User Manual Grass Valley Model 3000 Digital Production Switcher Software Release 5.
Customer Support Telephone Numbers North America (800) 547-8949 Fax: (530) 478-3181 Elsewhere Distributor or sales office from which equipment was purchased. Tektronix Grass Valley Products is committed to providing the most responsive and professional product support available. We have a fully staffed, highly trained support team ready to respond to anything from a simple question to an emergency repair. Support is available via telephone or email.
Contents Preface Welcome to the Model 3000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi Organization of This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii How to use this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii Conventions used in this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Button and Panel Knob References . . . . . . . . . . . . . . . . . . . . . . . . . . .
Contents Dual Chroma Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-18 Borderline® Key Edge Generation . . . . . . . . . . . . . . . . . . . . . . . . . . 1-18 Secondary Wipe Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-18 Safe Title/Action Area Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-19 Mix/Effects Clean Feed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-19 Frame Store . . . . . . . .
Contents Control Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring the DPM Interface . . . . . . . . . . . . . . . . . . . . . . . . . For Kaleidoscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . For a DPM-700 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . For DVEous: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . For Other Non-Poolable DPMs . . . . . . . . . . . . . . .
Contents Section 3 — Switcher Concepts Clear Working Buffer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-2 CWB Modes of Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3 Auto Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-4 Crosspoint Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-5 Transitions . . . . . . . . . . . . . .
Contents Section 4 — Switcher Operations About this Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-1 Starting Conditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-2 Switcher Hardware Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-2 Clearing the Switcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4 Transitions - Mix/Effects Bus Operations . . .
Contents Storing an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-50 Recalling an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-50 Learning Effects Dissolve Transitions . . . . . . . . . . . . . . . . . . . . 4-51 E-MEM Learn Sequence Operations . . . . . . . . . . . . . . . . . . . . . 4-52 Undo Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-53 Keyframe Operations . . . . . . . . . .
Contents Floppy Disk Drive Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Format Diskettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating Directories and Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Store and Name An E-MEM File . . . . . . . . . . . . . . . . . . . . . . . . Store and Name A Configuration File . . . . . . . . . . . . . . . . . . . . Viewing (Listing) Files and Directories . . . . . . . . . . . .
Contents Appendix C — Super Black Definition of Super Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-1 Objective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-1 Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-1 Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preface Welcome to the Model 3000 This manual provides you with the information you need to configure and operate the Model 3000-2 or Model 3000-3 Digital Switching System. Included here are system setup procedures, switcher concepts, and switcher operating procedures. Refer to the Model 3000 Operation Reference manual for detailed descriptions of the switches and knobs on the control panel, functions accessed through the menu display, and illustrations of the menu tree structure.
Preface Organization of This Manual The main areas of this manual are arranged as follows: System Overview — Describes the basic architecture of the Model 3000 switcher. Startup & Configuration — Describes turning on the system and setting up its operating parameters. Concepts — Describes several switcher concepts you’ll need to know when operating the Model 3000. Operations — Provides task-oriented operating procedures that illustrate the operation of the Model 3000.
How to use this manual How to use this manual This manual, the Model 3000 User Guide, is intended initially to get you up and running with the Model 3000 switcher, and later to answer more detailed questions you may have regarding operation. We suggest that you read the System Overview first, to familiarize yourself with the system architecture and the terminology used in this manual. Then turn on the system as described in the Startup section and configure the switcher parameters for your site or studio.
Preface If you have any comments about this manual, we would like to hear from you. Please write to: Tektronix, Inc. Grass Valley Products Technical Publications Department PO Box 1114 Grass Valley, CA 95945 Conventions used in this manual The following graphical and typestyle conventions are used throughout this manual.
Conventions used in this manual Menu References Many Model 3000 features may be accessed via the menu display and its associated “soft” buttons and “soft” knobs. The term “soft” merely means that the function of the button or knob is temporary, being assigned via the menu display. An illustration similar to the following may be used when you need to access a function via the menu. KEYER MENU OPACITY = 100.00% keyer M/E 1 KEY 1 OFF KEY 2 AUTO KEY A AUTO KEY B AUTO HORIZ KEY POSITION = 0.
Preface xvi
1 System Overview Introduction This section presents a general description of the Grass Valley Model 3000 Switching System, pointing out specific areas of interest to the operator. Both the 3000-2 (a two-effects switcher) and the 3000-3 (a three-effects switcher) are covered. The Control Panel and Signal Processor descriptions given in this section will provide you with a basic knowledge of the Model 3000 structure. Any differences between the two models will be noted.
Section 1 — System Overview General Description The Model 3000 is a multi-format digital switcher that can manipulate a variety of composite digital and analog video and key signals through the use of 10-bit digital processing. Video inputs and outputs can be a combination of analog, digital bit serial, and digital bit parallel, depending upon the configuration of your installation and the optional input and output modules installed.
Standard Features Standard Features ■ Auto-Timed Inputs ■ Multi-format Input capability - Composite Analog, Serial Digital, and Parallel Digital ■ Multi-format Output capability ■ Fineline Keying ■ Complex Matte Generators ■ Full Complement of Wipe Patterns ■ Key Channel Throughout ■ 10-Bit Processing Throughout ■ Shaped Video Inputs and Outputs ■ 100 E-MEM registers ■ User-Preference Programming ■ Disk Storage of E-MEM and System Parameters ■ Extensive Masking ■ Mask Draw capabi
Section 1 — System Overview Optional Features ■ Additional video and key inputs, up to 64 total ■ Additional video and key outputs ■ A Second Wipe Pattern Generator (one module that provides a second wipe pattern for each M/E) ■ Borderline on each Keyer ■ Dual Chroma Keyers for each M/E ■ Preview Outputs ■ Aux Buses ■ Safe Title/Action Area Generators ■ Four-Channel Effects Send ■ Redundant Power Supplies (frame and panel) ■ Video channel, Key channel, and Mask channel Frame Store ■
Physical Description Physical Description The switcher consists of three main areas: the Control Panel, the Signal Processor Frame, and the Frame Power Supply (see Figure 1-1). The electronic circuitry in the Model 3000 is primarily contained on circuit boards and modules in the Signal Processor Frame and Control Panel. Signal Processor Frame The Signal Processor Frame is a large rack-mounted unit that houses the system controller, effects logic, video and key processors, and input/output interfaces.
Section 1 — System Overview Power Supplies TP0348-01 Two power supplies are used in the basic Model 3000 system: a control panel power supply, located in the control panel tub, and a 19" rack mount power supply used by the Signal Processor Frame. Optional Redundant power supplies are available.
Physical Description Control Panel 14. External Interface Subpanel 13. Frame Store Subpanel 12B. Menu Display Buttons 11. Mask Subpanel 12A. Menu Display Grass Valley Group ® MASKS Upper Panel GPI PERPH DROP AUX WIPE SOFT FRAME STORES EXTERNAL INTERFACE EDIT 10. Wipe Subpanel CONFG M/E MODE STAT KEYER CHR KEY WIPE E-MEM KEY FRAME AUX BUS MASK MATTE FRAME STORE LAST MENU MISC DISK SHDW 15.
Section 1 — System Overview The Control Panel also provides connectors for the Mask Draw option and the data link to the Signal Processor Frame. Upper Panel 13. Frame Store Subpanel 12B. Menu Display Buttons 12A. Menu Display 11. Mask Subpanel 10. Wipe Subpanel TP0702-06B 15. 14. External Floppy Interface Disk Drive Subpanel Grass Valley Group 16.
Video and Key Inputs and Outputs Video and Key Inputs and Outputs Inputs Three types of input options may be installed in the Signal Processor Frame to suit the needs of your installation. Each input module supports four inputs and provides auto-timing of each input. The following types of input modules are available. NOTE: Each of these inputs can be treated by the switcher as either a video input or a key input.
DUAL RGB INPUT MODULE DUAL RGB INPUT MODULE QUAD PARALLEL DIGITAL INPUT MODULE QUAD SERIAL DIGITAL INPUT MODULE Signal Processor Frame Module Cells C1 through C16 Up to 16 Quad Input Modules (Any mix of module types) QUAD ANALOG INPUT MODULE Figure 1-4.
Video and Key Inputs and Outputs Outputs Regardless of the format of the input signals, the Signal Processor can provide outputs in any composite format. Signal outputs are provided by output modules installed in the Signal Processor Frame (see Figure 1-5). Each output module provides four video/key signal outputs of a given type, with up to three buffered outputs per signal channel.
4 Signal Channels per Module 3 Outputs of each Signal QUAD PARALLEL DIGITAL OUTPUT MODULE 4 Signal Channels per Module 1 Output of each Signal QUAD SERIAL DIGITAL OUTPUT MODULE 4 Signal Channels per Module 3 Outputs of each Signal Up to 14 Quad Output Modules (Any mix of module types) QUAD ANALOG OUTPUT MODULE Figure 1-5.
Functional Description Functional Description Overview Figure 1-6 shows the video flow in a typical Model 3000 switching system. Video and key signals enter the Input Section of the Model 3000, which consists of analog, parallel digital, and/or serial digital modules. The analog signals are converted to digital format, and all inputs are timed and conditioned. The digital signals are then passed to the Video and Effects Section where keying and mixing take place.
Section 1 — System Overview Video Processing Input video and key signal selections are made by the Crosspoint Matrix under control of the system Controller, according to operator assignments entered via the Control Panel. In addition to primary (external) video, secondary (internal) sources such as Masks, M/E re-entry video, and optional Frame Store are available as inputs to the crosspoint matrix. Two sets of RGB signals may be applied per optional Dual RGB input module.
Functional Description Each M/E has two keyers and two background buses (A and B) as inputs. In standard mode, Keyers 1 and 2 can be mixed into a composite video and key which can be forwarded to the DSK, another other M/E, or output. In layered mode, Backgrounds A and B are also used as keyers that operate in a manner similar to Keyers 1 and 2. Optional preview capability allows monitoring of sources at certain points in the signal flow.
Section 1 — System Overview RGB Inputs Video Signals In Key Signals In DUAL RGB INPUT MODULES DUAL CHROMA KEYERS M/E1, M/E2 & M/E3 Chr.
Functional Description SECONDARY WIPE OPTION 0348-05R Aux Bus 1A-4B Video and Key M/E 1 & M/E 2 MIXERS Frame Store Video and Key FRAME STORE FOR VIDEO, KEY, AND MASK STORAGE Mask Store Output Mask Store Input QUAD OUTPUT MODULES M/E 1 and M/E 2 Program Video and Key M/E Pvw Video PREVIEW DSK Pvw Video PGM/PST MIXER AND DUAL DSK Mask and Switched Preview Program Video & Key ANALOG, PARALLEL DIGITAL, AND SERIAL DIGITAL Outputs Frame Store Video and Key M/E 1 and M/E 2 Program Video and Key Pr
Section 1 — System Overview Description of Options The following options are currently available for the Model 3000 Switcher. For more details on these options, refer to the appropriate subpanel descriptions later in this manual. Dual Chroma Keyer Up to six analog component (RGB, YUV, or Betacam®) or composite inputs can be chroma keyed, two per Dual Chroma Keyer module. Each module is added to a specific M/E.
Description of Options Safe Title/Action Area Generator The Safe Title/Action Area Generator provides up to four different patterns that can be superimposed on the switched preview output of the switcher. It may be used to define a safe title area, safe action area, or for screen centering and horizontal/ vertical alignment of picture elements.
Section 1 — System Overview Tally Output The Tally Relay module provides tally outputs that reflect the switcher status. A rear-panel interconnect board provides the relay contacts at two connectors for on-air Tally A and on-air Tally B. Pin-outs for the Tally connectors are given in the Installation section of the System Information manual. Tally Expansion The Tally Expansion Option increases the number of tally outputs from the Model 3000 Switcher.
2 Startup & Configuration Introduction This section describes turning on the Model 3000 and configuring it to your facility. Included are procedures for setting the system clock, configuring inputs and outputs, configuring external interfaces, and setting user preferences.
Section 2 — Startup & Configuration Powering Up The Model 3000 is designed for continuous operation. It may already be on and operating; however, the following power-up procedure is provided in the event that it isn’t: 1. Turn on the power switch on the front of the Signal Processor Power Supply. Verify that the power supply voltage LEDs on the front of the Power Supply are lit and that the fans in the Processor are on. If the Processor is equipped with a redundant power supply, turn on that supply also.
Powering Up The data contained in the Current Working Buffer is used for all normal operations. At any time, this data (the current switcher state) can be returned to the user-defined default values by pressing the CLEAR WORK BUFR button on the Effects Memory subpanel. In addition, the user-defined default state can be changed at any time through the use of the Configuration/User Prefs/Define Defaults Menu, as described later in this section.
Section 2 — Startup & Configuration 2. Press the INSTALL INFO> soft button to bring up the Main Boards Menu: INSTALLATION INFO MENU MODEL 3000-3 SOFTWARE VERSION: 5.
Powering Up 3. Press the UPPER BOARDS soft button. INSTALLATION INFO MENU MODEL 3000-3 SOFTWARE VERSION: 5.
Section 2 — Startup & Configuration 4. Press the LOWER BOARDS button. INSTALLATION INFO MENU MODEL 3000-3 SOFTWARE VERSION: 5.
