Revised – October 30, 2019 Trademarks: NewTek, NewTek VMC, NewTek VMC1, NewTek VMC1 IN, NewTek VMC1 OUT, NewTek NC1, NewTek NC1 IN, NewTek NC1 I/O, NewTek NC1 I/O IP, TriCaster, TriCaster TC1, TriCaster Advanced Edition, TriCaster XD, TriCaster 8000, TriCaster TCXD8000, TCXD8000, TriCaster 860, TriCaster TCXD860, TCXD860, TriCaster 460, TriCaster TCXD460, TCXD460, TriCaster 410, TriCaster TCXD410, TCXD410, TriCaster Mini SDI, TriCaster Mini, TriCaster TC Mini, TriCaster 40, TriCaster TCXD40, TCXD40, TriCast
TABLE OF CONTENTS CHAPTER 1 ABOUT THIS MANUAL ........................................................................................................... 3 CHAPTER 2 INTRODUCTION ..................................................................................................................... 5 Section 2.1 Overview ................................................................................................................................................................... 5 Section 2.
3.5.2 Connecting a Control Surface ............................................................................................................................. 20 3.5.3 Connecting a Video Router ................................................................................................................................. 20 Section 3.6 Genlock Connection ................................................................................................................................................
.2.6 Add-Ons ........................................................................................................................................................................ 52 Section 5.3 The Session Page ..................................................................................................................................................... 53 5.3.1 Live .....................................................................................................................................
CHAPTER 9 SWITCHER, TRANSITIONS AND OVERLAY ........................................................................... 91 Section 9.1 Switcher Modes ...................................................................................................................................................... 91 Section 9.2 Switcher Row Banks ................................................................................................................................................ 92 Section 9.
Section 11.1 Media Players ...................................................................................................................................................... 113 11.1.1 Playlists ..................................................................................................................................................................... 114 11.1.2 File Operations ........................................................................................................................
Section 13.4 Compositing ........................................................................................................................................................ 140 Section 13.5 Fine Tuning .......................................................................................................................................................... 140 Section 13.6 Lighting for LiveMatte ..............................................................................................................
Section 16.6 TalkBack .............................................................................................................................................................. 162 Section 16.7 Common Controls ............................................................................................................................................... 162 16.7.1 Mute ..........................................................................................................................................
Section 18.6 Streaming Strategies ........................................................................................................................................... 183 18.6.1 On Demand or Live Streaming? ................................................................................................................................ 183 18.6.2 Streaming Media Providers ....................................................................................................................................
CHAPTER 22 CONTROL SURFACES: VMC1 .......................................................................................... 205 Section 22.1 Connection and Configuration ............................................................................................................................ 205 22.1.1 Pairing Systems and Surfaces ................................................................................................................................... 206 Section 22.2 Control Schema ..........
23.1.2 Pairing ....................................................................................................................................................................... 228 23.1.3 Control Layout .......................................................................................................................................................... 229 23.1.4 Selection Group .........................................................................................................................
Section 24.10 Preset (DDR Playlist) ......................................................................................................................................... 265 Section 24.11 Transport (Clip controls) ................................................................................................................................... 265 Section 24.12 Tips and Tricks ................................................................................................................................
B.1 Skype TX ...................................................................................................................................................................... 295 B.1.1 TalkShow® ............................................................................................................................................................... 295 B.1.2 Skype TX Controller ..........................................................................................................................
F.2 T-Bar ........................................................................................................................................................................... 321 F.3 Record, Grab, and Stream .......................................................................................................................................... 322 F.4 Tabs.............................................................................................................................................
PART I (GETTING STARTED) Connections and registration, a top-level overview of primary features, and a hands-on tour to get you started.
Chapter 1 ABOUT THIS MANUAL This manual tells you everything you need to know to perform common operations with your NewTek live production system. It attempts to convey this essential information in a friendly yet concise way, while also providing a deeper reference section you can turn to when you really need more detail. Even if you are the hands-on, ‘I never-ask-directions!’ type, please peruse this page.
Chapter 2 INTRODUCTION Thank you for purchasing this NewTek™ product. As a company, NewTek is extremely proud of its record of innovation and its commitment to excellence in design, manufacture, and product support. Version 2 of our most advanced live production system software raises the bar again. You will find it exceptionally powerful and versatile. This chapter provides a quick tour of its components and features. SECTION 2.
The Home page of the Launch Screen provides a number of important functions, notably allowing you to create (and re-open) sessions. Sessions are an important concept – essentially a custom preset prepared for an individual production or other purpose. Later, when you re-enter an existing session, all of its assets and settings and even control states are remembered. Selecting a session takes you ‘into’ the session.
• The central Live Control section is home to the Switcher, Transition, DSKs (overlay channels) and M/E controls (M/E panes can be minimized, and are hidden from view in Figure 2). • By default, the bottom third of the Live Desktop is home to tabbed control modules, including Media Players, Buffers, and the Audio Mixer. SECTION 2.4 FEATURES Let’s take time for a brief overview of just some of the key features of your system. 2.4.1 PHYSICAL • • Handsome and rugged chassis.
• • • • • • • • • • • • • • Various models may support SDI or HDMI video input and output, internal and network video sources, and analog audio input and output Connect popular video routers to greatly multiply input options. Control supported PTZ cameras via NDI (or other common IP control protocol) or serial connection. Freely mix multiple video formats, and output UHD and HD sessions simultaneously.
2.4.6 MONITORING FIGURE 3 • • • • • The Live Desktop includes a large monitoring pane with multiple and easily customized Workspaces. By default, this area includes Program output and Look Ahead Preview monitors with associated controls, along with all inputs. The monitor array at left allows you to keep an eye on all live and internal video sources, including Media Players and Network sources.
For less complex productions, the Switcher’s convenient Express mode simplifies the process (Figure 6). This one-button operating mode will be especially welcome in environments where volunteers or less experienced operators are involved. FIGURE 5 (TC1 SHOWN) Additionally, support for switching using a touchscreen has been provided.
DSK C HANNELS FIGURE 7 (TC1 SHOWN) DSK layers support downstream overlays (M/E Keys are upstream overlays, i.e., ahead of the main Switcher). • • • • Display DSK channels independently, and swap them during a switch with custom transitions. Use Media Players to overlay title pages, including scrolls, crawls and lower-thirds, or assign a Camera feed or Network source to an overlay channel.
2.4.10 VIRTUAL SETS FIGURE 9 • • • • • Achieve the look of large, sophisticated studio sets in a very small space with NewTek’s LiveSet™ virtual set technology. Virtual sets support up to four keyable video sources. Zoom and pan the virtual ‘camera’ during live production (without touching the physical camera). Or use a Holographic LiveSet to freely rotate and zoom the camera view. Set up custom virtual set animation targets even while live. 2.4.
2.4.13 AUTOMATION Record, edit, and play back macros, whether a simple operation or more involved series of events at the touch of a button. Use powerful integrated automation systems to trigger these, simplifying complex tasks and ensuring consistent operations. Hint: See also LiveStory™ in the Appendix on Premium Access features. 2.4.
2.4.17 INTEGRATED MEDIA PLAYERS Media Players and title system serve up graphics, titles, video clips and audio files quickly and easily during your live productions. FIGURE 10 (MEDIA PLAYERS VARY BY MODEL) • • • • • • • • • • • • Add a/v clips, sound or still images to Media Player playlists. Trim and re-order playlist entries. Add colorful transitions between clips. Flexible playback controls include variable Speed and Loop options.
FIGURE 11 Buffers can be applied in any video channel, including all main Switcher and M/E rows, or as overlays in the countless DSK/KEY channels. Buffer ‘slots’ can contain animated effects (compiled from your own clips using the supplied Animation Store Creator application), still graphics or title pages, or – when enabled – dynamic LiveGraphics™ – all with full alpha channel support.
Chapter 3 SETTING UP This chapter explains how to connect power, monitors and audio visual sources, and external control devices to your NewTek live production system. It also reviews the registration process. After completing this short section, you’ll be all set to begin using your new unit. To begin, let’s review ‘what came in the box’: • • • • Your NewTek live production system A/C power cabling NewTek mouse and keyboard Registration reminder card SECTION 3.
SECTION 3.2 WINDOWS™ LOGIN Although the system can be operated without a password requirement, it is recommended to use one to secure your system from unwanted use or intrusion. In particular, use of a password is required if you intend to use the system’s support for Skype TX™ a/v sources. Thus a password is required by default. Important note: The default password for new (or ‘newly restored’) systems is simply “newtek”, entered without the quotation marks, of course. SECTION 3.
U PDATES It’s a great idea to check for recent free software updates for your system at this time, too – visit https://www.newtek.com/downloads/ to do so. E NHANCED S UPPORT (P RO T EK ) NewTek’s optional ProTekSM service programs offer renewable (and transferable) coverage and enhanced support service features extending well beyond the standard warranty period. Please see http://www.newtek.com/protek.html or your local authorized NewTek reseller for more details regarding ProTek plan options. SECTION 3.
• • SDI Video Inputs 1-4 and Genlock input. SDI Video Outputs 1-4 and Tally connector Note: Hardware details as depicted are subject to change without prior notice. Also, TC Mini provides clearly labeled (mic and line level) audio inputs on its faceplate. 1. Connect any local SDI video sources to one of the four BNC connectors in the SDI IN section. Note: SDI video sources with embedded audio do not necessarily require separate audio connections. 3.5.
Program output, along with other extended configuration options. If you assign names to router inputs or outputs in this file, make sure the names for each are unique. Some routers allow each router input to be provided with a unique name. In such a case, the NewTek system may be able to access that name and use it for Switcher buttons as appropriate. FIGURE 13 To enable this behavior, checkmark the Use External (name) switch in the Input Configuration panel (Figure 13) – see Section 8.1.
3.7.1 A/V OUTPUT Your NewTek system provides multiple video and audio output connector groups, and very flexible display options. Here are some of the possibilities: • TriCaster’s of various types can output a huge number of different sources – including as many as four different mixed compositions, up to twenty nine more NDI outputs (VMC 1), multiple internal recorders, three local monitors, and Internet streaming.
For rack-mounted systems, additional monitor ports located just above the SDI inputs on the backplane are available to connect monitors or projection devices (etc.) for various purposes, including program output for IMAG (Image Magnification) installations. VMC1 supports the use of three such extra displays, while TC1 and 410 Plus each allow two.
Here is a pin-out listing for the HD15 Tally connector: • • • • • Pin1 – LED1 Pin2 – LED2 Pin3 – LED3 Pin4 – LED4 Pin5 – reserved • • • • • Pin6 – reserved Pin7 – GPI3 Pin8 – GPI4 Pin9 – GND Pin10 – GND • • • • • Pin11 – GPI1 Pin12 – GPI2 Pin13 – NC Pin14 – 3.3V (20 Ohms current limit) Pin15 – NC E NGINEERING N OTES ▪ Pins 1-(4 or 8) are ‘hot’ when the LED should be illuminated. ▪ Each LED pin 1 (4 or 8) has a 200 ohm current limiting resistor.
FIGURE 16 A link containing the text “Enter Session Name” is shown at the top of the right-hand pane when the New Session link is selected at left. Click in this text box to modify the default name using the keyboard if you like (otherwise, the default name will use the current date). Note: A variety of optional session configurations are provided for your live production needs. You can choose either 4K (UHD), HD (High Definition), or SD (Standard Definition) operating modes.
Simply click the link labeled Start Live Production to launch the Live Desktop, which is where you will spend all of your time during live production. T HE L IVE D ESKTOP FIGURE 18 (SHOWS TC1) Initially, as you have yet to configure input devices or add content, the Live Desktop will look a bit barren (Figure 18). Take a quick look around, but then let’s continue to configure your devices. (We had a brief glimpse at the Live Desktop back in Section 2.
Name Mix 1 Mix 2 Mix 3 Mix 4 Source Selectable Selectable Selectable Selectable Video Output Format Selectable Selectable Selectable Selectable SDI ✓ ✓ ✓ ✓ NDI ✓ ✓ ✓ ✓ Source Selectable Selectable Selectable Selectable SDI ✓ ✓ ✓ ✓ Audio Output NDI Master ch.1, 2 ✓ Analog Out 1 ✓ Dante DVS 1, 2 ✓ n/a ✓ n/a Aux ch.1, 2 Analog Out 2 Dante DVS 1, 2 n/a n/a Hint: There can be many additional outputs apart from these primary ones and the Stream outputs configured in the same pane.
This panel hosts tabbed panes, and the first one is labeled Output. This is where the signals sent to each of the video output busses designated MIX 1-4 (or Mix 1 and 2, for TC Mini) as well as the Stream output are configured.
Optional Source selections for MIX output channels include any of the following: • • • • • • • • Program output o A clean Program feed The ‘look ahead’ Preview The feed from any input Graphic or video output from a Media Player Direct output from any M/E o Clean output from any M/E Output from any of the Buffers Follow selected M/E Program or Preview, or a Switcher color group Black Audio menu options include any of the Master or Aux mixes (not a TC Mini feature) or the sound from a selected audio input.
Figure 21 highlights two tabs labeled OUTPUTS 1-4 and 5-8, located at right just above the main Switcher. Clicking a tab reveals one of two specialized crosspoint panels, which appear in the same place that M/E and PREVIZ modules are normally shown (Figure 22). FIGURE 22 You would not be wrong to think of these panels and their associated NDI outputs as integrated Output Matrix Routers, in that their features are very similar to those normally provided by an external SDI matrix router.
2. Monitoring layout presets are listed at the top of the menu as Interface A through D. Select the layout labeled A under Multiview 1 (if it isn’t already check-marked). 3. By default, this default monitoring pane shows individual viewports for the various Switcher sources. 4. To continue to assign sources, you could select Configure from an input monitor’s (right-click) context menu, but let’s take a different approach.
7. Close the Configuration panel for now (click the Close button, or simply ‘click outside’ the panel to close it). 8. Continue to configure additional video sources in the same manner. We’ll look at the other options and settings later, but at this point you should be able to view the video inputs you have configured on the Live Desktop multiview monitors. 3.11.1 CONFIGURE A VIDEO ROUTER INPUT Right-click on the Switcher row button for the video input where the router is connected (see Section 3.5.
Local connections can be assigned to ‘listen’ to either an SDI embedded audio source connected to the corresponding video input, or analog audio inputs provided on the unit (varies by model). Choosing a local hardware audio source causes another menu to be displayed at right, which is where you can choose whether to connect to sound from the Embedded (SDI) or analog hardware input (Line or Mic level, varies by model). Note: Analog audio levels conform to SMPTE RP-155.
