Overture1 Preliminary Operations Manual

Transcript

Important Contact Information Main Office Echolab,INC 267 Boston Rd. Billerica, MA 01862 USA Phone: 978 715 1020 Fax: 978 262 0179 Echolab main office hours: 8am - 5pm Eastern time, Monday through Friday USA regional and international sales manager hours: 8am - 5pm local time Support Hotline: 978 715 1030 (24 hours, 7 days) Main sales email: [email protected] Main support email: [email protected] LEGAL DISCLAIMER NOTICE TO USER Copyright 2008 Echolab,INC . All rights reserved. This manual or the software described herein, in whole or in part, may not be reproduced, translated, or reduced to any machine-readable form without prior written approval from Echolab,INC . ECHOLAB,INC PROVIDES NO WARRANTY WITH REGARDS TO THIS MANUAL, THE SOFTWARE OR OTHER INFORMATION CONTAINED HEREIN AND HEREBY EXPRESSLY DISCLAIMS ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PARTICULAR PURPOSE WITH REGARD TO THIS MANUAL, THE SOFTWARE OR SUCH OTHER INFORMATION. IN NO EVENT SHALL ECHOLAB,INC BE LIABLE FOR ANY INCIDENTAL, CONSEQUENTIAL OR SPECIAL DAMAGES, WHETHER BASED ON TORT, CONTRACT, OR OTHERWISE, ARISING OUT OF OR IN CONNECTION WITH THIS MANUAL, THE SOFTWARE OR OTHER INFORMATION CONTAINED HEREIN OR THE USE THEREOF. Echolab,INC reserves the right to make any modification to this manual or the information contained herein at any time without notice. The software described herein may also be governed by the terms of a separate user license agreement. Introduction Purpose of This Manual This manual provides instructions for installing and operating the Overture 1 SD production switcher. It also includes specifications, contacts for service and support, and warranty information. Manual Organization This manual is organized into several chapters. Earlier chapters provide overview and introductory materials, while later chapters provide specific instructions and in-depth switcher information. Several appendixes provide useful reference information. Chapter Summaries Getting aquainted with the Opera Chassis Installation Connecting the switcher cables and preparing for the first startup. Startup Instructions for turning on the switcher for the first time Panel Controls, Indicators and Menus General panel overview Transitions How to perform basic switcher transitions Keying How to use keyers for layered video effects Aux Selection DVE Moves Using the Frame Buffer How to use the frame buffer for storing and capturing images Adjusting Transition Rates Using Colorizers Changing Switcher Configuration How to customize the switcher for your environment Opera 3408/16 Memory Card Details about the memory card format and use Importing and Exporting Graphics How to import and export graphics using the optional Echolab Graphics Utility Tool. Specifications Detailed technical and operational specifications and dimensions Warranty Information The limited warranty. Getting Acquainted with the Opera Chassis All inputs not intended to be used with the internal frame syncs, must be genlocked to the same system timing as the switcher. Input timing has a +/- 18 microsecond timing window, so additional timing adjustments are not necessary. All inputs may be mapped to any panel crosspoint using the configuration file. In addition to external inputs, Opera has two color matte generators, one frame buffer, and two alpha frame buffers (for organic wipes) that may be accessed by crosspoint. System on Chip Technology The most important development of the Echolab Opera Series of Dual - Format Video Production Switchers is that it is virtually a complete 'system on a chip' solution. The compact switcher's engine is a single Xilinx Virtex-II Pro chip which is feature-driven through Echolab proprietary firmware. The innovative chassis is 6RU with a rack depth of a mere 7.2 inches; weighing in at under 6 pounds! It is perfect for small studios, ideal for OB Vans and highly portable for almost any type of production environment from control rooms to classrooms. Single chip architecture also means low power consumption, extremely quiet operation, far fewer points of failure due to the massive reduction in overall required parts, and no added thermal intrusion to your rack. Opera Input and Output Chassis Layout Tally Thirty-two mappable contact closure tallies in four banks of eight. The common on any bank can accept either ground or external voltage for flexibility of installation. GPIO Three general-purpose input and two general purpose output triggers can be easily assigned for an array of switcher functions. Memory card The compact flash memory contains the user configuration file and allows internal storage for 100's of stills and organic wipes. Allows for graphic and macro storage and retrieval independent of network. Status Lights Status lights provide reliable monitoring of genlock, processor and disc activity. Ethernet 10/100-Mb Ethernet ports, supporting simultaneous connections to the outside world through Web, TFTP & XML-RPC servers. Genlock Serial digital reference for system timing. REQUIRED for proper operation. Edit / serial ports The serial port supports EIA RS-232. The edit port supports EIA RS-422 (SMPTE slave) Panel connection The panel is connected to the frame using standard shielded 75ohm coax BNC cables. The chassis can be up to 300 meters away. Mode The incredibly powerful Mode switch allows for loading different versions or operator configurations at start up of the switcher. There are eight available modes per compact flash card. Upgrades are quick and easy, and you can always boot from a previous working version. Dual - Format inputs Accepts Analog or SDI external sources. Inputs have available internal Frame Sync. All inputs may be mapped to any panel cross point. System technology The revolutionary Opera 'system on chip design' offers unprecedented value and performance with fewer points of failure and flexible upgrade path. Analog &SDI outputs One Program output is dedicated and Auxiliary Outputs are routable from the panel. All outputs are timed. Power Low power consumption under 30 amps. 110-220V Switchable. Installation Installation Notice 1. Caution: The Overture 1 production system contains hazardous live voltages. Trained service personnel should open the chassis and Overture 1 enclosure only. Disconnect all power sources before opening chassis door or front panel enclosure. 2. Note well: The Opera chassis & Overture 1 panel front panel have independent sources of power. (Universal input:110-220 VAC, 50/60Hz) 3. Replace chassis door or enclosure panels before re-energizing the system. 4. Your Opera system should be installed in a well-ventilated area on a firm stable surface or securely rack-mounted. 5. Install programmed flashcard before booting system. 6. Set Mode Switch to zero. 7. Connect digital SDI to GenLock. 8. Connect the Overture 1 panel to Opera chassis as follows: i. TX to RX ii. RX to TX CE Compliant The letters 'CE' are an abbreviation of Conformité Européenne, French for European conformity. Electric shock warning ISO 3864, Number 5036 C-Tick Certified EMC regulations in Australia and New Zealand (Pending) Installation Orientation The Opera Chassis is designed to set on a flat, non-conductive, surface or to be rack mounted. The panel is designed to set on a flat surface, but may be table mounted. Power The power supplies for the chassis and panel are auto sensing between 100 and 240 volts AC. Conditioned, un-interruptible power is recommended. Memory Card Opera is supplied with two compact flash memory cards. The cards are loaded with the latest software. A Memory card is necessary to properly initialize the switcher on start up. The memory card also contains the user configuration file, stills, and organic wipes. Once the system is initialized, the card may be removed, but access will be lost to wipes and stills that are not already loaded to the panel memory. Figure 5.5 Memory Card Slot / Compact Flash card System timing Opera requires a continuous SDI signal connected to “Genlock” on the chassis. The switcher will not operate without a genlock signal. Black is recommended. Input Configuration The Opera comes with 2 types of Input modules; Analog or SDI. The analog inputs each need to be configured for which type of analog format is to be used. There is the additional