Software Setup Software Setup The system parameters to be used at a particular site or in a specific studio are usually configured immediately following installation of the equipment. These include defining input sources, assigning those sources to crosspoints, setting output levels, and defining external interfaces. These operations are accessed through the Configuration Menu, an overview of which may be seen in the menu tree in Figure 2-1 and Figure 2-2.
LATCH NORMAL DSK DROP KEY MEMORY CLEAR KEY MEM ON/OFF M/E 1 M/E 2 M/E 3 PGM PST PVW SELECT PVW MODE DIM PVW PUSH TO PVW SHIFT MODE KEYER PREFS PREVIEW PREFS BEEPER PREFS DEFINE DEFAULTS E-MEM PREFS BEEPER ON/OFF WARNING END OF KNOB KNOB CENTER INACTIVE KNOB SECTION SELECT BUS SELECT CLEAR XPT CLEAR BUS CLEAR SECTION CLEAR SWITCHER AUTO LOOKAHEAD PGM PUSH TO PVW TIMEOUT ON OFF RUN LEVER KEYFRAME EDITING MASTER E-MEM M/E 1 M/E 2 M/E 3 ENABLE/DISABLE ENABLE/DISABLE 300 STYLE NORMAL 4X3 16 X 9 ASPE
Software Setup See CONFIG Part 1 ON OFF ON OFF SHAPED UNSHAPED OUTPUT SELECT SUPER BLACK SETUP ON KEY VIDEO/KEY FMT LIMITER DIGITAL RES OUTPUT TIMING CONFG USER PREFS SYSTEM PARAMS INPUTS OUTPUTS EXTERN I/F AUX BUS FORMAT 0754#2 PGM M/E 1 PGM M/E 2 PGM M/E 3 PGM AUX BUS 1 AUX BUS 2 AUX BUS 3 AUX BUS 4 AUX BUS 5 AUX BUS 6 AUX BUS 7 FRAME STORE ON OFF GROUP SELECT CARD SELECT M/E 1 PVW M/E 2 PVW M/E 3 PVW DSK PVW LUM CLIP CHROMA CLIP COMPOSITE CLIP BLACK CLIP RESTORE DEFAULT OUTPUT TIMING OFFSET BA
Section 2 — Startup & Configuration Setting System Parameters The System Parameters Menu allows you to set the video standard (internal black level), to select the matte generator chroma limiting algorithm, to adjust horizontal blanking and the super black output level, and to set the system clock. 1. Press the SYSTEM PARAMS> soft button below the Configuration Menu display to bring up the System Parameters Menu: SYSTEM PARAMETERS MENU config / system params START HORIZONTAL BLANKING = 0.
Setting System Parameters 4. Set the END HORIZONTAL BLANKING soft knob as desired. This adjusts the end of H blanking over a range of -16.0 clocks to +16.0 clocks. The default value is 0.0 clocks. Pressing the H-BLANKING DEFAULT button resets the horizontal blanking start and end values to Grass Valley default settings (0.0 clocks). 5. Set the SUPERBLACK OUTPUT LEVEL soft knob as desired. This adjusts the super black output level over a range of -20.0 IRE to +7.5 IRE for U.S.A. NTSC, or -20.0 IRE to 0.
Section 2 — Startup & Configuration Setting the System Clock 1. From the System Parameters Menu, press the SET CLOCK> soft button to display the Set Clock Menu. SET CLOCK MENU YEAR = 1994 config / system param / set clock CLOCK MONTH = July July 4 1994 5:07:00 PM Press "CONFIRM" button to update the clock setting DAY =4 DATE TIME SELECT 2-12 CONFIRM 2. Set the date by selecting DATE with the SELECT button and turning the soft knobs to select the appropriate YEAR, MONTH, and DAY. 3.
Setting System Parameters 4. Set the time by selecting TIME with the SELECT button and using the soft knobs to select the HOUR, MINUTE, and SECOND. SET CLOCK MENU HOUR = 5 PM config / system param / set clock CLOCK MINUTE =7 July 4 1994 5:07:00 PM Press "CONFIRM" button to update the clock setting SECOND =0 DATE TIME SELECT CONFIRM 5. Press the CONFIRM button to enter the new time. 6. Press the EXIT button to return to the Configuration Menu.
Section 2 — Startup & Configuration Configuring Inputs Primary video and key inputs to the switcher are numbered 1 through 64. Each input can be treated as either a video signal or a key signal. Each input, including Black and Background, can be mapped to any vertical column of source select (“crosspoint”) buttons. Internally-generated sources (black, backgrounds, mask, etc.) are also available for selection on the crosspoint matrix.
Configuring Inputs From the Configuration Menu, press the INPUTS> button to bring up the Inputs Menu.
Section 2 — Startup & Configuration Setting Input Digital Resolution 1. From the Inputs Menu, select DIGITAL RES> to display the Input Digital Resolution Menu.
Configuring Inputs Configuring External Key Sync 1. From the Inputs Menu, press the EXT KEY SYNC> button to select the External Key Sync Menu.
Section 2 — Startup & Configuration Configuring Key Setup 1. From the Inputs Menu, press SETUP ON KEY> to select the Setup On Key Menu. SETUP ON KEY MENU config / inputs / setup on key NO SETUP NO SETUP NO SETUP NO SETUP 9 TO 16 Card 14 KEY SETUP KEY SETUP KEY SETUP KEY SETUP GROUP SELECT CARD SELECT INPUT 53 INPUT 54 INPUT 55 INPUT 56 1 TO 8 2-18 2. Use the GROUP SELECT and CARD SELECT buttons to select the appropriate inputs. 3.
Configuring Inputs Mapping Crosspoints The Map Inputs Menu allows you to define the format for each video or key input. 1. From the Inputs Menu, press the MAP INPUTS> button to select the Map Inputs Menu. MAP INPUTS MENU VIDEO INPUT =4 (ANL AUT/10 BIT/SETUP) /config/inputs/map_inputs KEY INPUT =1 (DIG SER/8 BIT/SETUP/SYNC) XPT BUTTON NUMBER XPT BUTTON NAME 30 (SHIFT-14) UNSHAPED VIDEO CHROMA KEY INPUT = NONE (ENCODED) Use the Preset Bus to select button number.
Section 2 — Startup & Configuration 4. Use the appropriate soft knob to select the desired type of input. Note that input formats are displayed when selecting input type. NOTE: Any crosspoint that is undefined defaults to black. 5. To map a chroma key input, use the CHROMA KEY INPUT soft knob to assign the chroma key input for the currently selected crosspoint button. 6. Use the VIDEO/KEY FMT button to assign whether the input will use shaped video or unshaped video format.
Configuring Inputs 8. Select each character by turning the soft knobs located to the right of the Menu Display. 9. Enter the selected character by pressing the ACCEPT CHAR button. The new character will be displayed in the menu. 10. Continue selecting characters in this manner until the desired name is spelled out in the menu. You may enter up to 9 characters for the input name. NOTE: For a 3000-3 with the Input Readout Display option, only the first 4 characters of the name will be displayed. 11.
Section 2 — Startup & Configuration Formatting Chroma Key Inputs 1. From the Inputs Menu, press the CHR KEY INPUTS> button to select the Chroma Key Inputs Menu: CHROMA KEY INPUTS MENU COARSE config / inputs / chr key inputs TIMING = 0.000 clocks FINE RGB BETA YUV INPUT 1 2-22 INPUT 2 INPUT 3 INPUT 4 INPUT 5 INPUT 6 INPUT FORMAT 2. In the Chroma Key Inputs Menu, select the appropriate chroma key input and select the desired input format for that input. 3.
Configuring Inputs Assigning GPI Inputs The GPI Inputs Menu allows you to configure GPI assignments for signals that can be used to trigger Model 3000 functions. These assignments must correspond to the physical GPI connections described in the Installation section of the System Information manual. Eight GPI inputs are provided. All of these accept pulse-type GPI inputs except Aux Tally Back, which is level-sensitive. 1. From the Inputs Menu, press the GPI INPUTS> button to select the GPI Inputs Menu.
Section 2 — Startup & Configuration The types of GPI assignments available are Miscellaneous (Aux Tallies), Keyframe Effects, Auto Transitions, Cuts, E-MEM registers, and Frame Stores, as indicated by the labels under the bracket in the display. One of these functions is always selected; the selected function is indicated in parentheses under the FUNCTION SELECT knob label. 2. To assign a GPI input, first press GPI SELECT to select the desired input. 3.
Configuring Inputs AUTO TRANS — Enables selection of the Auto Transition GPI function. The following transitions may be triggered with GPI pulses: M/E 1, M/E 2, M/E 3, F-F, and F-F PST BLK CUT — Enables selection of the Cut GPI function. The following cuts may be triggered by the GPI: M/E 1, M/E 2, M/E 3, and F-F E-MEM — Enables selection of the E-MEM GPI function.
Section 2 — Startup & Configuration Configuring Outputs The signal formats of the Model 3000 output modules for your installation are set up from the Outputs Menu. 1. Press the CONFG button on the main menu subpanel. 2. From the Configuration Menu, select OUTPUTS> to display the Outputs Menu.
Configuring Outputs NOTE: The VIDEO/KEY FMT selections apply only to the Program output and Aux Bus 1-through 4 signals. UNSHAPER — Sets the output processing to provide the type of signal desired by the external device: ON if the video is already shaped but the external device needs a full screensized picture; OFF if the device can accept video that has already been processed by a key signal. NOTE: The LIMITER selections apply only to the Program output signal.
Section 2 — Startup & Configuration Setting Switcher Output Timing With the Effects Send option installed in a Model 3000, the PGM output on Aux Buses 1 through 4 was delayed compared to other switcher outputs. Software provides an adjustment of the switcher length that allows you to match the timing of all outputs. CAUTION Adjustment of the switcher output timing is not recommended unless you have the Effects Send option and you expect to use PGM out on Aux Buses 1 through 4.
Configuring Outputs 2. Press the OUTPUT TIMING soft button to bring up the Output Timing menu. OUTPUT TIMING MENU OUTPUT TIMING OFFSET = 0 clocks (00.00 nsecs) config / outputs / output timing WARNING Adjustment of the Output Timing Offset knob will change reference and electrical path length of the switcher. RESTORE DEFAULT The OUTPUT TIMING OFFSET knob allows you to increase the overall switcher length by from 1 to 255 clocks.1 Default timing is 0 clocks. 3.
Section 2 — Startup & Configuration Setting Output Digital Resolution 1. From the Outputs Menu, press the DIGITAL RES> button to bring up the Output Digital Resolution Menu.
Configuring Outputs 2. Use the GROUP SELECT and CARD SELECT buttons to select the appropriate outputs. Note that as the output boards are selected with CARD SELECT, the names of the outputs change above the soft buttons. 3. Set the resolution to either 8-BIT or 10-BIT for each of the four selected digital outputs. 4. Repeat steps 2 and 3 until all digital outputs have been configured. NOTE: Dithering of the 8-bit outputs is selectable in the Misc/Signal Process Menu. 5.
Section 2 — Startup & Configuration Configuring External Interfaces Most parameters for external interfaces can be set up or changed through the External Interface Menu. 1. From the Configuration Menu, select EXTERN I/F> to display the External Interface Menu. This menu provides selections for defining interface parameters for peripherals connected to the Model 3000.
Configuring External Interfaces Setting Editor Port Parameters 1. From the External Interface Menu, press EDITOR I/F> to select the Editor Interface Menu. EDITOR INTERFACE MENU config / extern if / editor if 2400 4800 9600 19200 38400 ODD EVEN NONE BAUD PARITY 2. With the BAUD and PARITY buttons, select the baud rate and parity parameters for the editor port by incrementing to the desired settings. 3.
Section 2 — Startup & Configuration Configuring a DPM Digital Picture Manipulators (DPMs) are external video devices connected to the switcher. In this discussion, reference is also made to DPM levels, which are E-MEM levels into which DPMassociated information is learned.
Configuring External Interfaces There are four steps in configuring the video path: ■ Aux buses are assigned to DPMs using the DPM Map Aux Buses Menu ■ Return input connections are configured using the DPM Map Inputs Menu ■ The mapping of a return connection to a crosspoint is done using the Configuration/Map Inputs Menu ■ The video delay is set using the DPM Setup Menu. The system defaults to all aux buses being part of the MISC E-MEM level.
Section 2 — Startup & Configuration Both KSCOPE and KRYSTAL are selections for pooled devices. A pooled device is one which provides acquisition of logical channels from a pool of physical channels. Kaleidoscope is a pooled device. As an example, consider a Kaleidoscope having 5 physical channels named A, B, C, D, and E. The pooled channels are shared by different users. A user may build a Kaleidoscope effect using 3 channels.
Configuring External Interfaces The Aux Bus button selection made on the switcher control panel is always a logical aux bus; however, unless Kaleidoscope is connected, Logical Aux Bus 1 always corresponds to Physical Aux Bus 1, etc. (The current mapping of physical-to-logical DPM channels is displayed in the DPM Map Inputs Menu.) 0347-02-29 It should be noted that the switcher supports only one pooled device.
Section 2 — Startup & Configuration For a particular studio session, three Kaleidoscope channels could be acquired from the pool in the order D, E, A, which would be logical channels 1, 2, 3. This mapping information is passed from the DPM to the switcher via the control connection.