2. Access the Output Configuration panel by double-clicking the (Live Desktop) PROGRAM viewport. 3. Click the Genlock tab (Figure 28). 4. The default Reference Type in the Genlock settings group is SD (Bi-level), as this is currently the most common reference signal type. However, if you supply an HD reference signal to the Genlock input, you may want to change the setting to HD (Tri-level). Please note that 1080/59.94p Tri-level genlock signals are not supported. 5.
SECTION 3.14 NETWORKING Of course, the system provides extensive support for NDI sources and outputs across a network. Few will be surprised to find that this next generation feature requires your system to be connected to the network. ☺ VMC1 actually supplies four different network connections on its backplane – two 10 Gigabit and two Gigabit ports. TC1 has two Gigabit ports, as does TC Mini.
Chapter 4 WEB FEATURES This chapter provides information meant to guide you to other resources that will introduce the major components and functions of your NewTek system. This includes extensive online training resources, friendly and helpful online communities, webbased external control, and more. More detailed reference material on all aspects follow in Part II (Reference).
Click this to open the Notification Pane, and then click the Web Browser button in the footer of that panel to view the webpage in a local browser. FIGURE 31 IMPORTANT NOTE: This view is provided so you can preview the NewTek LivePanel features. It is not intended that you use the NewTek LivePanel web apps in a browser running on the local system.
o User Guide – the document you are reading o Automation and Integration Guide – provides a wealth of information pertaining to all aspects of macros and automation features, along with discussions of third-party solutions and topics related to integrating NewTek live production systems into your studio pipeline. o Animation Store Creator™ and Virtual Set Editor™ Guides • Training – online video tutorials and Operator Certification programs.
PART II (REFERENCE) A thorough examination of the various aspects of your NewTek system. Every button, menu item, feature and control is considered in this section, so you can take full advantage of your system.
Chapter 5 THE LAUNCH SCREEN The Launch Screen is the gateway to a suite of applications as well as maintenance and management features for both sessions and the system. We’ll discuss each of these in the pages that follow, beginning with a review of the concept of sessions. The Launch Screen’s Home Page appears whenever you launch your TriCaster.
As you continue, you may make other adjustments relevant to your current production requirements: • You might adjust cameras using the Proc Amps provided in Input Configuration panels. • If your production plans include the use of greenscreen staging, you will doubtless adjust the LiveMatte settings for one or more cameras to provide optimal keying. • Perhaps you will use Workspace Display Settings to adjust the preview monitor color characteristics.
This primary screen is the first thing you encounter after launch. It is dominated by the main menu shown in Figure 33. Choosing a link from the menu updates the righthand pane of the Home Page to provide options and controls related to your choice. For example, the first thing you will likely do on launching a brand new unit is create a session. In anticipation of this, the New icon is preselected automatically whenever there are no existing sessions.
Suitable storage volumes that are detected are listed in a drop-down menu when you click on the Volume control. You can select any volume shown as the session drive, though external drives are not recommended for active use as session drives. F ORMAT AND O UTPUT C ONSIDERATIONS Remember that for live production, you can simultaneously supply both SD and HD output for either SD or HD sessions. The session setting does have some significant ramifications, though.
FIGURE 36 FIGURE 37 Available sessions are grouped under the names of the storage volume they are located on (Figure 37). The listing shows the Session Name and Format for each session, on each drive. Let’s look at the Sessions List briefly before we open a session. A UTO -L AUNCH S ESSION Normally, a few seconds after launch, TriCaster automatically reloads the last session you were in, allowing you to basically power up into the last session unattended.
Note: Content that is not local to the session but which was used in it is not deleted. For example, you may have added still images to your playlist directly from a USB thumb-drive, doing so without actually importing the files into the session. Those external files will not be deleted. R ESTORE S ESSION B ACKUP In another section of the Launch Screen (Session Page>Manage) there is a feature that allows you to back up the current session to another storage volume.
FIGURE 38 Administrator Mode options are grouped under several headings, as discussed next. B ROWSE • Web – Opens the default system Internet browser. • Files on Disk – Opens a system file window. S YSTEM U TILITIES • Enter User Information – the system shows a watermark on output before registration, so we encourage you to register early.
You could think of your hard drive as being like a shelf in your library. As time goes along, the shelf fills with books. Some are quite large, others smaller – just as media files may be larger or smaller. As time goes along, you decide to remove books you have finished using from the shelf, in order to make room for new additions. You remove a book here, another there, opening up gaps between the remaining books. This makes some shelf space available by creating gaps between the remaining books.
• Date and time – Open the system keyboard controls panel. • Configure Network – Open the system network controls panel. • Display – Open the system display controls panel (useful for configuring multiple monitors, among other things). • Fonts –Open the system font management console, allowing you to add that new font your client wants you to use for their title pages. • System Name – It can be very useful to modify the default name by which your system is identified on the network.
The primary User Guide is found here, as well as documentation for other software (such as the LiveText™ manual). Click the License Agreement link to review the end user license requirements, or the About link to list software version information, credits and acknowledgments. FIGURE 41 5.2.6 ADD-ONS NewTek offers additional software tools to expand the power of your NewTek system. The icon labeled AddOns on the Home Page provides access to some of these tools.
5.3.3; please refer to the accompanying Automation and Integration Guide for full details on DataLink’s many powerful source options), and much more. SECTION 5.3 THE SESSION PAGE FIGURE 43 Opening a session from the Home Page (whether using Open or New) takes you to the Session Page, providing a new set of selections on the main menu. The name of the current session is shown in the top-left corner of the screen (Figure 43). The current session is displayed in the form “Home/session name”.
5.3.2 GRAPHICS An offline variant of LiveText™, NewTek’s standalone titling and CG application, is provided. This version cannot be accessed during live production, but lets you author title pages with text entries and images that can be updated while live. These pages are displayed from Media Players or Buffers during live production. FIGURE 45 Selecting the Graphics icon displays a number of related items on the right-hand side of the Session Page.
To create a new LiveText project, click in the default project name field (just above the Start New Project link) and modify it, then click Start New Project. When you finish working in LiveText, click the [x] button in its upper-right corner (or select Exit in the File menu) to return to the Session Page. Note: The integrated version of LiveText cannot be accessed during live production operation. It is provided as a title page and graphics authoring tool only, not a live CG server.
Several other important features are contained in the Manage group, discussed next. C ONFIGURE D ATA L INK K EYS DataLink™ is an astonishingly useful NewTek exclusive, allowing the handling and updating of text and image data from both internal and external source for use in title pages in real-time, as well as other purposes. Briefly, DataLink tracks variables (called DataLink keys) and their values, and updates these values on-thefly when used as entries in title pages.
B ACKUP S ESSION Clicking the Backup Session button opens a system file explorer that you can use to assign a storage location for the backup files. A progress gauge is displayed during processing, and if necessary you may Cancel the operation. Of course, the session to be backed up is the current session (to back up a different session, return to the Home Page and Open a different session.
Chapter 6 LIVE DESKTOP The Live Desktop is the control center for all your live production work. It provides control over switching, transitions and overlays, titles and graphics, audio mixing, playback of digitized content, and much more. In addition, streaming and recording features are located here, along with keying and virtual set tools. The Live Desktop is launched by creating (or opening) a session in the Launch Screen’s Home Page, then selecting the LIVE icon and clicking Start Live Production.
1 - Dashboard • Quick access to interface options and important tools, including Publish and Macros along with Record, Stream, Workspace and Timecode options.
Rotary slider Position, Size, Rotate Drag up-down to adjust one value, left-right to adjust the other value, diagonally to adjust two different values simultaneously. Hold down Alt while dragging vertically to modify the third value (Z) when provided. Rotary Knob (single-value) Audio Gain Drag left-right to adjust the current value. Combo-Slider Transition, Zoom Duration • • • Drag left/right to raise or lower the current value. Click the digits to type in a new value.
FIGURE 51 Expand the Name/Comment group in the Input tab of the Input Configuration pane, by clicking the twirl-down triangle at left. This group contains several editable text fields, including Video (the label shown under monitors), a shorter Switcher Button label, and the longer Comment field. Hint: The Comment entry is more than just memory aid. NewTek’s DataLink feature can automatically update title pages as inputs are displayed by drawing on the information you enter here. 6.4.
FIGURE 53 Notice too that, when the lower tabbed modules are visible, you can also drag the horizontal divider between the Live Desktop monitor pane and the Switcher up or down to modify its position. FIGURE 54 You can even move the horizontal divider all the way up to the bottom of the Dashboard, thus hiding the Desktop monitor pane entirely (Figure 54), providing much more room for other modules in the process. Hint: Reset the horizontal divider to its default locations by double-clicking it.
6.4.3 EXPRESS SWITCHER MODE FIGURE 55 In a related innovation, an alternative Switcher interface provides new opportunities to customize both the interface and workflow. The Switcher’s Express mode is very compact, freeing valuable Live Desktop space. Viewports in the multiview area above are significantly larger than in the more familiar two row (Program/Preview) Switcher mode.
Chapter 7 THE DASHBOARD The Dashboard groups important production features and system display controls in one convenient place for quick access and review. As well, the Dashboard serves to provide information on the current session, status updates and storage usage, along with timecode and the Macros and Options menu. The Dashboard is home to several important displays, tools and controls. Prominently located at the very top of the Live Desktop, the Dashboard occupies the full width of the screen.
Some of these items are so important that they rate their own chapters. Others are detailed in various sections of this guide (cross references to the relevant sections of the manual are provided above). In this chapter, we’ll focus on those Dashboard features not discussed in greater depth elsewhere. SECTION 7.
• Default Media File Level – the default ‘per-clip’ audio level applied to imported media files is controlled by this option. • The Macro Triggers menu offers the following options: o Tally – Enables State Change macros configured in the Automation tab (Input Configuration panel) for any video source. o Audio Levels – Enables the Run Macro at (threshold dB) feature for Audio Mixer sources. o Disable Hotspots – Disable macro triggering based on Hotspot activity (see Section 8.1.4).
SECTION 7.5 CLOCK The Dashboard also hosts a clock which, in addition to showing the current time, can display countdowns to event start and end times when enabled. To access time features, click the small gear icon next to the timecode display at right in Live Desktop’s Dashboard. FIGURE 60 Hint: You can set the system clock, as for any computer; simply exit to the Windows® Desktop to do so. 7.5.
During live production, the Dashboard and as well as monitor panes and default Multiview layouts offer Broadcast Clock displays based on the current timecode. Secondary clock displays show a useful countdown to the (production) Start and End times when the corresponding switches are enabled in the Timecode Configuration panel. SECTION 7.6 NOTIFICATIONS The last item at right on the Dashboard is the Notification icon (Figure 64). A ‘number bubble’ indicates how many un-viewed entries have accumulated.
FIGURE 66 • A special message is added if a clip or still image is added to one of the Session’s media file locations (such as the session Clips and Stills folders). These entries show a thumbnail icon at left, along with the filename and path. In this case, the item’s context menu includes an Add to Media Player option (Figure 66), which lets you immediately append the new file to a selected Media Player playlist.
Chapter 8 I/O CONFIGURATION Your NewTek system provides extensive control over video sources, along with endless creative features. Each source has Proc Amp, keyer (LiveMatte™) and Crop (a.k.a., ‘garbage matte’) features. Input Configuration panels are also home to real-time Hotspot and Tracker features. The number and flexibility of outputs supplied is astonishing, too, and we’ll discuss these fully in this chapter.
S OURCE Use the Source menu in this panel to assign one of the many sources available to the corresponding Switcher input. Available video sources are grouped under labels named for the device supplying them. FIGURE 68 The Local group in the Source menu includes those sources connected locally to the system’s hardware inputs (e.g.
F RAME S YNC By default, Frame Sync is set to Automatic for all external source types, allowing you to work with a wide array of potential video sources without concerns about video timing. FIGURE 69 This option (Automatic) enables the full array of timing correction tools available to achieve smooth and accurate frame timing in your productions, including features that correct for issues caused by ‘less than ideal’ networks.
PTZ C ONTROL FIGURE 72 For many source types, a PTZ Control menu is shown in the Source control group. The default control Connection type is NDI which, assuming you are configuring an NDI source, makes life a lot easier because there is nothing else to configure. Otherwise, if you *must select a ‘legacy’ control connection type like RS422, etc.
Among other things, the values from these DataLink keys can be used to update text values in title pages, or to add information to the filename of recordings. Hint: For example, you could use a macro to automatically display a title page briefly any time you switch cameras. The Name and Comment entries for inputs update the values assigned to DataLink Keys named %PGM Source Name% and %PGM Source Comment% base on Program row selections.
For example, the Alias entry for the second preset of the second input will be assigned to the DataLink key %PTZ2_Preset2_Alias%. FIGURE 76 A set of controls located below the preset bin allows you to control connected PTZ cameras, or to affect sources supporting Pan and Scan features in similar fashion (you might think of these sources as providing a sort of ‘virtual PTZ’ functionality). Note: NewTek NC1 Spark units connected by NDI will show Virtual PTZ (Pan and Scan) controls.
8.1.3 IMAGE TAB FIGURE 77 The Image tab in the Input Configuration panel hosts a set of features that provide extensive color control processing, chromakeying, and cropping options for every video source. A UTO C OLOR FIGURE 78 Lighting conditions can change dramatically during many live events, especially those held outdoors. Adding to this problem, production usually involves multiple cameras and, all too often, these may not have uniform color characteristics.
L ISTEN O NLY The Listen Only switch allows you to include a source in the Multicam group without adding its own feed to the group evaluation. Thus, a camera trained on a giant purple dinosaur can be automatically corrected without disproportionately biasing the group evaluation and Auto Color correction.
White Balance – to automatically white balance, click and hold the mouse button on the Color well, and then slide the ‘eyedropper’ pointer onto the monitor for the corresponding source. Release the mouse button over a part of the image that should appear as white after processing. A DVANCED C OLOR C ONTROLS FIGURE 80 This secondary control group is revealed when you click the expander (triangle) beside its label.
FIGURE 81 The process involves eliminating a portion of the video image (effectively cutting a digital ‘keyhole’ in it) to reveal a userdefined background scene. This feature also plays an important role in the workflow of LiveSet, NewTek’s powerful virtual set technology. LiveMatte’s controls are deceptively simple, making a great deal of complex digital manipulations easy to use. Even so, much can be said about getting the best results.