setting for using the internal Frame Sync for that input. The SDI inputs only need to be set for using the internal Frame Sync. Configuring Analog Inputs Using the LCD buttons, from the Home menu select I/O to go to the Input and Output selection menu. Select INPUT Format. Select the crosspoint for an external analog source on Preview. Select an analog format from the options displayed on the LCD button menu: CMP – Composite YC – Y/C, SVHS YUV – Component YCbCr RGB – Component RGsB Select FRAME SYNC to turn on the internal frame sync for this source. Using the internal Fram Sync allows for the use of asynchronous sources. The Frame Sync will add up to 1 frame of delay to the source. Configuring SDI Inputs Using the LCD buttons, from the Home menu select I/O to go to the Input and Output selection menu. Select INPUT Format. Select the crosspoint for an external SDI source on Preview. SDI is the only format choice and will be shown as the default selection. Select FRAME SYNC to turn on the internal frame sync for this source. Using the internal Fram Sync allows for the use of asynchronous sources. The Frame Sync will add up to 1 frame of delay to the source. Saving Input Formats When in the Input selection menu, one of the soft keys is assigned for save. Pushing save will write the configuration file to the Compact Flash. The Inputs will maintain their configuration even after losing power to the chassis. NOTE: Saving from the Input selection menu also saves the analog configuration of the outputs. You want to configure your outputs, and then return to this menu to save. Mode Switch The Mode switch allows for loading different sets of User Configurations, or Modes, at start up of the switcher. To change configurations, dial up the number of the Mode desired and power up the chassis. Modes can be changed without turning off the panel. Serial Port The serial port is a standard female DB-9 connector. It supports EIA RS-232. Edit Port The serial port is a standard female DB-9 connector pinned as a SMPTE slave. It supports EIA RS-422. Ethernet The Ethernet connection is T-base 10/100 and can be configured for your network, or to create a network, using the Configuration file (See Operations: User Configurations). GPIO GPIs 1 through 4 as well as GPO 1,2 and 3 are brought out on this connector (Figure 3). The GPI inputs can be triggered by either a short to ground or a trigger from a TTL or bipolar level signal (+/- 12v max). GPOs are programmable to be pulses or a user-defined trigger length. GPIO is programmed using the User configuration file. (See Operations: User Configurations) GPO 1 GPO 2 GPI 1,2,3 Figure 3. GPIO connectionsTally There are 32 tallies available for your switcher. The tally connections function by providing an open collector output that provides a short to ground when selected (1/2 amp, 30V max.). Tally output pins are mappable using the User Configuration File. See the Section on Changing Switcher Configuration for information on Tally mapping. Tally A - Cameras 1-8 Tally B - Cameras 9-16 common Figure 4. Tally connections Panel Connection The chassis and panel are connected using two 75-ohm coax cables (not supplied) connected to the RX (receive) and TX (transmit) connectors; RX connects to TX, and TX to RX. The maximum separation is 300 meters. Figure 5.10 Panel connection jacks Startup Initializing System Power up the Opera Chassis and Overture 1 control panel. Make sure the SDI genlock source is connected to the chassis and the memory card is in the reader. Status Lights During initialization the green status light should blink and then go out. The red status light blinks if the memory card is not in the reader or not properly formatted and loaded. System Lights After initialization, all four system lights on the chassis (Figure 5) should be on: Main diagnostic Lighted when the system is running. Disk activity Lighted when data is being read from or to the memory card. CPU activity Flashes whenever the system is running (like a heartbeat). Genlock indicator Lighted when a genlock source is present. The system will not operate properly without a genlock source. Main diagnostic Disk activity CPU activity Genlock indicator Figure 5. System lights on chassis (frame) Verifying Successful Startup If the panel does not initiate to it’s Home configuration, check for proper genlock, secure panel connection cables and a properly inserted memory card. The Status Lights on the chassis will help. The LED strip above the Program bus should show Input names and positions as they are designated in the User Configuration file. See the section on Changing Switcher Configuration for more information. Menus The LCD buttons menu buttons are available on the M/E bank of your Overture 1 panel. This control area lends access to the various Menus used to operate the switcher. The Display, Rotary Encoders, and Soft Keys all work in conjunction with the Menus. The Display will show the assignments for the Rotary Encoders and Soft Keys as determined by which Menu is selected. The Home Menu has buttons to navigate to the designated menus for control of the following functions / features of the switcher: TAKE PATT – Menus for assigning the wipe patterns for transitions. DVE PATT-Menus for assigning DVE Transitions as well as Graphic wipes and Stinger Key. EFF KEYS – Menus for controlling the upstream keyers. DSK KEYS – Menus for controlling the 2 downstream keyers. FBUF – Menus for controlling the internal Frame Buffer(s). I/O – Menus for settings network addresses for the switcher and integrated products. RATES – Menus for setting the auto transition rates for Take, and all keyers and move rates for the DVEs. COLOR - Menus for controlling the 2 internal Color Matte Generators. AUX – Menus for assigning the Auxiliary outputs. Super Source-Menu for setting up and prioritizing your super source elements. Transitions Switching from one video source to another is the primary function of a video switcher. The functional block that performs this operation is the mix/effect block (M/E). The M/E accepts two video inputs and makes a single output (Figure 7). Normally, the program input is passed directly through to become program out. During a transition, program out is a combination of program input and preview input, eventually becoming entirely preview (Figure 8). Program In Program Out Preview In Figure 7 Mix/Effect block Figure 8 Transition example At the end of a transition, the sources applied to the program and preview inputs change places to return to the initial state of passing program input directly through the block (Figure 9). To indicate this flip-flop, the highlighted buttons on the program and preview buses of the panel are exchanged. If you complete a transition by moving the fader bar down, you initiate the next transition by moving the fader bar up. The direction will generally alternate between up and down after each transition. The fader bar indicator (Figure 1 on page 13) next to the fader bar displays the position and progress of the current transition. Figure 9 Source flip-flop after a transition Transition Types The mix/effect block (M/E) performs three types of transitions: Cut: Switch immediately to the preview source. Mix: Gradually fade from program to preview. Output is a linear combination of program and preview. Wipe: Use a moving borderline to reveal the preview and cover the old program. Dip: Uses the border source as the middle of the transition. Program video→Dip Through (border source)→Preview Source as the transition completes. DVE: Uses spins, swooshes, pushes, stinger and graphic wipes to perform transition. At the completion of a transition, the operator composes the next video scene on the preview input, then switches the scene to program at the desired time by using one of the transition types. The program and preview inputs are fed by a background video source and sometimes a combination of the effects keys layered on top of the background video. The operator continuously executes the cycle in Figure 10 to produce a show: • Start with program out • Specify modifications to the background video and keys • Examine the result on preview • Transition preview to program. Program Cut, Mix or Wipe to Program Modify Background and Keys Preview Figure 10 Look ahead preview cycle Next Transition The