0347-02-30 Configuring External Interfaces 16 Inputs Model 3000 A B CDE F GH Router/ Patch Panel Switcher Input Routing Kaleidoscope Channel Pool A B Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 C D E F G H Logical Logical Channel Channel 1 5 Logical Logical Logical Channel Channel Channel 2 4 3 Kaleidoscope Logical Channels To Other Suites Aux Bus Outputs From Other Suites Figure 2-4.
Section 2 — Startup & Configuration Control Connections Three forms of control connection to the DPMs are supported. These are: ■ CPL (Control Point Language) ■ PBusII (Peripheral Bus II) ■ GPIs Control Point Language — CPL is the communication protocol used to couple the switcher with Kaleidoscope or Krystal. One of its uses is to convey the physical-to-logical channel mapping information described previously.
Configuring External Interfaces PORT ASSIGN = NONE CHANNEL ROUTING = OFF GPIs — Both input and output GPIs may be used as triggers as part of the control interface between the DPM and switcher. Depending on the nature of the DPM, GPIs can be used for effect recall and run control, source selection, and tally information. Configuring the DPM Interface Set up the DPM type, video delay, control delay, port assignment, and channel routing for each of (up to) 4 DPM devices as follows: 1.
Section 2 — Startup & Configuration For Kaleidoscope a. Set the DPM TYPE in the 3000 DPM Setup Menu to KSCOPE. NOTE: A delay has been introduced when changing DPM TYPE. This delay allows a new DPM TYPE to be chosen without cycling through intermediate DPM Types. Once the desired solution has been made, the new DPM TYPE will be set 2 seconds later. b. Turn the EFF SEND DELAY soft knob to select 2 fields. It is important that this delay be set correctly. c. Turn the CONTROL DELAY knob to select 6 fields.
Configuring External Interfaces For DVEous: a. Set the DPM TYPE to DVEOUS. b. Turn the VIDEO DELAY soft knob to select 2 FIELDS. It is important to set this delay correctly. c. Turn the CONTROL DELAY soft knob to select 7 FIELDS. d. Press the PORT ASSIGN button to assign PORT A1 to the DPM. The baud rate for Port A1 is fixed at 307 K baud. e. Set CHANNEL ROUTING for BOTH or SWR IN, depending upon your system configuration, as described previously under “DPM Configurations.” f.
Section 2 — Startup & Configuration NOTE: Increasing the EFF SEND DELAY any further will not change the Effects Send appearance. It will, however, delay the entry into Effects Send unnecessarily. Mapping DPM Aux Buses Set up the aux bus-to-device assignment as follows: 1. From the DPM Setup Menu, press DPM MAP AUX BUSES> to access the DPM Map Aux Buses Menu.
Configuring External Interfaces NOTE: All aux buses assigned to a DPM must be in consecutive order. 4. For a DPM-700, set the NUMBER OF CHANNELS and CHANNEL 1 = soft knobs as appropriate for your installation. NOTE: Assigning an Aux Bus to a DPM level saves the parameters under the DPM level, rather than the MISC level for E-MEM operations. 5. Press the EXIT button to return to the DPM Setup Menu. Mapping DPM Inputs Set up the DPM video and key return input numbers as follows: 1.
Section 2 — Startup & Configuration 2. Press the DPM SELECT button to select the desired DEVICE (1 through 4). 3. Press the CHANNEL SELECT button to select the desired DEVICE channel. 4. Turn the VIDEO INPUT knob to assign the Model 3000 physical input 1 to 64 to which this DPM video return was connected during cabling. 5. Turn the KEY INPUT knob to assign the Model 3000 physical input 1 to 64 to which this DPM key return was connected during cabling. 6.
Configuring External Interfaces assign logical channel 1 of DPM 1 by selecting DPM 1 LOG CHAN 1. MAP INPUTS MENU VIDEO INPUT = DPM 1 LOG CHAN 1 (KSCOPE) config / inputs / map inputs KEY INPUT = DPM 1 LOG CHAN 1 (KSCOPE) XPT BUTTON NUMBER XPT BUTTON NAME 12 UNSHAPED VIDEO CHROMA KEY INPUT = NONE (ENCODED) Use the Preset Bus to select button number. LOG CHANNEL SHAPED VIDEO PHYS INPUTS VIDEO/ KEY FMT LOG/PHYS ASSIGNMENT 5.
Section 2 — Startup & Configuration Mapping Kaleidoscope Source Buttons The DPM Kscope Source Menu allows you to map Kaleidoscope video source crosspoints to your switcher video source crosspoints. You may set this map to a Grass Valley default or you may map each Kaleidoscope source button individually to the switcher crosspoint button of your choice.
Configuring External Interfaces Configuring the Peripheral Interface The Peripheral Interface Menu allows you to set up the parameters for the Peripheral Bus II port (A3). 1. From the Configuration Menu, press EXTERN I/F>, then PERIPHERAL I/F> to bring up the Peripheral Interface Menu. PERIPHERAL INTERFACE MENU config / extern if / peripheral if NOTE: The Peripheral Bus port is labelled "Port A3" on the rear of the frame electronics.
Section 2 — Startup & Configuration Assigning Peripheral Triggers This menu allows you to configure up to eight peripheral triggers for the switcher (designated A through H). Each trigger is sent to a particular address (Device Number) on the Peripheral Bus. Once configured, these triggers can be learned into E-MEM effects (on MISC or DPM 1–4 levels) or fired directly from this menu.
Configuring External Interfaces 6. Turn FUNCTION NUMBER to select the function of the device that will be triggered by a trigger message on the Peripheral II bus. 7. Use the LEVEL soft knob to select which E-MEM level will activate the selected trigger. For a DPM-700, these functions depend on whether the DPM is operating in trigger mode or E-MEM recall mode, as listed in Table 2-1. Table 2-1.
Section 2 — Startup & Configuration Configuring GPI Outputs GPI Output triggers each time there is a cut on the PGM Bus. This GPI is typically connected to an external device such as a clock/ timer which is reset by each trigger. Such a clock would then indicate how long the current source has been on air. The duration of GPI Output Triggers can now be configured by the number of fields. This configuration is set using the GPI Outputs Menu.
Formatting Aux Buses Formatting Aux Buses Each of the 7 aux buses consists of an “A” bus and a “B” bus. The A buses are for video only. The B buses may be either video or key, as configured by the Aux Bus Format Menu. 1. From the Configuration Menu, press AUX BUS FORMAT> to display the Aux Bus Format Menu.
Section 2 — Startup & Configuration Setting User Preferences The User Preferences Menus are used to gain access to certain parameters that the operator may need to change. 1. From the Configuration Menu, press the USER PREFS> button to bring up the User Preferences Menu: USER PREFS MENU config / user prefs LATCH NORMAL SHIFT MODE KEYER PREFS > PREVIEW PREFS > BEEPER PREFS > DEFINE DEFAULTS > Setting Shift Lock Operation Switcher crosspoint buses may be locked into a shifted state.
Setting User Preferences To Shift Lock a Bus With LATCH enabled on the User Preferences Menu, press and hold the [SHIFT] button while selecting a crosspoint. The bus containing that crosspoint is now locked into a shifted state. Any crosspoint selected on this bus will now be a shifted crosspoint. The [SHIFT] button light will remain ON while the bus is in this state. To Unshift Lock a Bus On a Shift Locked bus: Press and hold the [SHIFT] button. Select a crosspoint button.
Section 2 — Startup & Configuration Setting Keyer Preferences From the User Preferences Menu, press the KEYER PREFS> button to display the Keyer Preferences Menu: KEYER PREFS MENU config / user prefs / keyer prefs ON ON OFF OFF DSK DROP KEY MEMORY CLEAR KEY MEM > The DSK DROP button allows you to enable or disable DSK Drop mode. The KEY MEMORY button allows you to turn on or off the key memory feature.
Setting User Preferences 2. From the Keyer Preferences Menu, press CLEAR KEY MEM> to bring up the Clear Key Memory Menu.
Section 2 — Startup & Configuration Setting Preview Preferences 1. From the User Preferences Menu, press the PREVIEW PREFS> button to display the Preview Preferences Menu.
Setting User Preferences NOTE: The optional M/E Preview mezzanine board must be installed in each M/E in order to select AUTO and LOOKAHEAD Preview Modes. These selections will not be displayed in the menu if the board is not installed. The choice of the Preview Mode to be used depends primarily on how many monitors you have per M/E and how you wish to use them, as illustrated in Figure 2-5.
Section 2 — Startup & Configuration 2 Monitors per M/E M/E 2 PGM Out PGM M/E 2 PVW Out PVW Switcher Fixed Lookahead 1 Monitor per M/E Switcher PVW Out PGM Out - Low Tally AUTO Lookahead - Hi Tally 1 Monitor per M/E Switcher PVW Out PGM Fixed PGM (In effect, no PVW function enabled.) Figure 2-5.
Setting User Preferences 4. Use the DIM PVW button to assign one of the Dim Preview modes to the selected keyer, as follows: ALL KEYERS — Causes the preview of all keyers using a mask on that M/E or DSK to dim on the Preview monitor. DELEG KEYER — Causes only the preview of the keyer that is currently delegated and inserting a mask on that M/E or DSK to dim on the Preview monitor. OFF — Turns off the preview dim function so that the preview never dims on that M/E or DSK regardless of masking. 5.
Section 2 — Startup & Configuration Setting Beeper Preferences You may wish to customize the beeper alert system. Beeper preferences are selected on the Configuration/User Preferences/ Beeper Preferences Menu shown below. BEEPER PREFS MENU config / user prefs / beeper prefs ON ON ON ON ON OFF OFF OFF OFF OFF BEEPER ON/OFF WARNING END OF KNOB KNOB CENTER INACTIVE KNOB BEEPER ON/OFF — Use to enable or disable the beeper alert system. WARNING — Use to enable or disable beeper warnings.
Setting User-Defined System Defaults Setting User-Defined System Defaults The Define Defaults Menu allows you to change the default values that are stored in memory and used when the switcher is turned on or the CLEAR WORK BUFR button is pressed. The values stored in the User-Defined Default Buffer (battery-backed RAM) are loaded into the Working Buffer when power is applied to the switcher. This sets the initial state of the switcher parameters.
Section 2 — Startup & Configuration Operating Notes Field Dominance Selection In the Model 3000 Switcher, all “set” changes such as crosspoint selections and E-MEM recalls take effect during the vertical interval of the video signal, just prior to either Field 1 or Field 2. The Field Dominance feature in the Configuration/System Parameters Menu allows you to specify when these changes will take effect. 1.
Operating Notes If an Editor or a GPI trigger initiates one of these functions, it will produce the same effect as a control panel change. That is, the initiation of any of these functions will be delayed until the beginning of the selected dominant field. Summary. If you are recording the output of the Model 3000 on video tape and will be doing post-production editing of the tape, it is recommended that you set Field Dominance for a specific field (either FIELD 1 or FIELD 2), and leave it at that setting.
Section 2 — Startup & Configuration 2. Select either BLACK SCREEN or WHITE SCREEN for your mask store background. Then select either a BLACK (for white screen) or WHITE (for black screen) brush with the BRUSH SOURCE button. Hint: If you are using a black brush on a white screen you may want to adjust the BRUSH OPACITY soft knob to a value of 20% or higher. A value of 0 to 5% makes the brush strokes very hard to see. 3.
Operating Notes Mask Draw Setup 1. Use one of the three operations listed below to view the Mask Draw function: a. Using the Map Inputs Menu, map a switcher crosspoint button to Mask Frame Store, and select that crosspoint for viewing. b. To view the draw mask work on a preview monitor, go to the Preview Prefs Menu and turn DIM PVW ON for the delegated (or ALL) keyer. c. If you will be using the FRZE and GRAB functions: Set the Mask Store button (Mask Store Subpanel) to ON. 2.
Section 2 — Startup & Configuration Operating the Model 3000 With a DPM-700 This feature allows you to return a high tally from a DPM-700 when configured with the Model 3000. To use the DPM Logical Channel Tally feature, connect the DPM-700 as described in the Installation and Service manual. To Enable the Model 3000 1. From the Map Inputs Menu: a. Select LOG CHANNEL with the LOG/PHYS ASSIGN button. b. Select DPM 1 LOG CHAN 1 with the VIDEO INPUT soft knob. c.
Operating Notes 4. From the DPM Map Inputs Menu a. Choose DPM 1 with the DEVICE SELECT button. b. Select CHAN 1 - PRI with the CHANNEL SELECT button. c. Select 11 with the VIDEO INPUT soft knob. d. Select 12 with the KEY INPUT soft knob. e. Select CHAN 2 - PRI with the CHANNEL SELECT button. f. Select 11 with the VIDEO INPUT soft knob. g. Select 12 with the KEY INPUT soft knob. 5. From the GPI Input Menu: (Configure GPIs 1 & 2) a. Select GPI 1 with the GPI SELECT button. b.
Section 2 — Startup & Configuration Operating the Model 3000 With Kaleidoscope After the Model 3000 has been connected to a Kaleidoscope DPM (Digital Picture Manipulator), as described in the Installation section of the Model 3000 Installation & Service manual, and after the Model 3000 has been properly configured, as described earlier in this section, all that is required for the two devices to operate together is to enable both of them.
