Instruction/ maintenance manual of the product Grass Valley 3000 Tektronix
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User Manual Grass Valley Model 3000 Digital Production Switcher Software Release 5.3 071-0159-00 R e vised Printing: Februar y , 1998.
Customer Suppor t T ektronix Grass V alley Pr oducts is committed to providing the most responsive and pr ofessional product support available. W e have a fully staffed, highly trained support team r eady to respond to anything from a simple question to an emer gency repair .
iii Contents Preface Welcome to the Model 3000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi Organization of This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii How to use this manual . . . . .
iv Contents Dual Chroma Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-18 Borderline® Key Edge Generation . . . . . . . . . . . . . . . . . . . . . . . . . . 1-18 Secondary Wipe Generator . . . . . . . . . . . .
v Contents Control Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-40 Configuring the DPM Interface . . . . . . . . . . . . . . . . . . . . . . . . . 2-41 For Kaleidoscope . . . . . . . . . . . . . . . . . . . . . . .
vi Contents Section 3 — Switcher Concepts Clear Working Buffer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-2 CWB Modes of Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3 Auto Delegation .
vii Contents Section 4 — Switcher Operations About this Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-1 Starting Conditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
viii Contents Storing an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-50 Recalling an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-50 Learning Effects Dissolve Transitions . .
ix Contents Floppy Disk Drive Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-77 Format Diskettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-77 Creating Directories and Files . . .
x Contents Appendix C — Super Black Definition of Super Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-1 Objective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
xi Pr eface 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 ar e system setup procedur es, switcher concepts, and switcher operating procedur es.
xii Preface Organization of This Manual The main areas of this manual ar e arranged as follows: System Overview — Describes the basic architectur e of the Model 3000 switcher . Startup & Configuration — Describes turning on the system and setting up its operating parameters.
xiii 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 r egarding operation.
xiv Preface If you have any comments about this manual, we would like to hear from you. Please write to: T ektronix, Inc. Grass V alley Products T echnical Publications Department PO Box 1 1 14 Grass V alley , CA 95945 Conventions used in this manual The following graphical and typestyle conventions are used throughout this manual.
xv 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 .
xvi Preface.
1-1 1 Introduction This section presents a general description of the Grass V alley 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-ef fects switcher) are cover ed.
1-2 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 pr ocessing.
1-3 Standard Features Standard Features ■ Auto-T imed Inputs ■ Multi-format Input capability - Composite Analog, Serial Digital, and Parallel Digital ■ Multi-format Output capability ■ Finelin.
1-4 Section 1 — System Overview Optional Features ■ Additional video and key inputs, up to 64 total ■ Additional video and key outputs ■ A Second W ipe Pattern Generator (one module that provi.
1-5 Physical Description Physical Description The switcher consists of three main ar eas: the Control Panel, the Signal Processor Frame, and the Frame Power Supply (see Figure 1-1 ). The electr onic circuitry in the Model 3000 is primarily contained on circuit boar ds and modules in the Signal Processor Frame and Control Panel.
1-6 Section 1 — System Overview Power Supplies T wo 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.
1-7 Physical Description Control Panel The Control Panel is the operator interface for the Model 3000 system. The operator performs all actions via physical buttons and knobs and a software-driven menu.
1-8 Section 1 — System Overview The Control Panel also pr ovides connectors for the Mask Draw option and the data link to the Signal Processor Frame.
1-9 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.
1-10 Section 1 — System Overview Figure 1-4. V ideo and Key Inputs Signal Processor Frame Module Cells A1 through A3 Up to 16 Quad Input Modules (Any mix of module types) Up to 3 Dual RGB Input Modu.
1-11 Video and Key Inputs and Outputs Outputs Regardless of the format of the input signals, the Signal Pr ocessor can provide outputs in any composite format. Signal outputs are pr ovided by output modules installed in the Signal Processor Frame (see Figur e 1-5 ).
1-12 Section 1 — System Overview Signal Processor Frame Up to 14 Quad Output Modules (Any mix of module types) QUAD ANALOG OUTPUT MODULE QUAD PARALLEL DIGITAL OUTPUT MODULE QUAD SERIAL DIGITAL OUTPU.
1-13 Functional Description Functional Description Overview Figure 1-6 shows the video flow in a typical Model 3000 switching system. V ideo and key signals enter the Input Section of the Model 3000, which consists of analog, parallel digital, and/or serial digital modules.
1-14 Section 1 — System Overview Video Processing Input video and key signal selections are made by the Cr osspoint Matrix under control of the system Contr oller , according to operator assignments entered via the Contr ol Panel.
1-15 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.
1-16 Section 1 — System Overview To/From All Circuits Aux Bus 1A-4B Frame Store Video and Key Video Signals In Key Signals In RGB Inputs DUAL CHROMA KEYERS DUAL RGB INPUT MODULES QUAD INPUT MODULES .
1-17 Functional Description Figure 1-6. V ideo Flow Diagram of T ypical Model 3000 Switching System DIAGNOSTIC PROBE Frame Store Video and Key M/E 1 & M/E 2 MIXERS FRAME STORE FOR VIDEO, KEY, AND .
1-18 Section 1 — System Overview Description of Options The following options are curr ently available for the Model 3000 Switcher . For more details on these options, refer to the appropriate subpanel descriptions later in this manual.
1-19 Description of Options Safe Title/Action Area Generator The Safe T itle/Action Ar ea Generator provides up to four differ ent patterns that can be superimposed on the switched preview output of the switcher .
