MOTU HDX-SDI ™ User’s Guide for Mac OS X 1280 Massachusetts Avenue Cambridge, MA 02138 Business voice: (617) 576-2760 Business fax: (617) 576-3609 Web site: www.motu.com Tech support: www.motu.
SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS CAUTION! READ THIS SAFETY GUIDE BEFORE YOU BEGIN INSTALLATION OR OPERATION. FAILURE TO COMPLY WITH SAFETY INSTRUCTIONS COULD RESULT IN BODILY INJURY OR EQUIPMENT DAMAGE. HAZARDOUS VOLTAGES: CONTACT MAY CAUSE ELECTRIC SHOCK OR BURN. TURN OFF UNIT BEFORE SERVICING. WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR OTHER MOISTURE. CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER.
Contents 5 Quick Reference: HDX-SDI Front Panel 6 Quick Reference: HDX-SDI Rear Panel 7 Quick Reference: MOTU Video Setup 9 About the HDX-SDI 13 Packing List and Mac System Requirements 15 Installing the HDX-SDI Hardware 29 Installing the HDX-SDI Mac OS X Software 31 HDX-SDI Basics 33 MOTU Video Setup 43 Final Cut Pro 51 Troubleshooting 53 Video Formats 55 HDX-SDI Specifications 57 DB25 to XLR Pin Outs 59 Index 3
About the Mark of the Unicorn License Agreement and Limited Warranty on Software TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the terms and conditions of the “click-wrap” license agreement presented to you when you install the software. Using the software or this documentation indicates your acceptance of the terms and conditions of that license agreement. Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation.
6 4. Keep this switch in the down position to enable AUTO ON mode. When AUTO ON mode is enabled, you can leave the main power switch (item #12) on and the HDX-SDI powers up when you switch on your computer and powers down when you switch off your computer. 3. This is a standard quarter-inch stereo headphone jack. Its output always matches analog outputs 1-2 on the rear panel. Use the volume knob to control its level. 8. This bank of audio level meters is for Bank A (channels 1-8).
2 3. If you only need two channels of AES/EBU digital audio I/O, connect them to these BNC jacks. If you need eight channels, connect a breakout cable to the DB25 connector to the right. 2. Connect time code input and output here, to the LTC IN and LTC OUT. The HDX-SDI supports all standard time code formats. 1. Connect blackburst or another video reference signal to the VIDEO REF IN. If the HDX-SDI is at the end of the video sync daisy chain, flip the THRU/TERM switch to the 75Ω TERM position.
Quick Reference: MOTU Video Setup CHAPTER Choose the video format that you wish to capture or play back. Click a tab to view its settings above. For complete details on the settings in these tabs, see chapter 6,“MOTU Video Setup” (page 33). The status area tells you what mode the HDX-SDI hardware is in. It also provides helpful troubleshooting info. When capturing video, choose the input source here. Also determines the clock source for playback, if the Playback Clock Source is set to Input Source.
CHAPTER 1 About the HDX-SDI OVERVIEW The HDX-SDI is a PCI Express video interface for Mac that provides broadcast-quality video capture and monitoring for Apple Final Cut Pro. The HDX-SDI connects to a Mac desktop computer via a standard PCI Express card or a Mac laptop via an ExpressCard adapter and turns the computer into a powerful HD/SD video production workstation equipped with all the video and audio I/O needed to produce broadcast quality HD and SD video material.
■ Captures and plays uncompressed HD and SD — 10-bit 4:2:2 color depth and 1920 x 1080 resolution, all standard HD and SD formats up to and including 1080p30 (720p, 1080i, 1080p and 1080PsF). ■ Support for ProRes and other popular codecs — capture and monitor full-raster (1920 x 1080 or 1280 x 720) Apple ProRes, ProRes HQ or other popular host-based codecs supported by Apple Final Cut Pro.