modifications to the current program output are controlled using the Next Transition Control buttons. The operator can change the background video or any of the effects keyers and include them in the next transition by pressing the desired button. If the background is involved in the next transition, the background video on the preview bus is selected using the preview bus buttons on the panel. If the background is not involved in the next transition, the background video is the same as the program. The effects keyers layer the key cut and fill sources over both program and preview sources independently. The small button above the key next transition buttons displays the state of the keyer on the program side of the me. If the button is lit, the keyer is active on the program side, and should be visible on program out. If a key is involved in the next transition, the state of the keyer over preview will be the opposite of what it is over program: • If the keyer is currently on, it will be turned off over preview. • If the keyer is currently off, it will be turned on over preview. If a key is not involved in the next transition, the state of the keyer over preview will be the same as it is over program. Keyers that are on stay on, and those that are off remain off. To include the background and keys or multiple keys in the next transition, the selected buttons must be pressed and released simultaneously as a group. A key can be directly cut between program and preview by pressing the small key status button at the top of the Next Transition group. Transition Examples The following examples show basic elements you will use repeatedly to produce shows with your Overture switcher. It illustrates the operation of the switcher with a few simple sources: • A background video source of a weatherman at a desk • A background video source of an outdoor scene • Key1 is a lower third graphic with the weatherman’s name • Key2 is a graphic with today’s record high temperature Initially, both keys are off and the weatherman is on program out (Figure 11). To transition to the outdoor scene, press the BKGD button, specifying that we intend to change the background video. The next scene appears on the preview monitor. Executing a transition switches the outdoor scene to program. Key 2 Key 1 PGM Bkgd PGM Out PVW Bkgd PVW Out BKGD ON ON ON ON KEY1 KEY2 KEY3 KEY4 Figure 11 Simple background transition To add the graphic in key 2, press the Key2 button in the Next Transition Control group. Any other buttons that were illuminated become unselected. The background on the preview side of the M/E is now supplied with a copy of the same source that is visible on program because we specified that we do not want the background involved in the next transition. Key2 is turned on over preview, showing the desired result of the next transition. Key 2 Key 1 PGM Bkgd PGM Out PVW Bkgd PVW Out BKGD ON ON ON ON KEY1 KEY2 KEY3 KEY4 Figure 12 Adding a key Next, we will return to the weatherman with his name keyed over the lower third of the screen. Doing this requires three changes to the current program output: • Change the background to the weatherman • Turn on key 1 • Turn off key 2 To indicate the changes in the next transition, simultaneously press the BKGD, KEY1 and KEY2 buttons (Figure 13). All three buttons are illuminated. Notice that the small button above Key 2 is illuminated, showing that Key2 is visible on program out. Key 2 Key 1 PGM Bkgd PGM Out PVW Bkgd PVW Out BKGD ON ON ON ON KEY1 KEY2 KEY3 KEY4 Figure 13 Switching the background and key As the last step in the example, we will remove the weatherman’s name several seconds after we have brought him to program out. To accomplish this, we need only involve key 1 in the next transition. The small button above the KEY1 button is illuminated (Figure 14), indicating that it is currently visible on program out. Key 1 is now turned off over preview, showing us how our final configuration will look. This final transition returns us to where we started the example: the weatherman with no keys. Key 2 Key 1 PGM Bkgd PGM Out PVW Bkgd PVW Out BKGD ON ON ON ON KEY1 KEY2 KEY3 KEY4 Figure 14 Removing a key Setting Up a Transition The operator chooses the type of transition and how to control its progress. Cut To execute a cut, press the Cut button. Program and preview are immediately exchanged. Mix To execute a mix, ensure that the Mix button is illuminated, or press it to select mix. The progress of the mix can be controlled either manually or automatically. Wipe Wipes require the selection of several additional parameters that control the appearance of the wipe. To execute a wipe, ensure that the Wipe button is illuminated or press it to select wipe. Next, choose shape of the wipe pattern on the Take Patterns menu page. Pressing the Wipe button displays a menu of wipe patterns on the LCD buttons (see Figure 1 on page 13). You can also navigate to the Take Patterns menu manually. The currently selected wipe pattern is highlighted in red. Two types of wipe patterns are available on the Take Patterns menu: classic patterns and organic wipes. These patterns are described in the following sections. Classic Wipe Patterns Classic wipe patterns include circles, squares, crosses, diamonds, horizontal and vertical bars. To select a wipe, press the button with the shape that you want to use for the next transition. The aspect ratio and center of some classic wipes can be adjusted. If the wipe is positionable, the joystick can move the center of the pattern horizontally and vertically around the screen. The aspect ratio can be adjusted using the Symmetry Knob or the Z axis of the Joystick. Adjusting the Symmetry will allow you to change circle and square wipes into ellipses and rectangles. Organic Wipes Organic wipes are controlled by the contours of a grayscale wipe image. The possible effects are complex matrix wipes, multiple rotary wipes and free flowing shapes. The control images for the 100 standard wipes are included in an appendix on page 95. An organic wipe is selected by entering the number of the desired pattern on the numeric keypad, then pressing the Organic button on the menu page. The light flashes briefly as the image is read from the Opera memory card. If an organic wipe is already selected, pressing the Organic button displays the number of the current pattern in the upper right corner of the display. Borders The appearance of the border between the Program and Preview is controlled by the rotary encoders (Figure 1 on page 13) when the Take Pattern menu is displayed. The edges of the wipe pattern can be adjusted between sharp and fuzzy using the softness rotary encoder. The width of the border is adjusted with the Border rotary encoder. If the border width is not zero, then some portion of the border source is visible. When the Take Patten menu is displayed, the select bus allows you to select a video source to display in the wipe border. One of the colors is frequently chosen as the source, but there is no restriction on the source selection. Dip Dip through utilizes the selected transition block border source as the center of the transition. The program output will “dip through” the border source on it’s way to the preview source at the assigned transition rate. DVE Transition DVE transitions allow you to predetermine a DVE effect to use as a transition. Graphic wipes as well as Stinger Keys are also available for these transitions. Wipe Direction Wipe patterns have a normal direction by convention. The normal direction for closed patterns such as circles, diamonds and boxes is to grow from the center of the screen and progress outward. When a wipe is reversed, closed patterns close in from the edges of the screen toward the center. The current status of the wipe direction appears on the soft keys when the Take Patterns menu is displayed. If the toggle button is selected, the wipe pattern will alternate between normal and reverse. The normal or reverse button is illuminated to indicate the direction of the next wipe. Controlling Transitions To mix automatically at a smooth rate, press the Auto button in the transition control block . The time required to complete the transition appears above the button. The duration of the transition can be adjusted as described in the manual section on Adjusting