Operating Notes NOTE: You may disable the control connection between the Model 3000 and Kaleidoscope at any time simply by disabling either of the above enables DPM... on the E-MEM panel or ENABLE 3/4000 in the Kaleidoscope Menu). With current software, the DPM button on the Model 3000 External Interface subpanel has no effect on the 3000/Kaleidoscope interface.
Section 2 — Startup & Configuration 2-72
3 Switcher Concepts This section describes a few basic concepts that you should know before you operate your switcher. You might be tempted to skip over this section, especially if you are an experienced switcher operator. Nevertheless, we suggest that you to browse it anyway because it explains operating concepts that will help you more fully understand how the switcher works.
Section 3 — Switcher Concepts Clear Working Buffer The Current Working Buffer (CWB) is an area of system memory that stores the current switcher state. That is, it tracks the settings of switch and variable control functions on the control panel, as well as those of many switch and control functions set in the menus.
Clear Working Buffer CWB Modes of Operation With Version 5.0 and later software, there are four modes of operation for the CLEAR WORK BUFR button: 1. Single press of the CLEAR WORK BUFR button — Clears the Current Working Buffer except Keyers. This clears the CWB to User-Defined Defaults for all enabled levels, but leaves the key memory portion of the CWB unaffected. 2. Double press of the CLEAR WORK BUFR button — Clears the Current Working Buffer including Keyers.
Section 3 — Switcher Concepts Auto Delegation Some of the switcher subpanels are delegated to other subpanels under conditional control of the operator or system. This feature is called “auto delegation.” The effect of auto delegation is that pressing a button on one subpanel may activate the related controls on another subpanel. For example, the single Chroma Keyer subpanel is used for controlling all Chroma Keyers, and is activated by pressing the CHR KEY button on one of the M/E Keyer subpanels.
Crosspoint Bus Crosspoint Bus A crosspoint bus consists of a group of switches called crosspoints, each with a different video or key input. The row of switches has a common output called a bus. The various crosspoint buses on the switcher’s control panel make up the Source Select Subpanel (the large matrix of buttons that occupies the left 1/3 of the control panel), which is used for connecting the video and key input buses to the crosspoint output buses that feed transition and effects circuits.
Section 3 — Switcher Concepts Transitions A transition is a change from one video picture to another. The switcher provides three methods for making video transitions: ■ Cuts ■ Mixes ■ Wipes Cut Transition A cut is an instantaneous switch from one picture to another. A background cut, for example, switches the on-air Program output instantly from the picture selected on the Program bus to the picture selected on the Preset bus. A cut can also be used to switch a key on or off air instantaneously.
Transitions Starting Video Midway Transition Ending Video Figure 3-1.
Section 3 — Switcher Concepts Wipe Transition A wipe is a transition from one picture to another in which a shaped edge moves across the screen revealing the new picture (see Figure 3-2). A background wipe removes the old Program Background picture as it wipes on the new Preset Background picture. A key wipe reveals the key over the existing background or removes it without affecting the existing background. A wipe transition can also change the background and the key(s) at the same time.
Keys Keys A key is an effect in which parts of one picture are inserted into another to create a composite picture. For example, keys are used to insert captions, to place a small news scene or graphic over the shoulder of a newscaster, or to place the image of a weather reporter in front of a weather map. There are several types of keys, each of which serves a different purpose. These will be briefly described on the following pages.
Section 3 — Switcher Concepts Luminance Key A luminance key, shown in Figure 3-3, uses the brightness information in one picture, called the key source to cut a hole in another picture, called the background. A third picture, called the fill, is inserted into the hole to fill it. A clip control allows the operator to set the level of key source brightness that will cut the hole so that any part of the picture that is lower in brightness than the clip setting is ignored and will not cut the hole.
Keys When the clip is set properly, the keyer will ignore the black paper and use only the white logo shape to cut a hole in the background video. Then it will fill the logo-shaped hole with green matte video. This creates a green logo inserted into the background. In actuality, this method of keying is seldom used anymore. Instead, a graphics system generates the key and fill video, but the same concepts apply.
Section 3 — Switcher Concepts Linear Key A linear key is similar to a luminance key except that the gain of the key is set to a value of one (also called “unity”) so that the edges of anti-aliased key sources are faithfully reproduced. Antialiased sources, such as the output of a character generator or graphics system, have soft edges that produce a mix between the fill and the background at the key edge. A linear key preserves this edge, as well as DPM soft edges, drop shadows, etc.
Shaped and Unshaped Video Shaped and Unshaped Video Shaping and unshaping are generally involved only in keying and compositing situations. Whenever a key is performed, there are always three signals: the key source, the key fill (fill video), and the background video. The key signal cuts a hole in the background, into which the fill video is inserted. Devices such as character generators often output both the key signal and the fill video.
Section 3 — Switcher Concepts Input Shaped and Unshaped Video Video coming into a switcher may or may not already be shaped, depending upon its source. The Configuration Menu has a selection for you to define whether the source video for each video input is shaped or unshaped. This is what tells the switcher how to process the signal.
Super Black Super Black Super Black is a video level that is lower than the usual black level (7.5 IRE in NTSC; 0 IRE in PAL and Component video). It is inserted into the background of a video signal to improve the contrast for luminance self keying. The Super Black level is variable and is often limited by the device that is used to record the signal. Typically 0 IRE is used, although values as low as -5 IRE or -10 IRE may be used.
Section 3 — Switcher Concepts Chroma Key A chroma key is a key in which a particular color that you select in the background of a scene is detected and replaced with a new background scene. This gives the illusion that foreground objects are positioned in front of a new background. For example, the fill video selected on the Key bus may be a weather reporter standing in front of a blue wall, and the new background video may be a weather map (Figure 3-3).
Chroma Key The chroma keyer includes background and foreground suppression. Background suppression replaces the old background color with black before adding in the new background. This ensures that the old background color is completely removed from the scene, resulting in a cleaner key.
Section 3 — Switcher Concepts Coring Coring is a video noise-reducing operation in which pixels below a predetermined luminance threshold are replaced by “clean” black pixels. During keying, the black eliminates any noise surrounding the fill video that might otherwise add to the background, causing noisy key edges. A menu selection enables or disables the coring function and allows adjustment of the coring level to ensure that video is fully removed in the key area.
Layering Layering Lamina™ Video Compositing is a feature that enables up to four video layers to be composited in a single mix/effects system. The composite image can then be used as a key source or a background in another mix/effects system or the downstream keyer. This allows multiple-layer effects to be created in one recording pass. Layering is enabled on an M/E-by-M/E basis in the M/E Mode Menu.
Section 3 — Switcher Concepts E-MEM Effects Memory The E-MEM Effects Memory system provides a way of storing switcher effects for later use. With E-MEM you can set up an effect with the control panel and “learn” a snapshot of it into memory. Later, you can recall that effect with the press of a button. The switcher will immediately return to the state it was in when the effect was learned. The E-MEM Subpanel allows you to store, recall, and modify effects and keyframes in E-MEM registers.
E-MEM Effects Memory Enables and Delegates Grass Valley Switchers have two groups of operations that relate to Enables and Delegates: ■ E–MEM Register operations that include Learn, Recall, Put, Get, and Run ■ E–MEM Keyframe-editing operations that include Cut, Copy, Paste, and Modify Each E-MEM register is partitioned into sections (or “levels”) corresponding to the Enable buttons on the E-MEM panel and representing functional areas of the control panel and associated menu selections.
Section 3 — Switcher Concepts When ENABLES is selected in the Timeline Menu, all enabled levels are also delegated; thus all enabled levels are affected by changes made on the control panel. When a level is not enabled, its timeline does not appear in the Timeline Menu. ■ In ENABLES mode, pressing the Enable button toggles the E–MEM enabled status of that level or channel either on or off. This does not change the status of any other enabled levels or channels.
Keyframing / Timelines / Effects Editing Keyframing / Timelines / Effects Editing Switchers are able to store more than one switcher state (a “keyframe”) on each enabled level in a single E-MEM register. A series of keyframes in an E-MEM register is called a keyframe effect. Effects animation can be accomplished by building and running keyframe effects. The effects editing portion of the E-MEM Subpanel, in conjunction with the Timeline Menu, allows you to create, store, and modify keyframe effects.
Section 3 — Switcher Concepts Effects Editing Definitions Keyframe — A set of switcher parameters, as set up on the control panel and in the menus, stored in an E-MEM register at some point along a timeline. Keyframes define the switcher parameters at a series of points in time during an effect, and the system does keyframe interpolation to smooth the motion between keyframes. The Current Working Buffer tracks the interpolated values between keyframes.
Keyframing / Timelines / Effects Editing Timeline Menu The following is a simple example of a Timeline Menu. TIME TIMELINE MENU Register 8 KF editing enabled Master Timeline > ———— Run Cursor 2 Keyframes 1:00 KF 2 START Duration 1:00 1 RUN RUN DEL 2 KF EFF DUR M/E 1 M/E 1 M/E 2 M/E 2 M/E 3 BKGD PGM PST SELECT DSK BKGD MISC DPM 1 DPM 2 DPM 3 ZOOM 1.
Section 3 — Switcher Concepts Manipulating Video Images Grass Valley Products DPM and digital production switchers have the ability to rotate images that have a “Front” and “Back” side. “Near” and “Far” selections are used to rotate the Front and Back images so as to be either visible (Near) or invisible (Far) on a monitor. Video can have a “Front” and a “Back” side. The same source information can be applied to both sides of the video image or the two sides may be adjusted separately.
Manipulating Video Images The displayed picture has a front side and a back side, the same way a U.S. dollar bill does. The side with George Washington on it is the front, and the side with the pyramid/eagle is the back. This is still true, even if you turn the bill around, twist it, or roll it up; the front is always the side with George’s face on it.
Section 3 — Switcher Concepts Effects Send (Option) Effects Send is a system that provides a close interface between the switcher’s mix/effects system and a digital picture manipulator (DPM). Effects Send takes the key and fill video outputs of an effects keyer and sends them to the DPM for manipulation. The manipulated key and fill outputs from the DPM then re-enter the switcher’s mixers via the aux buses.
Frame Store (Option) Frame Store (Option) The primary functions of the Frame Store option are storage of still video and key images, and creation of dropshadows behind keys. Controls for manipulation of these functions are found on the Frame Store Subpanel and in the Frame Store menus. Either 2-two field pictures and keys, or 1 four-field picture and key, can be frozen in the Frame Store. A two-field mask store is also provided on the Model 3000.
Section 3 — Switcher Concepts Manipulation of the frozen image is provided through the Frame Store Menu. Some of the operations that can be performed on the frozen video and key images are as follows: Posterization (video only) Solarization (video only) ■ Positioning ■ Mosaic ■ Reverse Video ■ Color Substitution (Hue Mod, Color Mod, Hue Rotate) ■ Crop ■ Blur The video, key, and mask outputs from the frame store are routed to the switcher crosspoint matrix and may be used as primary switcher inputs.
4 Switcher Operations About this Section This section of the User’s Guide demonstrates basic operation of the Model 3000 series switcher. Each operation is presented in numbered steps to add clarity to the procedures. If you are new to video switching or if you encounter unfamiliar terms, review Section 3, “Concepts.
Section 4— Switcher Operations Starting Conditions The switcher, and any connected external devices, should be in a “known,” or User Default state before beginning any of these tasks. Select “GVG Defaults” on the Config/User Prefs/Define Defaults Menu, if you are not sure what setups you need. Switcher Hardware Setup The following requirements are needed in order to complete the procedures in this guide. 4-2 ■ Two separate video sources.
Starting Conditions Figure 4-1. Source 1 Figure 4-2.
Section 4— Switcher Operations Clearing the Switcher It is best to reset the switcher to a known state before beginning any of these procedures. Step #2 below clears all switcher areas except crosspoints. CLEAR WORK BUFR CONST DUR PREV NEXT CUT GET GO TO KF GO TO TIME COPY PUT KF DUR EFF DUR PASTE TIME CURSR MARK CURSR INSRT BEFOR MARK MARK BLOCK MOD INSRT AFTER To bring the switcher to a “known” state, you will want to clear either all, or just certain parts of the switcher.
Starting Conditions 4. To clear the Current Working Buffer — including Keyers: Double press1 of the CLEAR WORK BUFR button: Same as above, with addition of key memory parameters of the selected crosspoints that are cleared to the standard defaults. Current crosspoints remain selected. 5. To clear a Single Crosspoint Key Memory: Hold a key bus crosspoint, single press CLEAR WORK BUFR button: Clears only the key memory portion of the Current Working Buffer for switcher key crosspoints held down.
Section 4— Switcher Operations Transitions - Mix/Effects Bus Operations A transition is a change from one combination of picture elements to another combination. This change can take the form of a cut, a mix, or a wipe and can be used to switch background scenes or insert or remove a key. We will use a Mix/Effects bus to demonstrate basic transitions. Set up the switcher crosspoint buses as follows for this Transitions subsection: 1. 2.
Transitions - Mix/Effects Bus Operations 4. Select the M/E 1 BKGD A Transition button. Only the B Bus scene will appear on the Preview monitor. (All key ‘ON’ lights on the transition panel should be out if the CWB state was recalled correctly.) 5. Press the M/E 1 CUT Transition button. The B bus scene will immediately switch on air and the A and B crosspoint selections will flip-flop (swap). (See Figure 4-3.) 6.