Numeric controls in this group let you define margins for each side of the frame. Drag left or right on the number fields to adjust the values interactively or click a field to enter an exact value using the keyboard. The region defined by these controls is completely removed. Use the Feather setting to soften the edges. Hint: For added convenience, similar cropping tools are available separately in the Position panels of DSKs, along with the Key and, for LiveSet Effects, each layer’s settings for MEs. 8.1.
The State Change implementation thus allows you to automate all manner of operations based on such things as the following: • • • • Program or Preview row selection. Displaying/ hiding the source in a DSK or KEY channel. Selecting/de-selecting it on an M/E’s A row, or any M/E row, or … Showing or hiding a source on the Program or Preview output.
The tracked region is defined by choosing a primary Color using the color picker tool. The Tracker follows this region as it moves and shifts within the frame over time, and outputs the motion data for downstream application. Tracker output from one source can be used to dynamically modify the positioning of other video sources, when configured to do so in their individual Position panels.
L IMIT TO R EGION The Tracker is designed to follow the largest shape in a frame that meets the defined color criteria. At times, similar colored articles or inclusions in the frame can interfere with Tracker output. The settings in this group allow you to limit the area FIGURE 87 of the frame the Tracker monitors, which can help you sidestep this issue. We’ll discuss the application of the Tracker’s data stream when discussing the Positioner tools. SECTION 8.
8.2.1 OUTPUT TAB We discussed Primary and Secondary outputs back in Section 3.10. The first four entries in this panel are primary outputs; typically, these are also ‘mixed’ outputs, hence their default labels – MIX 1, 2, etc. These video sources are sent to the corresponding SDI output connectors (when provided), and also as NDI (Network Device Interface) outputs.
FIGURE 90 The audio controls also include individual VU meters, Gain knobs, and an AGC (Automatic Gain Control) option. These allow you to modulate audio for the streams separately from your primary audio outputs. Hint: Streaming output is always de-interlaced. Streaming Output involves more options, too, since there are so many different ways to stream. In this panel, you simply configure the audio and video sources sent to the streaming output.
8.2.2 RECORD TAB FIGURE 92 Each MIX output source has a corresponding Record control group to provide settings and options for capture. These important capabilities are discussed in full in Chapter 20, Record, Grab, and Replay. The controls shown in Figure 92 are detailed in Section 20.1.2. 8.2.3 GENLOCK TAB The Genlock feature allows your NewTek system to ‘lock’ its video output to a reference video signal supplied to its Genlock input connector. Note: Not a TC Mini feature.
❖ Supplying the same sync source to the Genlock input ensures a match between the system’s video output and any downstream video devices required to handle both it and other (genlocked) sources. Note: Digital audio is less tolerant in certain respects than analog. Some devices require SDI sources to be genlocked when mixing digital audio (whether for recording or live production). NewTek systems, however, include dynamic audio re-sampling for each input.
Together, the Vert Position, Horiz Position and Phase settings let you tweak synchronization to arrive at an optimum match between devices. Typically, these settings are fine-tuned with the aid of a downstream vectorscope and waveform monitor. (A discussion of these adjustments goes beyond the scope of this manual, but a quick online search for the keywords “genlock” and “adjust” turns up a number of excellent references).
Chapter 9 SWITCHER, TRANSITIONS AND OVERLAY Many Live Desktop features replicate traditional video switcher controls in an easy to comprehend and use fashion. The Live Destkop features powerful transition controls, downstream overlay channels, interactive layer monitors, and powerful automation features.
SECTION 9.2 SWITCHER ROW BANKS FIGURE 97 (TC1 SHOWN) In standard Switcher mode, two Switcher rows labeled PGM (Program) and PREV (Preview) are shown (Figure 97). Clicking a button in the Program or Preview row selects the active video source for that bus (note that audio sources can optionally be affected by Switcher activity – see Chapter 16 Audio). TriCaster’s Program and Preview rows represent all available video source in “banks” of buttons.
SECTION 9.4 BACKGROUND AND DSK LAYERS The concept of video layers is central to understanding how the Switcher, M/E and Transition controls relate to one another, and how they combine to form the video seen on Program output. • The Background layer (often shortened to simply ‘BKGD’) is always the base for the video composition displayed on Program output. • DSK (Down Stream Keyer, or ‘overlay’) layers may appear above (in front of) the Background.
SECTION 9.6 LINKING SWITCHER ROWS It can be useful to link two (or more) Switcher or M/E source rows together, so cause them to operate synchronously. Program and Preview rows and M/E source rows all show a triangle beside the row label at left. Click it to open a menu that lets you set up linking. As you’d expect, rows assigned to the same color groups are linked. A selection made in any linked row updates the selection of all other rows in the same color group to match.
Hint: The frequently-used Cut and Fade effects always available in the transition palette. As these cannot be replaced, no + sign appears for these icons. In the Media Browser, you can choose from the hundreds of transition effects, or even Animation Store effects that you prepared yourself with the supplied Animation Store Creator application. The selected effect will replace the current one in the palette.
Note: The Animation Store Creator application is covered in its own manual, which can be opened from the Help menu on the Home page in VMC1’s Launch Screen. DSK S OURCE C ONFIGURATION Many more configuration options are available for DSKs (and their siblings, M/E key layers, too). To access these settings and features, roll the mouse pointer over the DSK viewport, and click the configuration (gear) gadget that appears at lower right (Figure 103).
• Drag left/right to rotate the source about the Y (vertical) axis. • Drag up/down to rotate about the X (horizontal) axis. • Drag while holding Alt down to rotate about the Z axis. • Drag on a single numeric slider, or hold down Ctrl to constrain rotation to one axis. Hint: If you click a numeric field (or right-click it), you can type a value into the gadget using the keyboard; press Enter to complete the editing action, or Esc to cancel it).
We will discuss the powerful Comp system a bit later (Section 9.9), but we’ll mention it in passing here to highlight the Apply with Comp switch provided in the Position control group. At the lowest level, Comps can be thought of as presets that store complete Switcher or M/E setups. By default, the settings stored in a Comp include the Position, Crop and visibility state for each DSK or KEY layer.
These powerful effects can include full color overlays, backgrounds, matte layers for ‘keyhole’ effects, and shadows. You can freely scale, position and rotate various Switcher sources, add custom borders, overlays, shadows, and so-on, over custom backgrounds or even live or animated sources – all without special skills or resorting to Virtual Set Editor. In addition to hundreds of supplied borders, you can easily create elaborate custom effects using FIGURE 109 Photoshop®.
FIGURE 110 DSK layers offer a lot of creative possibilities. You might use DSK channels to display a permanent station ID ‘bug’, superimpose a company logo onto a title page, perhaps to add a ‘spinning globe’ animation playing in the DDR to a lower-third, ‘frame’ a keyed source composed over a title (Figure 110), or set up many other elaborate effects in this manner. 9.7.
The Duration menu for the Background transition offers two items not included in the similar DSK/KEY controls: FIGURE 112 • Reverse – configures the current transition to run in reverse direction the next time it is applied. • Ping Pong – when enabled, this option causes the direction of the transition to be automatically swapped after each time it is applied. FTB Let’s discuss the FTB feature next. The acronym stands for Fade to Black.
SECTION 9.8 PREVIZ The Look Ahead Preview viewport above the Switcher shows the outcome of the currently configured transition before it is performed. Previz takes this capability further, allowing you to pre-visualize effects in motion, including T-bar operations. You can preview any Switcher and M/E effects (including DSK/KEY layers) without fear of disrupting Switcher (or M/E) output. Create complex compositions in this mode and copy them back to the original M/E (or Switcher) or a different one.
The system stores a fresh Undo state whenever the Program row selection is changed. If you encounter problems and don’t have time to think about what may have gone wrong, a click (or keyboard Ctrl + z) can quickly get you back to the prior state. SECTION 9.11 EXPRESS MODE FIGURE 117 As mentioned earlier in this chapter, the Switcher’s convenient Express mode simplifies the process for less complex productions.
9.11.3 DSKS The two DSK control groups at right work just like their siblings in the standard Switcher, but it is particularly handy that you need simply click or tap their viewport to show or hide the associated DSK layer.
Chapter 10 MONITORING YOUR VIDEO The word “monitor” comes from the Latin “monēre”, meaning ‘to warn’, but has taken on additional meaning since Roman times. As a verb, these include such connotations as ‘keeping an eye’ on something, and ‘checking continually’. As a noun, we understand it to mean devices that permit one to do just that. As you would expect, your NewTek system provides extensive and versatile monitoring – just what is needed to control your live productions.
To put this another way, the viewport layout of the Live Desktop’s multiview pane re-arranges itself as required to make optimal use of the space available. For example, when tabbed modules (such as the DDRs) at the bottom of the Live Desktop are fully expanded, the Program and Preview viewports above are stacked one above the other. On the other hand, if the tabbed modules are minimized, these viewports are side by side. SECTION 10.
Note: The Waveform and Vectorscope displays are not a feature of all TriCaster models. To display the Scopes view, select that entry from the Load Default options for a Workspace. By default, scopes and the associated monitor refer to the Look Ahead Preview composition (including delegated DSK channels, or FTB), shown at left for reference. Right-click a scope to change the monitored source to the source you wish to view.
In addition, you may choose to display VU Meters with the source, Tracking Markers and Hot Spot Markers (see Section 8.1.4). Long-standing practice when using color bars to calibrate video signal color attributes requires special video monitors with ‘blue only’ (or ‘bluegun’) displays. The Blue Only viewport option means you can now use any color monitor for this purpose.
10.5.2 CONFIGURE One final item completes the monitor viewport options: • Configure –opens the Input Configuration panel for the corresponding source. Hint: Double-click a viewport to quickly open Input Configuration without using the gear or menu. SECTION 10.6 VIEWPORT TOOLS Viewports provide additional features when you move your mouse pointer over them.
SECTION 10.7 PROGRAM MONITOR The Program Output monitor could hardly be more important, hence it’s prominent default location at upperright on the Live Desktop. FIGURE 128 Normally, this viewport shows what the Switcher is sending to Program output at any moment. The display includes the BKGD video layer as well as any other video layers (such as one or more DSKs, or FTB) displayed above it.
In other words, ‘what you see is what you will get’ – after performing the next Take or Auto operation as currently configured. This lets you set up the next shot, check its composition (including titles and overlay positioning), and switch to it with sublime confidence. M/E P REVIEW AND P ROGRAM As mentioned earlier, monitor viewports can also be assigned to display the output of M/Es.
Chapter 11 MEDIA PLAYERS & BUFFERS Media Players permit you to integrate video, stills and title pages into your live presentation. Display media sequentially as a playlist, or on demand. Media Players can play, stop and advance automatically in response to Switcher operations. Animated buffer effects are perfect for many similar purposes, freeing up Media Players to be used for long form playback. SECTION 11.
Hint: DDR is short for “Digital Disk Recorder”, a legacy term that – while deeply enshrined as a term referring to a playback system – is technically incorrect since these DDRs don’t directly support recording. 11.1.1 PLAYLISTS The dominant feature of all Media Players is a storyboard-style playlist, used to organize content for use during live productions. FIGURE 133 This arrangement offers easily visible thumbnail icons for each entry. A scrollbar at right accommodates long playlists when necessary.
Note that even still images and static title pages added to the playlist are given a play duration. The default duration for these items is five seconds. Duration can be adjusted on an item by item basis (or as noted earlier, en masse for multi-selected stills or title pages). During playback, the footer of playlist items illuminates as each is played in turn. When necessary, the playlist pane scrolls to display the icon for the currently playing item.
Hint: Multi-selection is supported for most operations, including Set Duration (applies to Still and Title only). Most of the clip context menu items are self-explanatory, but let’s talk about a couple of them in just a bit more detail. 11.1.3 SPEED The playlist context menu item Speed permits you to give each clip a custom playback speed. It’s important to realize that this Speed setting is separate from the Media Player’s primary Speed control, located in the footer, below the scrub bar.
11.1.6 PROPERTIES D ISPLAY N AME The Properties panel allows you to edit the Display Name of a file in the playlist. The Display Name fields defaults to the filename, but is a local alias, or ‘nickname’. Thus, editing the name does not change the name of the file on your hard drive. Roll the mouse over the icon display name to see the true filename and its path. C OMMENT The Comment permits you to supply metadata with the file.
Drag the knob to move quickly backward or forward in the clip. Audio is normally muted during scrubbing; hold down CTRL to unmute it. Also note that holding SHIFT while dragging the scrub bar knob increases precision. Time-Shifting By the way, it’s possible to use growing clips to ‘time shift’ your program: • Initiate Recording. • Add the captured clip to a DDR • Press “g” on the keyboard to clear its Out Point. • Trim the In Point to taste. FIGURE 137 • Assign the DDR to an output.
L OCATION L IST The Location List is a column of favorite “locations”, grouped under headings such as LiveSets, Clips, Titles, Stills, and so on. S ESSION AND R ECENT L OCATIONS The Media Browser is context sensitive, so the headings shown are generally appropriate for the purpose for which they were opened. A list of sub-headings appears under these main headings in the Location List. These may correspond to named sessions, or groups of content.
An additional filter appears above the File Pane (Figure 140). This filter quickly locates files matching criteria you enter, doing so even as you type. For example, if you enter “wav” into the filter field, the File Pane displays all content at the current location with that string as part of its filename. This would include any file with the extension “.wav” (WAVE audio file format), but also “wavingman.jpg” or “lightwave_render.avi”.
• (Not shown) – Double-click an entry in the playlist pane to begin playback at the start of that playlist entry P REVIOUS , N EXT AND P RESENTATIONS It’s extremely useful to realize that, since transitions can be added between playlist items, pressing Previous or Next likewise employs transitions. Whether playback is underway or stopped, and whether the items are clips or stills, you can use Previous and Next to transition backward and forward between items.
11.1.10 SHOW ON (…) Another extremely powerful feature is nestled beside just to the left of Autoplay in the footer of each Media Player. Labeled ▶ PGM by default this feature can target M/Es as well (Figure 146) as the Program row of the main Switcher. It provides unique playback and display abilities that make instant replay a thing of joy, as well as serving other purposes. Click the configuration button (gear) beside the SHOW ON button to display the panel seen in Figure 146.
M/E ON PGM In a variation on this operation, the On PGM switch, which is available whenever the target is an M/E, provides a different mode of operation. In this case, the output of the Media Player is immediately selected as the top row source of the target M/E, and the M/E is transitioned in on the main Switcher’s PGM (Program) row.
