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User Manual Grass Valley Model 2200 Digital Production Switcher Software Release 5.3 071-0156-00 First Printing: Januar y , 1994 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 Preface Welcome to the Model 2200 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi Organization of This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi Related Documents . . . . . . . .
iv Contents Description of Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-14 Chromatte Advanced Chroma Keyer . . . . . . . . . . . . . . . . . . . . . . . . 1-14 BORDERLINE Key Edge Generation . . . . . . . .
v Contents Setting Editor Port Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-40 Configuring GPI Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-41 DPM Configurations . . . . . . . . . . . . . . . .
vi Contents Coring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-16 Layering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-17 E-MEM Effects Memory .
vii Contents Layered Mode Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-35 Chroma Keying Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-36 Auto Chroma Keying Procedure . . . .
viii Contents Frame Store Operations (Option) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-74 Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-74 Output Routing . . . . . .
ix Contents Appendix A — Shaped and Unshaped Video Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-1 What are Shaped and Unshaped Video? . . . . . . . . . . . . . . . . . . . . . . . .
x Contents Appendix C — Super Black Definition of Super Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-1 Objective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
xi Welcome to the Model 2200 This manual is intended to provide you, the video switching system operator, with the information you need for operating this Model 2200 Digital Production Switcher.
xii Preface Related Documents The following manuals comprise the entire set that may be used with the Model 2200 series switcher. • Operation Reference • Installation and Service • Model 2200/40.
xiii How To Use This Manual If you are an experienced switcher operator, you may choose to go directly from Startup to operating the switcher, and refer to the Control Panel Descriptions section in the Operation Reference manual only when you need to know more about the operation of a specific control.
xiv Preface Conventions used in this manual The following graphical and typestyle conventions are used throughout this manual. Button References A control panel button is shown as follows: Panel Knob .
xv Conventions used in this manual . Soft Button and Soft Knob References In the text, soft buttons and soft knobs are shown in bold , using the button or knob label in the display.
xvi Preface.
1-1 1 This section presents a general description of the Grass V alley Products Model 2200-2 Pr oduction Component Digital Switching Systems. The Control Panel and Signal Pr ocessor descriptions provide a basic knowledge of the Model 2200 basic architectur e.
1-2 Section 1 — System Overview Standard Features ■ 2 Mix/Effects Systems ■ Auto-T imed Inputs ■ Shaped and Unshaped V ideo Input Conditioning ■ Fineline Keying ■ Key Channel Throughout .
1-3 Optional Features Optional Features ■ BORDERLINE® on all Keyers ■ Dual Chroma Keyers for each M/E ■ Second W ipe Pattern Generator for each M/E ■ Kaleidoscope Run Control and Ef fects Rec.
1-4 Section 1 — System Overview 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 electronic cir cuitry for the Model 2200 is contained on circuit boar ds and modules in the Signal Pr ocessor Frame and Control Panel.
1-5 Physical Description Processor Frame Power Supply Signal Processor Frame Control Panel TP0625-07 CONTROL PANEL LOGIC CONTROL PROCESSOR Video/Key Signals In Video/Key Signals Out CONTROL PANEL POWE.
1-6 Section 1 — System Overview Control Panel The Control Panel is the operator interface for the Model 2200 system. The operator performs all actions via buttons and knobs and a software-driven menu.
1-7 Physical Description The Control Panel also pr ovides connectors for a status terminal and the data link to the Signal Processor Frame. Exit Stop Next KF Hold Input Rewind Aspect Reverse Persp Skew Z Center XY Run 7 8 9 4 56 123 0 Tran Rate Modify Insert Before Insert After Mark Block Undo .
1-8 Section 1 — System Overview Video and Key Inputs and Outputs Inputs T wo types of input modules may be installed in the Signal Processor Frame to suit the needs of your installation.
1-9 Physical Description Outputs Output modules are placed in the r ear bay of the Signal Processing Frame. The following module types are available: ■ Serial Output Modules (2 standard, each adding.
1-10 Section 1 — System Overview Functional Description General Overview Figure 1-3 shows a simple video flow diagram for the Model 2200. V ideo and key signals enter the input modules of the Model 2200, which consist of component analog and/or component serial digital formats.
1-11 Functional Description Each M/E has two keyers and two background buses (A and B) as inputs. In standard mode, Keyers 1 and 2 can be mixed into a composite video and key which can be forwarded to the output, or M/E 1 can be reenter ed into M/E 2.
1-12 Section 1 — System Overview To/From All Circuits Frame Store Video and Ke Video Signals In Key Signals In Component Analog Chroma Key Inputs DUAL CHROMA KEYER DUAL CHROMA KEY INPUT MODULES M/E .
1-13 Functional Description DIAGNOSTIC PROBE Frame Store Video and Key M/E 1 & M/E 2 MIXERS FRAME STORE FOR VIDEO, KEY, AND MASK STORAGE SECONDARY WIPE OPTION Aux Bus 1A-4B Video and Key SERIAL DI.
1-14 Section 1 — System Overview Description of Options The following options are curr ently available for the Model 2200 switcher . For more details on these options, refer to the appropriate subpanel descriptions later in this manual.
1-15 Description of Options Effects Send Effects Send pr ovides a method of integrating digital effects devices into the switcher mix/effects system. Up to two send channels can be used to route the video and key fr om an M/E to and from an external digital ef fects system.
1-16 Section 1 — System Overview Remote Aux Bus The Remote Aux Control Panel Option allows you to contr ol the Model 2200’s aux buses from a r emote location.
2-1 This section describes turning on the system, setting up user prefer ences, and setting up system parameters. Powering Up The Model 2200 is designed for continuous operation. Use the following procedur es to power-up the switcher when it has been turned off.