Section 4— Switcher Operations Starting On Air Picture Ending On Air Picture Figure 4-3.
Transitions - Mix/Effects Bus Operations Background Mix A mix is a dissolve from one picture to another. You can mix between A and B bus sources as follows: 1. Select Source 2 on the M/E 1 A bus background crosspoint row. The A bus appears on the PGM monitor. 2. Select Source 1 on the M/E 1 B bus background crosspoint row. The B bus appears on the Preview monitor. 3. Select the BKGD A Transition button. 4. Select the MIX Transition button. a. Move the M/E 1 lever arm from one limit to the other.
Section 4— Switcher Operations Starting Video Midway Transition Ending Video Figure 4-4.
Wipe Operations Wipe Operations The wipe usually signals the end of one scene and the beginning of another. A wipe is a transition between two video signals that takes the shape of a pattern. The effect is that of one picture pushing the other off the screen.
Section 4— Switcher Operations 7. As an alternative to using the lever arm, you can press AUTO TRANS to do an automatic transition. To pause an auto transition in progress, press AUTO TRANS again. To resume the transition, press it a third time. You can also start an auto transition and finish with the lever arm or vice versa. 8. Experiment with different wipe parameters to create different pattern effects. Figure 4-5.
Wipe Operations Most pattern modifiers are located on the Wipe Subpanel. Positioning the lever arm to the middle position allows the wipe parameters to be seen as changes are made: Wipe Direction – Select the desired direction: NORMAL, REVERSE, or FLIP FLOP. NORMAL = the original video is in the black part of the icon; the new video is in white. REVERSE = the opposite of NORMAL FLIP FLOP = cycles between NORMAL and REVERSE wipes. If NORMAL button is lit, the next transition will be Normal, or vice versa.
Section 4— Switcher Operations Rotation Type – Adjust the three Rotation Type Controls on the Wipe Subpanel as desired: – ROT POS = set the rotation angle of object controlled with turns of ROTATE Knob. – ROT SPD = Selects continuous rotation. ROTATE Knob sets speed and direction. – ROT MAG = locks the rotation movement to the lever arm. ROTATE Knob sets amount of rotation. 4-14 Aspect – Stretch the Wipe Pattern either horizontally or vertically.
Wipe Operations Pattern Mixing Use the Pattern Mix Mode to mix a selected wipe with either the M/Es Secondary Wipe Generator (if available) or the selected wipes. This example assumes you have the Secondary Wipe Generator; if you do not, select TEXTURE instead of NORMAL in Step 3. CONFG M/E MODE STAT KEYER CHR KEY WIPE EMEM KEY FRAME AUX BUS MASK MATTE FRAME STORE LAST MENU MISC DISK 1. Press the WIPE Top Level Menu button on the Wipe Subpanel.
Section 4— Switcher Operations Learning User Wipes If you develop a wipe setup that you like and you want to save it temporarily, you can do so using the User 1– 6 buttons on the Wipe Subpanel. 1. Press LEARN USER WIPE, followed by one of the six User buttons, such as USER 1. The current wipe setup, including Border, Edge, and Aspect settings, will be stored in the User button you selected. 2. To recall a stored user wipe, simply press the appropriate User button.
Wipe Operations Figure 4-6. Pattern Mix Transition — Example 2 The effect shown in Figure 4-6 was created as follows: Primary Wipe Generator creates the circle wipe. Secondary Wipe Generator is used to create a random matrix wipe.
Section 4— Switcher Operations Figure 4-7. Pattern Mix — Complex The effect shown in Figure 4-7 was created as follows: Primary Wipe Geneator creates a rectangle wipe Secondary Wipe Generator creates a vertical wipe. The Primary mixes with the Secondary. The Secondary mixes to texture.
Wipe Operations Fade to Black You can cut, wipe, or fade the switcher output to black at any time by simply pressing the PST BLACK button on the Transition Subpanel. Then, pressing the CUT button cuts to black, while AUTO TRANS or a Lever Arm transition will do either a mix or wipe to black depending on the delegation status on the Transition Subpanel. The transition to black takes precedence over the entire output of the M/E. Therefore everything will go to black regardless of panel delegation.
Section 4— Switcher Operations Setting Transition Rates You can adjust the transition rate for an auto transition or Key mix (DSK mix on the 4000-2B) using any rate from 1 to 999 frames: 1. In the E-MEM Subpanel , select TRAN RATE. The query: SET WHICH RATE? displays. 2. Delegate to the Transition subpanel that you want to set an auto transition rate for by pressing M/E 1, ME/2, PGM/PST, or DSK. You can change all at once by pressing ENABL ALL. 3. The display queries: RATE = ? 4-20 4.
Wipe Operations NOTE: Steps 6 – 9 apply only to Models 3000-3, 4000-2A, and 4000-3. 6. If entering a transition rate for an M/E, the display queries: KEY 1 RATE = ? 7. Use the E-MEM numeric keypad to enter the number of television frames for the KEY 1 transition rate. Enter a rate from 0 – 999. The display queries: KEY 2 RATE = ? 8. Use the E-MEM numeric keypad to enter the number of television frames for the KEY 2 transition rate. Enter a rate from 0 – 999. 9.
Section 4— Switcher Operations Background and Matte Generator Operations Use the Background and Matte Generator controls to create a number of interesting mattes to serve as effects backgrounds or fills.
Wipe Operations Matte Selection To create a simple background matte, follow the procedure below: 1. Select a background source crosspoint on the A Bus. The DSK Matte panel controls will automatically delegate to the Background Subpanel. 2. Select FLAT MATTE. 3. Watch the Program monitor, and adjust Matte BRIGHTNESS to set the brightness (luminance) of the matte. You may want to set a midrange brightness to begin with and fine tune the brightness later. 4.
Section 4— Switcher Operations Luminance and Linear Keying Operations Keys enable you to insert one picture into another to create a composite effect. For example, you may want to add a caption to a scene. For more information about keying, refer to Section 3: Switcher Concepts. To create a luminance or linear key, do the following: 1. Select Key 1 on the M/E 1 Transition Subpanel. 2. Select the Title 1 crosspoint button on the Key 1 Bus.
Luminance and Linear Keying Operations 5. Clip and gain adjustments are done differently for luminance and linear keying. In the Luminance Key Mode, clip and gain have a wider range of control. In Linear Key Mode, clip and Gain adjustments produce a modified Linear Key. This is indicated by the LUM KEY button being lit as well as the LIN KEY. To clear the modification, press LIN KEY again; the LUM KEY light will go out.
Section 4— Switcher Operations 9. For keying from a black on white source, select Keyer INVERT. For keying from a white on black source, leave INVERT off. 10. To mask parts of the key that you don’t want to see, select INH MASK and select either a box wipe pattern, or a video source to serve as the mask source. Use the mask control knobs on the Masks Subpanel (LEFT/RIGHT/TOP/BOTTOM) when adjusting the box mask. 11. To use a wipe, select either Primary or Secondary wipe on the Mask Subpanel.
Luminance and Linear Keying Operations Figure 4-8. Pattern Mix Border (Using Primary & Secondary Wipe Generators.) The effect shown in Figure 4-8 was created as follows: Primary Wipe Generator creates a rectangular wipe. Secondary Wipe Generator creates a verical wipe to add perspective. Finally, a Pattern Mix is performed between the two wipes. 16.
Section 4— Switcher Operations Key Transition Effects keys can be cut, mixed, or wiped on air in much the same way as backgrounds. Both the effects keys and a background can be transitioned on or off together or separately. The Downstream Keyer has separate controls and must be transitioned separately. 1. Set up the key. 2. Select Transition KEY 1, KEY 2, and/or BKGD on the Keyers Subpanel to choose which layer(s) the transition will affect. 3.
Preset Pattern Keying Operations Preset Pattern Keying Operations A preset pattern key (Figure 4-9) cuts a key hole in the background in the shape of a wipe pattern. The procedure for creating a preset pattern key is as follows: Select the Keyer KEY 1,KEY 2, or DSK button to delegate the keyer you want to use. 1. Select a Key bus crosspoint to provide the fill video. For an over-the-shoulder box, as shown in the figure, the fill video would be a compressed picture from a DPM. 2.
Section 4— Switcher Operations 5. To adjust the opacity of the key layer, adjust KEY OPACITY in the Keyer Menu. 6. Transition the key on air as explained previously. Figure 4-9.
Preset Pattern Keying Operations Figure 4-10. Preset Pattern Key — 2 The effect shown in Figure 4-10 was created as follows: Preset Patttern Key over background, with dropshadows added using the Pattern Generator.
Section 4— Switcher Operations Layered Mode Operations The M/E Keyers may be used in a Layering Mode. In Layered mode, the A and B buses function as keyers rather than background buses.This mode is selectable on the M/E Mode Menu. To set up Layered Mode: 1. Access the M/E Mode Menu, or double press the BKG B button on the Transition Panel. 2. Select M/E 1. 3. Select LAYERED Mode. 4. Adjust the KEY OPACITY soft knobs to adjust the opacity of each layer as required.
Chroma Keying Operations Chroma Keying Operations Chroma keying allows you to key out a particular color in a scene and replace it with new background video. A typical application is to position a reporter in front of a blue wall and set up a chroma key to replace the blue wall with a weather map.
Section 4— Switcher Operations Figure 4-12. Chroma Key – Foreground (Blue) Auto Chroma Keying Procedure Chroma Keyer setup involves a number of interactive adjustments. Understanding the Auto Keying procedure significantly increases the quality of the keys produced. The studio setting has a major impact on the ability to produce a natural looking key. 4-34 ■ Lighting on the background should be as flat as possible. ■ The background itself should be a highly saturated color.
Chroma Keying Operations Figure 4-13. Chroma Key – Composite The Chroma Keyer accommodates a wide range of scenes and conditions. Very lifelike keys can be obtained with a well planned chroma key set. Usable keys can also be obtained when conditions are less than optimal by compromising edge softness. Many of the Keyer controls affect the image in subtle, unexpected ways, and many adjustments can easily be overdone. The following steps prepare the switcher so that you can setup a key.
Section 4— Switcher Operations 2. Select the source to be use as the foreground signal on that Keyer and select Chroma Key mode. 3. Select a neutral gray as the initial background signal. These adjustments can either be made manually or via an automatic setup mechanism. To use the Auto Setup continue with the following text; to use the Manual Adjustment procedure refer to page 4-37.
Chroma Keying Operations Continue setup with Optimization Adjustments on page 4-39, or manually adjust the Key using the Basic Manual Adjustment procedure found in the following text. Basic Manual Adjustment If you prefer, you may perform the initial adjustments manually. Following these steps once or twice gives you a feel for what Auto Setup does for you in a few seconds. 1. On the control panel, set the Key CLIP and GAIN approximately in the middle of their ranges. 2.
Section 4— Switcher Operations 4. Adjust Keyer CLIP and GAIN while observing the key waveform by depressing SHOW KEY. CLIP has the most effect on foreground opacity, while GAIN has most effect on background opacity. a. Start with both CLIP and GAIN at maximum b. Adjust CLIP slightly making the foreground barely visible (white if looking at SHOW KEY) c. Adjust GAIN slightly making the background barely opaque (black if looking at SHOW KEY) d.
Chroma Keying Operations Optimization Adjustments It is now time to optimize the keyer setups. 1. If you are using an external analog key source such as RGB from a camera, verify that the input timing is correct. Temporarily turn on FGD RESHAPE in the CHR KEY/ KEY ADJUST, and look for unequal black lines at the left and right sides of the foreground object. Refer to “System Timing” in Section 2, Installation and Service manual for adjustment details if necessary. 2. Turn FGD RESHAPE off. 3.
Section 4— Switcher Operations constant then excessive lighting variation may exist. You may wish to correct this by adjusting the set lighting. If the background luminance is reasonably flat, readjust the LUMA background suppression slightly to eliminate shading in the background signal. (In this mode, the foreground signal is not really keyed. Instead, the suppressed version is added to the keyed background signal, producing very natural looking keys, especially when keying glass or hair.
Chroma Keying Operations 8. Adjust SECONDARY COLOR SUPRESSION. Use Secondary Color Suppression to minimize the fringing around the foreground object or tinting of a translucent object such as glass. These adjustments can be found in the CHR KEY/ SECONDARY COLOR menu. Before attempting this adjustment, identify the primary area of the image requiring suppression. NOTE: SEC COLOR SUPRESSION is subtle and only applies to areas of the key which are translucent. a.
Section 4— Switcher Operations 9. Key edge cleanup: If FGD RESHAPE is on, some amount of key edge cleanup is possible with KEY WIDTH, KEY POSITION and KEY SOFTNESS located in the CHR KEY/KEY ADJUST menu. The basic idea is to narrow and soften the key edge so that it occurs where there is foreground video instead of areas which have been partially contaminated by the chroma key wall. NOTES: Key edge-cleanup is not possible if FGD RESHAPE is off.
