Peripheral Interface configuring 2-59 Peripheral Port BAUD rate 2-60 Peripheral Trigger assigning 2-60 Power Supplies physical description 1-4 Preset Bus 3-6 Pattern Effects 4-31 Preview Preferences Setting 2-12 Program bus 3-6 PUSH TO PVW button 2-15 PVW MODE button 2-12 PVW SELECT button 2-12 R Register pushbuttons 4-52 Remote Aux Bus 1-16 S Secondary Wipe Generator 1-14 Shaped and Unshaped Video Configuring A-3 Definition A-1 Installation A-16 Output A-13 Signal
Index V Video Processing functional description 1-10 Video, Frozen image 3-24 View Files and Directories 4-90 W WIDTH 4-13 Wipe Background 4-11 Definition 3-8 Transition 4-31 Z Zoom, Keyframe 4-66 Index-6