2-2 Section 2— Startup and Configuration Booting-Up When the system is turned on, the switcher will initialize into a defined default state. This default state may be either a user- defined defaul.
2-3 Software Setup T o begin the setup process, pr ess the CONFG button on the Menu Display Subpanel to display the Configuration Menu and the sub- menu choices. 1. USER PREFS > — Set up operating parameters, such as Keyer and Preview pr eferences and default switcher states.
2-4 Section 2— Startup and Configuration Configuration Sub-Menus USER PREFERENCES ■ Keyer Prefs ■ Preview Pr efs ■ Beeper Prefs ■ Define Defaults ■ E-MEM Prefs SYSTEM P ARAMETERS ■ Aspe.
2-5 Software Setup EXTERNAL INTERF ACE MENUS ■ Editor I/F ■ DPM I/F ■ Peripheral I/F ■ GPI Outputs A UX BUS FORMA T MENU ■ Aux Bus Shaping.
2-6 Section 2— Startup and Configuration ON OFF CONFG (Part 1) DSK DROP KEY MEMORY CLEAR KEY MEM SHIFT MODE KEYER PREFS PREVIEW PREFS BEEPER PREFS E-MEM PREFS DEFINE DEFAULTS † NOTE: Some soft knob adjustments have been omitted for clarity.
2-7 Software Setup CONFG (Part 2) CURSOR BACK ACCEPT CHAR CURSOR FORWRD DELETE CHAR SAVE STRING GET STRING ACCEPT NAME INPUT 1 INPUT 2 INPUT 3 INPUT 4 INPUT 5 INPUT 6 SETUP INPUT FORMAT † NOTE: Some soft knob adjustments have been omitted for clarity.
2-8 Section 2— Startup and Configuration CONFG (Part 3) 0764-00(PT 3) CHAN A-H AUX 1-9 See CONFG Part 1 See CONFG Part 2 PEAK WHITE PEAK BLACK BOTH OFF PEAK OFF USER PREFS SYSTEM PARAM INPUTS OUTPUT.
2-9 Software Setup Setting User Preferences Use the User Prefer ences Menus to gain access to keyer , preview , and switcher defaults submenus. 1. From the Configuration Menu, press the USER PREFS > button to access the User Prefer ences Menu. 2. Select either LATCH or NORMAL with the SHIFT MODE soft button.
2-10 Section 2— Startup and Configuration be a shifted crosspoint. The SHIFT button light will r emain ON while the bus is in this state. T o unshift a bus, press and hold the SHIFT button. Select a crosspoint button. The bus is now unshifted, and the SHIFT button lamp is OFF .
2-11 Software Setup 3. Press CLEAR KEY MEMORY to invoke the Clear Key Memory Menu. This menu allows you to clear the key memory settings for various areas of the switcher . 4. W ith the SECTION SELECT and BUS SELECT buttons, select the area of the switcher whose key memory you wish to clear .
2-12 Section 2— Startup and Configuration Setting Previe w Preferences From the User Pr efer ences 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).
2-13 Software Setup NOTE: The optional M/E Preview Mezzanine must be installed for each M/E in order to select AUTO and LOOKAHEAD Preview Modes. THESE SELECTIONS will not be displayed in the MENU if the mezzanine board is not installed.
2-14 Section 2— Startup and Configuration Figure 2-2. Pr eview Mode Configurations 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.
2-15 Software Setup 3. Use the DIM PVW button to dim the preview of all keyers using a mask in that M/E or PGM/DSK, or to turn off the pr eview dim function so that the preview never dims r egardless of masking.
2-16 Section 2— Startup and Configuration Beeper Preferences Y ou may wish to customize the beeper alert system. Beeper prefer ences are selected on the Configuration/User Pr eferences Menu/Beeper Prefer ences Menu shown below . BEEPER ON/OFF — Use to enable or disable the beeper alert system.
2-17 Software Setup Defining System Defaults Use the Define Defaults Menu to change the default values that are stor ed in memory and used when the switcher is turned on.
2-18 Section 2— Startup and Configuration E-MEM Preferences You may wish to customize the E-MEM system. E-MEM preferences are selected on the Configuration/User Preferences Menu/E-MEM User Preferences Menu shown below. RUN LEVER — Use to enable or disable the E-MEM run lever .
2-19 Software Setup Setting System P arameters Use the System Parameters Menu to set the aspect ratio (ratio of television picture width to height), to select the matte generator chroma limiting algorithm, and to set the system clock.
2-20 Section 2— Startup and Configuration Using Field Dominance If the Model 2200 output is going to be recor ded onto tape that will later be edited along with other tape, it is important that changes take place consistently on the same field.
2-21 Software Setup The MATTE GEN LIM button is used to choose the matte generator chroma limiting algorithm. The selections ar e: XMITABL – Prevents the total signal (luminance and chrominance) fr om exceeding the NTSC transmission standard.
2-22 Section 2— Startup and Configuration Setting the System Clock Use the Set Clock Menu to set the system date and time. 1. From the System Parameters Menu, press the SET CLOCK > soft button to display the Set Clock Menu. If the date and/or time are incorr ect, they may be reset as follows: 2.
2-23 Software Setup 4. Set the time by selecting TIME with the SELECT button and using the soft knobs to select the (HOUR), (MINUTE), and (SECOND). 5. Press the CONFIRM button to enter the new time. 6. Press the top level CONFG button to return to the Configuration Menu.
2-24 Section 2— Startup and Configuration Configuring Switcher Inputs Primary video and key inputs to the switcher are number ed 1 through 64. Any of these inputs can be treated as either a video signal or a key signal. Each input, including Black and Background, can be mapped to any vertical column of source select (“cr osspoint”) buttons.