1-20 Section 1 — System Overview Tally Output The T ally Relay module provides tally outputs that r eflect the switcher status. A r ear-panel inter connect board pr ovides the relay contacts at two connectors for on-air T ally A and on-air T ally B.
2-1 2 Introduction This section describes turning on the Model 3000 and configuring it to your facility . Included are procedur es for setting the system clock, configuring inputs and outputs, configuring external interfaces, and setting user prefer ences.
2-2 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 procedur e is provided in the event that it isn’t: 1. T urn on the power switch on the front of the Signal Pr ocessor Power Supply .
2-3 Powering Up The data contained in the Current W orking 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 Ef fects Memory subpanel.
2-4 Section 2 — Startup & Configuration 2. Press the INSTALL INFO> soft button to bring up the Main Boards Menu: This menu shows the functions of all the slots in the center card cage (Bay B). Each slot that has a module installed indicates the presence of the module by listing its assembly/version number .
2-5 Powering Up 3. Press the UPPER BOARDS soft button. This menu shows what slots in the upper card cage (Bay A) have modules installed, and the format and assembly/version number for each installed module. Y ou may wish to refer back to this menu when you ar e setting parameters for analog and digital outputs and RGB chroma keyer inputs.
2-6 Section 2 — Startup & Configuration 4. Press the LOWER BOARDS button. This menu shows what slots in the lower card cage (Bay C) have modules installed, and the format and assembly/version number for each installed module. Y ou may wish to refer back to this menu when you ar e setting parameters for analog and digital inputs.
2-7 Software Setup Software Setup The system parameters to be used at a particular site or in a specific studio are usually configur ed immediately following installation of the equipment. These include defining input sources, assigning those sour ces to crosspoints, setting output levels, and defining external interfaces.
2-8 Section 2 — Startup & Configuration CONFG ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF See CONFIG Part 2 7.5 IRE 0 IRE XMITABLE VALID RGB BOTH NONE SELECT CONFIRM VIDEO/KEY FMT LOG/PHYS ASSIGN NAME XPT BUTTON 0754#1 GROUP SELECT CARD SELECT INPUT ... INPUT .
2-9 Software Setup NOTE: User Prefer ences will be addressed at the end of this section. Refer to page 2-54 . OFF GPI 1 — 8 1 — 8 CONFG ODD EVEN NONE 2400 4800 9600 19200 38400 ON OFF ON OFF SHAPE.
2-10 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.
2-11 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 r esets the horizontal blanking start and end values to Grass V alley default settings (0.
2-12 Section 2 — Startup & Configuration Setting the System Clock 1. From the System Parameters Menu, pr ess the SET CLOCK> soft button to display the Set Clock Menu. 2. Set the date by selecting DATE with the SELECT button and turning the soft knobs to select the appropriate YEAR , MONTH , and DAY .
2-13 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. 5. Press the CONFIRM button to enter the new time. 6. Press the EXIT button to r eturn to the Configuration Menu.
2-14 Section 2 — Startup & Configuration Configuring Inputs Primary video and key inputs to the switcher are number ed 1 through 64. Each input can be tr eated 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 (“cr osspoint”) buttons.
2-15 Configuring Inputs From the Configuration Menu, pr ess the INPUTS> button to bring up the Inputs Menu. The Inputs Menu allows you to enter or change the various configuration settings for your inputs.
2-16 Section 2 — Startup & Configuration Setting Input Digital Resolution 1. From the Inputs Menu, select DIGITAL RES> to display the Input Digital Resolution Menu. 2. T o set the digital resolution of a particular input, select the group of input car ds with the GROUP SELECT button.
2-17 Configuring Inputs Configuring External Key Sync 1. From the Inputs Menu, pr ess the EXT KEY SYNC> button to select the External Key Sync Menu. 2. Use the GROUP SELECT and CARD SELECT buttons to select the appropriate inputs. 3. Set the key sync to either AUTOMATIC or MANUAL for each of the four selected digital inputs.
2-18 Section 2 — Startup & Configuration Configuring Key Setup 1. From the Inputs Menu, pr ess SETUP ON KEY> to select the Setup On Key Menu. 2. Use the GROUP SELECT and CARD SELECT buttons to select the appropriate inputs. 3. Set the setup to either NO SETUP or KEY SETUP for each of the four selected inputs.
2-19 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, pr ess the MAP INPUTS> button to select the Map Inputs Menu. 2. W ith the LOG/PHYS ASSIGNMENT button, select PHYS INPUTS .
2-20 Section 2 — Startup & Configuration 4. Use the appropriate soft knob to select the desir ed type of input. Note that input formats are displayed when selecting input type.
2-21 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.
2-22 Section 2 — Startup & Configuration Formatting Chroma Key Inputs 1. From the Inputs Menu, pr ess the CHR KEY INPUTS> button to select the Chroma Key Inputs Menu: 2. In the Chroma Key Inputs Menu, select the appr opriate chroma key input and select the desir ed input format for that input.
2-23 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.
2-24 Section 2 — Startup & Configuration The types of GPI assignments available are Miscellaneous (Aux T allies), Keyframe Effects, Auto T ransitions, Cuts, E-MEM registers, and Frame Stor es, as indicated by the labels under the bracket in the display .
2-25 Configuring Inputs AUTO TRANS — Enables selection of the Auto T ransition 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.
2-26 Section 2 — Startup & Configuration Configuring Outputs The signal formats of the Model 3000 output modules for your installation are set up fr om 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.
