Blackmagicdesign Teranex 2D Processor Installation And Operation Manual

Windows

™

September 2012

Mac OS X

™

Installation and Operation Manual

Teranex 2D Processor

Welcome

Welcome to Teranex!

Thank you for purchasing a Blackmagic Design Teranex converter for your facility.

The Teranex converter you have purchased is an amazing quality standards converter that you will spend hours playing with to discover all the wonderful functions it has. I am still playing with it myself to see all the other things I can use it for! We have packed it with the latest SDI, HDMI and analog connections so you can use it to convert and connect anything!

One of the exciting advantages of the Teranex converter is the amazing quality of the conversions. It features a powerful SIMD processor that allows more complex calculations, allowing the Teranex to do a better job at processing video, removing ﬁeld movement, detecting cadence, noise reduction, timecode conversions, subtitle conversion and much more!

Enjoy exploring your Teranex processor and we all hope you have many years of enjoyment out of it. Please let us know of any ideas and features you would like to see, as we are constantly updating the software so it gets better and better!

Grant Petty

CEO Blackmagic Design

Contents

Teranex 2D Processor

Getting Started with Conversion

Introducing Teranex 5

Understanding the Teranex Processor 6

How to Set Up as a Standalone Converter 8

Connecting Video and Audio Hardware 9

Teranex 2D Processor Connection Reference Guide 12

How to update the Blackmagic Teranex Software 13

Getting Started with Capture and Playback

How to Set Up for Capture and Playback with Conversion 14

How to Set Up Waveform Monitoring 15

Connecting Video and Audio Hardware 16

Teranex 2D Processor Connection Reference Guide 19

Install the Blackmagic Teranex Software 20

How to update the Blackmagic Teranex Software 21

Capturing and Playing Back Video

Understanding the Control Panel

Teranex Processor Control Panel Layout 24

Control Panel LED Color Code 24

Input/Output Selection 25

Video Selection 25

Audio Selection 26

Video Format, Frame Type and Frame Rate Selection 26

Format Conversion Table 28

Aspect Ratio Selection 30

LCD User Interface and Menu Controls 35

Video Proc Amp 35

5

14

23 24

39

Presets 36

Status LEDs 37

Panel Lock / Power / Remote Lock 38

Understanding the LCD Menus

Main Menu 39

Video Menu 39

Color Correction Menu 40

Clip Menu 41

Aspect Fill 41

Proc Amp Menu 42

Test Patterns Menu 43

Advanced Menu 44

Clean Cadence 45

Scene Detection 45

Source Type 45

Frame Rate Conversion Aperture 46

Noise Reduction Menu 47

Bias 48

Split Screen On/Off 48

Red Overlay On/Off 49

Ancillary Data Menu 49

Closed Caption Menu 50

Timecode Menu 50

Video Index Menu 63

Setup Menu 65

Reference Setup Menu 66

Line Offset 67

Pixel Offset 67

Contents

Teranex 2D Processor

70

107

97

86

110 111 112 113

Video Setup Menu 68

No Input Menu 68

Input Analog Video Setup Menu 68

Output Analog Video Setup Menu 69

Audio Setup Menu 69

Using your Favourite Editing Software

Editing with your Teranex 2D Processor 70

Using Blackmagic System Preferences 71

Avid Media Composer 6 73

Adobe Final Cut Pro 7 77

Adobe Final Cut Pro X 79

Adobe Premiere Pro CS6 81

Adobe After Effects CS6 84

Adobe Photoshop CS6 85

Using Blackmagic Media Express

Using Blackmagic UltraScope

Blackmagic Disk Speed Test

Developer Information

Getting Help

Warnings

Warranty

Getting Started with Conversion

5

Introducing Teranex

The Teranex Processor is a high end video standards converter capable of extremely high quality image processing for standards conversion and format conversion, as well as 16 channels of frame accurate audio conversions. You can move from virtually any format to any other format in real time with literally hundreds of combinations, perfect for live production.