2-25 Software Setup Inputs Use the Inputs Menu to enter or change the various configuration settings for your inputs. INPUTS MENU /config/inputs ANLG KEY INPUTS > ANLG VIDEO INPUTS > ANLG INPUT.
2-26 Section 2— Startup and Configuration Setting Analog Video Inputs Use the Analog V ideo Inputs Menu to select the component format with setup or no setup for each analog video input. 1. From the Inputs Menu, press the ANLG VIDEO INPUTS > button to select the Analog V ideo Inputs Menu as shown below .
2-27 Software Setup Setting Analog Ke y Inputs Use the Analog Key Inputs Menu to select the component format for each analog key input. 1. From the Inputs Menu, press the ANLG KEY INPUTS > button to select the Analog Key Inputs Menu as shown below .
2-28 Section 2— Startup and Configuration Setting Analog Input Timing Use the Analog Input T iming Menu to match the timing of each analog/key input to the key bus. From the Inputs Menu, pr ess the ANLG INPUT TIMING > button to select the Analog Input T iming Menu.
2-29 Software Setup Mapping Crosspoints Use the Map Inputs Menu to define the format for each video or key input. NOTE: This function is applied to a key input only if the external key is being used with video or superblack. From the Inputs Menu, pr ess the MAP INPUTS > button to select the Map Inputs Menu.
2-30 Section 2— Startup and Configuration 4. Use the appropriate soft knob to select the desired type of input. Note that input formats are displayed when selecting input type.
2-31 Software Setup Naming Crosspoint Buttons After mapping the input, you may name the crosspoint by pressing NAME XPT BUTTON > . The Name Xpt Button Menu appears as shown below . 1. Select each character by turning the soft knobs located to the right of the menu display .
2-32 Section 2— Startup and Configuration Formatting Chroma K ey Inputs If you have installed the optional Chroma Key Inputs, you need to assign input formats. Use the Chroma Key Inputs Menu to select and adjust chroma key parameters. 1. From the Chroma Key Inputs Menu, select the appr opriate input to change.
2-33 Software Setup Assigning GPI Inputs Use the GPI Inputs Menu to set GPI assignments for signals that can be used to trigger Model 2200 functions. These assignments must correspond to the physical GPI connections described earlier in this section. Eight GPI inputs are pr ovided.
2-34 Section 2— Startup and Configuration 2. T o assign the GPI inputs, first press GPI SELECT to select the desired input. 3. Select the type of category to be assigned (Misc, Auto T rans, etc.) by pressing the appr opriate soft button. 4. T urn the FUNCTION SELECT knob to assign a specific function (Aux T ally , etc.
2-35 Software Setup 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, F-F, and F-F PST BLK CUT — Enables selection of the Cut GPI function.
2-36 Section 2— Startup and Configuration Configuring Outputs Select OUTPUTS from the Configuration Menu. The OUTPUTS Menu shown below appears: 1. Select the desired output from PGM, M/E 1 PGM or M/E 2 PGM with the OUTPUT SELECT button.
2-37 Software Setup 3. Use the CHROM LIMITER button to set the chrominance to the following conditions: ■ PEAK — keeps the chrominance between 100% chr oma saturation levels ■ OFF — allows chr.
2-38 Section 2— Startup and Configuration OUTPUT DIGITAL RESOLUTION MENU config / outputs / digital res OUTPUT SELECT RESOLUTION/ DITHER 2200 OUTPUT SELECT M/E 1 CLEAN M/E 2 PGM M/E 2 CLEAN AUX 1 AU.
2-39 Software Setup Configuring External Interfaces The External Interface menus set the operating parameters for the Editor Interface, DPM Interface, and the GPI Interface. The External Interface Menu is shown below: Press the EDITOR I/F> button to advance to the Editor Menu.
2-40 Section 2— Startup and Configuration Setting Editor P or t P arameters The Editor Interface Menu shown below allows you to set the Baud, Parity and Switcher Address for the switcher editor port, J3, on the Com I/O Module in Slot C1. 1. Select the desired switcher editor port BAUD rate with the BAUD button.
2-41 Software Setup Configuring GPI Outputs Use the GPI Outputs Menu to set E-MEM levels for each assigned GPI. Y ou can also set up GPI outputs which trigger each time there is a cut on the PGM Bus, and set the length of the GPI trigger signal. This menu is accessed from the Config/External If Menu.
2-42 Section 2— Startup and Configuration DPM Configurations 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.
2-43 Software Setup The system defaults to all aux buses being part of the MISC E-MEM level. When an aux bus is configured for use with an external DPM, its settings are no longer saved in the MISC level but ar e saved in the relevant DPM level when an E-MEM r egister is learned.
2-44 Section 2— Startup and Configuration system is the logical arrangement of channels (1, 2, 3), not the physical channels used. In systems with multiple DPM channels, it is desirable to have a predictable r elationship between aux buses and DPM channels (e.
2-45 Software Setup 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.
2-46 Section 2— Startup and Configuration There ar e circumstances wher e output routing is not desirable. For example, the DPM may have more than 5 channels. In that case, a router or patch panel may be inserted between the switcher and Kaleidoscope ( Figure 2-4 ).
2-47 Software Setup Control Connection 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 and Kaleidoscope.
2-48 Section 2— Startup and Configuration Peripheral Bus II (P ort A3 Only) — PBusII is used for run control of effects using triggers. W ith current software, PBusII triggers ar e learned into the MISC E-MEM level.
2-49 Software Setup For Kaleidoscope: 1. Set the DPM TYPE to KSCOPE. 2. T urn the VIDEO DELAY soft knob to select 2 FIELDS . It is important to set this delay correctly . 3. T urn the CONTROL DELAY soft knob to select 6 FIELDS . 4. Press the PORT ASSIGN button to assign POR T A1 to the DPM.