* Normally, pressing Stop a second time when a clip is playing resets the playhead to the start frame in the same clip. The exception above occurs only when you are previewing the content of a different MEM slot during playback. 11.1.12 NETWORK SHARING Default media file folders (Clips, Stills, etc.) are maintained for each session. This approach makes it easy to locate items using the Custom File Browser, and is also convenient for other file management purposes.
Hint: The panel can be re-sized by dragging its lower-right corner, and re-positioned by dragging its titlebar. When you move the mouse over text in the Title Page Editor’s preview pane, a white bounding-box appears. If you click once inside the box it turns yellow (Figure 149), indicating the text object is selected, and a text edit field opens. Hint: When the box is yellow the text can be nudge either a pixel at a time using ALT + the arrow keys or five pixels at a time using SHIFT+ALT+ the arrow keys.
Hint: Press Ctrl + s on the keyboard to perform this ‘save and duplicate’ operation without using the mouse. Similarly, PageUp and PageDown keys perform Previous and Next operations. The Prev and Next Title buttons let you store your changes and move to another title page in the playlist without the tedium of closing the Title Edit pane. S TAND - IN I MAGES Images embedded in Title Pages may be locked, or they may be editable stand-ins.
Since DataLink falls into the general realm of automation and also has access to external sources, complete coverage of its features and capabilities is found in the companion Automation and Integration Guide included with this product. We’ll mention here, though, that both text and images on title pages accept DataLink keys as input. The Title Editor tells you which entry boxes accept DataLink keys by showing a custom mouse pointer, in the form %DL, as shown in Figure 153.
Buffers are retained in Switcher Memory for immediate recall and display. Using a buffer for a specific DSK or M/E channel (rather than a Media Player) eliminates the risk of accidentally displaying the wrong graphic, as might otherwise happen if the current Media Player item selection was not the one intended. 11.3.
11.3.3 BUFFERS MENU Right-click a thumbnail icon in the Buffers pane to open a menu offering two items: • • • Rename allows you to assign a custom name to the buffer. The name will also be visible in menus (such as DSK source menus). Configure opens the standard configuration options, including cropping, color processing, and even LiveMatte keying. The Unload option clears the effect, freeing Switcher Memory reserved for effects.
11.3.5 BUFFER WATCH FOLDERS If you wish, you can share the Frame Buffer folder, which contains any still images used in Buffers, across a network. The Share Media Folders and Buffers is easily enabled even during a live production using the File menu at the left-hand end of the Dashboard. The files which serve individual still image buffers are located in clearly named sub-folders of the Frame Buffer folder for each session. These folders are arranged as follows: Sessiondrive:\Sessions\sessionname\Frame Buf
o KEY channels – choose a buffer for any KEY channel using its drop-down source menu. Buffers allow abundant use of animation throughout your productions – as virtual set elements, layered graphics overlays, etc., all without tying up precious Media Players. (Consider that in addition to the Buffer cross-points in the main Switcher, M/Es also support Buffers. Given that M/Es are re-entrant, layering possibilities are nearly endless. 11.3.
When a standard title page is loaded into a Buffer, clicking its thumbnail icon reveals a list of Data Preset slots. Each preset stores the text data and (replaceable) image content link for the title page. A single click recalls a complete data set and immediately updates the page. This is incredibly useful, of course, because you can (for example) store the names, player numbers, images and the like for the members of a sports team and recall these immediately with a click (or by executing a macro).
Chapter 12 PTZ CONTROL Once primarily used in security applications, robotic or ‘PTZ’ (pan, tilt, zoom) cameras are appearing on the production scene in ever increasing numbers. The PTZ implementation makes it easy to operate multiple (supported) cameras from the Live Desktop or a control surface. Any external Switcher input can be configured as a PTZ cam, controlled directly from the Live Desktop or using a NewTek™ control surface.
1. First, connect the camera’s output to a Switcher input – see Section 8.1. 2. Next you must configure the control connection to the camera by selecting its type. o Since the default Connection type in this group is NDI, you can skip this step for an NDI camera, which eliminates all of the settings you would otherwise need to configure.
O PTIONS FIGURE 164 Expand the Options control below the PTZ speed group to access White Balance options (which may vary based on the camera model connected) and an Invert menu that lets you reverse the effect of joystick operations. Note: Invert settings affect the related controls both in the Live Desktop and on hardware control surfaces. 12.1.3 PRESETS The Preset Bin shows sixteen thumbnail icons for the currently PTZ camera.
Chapter 13 LIVEMATTE Although its controls are deceptively simple, the LiveMatte™ feature employs powerful chromakeying technology capable of extremely high-quality results. Used alone or in conjunction with DSKs, M/E Overlays and LiveSet features, you will find LiveMatte can play a ‘key’ role in your live productions.
Of course, if you choose poor settings, foreground areas may inadvertently be cut away as well. Or, some areas that should be transparent may be only partially keyed. Good keying often requires judicious balance between ‘too much’ and ‘too little’. Let’s consider the tools provided to help you achieve a great result. SECTION 13.2 MATTE The term Matte refers to a black and white representation defining the transparent (background) and opaque (foreground) parts of an image during compositing.
13.2.3 SMOOTHNESS Smoothness defines a further tolerance factor, and a very useful one. We want our keyed foreground to blend smoothly into the background – rather than to stand out in hard relief like a postage stamp or decal. Smoothness serves this purpose, by defining a falloff zone of partial transparency. Don’t overdo it though, as aggressive settings can cause the foreground to become unnecessarily ‘muddy’. 13.2.
SECTION 13.4 COMPOSITING When you enable (and configure) LiveMatte for an input, the onscreen monitor for that input shows the source keyed over a checkerboard pattern (when the Checkerboard option is selected in Overlays for the monitor.) If you select the (LiveMatte-enabled) input as Input A in an M/E tab in LiveMatte mode, the keyed source is overlaid on sources in lower input rows. You will see the composite result when the output is assigned to either the PGM or Preview row. SECTION 13.
When good distance is out of the question, you can improve things somewhat by placing lights above and behind the talent, lighting them from behind with a complimentary color filter over the light to ‘cancel out’ unwanted reflection (for green use a magenta filter; for blue, orange or amber. Don’t overdo back (or top) lighting, however. The limited dynamic range of the camera means there will be little useful color data in badly over-exposed highlights.
Chapter 14 MIX/EFFECT (M/E) TOOLS M/E banks provide truly awesome production power and convenience. Pre-configure multi-layered compositions and switch them as easily as you would to any single input, or use an M/E to control a special purpose sub-mix. This is also where NewTek’s realtime virtual set technology, called LiveSet™, is applied. We introduced M/Es (Mix/Effect banks) way back in Section 2.4.9, but it’s time for us to look at these extremely powerful tools in greater depth. SECTION 14.
1. Mix (the default mode): A secondary switcher layout, with controls and options that are very similar to the main Switcher. 2. Effect mode: The M/E is configured for effects, including virtual set operations. The M/E mode is automatically established based on the type of effect you load as its Background effect. Effect selection is done in the usual way using the Media Browser. Click the + sign gadget that appears at upper right when the mouse is over the thumbnail icon for the Background effect.
14.2.2 EFFECT MODE FIGURE 175 Even casual scrutiny reveals some (outwardly) subtle differences in the M/E control configuration when a LiveSet is loaded as the Background effect selection (Figure 175), as follows: • • • The Take/Auto buttons located beneath the T-bar and Transition icon are replaced by a Position button. As required, as many as 4 input rows (A, B, C, and D) may be shown in Effect mode. Positioner controls appear for these input layers.
SECTION 14.5 DEFAULT EFFECTS As mentioned, in Effect mode an M/E may support up to four input layers. The M/E doesn’t transition between A and B in Effect mode. Instead, effects of various types are applied to the selected video inputs. Let’s consider the effects in the Default group as examples: Click the + sign shown when you move the mouse to the effect icon located beside the effect duration. This opens the Media Browser. Select the effect group labeled Default under the LiveSet location at left.
7. In the M/E 1 tab, select DDR 1 on the input A row. 8. Select DDR 2 as input B. 9. Select DDR 3 as input C. 10. Double-click the monitor for DDR 1 to open its Input Configuration panel. 11. Continue to configure both LiveMatte and the Tracker for the video clip in DDR 1: 12. In the LiveMatte tab, click Reset to update the keyer settings to their defaults, and enable the LiveMatte switch at upper-left. 13.
19. Enable Follow Tracker (Figure 178). The result on your Program monitor should look much like Figure 179; full motion video appears wherever the orange card appears in the foreground clip. This is the standard setup for the Advanced Tracking effect, though it’s possible to use it in different ways too. Further Notes: Advanced Tracker 2 provides much improved compositing.
Applying this effect immediately causes the display on the Program monitor to update, showing the content of the alpha channel for input A (Input B is ignored). The current input A source is keyed, so the effect displays black on Program out wherever transparency exists in the foreground, white for full opacity, and shades of gray for in-between blends. With this in mind, it won’t be hard to guess what Show Inverse Alpha does.
FIGURE 183 FIGURE 184 LiveSet is one of NewTek live production system’s most powerful tools and can dramatically enhance a production. With it you can achieve the look of a large, sophisticated studio setting (Figure 184) within a very small studio space (Figure 183), all without the need for external equipment. Broadly speaking, setup of a LiveSet effect is much like the Default effects previously considered (see Default Effects, Section 14.2.2).
The Location List of the Media Browser lists any installed LiveSet groups under the heading “LiveSets”. Select an entry beneath to show thumbnail icons in the Browser’s File Pane (Figure 185 shows the content of the NewTek location under the LiveSets heading). I NPUT P OSITION FIGURE 186 We discussed Positioning controls for M/E video inputs previously (Section 14.4). It’s worth adding here that Position options do affect the scale, rotation and position for LiveSet video inputs.
SECTION 14.7 KEY CHANNELS FIGURE 188 In almost all respects, the KEY channels in M/E panes match the DSK channels found in the Switcher’s main Transition section. Unlike the DSKs, though, they constitute a ‘pre-main Switcher’ sub-layer. This means that KEY channels are applied before the composition is sent to the Switcher (or another M/E). Thus, content in a KEY channel appears beneath anything displayed via the (Switcher) DSK channels.
FIGURE 190 Any KEY layer with the Augmented Reality switch enabled is treated differently from a normal KEY layer in several respects: • First, it does not merely appear above the main M/E layer composition you configure at left, as a typical KEY channel would. Instead, it is treated like another main layer added above the standard M/E layer rows.
SECTION 14.8 COMPS FIGURE 191 Different ‘virtual camera’ positions, along with other M/E attributes, can be stored in the Comp Bin associated with each M/E. In particular, T-Bar and most Positioner attributes for all layers in the module are stored in a Comp and are re-applied when you click the Comp icon later. This includes such things as cropping and edge-feathering performed using Positioner settings (layer source selections are not stored, nor are Border or Tracking settings. 14.8.
FIGURE 193 The context menu also allows you to Rename a Comp, update it, or clear it entirely. 14.8.2 ANIMATION Making a selection in a Comp Bin changes the current composition of layers displayed by the module to the new one. Changes can be immediate or animated over time. The timing controls in the footer of the Comp Bin determine the duration of the move from one position to another, while transition effects for layers are governed by their individual effect durations.
The result is that KEY 1 will animate in and out according to the state stored in each Comp. Actually, Comps can apply transitions to multiple layers at one time with a single click. Animation between the current layer states and settings is not limited to the effects provided by transitions, however. Let’s consider a different example. • • • Select Comp 2, ensuring that KEY 1 is visible. Use the Positioner controls for KEY 1 to slide the lower third title off the page, completely hiding it from view.
Chapter 15 NDI OUTPUT ROUTERS (VMC1) In video production, outputs are a BIG deal, typically in scant supply, and expensive. Imagine a system where you could have a nearly endless supply of outputs. NDI makes this dream a near reality. VMC1 supports virtually unlimited expansibility in this respect, and even provides direct and convenient control over your output sources.
Output source options include the displays and audio assigned to any of the four primary outputs, but also any other Switcher source with the exception of M/Es and animated Buffers (a Buffer holding an animated source will output a still image, which may nevertheless ‘still’ be useful for some purposes). SECTION 15.1 NDI OUTPUT APPLICATIONS This means you can simply assign one of these outputs to a suitable downstream system or device, and ‘hotpunch’ them at will.
Chapter 16 AUDIO Less than 100 years ago, movies were silent. We’ve come a very long way since “The Jazz Singer” (1927, Warner Bros.), and great audio now plays a huge role in video production. NewTek live production systems provide an extensive set of professional quality audio tools, which we’ll explore in this chapter. External audio connections and basic configuration were touched on back in Sections 3.5.1 and 3.7.1.
SECTION 16.1 AUDIO SPECIFICATIONS Analog audio conforms to SMPTE RP-155. The maximum input/output level is +24 dBu. Nominal input level is +4 dBu (-20dBFS), and the sample rate is 48 kHz. Levels above 0dBVU are shown in red in the VU meters, to caution you that overly high levels can result in clipping in recordings. SECTION 16.
16.4.1 CONNECTION TYPE Naturally, only one connection can be active for a given audio input at any moment. To access the Connection menu, move the cursor into the label of an input, and click the Configure (gear) button that appears just at right. The Advanced Audio Configuration panel will be shown. FIGURE 199 The drop-down Connection menu at the top of this pane allows you to assign any one of the supported sources connected to the system to this Audio Mixer control column.
It is not necessary to use an Aux audio bus to configure a special audio ‘mix minus’ to return to the remote Skype caller in this case. The return audio for Skype TX is handled automatically, ensuring that (except when the TalkBack feature is engaged) the remote caller will receive a special mix comprised of the Master mix with the remote caller’s sound removed. Note: These special a/v inputs are based on the professional Skype TX broadcast platform and require the use of its dedicated control application.
having the same number as the video input. In this latter case, the captured audio is routed directly to the recording module prior to most adjustments in the Audio Mixer – including Mute. 16.7.2 SOLO Solo implementations and options vary widely in the audio industry, but broadly speaking, all varants provide very useful functions. The Solo feature offers remarkable flexibility without overly confusing complexity.
16.8.2 EFFECTS (TRANSITIONS) This control group governs the sound embedded in Animation Store Transitions. The remaining control groups in the Audio Mixer are dedicated to various audio outputs. We’ll come back to them in Section 16.9, but before we do so, let’s drill further down into more advanced audio options and tools. SECTION 16.9 OUTPUT AND PRIMARY BUS CONTROLS As has been discussed, the Mixer on most models support four primary audio busses – MASTER and AUX 1-3.