E-MEM (Effects Memory) Operations Do not use the following functions. Set them as indicated: ■ SEP HUE SUPPRESS – set to OFF ■ CORING – set to FIXED E-MEM (Effects Memory) Operations The switcher’s E-MEM Effects Memory System includes 100 internal storage registers that you can use to store (learn), recall, and modify switcher panel setups. There are ten “banks” with ten registers in each bank. Switcher panel setup data saved in E-MEM registers can be recalled at a later time.
Section 4— Switcher Operations New Operational Mode Available – Version 5.1 and later Version 5.1 added a new operational mode to the existing mode on the E-MEM system: ■ Normal mode – pre-existing functionality ■ 300 Style mode – functional only for 3-M/E Switchers This mode setting is found in CONFIG/USER PREFS/E-MEM PREFS/ menu under the MASTER E-MEM selection. This document discusses the Normal mode operation first, then the Model 300 Style mode.
E-MEM (Effects Memory) Operations Learn A Register We will look at how the Learn operation works with Auto Run, Auto Recall, and Effects Dissolve in the Normal mode.
Section 4— Switcher Operations Recall A Register We will look at how the Recall operation works with Auto Run, Auto Recall, and Effects Dissolve in the Normal mode. Auto Recall ■ Auto Recall ON — Switcher recalls learned enables before recalling the effect ■ Auto Recall OFF — Switcher does not recall the learned enables.
E-MEM (Effects Memory) Operations 300 Style Mode – 3-M/E Switchers Only In 300 Style mode, when you do a Learn or Recall, the Master E-MEM allows individual M/Es to “skew registers” (that is, allows M/Es to point to different registers) than the Master E-MEM is pointing and allows the Master E-MEM to learn the individual M/E’s skewed register numbers. This operation does not change the content of those skewed M/E registers, because the operation does not write the current M/E settings into those registers.
Section 4— Switcher Operations Setup 1. Clear the switcher. See “Clearing the Switcher” on page 4-4.). 2. You will need the following sources: a. Background still b. Character generator Basic E-MEM Operations The following topics describe enabling register effects, storing and recalling effects, Effects Dissolve transitions, and Learn Sequence operations.
E-MEM (Effects Memory) Operations Learn Enables An E-MEM register can store all switcher functions, or part of them, as determined by the E-MEM Enable buttons. M/E 1 and PGM/PST will be used for this procedure. In this procedure you will ‘learn’ an effect into E-MEM register 23. 1. Press AUTO RCL (Auto Recall) (button lit). This causes all Enabled buttons to be learned as part of the effect. 2. Press E-MEM Subpanel Enables buttons M/E 1 and PGM/PST (buttons light).
Section 4— Switcher Operations Storing an Effect 1. Select the LEARN pushbutton so that it lights. 2. Select BANK 0 or BANK 1 to select Bank 0 or Bank 1. Select BANK ↑ and then one of the pushbuttons 2 through 9 to select Banks 2 through 9. This selects one of the ten banks of ten E-MEM storage registers. For example, register 32 equates to bank 3, register 2. (If the current Bank is the one you want, simply select the new register number.) 3. Select one of the ten register pushbuttons 0-9.
E-MEM (Effects Memory) Operations Learning Effects Dissolve Transitions The EFF DIS (effects dissolve) function causes an S-linear transition from the current state to the next recalled register. The current state may be a setup you have just done on the control panel or the state resulting from a register recall.
Section 4— Switcher Operations E-MEM Learn Sequence Operations Sequences made up of a series of learned registers can be easily built using the Learn Sequence mode. Learning A Sequence This procedure will make use of effects previously stored in registers 23 through 27. 1. Press LRN. 2. Press SEQ. 3. Press BANK 2, then 3 (register 23). 4. Enter a 30 frame (1 second) “pause” after the register executes – press TRAN RATE (for transition rate), and 30, followed by ENTER. 5.
E-MEM (Effects Memory) Operations Play Back the Sequence 1. Press SEQ. 2. Press BANK 2, then 3 (register 23), which is the first register in the sequence built above. 3. The sequence will execute. Undo Function The UNDO button revokes the most recent E-MEM operation. To undo an accidental recall, press UNDO immediately after the recall. The panel setup prior to the recall will be restored. You can switch back to the recalled setup again by pressing UNDO a second time.
Section 4— Switcher Operations Keyframe Operations The switcher can store more than one switcher state (a “keyframe”) on each enabled level in a single E-MEM register. A series of keyframes in an E-MEM register is called an effect. Once stored in E-MEM memory, an effect can be recalled and caused to transition (“run”) between keyframes, either manually or automatically. There are two parts to this section. The Basic Editing section describes creating, storing, and modifying keyframes in an E-MEM effect.
Keyframe Operations Learn Keyframes To learn the first keyframe of the effect into an E-MEM register, setup a wipe pattern on a color background on M/E 1. Learn the switcher condition into empty register number 5. 1. Select M/E 1 on the PGM bus. 2. Select Source 1 on M/E 1 ‘A’ bus, select Source 2 on M/E 1, ‘B’ bus. 3. Select a Wipe pattern (such as a circle or star) for M/E 1. Use the Lever Arm to bring it to about 50% size. Position it in the upper left-hand corner of the screen. 4.
Section 4— Switcher Operations 5. Press REV. Press RUN. 6. The effect now runs backwards, starting at keyframe #2, and ending with keyframe #1. NOTE: If the Enable source (for example, M/E 1) has been de-selected, it will appear as if the effect has been erased. Simply re-select the Enable button, and the effect will be “restored.” Advanced Keyframe Editing This subsection introduces more complex and advanced keyframe editing techniques.
Keyframe Operations 1. Recall the effect you created previously. 2. REWIND the effect to keyframe 1. 3. With the M/E 1 background/key still enabled, select another wipe pattern and “fly” it around the monitor. 4. Press INSRT BEFOR. You have just created a new keyframe #1. The ‘old’ keyframe #1 is now #2; the ‘old’ #2 keyframe becomes # 3. (You get the idea.) 5. Press GO TO KF. Press ‘3’ (E-MEM Keypad), ENTER, to go to keyframe #3. 6. Repeat Step 3 with yet another wipe pattern. 7.
Section 4— Switcher Operations 4. Setup a new keyframe - chose a new wipe pattern and move it around. 5. Press INSRT AFTER. Note that new keyframe #2 is added at the current (0:15f) Time Cursor position. Previous keyframe #2 becomes keyframe #3. Note that the overall effect time of 2:00 (2 seconds) has not changed. The durations of ‘previously numbered’ keyframes 1 and 2 are changed to accommodate the newly inserted keyframe. Version 5.
Keyframe Operations The new rules are as follows: ■ If no delegated level has a keyframe at the current time (location of cursor), an Insert operation does an insert “on the path” on each delegated level. As before, an insert “on the path” does not increase the overall length of the timelines. ■ If any delegated level has a keyframe at the current time, an Insert operation does an insert “on a keyframe” on each delegated level.
Section 4— Switcher Operations 1. Go to the keyframe you want to change. 2. Make the changes. NOTE: There is no UNDO for MOD. 3. Press MOD once for a single keyframe change. a. Press MOD twice to make the same changes on all keyframes in the effect. b. Press MOD ALL ABSOLUTE (Keyframe Menu) to change all parameters for all keyframes on a single level.
Keyframe Operations 2. To change the duration of keyframe 1: a. Position the cursor at keyframe 1. Press KF DUR. b. Enter a new time of 3 seconds – press ‘3’ on the E-MEM Keypad. Press ENTER. c. 3. Press MOD. To change the duration within an effect (not on a keyframe): Press GO TO TIME. On the E-MEM Keypad enter a time of 2 seconds, 15 frames, and 1 field. Type: 2 ‘dot’ 15 ‘dot’ 1, ENTER. (You can enter times in seconds, frames, and fields, or just frames.
Section 4— Switcher Operations 6. To set a start time: a. Position the effect at the 2nd. keyframe. Press the SET START TIME button on the Timeline Menu. b. The effect will now start at keyframe 2, rather than keyframe 1. Zoom and Pan Timeline Effects The ZOOM soft knob in the Timeline Menu is used to expand the timeline display for precise positioning of the Time Cursor. This allows you to examine adjacent keyframes in detail when you have a long timeline effect.
Keyframe Operations Using Zoom and Pan You can use this procedure to see how the Zoom and Pan features work. 1. Recall an effect with 6 keyframes and a duration of 5 seconds. Place the time cursor at KF 1, 0:00. 2. Adjust the ZOOM soft knob to a setting of 1.9x in order to see keyframes 1 – 3 on the Timeline Menu. 3. Adjust the PAN soft knob to see keyframes 3 and 4. 4. Press FIND CURSOR. Note that KFs 1 – 3 are re-displayed, with the cursor still at KF 1. 5. Adjust PAN again to view KFs 4 – 6.
Section 4— Switcher Operations With software version 5.2 and later, if the cursor on any delegated level is not on a keyframe, the Cut function is disabled. This is indicated by the lamp being out in the Cut pushbutton. You can copy a keyframe, without changing the effect with the COPY button. The copied keyframe may be inserted at any point in the current effect, or any other effect, with the PASTE button. If pasted on a keyframe, the paste operation is performed as an INSRT AFTER.
Keyframe Operations Effects Editing with Get and Put Use Get and Put to copy entire effects from one register to another. Use PUT to copy the current effect into the selected register number. 1. Recall an effect from an E-MEM register. 2. Find an empty register number to use for step 3. 3. Press PUT, (empty) register #, ENTER. Or PUT, •‘(dot’). (Puts the current effect into the next available empty register.) Use GET to copy an entire effect from another location into the current register. 1.
Section 4— Switcher Operations Using Path Types To Change An Effect You can change the appearance of a effect, or parts of an effect by changing the path type. Path type selection is the way you can control parameter changes between keyframes. The path type, set in the Keyframe Path Menu, determines the type of interpolation that occurs between keyframes of an effect. Each functional group of each keyframe can have its own path type. The available path types are Hold, Linear, S-Linear, and Curve.
Keyframe Operations The CURVE pathtype function may be used with both Wipe (WIPEXFORM) and Framestore (FSTOREXFRM) Transform selections. CURVE includes Tension, Continuity, and Bias soft knob controls, described in the Appendices of this guide. When used with the CURVE path type, Wipe Transform has four parameters: Horizontal, Vertical, Size, and Aspect. Framestore Transform has two parameters: Horizontal and Vertical. The Wipe or Framestore image may be either a video or key signal.
Section 4— Switcher Operations Effects Send Operations (Option) The Effects Send option (purchased separately) allows video/key signals in an M/E to be routed outside the switcher for processing by an external device such as a DPM (Digital Picture Manipulator), and then brought back into the same crosspoint (Looping mode), or another crosspoint (Non-Looping mode) for mixing and output. The switcher Aux Buses are used to output the video/key signals to the external device.
Effects Send Operations (Option) Connect these Aux Bus outputs to the DPM inputs. ■ Connect the DPM outputs to switcher primary inputs numbered J7 and J8 of the Serial Input Module. ■ Map the DPM Inputs (DPM Map Inputs Menu) ■ On the Config/Map Inputs Menu: Map DPM 1, Channel 1 video and key to crosspoints numbered 5 and 6, respectively.
Section 4— Switcher Operations Effects Send Looping Mode Looping mode takes the output of an M/E Keyer, sends it to an external DPM, then returns the DPM output to the Mix/Wipe circuit of the same switcher M/E. 1. Access the Aux Menu. a. Use the PHYS AUX SELECT button to select Aux 1. b. Press the EFX LOOP MODE button and select EXT LOOP. 2. Select Aux 1 from the row of BUS DELEGATE buttons. 3. Select button M/E 1 Key 1 from the row of EFFECTS SEND buttons.
Frame Store Operations (Option) Frame Store Operations (Option) The Frame Store function provides the ability to separately freeze, and store, video and key signals to use in building effects. (The Model 3000 can also store Mask signals.) In addition, the Drop Shadow feature lets you produce a “positionable” drop shadow when using Frame Store with a key source. Other video enhancements include: Mosaic, Pseudo Color, Filter, Crop, and Repositioning. Setup ■ Clear the switcher.
Section 4— Switcher Operations Still Image Storage Video and key can be frozen either separately or simultaneously through the use of panel controls. In addition, the system has the ability to layer stills in a recursive manner. The system accomplishes this by sending the output of the frame store to the input of an M/E for combination with another image. A composite is generated that can be fed back to the input of the frame store and re-frozen. Building A Recursive Effect 1. Set up an effect on an M/E.
Frame Store Operations (Option) Video and Key The Frame Store function can be assigned to either a video channel or a key channel. Video and key channels may also be selected simultaneously if video and key channels are mapped to the same crosspoint.
Section 4— Switcher Operations Freeze Mode Freeze selects between “live” and “frozen” pictures. A frozen picture is like a snapshot you take with a still camera. The freeze/ unfreeze function toggles between the two states. Press the FRZE button once to freeze (it high tallies) , press a second time to unfreeze. When enabled, freeze stops data from being written to the frame store, resulting in a frozen image.
Frame Store Operations (Option) Grab Mode The Grab feature updates frame store with new input data and freezes the new data. If freeze is off (moving video is coming out of the frame store), pressing the GRAB button turns on freeze. You can then press the FRZE button to turn freeze off. If freeze is on and GRAB is pressed, frame store is unfrozen for two fields and then frozen again. It holds two fields as it updates the other two.