2-50 Section 2— Startup and Configuration Processor and pr essing the RESET button located near the top of the Control Pr ocessor module. Communication should now be established between the Model 2200 and Krystal. For a DPM-700: 1. Set the DPM TYPE , to OTHER FIXED .
2-51 Software Setup Kaleidoscope Source Button Mapping The DPM K’Scope Sources Menu, shown below, allows you to map Kaleidoscope video source crosspoints to your switcher video source crosspoints. The first time you use this menu you must set user defaults.
2-52 Section 2— Startup and Configuration Mapping DPM A ux 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. 2. Select the desired device (1 through 4) by pr essing the DEVICE SELECT button 3.
2-53 Software Setup For example: T o use Kaleidoscope physical Channel D, you must assign at least 4 physical aux buses to DPM use (physical Aux 4 mapped to physical Channel D).
2-54 Section 2— Startup and Configuration Example 1: Switcher-to-Kaleidoscope Configuration Figure 2-4. Switcher-to-Kaleidoscope Cabling – Ex. 1 1 2 3 4 A B C D E F Switcher Aux Bus Kaleidoscope P.
2-55 Software Setup Example 2: Switcher-to-Kaleidoscope Configuration Figure 2-5. Switcher-to-Kaleidoscope Cabling – Ex. 2 1 2 3 4 A B C D Aux Bus Switcher 1 E F G H 1 2 3 4 Aux Bus Switcher 2 Kalei.
2-56 Section 2— Startup and Configuration The following sample menu shows how you might set up the DPM Map Aux Buses Menu for use with Kaleidoscope. DPM MAP AUX BUSES MENU DEVICE SELECT DPM 1 CHAN A.
2-57 Software Setup Mapping DPM Inputs Set up the Kaleidoscope video and key return input numbers as follows: 1. From the DPM Setup Menu, press DPM MAP INPUTS> to bring up the DPM Map Inputs Menu. 2. Select the desired device (1 through 4) by pr essing the DPM SELECT button.
2-58 Section 2— Startup and Configuration 6. Set up the aux bus format as described under the Aux Bus Format heading later in this section. Make sure that any aux buses assigned to Kaleidoscope are configur ed for KEY operation of their B aux buses.
2-59 Software Setup 3. Select LOG CHANNEL with the LOG/PHYS ASSIGNMENT button. 4. Rotate the VIDEO 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 .
2-60 Section 2— Startup and Configuration Select the desired switcher peripheral port BAUD rate and parity parameters. These should be set the same for the switcher and the peripheral device. For a DPM-700 set the baud rate to 38400 and parity to NONE .
2-61 Software Setup 1. From the Peripheral Interface Menu, press PERIPHERAL TRIGGERS> to open the Peripheral Triggers Menu. 2. Increment TRIGGER SELECT to select the designator to be assigned (A through H). 3. T urn the DEVICE NUMBER soft knob to select the peripheral device to which that trigger will be sent.
2-62 Section 2— Startup and Configuration The device functions for a DPM–700 depend on whether the DPM is operating in trigger mode, or E-MEM recall mode, as listed in Table 2-2 .
2-63 Software Setup Formatting A ux Buses There ar e nine pairs of Aux buses on the Model 2200, designated A1 through A5, and B1 through B5. Aux pairs one through four are not configurable (video/key only). Aux buses pair five can be configured as video/video or video/key signals.
2-64 Section 2— Startup and Configuration The Aux Bus Shaping Menu allows you to select the output configuration to be always shaped or always unshaped on aux buses 1-4. Thus the configuration should be set according to the input needs of the external device connected to the aux bus.
2-65 Software Setup NOTE: Since the process of unshaping the video signal r esults in dividing the video signal by its key , level err ors, especially around black, may produce extr eme signal levels where the key is at or near zer o. Kaleidoscope ignores these extraneous signals, but they may cause problems with external sync separators or clamps.
2-66 Section 2— Startup and 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 Clear Work Buffer Operation Modes W ith V ersion 5.0 and later softwar e, there ar e four modes of operation for the CLEAR WORK BUFR button: ■ Single press of the CLEAR WORK B UFR 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 T o use an example, suppose you want to insert a green logo into some background video. Y ou could print the logo in white on black paper and then focus a camera on it. Y ou can then apply the signal from the camera to the switcher ’s keyer wher e it will be used as a key signal.
3-11 Keys Linear Key A linear key is similar to a luminance key except that the gain of the key is set to a value of one (also called “unity”) so that the edges of anti-aliased key sources ar e faithfully repr oduced.
3-12 Section 3 — Switcher Concepts Shaped and Unshaped Video Shaping and unshaping are generally involved only in keying and compositing situations. Whenever a key is performed, there ar e always three signals: the key source, the key fill (fill video), and the backgr ound video.
3-13 Shaped and Unshaped Video 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.
3-14 Section 3 — Switcher Concepts Super Black Super Black is a video level that is lower than the usual black level (7.5 IRE in NTSC; 0 IRE in P AL and Component video). It is inserted into the background of a video signal to impr ove the contrast for luminance self keying.
3-15 Chroma Key Chroma Key A chroma key is a key in which a particular color that you select in the background of a scene is detected and 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.
3-16 Section 3 — Switcher Concepts Both background and for eground suppr ession include menu controls for selecting the hue to be r eplaced and for adjusting the luminance and chrominance levels in the ar eas of the picture where suppr ession is applied.
3-17 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 .
3-18 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 .
3-19 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,.
3-20 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.
3-21 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 .
3-22 Section 3 — Switcher Concepts 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 which ar e delegated on the E-MEM Enables panel, the contents of the currently-selected E-MEM register , and the position of the T ime Cursor on the timeline.
3-23 Effects Send (Option) 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.
3-24 Section 3 — Switcher Concepts 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.