The Teranex Processor does not need a connection to a computer and you can just switch it on and push the buttons on the built-in control panel. The integrated LCD lets you view the incoming video signal and preview the conversion without even needing an external monitor.

When connected to a Mac OS X computer with Thunderbolt technology, the Teranex Processor can also be used for cleaning and converting content for authoring as well as video capture and playback for editing, design and effects. Alternatively you can use the Thunderbolt connection for waveform monitoring with the included Blackmagic UltraScope software!

If you want to update the internal software of the Teranex Processor with new features, bug ﬁxes, and increased compatibility with third party software and video devices, you'll need a Mac OS X or Windows computer with a USB connection to run the included Teranex Utility software. Please check the support page on our web site at www.blackmagicdesign.com for the latest version of software for your Teranex Processor.

Getting Started with Conversion

6

Understanding the Teranex Processor

The Teranex Processor features patented processing technology for the highest quality conversion between video standards, frame rates and resolutions. The incredible power of Teranex processing includes: up conversion, down conversion, SD/HD cross conversion, SD/HD standards conversion, cadence detection and removal, noise reduc tion, adjustable scaling, aspect ratio conversion including Smart aspect, timecode conversion, 16 channel audio processing, and more.

Proprietary PixelMotion de-interlacing, 3:2 detection and detail enhancement, combined with a powerful array processing module, provide the highest image quality up, down and cross conversions. The ﬁrst step in the conversion process is to identify whether the input material is video or ﬁlm originated so as to apply the appropriate ﬁlter to recover the full vertical resolution of the input material. The identiﬁcation process is fully automatic and selects either PixelMotion de-interlacing for video based material or 3:2 detection for ﬁlm based material.

PixelMotion De-interlacing

PixelMotion de-interlacing of video originated material produces perfect progressive frames in preparation for further processing. The processing aperture is adjusted on a pixel-by-pixel basis, which preserves all of the detail of the original interlaced image and eliminates jaggies in the output image, providing welldeﬁned edges on objects and producing the sharpest images possible.

3:2 Detection

3:2 cadence detection recognizes the redundant ﬁelds inserted during the conversion from 24 frames per second to 30. This advanced 3:2 pull down ﬁlter avoids frame rate conversion artifacts and provides the highest vertical resolution and motion quality.

Since the quality of the video de-interlacing is so high, there will be no difference visible in the vertical resolution seen with ﬁlm originated material and that of the de-interlaced video originated material.

Cadence Detection, Removal and Correction

Teranex is unique because it can automatically remove cadence (3:2 pulldown) from video when converting to 24 fps, even when the footage has been previously edited and suffers from ﬂash ﬁelds. That’s perfect for mastering clean online content! You can even take edited 3:2 sequences, remove the broken cadence and re-insert clean cadence all in one pass.

Improper cadence detection can cause a loss of resolution, resulting in moiré patterns. Advanced cadence detection eliminates these annoying moiré artifacts.

Before Cadence Detection

After Cadence Detection

Getting Started with Conversion

7

Aspect Ratio Conversion

Teranex supports a wide range of aspect ratios, including variable and ﬁxed aspect ratios. Also included is the proprietary Smart aspect that warps images from 4:3 to 16:9 without visible stretching of the center action area of the image that normally occurs.

Noise Reduction

Adjustable noise reduction controls offer a greater degree of temporal recursive noise reduction with fewer artifacts. A bias control allows the aggressiveness to be ﬁne-tuned. For ﬁlter performance testing, a Red Overlay can be applied that will color pixels red that are in motion.

Frame rate Conversion

Moving images exist in three dimensions. Firstly, in the horizontal direction, images are made up of individual pixels. Secondly, in the vertical direc tion, they are made up of the lines contained in the ﬁeld or frame. The combination is referred to as the spatial domain. Thirdly, the motion image is composed of a number of ﬁelds or frames per second, which is referred to as the temporal domain.