Transition Rates. To control the mix manually, move the fader bar from one end of travel to the opposite end. Pressing the Auto button while an auto transition is in progress stops the transition. Pressing the Auto button again resumes the transition. If you stop a manual transition before the end stop, pressing the Auto button will complete the transition. The fader bar indicator turns off, signaling that the fader bar has been disconnected from the transition. Moving the fader bar has no effect on transitions until the fader bar and the transition are synchronized at an end stop. To reconnect the fader bar, move it to one stop or the other. The last segment of the fader bar indicator lights at the end of travel. Transition Preview The preview output shows what will appear on program at the end of the next transition. Transition preview is used to see what your program will look like during the transition. To preview a transition, press the Transition Preview button . The button lights and the preview output switches to a copy of program out. Moving the fader bar performs the next transition on the preview output. (You cannot preview a transition that is already in progress.) During the transition preview, you can switch between transition types or change wipe parameters. You can push the fader bar all the way to the end of the transition. To end transition preview, return the fader bar to the end stop from which you started. At the end stop, the light in the Transition Preview button will go out and the preview monitor will return to normal operation. You are now ready to execute the transition. Preview transitions can only be controlled with the fader bar. The Auto button is disabled in transition preview. Keying Keyers create a layered video output by combining three input signals: • Fill video source • Key signal • Background video source The key signal defines an area of the fill video that will be inserted into the background video (Figure 15). The inverse of the key signal is used to cut a hole in the background video. The switcher then adds the two pieces together, inserting the fill into the hole that has been created in the background. Visually, it appears that the fill source has been “cut into” or “layered over” the background image. The Overture 1 gives you many powerful ways to use keyers in your production. This section will show you how to set up each kind of key. There are two things that must be done to set up a keyer: 1 Choose the fill video 2 Generate the key signal The method of generating and adjusting the key signal is what distinguishes the different types if keys. Fill Video Key Signal Keyer Background Video Figure 15. Keying signal flow The output of a keyer may become the background source of another keyer. This creates multiple layers of effects. When keyers are arranged in series, the last keyer in the chain has the highest priority. Its fill source will be the top-most layer of the resulting image. The initial step to setting up a key is to set which key type is desired. These selections are made using the EFF KEYS or DSK KEYS menus. For the Effects Keyers, the options are: LUMA KEY – luminence CK KEY – chromakey PATT KEY – pattern key DVE – DVE key Setting Up a Luminance Key In a luminance key, the key signal is generated by processing the luminance channel of a cut source video signal (Figure 16). The cut signal may be selected from any source that is available in the crosspoint array. An external character generator will typically produce cut and fill video signal, which will be connected to the external inputs of the switcher. Fill Video Cut Video Luminance Processing Key Signal Keyer Clip Gain Reverse Shaped Background Video Figure 16. Luminance key signal flow Luminance Key Adjustments Clip and Gain The two adjustments of a luminance key are the clip and gain. The clip level sets a threshold that defines the size of the key signal. If the clip is set to zero, the key will be clipped all the way in. With the clip set to 999, the key will probably not be visible. Adjust the clip level until the key hole is the desired size. The gain adjustment determines the softness of the key edge. Reverse The reverse key inverts the key signal. The cut and fill regions of the video swap when reverse is selected. Shaped Most character generators produce shaped keys. The cut source has already been carefully produced, to allow soft edges, drop shadows and transparency effects. The fill source exactly matches the cut source, and neither should be modified by keyer adjustments. Selecting Shaped applies the cut signal directly to the background and then adds in the already shaped fill source. When Shaped is selected, the clip and gain adjustments are removed. Setting Up a Chromakey A chromakey selectively replaces a color in the fill source with the background video. The most common example of a chromakey is a computer-generated weather map behind a weatherman. The weatherman stands in front of a carefully painted and lit wall that is typically bright blue or green. The chromakey electronically searches for this color, removes it from the fill source, and generates a key signal that displays the background source in the areas where the color has been removed (Figure 17). Fill Video Chromakey Processing Key Signal Keyer Hue Gain Ysup Lift Background Video Figure 17. Chromakey signal flow Select the Cut and Fill Source The cut and fill sources are selected using the select bus of the panel. To set up a keyer, navigate to the desired key menu using the LCD buttons Adding a keyer to the next transition will automatically navigate to the key menu for the selected keyer. Verify that the display above the select bus shows the name of the keyer you are setting up. Select CK KEY as the key type on the Keyer menu. You must select the source with the specially prepared chromakey backdrop as the fill source. Since the key signal is automatically generated from the fill source, the cut source is ignored. Chromakey Adjustments Hue The hue adjustment selects the color that will be replaced. Rotate the hue knob until the background keys through the desired color. Gain The gain adjustment determines how the colors around the select hue are keyed. Adjust the gain knob until the edges of the keyed region appear the way you want them. Ys - Luminance Suppression The luminance suppression adjustment sets the black level of the region where the chromakey level has been removed. Adjust the luminance suppression knob until the black level of the chroma removed region is correct. Lift Key lift should normally be set to zero for a well set up chromakey scene. Key lift allows very low saturation values of the keyed color to be excluded from key. Colored light spilling onto a neutral colored object in the foreground will sometimes cause small areas to key to the background source. Key lift allows you to fill these small holes in the key signal. Narrow The acceptance angle of colors around the selected hue should generally be as broad as possible to achieve natural looking chromakeys. Sometimes, if some colors in the Fill source are too close to the chromakey color, it may be hard to exclude them from the key. Selecting the Narrow button uses a smaller acceptance angle around the chromakey color. Selecting Narrow temporarily, may help you center the Hue adjustment. Setup with a Vectorscope It is sometimes instructive to set up a chromakey using color bars as the background source, and watching the result on a vector scope as you perform the following procedure. 1 Turn off Narrow and set Lift to 0. 2 Adjusting the hue knob will offset the black point, and the constellation of the 6 color bar dots will rotate around the screen. Adjust the hue until the color hex dots are centered around black. 3 Adjusting the gain will expand and contract the color vectors about the center. Adjust the gain until the color bars are near their target boxes on the vector scope. 