3-25 Mask Store (Option) The video, key , and mask outputs from the frame store ar e routed to the switcher crosspoint matrix and may be used as primary switcher inputs. The mask channel output may also be used as a source for the mask generators. The frame store outputs (video and key) ar e provided to output modules for use by external devices.
3-26 Section 3 — Switcher Concepts.
4-1 4 Switcher Operations About this Section This section of the User ’s Guide demonstrates basic operation of the Model 4000 series switcher .This section of the User ’s Guide demonstrates basic operation of the Model 4000 series switcher . Each operation is presented in number ed steps to add clarity to the procedur es.
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 NOTE: T o ensure that Preview Mode is set to Lookahead, access the Config/User Prefs/Pr eview Prefs Menu. Set PVW MODE on M/E 1 to LOOK AHEAD . 4. Select the M/E 1 BKGD A T ransition button. Only the B Bus scene will appear on the Preview monitor .
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 AU T O TRANS to do an automatic transition. T o pause an auto transition in progr ess, press A UTO TRANS again. T o r esume 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 R O TAT E Knob. RO T 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 — Complete The effect shown in Figure 4-7 was created as follows: Primary Wipe Geneator creates a rectangle wipe Secondary Wipe Generator creates a vertical wipe. The Primary mixes with the Secondary.
4-19 Wipe Operations Fade to Black Cut, wipe, or fade the switcher output to black at any time by simply pressing the PST BLA CK 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 RA TE . The query: SET WHICH RA TE? displays.
4-21 Wipe Operations 6. If entering a transition rate for an M/E, the display queries: KEY 1 RA TE = ? 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 RA TE = ? 8.
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 2. Select BKGD 2 . 3. Adjusting the matte controls (Hue, Saturation, and Brightness) will now affect the second matte color . 4. Press and hold the User Defined Wash button. Adjust the Softness, Offset (or position) to enlar ge the edge, or use TEXTURE to add a texture ef fect.
4-24 Section 4— Switcher Operations Luminance and Linear Keying 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 differ ently 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 source, select Keyer INVER T . For keying from a white on black sour ce, leave INVERT of f. 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 OP A CITY 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 subsection.
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 ( Figur e 4-9 ) cuts a key hole in the background in the shape of a wipe pattern. The pr ocedure 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 OP A CITY 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 Pattern 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 3. Select a neutral gray as the initial background signal. These adjustments can either be made manually or via an automatic setup mechanism. T o use the Auto Setup continue with the following text; to use the Manual Adjustment pr ocedur e r efer to page 4-37 .
4-37 Chroma Keying Operations Basic Manual Adjustment If you prefer , you may perform the initial adjustments manually . Following these steps once or twice gives you a feel for what Auto Setup does for you in a few seconds. 1. On the control panel, set the Key CLIP and GAIN approximately in the middle of their ranges.
4-38 Section 4— Switcher Operations c. Adjust GAIN slightly making the background bar ely opaque (black if looking at SHO W KEY ) d. Re-adjust CLIP slightly to make the for eground opaque and the GAIN slightly to make the background opaque in that order .
4-39 Chroma Keying Operations 2. T urn FGD RESHAPE off. 3. Optimize the CLIP and GAIN . Refer to Step 4 under Basic Manual Adjustment on page 4-37 , but do not start from scratch settings.
4-40 Section 4— Switcher Operations NOTE: Some artistic license may be used here: back off the LUMA background suppr ession to add some of the set's lighting variation present in the for eground signal into the backgr ound video, in essence creating shadows.
4-41 Chroma Keying Operations NOTE: SEC COLOR SUPRESSION is subtle and only applies to areas of the key which are translucent. a. Set SEC COLOR SUPPRESS to on, and set the SUPPRESS MODE to CHROMA . If you did not use Auto Setup, adjust the SEC COLOR SUPPRESS ANGLE to match the chroma keyer's hue.
4-42 Section 4— Switcher Operations NOTES: Key edge-cleanup is not possible if FGD RESHAPE is off. Attempting to make these adjustments in that mode most likely makes the key worse, not better . Y ou may also find adjusting LUMA backgr ound suppression also makes the edge less visible.
4-43 E-MEM (Effects Memory) Operations E-MEM (Effects Memory) Operations The E-MEM Effects Memory System includes 100 internal storage registers that you can use to stor e (learn), recall, and modify switcher panel setups. There ar e ten “banks” with ten registers in each bank.
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 ). 2. Y ou will need the following sources: a. Background still b.
4-49 E-MEM (Effects Memory) Operations 2. Press E-MEM Subpanel Enables buttons M/E 1 and PGM/PST (buttons light). (Y ou should have an effect set up on M/E 1. Y ou may want to have sources selected on the M/E 1 ‘A ’ and ‘B’ buses; one source selected on the PGM bus; and M/E 1 selected on the PST bus.
4-50 Section 4— Switcher Operations Recalling an Effect 1. T urn off the LEARN button if it is lit. 2. Select B ANK ↑ and 0 through 9 . (This step is optional if the bank that you want is already selected.) 3. Select the register pushbutton ( 0-9 ) containing the previously stored panel setup.
4-51 E-MEM (Effects Memory) Operations 4. Enter a rate from 0 – 999. If 1 or 2 numbers are enter ed, press ENTER to complete the rate entry . (If 3 numbers are used the completion is automatic.
4-52 Section 4— Switcher Operations Play Back the Sequence 1. Press SEQ . 2. Press B ANK 2 , then 3 (r egister 23), which is the first r egister in the sequence built above. 3. The sequence will execute. Undo Function The UNDO button revokes the most r ecent E-MEM operation.
4-53 Keyframe 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 .
4-54 Section 4— Switcher 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.