Advanced users can thus record files conforming to regional standards or personal preference, substantially reduce the possibility of audio clipping in recorded files, and even adjust the level on the fly if necessary. The main point to remember from all of this is that for digital audio recording “less is often more”. When it comes to levels, by all means go as high as necessary – but it’s equally practical to go no higher than necessary.
G AIN On selected models, and usually for sources set to Mic input type, Gain knobs may appear in the Input Settings tab to allow you to compensate for microphone variances. P AN The Audio Configuration panel also provides Pan controls. Pan is a very useful feature; it adjusts placement of sound from source audio channels on the stereo channels comprising the audio mix(es). Using Pan, you can place all or part of channel 1 onto channel 2, and vice versa.
C OMPRESSOR L IMITER The Compressor/Limiter is capable of preventing clipping (see Section 16.9.1) from unexpected peaks or transients, and making talent sound better than they do in real life, bringing voices, music and other audio sources into an optimal dynamic range. Being able to do this independently for each output too is icing on the cake, especially for Internet streaming, as it ensures correct levels at any time.
N OISE G ATE The Audio Mixer’s advanced options panel also include a configurable Noise Gate for each audio source, as well as all outputs. This lets you ensure that unwanted low-level sounds are prevented from inadvertently intruding into the mix. A UTOMATION Several different per-input automation features are found in the Processing tab. F OLLOW P ROGRAM V IDEO Enabling Follow Program Video options for an audio source directs it to track switcher operations affecting the related video source.
Hint: A secondary mix, prepared on an Aux bus, can serve many purposes. For example, you might wish to record a mix with all sound from talent microphones but that excludes any sound effects or music. Let’s summarize what we have learned so far: A ‘send’ pipes audio signals from an input to a discrete pathway called a ‘bus’. Multiple sends can be used to place sound from a given source onto one or more internal busses. What else should we know? Each audio bus is discrete.
Suppose your interviewer is speaking into a microphone connected to channel 1 of Input 1. The audio from your interviewee is routed into Channel 2. You could easily supply both to your Master bus for your program output needs, but remove channel 1 from Aux 1, and remove channel 2 from Aux 2 to provide mix minuses to send back to the interviewee. This approach eliminates annoying echoing, feedback and the like. Meanwhile, both participants can be heard on the main Program output.
FIGURE 206 • Checkmark channels 2, 3 and 4 in the column below In 1 (see FIGURE 206 ). This routes sound from the first incoming Skype caller to all Aux 1 output channels except channel 1. • Open the audio configuration pane Input 14 and, in the Routing tab, clear the Aux 1 matrix. FIGURE 207 • This time, checkmark channels 1, 3 and 4 in the column below In 1. This routes sound from the second incoming Skype caller to all Aux 1 output channels except channel 2.
• Open the Channel Configuration pane for TalkShow Channel 1 to its Return to Caller tab. • Assign MIX 2 as the return Video Source. • In the Audio level control group below, click the speaker icon above all channels except Ch. 1 (see Figure 208), thereby muting them. Recall that you removed the sound from the first Skype caller from Ch. 1 of Aux 2, which is embedded in MIX 2. So this is the mix minus designed for return to that caller.
SECTION 16.12 MEMS Roll the mouse to the left edge of the screen in the Audio Mixer to show its MEM bin. Audio MEMs work just like their counterparts in the Media Players (see Section 11.1.11). MEMs are a convenient way to quickly store and recall audio steps and settings for different venues, productions, and users.
Chapter 17 MACROS AND AUTOMATION Macros smooth out your workflow, reduce complex operations to a single button press, and make it easier to produce sophisticated programs. They provide many opportunities for both workflow streamlining and creative applications. (As well, macros can reduce or eliminate embarrassing operator errors.) One of the hardest things about live switching is keeping up with the action.
Click Macros to show a menu containing a Configure Macros item. This opens a large panel that allows to you create, organize, and even edit macros. SECTION 17.1 CREATING MACROS FIGURE 212 Creating a new macro is simple. Select a folder in the Folders column at left to contain the new entry (or add one, using the New Folder button below), then click the New Macro button below the Macros Bin at right.
One example would be when you want to instantly reconfigure M/Es with different virtual sets for a scene change; or perhaps you want to quickly disable LiveMatte for all Media Players at once. The possibilities are endless. Hint: You can record a macro that includes other macros. Depending on your order of operations, you may need to re-highlight the newly recorded macro in the list to show its Stop control (to end macro recording). 17.1.
Chapter 18 STREAM/ENCODE Live webcasting has dramatically altered the broadcast landscape. Information can now be shared among audiences around the world with very small transmission costs. The live streaming market provides many creative and profitable opportunities. When it comes to taking advantage of this new medium, your NewTek live production system places you in the forefront of all the excitement. SECTION 18.
SECTION 18.2 CONFIGURATION To open the Streaming Configuration panel (Figure 215), click the Configure button (gear) at right of the Dashboard’s large STREAM/ENCODE button. 18.2.1 SOURCE SETUP FIGURE 216 To assign video and audio sources to either of the two streaming encoders, click the SOURCE SETUP button in the header of the Streaming Configuration panel (Figure 217). Doing so opens the Output Configuration dialog, where you can continue to choose audio and video sources, and adjust audio volume.
Hint: If the web browser is hidden from view because a Live Desktop operation took precedence, you can reuse this button to bring the browser window to the front again. 18.2.3 CONFIGURING ENCODERS FIGURE 219 Settings for the two encoders are configured in the Configure Encoder dialog (Figure 220). Open this dialog by clicking the configuration (gear) icon for either encoder at left in the header of the Streaming Configuration panel.
SECTION 18.3 PRESETS The information for a given CDN or other encoder target is also retained in a preset (e.g., Facebook, YouTube Live, etc.) New presets are added to the Streaming Configuration panel using the New Preset menu at left in the footer of the panel. Hint: A default File Capture preset allows you to capture output from either encoder to a file. At left in this panel are two columns of checkboxes; these allow you to send the output from either Encoder 1 or 2 to the presets at right.
SECTION 18.5 CAPTURING THE STREAM To archive a live stream file as it is created by an encoder, simply configure and check-mark a File Capture preset for that encoder. SECTION 18.6 STREAMING STRATEGIES One of the best approaches when beginning (to stream your productions) is to establish a relationship with a commercial streaming media provider. A good provider can guide you past firewalls, provide public addresses for everyone to view your stream, and provide no end of valuable guidance.
❖ Some corporate and institutional network administrators opt to support one or another format exclusively. (Check with your IT department to find out if this affects your decision). ❖ RTMP and RTSP combined have a very wide installed user base, and work well across multiple platforms (PCs, Macs, Linux, etc.). B ANDWIDTH C ONSIDERATIONS You’ll often hear the term ‘bitrate’ in connection with streaming. This expression refers to data throughput per second (generally measured in Kilobits per second, or Kbps.
Hint: A helpful way to find a good streaming service provider is to ask other members for recommendations in NewTek’s online discussion forums. SECTION 18.7 PRODUCTION AND CAPTURE CONSIDERATIONS If you’re not intent on live streaming, but wish to capture a live switching session, you would likely record at full resolution using the Record button (rather than Stream).
You should already be aware of the need for redundancy in a professional environment (you didn’t bring just one camera, did you?) As reliable as any device may be, Murphy’s Law has not been repealed … so you plan for this, bringing the appropriate equipment, such as uninterruptable power supplies, backup recording devices (there’s no shame in having a VCR backing up your digital record – ‘low tech’ still has a place in the grand scheme.
2. Type “cmd” (without the quotation marks) into the dialog, and press Enter on the keyboard. 3. In the command shell that opens, type “ipconfig” (without the quotation marks) and press Enter again. 4. The IP Address for the system will be reported in the window (listed next to “IPv4 Address”), along with other data. To find the IP Address for a system running OS X® 1. Click the Apple icon at upper left on the Desktop, and select About This Mac. 2. Click More info … in the panel which opens. 3.
FIGURE 223 FIGURE 224 Apple OS X® For a system running Apple’s OS X®: 1. Double-click Terminal in the Applications\Utilities folder. 2. Type the following command into the Terminal (without quotations) and then add the IP number, and press Enter: “ping –c 4 ipnumber.” (So, for example, you might type: ping –c 4 192.168.1.101) The response will be similar to the Windows® example described above. Again, a ping failure indicates a problem with the network connection.
18.8.2 SPEED TESTS Are you sure your upload bandwidth is adequate to the bitrate you’ve set for your stream? Why not test and make sure. Again, a number of websites provide free speed testing. These will give you a basic idea of what your local bandwidth really is. One site which provides a list of online speed test resources is: http://www.dslreports.com/speedtest?more=1 18.8.
Chapter 19 EXPORT The Export feature allows broadcasters to publish clips and stills from events like syndicated sports, entertainment or news programming to social media sites even while the live action and capture continues. Networks, corporate users and others with sophisticated website and distribution needs can deliver content moments after events occur for all manner of timely applications. SECTION 19.
19.2.2 NEW PRESET Let’s consider the New Preset menu item. Click this to display a sub-menu listing various supported Export targets (such as Twitter™, or Facebook™). Select an item here to open a dialog that lets you create a custom preset that will then appear in the list discussed just above. For most external sites (i.e., social media sites or ftp sites), the dialog requires you to enter account credentials.
FIGURE 226 The features of the Export Media bin are powerful, but not hard to grasp. Click the Add button in the footer to open a Media Browser, which you can then use to select (and multi-select) content you wish to export. You can choose items from your current session or another location. These files will be added to the bin, but they will not be exported at this point. Hint: You can Add and even Upload files that you are currently recording, even before pressing Stop.
19.3.2 PRESETS The Preset column provides a menu allowing you to change the export preset or even add multiple targets for each individual item in the bin. A checkmark beside a preset indicates the target is active. Of course, Preset selections can vary from one item in the Bin to the next. Obviously, if no checkmarks appear here, the entry on that row is not fully configured, and will be ignored by the Export processor. 19.3.
For example, the encoding settings for one target may involve longer processing than you want to allow at the moment. Using a duplicate entry, you can defer processing that entry until a more convenient opportunity. • Click the Trim button in the footer to open a trimmer pane (Figure 229) that allows you to set the In and Out Points for clips you plan to share (some file formats do not support trimming). Clips that are added while still being captured can be re-trimmed to take advantage of file ‘growth’.
FIGURE 231 Better still, the Name and Comment fields in Grab and Record support DataLink (compare Section 11.2.3). This lets you automatically supply unique and meaningful information to social media sites along with your Export uploads. You can even mix DataLink keys with literal text, to produce comments that embed things like the current time, the current score of a game, or the name of the person on camera at the moment into coherent sentences (Figure 231).
Chapter 20 RECORD, GRAB, AND REPLAY You will often want to capture video clips from external sources, as well as to record your own live productions. Similarly, it can be quite useful to be able to grab stills from Program output for use in the current production. This chapter will provide everything you need to know about this topic. SECTION 20.
Let’s review the features and settings found in these control groups. 20.1.
Whether you are setting up a recorder for a video input or output Mix, the Capture control group features are the same. • • • A switch at the top is used to enable or disable the recorder Filename and path text boxes appear just below. A convenient Drive Speed Test button appears to the right of the Path field. Click it to open a utility that lets you evaluate the speed and capacity of your storage volumes. Note: The same source cannot be selected for multiple recordings.
F ILE F ORMAT IsoCorder records a high-quality Quicktime file. (You can use the Transcode function in Export to supply files in a number of different formats, when necessary.) Hint: Download free NewTek codec packs for Windows® and Apple® computer platforms from the Downloads page on NewTek’s Support website. TriCaster’s record format is also supported by the NDI file plugin for Adobe Premiere included with the free NDI Tools bundle. SECTION 20.
The similar button beneath the Preview row is even more useful; it adds the replay clip to the DDR, and leaves it selected, but does not play it on Program Out immediately. When you are ready to insert the replay clip into your program, press the keyboard CTRL key and the Spacebar. This will trigger the Show On (PGM) feature for the DDR currently assigned to replay duties. This workflow lets you defer replay playback until a more appropriate moment. 20.2.
Chapter 21 AUTHORING TITLE PAGES NewTek’s (extra cost) standalone LiveText™ application delivers live titles and CG pages to Switcher inputs across the network from an external system, and can also author title pages that are editable right in the system’s Media Players. An integrated version of LiveText with similar offline page authoring capabilities is included with your system to let you create title pages with ‘live-editable’ text and image elements for use in the Media Players.
Motion pages (scrolls and crawls) that you send to Live are stored as bitmap animation files (with an .avi file extension), suitable for playback in Live Desktop’s DDR. These are stored in similar fashion to title pages, such as D:\Media\Clips\sessionname\Motion\folder. The content of motion pages cannot be edited in the Live Desktop. When you select Send All Pages to Live, each page in the project is exported in turn to the appropriate format and location.
Chapter 22 CONTROL SURFACES: VMC1 This chapter introduces the VMC1 control surfaces offered by NewTek(tm), helping you to see how they complement your system and bring added ability to your production setup. The discussion also covers how to properly connect your live production system to the control surface. NewTek Systems provide unrivalled live production power. With a matching control surface, all that power is right at your fingertips.
22.1.1 PAIRING SYSTEMS AND SURFACES TriCaster auto-detects compatible control surfaces on the same network. Often there will only be one such surface, which makes setup easy. At other times, though, you may be in an environment with more than one surface, more than one live production system, or both of these conditions. FIGURE 240 To allow you to manage these control connections, a NewTek Control Surfaces configuration utility has been included in the list of Add-Ons. 1.
4. Each surface discovered is listed in a numbered row. The ID number for the row is not permanently associated with a particular surface, and may change as surfaces are added to or removed from the network. The ID number does serve a very useful purpose, however. If you look at the top-left LCD display panel of an un-paired control surface when this utility is open, its ID number is temporarily shown. This makes it easy to match an entry in the panel with a specific physical surface. 5.
marked) control surface on the channel you choose. Of course the control surface must also be set to the same channel for successful communication. The NewTek Control Surface utility identifies the channel each control surface is on by a number from 1-8 after the colon in the Surface: (Channel) column. Normally, you can simply set the Local Channel to match this value (a ‘bang’ is shown if the channel the surface is set to does not match the Local Channel).
22.2.1 STRIPES AND ECHELONS Broadly speaking, the control layout of the all stripes is quite similar, and the second echelon is nearly identical to the first. However, the first echelon is unique in providing several common controls (e.g., SHIFT, ALT, BANK, etc., conveniently locating these right under your hands at rest.