■ Supported Final Cut Pro HD formats — Uncompressed HD (8-bit and 10-bit), Apple ProRes or DVCProHD 720p at all eight frame rates listed above, plus full-raster (1920 x 1080) ProRes or DVCProHD 1080 (1280 and 1440 rasters) at all 1080 frame rates listed above ■ Supported Final Cut SD formats — Uncompressed 8-bit and 10-bit, Apple ProRes or DVCPro and DVCPro 50 at 486i29.
■ Direct Digital Synthesis — DSP-driven phase lock engine provides ultra-low jitter.
CHAPTER 2 Packing List and Mac System Requirements PACKING LIST PLEASE REGISTER TODAY! The HDX-SDI ships with the items listed below. If any of these items are not present in your HDX-SDI box when you first open it, please immediately contact your dealer or MOTU. Please register your HDX-SDI today. There are two ways to register.
PACKING LIST AND MAC SYSTEM REQUIREMENTS
CHAPTER 3 Installing the HDX-SDI Hardware OVERVIEW ■ Before you begin, turn off the computer and unplug it from any power source. Do the same for any connected components (hard drives, etc.) Here’s an overview for installing the HDX-SDI: Precautions before you begin . . . . . . . . . . . . . . . . . . . . . . . Installing the PCI card adapter . . . . . . . . . . . . . . . . . . . . . . . Installing the ExpressCard adapter . . . . . . . . . . . . . . . . . . Connect the HDX-SDI to your computer . . . . .
6 Remove the HDX-SDI PCI card from its antistatic bag. 7 Gently but firmly insert the card into any available PCI slot. INSTALLING THE EXPRESSCARD ADAPTER If you have a laptop ExpressCard adapter for the HDX-SDI, you can install it as follows, with your laptop computer turned on or off: 1 Before removing the ExpressCard adapter from it’s anti-static bag, touch the metal chassis of your laptop computer to discharge any static electricity that may have built up on you.
Removing the ExpressCard To safely removing the ExpressCard adapter, first disconnect the HDMI cable, and then push the adapter inwards until you hear and feel it click. This releases it from its installed position and it should pop out of the slot far enough for you to grasp it and gently remove it. Immediately place it in its anti-static bag. 2 Plug the other end of the HDMI cable into the HDX-SDI I/O “PCIe CARD” jack as shown below in Figure 3-2.
CONNECT VIDEO INPUTS AND OUTPUTS The HDX-SDI provides a wealth of video input and output connectivity, from consumer analog formats such as S-video and composite to broadcast formats such as HD-SDI. Support for both NTSC and PAL The HDX-SDI supports both NTSC and PAL formats on all inputs and outputs. It does not, however, convert between NTSC and PAL. Instead, it operates all inputs and outputs in one format or the other, as determined by the chosen video source.
Component The HD/SD Analog Video Section (Figure 3-3) provides either HD or SD component input and output. The HDX-SDI provides 10-bit analog performance with 12-bit A/D and D/A converters. In general, component video signals tend to be higher quality than composite or S-video, so to take full advantage of the component format, be sure to use high quality shielded BNC cables.
EXAMPLE HDX-SDI VIDEO CONNECTIONS make a software setting that changes the HDX-SDI’s HDMI output signal to the DVI format. See “HDMI format” on page 37. Here is an example of the types of video devices that you can connect to the HDX-SDI. You can mix and match HD and SD sources and destinations, connect them all, and then choose the desired source from the MOTU Video Setup software.
CONNECT AUDIO INPUTS AND OUTPUTS The HDX-SDI provides the following audio input and output: Audio format Input channels Output channels 96 kHz quarter-inch TRS analog 8 8 96 kHz AES/EBU on DB25 breakout 8 8 48 kHz embedded SDI 8 8 96 kHz embedded HDMI* 8 8 Stereo AES/EBU on BNC + stereo analog on RCA 2+2 2 (AES/EBU only) *HDMI audio is stereo at sample rates above 48kHz when playing or capturing SD video.