4-55 Keyframe Operations 5. Press REV . Press RUN . 6. The effect now runs backwards, starting at keyframe #2, and ending with keyframe #1. NOTE: If the Enable source (for example, M/E 1) has been de-selected, it will appear as if the effect has been erased.
4-56 Section 4— Switcher Operations 1. Recall the effect you created pr eviously . 2. REWIND the effect to keyframe 1. 3. W ith the M/E 1 backgr ound/key still enabled, select another wipe pattern and “fly” it around the monitor . 4. Press INSRT BEFOR .
4-57 Keyframe Operations 3. Use the E-MEM Run Lever , or the T imeline Menu RUN soft knob, to position the T ime Cursor to time 0:15f between keyframes 1 and 2. 4. Setup a new keyframe - chose a new wipe pattern and move it around. 5. Press INSRT AFTER .
4-58 Section 4— Switcher 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.
4-59 Keyframe Operations On delegated levels that are on a keyframe, modification of the keyframe occurs if something has changed. On delegated levels that are not on a keyframe, an insert “on-the-path” is done if something has changed. 1. Go to the keyframe you want to change.
4-60 Section 4— Switcher Operations Run through the following steps to see how to manipulate timelines. 1. Recall the previous effect fr om the E-MEM register . Display the T imeline Menu. The display shows the current position in the ef fect. A cursor (called the ‘time cursor ’) shows the current time position.
4-61 Keyframe Operations Setting and Adjusting Start Times T imelines can be moved in relationship with each other by changing the start time of one timeline. 1. Recall a multiple level effect using M/E 1 and M/E 2. 2. Select Delegates Mode on the Keyframe Menu.
4-62 Section 4— Switcher Operations Zoom and Pan Timeline Effects The ZOOM soft knob in the T imeline Menu is used to expand the timeline display for precise positioning of the T ime Cursor . This allows you to examine adjacent keyframes in detail when you have a long timeline effect.
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 Cut, Copy, and Paste Keyframes Y ou can change the position of keyframes with the Cut, Copy , and Paste functions. The current keyframe can be copied and r emoved from an ef fect by pressing CUT . NOTE: Be sure the level is not locked on the E-MEM r egister when doing cuts and pastes.
4-65 Keyframe Operations 4. Rewind and run the effect. Note that the first and last keyframes are identical. 5. Press GO T O KF , 4, ENTER . Press CUT . 6. Rewind and run the effect. Note that the effect is now back to its original form, and there ar e four keyframes total.
4-66 Section 4— Switcher Operations Constant Duration Mode Constant Duration editing changes the way keyframes are inserted and deleted. In Constant Duration mode, adding or deleting keyframes does not change the total effect duration. It does modify the preceding keyframe duration to keep the total effect duration the same.
4-67 Keyframe Operations HOLD stops a crosspoint fr om changing when an ef fect is r ecalled or a keyframe with new source information is encounter ed. All parameters hold at their starting values throughout the keyframe duration. HOLD stops the interpolation process between keyframes, causing a “pop” between changed positions.
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 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 number ed 5 and 6, respectively .
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 LOG 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. In addition, the Drop Shadow featur e lets you produce a “positionable” drop shadow when using Frame Stor e with a key source.
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) 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 Frame Store Operations (Option) Mask Store Option The Mask Store function pr ovides the ability to freeze and stor e mask signals to use in building effects. This function r equires version 5.2 software and new Frame Stor e and Mask Store hardwar e.
4-78 Section 4— Switcher Operations Setting the BRUSH SOFTNESS to a low number ( Softness=0% ) creates a har d-edged brush which prevents leaks.) First, pr ess the FILL SHAPE button to get a “cross hair” cursor . Then touch the graphics tablet pen inside the shape to be filled; the filling action begins.
4-79 Frame Store Operations (Option) Softening a Mask Store Image Soften the edges of a Mask Store image using the soften function available in the Mask Store Menu.
4-80 Section 4— Switcher Operations Setting up the Mask Draw 1. Use one of the two operations listed below to view the Mask Draw function: ■ Using the Map Inputs Menu, map a switcher crosspoint button to the Mask Store, then select that cr osspoint for viewing.
4-81 Frame Store Operations (Option) Mask Draw Using Key Channel Software V ersion 5.2 and later allows the Mask Draw feature to be used in a Model 2200 Switcher (the Model 2200 does not have a Mask Store module available) or in a Model 4000 Switcher which does not have the Mask Store Option installed.
4-82 Section 4— Switcher Operations 6. Use one of the two operations listed below to view the Key Store while using the Mask Draw featur e: ■ Using the Map Inputs Menu, map a switcher crosspoint button to the Key Store, then select that cr osspoint for viewing.
4-83 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.
4-84 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.
4-85 Floppy Disk Drive Operations b. Press the NAME FILE button to complete this menu and invoke the Name File Menu. 3. In the Name File Menu, select the characters “Effect1” in the File Name box, then press the A CCEPT NAME button. (A maximum of eight characters may be used.
4-86 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.
4-87 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.
4-88 Section 4— Switcher Operations 4. Use VIEW BY NAME to list filenames in the curr ent directory in alphabetical order . 5. Use VIEW BY EXT to list filenames by extension (such as .Rnn, for register , or .CFG, for configuration) in the curr ent directory in alphabetical order .
4-89 Floppy Disk Drive Operations Deleting Directories 1. Highlight the desired directory in the Disk Menu. 2. Press DELETE FILE . CA UTION Y ou are allo wed to delete all e xisting files and subdirectories within a director y you choose to delete . A Delete Menu dialog bo x will notify you of this bef ore you perf or m the delete.
4-90 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.
A-2 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.
A-3 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 .