22.2.3 DISPLAYS 1. Selection and information 2. Delegate state FIGURE 246 Both VMC1 control surfaces feature helpful indicators and system feedback by means of illuminated displays. 1. An OLED display positioned just left of each stripe normally shows the delegate state for the associated stripe. For example it may show that the stripe has been delegated (or ‘assigned’) to control the Main switcher, one or more M/Es, or for VMC1, one of its supplementary routed output. 2.
SECTION 22.3 PRIMARY COMMAND GROUP We saw earlier that the second column of buttons in each stripe provides access to important control operations and options. The Command group in the first stripe (nearest the operator) has some unique features that actually govern other sections of the overall control surface. We’ll refer to this as the primary Command group. Among these special controls are several that we can describe as ‘delegate’ buttons.
22.3.3 BANK FIGURE 251 Another set of delegate buttons sits in the second row (counting from the top) of the primary Command group. This group is labeled BANK. As you know by now, the Switcher crosspoints of TriCaster systems are organized in banks comprising between 16 and 24 columns (varies by model). Similarly, Switcher sources are presented in banks on VMC1 model control surfaces.
FIGURE 252 TO AND FROM Two buttons labeled TO and FROM in the PREVIZ group on VMC1 control surfaces complete the support for this feature by providing access to the “Send to Previz” and “Copy from Previz” functions (presented in the Live Desktop interface by the PREVIZ and associated ‘clipboard’ buttons located just above T-Bars. Note: To and From (Previz) buttons are found in the Command groups for all stripes.
To store or update a COMP, hold down CTRL + COMP, then press a button in the selection row below the display for the desired stripe. To clear a COMP, hold down ALT + COMP, then press a button in the same selection row. MACRO To assign a macro to any button, first select the desired macro in the Macro Configuration pane in the user interface.
Hint: If you reduce the number of layers required by an M/E (by loading a different effect) the control surface will automatically revise the LAYER SELECT delegate state to match. SECTION 22.4 SECONDARY COMMAND GROUP The Command control group in the second stripe (counting from the stripe nearest the operator) also has unique functions, which is why we will refer to it as the secondary Command group. While discussing the Primary Command Group in Section 22.
REPLAY (1, 2, 3, 4) Recent editions of TriCaster software provide powerful instant replay workflow for any source with a recorder assigned to it. When a Recorder is assigned to a source in its Input Configuration panel, and you also enable the associated Instant Replay switch, special replay buttons appear below the corresponding Program and Preview row buttons in the Live Desktop Switcher.
NUMBERPAD (NUM LOCK ON) Having covered the alternate (NUM LOCK off) numberpad button functions, let’s consider the value of the Numberpad in connection with running macros. Any macro can be triggered by pressing a three-digit number sequence on any of the Numberpads on the control surface. Simply open the Macro Configuration panel in TriCaster’s Live Desktop, and select a macro from the list; click a Listen box at the bottom of the panel, then type a three digit number, such as 123.
These delegate buttons determine what video layers the main controls directly below (TAKE, AUTO, T-Bar, etc.) will affect. Multi-selection is supported, so, for example, if you select both BKGD (Background) and KEY 1, then press AUTO for a stripe delegated to the Main Switcher, a transition is applied to both the Background layer and DSK 1. 22.5.2 FADE & TRANS FIGURE 260 These two buttons provide a quick way to control the Transition Bin selection for the delegated switcher layer(s).
In the case of multi-delegated busses or layers, the display lists the content of the first effect preset bin only, and selection will only affect that delegated layer. 22.5.5 RATE Rotate the nearby RATE knob to modify the transition timing for delegated layers. Or press the knob to cycle through the standard Slow, Medium and Fast presets. 22.5.6 TAKE & AUTO FIGURE 262 The TAKE and AUTO buttons perform a cut or transition respectively, affecting only the currently delegated video layers. 22.5.
2. If BKGD is delegated alone, the T-Bar color is as shown in the table above, identifying which M/E is delegated to the stripe. (When multiple M/Es are delegated, the first selected delegate determines the color.) 3. This color is at its brightest when the PGM/A source (effectively the Program row for a transition type effect) is fully displayed. As the T-Bar is moved (or AUTO is pressed) to begin a transition, the color gradually dims until the effect is complete.
FIGURE 263 22.6.1 DELEGATES The MEDIA PLAYERS buttons determine which players are governed by operations in this group. Multiselection is supported. 22.6.2 PREV PRESET/NEXT PRESET FIGURE 264 These two buttons let you cycle backwards or forwards respectively through existing presets for the delegated Media Player. 22.6.3 DISPLAY The top line of the Media Player display shows the filename, countdown timer and if available, timecode for the current playlist selection.
22.6.4 MARK IN/OUT FIGURE 265 Click these buttons to set the In point or Out point for the current playlist item in delegated players to the current frame. Hint: Press SHIFT with the button to reset the specified end point to its full limit. 22.6.5 LOOP AND PLYLIST FIGURE 266 Click these buttons to toggle the Loop and Playlist modes for the delegated players. 22.6.6 TRANSPORT CONTROL FIGURE 267 • | (Previous Item) – Press this button to go to the previous playlist entry in delegated Media Players.
SECTION 22.7 BUFFERS AND TITLES TriCaster supports both static title templates (.CGXML file format) and animated LiveGraphics (.livegfx file format) title pages in its Buffers module. In turn, these title pages respectively support one or both of two different types of presets – Data Presets and Layer Presets. Data Presets store text strings and image file links, and allow you to quickly update those aspects of a title page on demand.
FIGURE 268 • The specific target of Joystick operations at any moment is determined by a set of Joystick delegate buttons, outlined in red above. • As appropriate, this selection is further refined by buttons in the Layer group at right, outlined in blue above. • Finally, the nature of the operation performed on the target is determined by a set of Control Mode buttons at lower left, outlined in green above. Let’s consider the primary delegates first. 22.8.
FOLLOW STRIPE Pressing this Joystick delegate button restricts the behavior of the Joystick in a manner many are used to from using ‘traditional’ control surfaces. That is to say, Joystick operations will always be directed to the video bus(ses) assigned to the same stripe. As mentioned though, VMC1 surfaces offer greater versatility and control options. It’s possible to quickly redirect control to any suitable target without interrupting Switcher operations on neighboring stripes.
22.8.2 LAYER DELEGATES As mentioned above, some Joystick delegate modes let you further refine the target for your manipulations. For example, when your primary delegate is MAIN, joystick operations can be applied to the DSK 1, DSK 2, DSK 3 or DSK 4 video layers. The LAYER delegate group determines which one will be affected. Specifically, the KEY buttons labeled 1-4 direct joystick control to DSK 1-4 when MAIN is selected as the primary delegate, or KEY 1-4 for an M/E.
• • • • Move the joystick horizontally to crop only the left edge of delegated sources. Move the joystick horizontally with the joystick button pressed to crop only the right edge of delegated sources. Move the joystick vertically to crop only the top edge of delegated sources. Move the joystick vertically with the joystick button pressed to crop only the bottom edge of delegated sources.
Chapter 23 CONTROL SURFACES: TRICASTER This chapter introduces the control surfaces offered by NewTek(tm) for your TriCaster®, helping you to see how they complement your system and add ability to your production setup. We will also discuss connecting to the control surfaces from your live production system. SECTION 23.1 TC1LP FIGURE 271 This powerful ‘two-stripe’, 24 switcher-column unit delivers precise control over your program, allowing you to quickly and confidently produce your show. 23.1.
FIGURE 272 To allow you to manage these control connections, a configuration utility has been included in the list of TriCaster’s Add-Ons. 9. Click the Add-Ons button on the main menu on the Home page in the Launch pane to show the list of installed add-on applications. 10. In the list shown at right, select the NewTek Control Surfaces link to launch the utility. 11. The utility will automatically detect and list qualified control surfaces it detects on the network, assigning each an ID number.
Generally, you can think of the primary control groups provided as being organized into two horizontal ‘stripes’.
Q UALIFIERS – SHIFT, CTRL, ALT Another group of four buttons just below includes the Macro button (discussed momentarily), along with modifier keys (SHIFT, CTRL and ALT). The latter three buttons are used in combination with other operations to produce alternate results. MACRO The last button we will discuss in this group offers spectacular convenience. TriCaster’s powerful macro system is fully addressable from TC1LP.
M/E DELEGATE Five of the remaining buttons in this group are labeled M/E DELEGATE. Pressing these buttons assigns all of the other controls in Stripe 2 to the designated bus (or busses), including the special PREVIZ bus. Hint: Add SHIFT to buttons 1-4 to access M/Es numbered 5-8 when the system supports these.
• GRAB – Push to store snapshots from sources assigned in TriCaster's Grab Configuration panel. 23.1.6 PTZ OPTIONS AND TITLES FIGURE 279 PTZ C ONTROL B UTTONS • PTZ SEL – Hold this button down and press a button in the KEY row at left to designate which camera to control. Note: Depending on TriCaster model and feature set, PTZ (pan-tilt-zoom) style operations are not limited to ‘real’ PTZ cameras.
FIGURE 280 FIGURE 281 The controls and functions of these two control groups are virtually identical, so we will consider them together. BKGD AND DSK/KEY 1-4 FIGURE 282 These delegate buttons determine what video layers the other controls in the group (TAKE, AUTO, T-Bar, etc.) will affect.
Rotate the nearby RATE knob to modify the transition timing for the delegated layer(s). Or press the knob to cycle through the standard Slow, Medium and Fast presets. FTB To perform a Fade to Black operation, press SHIFT + the FTB button (the SHIFT button is required as a safety measure, since FTB is a somewhat dangerous operation). Revert to normal output by pressing FTB alone. Hint: The duration of the transition to and from black is derived from the BKGD transition duration setting.
M/E 1 M/E 2 M/E 3 M/E 4 PREVIZ Turquoise Teal Lt. Pink Terra Cotta White 7. If BKGD is delegated alone, the T-Bar color is as shown in the table above, identifying which M/E is delegated to the stripe. (When multiple M/Es are delegated, the first selected delegate determines the color.) 8. This color is at its brightest when the PGM/A source (effectively the Program row for a transition type effect) is fully displayed.
• • The specific target of Joystick operations at any moment is determined by a set of Joystick delegate buttons, outlined in red in Figure 286, and by source selection (whether manual selection using PTZ SEL, or by enabling FOLLOW PREV – see notes in Section 23.1.6). The operation performed on the delegated target is determined by a set of Control Mode buttons at right, outlined in green in Figure 286. D ELEGATES Let’s consider the delegates first.
• Twist the joystick clockwise to scale delegated source(s) up, or counter-clockwise to scale down. Hint: When multi-delegate selections are active for the Positioner, adjustments are relative to the current state for individual delegates. ROT (R OTATE ) • • • Move the joystick horizontally (as viewed from above) to rotate delegated sources on the Y axis. Move the joystick vertically to rotate delegated sources on the X axis.
FIGURE 288 D ELEGATES The Media Player Delegate buttons determine which players are governed by operations in this group. Multiselection is supported. PREV PRESET/NEXT PRESET These two buttons let you to cycle backwards or forwards respectively through existing presets for the delegated Media Player. LOOP, SINGLE, AND AUTOPLAY Click these buttons to toggle the Loop, Single and Autoplay modes for the delegated players.
23.1.10 REPLAY Recent editions of TriCaster software provide powerful instant replay workflow for any source with a recorder assigned to it. When a Recorder is assigned to a source in its Input Configuration panel, and you also enable the associated Instant Replay switch, special replay buttons appear below the corresponding Program and Preview row buttons in the Live Desktop Switcher.
23.2.1 CONNECTIONS & POWER Or course, since the 8000 CS connects to TriCaster by a USB cable, the details related earlier regarding network connection and assignment for the TC1LP surface are not relevant. Simply connect the TriCaster control surface unit to your TriCaster using the USB cable supplied. There is no need to install drivers, or configure the software. Recognition of the control surface is automatic.
FIGURE 292 23.3.1 CONNECTION AND CONFIGURATION Simply connect the control surface to your TriCaster using the USB cable supplied. There is no need to install drivers, or configure the software. Recognition of the control surface is automatic. P OWER C ONSIDERATIONS This control surface is powered by its USB connection.
23.3.2 CONTROL LAYOUT 4 Stripe 2 5 6 8 3 9 Stripe 1 7 FIGURE 293 The various control groups are organized into groups as shown in Figure 293.
23.3.3 STRIPE 1 & 2 The first stripe (nearest the operator) provides three rows of buttons allowing you to choose sources for the various layers comprising TriCaster’s primary Switcher output. The red and green rows govern Program and Preview row selections in the Switcher, respectively. Buttons in the DSK row control selections for DSK 1. Hold down SHIFT to control DSK 2. Note: Press and hold the ALT button to access Switcher sources in CS Bank 2.
23.3.4 QUALIFIERS FIGURE 296 This group of buttons includes the common modifier keys SHIFT, CTRL and ALT. These buttons are used in combination with other operations to produce alternate results. Note: Press and hold the ALT button to access Switcher sources in Bank 2. 23.3.5 CAPTURE FIGURE 297 Three buttons labeled REC, STRM, and GRAB are located in this group. • REC – Pressing this button enables TriCaster's Record feature.
MACRO TriCaster’s powerful macro system is fully addressable from the control surface. A macro can be assigned to any button on the surface in much the same manner as it can be assigned to a keyboard button. The steps are as follows: 1. 2. 3. 4. On TriCaster’s Live Desktop, open the Macro Configuration Editor. Select the macro you wish to assign in the onscreen lister. Click the mouse in the Listen field at bottom left. Hold down the MACRO button and press a suitable button on the control surface.
• PST CALL – Hold this button down and press button 1-11 in the KEY row at left to recall the designated PTZ preset for the currently selected PTZ camera. U TILITY K NOBS (A, B, & C) • • Knob A o With the COMP button pressed down, twist knob A to: ▪ Pop up the Comp bin for the current M/E (if multi-delegated, the bin for the first delegate only) ▪ Advance through the selections in the bin as you continue to twist the knob ▪ Apply the highlighted Comp by pushing the knob.
DELEGATES The Delegate buttons determine which players are governed by operations in this group. Multi-selection is supported. (Use SHIFT with the GFX button to delegate GFX 2 when supported.) PREV PRESET/NEXT PRESET These two buttons let you to cycle backwards or forwards respectively through existing presets for the delegated Media Player. LOOP, SINGLE, AND AUTOPLAY Click these buttons to toggle the Loop, Single and Autoplay modes for the delegated players.