The stereo BNC AES/EBU input in the HDX-SDI is sample-rate converted, so you do not need to worry about digital audio clocking issues when using BNC AES/EBU input. Simply set the HDX-SDI clock source as desired (see “Capture Clock Source” on page 35), and any AES/EBU digital audio transfers will be clean and troublefree. Just make sure that the AES/EBU device is resolved to the video in some way to prevent drift. See “Syncing digital audio devices” on page 25.
EXAMPLE HDX-SDI AUDIO CONNECTIONS Figure 3-7 shows an example of the types of audio connections you can make between other devices and the HDX-SDI. You can mix and match analog SD camcorder and digital sources and destinations, connect them all. The 8-channel banks of AES/EBU digital I/O are ideal for connection to a digital mixer. HD camera Game console OR Digital mixer Camera Powered 5.1 or 7.
VIDEO SYNC CONNECTIONS RS-422 MACHINE CONTROL Connect a video sync source, such as blackburst, to the VIDEO REF IN jack (Figure 3-8). This input accepts either a Bi-level (SD) sync source or a Tri-level (HD) sync source. The HDX-SDI can resolve to a VIDEO REF IN signal only when it is in Playback mode, or when it is capturing SDI. When capturing other sources, it genlocks to the current video source, or its own Master (Internal) clock. For further information, see “Capture Clock Source” on page 35.
SYNCING DIGITAL AUDIO DEVICES The HDX-SDI’s stereo BNC AES/EBU input is equipped with sample rate converters (SRC). This allows the digital audio data to be transferred cleanly, with no dropped samples, clicks, or pops , even when the two devices are not resolved to one another. However, it is still a good idea to resolve digital audio devices with the HDX-SDI during digital audio transfers to prevent audio from drifting out of sync with picture.
Resolving a third device to the HDX-SDI If you need to make digital audio transfers between the HDX-SDI and third device (that is not the current video source), you must resolve the third device to the HDX-SDI, as demonstrated in Figure 3-12. In this example, the third device, a field recorder, is being resolved to the HDX-SDI via AES/EBU input. Camera ■ Transfer digital audio into the HDX-SDI without the need for any external synchronization arrangements.
Camera Video out Video in HDX-SDI clock source setting: Input Source AES/EBU BNC in AES/EBU out Digital mixer running under its own digital audio clock Figure 3-14: Capturing digital audio from a device that is not resolved with the HDX-SDI. In this case, sample rate conversion is used. A caution about using rate conversion Rate conversion can be a life saver in situations where resolving digital audio clocks is difficult or impossible.
INSTALLING THE HDX-SDI HARDWARE
CHAPTER 4 Installing the HDX-SDI Mac OS X Software SOFTWARE INSTALLATION FOR MAC OS X Install the HDX-SDI software as follows: 1 Insert the HDX-SDI Installer CD and launch the installer. 2 Follow the installer’s directions. HDX-SDI Easy Setups for Final Cut Pro Easy Setups are a convenient way to universally configure all of the crucial settings for the HDX-SDI in Final Cut Pro, according to video format you choose for your project.
INSTALLING THE HDX-SDI MAC OS X SOFTWARE
CHAPTER 5 HDX-SDI Basics TWO MODES The HDX-SDI provides two basic modes of operation: ■ Capture ■ Playback (monitor) The current mode is clearly indicated by the Status area in MOTU Video Setup (Figure 6-1 on page 33), unless there is no genlock, in which case it will display a message explaining why not. The HDX-SDI is always either in Capture mode or Playback mode.
mode when All Frames or Single Frames is selected in the External Video sub-menu or when using Print to Video. When not playing or capturing, the HDX-SDI reverts to the Default Mode setting (“Default Mode” on page 35). In Playback mode, the HDX-SDI uses the Playback Clock Source setting (“Playback Clock Source” on page 36), and if no application is playing back, will output black.