Section 4— Switcher Operations Repositioning Use Repositioning (Frame Store/Video Store/Reposition Menu) to move a live or frozen image off the screen in any direction. Mosaics Use Mosaic to control the size and aspect of mosaic tiles in a live or frozen video. Pseudo Color Use Pseudo Color to generate special video effects such as color negative, shaped/unshaped video, and posterize/solarize for contour effects. These are bit-mapping effects.
Floppy Disk Drive Operations Floppy Disk Drive Operations The switcher floppy disk subsystem is used to store and recall effects files stored in E-MEM registers, and to store and recall system configuration setups. You can also: ■ Format diskettes ■ Create directories and files ■ View the diskette by directory, file name, or file extension ■ Delete files and directories Format Diskettes 1. Press the main menu DISK button to bring up the main Disk menu.
Section 4— Switcher Operations Creating Directories and Files In this procedure you create two new directories; one for E-MEM files, and one for Configuration files. Then you will create one E-MEM file, and one Configuration file. 1. Insert a formatted diskette into the disk drive. 2. Select the DISK/Utility Menu. From the Utility Menu press CREATE DIR > to invoke the Name Directory Menu. 3.
Floppy Disk Drive Operations a. Select register 23 with the REGISTER soft knob. Use the SAVE SELECT soft knob to select E-MEM REGISTER. Select SAVE for M/E 1 and PGM/PST/DSK. b. Press the NAME FILE button to complete this menu and invoke the Name File Menu. 3. In the Name File Menu, select the characters “Effect1” in the File Name box, then press the ACCEPT NAME button. (A maximum of eight characters may be used.) 4. Confirm the name with a “Yes,” when the Confirm File Save Menu displays.
Section 4— Switcher Operations Loading (Recalling E-MEM Files from Disk This procedure describes loading E-MEM files. You can load a stored E-MEM effect from disk into an E-MEM register (for example, register #23). You can also load an entire E-MEM bank (of 10 registers), or all E-MEM registers. NOTE: The register file extension (for example, .R23) mandates that the recall will be read into register number 23. 1. Insert your E-MEM effects diskette into the switcher disk drive. 2. Access the Disk Menu.
Floppy Disk Drive Operations Loading (Recalling) Configuration Files from Disk This procedure describes loading switcher configuration files. You can load all or part of a stored switcher configuration. 1. Insert your diskette into the switcher disk drive. 2. Access the Disk Menu. Press the CHILD DIRECTORY button to cause the switcher to read the diskette and list the parent directory. 3. Press CHILD DIRECTORY again to display the “Config” subdirectory and list its’ files. 4.
Section 4— Switcher Operations Viewing (Listing) Files and Directories You can view the diskette contents by directory, file name, or file extension. 1. Invoke the Disk Menu. 2. Press CHILD DIRECTORY to read the diskette. 3. Use the VIEW BY DIR to list subdirectories. Note that in this view no files will be displayed. 4. Use VIEW BY NAME to list filenames in the current directory in alphabetical order. 5. Use VIEW BY EXT to list filenames by extension (such as .Rnn, for register, or .
Floppy Disk Drive Operations 4. Press DO DELETE to perform the deletion, or CANCEL to abort the deletion. The floppy disk system re-reads the disk, and redisplays the Disk Menu with the current directory shown. Deleting Directories 1. Highlight the desired directory in the Disk Menu. 2. Press DELETE FILE. CAUTION You are allowed to delete all existing files and subdirectories within a directory you choose to delete. A Delete Menu dialog box will notify you of this before you perform the delete. 3.
Section 4— Switcher Operations 4-84
A Appendix A — Shaped and Unshaped Video NOTE: This appendix applies specifically to the Model 2200, Model 3000, and Model 4000 Switchers, but the general principals discussed here may apply as well to other switchers and other devices. Introduction The purpose of this appendix is to explain what shaped video and unshaped video are, where and why they are used, and what you need to do so your equipment will handle them properly.
Appendix A — Shaped and Unshaped Video Shaped Video—Fill video that has been “multiplied” by a key signal to produce a raster image to be inserted into a key hole cut in background video by the same key signal. (An example of shaped video is the fill video output of a character generator, which consists of characters on a black matte.) Unshaped Video—Previously-shaped fill or composited video that has been unshaped by an unshaping processor which “divides” the video by the key signal.
Input Shaped and Unshaped Video Configuring the Input Press the CONFG button on the Switchers main menu panel, then the INPUTS soft button in the Configuration menu, and the MAP INPUTS button in the Inputs menu to bring up the Map Inputs menu, shown in Figure A-1. For each crosspoint selected on the PST bus, you need to set the UNSHAPED VIDEO/SHAPED VIDEO selection to match the characteristic of the video input being mapped to that crosspoint (that is, whether the source video is shaped or unshaped).
Appendix A — Shaped and Unshaped Video Examples of Operation With Shaped and Unshaped Fill Video NOTE: Since the shaped fill video must be accurately timed to the key signal, it normally must come from the same external device that generates the key. Illustrations are included on the following pages to show what happens when the switcher input is configured properly and improperly to accept shaped or unshaped fill video.
Examples of Operation With Shaped and Unshaped Fill Video Figure A-3. Appearance of Shaped Video From DPM Figure A-4.
Appendix A — Shaped and Unshaped Video Correct Input Configuration Figure A-5 and Figure A-7 show how the switcher handles the fill video when the input shaped/unshaped selection in the Configuration/Inputs/Map Inputs menu is set correctly to match the input signal that is mapped to the selected crosspoint. Figure A-6 shows the appearance of the video on the monitor in both of these cases.
Examples of Operation With Shaped and Unshaped Fill Video Figure A-6 shows what the video looks like on the monitor when the SHAPED/UNSHAPED selection is made correctly in the menu. Figure A-6.
Appendix A — Shaped and Unshaped Video Correct Operation With Unshaped Fill Video Figure A-7 shows what happens when the DPM is set for an unshaped video output and UNSHAPED is selected in the Map Inputs menu. In this case, the input Shaping circuit shapes the fill video properly to fit the key hole that is cut into the Background, to produce the desired composite image (Figure A-6). NOTE: This process also applies to non-shaped video. Therefore UNSHAPED should always be selected for a normal key.
Examples of Operation With Shaped and Unshaped Fill Video Incorrect Input Configuration Figure A-8 and Figure A-10 show how the fill video is handled by the switcher when the shaped/unshaped selection in the Configuration/Inputs/Map Inputs menu is set incorrectly for the input signal that is mapped to the crosspoint. Figure A-9 and Figure A-11 show the appearance of the video on the monitor in each of these cases.
Appendix A — Shaped and Unshaped Video Figure A-9 shows what the video looks like on the monitor when the input fill video is shaped, but UNSHAPED is selected in the Map Inputs menu. Note dark halo effect. Figure A-9.
Examples of Operation With Shaped and Unshaped Fill Video Incorrect Operation With Unshaped Fill Video Figure A-10 shows what happens when the DPM is set for an unshaped video output but SHAPED is selected in the Map Inputs menu. The SHAPED selection turns off the input Shaping circuit, so the Unshaped input signal is added directly to the Background signal (with key hole). This causes excessive luminance where the fill video and key hole edges overlap, producing a white halo around the key.
Appendix A — Shaped and Unshaped Video Figure A-11 shows what the video looks like on the monitor when the input fill video is unshaped, but SHAPED is selected in the Map Inputs menu. Note white halo effect. Figure A-11.
Output Shaped and Unshaped Video Output Shaped and Unshaped Video In addition to the input shaped/unshaped selections, the switchers have output selections that allow you to set the switcher output for either shaped or unshaped fill video. Shaped video is the preferred setting if the designation device can accept it. NOTE: The output shaped/unshaped selections for the Aux Buses apply only to the Aux 1 through Aux 4 outputs (Aux 1 and Aux 2 on the 2200) and only if the Effects Send option is present.
Appendix A — Shaped and Unshaped Video When the Effects Send option is not present, the SHAPED/ UNSHAPED selections for the Aux Buses are not visible in the menu.
Output Shaped and Unshaped Video For the Model 4000 or Model 2200: 1. Press the CONFG button on the switcher’s main menu panel, then the AUX BUS FORMAT> soft button in the Configuration menu, and the AUX BUS SHAPING> button in the Aux Bus Format menu to bring up the Aux Bus Shaping menu, shown in Figure A-13. 2. Set the VIDEO/KEY FMT selections for Aux Buses 1 through 4 (Aux 1 and 2 on the 2200) to match the characteristic SHAPED or UNSHAPED expected by the external devices connected to those outputs.
Appendix A — Shaped and Unshaped Video Installation Considerations The concepts presented in this appendix are helpful when designing a video facility, interconnecting equipment, and configuring the equipment. Keep the following points in mind when putting a system together: ■ When interconnecting devices, the video output of the sending device and the video input of the receiving device must both be set for the same video format—either shaped or unshaped.
Installation Considerations Since the M/E keyers produce shaped video, GVG recommends the use of the Effects Send option for communicating between these switchers and Kaleidoscope. You should also use Aux Bus 1 through 4 (1 and 2 on 2200) switcher outputs to feed Kaleidoscope. Even without the Effects Send option, the 4000 and 2200 can communicate with Kaleidoscope using component digital interconnects between them via serializers and deserializers.
Appendix A — Shaped and Unshaped Video A-18
B Appendix B — Keyframe Facts Keyframe Timelines Master Timeline The Master Timeline is a tool for developing a consistent set of rules and operations for editing effects and synchronizing events across multiple independent timelines. The Master Timeline is a single timeline representation of the two-dimensional view of multiple E-MEM level timelines. The Master Timeline is composed of the timelines of all currentlyenabled E-MEM levels.
Appendix B — Keyframe Facts If the keyframes occur at different points in time on the various enabled E-MEM levels, it is possible that the keyframe durations on the Master Timeline will not match any of the individual E-MEM keyframe durations. The Master Timeline provides consistency so that when editing across multiple E-MEM levels, the relative keyframe positioning is maintained.
Enables and Delegates Enables and Delegates The E-MEM system is divided into functional levels. Some or all of the levels contribute to the overall look of a given effect. Those levels must run in sync with each other in order for the effect to look right. When an effect is run from the E-MEM panel, all levels which contribute to the effect must be enabled. All enabled levels will respond to run commands from the E-MEM panel.
Appendix B — Keyframe Facts When DELEGATES is selected, only specified enabled levels are delegated; all other enabled levels are enabled but not delegated. This feature allows you to edit a delegated timeline while viewing its relationship to timelines not being edited. When a level is not enabled, its timeline disappears, and its keyframes are removed from the master timeline.
Keyframe Path Control Keyframe Path Control Tension, Continuity, and Bias Controls The path that an effect takes between keyframes may be adjusted through the CURVE path type selection from the Keyframe Path Menu. If CURVE is selected, three soft knobs are provided to control the three parameters of the vector. These are labeled: Tension, Continuity, and Bias. The adjustment of these controls can affect the keyframe path in various ways.
Appendix B — Keyframe Facts Path Vectors With respect to the path between keyframes, each keyframe is made up of three vector parameters as shown below. The soft knob controls act on these vector parameters to adjust the path into (entry) and out of (exit) the keyframe. The path through KF2 is parallel with an imaginary line drawn between KF1 and KF2.
Keyframe Path Control Tension Control In the example below, the keyframes are at right angles so the TENSION control operates on a 45° line drawn through the keyframe. This line is referred to as the Tension Vector and is parallel to a line drawn between adjacent keyframes (see illustration). The TENSION soft knob controls the length of the tension vector.
Appendix B — Keyframe Facts In Example 2, the TENSION control is increased to 1.00, so that the Tension vector is shortened to non-existence through KF2. The path enters and leaves the middle keyframe in a straight line as it takes on an S-Linear motion; decelerating as it enters the middle keyframe and accelerating as it leaves. Example 2 No Tension Vector KF1 KF2 Tension = 1.
Keyframe Path Control In Example 3, the TENSION control has been set to -1.00. This produces an effect of lengthening the Tension vector, causing the path through the middle keyframe to be longer and broader. The longer path will appear to make the image speed up through KF2 as it travels from KF1 to KF3. Example 3 Tension Vector KF1 KF2 Tension = -1.
Appendix B — Keyframe Facts Continuity Control The continuity adjustment determines the angle of the path into and out of the keyframe. It is represented by vectors at 90 degrees to each as shown in Example 4. Example 4 Continuity Vectors +1.0 KF1 +1.0 -1.0 KF2 -1.0 Continuity = 0.0 KF3 The unmodified path shown above is identical to the unmodified path of the other controls.
Keyframe Path Control With continuity set to 1.00, the entry path through the keyframe is pulled to point at the following keyframe or exit path. The effect of 1.00 continuity is that of motion dropping into and then out of the keyframe, similar to a bouncing ball (see Example 5). Example 5 +1.0 KF1 +1.0 -1.0 KF2 -1.0 Continuity = 1.
Appendix B — Keyframe Facts With continuity set to -1.00, the paths between the keyframes become straight lines, accelerating through the keyframe (see Example 6). Example 6 +1.0 KF1 -1.0 +1.0 KF2 -1.0 Continuity = -1.