Note: This powerful workflow is ideal for replays from Switcher inputs. However, the four MIX outputs (which typically include Program output as MIX 1) do not appear on the Switcher button rows. To perform replays from your Program output you can assign the system’s Mix 1 NDI output to an unused Switcher input, then handle replays as described above.
• KEY 1, 2 – Selecting a button in this group assigns the joystick to control the KEY layer for either the layers for the delegated M/E (hold SHIFT when making a selection to access KEY 3 and 4). Note: To delegate the joystick to control the main Switcher’s DSK layers, press and hold CTRL while pressing KEY 1 or 2. • PTZ – This button has been repurposed to toggle Joystick Follow Preview support, which causes the joystick to track selections made on the Switcher’s Preview row.
CROP • • • • • • Twist the joystick clockwise (as viewed from above) to crop delegated sources inward on all four edges, maintaining the original aspect ratio. Twist the joystick counter-clockwise to reduce cropping of delegated sources on all 4 edges. Move the joystick horizontally to crop only the left edge of delegated sources. Move the joystick horizontally with the joystick button pressed to crop only the right edge of delegated sources.
Hint: Use SHIFT with DSK 1 and DSK 2 to access DSK 3 and 4. M/E | FTB By default, this entire control group affects video layer in the primary Switcher. Re-purpose the controls to operate on the current M/E delegate by pressing the M/E button at bottom right in this section. While the M/E button is lit, the BKGD and DSK delegate buttons, along with other controls in the TRANSITION group that correspond to existing M/E and M/E KEY layers and effects, are diverted to the currently delegated M/Es.
F ADE & T RANS FIGURE 304 These two buttons provide a quick way to control the Transition Bin selection for the delegated switcher layer(s). The FADE and TRANS (Transition) buttons are mutually exclusive; selecting either one cancels the other, and only the currently active button remains lit. Pushing FADE offers a quick and convenient way to select the Crossfade transition. Push the TRANS button to activate the last-used transition icons for a video layer (or layers.
23.3.11 860 CS FIGURE 305 Like the 450CS, functions assigned to buttons for an 860 CS largely conform to the TC1 SP, though placement sometimes differs. Of course, the 860 CS has a higher Switcher row button count than its smaller sibling, and there are other differences, too. The default Switcher (and M/E row) layouts may or may not vary from Figure 305, depending on the system model. Hint: Hold SHIFT when making a selection on the KEY row of an M/E to select the KEY 2 source.
MEM When the MEM button is held down, pressing a button between 1 and 9 in the selection rows at left causes corresponding operation in the MEM bin for the delegated M/E as follows: • • • Pressing a button in the DSK/KEY row recalls the corresponding MEM. Pressing a button in the PGM/A row stores or updates the corresponding MEM. Pressing a button in the PREV/B row clears the corresponding MEM. COMP The COMP button operates similarly (to MEM, just discussed).
P OSITIONER FIGURE 307 LIVESET Selecting this button assigns the joystick to control the zoom and pan settings of the currently delegated source. KEY 1, KEY 2 Selecting a button in this group assigns the joystick to control the KEY layer for either the layers for the delegated M/E (hold SHIFT when making a selection to access KEY 3 and 4). Note: To delegate the joystick to control the main Switcher’s DSK layers, press and hold CTRL while pressing KEY 1 or 2.
FIGURE 308 • When SHIFT is pressed, DSK/KEY row buttons execute their secondary function (shown above on the button label), as follows: o o o • The first four DSK/KEY row buttons, when ‘shifted’, provide Media Player transport control. To delegate these operations to a specific Media Player: ▪ Hold SHIFT + ALT together, and punch DDR1 or DDR2 in the same row The next four DSK/KEY row buttons, when ‘shifted’, select M/Es 1-4.
Chapter 24 CONTROL SURFACES: TIMEWARP™ This chapter describes the functionality supplied by the TimeWarp™ control surfaces offered by NewTek(tm), helping you to see how they deliver convenient replay and Media Player control to your production setup. This chapter discusses the use of NewTek TimeWarp™ control surfaces (in two variants). Both models (TriCaster® 860TW and its predecessor, TW-42) add convenient slow motion instant replay to the already potent capability of your TriCaster system.
TimeWarp provides convenient control over two Media Player’s as well as the recording of sources configured for capture. For convenience, related controls and buttons are grouped together on the control surface. We will discuss the features and operations supported by each group in the pages that follow.
SECTION 24.3 DDR DELEGATE FIGURE 310 Much of the functionality of your TriCaster 850 TW relates to clip playback, navigation, and the like. These are essentially Media Player functions, controlling one or another of TriCaster’s DDRs. The first two buttons in this group (DDR 1 and DDR 2) basically delegate the other controls to the service of the DDR named (TriCaster 300 is, of course unique in having just one DDR).
SECTION 24.5 PLAY SPEED As you would expect, the speed preset buttons in this group (marked 25%, 33%, 50%, 75% and 100%) govern the playback rate of the active DDR. FIGURE 312 Speed preset buttons are mutually exclusive, and establish a playback mode. They do not initiate playback; rather, the playback speed you choose is applied when subsequently press Play. (If a DDR is already playing, pushing a speed preset button alters the current playback speed immediately.
ALT + IN A different operation results when you hold down ALT (see Section Section 24.7) at the same time as you push IN. This operation updates the In Point of the active clip in the currently delegated DDR to the frame currently displayed. TW-42 NOTES This feature is supported on TW-42 as well. Hint: This represents a non-destructive edit of the playlist clip, equivalent to dragging the trim handle at the left-hand end of the DDR scrub bar. 24.6.
SECTION 24.7 ALT AND QUALIFIERS FIGURE 315 For ergonomic reasons, ALT is in a special location by itself just below the Play Speed control group. It, along with SHIFT and CTRL (Control) are what are termed ‘qualifiers buttons’, in that (like their keyboard equivalents) they qualify, or modify the outcome of operating some other control. We’ve discussed one use of ALT in Section Section 24.6; see also Section Section 24.8.
TW-42 NOTES There is no Loop or Autoplay button on TW-42. While there is no Single button either, TW-42’s Sel (Select) and List buttons turn Single mode on and off for the current DDR. SECTION 24.10 PRESET (DDR PLAYLIST) “P” is for “preset” … or “playlist”, if you prefer. However you choose to view it, the buttons labeled P1 – P4 allow you to quickly access any of the first four playlist presets for the currently selected DDR. FIGURE 318 TW-42 NOTES Preset selection is not supported by TW-42. SECTION 24.
• • Press ALT + Next to jump the play head 1 sec. forward from its current position in the clip. Press Alt + Prev to jump the play head 1 sec. back from its current position in the clip. SECTION 24.12 TIPS AND TRICKS • Multi-angle capture – TriCaster’s IsoCorder™ technology supports multi-source capture. Although TimeWarp initially adds and controls the first recording channel to the designated DDR, the clip context menu in the DDR playlist allows you to selectively display concurrent angles..
APPENDIX A: PREMIUM ACCESS FEATURES NewTek’s optional Premium Access program is your ‘backstage pass’ to the latest power user tools and features from NewTek’s industry–leading developers. The benefits of membership are already substantial and, best of all, will continue to accrue as further innovations are added to super-charge your workflow and take your productions to new heights of visual excellence A.
FIGURE 321 Examining the tabbed LiveStory panel from left to right, you’ll see: • An (x) gadget at upper-left. Click this to unload the current script (.docx file). • The eyeline control is a white caret (triangle) control that can be dragged up and down to adjust the position of the similar eyeline indicator on a teleprompter display. • The script pane, or canvas, displays the content of the .docx document, as interpreted by LiveStory.
▪ Document styles can trigger corresponding actions, too. For example, the Title style can automatically display a specially prepared LiveGraphic™ animation to introduce your show – all without any manual intervention. Note: The SHOW TITLE animations require the latest LiveGraphics content to be installed. The Broadcast templates in the updated content include a special Show Open preset specially prepared for this purpose.
• The two switches in the Automation Triggers toggle automation in response to Comments or Headings (styles) applied in the .docx document. When both switches are off, LiveStory does not process automation commands, and is operates as a simple teleprompter. • Font controls let you adjust text display for legibility when you are using an external teleprompter device.
The following styles automatically trigger TriCaster operations when the Headings switch is enabled: • Title – triggers automatic display of a LiveGraphics show opening title animation. This title uses the text from the Title-style line to populate the first line of the animated title, and takes (hidden) text from a line entered using the Heading 1 style for its second line (when used). • Heading 3 – identifies a CUE.
We mentioned earlier that you can move the mouse pointer over blue text in the script pane to see a tooltip showing how LiveStory interprets your comment. It’s helpful to know that LiveStory determines the probability that the interpretation is correct. If the wording of a Comment entry is ambiguous, and could be interpreted differently, the text color in the script pane is red rather than blue. Hint: If a comment has multiple lines in it, LiveStory adds an asterisk to any ambiguous lines in the tooltip.
So, not only are LiveStory Comment commands easier to write, often performing multiple operations with a single entry, but they are ‘smarter’, and easier to maintain and update. Which brings us to another key feature. L IVE U PDATES As clever as LiveStory is, at times you will want to experiment, or need to tweak your wording to bring about the result you intend. As we mentioned, you don’t even need to press Play to test modifications, you can simply reload the .
But perhaps you to make some changes. In Figure 328, we have edited the Comment command to read “PiP Football Star large top right”. Since we defined the position of the overlay, and specified a size, we achieved a more pleasing result. The Comment command “title” provides another example of default operation. Add the simple entry “title brackets lower third” to a comment.
C OMPS • • • • “load MyComp”; “select MyComp”; “myComp” – loads the named main Switcher Comp. “comp 3”; “load Comp 3”; “select comp 3”; “go to comp 3” "m/e 1 comp 2"; "me1 comp 2"; "select comp 2"; "load main comp 2"; "go to myMEname myCompName"; (etc.) – loads the designated Comp into the main Switcher (default) or named M/E. “myComp medium”; ““myComp normal”; “myComp 1.0”; “go to myComp slow”; (etc.) – loads a Comp using the designated speed.
• • • “Buffer 1 speed 2”; “Buffer 1 set speed 2x”; “Buffer 6 globe 200%” – set speed to 2x the default (Medium). “set buffer 1 to layer preset 2"; “set buffer 1 to index 2"; “set buffer 1 to preset 2"; "buffer 1 select preset 2"; “buffer 1 preset 2"; select buffer 1 index 2 (etc.) – select the designated Layer Preset for a LiveGraphics title page loaded in the buffer slot specified. “set buffer 1 to data preset 2"; etc.
• “Grab still” S TREAM • • "stream"; "stream on"; "streaming on"; "start stream"; "begin streaming"; etc. "stream off"; "streaming off"; "stop streaming"; "end stream"; etc. S WITCHER • • • • • • • • • • • • • “auto"; "transition" – perform a Background transition on the main Switcher “take”; “cut” “fade”; "crossfade"; fade slow; etc.
A LIASES AND C OMMENTS You can use these comment commands to eliminate the need to pre-configure Switcher source names. Instead, you can set them right in the .docx script. This also allows you to change the metadata associated with a Switcher inputs at various points in your show as you wish.
O UTPUT In order to support a wide array of external teleprompter hardware, LiveStory assigns the scrolling text output to the highest numbered Switcher output by default. You can then assign this signal to a video Mix output supplying a physical video output connector to feed an external device. Of course, in an NDI® environment, you have other powerful options. TriCaster automatically supplies the teleprompter output to your network as an NDI stream, offering many display options.
FIGURE 331 In the resolution selector below, you will find that traditional video formats have been complemented by appropriate non-standard options including, for example, portrait aspect 1080x1920 and 1080x3840 options, and so on. INPUT ROTATION FIGURE 332 To complement non-traditional sessions and handle unusual Switcher sources (e.g., non-landscape mobile device output) each input now features a new Rotate menu, which also includes Flip options.
OUTPUT ROTATION FIGURE 333 Extending these capabilities even further, all Mix outputs now support independent resolution selection, rotation and flip control, as well as Section options as seen in (Figure 334).
A.4 LIVEGRAPHICS™ LiveGraphics™ represents a revolutionary approach to title and CG page creation, combining the power of the most complete production systems on the planet and the world’s leading creative platform—Adobe® Creative Cloud®. Of all of the Premium Access benefits, LiveGraphics is the one of those most likely to dramatically elevate your productions in ways that grab the attention of your viewers.
USE LAYERED PSD FILES Create individual graphics or an entire package in Adobe® Photoshop® CC, then bring the PSD files directly into your NewTek live production system. LiveGraphics recognizes the layers automatically, allowing you to manage elements independently and store up 16 macro-ready variations per system buffer. ANIMATE IN AFTER EFFECTS Animate graphics faster and easier than ever before with the included LiveGraphics Creator plugin for Adobe® After Effects® CC.
The Title Editor lets you change text and images on the title pages, and hide or show layers using the Layers menu (Figure 338). Layers animate into place as you do so. Then, store the results as presets – display the Layer preset bin by clicking the Preset button at upper right (Figure 339). FIGURE 338 To preserve the Layer and Data presets you generate for your LiveGraphics pages outside of the current live session, you can use the Export button at left in the Title Editor’s footer.
In addition, the next Premium Access feature we will discuss (LivePanel™) provides several powerful ways to update DataLink key value (such as its integrated Scoreboard control pages for various sports). And thanks to the included Builder web app, you can even build custom control pages capable of driving your motion graphics from any device on your network with a web browser. A.
In that case, the Title Editor will show both Layer and Data presets, just like when you load a LiveGraphic title page, and store the result in a preset. Having done this, you can selectively hide or display different layers (or layer groups) of your Photoshop composition with a click or tap using the Buffer preset system.
Note the URL shown beside the Web Browser button at left in the footer of the Notification Panel. Enter this into the address bar of a web browser on another device on the same network. Note: You may be asked for a username and password to access LivePanel – see Section 4.1. A.6.2 HOME PAGE After entering security credentials (if necessary), Live Panel’s Home page is displayed in your web browser.
A.6.4 DATALINK FIGURE 346 The DataLink page lets you selectively review the values for all current DataLink keys, edit these, and even generate entirely new key-value pairs. A.6.5 MEDIA Likewise, LivePanel’s Media page provides you with remote access to the system’s Media Players, allowing you play, trim, add and remove media files in the playlist.
Select transition effects for the Switcher, an M/E, DSK, or KEY layer, and – most powerful of all – select a Comp to change your composition entirely with a single tap. FIGURE 348 A.6.7 BUILDER Unquestionably the icing on the LivePanel cake, the Builder Applet allows you to easily create custom control panels to meet a virtually limitless number of needs.