The process of frame rate conversion, also known as standards conversion, is a form of sample rate conversion in two or three of the above dimensions. It consists of expressing moving images sampled on a three-dimensional sampling lattice to a different three-dimensional lattice.

Frame rate conver sions generally involve changing the number of lin es and ﬁelds (or frames) per sec ond in an image. Examples of standards conversions include: 486i59.94 to 576i50; 720p59.94 to 1080i50; 1080i59.94 to 1080i50.

Teranex uses a process called linear interpolation to convert between these various spaces. Interpolation is deﬁned as computing the value of a sample, or samples, which lie outside the sampling matrix of the source signal. In other words, it is the process of computing the values of output samples that lie between the input samples. Teranex processing allows for the processing aperture to be adjusted to provide the optimal result.

Clean incoming source material in real time as a result of Noise Reduction.

Before Noise Reduction

After Noise Reduction

Getting Started with Conversion

8

How to Set Up as a Standalone Converter

This section guides you through how to set up your Teranex 2D Processor hardware as a standalone video format converter.

Connecting the Teranex 2D Processor as a standalone converter

Step 1. Connect power to one or both power sockets. The easiest way to power the Teranex 2D Processor

is to connect an IEC cable to its AC power socket. Alternatively the 12V DC military grade port can be used for external battery power and/or failover redundancy with an optional “brick” DC adapter.

Step 2. Connect cables between the video and audio connections on your Teranex 2D Processor and

your video equipment.

Step 3. If you are using analog or AES/EBU audio, rather than SDI or HDMI embedded audio, connect

common third party breakout cables to the DB-25 audio connectors for analog and AES/EBU audio. Pinout diagrams for the DB-25 audio connectors can be seen in the "Connecting Video and Audio Hardware" section of this manual.

Step 4. On the front panel press the IN button and set the video source to SDI, HDMI or Analog. If you

are using embedded SDI or HDMI audio, set the audio source to Embed. Otherwise select from AES or Analog audio. The processor will detect the format of the video input and automatically conﬁgure the unit. The integrated LCD will show the incoming video signal.

Step 5. Press the OUT button on the front panel and use the buttons to select your desired output format,

frame type, frame rate and also set the output aspect ratio if needed. Press “Accept” on the integrated LCD to conﬁrm the new selection. You will notice that all video and audio output buttons will be lit, indicating that all output types are active simultaneously.