2-27 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 pr ovide the type of signal des.
2-28 Section 2 — Startup & Configuration Setting Switcher Output Timing W ith the Ef fects Send option installed in a Model 3000, the PGM output on Aux Buses 1 thr ough 4 was delayed compar ed to other switcher outputs. Software pr ovides an adjustment of the switcher length that allows you to match the timing of all outputs.
2-29 Configuring Outputs 2. Press the OUTPUT TIMING soft button to bring up the Output T iming menu. 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. Adjust the OUTPUT TIMING OFFSET knob as requir ed to make the video look best under your operating conditions.
2-30 Section 2 — Startup & Configuration Setting Output Digital Resolution 1. From the Outputs Menu, pr ess the DIGITAL RES> button to bring up the Output Digital Resolution Menu. This menu allows you to set each digital output to 8- or 10-bit resolution.
2-31 Configuring Outputs 2. Use the GROUP SELECT and CARD SELECT buttons to select the appropriate outputs. Note that as the output boards ar e 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.
2-32 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.
2-33 Configuring External Interfaces Setting Editor Port Parameters 1. From the External Interface Menu, pr ess EDITOR I/F> to select the Editor Interface Menu. 2. W ith the BAUD and PARITY buttons, select the baud rate and parity parameters for the editor port by incrementing to the desired settings.
2-34 Section 2 — Startup & Configuration Configuring a DPM Digital Picture Manipulators (DPMs) ar e external video devices connected to the switcher . In this discussion, reference is also made to DPM levels, which are E-MEM levels into which DPM- associated information is learned.
2-35 Configuring External Interfaces There ar e four steps in configuring the video path: ■ Aux buses are assigned to DPMs using the DPM Map Aux Buses Menu ■ Return input connections are configu.
2-36 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.
2-37 Configuring External Interfaces The Aux Bus button selection made on the switcher contr ol 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.
2-38 Section 2 — Startup & Configuration For a particular studio session, three Kaleidoscope channels could be acquired fr om 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.
2-39 Configuring External Interfaces Kaleidoscope Logical Channels To Other Suites Aux Bus Outputs From Other Suites Kaleidoscope Channel Pool Router/ Patch Panel 16 Inputs Aux 1 Aux 7 Aux 4 Aux 6 Aux.
2-40 Section 2 — Startup & Configuration Control Connections Three forms of contr ol connection to the DPMs are supported. These are: ■ CPL (Control Point Language) ■ PBusII (Peripheral Bus II) ■ GPIs Control P oint Language — CPL is the communication pr otocol used to couple the switcher with Kaleidoscope or Krystal.
2-41 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 ef fect recall and r un control, sour ce selection, and tally information.
2-42 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.
2-43 Configuring External Interfaces For DVEous: a. Set the DPM TYPE to DVEOUS. b. T urn the VIDEO DELAY soft knob to select 2 FIELDS . It is important to set this delay correctly . c. T urn the CONTROL DELAY soft knob to select 7 FIELDS . d. Press the PORT ASSIGN button to assign POR T A1 to the DPM.
2-44 Section 2 — Startup & Configuration NOTE: Increasing the EFF SEND DELA Y 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.
2-45 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.
2-46 Section 2 — Startup & Configuration 2. Press the DPM SELECT button to select the desir ed DEVICE (1 through 4). 3. Press the CHANNEL SELECT button to select the desir ed DEVICE channel. 4. T urn the VIDEO INPUT knob to assign the Model 3000 physical input 1 to 64 to which this DPM video return was connected during cabling.
2-47 Configuring External Interfaces assign logical channel 1 of DPM 1 by selecting DPM 1 LOG CHAN 1 . 5. Rotate the KEY INPUT knob to assign the desired DPM number and logical channel for this crosspoint. For example, assign logical channel 1 of DPM 1 by selecting DPM 1 LOG CHAN 1.
2-48 Section 2 — Startup & Configuration Mapping Kaleidoscope Source Buttons The DPM Kscope Source Menu allows you to map Kaleidoscope video source cr osspoints to your switcher video source crosspoints.
2-49 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, pr ess EXTERN I/F> , then PERIPHERAL I/F> to bring up the Peripheral Interface Menu.
2-50 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.
2-51 Configuring External Interfaces 6. T urn 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.
2-52 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 sour ce has been on air .
2-53 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, pr ess AUX BUS FORMAT> to display the Aux Bus Format Menu.
2-54 Section 2 — Startup & Configuration Setting User Preferences The User Prefer ences Menus are used to gain access to certain parameters that the operator may need to change.
2-55 Setting User Preferences To Shift Lock a Bus W ith LATCH enabled on the User Prefer ences 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 cr osspoint.
2-56 Section 2 — Startup & Configuration Setting Keyer Preferences From the User Pr eferences Menu, pr ess the KEYER PREFS> button to display the Keyer Prefer ences Menu: 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.
2-57 Setting User Preferences 2. From the Keyer Pr eferences Menu, press CLEAR KEY MEM> to bring up the Clear Key Memory Menu. This menu allows you to clear the key memory settings for selected areas of the switcher . 3. W ith the SECTION SELECT and BUS SELECT buttons, select the area of the switcher whose key memory you wish to clear .
2-58 Section 2 — Startup & Configuration Setting Preview Preferences 1. From the User Pr eferences Menu, pr ess the PREVIEW PREFS> button to display the Preview Pr eferences Menu. NOTE: It is important to note that these menu setups affect only the PVW output connectors and the PVW Monitor(s) 2.