CHAPTER 6 MOTU Video Setup Video format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Input Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Status area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Input status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Genlock status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
VIDEO FORMAT INPUT SOURCE The Video Format setting (Figure 6-1 on page 33) shows the format in which the HDX-SDI is capturing or playing back video, and allows you to change the format manually. When capturing or playing video from Final Cut Pro, this setting will be changed automatically by the host application. The Input Source menu (Figure 6-1) is important because this is where you choose the video input from which the HDX-SDI will capture.
SETUP TAB The Setup tab (Figure 6-4) provides several general settings for HDX-SDI operation. Default Mode The HDX-SDI has two modes of operation: Capture and Playback. Your host video software determines the mode, depending on what you are doing (i.e. capturing or playing back the timeline). The Default Mode setting (Figure 6-1) lets you choose which mode the HDX-SDI enters when the host relinquishes control over the HDX-SDI hardware, such as when you quit or switch out of your host software.
Master (Internal) Choose Master (Internal) (Figure 6-5) to make the HDX-SDI resolve to its own internal clock when capturing from a device (such as a deck) that is resolved to the HDX-SDI’s output. For example, when using RS-422 machine control to drive a video deck connected to the HDX-SDI, the HDX-SDI serves as the clock master and drives the video deck. Because the deck is resolved to the HDX-SDI, the video signal being captured from the deck is genlocked.
HDMI format The HDMI Format menu (Figure 6-4) lets you choose the output format for the HDMI output on the rear panel of the HDX-SDI. If you choose DVI, you’ll need an HDMI-to-DVI cable or adapter. SDI Loop Thru Mode The SDI Loop Thru Mode (Figure 6-4) setting controls the routing of audio and time code to the SDI output during SDI capture. If set to Direct, audio and timecode from the SDI source are passed through to the SDI output, as if the output was just connected directly to the input.
PLAYBACK TAB The Playback tab (Figure 6-8) provides settings that apply to video playback from Final Cut Pro (as opposed to capturing). Therefore, these settings relate to the current settings in Final Cut Pro and its timeline. Interlace Pause Mode If you are working with an interlaced video format, the Interlace Pause Mode (Figure 6-8) lets you choose between viewing a Full Frame or individual Fields (1 or 2) when Final Cut Pro parks on a frame.
Color lookup table (CLUT) In the Color Lookup Table (CLUT) section (Figure 6-8), there are ten parameters which define a color transfer function, as defined by the American Society of Cinematographers Color Decision List (ASC CDL) specification. The CLUT controls in the Playback tab (Figure 6-8) define a transfer function which applies to the output on playback. The controls in the Preview pane (Figure 6-10) define a transfer function which applies to the input on capture.
PREVIEW TAB The Preview tab (Figure 6-10) lets you preview the video signal being received from the currently selected input in the Input Source menu (Figure 6-3 on page 34). If you don’t see the source video signal If you have trouble getting the source video signal to appear in the preview frame, make sure the Final Cut Pro Capture window isn’t open in the background. If so, the Status area (Figure 6-1 on page 33) will alert you to the fact that the host application is currently capturing or previewing.
AUDIO TAB The Audio tab (Figure 6-11) provides access to the HDX-SDI’s audio features. The HDX-SDI provides 16 channels (two 8-channel banks) of simultaneous audio input and output. For a summary of audio bank formats, see “Connect audio inputs and outputs” on page 21. Sample rate Choose the audio sample rate (Figure 6-11) for capture or playback. Make sure this setting matches the rate of the audio being captured or played back.
Bank A (1-8) Bank B (9-16) Figure 6-12: Input bank assignments. The first three choices are Analog (TRS), SDI/ HDMI and AES/EBU (DB-25). These are all 8channel banks. The fourth choice, AES/EBU (BNC) + Analog (RCA), is a four channel bank referring to the stereo AES/EBU BNC input on the rear panel (channels 1-2 in the bank) and the stereo RCA analog inputs on the front (channels 3-4 in the bank).