MENU

HOME

MENU

1

MENU

2

REM LOCK

PANEL LOCK

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

ANAM

LBOX PBOX

ASPECT

SMART

14:9

CCUT

ZOOM

ADJ

REF IN Y/NTSC/PAL IN

SD/HD/3G-SDI

B-Y IN

IN LOOP OUT OUT

R-Y IN B-Y OUT R-Y OUT

Y/NTSC/PAL OUT

HDMI IN HDMI OUT

REMOTE IN/OUT

SD/HD/3G-SDI

Step 2.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K 1080

576

1080

FRAME

P

I

PSF

MENU

HOME

MENU

1

MENU

2

REM LOCK

PANEL LOCK

RATE

23.98

25

29.97 30

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

ANAM

LBOX

PBOX

ASPECT

SMART

14:9

CCUT

ZOOM

ADJ

L

R

GND +12V GND

AUX POWER

STEREO IN AES/EBU DIGITAL AUDIO IN/OUT

ANALOG AUDIO IN/OUT

REF IN Y/NTSC/PAL

IN

SD/HD/3G-SDI

B-Y IN

IN

LOOP OUT OUT

R-Y IN B-Y OUT R-Y OUT

Y/NTSC/PAL OUT

HDMI IN

HDMI OUT REMOTE IN/OUT

SD/HD/3G-SDI

Step 3.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K 1080

576

1080

FRAME

P

I

PSF

MENU

HOME

MENU

1

MENU

2

REM

LOCK

PANEL LOCK

RATE

23.98

25

29.97 30

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

ANAM

LBOX

PBOX

ASPECT

SMART

14:9

CCUT

ZOOM

ADJ

L

R

GND +12V GND

AUX POWER

STEREO IN AES/EBU DIGITAL AUDIO IN/OUT

ANALOG AUDIO IN/OUT

REF IN Y/NTSC/PAL

IN

SD/HD/3G-SDI

B-Y IN

IN

LOOP OUT OUT

R-Y IN B-Y OUT R-Y OUT

Y/NTSC/PAL OUT

HDMI IN

HDMI OUT REMOTE IN/OUT

SD/HD/3G-SDI

Step 1.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

1080

FRAME

P

I

PSF

MENU

HOME

MENU

1

MENU

2

REM LOCK

PANEL LOCK

RATE

23.98

25

29.97 30

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

ANAM

LBOX PBOX

ASPECT

SMART

14:9

CCUT

ZOOM

ADJ

Step 5.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

1080

FRAME

P

I

PSF

MENU

HOME

MENU

1

MENU

2

REM

LOCK

PANEL LOCK

RATE

23.98

25

29.97 30

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

ANAM

LBOX PBOX

ASPECT

SMART

14:9

CCUT ZOOM

ADJ

Step 4.

Getting Started with Conversion

9

Connecting Video and Audio Hardware

Your Teranex Processor includes a wide variety of input and output connections, providing a ﬂexible solution for just about any system conﬁguration you may have. Once you have connected and selected your input video and audio source, the video and audio output signals will be present on all of the output connectors simultaneously.

SD/HD/3G SDI Video and Audio

The Serial Digital Interface (SDI) input and output connec tions supports SD, HD and 3 Gb/s signals. To use the SDI signal as your video input, press the IN button on the front panel and then select SDI as your video source.

If your program audio is embedded in the SDI video input signal, you must select EMBED on the front panel.

A reclocked, SDI Input Loop connector is provided which always shows the SDI input signal regardless of whether the analog, HDMI or SDI input button has been selected on the front panel.

Analog Video

Both analog composite and component video sources are suppor ted in the Teranex Processor, and you may change which signal type you are using at any time. You will note that the BNC connectors labeled Y/NTSC/PAL serve double duty as connections for the Y (luminance) component signal OR NTSC/PAL composite video sources. You can deﬁne the desired analog video signal type, composite or component, via the front panel LCD menu.

If the analog video output is conﬁgured as composite, HD video output formats will be down converted to SD as a monitoring quality output. If the analog video output is conﬁgured as component, HD will be provided, as there is no need for downconversion.

Getting Started with Conversion

10

Analog Audio

Two methods of connecting analog audio are available:

 a DB-25 multi-pin connector for connecting 4 channels of balanced analog audio In and Out  a pair of RCA phono connectors for stereo left and right input.

The DB-25 connector is used for connection of 4 input channels and 4 output channels of balanced analog audio to the Teranex 2D Processor. An optional breakout cable is required, which is a standard Yamaha format cable for balan ced XLR connection s. This inexpensive breakou t cable may be purchased through many vendors, or may be fabricated using off the shelf connectors and cable.

For input of HiFi Stereo audio, a pair of RCA phono connectors are provided to permit connection of devices that have stereo unbalanced RCA audio outputs. These devices may include DVD players, VTR’s, etc. that do not have professional, balanced analog outputs.

When you select the ANLG button on the front panel as the audio input type, a menu page will appear on the front panel LCD allowing you to choose which of the two analog audio sources you want to use.

Teranex 2D Processor analog audio pin connections.

Analog

Audio Ch.