2-59 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.
2-60 Section 2 — Startup & Configuration Switcher PGM PVW Switcher AUTO Switcher PGM 2 Monitors per M/E 1 Monitor per M/E 1 Monitor per M/E M/E 2 PGM Out M/E 2 PVW Out PVW Out PVW Out Fixed Lookahead PGM Out - Low Tally Lookahead - Hi Tally Fixed PGM (In effect, no PVW function enabled.
2-61 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 .
2-62 Section 2 — Startup & Configuration Setting Beeper Preferences Y ou may wish to customize the beeper alert system. Beeper prefer ences are selected on the Configuration/User Pr eferences/ Beeper Prefer ences Menu shown below . BEEPER ON/OFF — Use to enable or disable the beeper alert system.
2-63 Setting User-Defined System Defaults Setting User-Defined System Defaults The Define Defaults Menu allows you to change the default values that are stor ed in memory and used when the switcher is turned on or the CLEAR WORK BUFR button is pressed.
2-64 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 ef fect during the vertical interval of the video signal, just prior to either Field 1 or Field 2.
2-65 Operating Notes If an Editor or a GPI trigger initiates one of these functions, it will produce the same ef fect 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.
2-66 Section 2 — Startup & Configuration 2. Select either BLACK SCREEN or WHITE SCREEN for your mask store backgr ound. Then select either a BLACK (for white screen) or WHITE (for black scr een) brush with the BRUSH SOURCE button.
2-67 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 cr osspoint for viewing.
2-68 Section 2 — Startup & Configuration Operating the Model 3000 With a DPM-700 This feature allows you to r eturn a high tally from a DPM-700 when configured with the Model 3000. T o use the DPM Logical Channel T ally feature, connect the DPM-700 as described in the Installation and Service manual.
2-69 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.
2-70 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 t.
2-71 Operating Notes NOTE: Y ou may disable the control connection between the Model 3000 and Kaleidoscope at any time simply by disabling either of the above enables DPM.
2-72 Section 2 — Startup & Configuration.
3-1 3 Switcher Concepts This section describes a few basic concepts that you should know before you operate your switcher . Y ou might be tempted to skip over this section, especially if you are an experienced switcher operator .
3-2 Section 3 — Switcher Concepts Clear Working Buffer The Current W orking Buffer (CWB) is an area of system memory that stores the curr ent switcher state. That is, it tracks the settings of switch and variable control functions on the contr ol panel, as well as those of many switch and control functions set in the menus.
3-3 Clear Working Buffer CWB Modes of Operation W ith V ersion 5.0 and later softwar e, there ar e four modes of operation for the CLEAR WORK BUFR button: 1. Single press of the CLEAR WORK BUFR button — Clears the Current W orking Buffer except Keyers.
3-4 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 featur e is called “auto delegation.” The effect of auto delegation is that pressing a button on one subpanel may activate the r elated controls on another subpanel.
3-5 Crosspoint Bus Crosspoint Bus A cr osspoint bus consists of a group of switches called cr osspoints , each with a differ ent video or key input. The row of switches has a common output called a bus .
3-6 Section 3 — Switcher Concepts Transitions A transition is a change fr om one video picture to another . The switcher provides thr ee methods for making video transitions: ■ Cuts ■ Mixes ■ W ipes Cut Transition A cut is an instantaneous switch fr om one picture to another .
3-7 Transitions Figure 3-1. A Mix T ransition Starting Video Midway Transition Ending Video.
3-8 Section 3 — Switcher Concepts Wipe Transition A wipe is a transition fr om one picture to another in which a shaped edge moves across the scr een revealing the new pictur e (see Figure 3-2 ). A background wipe removes the old Pr ogram Background pictur e as it wipes on the new Preset Backgr ound picture.
3-9 Keys Keys A key is an effect in which parts of one pictur e are inserted into another to create a composite pictur e. For example, keys ar e 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 fr ont of a weather map.
3-10 Section 3 — Switcher Concepts Luminance Key A luminance key , shown in Figure 3-3 , uses the brightness information in one picture, called the key sour ce to cut a hole in another picture, called the backgr ound . A third pictur e, called the fill , is inserted into the hole to fill it.
3-11 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 gr een logo inserted into the background.
3-12 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 ar e faithfully repr oduced.
3-13 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 ar e always three signals: the key source, the key fill (fill video), and the backgr ound video.
3-14 Section 3 — Switcher Concepts Input Shaped and Unshaped Video V ideo 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.
3-15 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 P AL and Component video). It is inserted into the background of a video signal to impr ove the contrast for luminance self keying.
3-16 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 r eplaced with a new background scene. This gives the illusion that for egr ound objects are positioned in fr ont of a new backgr ound.
3-17 Chroma Key The chroma keyer includes backgr ound and foregr ound suppression. Backgr ound suppression r eplaces the old background color with black befor e adding in the new background. This ensur es that the old background color is completely removed fr om the scene, resulting in a cleaner key .
3-18 Section 3 — Switcher Concepts Coring Coring is a video noise-reducing operation in which pixels below a predetermined luminance thr eshold are r eplaced 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.
3-19 Layering Layering Lamina™ V ideo 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/ef fects system or the downstream keyer .
3-20 Section 3 — Switcher Concepts E-MEM Effects Memory The E-MEM Effects Memory system pr ovides a way of storing switcher effects for later use. W ith E-MEM you can set up an ef fect with the control panel and “learn” a snapshot of it into memory .