4 Adjust the Y-suppression knob until the black level is correct. Setting Up a Preset Pattern Key Each effects keyer in the Overture 1 switcher has a dedicated pattern generator that can produce key signals in a variety of geometric shapes. The shapes can be sized and positioned to produce the desired key signal. Fill Video Pattern Generator Key Signal Keyer Pattern Size Position Symmetry Background Video Figure 18. Preset pattern key signal flow Select the Fill Source The cut and fill sources are selected using the select bus of the panel. To set up a keyer, navigate to the desired key menu using the LCD button Adding a keyer to the next transition will automatically navigate to the key menu for the selected keyer. Verify that the display above the select bus shows the name of the keyer you are setting up. Select PATT KEY as the key type on the Keyer menu. You need only select a fill source, since the key signal is generated by the pattern generator. The cut source is ignored. In place of a cut source, you must select a pattern from the pattern menu of the keyer that you are setting up. Select from two pages of available shapes. Preset Pattern Adjustments Softness The softness adjustment changes the softness of the edge of the key signal. Size The size adjustment increases and decreases the size of the selected pattern. X and Y position Some of the patterns may have their center point repositioned. To position a pattern, navigate to the pattern selection page of the keyer you are setting up. Use the joystick to move the pattern vertically and horizontally. See Appendix C: Wipe Library, to review which patterns may be positioned. To re-center the pattern, press the pattern select button of the current pattern in the menu. This will reset the position and symmetry of the pattern. Symmetry Some of the patterns may have their symmetry or aspect ratio adjusted. Circle patterns may be adjusted to become horizontal or vertical ellipses. The symmetry adjustment is on the Z axis of the joystick when you are on the pattern selection page of the keyer you are setting up. Twist the knob of the joystick to adjust its symmetry. Reverse The Reverse button is used to invert which region is filled with the fill source. For example, fill a region outside of a circle by positioning the circle wipe as desired and then selecting Reverse. Setting Up DVEs Upstream effects keyers have DVEs that can transform the fill and key signal used by the keyer ( The video sources may be resized, positioned in X and Y, and rotated about their center. See the manual section on DVE Moves for details about positioning and moving the DVEs. This section describes how to set up the keyer to display the output of the DVEs. DVE Fill Video Transform Keyer Size Position Rotation Key Generator Border Background Video Figure 19. DVE signal flow The DVEs may be used in one of two ways: • Create a “picture-in-picture” box, which may have a border. The DVE creates the key signal to insert the box into the background video. • Fly a key by transforming both the fill source and key that were created by some other key processing method. To use a DVE in the first manner, chose DVE as the key type for effect key 3 or key 4. Select the Fill Source Select the video source that will be displayed inside the box. Since the DVE will create the key signal for the box and border, the cut source is ignored. DVE Adjustments All adjustments are accessible from the DVE page of the menu. X and Y position The X and Y position of the DVE is adjusted with the joystick. Size The size of the DVE is adjusted with Z axis of the joystick. Twist the knob of the joystick to increase or decrease the size of the DVE box. H and V size Separately adjust the horizontal or vertical dimension of the DVE box with the H size and V size knobs. Border Adjust the width of the border using the Border Knob. The color of the border is adjusted in the Border sub menu. Rotation Spin the box around its center point with the Rotation adjustment knob. Rotation Reset Press Rot Reset to quickly set the rotation back to 0. DVE Reset Press DVE reset turns off the border, and positions the size and position of the DVE to full screen. If you ever lose track of the DVE during adjustment, you can press reset to bring the DVE to full screen, then squeeze it back into position. Flying a Key When flying a key, the DVE is a modifier of fill and key signals that have already been computed though some other keying method (Figure 20). A DVE may fly any type of key; Luminance, Chromakey or Preset Pattern. The key menus for Key3 and Key4 contain a Fly button. Pressing the Fly button turns on the DVE to transform both the Fill video and the key signal before the keyer. The DVE positioning controls are included in a sub-menu, and are similar to the controls discussed above. Inserting a Sign Language Interpreter in the lower left-hand corner of the screen is a good example of flying a key. The Interpreter is framed in full screen isolation. A preset pattern key can be positioned to key in just the Interpreter inside a circular key. Pressing the Fly buttons allows you to reduce the image of the Interpreter, and position it anywhere on the screen. This is accomplished using only a single keyer, without tying up resources required anywhere else in the switcher. DVE Fill Video Key Signal Transform Keyer Size Position Rotation Background Video Figure 20. Flying a key Key Memory A particular fill source will often be keyed in the same way at all times. As an example, the fill output from a character generator will always be keyed with the cut output from the character generator. If the output is a shaped key, then a shaped luminance key will always used. Since you invest time in setting up your keys, it is convenient to have the switcher remember the settings, and re-use them automatically in the future. This is the function performed by key memory. After setting up a key, pressing the Set Keymem button stores all of the settings from the current Keyer. If key memory is turned on, when you select a fill source for a keyer, all of the keyer settings that were stored for the selected Fill source are recalled. A key memory saved on a particular keyer, can be recalled on any other keyer with similar capabilities. Luminance keys can be saved and recalled on any of the Keyers in Overture 1. Preset Pattern and Chromakeys can be saved and recalled on all upstream keys. Key memories are stored on the Opera memory card, so they are retained by the switcher even when the power is off. Setting Up Key Memory Use these steps to set up key memories: 1 Turn off key memory. At the top level of the menus, ensure that the Key Mem button is not illuminated. If it is, press the button to turn it off. Since key mem automatically recalls keyer settings when a fill source is selected, it can be confusing to set up keyers with key memory enabled. 2 Select a source that will be used as a key fill source. Set up the keyer according to the correct section from above. After the key is adjusted the way you want, press Set Keymem. 3 Repeat step 2 for any other source that will be used as a key fill source. 4 Turn key memory on. 5 Verify your settings by preview a keyer, and select each fill source that you set up. The keyer should be properly configured for each source. 6 To save the current setting to the Opera memory card, return to the top level of the menu (HOME), and press Save Keymem. Note: If you turn off the switcher without saving the key memories to the memory card, your changes will be lost. To Clear a Key Memory for a fill source, hold shift and the “set KeyMem” selection will become “Clear Keymem”. You simply then press the fill source that you would like to clear. Key Masks Each keyer, Effects or DSK, has a adjustable mask. The Mask Menu is accessed through any of the Key menus. The mask consists of left, right, top, and bottom of the active video window. Adjusting Key Mask Select the Mask Menu. Note that the display now shows soft key assignments for mask and mask rst (reset). Turn on mask by selecting the soft key. Now the rotary encoders control the sides of the mask. Use the rotary encoders to adjust the mask. Mask Rst will reset to default values of no visible mask. KeyMems set for sources will retain mask settings. Aux Selection Defining Aux Outputs The Overture 1 production system has 12 routable aux outputs.These outputs are routable from the panel to any source, Program, Preview, or Cleanfeed. All outputs are timed. Selecting Aux Outputs Using the LCD buttons or direct access on the designation bus, select the aux bus to be routed. Any source (mapped to a crosspoint switch) can be selected as an output of an Aux by