CHAPTER 7 Final Cut Pro OVERVIEW The HDX-SDI serves as a powerful video capture and playback device for Apple Final Cut Pro. Operation is straightforward and follows the general workflow prescribed by Final Cut Pro. In addition to standard log and capture procedures and straightforward timeline playback, the HDX-SDI also provides presets for Easy Setup, Sequences, Capture and Device Control. The HDX-SDI supports full-raster HD capture to uncompressed, Apple ProRes or any other codec of your choice.
EASY SETUPS FINAL CUT PRO AUDIO/VIDEO SETTINGS There are five settings in Final Cut Pro that directly impact HDX-SDI operation: To set up Final Cut Pro manually, without using an Easy Setup, or to adjust the settings for an Easy Setup, simply go to Final Cut Pro’s Audio/Video Settings window (Figure 7-2) and individually select the HDX-SDI’s capture, device control and sequence presets. The HDX-SDI presets are identified by either HDX-SDI or MOTU in their name.
CHOOSING A WORKFLOW The HDX-SDI supports a range of SD and HD workflows. For uncompressed HD or SD, all DVCPro formats and Apple ProRes, the HDX-SDI provides sequence and capture presets for all supported format/frame rate/codec combinations. Other codecs require that you make your own custom sequence settings. Refer to the following sections for further information regarding each workflow. Also see “Video encoding and CPU performance during capture” on page 46.
Playback settings Click the Playback tab (Figure 6-8 on page 38) to view Playback settings. In the Playback tab, make sure the Playback Timecode Offset and frame rate match your Final Cut Pro sequence offset and frame rate. If you are working with drop frame time code, be sure to choose Drop frame from the Playback 29.97 fps Timecode menu (Figure 6-8 on page 38).
PLAYBACK AND MONITORING To play back your Final Cut Pro project and view it on any monitor or other device connected to the HDX-SDI’s video outputs: 1 Choose View menu> External Video> and make sure that the All Frames item (command-F12) is checked. 2 Start playback. Video decoding and CPU performance during playback If you are playing uncompressed HD or SD from the Final Cut Pro timeline, the uncompressed video stream goes straight to the HDX-SDI, with no compression or encoding required along the way.
HDX-SDI AUDIO SETTINGS AUDIO CAPTURE To access basic HDX-SDI audio settings: To specify the audio inputs on the HDX-SDI that you wish to capture from: 1 Choose Final Cut Pro menu> Audio/Video Settings. 1 Configure the HDX-SDI’s audio banks as explained in the previous section. 2 Select the A/V Devices tab. 3 Choose the HDX-SDI for audio playback. 2 In Final Cut Pro’s Log and capture window, click the Clip Settings tab. 4 Click the Options button to set the sample rate.
4 Enable the Preview check box in the Audio section (Figure 7-5). When the Preview option is checked, incoming audio is “patched through” to the HDX-SDI audio outputs. Make sure that the Mac system sound output device setting is set to the HDX-SDI for this to work. 5 If you are capturing multi-channel audio and wish to monitor all channels on stereo headphones or speakers, enabled “Downmix to Output 1-2 on Capture” option (page 41). Figure 7-6: Assigning audio tracks to HDX-SDI audio outputs.
1 Connect an RS-422 cable from HDX-SDI to the video deck or other machine control device. 2 Make sure the video deck is configured properly for remote operation via RS-422 machine control. 3 In MOTU Video Setup, choose Sony 9-Pin from the Timecode Source menu (Figure 6-4 on page 35), which is found in the Setup tab, or choose LTC if your deck is feeding timecode to the computer via the LTC input (instead of via 9-pin).
APPENDIX A Troubleshooting USE THE STATUS DISPLAY Use the Status display in MOTU Video Setup (Figure 6-1 on page 33) for help with various issues having to do with capture, playback, sync and other aspects of HDX-SDI operation. MOTU Video Setup is engineered to detect problems and report them in the Status area. Most common issues can be resolved by following the instructions given by the Status display.