3-21 E-MEM Effects Memory Enables and Delegates Grass V alley Switchers have two groups of operations that r elate to Enables and Delegates: ■ E–MEM Register operations that include Learn, Recall,.
3-22 Section 3 — Switcher Concepts When ENABLES is selected in the T imeline Menu, all enabled levels are also delegated; thus all enabled levels ar e affected by changes made on the control panel. When a level is not enabled, its timeline does not appear in the T imeline Menu.
3-23 Keyframing / Timelines / Effects Editing Keyframing / Timelines / Effects Editing Switchers are able to stor e 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 .
3-24 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 r egister at some point along a timeline.
3-25 Keyframing / Timelines / Effects Editing Timeline Menu The following is a simple example of a T imeline Menu. The appearance of this menu depends upon the following: which levels are enabled and .
3-26 Section 3 — Switcher Concepts Manipulating Video Images Grass V alley Products DPM and digital pr oduction switchers have the ability to rotate images that have a “Fr ont” and “Back” side.
3-27 Manipulating Video Images The displayed picture has a fr ont side and a back side, the same way a U.S. dollar bill does. The side with George W ashington on it is the front, and the side with the pyramid/eagle is the back.
3-28 Section 3 — Switcher Concepts Effects Send (Option) Effects Send is a system that pr ovides a close interface between the switcher ’s mix/effects system and a digital pictur e manipulator (DPM). Effects Send takes the key and fill video outputs of an effects keyer and sends them to the DPM for manipulation.
3-29 Frame Store (Option) Frame Store (Option) The primary functions of the Frame Store option ar e storage of still video and key images, and creation of dr opshadows behind keys. Controls for manipulation of these functions ar e found on the Frame Store Subpanel and in the Frame Stor e menus.
3-30 Section 3 — Switcher Concepts Manipulation of the frozen image is pr ovided through the Frame Store Menu. Some of the operations that can be performed on the frozen video and key images ar e as.
4-1 4 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 pr ocedures. If you ar e new to video switching or if you encounter unfamiliar terms, review Section 3, “Concepts.
4-2 Section 4— Switcher Operations Star ting 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 sur e what setups you need.
4-3 Starting Conditions Figure 4-1. Sour ce 1 Figure 4-2. Sour ce 2.
4-4 Section 4— Switcher Operations Clearing the Switcher It is best to reset the switcher to a known state befor e beginning any of these procedur es. Step #2 below clears all switcher areas except crosspoints. T o bring the switcher to a “known” state, you will want to clear either all, or just certain parts of the switcher .
4-5 Starting Conditions 4. T o clear the Current W orking Buffer — including Keyers: Double press 1 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.
4-6 Section 4— Switcher Operations T ransitions - Mix/Effects Bus Operations A transition is a change fr om 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 .
4-7 Transitions - Mix/Effects Bus Operations 4. Select the M/E 1 BKGD A T ransition 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 corr ectly .
4-8 Section 4— Switcher Operations Figure 4-3. Backgr ound Cut Starting On Air Picture Ending On Air Picture.
4-9 Transitions - Mix/Effects Bus Operations Background Mix A mix is a dissolve from one pictur e to another . Y ou 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 .
4-10 Section 4— Switcher Operations Starting Video Midway Transition Ending Video Figure 4-4. Backgr ound Mix (Dissolve) T ransition.
4-11 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 pictur e pushing the other off the scr een.
4-12 Section 4— Switcher Operations 7. As an alternative to using the lever arm, you can press AUTO TRANS to do an automatic transition. T o pause an auto transition in progr ess, press AUTO TRANS again. T o resume the transition, press it a thir d time.
4-13 Wipe Operations Most pattern modifiers are located on the W ipe 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 .
4-14 Section 4— Switcher Operations Rotation T ype – Adjust the thr ee Rotation T ype Controls on the W ipe Subpanel as desired: – ROT POS = set the rotation angle of object controlled with turns of ROTATE Knob. – ROT SPD = Selects continuous rotation.
4-15 Wipe Operations Pattern Mixing Use the Pattern Mix Mode to mix a selected wipe with either the M/Es Secondary W ipe Generator (if available) or the selected wipes. This example assumes you have the Secondary W ipe Generator; if you do not, select TEXTURE instead of NORMAL in Step 3.
4-16 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 W ipe Subpanel. 1. Press LEARN USER WIPE , followed by one of the six User buttons, such as USER 1 .
4-17 Wipe Operations Figure 4-6. Pattern Mix T ransition — Example 2 The effect shown in Figure 4-6 was created as follows: Primary Wipe Generator creates the circle wipe.
4-18 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.
4-19 Wipe Operations Fade to Black Y ou can cut, wipe, or fade the switcher output to black at any time by simply pressing the PST BLACK button on the T ransition Subpanel.
4-20 Section 4— Switcher Operations Setting Transition Rates Y ou 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.
4-21 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.
4-22 Section 4— Switcher Operations Background and Matte Generator Operations Use the Background and Matte Generator contr ols to create a number of interesting mattes to serve as ef fects backgrounds or fills.
4-23 Wipe Operations Matte Selection T o create a simple backgr ound matte, follow the procedur e 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 .
4-24 Section 4— Switcher Operations Luminance and Linear Ke ying Operations Keys enable you to insert one picture into another to cr eate a composite effect. For example, you may want to add a caption to a scene. For more information about keying, r efer to Section 3: Switcher Concepts .
4-25 Luminance and Linear Keying Operations 5. Clip and gain adjustments are done dif ferently 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 .