Flexibly assign a macro to a button, or perhaps two – one to operate when the button is pressed, and another to be applied when you click it a second time. Give the button a color, or fill it with a still image of your choice. The Builder applet lets you gang buttons together to give them more prominence, and you can even assign moving video from an external Switcher input, Media Player, or output to a button (effectively turning it into a monitor), and creating your own custom Switcher interface.
A.7 ADVANCED AUDIO I/O Premium Access software provides our most complete support for audio solutions such as Audinate’s Dante and AES-67 implementations (with required third-party drivers). NewTek’s Advanced Audio support for ASIO drivers allows you to easily transmit or receive audio using these popular ‘audio over IP’ protocols.
FIGURE 354 Note, too, that this feature gives you a great way to multiple your Multiviews around your studio or campus. You can even use these displays as video sources for another NDI-enabled system. System audio will also pass to the receiver, and you can even copy and paste text between the two systems. With the User Interface running full-screen in Studio Monitor on a receiving system, it’s really hard to remember that you’re actually controlling a remote system.
A.9 VIRTUAL PTZ Virtual PTZ, also referred to as “pan and scan”, is a unique Switcher input feature applied to ‘standard’ video sources, i.e., those which are not actually connected to physical PTZ (Pan, Tilt, Zoom) cameras. Naturally, the latter (real PTZ cameras), when connected and configured, show Pan, Tilt, and Zoom controls in their Input tab of the corresponding Input Configuration panels.
At the time of writing, the collection includes thirteen professionally designed multi-camera virtual set environments ready-to-use for your productions. Note: You can also purchase this collection outright in NewTek’s online store, which has added benefit for Virtual Set Editor owners who will receive the corresponding customizable VSE projects with their purchase. A.
APPENDIX B: SKYPE™ AND SKYPE TX™ Skype™ and SkypeTX™ may sound alike, but they are not really the same thing. Each delivers specific capabilities, and their connection and configuration details differ as well. This chapter will help you understand these distinctions, so you can to take full advantage of these important connection options. Literally hundreds of millions of people use Microsoft Skype™, so it’s very likely that you are already acquainted with its use on mobile and desktop platforms.
A UDIO AND V IDEO C ONNECTIONS The basic IP connection setup between the NewTek production system and TalkShow is quite simple. Individual a/v outputs for each remote Skype caller from TalkShow can be assigned to the Switcher and Audio Mixer like any other NDI a/v input source. Similarly, the video output from your program can be assigned as the return-to-caller source on the TalkShow system. You will likely want to prepare a unique mix minus audio feed for the audio return to each individual caller.
This unique support lets you directly connect Skype™ calls from anywhere in the world to either of two special Switcher inputs by leveraging the Skype TX Controller. All you need to use this feature is a network connection between your NewTek system and the computer running the (free) Skype TX Controller application that provides call management. A UDIO AND V IDEO C ONNECTIONS Section 8.1.1 explains how to assign a Skype TX Caller to a selected video Switcher input.
APPENDIX C: TC MINI INPUT ADAPTER (TCMI4KUHD) This appendix briefly describes how TC Mini owners can prepare their new NewTek™ TCMI4KUHD device for use. First, we’ll give you a Quickstart lesson to get you set up quickly and easily (more detailed information is provided in the next section). C.1 QUICKSTART Step 1 – Connecting Your TCMI4KUHD Input Adapter FIGURE 360 1.
5. Then click the Device Webpage button that appears at right upon connection to open TCMI4KUHD’s configuration webpage in a web browser. FIGURE 362 6. Log in to the webpage (Figure 362) using the default user name “admin” and password (also “admin”). At this point, the TCMI4KUHD configuration webpage will be displayed (Figure 363).
We encourage you to keep the firmware on your device up to date. Updates may contain bug-fixes, provide improved performance, or even enable new features. FIGURE 364 The update process is not complicated – simply follow the steps listed below: 7. Download and unzip the most recent firmware update archive to extract the ‘.bin’ file. 8. Click the Device Settings tab at the top of TCMI4KUHD’s webpage and compare the Firmware Version shown to the number in the filename of the firmware version you downloaded.
C.2 INTRODUCTION AND SETUP OVERVIEW Unlike typical encoders and capture card systems, your NewTek TCMI4KUHD leverages NewTek’s NDI-based IP workflow, supported by leading video software and hardware developers around the globe. This section will assist you to install and configure your new input device. MAKING CONNECTIONS FIGURE 365 1.
protection is especially important in some locales. Power conditioners can reduce wear on power supplies and other electronics, and provide a further measure of protection from surges, spikes, lightning and high voltage. CONFIGURING TRICASTER TCMI4KUHD is very easy to use. In many installations all you need to do is supply power, connect a video source to the input module, connect the module to your TriCaster, and assign it to a Switcher input. Let’s take that last step before discussing other features. 3.
When you assign TCMI4KUHD as the source for a TriCaster Switcher input as described earlier, a convenient Device Webpage button is shown in TriCaster’s Input Configuration panel (Figure 367). FIGURE 367 Simply click this to open the corresponding web control page. 5. Having selected TCMI4KUHD – (serial number) > Channel 1 as the source for the Switcher input, click the Device Webpage button that appears at right to open TCMI4KUHD’s configuration webpage in a web browser. FIGURE 368 6.
FIGURE 369 At this point, the TCMI4KUHD configuration webpage will be displayed (Figure 369). D EVICE D ETAILS FIGURE 370 The uppermost section of the Device Setting tab on the web page shows Audio/Video format details, the current bitrate and the unit’s serial number. These values are automatically detected, and are not editable. D EVICE AND C HANNEL N AME FIGURE 371 Just beneath, under the heading Basic Settings, you will find Device Name and NDI Channel Name boxes.
These names are editable, allowing you a convenient way to identify the output of specific units to downstream NDI-enabled devices and systems. Hint: The default name includes the unit serial number, which is also provided on a sticker on the chassis to help you identify a specific device. A UDIO FIGURE 372 Just below, you will see the Audio Source menu (Figure 372). It offers two options, labeled Line In and HDMI.
NETWORK SETTINGS FIGURE 375 Just beneath the Reset, Reboot and Restore controls in the Device Settings tab is a control group labeled Network Settings, which is host to NDI Connection, Ethernet, and Local –Link settings. NDI C ONNECTION FIGURE 376 C ONNECTION : D EFAULT OR M ULTICAST Although it serves no useful purpose when connecting directly to one of TriCaster TC Mini’s dedicated NDI inputs, this option may be helpful in some more sophisticated environments.
• In addition, we strongly recommend that all network switches be of the ‘managed’ type (see the sidebar “Managed vs. Un-managed”). E THERNET FIGURE 377 Controls in this section will be quite familiar to anyone who has connected a computer or mobile device to a network and require little explanation. Typically, networks are configured to automatically supply IP addresses to devices you connect to it by means of a DHCP server.
APPENDIX D: PERFORMANCE CONSIDERATIONS In this section, we’ll consider the most common questions you may have (and of course we’ll provide the answer, too). Answers are intentionally brief – perhaps just a reminder of one or two steps required to perform some operation. For this reason, we’ll also point you to explanatory information elsewhere in this manual whenever that would be useful. D.1 TESTING, ONE TWO … Professionals simply do not leap into new environments blindly.
D.2.2 LATENCY AND YOUR AUDIENCE “Latency” – what’s that you ask? In this context, latency refers to the time it takes for the video signal to transit one part of the IMAG path, from camera lens to final display. Latency is usually expressed either in milliseconds or in video “frames” (typically either 25 or 29.97 to the second.) As we said above, really a little video latency is not a bad thing as viewed from a surprisingly short distance back into the audience.
D.2.4 OTHER SOURCES OF LATENCY More often than not, significant latency is added by other devices in the IMAG chain that come after the switcher. Projectors are a common contributor, but at times the cameras themselves are a factor. Here are some helpful points to consider when designing and connecting your system: • If you use Multiview output from the switcher to the projector – if at all possible, match the resolution sent from the switcher to the native resolution of the projector.
APPENDIX E: VIDEO CALIBRATION An oft-heard expression is “Don’t worry – we’ll fix it in post”. Post-production techniques are invaluable, but they do not invalidate another often repeated axiom – “Garbage in, garbage out.” And, in the case of live production, the results are immediately obvious to your audience … for good or for bad. For these reasons and many more, it’s important to control the visual quality of your work all the way through the production pipeline.
E.2 CALIBRATING VIDEO SOURCES The obvious disparity between neighboring televisions on display in a store amply demonstrates that even identical (and brand-new) video devices can differ dramatically. When mixing multiple cameras we need to ensure that their output matches. Switching to a camera with obviously different color characteristics will be seen as a glaring error by your viewers. Even when we restrict matters to a single unit, color characteristics can change as the system warms up, and as it ages.
Some more professional cameras offer full manual controls for white balance and/or black level. Use these as instructed to ensure your camera is providing the correct white and black levels. If you cannot make source adjustments, or can’t get it quite right by these means alone, you can use the Brightness and Contrast controls in the Proc Amp for that input to tweak black and white levels. (Of course it is always best to perform adjustments at the source if possible.) E.2.
Let’s move on to a slightly more rigorous testing. E.2.3 COLOR METRICS At this point, we’ve assured ourselves that the signal from the camera is neither too bright nor too dark, that its output falls within broadcast legal luminance limits, and that the black & white part of the signal does not have an unwanted color cast. We haven’t done anything yet, though, to assure our reds are red, not slightly brown, or that our blues are not slightly green or magenta, etc.
FIGURE 383 If the trace vectors do not line up as they should even after performing a white balance at the camera, you can use Proc Amp controls to tweak the signal. Adjust the Hue control to rotate the vectors around the center point to line them up correctly on their respective targets. Increasing Saturation will move the trace further out towards the edge of the scope. Decreasing Saturation lowers color intensity, bringing the trace back closer to the center.
http://www.photofriday.com/calibrate.php http://www.onecomputerguy.com/windows7/windows7_calibrate_color.htm E.3.2 PROGRAM OUTPUT MONITOR Again, a search of the Internet for “video monitor calibration” will yield a large number of resources, both free and commercial. If you have television monitors connected to your outputs, though, you can make further use of the color bars.
5. You may need to redo the last two steps several times, balancing the adjustments of these two controls until all four of the lighter bars evenly match the smaller rectangles just beneath them. (Note that a perfect match simply may not be possible on some monitors.) 6. Check your results with some familiar imagery, and make any further tweaks you feel are required. PAL 1. If your monitor has a “Blue-gun only” setting, enable it.
APPENDIX F: KEYSTROKE SHORTCUTS F.
Auto Reverse Adjust T-bar… Down/Up Halfway T-bar… Take Shift + Spacebar t / Shift + t (faster add Ctrl) h F.3 RECORD, GRAB, AND STREAM Record on/off Grab (still image) Stream Start Stream Stop r/ Shift + r p Ctrl + / Ctrl + Alt + / F.4 TABS Show (DDR, PTZ, Mixer, etc.; varies by model) tab Select M/E 1- 8 Show M/E pane Hide M/E pane Toggle M/E pane Ctrl + (F1 to Fn) Ctrl + Shift + F1-F8 Ctrl + m Alt + m m F.
Set Out Point for current Playlist Item (Clip or Audio file) Split clip at current frame Reset In and Out Point to the file’s first and last frame o / g F.7 GENERAL F.7.1 EDIT TITLE PANE Save the current title page Save the current title page, and duplicate it in the playlist Save the page and move to the previous playlist item Save the page and move to the next playlist item Ctrl + Shift+ s Ctrl + Shift+ s Page Up Page Down F.7.
APPENDIX H: RELIABILITY TESTING We know our products play vital roles in the productions of our customers. Durability and consistent, robust performance are much more than just adjectives for your business and ours. For this reason, all NewTek products undergo rigorous reliability testing to ensure they meet our exacting test standards.
APPENDIX I: CUSTOMER SUPPORT It is frequently said that “All good things must come to an end” … but your NewTek live production system is designed to work as well on any day as it did on the day you bought it. NewTek’s Customer Support features and options are meant to help you achieve that goal. This chapter identifies the many assets and services available to you. I.1 NEED A LITTLE HELP? Product support is available for as long as you own your NewTek system.
INDEX 3 3D, 147 8 TC1SP, 238 TimeWarp, 255 VMC1 4S and 2S, 203 Copy, 257 CTRL, 260 D 860 TW, 255 A Add-Ons, 52 Administrator Mode, 35, 48 Advanced Tracking, 144 Alpha Channel, 97 ALT, 259, 260 ALT + IN, 259, 261 ALT + OUT, 259, 261 ALT + REC, 260 Anaglyph, 147 Animation Store. See Live Desktop: Transitions: Animation Store Asset Management, 113 Audio, 262 Audio Mixer.
Video Input, 30 Video Output, 26, 83 IMAG, 23, 295, 296, 297 IN, 258 Internal Audio. See Live Desktop:Audio Mixer LiveSet, 12, 262 Zoom T-Bar, 143 LiveText, 15, 201, 202 LOOP, 260 Luma Keying. See LiveMatte J Jog Wheel, 261 Fast Jog, 261 K Keyboard, 17 Keying.
Previz, 100 T R Record, 260 Register, 18 Remove, 257 Rename Input, 61 Restart. See Startup Screen:Shutdown System Restore, 50 S Session, 24, 43 Auto-Launch, 47 Backup/Restore, 48, 54, 57 Session Page, 25 Volume (Storage), 47 Share Media, 189 SHIFT, 260 Show Alpha, 146 Show Inverse Alpha, 147 Shutdown. See Launch Screen:Shutdown SINGLE, 260 Social Media Password, 190 Speed Presets, 258 Speed T-Bar, 258 Spell Check, 123 Spill Suppresion.
CREDITS Engineering: Andrew Cross, Alvaro Suarez, Brian Brice, Cary Tetrick, Charles Steinkuehler, Dan Fletcher, James Killian, Jarrod Davis, Jeremy Brosius, Jeremy Wiseman, John Perkins, Karen Zipper, Kevin Rouviere, Kirk Morger, Mahdi Mohajer, Masaaki Konno, Menghua Wang, Michael Joiner, Michael Watkins, Mike Murphy, Nathan Kovner, Naveen Jayakumar, Ryan Hansberger, Shawn Wisniewski, Steve Bowie, Troy Stevenson, Zack Lounsbury Additional thanks to: NewTek Marketing, Sales, Business Development, Customer S