selecting that source on the Select Bus. Shifted sources will require the use of SHIFT with the select bus. In order to select Program (prog), Preview (prev), Cleanfeed 1 (clfd1), or Cleanfeed 2 (clfd2) you must select both SHIFT and CUT/FILL at the same time to access ‘Shift2’ selections. The switcher will perform a “clean” switch when changing sources through an Aux. DVE Moves Description of DVE Moves DVE moves can be set for immediate use, and saved for recall. Each move consists of 2 user-defined keyframes: A and B. From each keyframe, other moves are executable. Opera will interpolate the DVE action between the keyframes to create a smooth motion path. Building DVE Moves Using the LCD buttons, from the Home menu select EFF KEYS to go to the Effects Keyers menu. From the Key menu, select DVE as the key type. Now select MOVE MENU. Setting Keyframes Position the DVE for Keyframe A (start of move). Press Set Keyframe A. Position the DVE for Keyframe B (end of move). Press Set Keyframe B. Playing Keyframes After A and B keyframes are set, a number of moves are possible: When the DVE is at Keyframe A, Set Keyframe A will be lit. When the DVE is at Keyframe B, Set Keyframe B will be lit. To move from A to B, press Run to B. The move will execute at the rate specified as the Recall Rate. (See Operation: Sources and Transitions, Rates) To cut from A to B, press Shift + Run to B. The move will execute in 1 frame. To move from B to A, press Run to A. The move will execute at the rate specified as the Recall Rate. To cut from B to A, press Shift + Run to A. The move will execute in 1 frame. To move from either keyframe to full screen, press Run to Full. The move will execute at the rate specified as the Recall Rate. To cut from either keyframe to full screen, press Shift + Run to Full. The move will execute in 1 frame. To move from either keyframe to infinity (straight back from current position), press Run to Infinity. The move will execute at the rate specified as the Recall Rate. To cut from either keyframe to infinity, press Shift + Run to Infinity. The move will execute in 1 frame. After moving to infinity, press either Run to A or Run to B to return from the last infinity location. Run to Infinity also offers other executable moves. By entering a numeric argument, the DVE will move from it’s current position to infinity, in a specified direction. Directional table for Run to Infinity: 1. Upper left 2. Upper center 3. Upper right 4. Left center 5. Center 6. Right center 7. Lower left 8. Lower center 9. Lower right Note: The table corresponds with the location of the numbers on the numeric keypad. Saving DVE Moves To save a DVE move, enter a number and press Save Move. Recalling DVE Moves To recall a DVE move, enter a number and press RCL Move (recall). Creating Multi-keyframe moves You can link Saved Moves to create multiple keyframe moves. Position the DVE for Keyframe A (start of move). Press Set Keyframe A. Position the DVE for Keyframe B (end of move). Press Set Keyframe B. Enter a number (for this example, enter 10) and press Save Move. DO NOT MAKE ANY CHANGES TO THE DVE POSITIONING OR SIZE. Press Set Keyframe A. Position the DVE for Keyframe B (end of move). Press Set Keyframe B. Enter a number (for this example, enter 11) and press Save Move. Repeat the above process until you have saved all the keyframes for the move. Playing Multi-keyframe Moves Recall (for this example 10). The DVE will position at Keyframe A. Then, Run to B. Recall (for this example 11). Because Keyframe A of DVE Move 11 is the same as Keyframe B of DVE Move 10, the DVE will not change. Then, Run to B. Repeat the above process until you have recalled all the keyframes for the move. Using the Frame Buffer Accessing the Frame Buffer The Overture 1 system has (2) internal Frame Buffers (Fbuf). The Fbuf is used for capture and display of still images from video. Stills are saved “globally” and can be accessed by any operator Mode. (See the Chapter on Operation User Configuration.) Stills are stored on the Compact Flash card supplied with the switcher. There is room on the supplied CF card for approximately 200 stills. Frame Buffer controls Using the LCD buttons, from the Home menu select FBUF to go to the Frame Buffer menu. Frame Buffer sources Any source (mapped to a crosspoint switch) can be routed into the framebuffer by selecting FBuf on the designation bus. Shifted sources wil require the use of SHIFT with the select bus. Capture / Saving captured stills Select the Fbuf x-point on Program so it can viewed on a monitor. NOTE: This step is for monitoring only – Fbuf does not need to be selected on a x-point to Save or Recall a still. Select a source for the Fbuf (preferably with a moving image). FRZ (Freeze) should be off. The source should pass through the Fbuf. Press FRZ to capture a frame. Pressing FRZ again will release the frame and return to “pass through”. After capturing the desired frame, the Fbuf can be viewed as a frame or as a field. (Viewing as a field will reduce or eliminate inter-field jitter) The Fbuf defaults to FRZ FRAM (frame) on. To change the view to field, press FRZ FIELD. To save a still created in the Fbuf, enter a number and press SAVE FBUF. The still will be written to the Memory disk as a .nov file, referenced by the number selected, i.e. still10.nov. See the section on Importing and Exporting Nova Grpahics for more information on stills. Stills are saved “globally” and can be accessed by any operator Mode. CAUTION: there is no over-write protection for stills. Be careful not to overwrite other desirable stills. You may want to copy your stills to a computer or another compact Flash card. Recalling stills To recall a still, enter the number of the still and press RCL FBUF. Or, use the rotary encoder indicated for Framebuffer File to dial in a still by number, and press RCL FBUF. Note: Recalling stills are not instantaneous. You will see jittering as the still writes to the frame buffer. If it is desirable to recall stills on-air, make sure that Freeze Field is selected (lit). Now the stills will load and visually appear to transition as a horizontal wipe. Recalling Alphas Opera supports targa files with embedded alphas. For more information on using targas see the section on Importing and Exporting Nova Graphics. NOTE: To use alphas from the Frame Buffer, ALPH must be mapped as an available crosspoint. To recall an alpha, enter the number of the alpha and press RCL ALPHA. If you have a still with a corresponding alpha (they should have the same number) ente rthe number and press RCL BOTH. Deleting stills Stills can be deleted from the Memory card by editing on a computer. Locate the “stills” folder, and delete the still. Another option would be to “overwrite” the still, preserving the file and numbe Adjusting Transition Rates Controlling Transition Rates Using the LCD buttons, from the Home menu select RATES to go to the transition rates menu. Video Rates From the RATES menu select VIDEO RATES. The rotary encoders are now assigned for the different auto transitions available: TAKE – next transition DSK1 – downstream key 1 auto DSK2 – downstream 2 auto FTB – Fade to Black auto Use a rotary encoder to “dial-in” a rate, or the numeric keypad to enter a rate. Once the desired rate is entered, press the corresponding soft key to set the rate. DVE Rates From the RATES menu select DVE RATES. A DVE rate is the time allotted a DVE to move from a Keyframe to another Keyframe in a DVE Move. The rotary encoders are now assigned for the DVE1 and DVE2. Use a rotary encoder to “dial-in” a rate, or the numeric keypad to enter a rate. Once the desired rate is entered, press the corresponding soft key to set the rate. Using Color Matte Generators Controlling Color Matte Generators Using the LCD buttons, from the Home menu select COLOR to go to the Color matte grenerators menu. Adjusting the Colors From the COLOR menu select COLOR1. The rotary encoders are now assigned for adjusting the attributes for the color matte generator CLR1. From the COLOR menu select COLOR2. The rotary encoders are now assigned for adjusting the attributes for the color matte generator CLR2. Using the Color Matte Generators To use CLR1 and / or CLR2, they must be assigned as source crosspoints for the switcher. Saving Colors To save a color, enter a number