My HDMI output does not output any video. Make sure the HDMI Format setting is set to HDMI, not DVI. I hear clicks and pops on audio from an external SDI device. Make sure your Capture Clock Source and Playback Clock Source settings are properly set to work with an external SDI device. See “Capture Clock Source” on page 35 and “Playback Clock Source” on page 36. The audio meters on the front panel don’t work. The meters and activity LEDs only operate when audio is actually being sent to/from the computer.
APPENDIX B Video Formats The HDX-SDI supports these video formats: 1080 HD SD 1080i 25 10-bit (1920 x 1080) 480i 29.97 10-bit (720 x 480) 480i 29.97 8-bit (720 x 480) 486i 29.97 10-bit (720 x 486) 486i 29.97 8-bit (720 x 486) 576i 25 10-bit (720 x 576) 576i 25 8-bit (720 x 576) 1080i 25 8-bit (1920 x 1080) 1080i 29.97 10-bit (1920 x 1080) 1080i 29.97 8-bit (1920 x 1080) 1080i 30 10-bit (1920 x 1080) 1080i 30 8-bit (1920 x 1080) 1080p 23.976 10-bit (1920 x 1080) 1080p 23.
APPENDIX B: VIDEO FORMATS
APPENDIX C HDX-SDI Specifications VIDEO I/O AUDIO I/O 1 x HD/SD-SDI in and out (4:2:2 10-bit) on BNC connectors ■ 16 channels of simultaneous audio input and output ■ ■ 1 x extra HD/SD-SDI output BNC connector ■ 1 x HDMI in and out (4:2:2 10-bit, YCbCr or RGB) ■ Support for DVI output with HDMI-to-DVI adapter (sold separately) ■ 1 x HD/SD component in and out (10-bit, YPbPr or RGB) on BNCs ■ 1 x composite in (10-bit) on RCA ■ 1 x S-Video in (10-bit) on 4-pin mini-DIN ■ 1 x composite in and out
■ Direct Digital Synthesis — DSP-driven phase lock engine provides ultra-low jitter. POWER International auto-switching internal power supply ■ INCLUDED SOFTWARE AND COMPATIBILITY ■ MOTU Video Setup software — provides complete control of all programmable features and settings. ■ Supports Final Cut Pro 6.0.
APPENDIX D DB25 to XLR Pin Outs DB25 TO 4 FEMALE (IN) / 4 MALE (OUT) XLR DB25 TO 4 FEMALE (IN) / 4 MALE (OUT) XLR For bi-directional HDX-SDI AES/EBU digital I/O Panasonic/Tascam standard For bi-directional HDX-SDI AES/EBU digital I/O Panasonic/Tascam standard Pin Signal 1 Channel 7/8 Out (+) 2 SG (Signal Ground) 3 Channel 5/6 Out (-) 4 Channel 3/4 Out (+) 5 SG 6 Channel 1/2 Out (-) 7 Channel 7/8 In (+) 8 SG 9 Channel 5/6 In (-) 10 Channel 3/4 In (+) 11 SG 12 Channel 1/2 In (-)
APPENDIX D: DB25 TO XLR PIN OUTS
Index 29.
G Genlock indicator (Video Setup software) 33, 34 LED (front panel) 5 troubleshooting 51 H Interlace Pause Mode 38 Interlaced Field When Paused options 38 Internal (Playback Clock option) 36 Internal (sync setting) 25 J Japan (0.
composite 20 monitor 20 supported formats 53 uncompressed 53 video deck 20 VITC timecode dest option 37 VITC timecode source option 37 SDI BNC cable specs 19 connectors 6, 19 HD-SDI example 20 Loop Thru Mode 37 Output Timecode Format menu 37 SD-SDI BNC cable specs 19 connectors 19 time code destination option 37 Setup tab 35 Single Field option 38 Slope (color lookup table) 39 SMPTE time code display 5 SMPTE/EBU N10 19 Sony 9-pin connector 6, 24 9-pin setup in Final Cut Pro 49 9-pin sync option 37 Beta Japa
I N D E X