4-26 Section 4— Switcher Operations 9. For keying from a black on white sour ce, select Keyer INVERT . For keying from a white on black sour ce, leave INVERT off. 10. T o 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 sour ce.
4-27 Luminance and Linear Keying Operations 16. Y ou may also want to experiment with other key modifier selections such as KEY OPACITY on the Keyer Menu, and the various controls on the Keyer/V ideo Process Menu. 17. When you are finally done adjusting the key , transition the key on air as explained next in the Key T ransition on page 4-28 .
4-28 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 ef fects keys and a background can be transitioned on or off together or separately . The Downstream Keyer has separate controls and must be transitioned separately .
4-29 Preset Pattern Keying Operations Preset P attern Ke ying Operations A preset pattern key ( Figure 4-9 ) cuts a key hole in the backgr ound in the shape of a wipe pattern. The procedur e for creating a pr eset pattern key is as follows: Select the Keyer KEY 1 , KEY 2 , or DSK button to delegate the keyer you want to use.
4-30 Section 4— Switcher Operations 5. T o adjust the opacity of the key layer , adjust KEY OPACITY in the Keyer Menu. 6. T ransition the key on air as explained previously .
4-31 Preset Pattern Keying Operations Figure 4-10. Pr eset 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.
4-32 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. T o set up Layered Mode: 1.
4-33 Chroma Keying Operations Chr oma Ke ying Operations Chroma keying allows you to key out a particular color in a scene and replace it with new backgr ound video. A typical application is to position a reporter in fr ont of a blue wall and set up a chroma key to replace the blue wall with a weather map.
4-34 Section 4— Switcher Operations Auto Chroma Keying Procedure Chroma Keyer setup involves a number of interactive adjustments. Understanding the Auto Keying procedur e significantly increases the quality of the keys pr oduced. The studio setting has a major impact on the ability to produce a natural looking key .
4-35 Chroma Keying Operations The Chroma Keyer accommodates a wide range of scenes and conditions. V ery 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 compr omising edge softness.
4-36 Section 4— Switcher Operations 2. Select the source to be use as the for eground 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.
4-37 Chroma Keying Operations Continue setup with Optimization Adjustments on page 4-39 , or manually adjust the Key using the Basic Manual Adjustment procedur e found in the following text. Basic Manual Adjustment If you prefer , you may perform the initial adjustments manually .
4-38 Section 4— Switcher Operations 4. Adjust Keyer CLIP and GAIN while observing the key waveform by depressing SHO W KEY . CLIP has the most effect on foregr ound opacity , while GAIN has most effect on background opacity . a. Start with both CLIP and GAIN at maximum b.
4-39 Chroma Keying Operations Optimization Adjustments It is now time to optimize the keyer setups. 1. If you are using an external analog key sour ce such as RGB from a camera, verify that the input timing is corr ect.
4-40 Section 4— Switcher Operations constant then excessive lighting variation may exist. Y ou may wish to correct this by adjusting the set lighting. If the background luminance is r easonably flat, readjust the LUMA background suppr ession slightly to eliminate shading in the background signal.
4-41 Chroma Keying Operations 8. Adjust SECOND AR Y COLOR SUPRESSION . Use Secondary Color Suppression to minimize the fringing around the for eground object or tinting of a translucent object such as glass. These adjustments can be found in the CHR KEY/ SECOND AR Y COLOR menu.
4-42 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.
4-43 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 .
4-44 Section 4— Switcher Operations New Operational Mode Available – Version 5.1 and later V ersion 5.1 added a new operational mode to the existing mode on the E-MEM system: ■ Normal mode – p.
4-45 E-MEM (Effects Memory) Operations Learn A Register W e will look at how the Learn operation works with Auto Run, Auto Recall, and Effects Dissolve in the Normal mode.
4-46 Section 4— Switcher Operations Recall A Register W e 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 befor e recalling the ef fect ■ Auto Recall OFF — Switcher does not recall the learned enables.
4-47 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 i.
4-48 Section 4— Switcher Operations Setup 1. Clear the switcher . See “Clearing the Switcher” on page 4-4. ). 2. Y ou will need the following sources: a.
4-49 E-MEM (Effects Memory) Operations Learn Enables An E-MEM register can stor e 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 procedur e. In this procedur e you will ‘learn’ an effect into E-MEM r egister 23.
4-50 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 thr ough 9 to select Banks 2 through 9. This selects one of the ten banks of ten E-MEM storage registers.
4-51 E-MEM (Effects Memory) Operations Learning Effects Dissolve Transitions The EFF DIS (effects dissolve) function causes an S-linear transition from the curr ent state to the next recalled r egister . The current state may be a setup you have just done on the contr ol panel or the state resulting fr om a register r ecall.
4-52 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 procedur e will make use of effects pr eviously stored in registers 23 thr ough 27.
4-53 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 r ecent E-MEM operation.
4-54 Section 4— Switcher Operations Keyframe Operations The switcher can store mor e than one switcher state (a “keyframe”) on each enabled level in a single E-MEM register .
4-55 Keyframe Operations Learn Keyframes T o learn the first keyframe of the effect into an E-MEM r egister , 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.
4-56 Section 4— Switcher Operations 5. Press REV . Pr ess RUN . 6. The effect now r uns backwar ds, 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.
4-57 Keyframe Operations 1. Recall the effect you cr eated previously . 2. REWIND the effect to keyframe 1. 3. W ith the M/E 1 background/key still enabled, select another wipe pattern and “fly” it around the monitor . 4. Press INSRT BEFOR . Y ou have just cr eated a new keyframe #1.