Hot Pins (+) Cold Pins (–) Ground Pins

1 IN 1 14 10

2 IN 2 15 12

3 IN 3 16 13

4 IN 4 17 22

1 OUT 5 18 23

2 OUT 6 19 24

3 OUT 7 20 25

4 OUT 8 21 25

13 12 10 8 7 6 5 4 3 2 1

25 24 23 22 21 20 19 18 17 16 15 14

DB-25 pin outs also compatible with Yamaha™, Mackie™,

Sony™ and Apogee™ connectors.

Getting Started with Conversion

11

AES/EBU Audio

A DB-25 connector is provided for connecting up to 8 input channels (4 pairs) and 8 output channels (4 pairs) of balanced AES/EBU digital audio to the Teranex 2D Processor. An optional breakout cable is required, which is a standard Yamaha format cable for balanced XLR connections. This inexpensive breakout cable may be purchased through many vendors, or may be fabricated using off the shelf connectors and cable.

HDMI Video and Audio

The Teranex Processor supports video and audio via HDMI inputs and outputs. Any audio associated with the HDMI input is treated as an embedded source, so you should select EMBED as the audio Input source to use it.

HDMI cable quality varies greatly so we recommend buying high quality cables from a high end video reseller. High quality cables help eliminate unwanted sparkles or glitches in the HDMI video input.

If you don't see video on the HDMI video input, even though you have a device connected, then you might want to check if the HDMI device you have connected uses HDCP. This content protection prevents the HDMI video from being seen on anything other than a television, so you won't be able to see images from these devices. Devices with HDCP include DVD players, and set top boxes.

In general, cameras and computers don't create content containing content protection, so you should not have any problems connecting these devices.

Please always be sure you have copyright ownership before using or displaying content publicly.

Teranex 2D Processor AES/EBU audio pin connections.

AES/EBU Audio Ch.

Hot Pins (+) Cold Pins (–) Ground Pins

1&2 IN 1 14 10

3&4 IN 2 15 12

5&6 IN 3 16 13

7&8 IN 4 17 22

1&2 OUT 5 18 23

3&4 OUT 6 19 24

5&6 OUT 7 20 25

7&8 OUT 8 21 25

13 12 10 8 7 6 5 4 3 2 1

25 24 23 22 21 20 19 18 17 16 15 14

DB-25 pin outs also compatible with Yamaha™, Mackie™,

Sony™ and Apogee™ connectors.

Getting Started with Conversion

12

Teranex 2D Processor Connection Reference Guide

DB-25 pin outs also compatible with Yamaha™, Mackie™, Sony™

and Apogee™ connectors.

DB-25 pin outs also compatible

with Yamaha™, Mackie™, Sony™

and Apogee™ connectors.

STEREO IN AES/EBU DIGITAL AUDIO IN/OUT HDMI IN

IN

REF IN Y/NTSC/PAL IN Y/NTSC/PAL OUTB-Y IN B-Y OUTR-Y IN R-Y OUT

LOOP OUT OUT

SD/HD/3G-SDI

HDMI OUT

ANALOG AUDIO IN/OUT

GND +12V GND

AUX POWER

L

R

REMOTE IN/OUT

SD/HD/3G-SDI

Power

Connection

B-Y In B-Y Out

Y/NTSC/PAL

In

Y/NTSC/PAL

Out

R-Y In R-Y Out

REF In

Analog Audio

In/Out

(4 Channels)

SD/HD/3G-SDI

In/Loop

SD/HD/3G-SDI

Out

HDMI In HDMI Out Remote In/Out USB

AES/EBU

Digital Audio

In/Out

(8 Channels)

Stereo In

L /R

+12V AUX

Power Connection

(Power Supply

Optional)

Thunderbolt

™

Ethernet

Getting Started with Conversion

13

How to update the Blackmagic Teranex Software

From time to time Blackmagic Design will release new software for your Teranex Processor, with new features, bug ﬁxes, and increased compatibility with third party software and video devices.

To update your Teranex Processor with new software, you need to use the Teranex Utility to connect to the Teranex Processor via USB. This utility checks the internal Teranex Processor software and lets you know if there is new software.