Keyframe Path Control Bias Control The BIAS control determines whether the path will be “pulled” towards the previous or the following keyframe. With extreme settings, all of the biasing will occur either before or after KF2. With bias set to 0, the curve through the keyframe is gentle as shown in Example 7 below. Example 7 Tension Vector Bias Vector + KF1 KF2 Bias = 0.0 KF3 NOTE: A Tension vector MUST be present for Bias control to have an effect.
Appendix B — Keyframe Facts With the bias set to 1.00, the path is pulled towards the previous keyframe. Entrance and exit to the keyframe are on a straight line from the previous keyframe (see Example 8), and the path of the effect travels completely through KF2 before turning towards KF3. Example 8 - + Entry Bias KF1 KF2 Bias = 1.
Keyframe Path Control With the bias set to -1.00, the path is pulled towards the following keyframe. Entrance and exit to the keyframe are a straight line pointed to the following keyframe (see Example 9). Example 9 Tension Vector Exit Bias Bias + KF1 KF2 Bias = -1.
Appendix B — Keyframe Facts B-16
C Appendix C — Super Black Definition of Super Black Super Black is a video signal that is lower than the usual black level (7.5 IRE in NTSC; 0 IRE in PAL and Component video). The actual level of the signal below black varies from situation to situation and is often limited by the device that is used to record the signal. Typically 0 IRE is used, although values as low as -5 IRE or -10 IRE are being used.
Appendix C — Super Black Usage A typical use of super black is when a prerecorded element such as a flying logo is to be keyed in at the opening of a show. The flying logo is keyed over super black and recorded on tape. (The VTR must be adjusted to record the super black level and to reproduce it during playback). When the logo is to be used at the start of the show the tape is played and the luminance key clip and gain are adjusted to key the logo into the background scene.
Using the Super Black Output Drawbacks of using a Super Black Output: ■ The reconstruction of the video and key is rarely perfect, and quite a bit of control adjustment is necessary to produce the best results. ■ Keying from Super Black produces a hard-edged key only. No shadows, softness, or transparency can be used. Generating Super Black The basic equations for a Super Black Signal are as follows: Super Black Output = Input Key (Input Video - Super Black Value) + Super Black Value.
Appendix C — Super Black In the Model 3000, 4000, and 2200 Switchers, there are two ways to produce Super Black: First Method This is the traditional “Key over a Super Black Matte” Mode. With this method, you use one of the background matte generators as a Super Black generator. NOTE: When Super Black is enabled, the panel controls for that matte generator are non-functional. To set a matte to Super Black, use the Matte menu to turn on Super Black for the appropriate background generator.
Using the Super Black Output Each output module has four channels that are arranged with the video and key on adjacent channels. For example, the Program Output module is arranged as follows: Channel 3 -> Program Video Channel 4 -> Program Key The Configuration/Outputs menu allows you to turn Super Black on for a particular output. When Super Black is turned on for the channel 3 output, for example, the output is: Channel 3 Output = Program Key (Program Video – Super Black Value) + Super Black Value.
Appendix C — Super Black C-6
G Glossary A Abort: An instruction used to terminate execution of a computer program or routine. Accumulating Latch: Electronic circuitry that allows several signals to be latched on at the same time and then combined to produce a compound effect. Active Video: The portion of a video signal that contains picture information. Array: A series of like items arranged in an intersecting pattern, such as a RAM array. ASCII: American Standard Code for Information Interchange.
Glossary Background Transition: A transition between signals selected on the PROGRAM and PRESET background buses or A and B Background buses. Background Video: (1) Video that forms a background scene into which a key may be inserted. Background video comes from the PROGRAM and PRESET background buses, or from the A and B Background buses in an M/E. (2) A video output generated by the Background generator within the switcher for use as background video in key effects.
Glossary control is shared between the CPU and one or more other devices. CIE Colors: A color standard recommended by the IEEE. Byte: A sequence of bits operated on in parallel as a unit. The number of bits per byte is determined by the design of the computing device – usually 8, 16, or 32. (Also see Bit and Word.) Clip: A threshold level adjustment to which the key source attribute (luminance, chrominance, etc.) is compared for generating the internal key signal.
Glossary Composite Video: A video signal which contains both picture and sync information. (Also see Encoded Video.) Decoder: A device used to generate component video signals from an encoded video source. Control Signal: A signal used to control some aspect of switcher operation, such as video path selection and manipulation, inter-processor communications, and variable control (knob) monitoring.
Glossary EEPROM (Electrically Erasable Programmable Read Only Memory): An information storage device on which the information cannot readily be changed. It is nonvolatile memory in that power conditions do not effect the information. (Also see PROM, ROM, and RAM.) Effects Dissolve: A microprocessorcontrolled mode in which the analog values (control settings) of one effects setup change smoothly over a predetermined time to those of another effects setup.
Glossary Fill or Insert Video: The video or matte signal used to fill the holes cut in the background video by the key signal. Firmware: Physical devices (integrated circuits) that house computer programs. (Also see Hardware and Software.) Flag: A bit of information used to tell the program that some condition has occurred.
Glossary Hard Disk: An electronic device which is capable of storing large amounts of data and programs for retrieval and use by a computer. (Also see Floppy Disk.) Hardware: The electric, electronic, and mechanical equipment used to perform the tasks controlled by a computer. (Also see Firmware and Software). Head: An electromagnetic device that reads, writes, or erases information in a storage medium. Hex (hexidecimal): A numerical notation system using a base of 16. (Also see Binary and Octal).
Glossary Key Video: The video selected on a key bus which may be the key fill, the key source, or both. L Learn: The operation of storage in an E-MEM system. Lever Arm Transition: A transition between primary video and/or title video signals made by manually moving the lever arm. Linear Key: A key which is processed at or near unity gain by the switcher. Clip and gain control have very small adjustment ranges, and keying is performed using the luminance values of the linear key source.
Glossary M/E: An abbreviation for mix/effects. Mix, Dissolve, Crossfade: A transition between two video signals in which one signal is faded down as the other is faded up or in which one signal is faded in or out over the other. Mix/Effects (M/E): An electronic system capable of processing video signals with other video or control signals. Mix to Pattern Limit: A transition limit in which the pattern edge between two video signals is set up with a lever arm and stored in microprocessor memory.
Glossary the same (background) video outside and inside the outline. signal is faded to color black before the other video signal is brought up. P Preset Pattern: The pattern used in a preset wipe transition. PAL (Phase Alternating Line): A transmission standard for encoded color television used in Europe and some other parts of the world. This standard uses a 4.
Glossary output of a Mix/Effects system, ready to be placed (as a re-entry) on the switcher Program output. PROM (Programmable Read Only Memory): An information storage device on which the information once entered cannot readily be changed. It is nonvolatile memory such that power conditions do not effect the information. (Also see EEPROM, RAM, and ROM.
Glossary Shadow (Dropshadow): A title enhancement consisting of a shadow effect along one edge of the title key or along one edge and the bottom of the key. Signal-to-Noise Ratio: A measurement of the relative amount of noise present in an audio or video signal. SMPTE: Society of Motion Picture and Television Engineers. SMPTE Component Standard: A color difference video standard outlined by SMPTE, expressed in terms of Y, R-Y, and B-Y.
Glossary generator, graphics camera, etc. The title fill may be either a matte or title video. Transcoder: A device for converting one component form to another, as in RGB to Y, R-Y, B-Y. Also called a translator. Transition: An operation which changes backgrounds and/or adds or removes titles. A transition can be in the form of a wipe, mix, or cut. V Vertical Interval: The portion of the video signal that occurs between the end of one field and the beginning of the next.
Glossary G-14
Index A C Auto Setup 4-33 AUTO TRANS 4-9, 4-12 Aux Bus Format Menu 2-53 Formatting 2-53 Aux Buses DPM 2-34 Mapping 2-44 Chroma Key Auto Setup 4-33 Auto Setup Option 1-20 Auto Setup procedure 4-34 background suppression 3-17 Definition 3-16 Foreground suppression 3-17 Inputs 2-20, 2-22 Inputs Menu 2-22 Option, Description 1-18 Chrominance Output Clipping 2-27 Circuit Boards, Assembly/Version Number 2-4 Clear Key Memory Menu 2-57 Clear Work Buffer 3-2 Clip Control 3-10 Adjustments 4-25 Clipping Black Leve
Index Beeper Preferences 2-62 Black Level Output Clipping 2-27 Chroma Key Inputs 2-22 Chrominance Output Clipping 2-27 Composite Output Clipping 2-27 Configuration Menu 2-7 Crosspoint Bus Shift Lock 2-55 Inputs 2-19 Defaults, User-Defined 2-63 DPM 2-34 Interface 2-41, 2-42 Video Path 2-35 Editor Port 2-33 External Interface 2-32, 2-52 External Key Sync 2-17 GPI Inputs 2-23 Outputs 2-52 Input Digital Resolution 2-16 Inputs 2-14, 2-25 Kaleidoscope Interface 2-42 Key Output, Setup On/Off 2-26 Key Setup 2-18 K
Index Configuration 2-34 Control Connections (CPL, PBII, GPI) 2-40 Interface Configuration 2-41 Kscope Source Menu 2-48 Map Aux Buses Menu 2-44 Map Inputs Menu 2-45 Mapping Aux Buses 2-44 Inputs 2-45 Returns 2-46 Return Inputs 2-34 Setup Menu 2-41 Video Path, Configuration 2-35 DPM Capabilities Fixed 2-35 Pooled 2-35 DPM-700 Aux Bus Mapping 2-45 Enabling Tally/Control 2-68 Interface Setup 2-42 Peripheral Trigger Functions 2-51 DSK CUT 4-28 DSK MIX 4-28 Dual Chroma Keyer 1-18 DVEous setup 2-43 E Editor Int
Index Standard 1-3 Fill 3-10 Formatting Aux Buses 2-53 Frame Store 1-19 Dropshadow Mode 4-75 Field Modes 4-74 Freeze Mode 4-74 Grab Mode 4-75 Menu, frozen images 3-30 Output Routing 4-71 Recursive Effect 4-72 Still Image Storage 4-72 Frame Store Option Operation 3-29 Overview 1-14 Functional Description 1-13 G Gain adjustments 4-25 Gain Control 3-11 GPI Assigning Inputs 2-23 DPM 2-41 Inputs Menu 2-23 Outputs Configuration 2-52 Menu 2-52 H Horizontal Blanking 2-10 I Identifying Software Version Number 2-
Index Menu 2-56 Keyframe advanced editing 4-56 copy 4-63 cut 4-63 editing 4-54 learn 4-55 Operations 4-54 paste 4-63 Path Control B-5 timelines 4-60 Keyframe Effects Relative Positioning B-2 Keyframe Path Menu 4-66 Keyframe Path Types Curve 4-67 Hold 4-66 Linear 4-66 S-Linear 4-66 L Levels in Effects Editing Control Factors 3-21 Delegated 3-21 Enabled 3-21 Types 3-21 Lever arm 4-28 mix 4-9 Limiter, Output 2-27 LINEAR KEY 4-24 Look-Ahead Preview Option 1-19 Lower Boards Menu 2-6 LUM KEY 4-24 Luminance And
Index Outputs 2-26 Peripheral Interface 2-49 Peripheral Triggers 2-50 Preview Preferences 2-58 Set Clock 2-12, 2-13 Setup On Key 2-18 Status 2-3 System Parameters 2-10 Upper Boards 2-5 User Preferences 2-54 Mix background 4-9 definition 3-6 Effects Clean Feed 1-19 lever arm 4-9 Modules, Assembly/Version Number 2-4 N Name Xpt Button Menu 2-20 Non-Shaped Video A-2 O Optional Features 1-4 Options Borderline Key Edge Generator 1-18 Chroma Key Auto Setup 1-20 Descriptions 1-18 Dual Chroma Keyer 1-18 Frame Sto
Index Keyer 2-56 Preview 2-58 Shift Lock 2-55 User 2-54 Preset bus 3-6 Preset Pattern Effects 4-28 Preview Modes Auto 2-59 Dim 2-61 Key PVW 2-59 Lookahead 2-59 PGM 2-59 Push to Preview 2-61 Preview Preferences 2-58 Menu 2-58 Program bus 3-6 R Register pushbuttons 4-50 Remote Auxiliary Bus Control Panels 1-20 Returns, DPM Mapping 2-46 S Safe Title/Action Area Generator 1-19 Secondary Wipe Generator 1-18 Set Clock Menu Date 2-12 Time 2-13 Setup On Key 2-26 Menu 2-18 Setup, System 2-7 Shaped and Unshaped Vi
Index Master 4-60 pan 4-62 start times 4-61 zoom 4-62 Transitions 4-6, 4-28 definition 3-6 X XMITABL 2-11 U Unshaped 2-20 Video 2-27 Unshaped Video A-1 definition A-1 Upper Boards Menu 2-5 User Defined Default 2-2 Buffer 3-2 User Preferences 2-54, 2-55 Menu 2-54 V VALID RGB 2-11 Video Flow Diagram 1-17 frozen image 3-30 Inputs 1-9 Outputs 1-11 Processing Description 1-14 Shaped 2-20 Unshaped 2-20, 2-27 W WIDTH 4-13 Wipe background 4-11 definition 3-8 transition 4-28 Index-8