using the numeric keypad and press the soft key assigned for save clr. Recalling Colors To recall a previously saved color, enter a number using the numeric keypad and press the soft key assigned for rcl clr. Opera Memory Card Memory Card Overview The Overture 1 comes standard with a 256 Mb CompactFlash memory card, pre-loaded with a default configuration from the factory. This card must be present when the switcher is first turned on, but can then be removed at any time after the switcher has booted without affecting switcher operation. It must however, be present for any file I/O operations to take place. The identity4 CompactFlash memory card interface has 2 main functions: Booting up the Overture 1 hardware and software configuration Providing an industry-standard storage medium for stills and effects. Supported Card Types The Opera switcher has been certified to operate with SanDisk CompactFlash memory cards up to 2 Gb in size. Due to the use of the FAT16 file system, cards larger than 2 Gb are not currently supported. Also, CompactFlash memory cards by manufacturers other than SanDisk Corp. are not certified to be compatible with the identity4, though other brands may be compatible. Some CompactFlash manufacturers, such as Lexar, have implemented high-speed caching for fast writes in digital photography applications. Memory cards with high-speed caching are not compatible with the identity4 switcher. Disk Formats Opera supports a FAT16 file system, similar to many digital cameras. It has a further requirement that the card must have a maximum of 1 reserved sector in the Master Boot Record. This is compatible with the way Windows 98, Windows NT, and Windows 2000 format a FAT16 file system. Cards can be successfully re-formatted under any of the above operating systems using the following syntax: format volume [/fs:file-system] [/a:UnitSize] for example: FORMAT D:/FS-FAT /A:1024 Formatting Memory Cards with Windows XP In Windows XP, the DOS format command formats the CF card with 2-8 reserved sectors depending on the density of the CF card. The DOS format command under Windows XP does not allow you to specify the number of reserved sectors needed, so an alternate formatting tool should be used. Some CF card readers are delivered with a disk formatting (or disk initialization) utility that formats the CF card with the expected default value of one reserved sector. You can install this utility or other third-party disk format utilities (that allow you to specify the number of reserved sectors) on your Windows XP machine and use it to format the CF card. Alternatively, you can use a non-Windows XP machine or a digital camera to format the CF card. Once the CF card is correctly formatted, you can use Windows XP to perform normal file access (read/write) operations without causing any additional problems. Echolab has also found a third-party utility on the web that can be used to successfully reformat a CF card to make it compatible with the identity4 switcher. This utility, mkdosfs.exe, can be found at the following Web site: http://www.mager.org/mkdosfs/ Use the default mkdosfs command to format the CF card. For example: c:\> mkdosfs D: The default mkdosfs command automatically formats the CF card in either FAT12 or FAT16 format, with at least two sectors-per-cluster, and only one reserved sector. Opera File and Directory Structure See Figure 21 for a sample of a typical directory image of a Opera CF card image Root directory Starting from the root directory, there is a single file named xilinx .sys that must not be edited or removed. This is an Echolab-generated file that points Opera to the appropriate sub-directories to boot the Opera system. There is also one file folder named “echolab.” This also must not be re-named or moved. Figure 21. Typical memory card directory structure Mode Sub-Directories Within the Echolab folder, there are eight different mode directories, named appropriately mode0 through mode7. These correspond to the mode switch on the front of the Opera, and contain the system and user files for each of the eight boot modes available on the mode switch, The system.ace file is a large binary file containing all the hardware and software files used to boot and run Opera. There are no user-editable functions within the system.ace file. Each mode sub-directory also has a config.txt file that stores user preferences for the way the switcher boots up in that mode. These user preferences include source naming and mapping, tally mapping and many other functions associated with customizing the switcher. See Appendix B on page 85 for more details about this file. There may also be a key.mem file in the mode sub-directory. If any key memories have ever been set up and saved while operating in this mode, this is the binary file where all those key memory parameters such as clip, gain and key source will be stored. No user editable functions here – key memories are set up and saved from the switcher front-panel only. NTSC and PAL Sub-Directories While the mode sub-directories hold information specific to a certain boot mode, the NTSC and/or PAL sub-directories contain files that are globally known from any boot mode. It is here that there are common storage sub-directories for full color stills, luminance-only alpha stills, and the targa files used for organic wipes. stills This directory contains full 24-bit color stills used with the Opera’s color frame-buffer functions. Stills in this directory are sequentially named as STILLxxx.nov, so that the stills can be recalled by number from the front-panel. The stills are stored in an Echolab specific .nov file format, in native 4:2:2. A Photoshop plug-in is available to read and write files in this format, as well as a pc-based graphics utility for file conversions. alphas This directory contains 8-bit alpha’s that can be recalled into the alpha frame buffer. These files are also sequentially named ALPHAxxx.tga, for easy recall. Note that these files are stored in a standard, un-compressed 8-bit TARGA file format. wipes This directory contains all the organic wipe patterns used by Opera. These files are sequentially named WIPExxx.tga, for easy recall. Note that these files are stored in a standard, un-compressed 8-bit TARGA file format, just like the alpha-channel files. Root Sub-Directory This sub-directory contains html files that are served up by the internal web-server when the Opera switcher is called up on a network. Importing and Exporting Opera Graphics The Nova and Opera families of switchers has optional software that enables you to use graphics effectively with your video production. The Nova / Opera Graphics Utility The Nova Graphics Utility is an optional software application for exchanging images between a computer running the Windows operating system and the frame buffer of the identity4 switcher. It also converts image files to and from the following formats: File Format Nova proprietary image format Targa Files 24 and 32 bit Windows Bitmap Image Graphics Interchange Format Joint Photographic Experts Group Portable Network Graphics Extension .nov .tga .bmp .gif .jpg or .jpeg .png Photoshop Format Conversion Plug-In The utility software includes a plug-in module for Adobe Photoshop image-editing software. If you have Photoshop software, installing this plug-in allows you to open and edit .nov files with Photoshop. It also converts any Photoshop-compatible image with the appropriate color mode and size directly to the .nov format. System Requirements The Nova Graphics Utility is compatible with computers running the Microsoft Windows 2000 or Windows XP operating system. Image Size and Aspect Ratio The Opera 3408/16 switcher operates in both PAL and NTSC video standards. Both PAL and NTSC video monitors have an aspect ratio of 4:3, but the active image areas have different numbers of pixels. Standard Horizontal Pixels Vertical Pixels NTSC 720 486 PAL 720 576 Neither standard has the ‘square pixels’ that are customary in the world of graphics on computer displays. You must work with your image editing tool to control aspect ratio distortion when your graphics are displayed on video screens with ‘non-square pixels’. The gamut, or acceptable color range, of video images is smaller than the gamut of computer images. Very saturated and bright colors produce gamut errors when converted to video. Some image editing tools provide filters to help you work within the limited range of legal video colors. There are many external references that contain helpful information on managing the aspect ratio, resolution and color challenges of displaying computer generated graphics on video. Installation and Setup Installing and Setting Up the Utility To install and set up the Nova Graphics Utility: 1 Insert the identity4 CD into the CD-drive of your computer. 