First, download the latest Blackmagic Teranex software and install it on your computer using the instructions in the Installing Blackmagic Teranex Software section of this manual. Once installed, the new software for your Teranex Processor will be included in the Teranex Utility.

Updating the Teranex Processor Software

Step 1. Connect the Teranex Processor via USB to your computer. The switcher chassis is equipped with

a mini-USB 2.0 port which can be connected to your computer's USB 2.0 or USB 3.0 port using a USB cable. When upgrading software, make sure there is only one Teranex Processor connected via USB to the computer running the Teranex Utility software.

Step 2. Launch the Teranex Utility software.

Step 3. If the Teranex Processor software requires updating, you will be prompted by a window asking

if you would like to update the software. Select Update Now to initiate the update process. The update process may take a few minutes. Do not unplug power from the Teranex Processor during the software update.

Step 4. Once the software update is complete, the Teranex Processor will automatically restart to enable

the new software.

Teranex Utility

Getting Started with Capture and Playback

14

How to Set Up for Capture and Playback with Conversion

This section guides you through how to set up your Teranex 2D Processor hardware with your computer for video capture and playback with conversion, including RS-422 remote deck control.

Connecting the Teranex 2D Processor to your computer

Step 1. Connect power to one or both power sockets. The easiest way to power the Teranex 2D Processor

is to connect an IEC cable to its AC power socket. Alternatively the 12V DC military grade port can be used for external battery power and/or failover redundancy with an optional “brick” DC adapter.

Step 2. Connect a Thunderbolt cable between the Teranex 2D Processor and a Thunderbolt port on your

computer, or to a Thunderbolt disk array which is attached to your computer.

Step 3. Connect cables between the video and audio connections on your Teranex 2D Processor and

your video equipment.

Step 4. If you are using analog or AES/EBU audio, rather than SDI or HDMI embedded audio, connect

common third party breakout cables to the DB-25 audio connectors for analog and AES/EBU audio. Pinout diagrams for the DB-25 audio connectors can be seen in the "Connecting Video and Audio Hardware" section of this manual.

Step 5. If you want to remotely control a video deck with RS-422 deck control, connect an RS-422 cable

between the RS-422 remote ports of the Teranex 2D Processor and the deck.

Step 6. On the front panel press the IN button and set the video source to SDI, HDMI or Analog. If you

are using embedded SDI or HDMI audio, set the audio source to Embed. Otherwise select from AES or Analog audio. The processor will detect the format of the video input and automatically conﬁgure the unit. The integrated LCD will show the incoming video signal.

Step 7. Press the OUT button on the front panel and use the buttons to select your desired output format,

frame type, frame rate and also set the output aspect ratio if needed. Press “Accept” on the integrated LCD to conﬁrm the new selection. You will notice that all video and audio output buttons will be lit, indicating that all output types are active simultaneously.

MENU

HOME

MENU

1

MENU

2

REM LOCK

PANEL LOCK

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

B-Y IN

LOOP OUT OUT

R-Y IN B-Y OUT R-Y OUT

Y/NTSC/PAL OUT

HDMI OUT REMOTE IN/OUT

SD/HD/3G-SDI

Step 2.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

1080

FRAME

P

I

PSF

MENU

HOME

MENU

1

MENU

2

REM

LOCK

PANEL LOCK

RATE

23.98

25

29.97 30

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

ANAM

LBOX

PBOX

ASPECT

SMART

14:9

CCUT

ZOOM

ADJ

L

R

GND +12V GND

AUX POWER

STEREO IN AES/EBU DIGITAL AUDIO IN/OUT

ANALOG AUDIO IN/OUT

REF IN Y/NTSC/PAL

IN

SD/HD/3G-SDI

B-Y IN

IN

LOOP OUT OUT

R-Y IN B-Y OUT R-Y OUT

Y/NTSC/PAL OUT

HDMI IN

HDMI OUT REMOTE IN/OUT

SD/HD/3G-SDI

Step 1.