A-4 Appendix A — Shaped and Unshaped Video Examples of Operation With Shaped & Unshaped Fill Video NOTE: Since the shaped fill video must be accurately timed to the key signal, it normally must come from the same external device that generates the key .
A-5 Examples of Operation With Shaped & Unshaped Fill Video Figure A-3. Appearance of Shaped V ideo From DPM Figure A-4. Appearance of Unshaped V ideo From DPM.
A-6 Appendix A — Shaped and Unshaped Video 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.
A-7 Examples of Operation With Shaped & Unshaped Fill Video Figure A-6 shows what the video looks like on the monitor when the SHAPED/UNSHAPED selection is made correctly in the menu.
A-8 Appendix A — Shaped and Unshaped Video Figure A-7. Corr ect Unshaped Keying Operation x x + Invert Background Keyhole in Background Key Foreground (Key Fill) UNSHAPED selected in Map Inputs Menu.
A-9 Examples of Operation With Shaped & Unshaped Fill Video 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.
A-10 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.
A-11 Examples of Operation With Shaped & Unshaped Fill Video Figure A-10. Incorr ect Operation with Unshaped Input x + Invert Background Keyhole in Background Key Foreground (Key Fill) Unshaped Un.
A-12 Appendix A — Shaped and Unshaped Video 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.
A-13 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 preferr ed setting if the designation device can accept it.
A-14 Appendix A — Shaped and Unshaped Video When the Effects Send option is not pr esent, the SHAPED/ UNSHAPED selections for the Aux Buses are not visible in the menu. Figure A-12. Model 3000 Outputs Menu (Softwar e v5.0) For the Model 4000 or Model 2200: 1.
A-15 Output Shaped and Unshaped Video When the Effects Send option is not pr esent, the VIDEO/KEY FMT selections are not visible in the menu. Figure A-13.
A-16 Appendix A — Shaped and Unshaped Video Installation Considerations The concepts presented in this appendix ar e helpful when designing a video facility , interconnecting equipment, and configuring the equipment.
A-17 Installation Considerations 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.
A-18 Appendix A — Shaped and Unshaped Video.
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 ■ Enabled and delegated (appears in T imeline menu; title is highlighted) ■ Enabled but not delegated (appears in T imeline menu; title is not highlighted) Level enables and delegations are both contr olled via the ENABLES buttons on the E-MEM panel.
B-4 Appendix B — Keyframe Facts be modified. Those levels which are enabled but not delegated will not be modified. It is recommended that you do selective insertions of keyframes by using the DELEGA TES function. That is, that you only insert a keyframe on a level if it has value.
B-5 Keyframe Path Control Path Vectors With respect to the path between keyframes, each keyframe is made up of three vector parameters as shown below. The soft knob controls act on these vector parameters to adjust the path into (entry) and out of (exit) the keyframe.
B-6 Appendix B — Keyframe Facts Tension Control In the example below, the keyframes are at right angles so the TENSION control operates on a 45° line drawn through the keyframe. This line is referred to as the Tension Vector and is parallel to a line drawn between adjacent keyframes (see illustration).
B-7 Keyframe Path Control In Example 2, the TENSION control is increased to 1.00, so that the Tension vector is shortened to non-existence through KF2. The path enters and leaves the middle keyframe in a straight line as it takes on an S-Linear motion; decelerating as it enters the middle keyframe and accelerating as it leaves.
B-8 Appendix B — Keyframe Facts In Example 3, the TENSION control has been set to -1.00. This produces an effect of lengthening the Tension vector, causing the path through the middle keyframe to be longer and broader. The longer path will appear to make the image speed up through KF2 as it travels from KF1 to KF3.
B-9 Keyframe Path Control Continuity Control The continuity adjustment determines the angle of the path into and out of the keyframe. It is represented by vectors at 90 degrees to each as shown in Example 4. Example 4 The unmodified path shown above is identical to the unmodified path of the other controls.
B-10 Appendix B — Keyframe Facts With continuity set to 1.00, the entry path through the keyframe is pulled to point at the following keyframe or exit path. The effect of 1.00 continuity is that of motion dropping into and then out of the keyframe, similar to a bouncing ball (see Example 5).
B-11 Keyframe Path Control With continuity set to -1.00, the paths between the keyframes become straight lines, accelerating through the keyframe (see Example 6).
B-12 Appendix B — Keyframe Facts Bias Control The BIAS control determines whether the path will be “pulled” towards the previous or the following keyframe. With extreme settings, all of the biasing will occur either before or after KF2. With bias set to 0, the curve through the keyframe is gentle as shown in Example 7 below.
B-13 Keyframe Path Control With the bias set to 1.00, the path is pulled towards the previous keyframe. Entrance and exit to the keyframe are on a straight line from the previous keyframe (see Example 8), and the path of the effect travels completely through KF2 before turning towards KF3.
B-14 Appendix B — Keyframe Facts With the bias set to -1.00, the path is pulled towards the following keyframe. Entrance and exit to the keyframe are a straight line pointed to the following keyframe (see Example 9).
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.
C-2 Appendix C — Super Black 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).
C-3 Using the Super Black Output 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 .
C-4 Appendix C — Super Black 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 .
C-5 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 V ideo Channel 4 -> Program Key The Configuration/Outputs menu allows you to turn Super Black on for a particular output.
C-6 Appendix C — Super Black.
G-1 G Glossary A Abort: An instruction used to terminate execution of a computer program or routine. Accumulating Latch: Electronic cir cuitry that allows several signals to be latched on at the same time and then combined to produce a compound ef fect.
Glossary G-2 Backgr ound Video: (1) V ideo that forms a background scene into which a key may be inserted. Background video comes fr om 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 G-3 C Caption: See T itle. Character Generator: An electronic device that produces letters, numbers, and symbols for video output. Chroma: The attribute of light combining hue and saturation, independent of intensity . The color perceived is determined by the relative pr oportions of the three primary colors.