4-58 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) T ime Cursor position. Previous keyframe #2 becomes keyframe #3.
4-59 Keyframe Operations The new rules ar e 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.
4-60 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.
4-61 Keyframe Operations 2. T o 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. Press MOD . 3. T o change the duration within an effect (not on a keyframe): Press GO TO TIME .
4-62 Section 4— Switcher Operations 6. T o set a start time: a. Position the effect at the 2nd. keyframe. Pr ess the SET ST ART TIME button on the T imeline Menu.
4-63 Keyframe Operations Using Zoom and Pan Y ou can use this procedur e 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.
4-64 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. Y ou can copy a keyframe, without changing the effect with the COPY button.
4-65 Keyframe Operations Effects Editing with Get and Put Use Get and Put to copy entire ef fects from one r egister to another . Use PUT to copy the current effect into the selected r egister number . 1. Recall an effect fr om an E-MEM register . 2. Find an empty register number to use for step 3.
4-66 Section 4— Switcher Operations Using Path Types To Change An Effect Y ou can change the appearance of a effect, or parts of an ef fect by changing the path type. Path type selection is the way you can control parameter changes between keyframes.
4-67 Keyframe Operations The CURVE pathtype function may be used with both W ipe (WIPEXFORM) and Framestore (FST OREXFRM) T ransform selections. CURVE includes T ension, Continuity , and Bias soft knob controls, described in the Appendices of this guide.
4-68 Section 4— Switcher Operations Effects Send Operations (Option) The Effects Send option (pur chased separately) allows video/key signals in an M/E to be routed outside the switcher for pr ocess.
4-69 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.
4-70 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/W ipe circuit of the same switcher M/E. 1. Access the Aux Menu. a. Use the PHYS AUX SELECT button to select Aux 1 .
4-71 Frame Store Operations (Option) Frame Store Operations (Option) The Frame Store function pr ovides the ability to separately freeze, and store, video and key signals to use in building ef fects.
4-72 Section 4— Switcher Operations Still Image Storage V ideo and key can be frozen either separately or simultaneously through the use of panel contr ols.
4-73 Frame Store Operations (Option) Video and Key The Frame Store function can be assigned to either a video channel or a key channel. V ideo and key channels may also be selected simultaneously if video and key channels are mapped to the same crosspoint.
4-74 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.
4-75 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.
4-76 Section 4— Switcher Operations Repositioning Use Repositioning (Frame Store/V ideo Store/Reposition Menu) to move a live or frozen image of f the screen in any dir ection. Mosaics Use Mosaic to control the size and aspect of mosaic tiles in a live or frozen video.
4-77 Floppy Disk Drive Operations Floppy Disk Drive Operations The switcher floppy disk subsystem is used to store and r ecall effects files stor ed in E-MEM registers, and to stor e and recall system configuration setups.
4-78 Section 4— Switcher Operations Creating Directories and Files In this procedur e you cr eate 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.
4-79 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.
4-80 Section 4— Switcher Operations Loading (Recalling E-MEM Files from Disk This procedur e describes loading E-MEM files. Y ou can load a stored E-MEM ef fect from disk into an E-MEM r egister (for example, register #23). Y ou can also load an entire E-MEM bank (of 10 registers), or all E-MEM r egisters.
4-81 Floppy Disk Drive Operations Loading (Recalling) Configuration Files from Disk This procedur e describes loading switcher configuration files. Y ou can load all or part of a stored switcher configuration. 1. Insert your diskette into the switcher disk drive.
4-82 Section 4— Switcher Operations Viewing (Listing) Files and Directories Y ou can view the diskette contents by directory , file name, or file extension. 1. Invoke the Disk Menu. 2. Press CHILD DIRECTORY to r ead the diskette. 3. Use the VIEW BY DIR to list subdirectories.
4-83 Floppy Disk Drive Operations 4. Press DO DELETE to perform the deletion, or CANCEL to abort the deletion. The floppy disk system re-r eads the disk, and r e- displays the Disk Menu with the current dir ectory shown. Deleting Directories 1. Highlight the desired dir ectory in the Disk Menu.
4-84 Section 4— Switcher Operations.
A-1 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.
Appendix A — Shaped and Unshaped Video A-2 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.
Input Shaped and Unshaped Video A-3 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 .
Appendix A — Shaped and Unshaped Video A-4 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 .
Examples of Operation With Shaped and Unshaped Fill Video A-5 Figure A-3. Appearance of Shaped V ideo From DPM Figure A-4. Appearance of Unshaped V ideo From DPM.
Appendix A — Shaped and Unshaped Video A-6 Correct Input Configuration Figure A-5 and Figur e 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.
Examples of Operation With Shaped and Unshaped Fill Video A-7 Figure A-6 shows what the video looks like on the monitor when the SHAPED/UNSHAPED selection is made correctly in the menu.
Appendix A — Shaped and Unshaped Video A-8 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.
Examples of Operation With Shaped and Unshaped Fill Video A-9 Incorrect Input Configuration Figure A-8 and Figur e 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.
Appendix A — Shaped and Unshaped Video A-10 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. Figure A-9. Incorr ect V ideo With Shaped Input and UNSHAPED Selected Note dark halo effect .
Examples of Operation With Shaped and Unshaped Fill Video A-11 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.