MENU

HOME

MENU

1

MENU

2

REM

LOCK

PANEL LOCK

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

ANAM

LBOX PBOX

ASPECT

SMART

14:9

CCUT ZOOM

ADJ

REF IN Y/NTSC/PAL IN

SD/HD/3G-SDI

B-Y IN

IN LOOP OUT OUT

R-Y IN B-Y OUT R-Y OUT

Y/NTSC/PAL OUT

HDMI IN HDMI OUT

REMOTE IN/OUT

SD/HD/3G-SDI

Step 3.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

1080

FRAME

P

I

PSF

MENU

HOME

MENU

1

MENU

2

REM

LOCK

PANEL LOCK

RATE

23.98

25

29.97 30

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

ANAM

LBOX

PBOX

ASPECT

SMART

14:9

CCUT

ZOOM

ADJ

L

R

GND +12V GND

AUX POWER

STEREO IN AES/EBU DIGITAL AUDIO IN/OUT

ANALOG AUDIO IN/OUT

REF IN Y/NTSC/PAL

IN

SD/HD/3G-SDI

B-Y IN

IN

LOOP OUT OUT

R-Y IN B-Y OUT R-Y OUT

Y/NTSC/PAL OUT

HDMI IN

HDMI OUT REMOTE IN/OUT

SD/HD/3G-SDI

Step 4.

MENU

HOME

MENU

1

MENU

2

REM

LOCK

PANEL LOCK

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

B-Y IN

LOOP OUT OUT

R-Y IN B-Y OUT R-Y OUT

Y/NTSC/PAL OUT

HDMI OUT REMOTE IN/OUT

SD/HD/3G-SDI

Step 5.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

1080

FRAME

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I

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Step 7.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

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FRAME

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I

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Step 6.

Getting Started with Capture and Playback

15

How to Set Up for Waveform Monitoring

This section guides you through how to set up your Teranex 2D Processor hardware with your computer for waveform monitoring of your video input signal.

Connecting the Teranex 2D Processor to your Computer

Step 1. Connect power to one or both power sockets. The easiest way to power the Teranex 2D Processor

is to connect an IEC cable to its AC power socket. Alternatively the 12V DC military grade port can be used for external battery power and/or failover redundancy with an optional “brick” DC adapter.

Step 2. Connect a Thunderbolt cable between the Teranex 2D Processor and a Thunderbolt port on your

computer, or to a Thunderbolt disk array which is attached to your computer.

Step 3. Connect cables between the video and audio connections on your Teranex 2D Processor and

your video source equipment.

Step 4. If you are using analog or AES/EBU audio, rather than SDI or HDMI embedded audio, connect

common third party breakout cables to the DB-25 audio connectors for analog and AES/EBU audio. Pinout diagrams for the DB-25 audio connectors can be seen in the "Connecting Video and Audio Hardware" section of this manual.

Step 5. On the front panel press the IN button and set the video source to SDI, HDMI or Analog. If you

are using embedded SDI or HDMI audio, set the audio source to Embed. Otherwise select from AES or Analog audio. The processor will detect the format of the video input and automatically conﬁgure the unit. The integrated LCD will show the incoming video signal.

Step 6. Press the OUT button on the front panel and use the buttons to select your desired output

format, frame type, frame rate and also set the output aspect ratio if needed. You can set the output format to match the input format if you don't want any conversion. Press “Accept” on the integrated LCD to conﬁrm the new selection. You will notice that all video and audio output buttons will be lit, indicating that all output types are active simultaneously.

Step 7. Launch the Blackmagic UltraScope software on your computer. The video scopes will appear after

a few seconds and will allow you to monitor the converted output of your Teranex 2D Processor.