2 Wait for the installation program to start. (If it does not, click the Windows Start button, click Run, click Browse, navigate to the CD-drive, double-click setup.exe, and then click OK.) 3 Follow instructions on the screen to complete the installation. 4 Remove the CD from the drive. 5 Click the Windows Start button, point to Programs, point to Nova identity4, and then click Nova Graphics Utility. 6 When the utility starts, click the Settings tab. 7 Type the network IP address for the identity4 switcher in the Nova IP Address box. 8 Type the path to the local or network-drive folder you use for storing image files or click the browse button and select the folder. 9 Select a default video format (NTSC or PAL) for your images. Installing the Photoshop Plug-In If you are running Adobe Photoshop software and want to install the Nova plug-in for opening and editing .nov files with Photoshop, follow these steps: 1 If you have not already done so, install and set up the Nova Graphics Utility as described in the previous section. 2 Exit from the Photoshop program if it is running. 3 Copy the file EcholabNova.8bi from C:\Program Files\Echolab Nova\Echolabs Graphics Utility\PhotoshopPlugin to the \PlugIns\File Formats sub-folder in the Photoshop program files folder. 4 Restart the Photoshop program. Transferring Images to the Opera Frame Buffer Use the steps below to transfer an image from your computer to the Opera frame buffer. The switcher and the computer must be connected to the network and the switcher IP address must be entered on the Settings tab as described in “Installation and Setup” on page 73, before images can be transferred between the computer and the switcher. 1 From the Conversion tab, click Open and select the file to be transferred. Note: You can also drag the image file from a Windows Explorer window and drop it into the picture area of the Conversion tab. 2 To transfer the color image to the identity4 frame buffer, click Export Color. To transfer only the alpha channel of the image, click Export Alpha. Note: The image is in the frame buffer and is not stored on the identity4 memory card. To save the image on the memory card, see page XX. If the selected image is not of the exact size required for video display, the software will resample the image, and convert it to the correct dimensions before sending it to the Opera. This may distort the aspect ratio of your image when it is displayed. Capturing Images from the identity4 Frame Buffer Use the steps below to save the image from the identity4 frame buffer on your computer local or network drive of your computer. 1 From the Conversion tab, click Import to display the image from the identity4 frame buffer in the image area of the Conversion tab. 2 Click Save As and select a drive and folder for the image file. Select a file format, type a file name, and click Save. Converting Images Use these steps to convert an image file to another format: 1 From the Conversion tab, click Open and select the file to be converted. Note: You can also drag the image file from a Windows Explorer window and drop it into the picture area of the Conversion tab. 2 Click Save As and select a drive and folder for the image file. Select a file format, type a file name, and click Save. Using the Photoshop Plug-In Module When using Adobe Photoshop and the Nova Graphics Utility plug-in to save an image in the .nov format, you must resize the image to 720x486 pixels (NTSC) or 720x576 pixels (PAL) and convert the image color mode to RGB before saving. Attempting to save an image with other dimensions or a different color mode will display a file-format module interface error. For more information about resizing images or changing color mode, see your Photoshop instructions or online help. Warranty Information Opera Swap Limited Warranty Echolab, INC warrants that this product will be free from defects in materials and workmanship for a period of 3 years from the date of purchase. If a product proves to be defective during this warranty period, Echolab, INC will provide a replacement in exchange for the defective product. In order to obtain service under this warranty, you the Customer, must notify Echolab, INC of the defect before the expiration of the warranty period and make suitable arrangements for the performance of service. Echolab, INC shall pay for the delivery of the replacement product to the Customer if the shipment is to a location within the country in which an Echolab, INC service center is located. The Customer shall be responsible for paying all shipping charges, insurance, duties, taxes, and any other charges for products returned to any other locations. Upon receipt of replacement product, the Customer shall be responsible for packaging and shipping the defective product to a designated service center nominated by Echolab, LLC, with shipping charges prepaid. This warranty shall not apply to any defect, failure or damage caused by improper or inadequate maintenance and care. Echolab, INC shall not be obligated to perform service under this warranty a) to repair damage resulting from attempts by personnel other than Echolab, INC representatives to install, repair, or service the product, b) to repair damage resulting from improper use or connection to incompatible equipment, c) to repair any damage or malfunction caused by the use of non-Echolab, INC parts or supplies, or d) to service a product that has been modified or integrated with other products when the effect of such a modification or integration increases the time or difficulty of servicing the product. Warranty Information THIS WARRANTY IS GIVEN BY ECHOLAB, INC IN LIEU OF ANY OTHER WARRANTIES, EXPRESSED OR IMPLIED. ECHOLAB, INC AND ITS VENDORS DISCLAIM ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. ECHOLAB, LLC’S RESPONSIBILITY TO REPAIR OR REPLACE DEFECTIVE PRODUTS IS THE WHOLE AND EXCLUSIVE REMEMDY PROVIDED TO THE CUSTOMER FOR ANY INDIRECT, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES IRRESPECTIVE OF WHETHER ECHOLAB, INC OR THE VENDOR HAS ADVANCE NOTICE OF THE POSSIBILITY OF SUCH DAMAGES. Appendix A: Technical Terms and Abbreviations The following terms are used throughout this manual. Back Panel Value The input module position on the I/O frame. Commands Numeric extended controls for functions not accessible from the front panel. To access the commands, enter the command number on the numeric keypad and then press COMM. Front Panel Value The X-Point button which has a back panel value. The back panel value may be the same or different depending on whether remapping of sources has occurred. I/O Input, output. Key The effect of electronically cutting one image into another including luminance, chroma, linear, and high gain. Each type of key provides a different method of cutting the foreground image into the background image. Keyer Dedicated controls on the control panel or Commander indicating the status and type of key used on an M/E. M/E A mix/effects bus, which includes the program/preview bus as M/E 0. Mix/Wipe Dedicated controls on each M/E which determine the type of transition between the A (Program) and B (Preview) bus. Opera Chassis The main frame Operator and User The person operating the identity4 Remapping Assigning an input or back panel value to a X-Point. Transition A mix effect or wipe effect. VFD Vacuum fluorescent display, or the common display located at the top of the control panel next to the numeric keypad. X-Point The bus source or input button (crosspoint). Appendix B: Configuration File Format NEW CONFIGURATION TOOLS ARE NOW AVAILABLE OPERATIONAL DOCUMENTATION IS SUPPLIED SEPARATELY Appendix C: Organic Wipe Library Standard Organic Wipes Index 2 Index Optional Organic Wipes Index 6 Index Index Index 13 Index Index Index OVERTURE 1 PRELIMINARY DOCUMENTATION FEBRUARY 2008