Appendix A — Shaped and Unshaped Video A-12 Figure A-1 1 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. Figure A-1 1. Incorrect V ideo With Unshaped Input and SHAPED Selected Note white halo effect.
Output Shaped and Unshaped Video A-13 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 preferr ed setting if the designation device can accept it.
Appendix A — Shaped and Unshaped Video A-14 When the Effects Send option is not pr esent, the SHAPED/ UNSHAPED selections for the Aux Buses are not visible in the menu.
Output Shaped and Unshaped Video A-15 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 .
Appendix A — Shaped and Unshaped Video A-16 Installation Considerations The concepts presented in this appendix ar e helpful when designing a video facility , interconnecting equipment, and configuring the equipment.
Installation Considerations A-17 Since the M/E keyers produce shaped video, GVG recommends the use of the Ef fects Send option for communicating between these switchers and Kaleidoscope. Y ou should also use Aux Bus 1 through 4 (1 and 2 on 2200) switcher outputs to feed Kaleidoscope.
Appendix A — Shaped and Unshaped Video A-18.
B-1 B Appendix B — Keyframe Facts Keyframe Timelines Master Timeline The Master T imeline is a tool for developing a consistent set of rules and operations for editing ef fects and synchr onizing events across multiple independent timelines.
B-2 Appendix B — Keyframe Facts If the keyframes occur at differ ent points in time on the various enabled E-MEM levels, it is possible that the keyframe durations on the Master T imeline will not match any of the individual E-MEM keyframe durations.
B-3 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 or der for the effect to look right.
B-4 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.
B-5 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.
B-6 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.
B-7 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).
B-8 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.
B-9 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.
B-10 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 The unmodified path shown above is identical to the unmodified path of the other controls.
B-11 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).
B-12 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).
B-13 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.
B-14 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.
B-15 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).
B-16 Appendix B — Keyframe Facts.
C-1 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 P AL 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 recor d the signal.
Appendix C — Super Black C-2 Usage A typical use of super black is when a prer ecorded 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 recor ded on tape. (The VTR must be adjusted to recor d the super black level and to repr oduce it during playback).
Using the Super Black Output C-3 Drawbacks of using a Super Black Output: ■ The reconstr uction of the video and key is rar ely perfect, and quite a bit of control adjustment is necessary to pr oduce the best results. ■ Keying from Super Black pr oduces a hard-edged key only .
Appendix C — Super Black C-4 In the Model 3000, 4000, and 2200 Switchers, there ar e two ways to produce Super Black: First Method This is the traditional “Key over a Super Black Matte” Mode. W ith this method, you use one of the background matte generators as a Super Black generator .
Using the Super Black Output C-5 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 V ideo Channel 4 -> Program Key The Configuration/Outputs menu allows you to turn Super Black on for a particular output.
Appendix C — Super Black C-6.
G-1 G Glossary A Abort: An instruction used to terminate execution of a computer program or routine. Accumulating Latc h: Electronic circuitry that allows several signals to be latched on at the same time and then combined to produce a compound ef fect.
G-2 Glossary Backgr ound T ransition: A transition between signals selected on the PROGRAM and PRESET background buses or A and B Background buses. Backgr ound Video: (1) V ideo that forms a background scene into which a key may be inserted.
G-3 Glossary control is shar ed between the CPU and one or more other devices. 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 W ord.
G-4 Glossary Composite Video: A video signal which contains both picture and sync information. (Also see Encoded V ideo.) Control Signal: A signal used to control some aspect of switcher operation, such as video path selection and manipulation, inter-pr ocessor communications, and variable control (knob) monitoring.
G-5 Glossary EEPROM (Electricall y Erasable Programmab le 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.
G-6 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 pr ograms. (Also see Hardwar e and Software.) Flag: A bit of information used to tell the program that some condition has occurred.
G-7 Glossary Hard Disk: An electronic device which is capable of storing large amounts of data and programs for r etrieval and use by a computer . (Also see Floppy Disk.) Hard ware: The electric, electronic, and mechanical equipment used to perform the tasks controlled by a computer .
G-8 Glossary Ke y 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 T ransition: A transition between primary video and/or title video signals made by manually moving the lever arm.
G-9 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 electr onic system capable of processing video signals with other video or control signals.
G-10 Glossary the same (background) video outside and inside the outline. P P AL (Phase Alternating Line): A transmission standard for encoded color television used in Europe and some other parts of the world.
G-11 Glossary output of a Mix/Effects system, r eady to be placed (as a re-entry) on the switcher Program output. PROM (Pr ogrammable Read Onl y 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.
G-12 Glossary Shadow (Dr opshadow): 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 pr esent in an audio or video signal.
G-13 Glossary generator , graphics camera, etc. The title fill may be either a matte or title video. T ranscoder: A device for converting one component form to another , as in RGB to Y , R-Y , B-Y . Also called a translator . T ransition: An operation which changes backgrounds and/or adds or r emoves titles.
G-14 Glossary.
Index-1 A 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 B Background 4-6 wipe 4-11 Background buses 3-5 Beeper Preferences 2-62 Menu 2-.
Index-2 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 Shif.
Index-3 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 Inpu.
Index-4 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 Recur.
Index-5 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 K.
Index-6 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 P.
Index-7 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 Pr.
Index-8 Index Master 4-60 pan 4-62 start times 4-61 zoom 4-62 Transitions 4-6 , 4-28 definition 3-6 U Unshaped 2-20 Video 2-27 Unshaped Video A-1 definition A-1 Upper Boards Menu 2-5 User Defined Defa.
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