Glossary G-4 Control Pr ocessor: A circuit or gr oup of circuits used to generate or alter contr ol signals. CPU (Central Processing Unit): The section of a computing device that controls and causes the execution of instructions. A CPU on a single chip and is called a microcomputer .
Glossary G-5 setup change smoothly over a predetermined time to those of another effects setup. E-MEM® (Effects Memory): A GVG effects- memory system capable of storing and recalling switch and contr ol settings of switcher effects configurations. Encoded Chroma K ey: A chroma key which uses an encoded video signal (e.
Glossary G-6 Background, and the sour ce selected on B Background becomes selected on A Background. Floppy Disk: An electr onic device which is capable of storing data and programs for ease of retrieval and use by a computer . (Also see Hard Disk.) Frame: One complete video picture consisting of two interleaved fields.
Glossary G-7 Hue: The attribute of light (wavelength, frequency) which determines the color perceived (r ed, blue, green etc). Specified by phase relationship to color burst in composite video. Any saturated color which is not one of the three primaries may be treated as a combination of two primaries.
Glossary G-8 Load: T o transfer data to or from a storage device. Looping Input, Loop-through: An input that includes two connectors. One connector accepts the input signal, and the other connector is used as an output for connecting the input signal to another piece of equipment or to a monitor .
Glossary G-9 Modem: A device that converts signals from a form compatible with data processing equipment to a form compatible with transmission facilities (such a telephone lines) and vice versa.
Glossary G-10 Pattern Limit: A transition limit in which a preset position of the pattern edge between two video signals is stored in micropr ocessor memory . Full movement of the Mix/Effects lever arm or Auto T ransition performs a mix or wipe to or from the pr eset limit.
Glossary G-11 RAM (Random Access Memory): A computer memory system that allows rapid storage and retrieval of information. It is (usually) considered volatile in that the information is lost if power is interrupted. Raster: The area of a TV pictur e tube that is scanned by the electron beam.
Glossary G-12 Split Key: A key mode in which the key signal and the key video are fr om differ ent sources. Spotlight: A highlight effect pr oduced by superimposing a full-strength video signal shaped by a wipe pattern over an attenuated (darkened) signal from the same video source.
Glossary G-13 Video Key: A self key or chroma key in which the fill signal is video from the video key source or a matte fr om one of the matte generators. W Wipe: A transition between two video signals that is defined by the shape of a pre-selected pattern.
Glossary G-14.
Index-1 A Analog Input Timing setup 2-28 Analog Key Inputs assigning 2-27 , 2-28 Analog Video Inputs assigning 2-25 , 2-26 Aspect Ratio setup 2-19 Auto Delegation 3-4 Auto Setup, Chroma Key 4-36 AUTO .
Index-2 Index D Date set 2-22 Defaults GVP Factory 3-2 User Defined 3-2 Deleting Files and Directories 4-91 DIM PVW button 2-15 Downstream Keyer 4-31 DPM Aux Bus assignments 2-52 Control Point Languag.
Index-3 Index F Fade to Black 4-19 Features optional 1-3 standard 1-2 Field Modes, Frame Store 4-77 Fill, Luminance Key 3-9 Floppy Disk Drive Deleting Files and Directories 4-91 Loading Configuration .
Index-4 Index Pan 4-66 Paste 4-67 Path Control B-4 Put 4-68 Timelines 4-62 Zoom 4-66 Keyframe Path Menu 4-69 Types Curve 4-70 Hold 4-70 Linear 4-69 S-Linear 4-69 Krystal, setup 2-49 L Levels in Effect.
Index-5 Index Peripheral Bus set triggers 2-60 Peripheral Interface configuring 2-59 Peripheral Port BAUD rate 2-60 Peripheral Trigger assigning 2-60 Power Supplies physical description 1-4 Preset Bus.
Index-6 Index V Video Processing functional description 1-10 Video, Frozen image 3-24 View Files and Directories 4-90 W WIDTH 4-13 Wipe Background 4-11 Definition 3-8 Transition 4-31 Z Zoom, Keyframe .
Un punto importante, dopo l’acquisto del dispositivo (o anche prima di acquisto) è quello di leggere il manuale. Dobbiamo farlo per diversi motivi semplici:
Se non hai ancora comprato il Tektronix 2200 è un buon momento per familiarizzare con i dati di base del prodotto. Prime consultare le pagine iniziali del manuale d’uso, che si trova al di sopra. Dovresti trovare lì i dati tecnici più importanti del Tektronix 2200 - in questo modo è possibile verificare se l’apparecchio soddisfa le tue esigenze. Esplorando le pagine segenti del manuali d’uso Tektronix 2200 imparerai tutte le caratteristiche del prodotto e le informazioni sul suo funzionamento. Le informazioni sul Tektronix 2200 ti aiuteranno sicuramente a prendere una decisione relativa all’acquisto.
In una situazione in cui hai già il Tektronix 2200, ma non hai ancora letto il manuale d’uso, dovresti farlo per le ragioni sopra descritte. Saprai quindi se hai correttamente usato le funzioni disponibili, e se hai commesso errori che possono ridurre la durata di vita del Tektronix 2200.
Tuttavia, uno dei ruoli più importanti per l’utente svolti dal manuale d’uso è quello di aiutare a risolvere i problemi con il Tektronix 2200. Quasi sempre, ci troverai Troubleshooting, cioè i guasti più frequenti e malfunzionamenti del dispositivo Tektronix 2200 insieme con le istruzioni su come risolverli. Anche se non si riesci a risolvere il problema, il manuale d’uso ti mostrerà il percorso di ulteriori procedimenti – il contatto con il centro servizio clienti o il servizio più vicino.