MENU

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B-Y IN

LOOP OUT OUT

R-Y IN B-Y OUT R-Y OUT

Y/NTSC/PAL OUT

HDMI OUT REMOTE IN/OUT

SD/HD/3G-SDI

Step 2.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

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GND +12V GND

AUX POWER

STEREO IN AES/EBU DIGITAL AUDIO IN/OUT

ANALOG AUDIO IN/OUT

REF IN Y/NTSC/PAL

IN

SD/HD/3G-SDI

B-Y IN

IN

LOOP OUT OUT

R-Y IN B-Y OUT R-Y OUT

Y/NTSC/PAL OUT

HDMI IN

HDMI OUT REMOTE IN/OUT

SD/HD/3G-SDI

Step 1.

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REF IN Y/NTSC/PAL IN

SD/HD/3G-SDI

B-Y IN

IN LOOP OUT OUT

R-Y IN B-Y OUT R-Y OUT

Y/NTSC/PAL OUT

HDMI IN HDMI OUT

REMOTE IN/OUT

SD/HD/3G-SDI

Step 3.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

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576

1080

FRAME

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I

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SYSTEM STATUS

PRESETS

1

3

5

2

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ANAM

LBOX

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ASPECT

SMART

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CCUT

ZOOM

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L

R

GND +12V GND

AUX POWER

STEREO IN AES/EBU DIGITAL AUDIO IN/OUT

ANALOG AUDIO IN/OUT

REF IN Y/NTSC/PAL

IN

SD/HD/3G-SDI

B-Y IN

IN

LOOP OUT OUT

R-Y IN B-Y OUT R-Y OUT

Y/NTSC/PAL OUT

HDMI IN

HDMI OUT REMOTE IN/OUT

SD/HD/3G-SDI

Step 4.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

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576

1080

FRAME

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SYSTEM STATUS

PRESETS

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ADJ

Step 6.

Step 7.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

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FRAME

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I

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Step 5.

Blackmagic UltraScope

Getting Started with Capture and Playback

16

Connecting Video and Audio Hardware

Your Teranex Processor includes a wide variety of input and output connections, providing a ﬂexible solution for just about any system conﬁguration you may have. Once you have connected and selected your input video and audio source, the video and audio output signals will be present on all of the output connectors simultaneously.

SD/HD/3G SDI Video and Audio

The Serial Digital Interface (SDI) input and output connec tions supports SD, HD and 3 Gb/s signals. To use the SDI signal as your video input, press the IN button on the front panel and then select SDI as your video source.

If your program audio is embedded in the SDI video input signal, you must select EMBED on the front panel.

A reclocked, SDI Input Loop connector is provided which always shows the SDI input signal regardless of whether the analog, HDMI or SDI input button has been selected on the front panel.

Analog Video

Both analog composite and component video sources are suppor ted in the Teranex Processor, and you may change which signal type you are using at any time. You will note that the BNC connectors labeled Y/NTSC/PAL serve double duty as connections for the Y (luminance) component signal OR NTSC/PAL composite video sources. You can deﬁne the desired analog video signal type, composite or component, via the front panel LCD menu.

If the analog video output is conﬁgured as composite, HD video output formats will be down converted to SD as a monitoring quality output. If the analog video output is conﬁgured as component, HD will be provided, as there is no need for downconversion.

Getting Started with Capture and Playback

17

Analog Audio

Two methods of connecting analog audio are available:

 a DB-25 multi-pin connector for connecting 4 channels of balanced analog audio In and Out  a pair of RCA phono connectors for stereo left and right input.

The DB-25 connector is used for connection of 4 input channels and 4 output channels of balanced analog audio to the Teranex 2D Processor. An optional breakout cable is required, which is a standard Yamaha format cable for balan ced XLR connection s. This inexpensive breakou t cable may be purchased through many vendors, or may be fabricated using off the shelf connectors and cable.

For input of HiFi Stereo audio, a pair of RCA phono connectors are provided to permit connection of devices that have stereo unbalanced RCA audio outputs. These devices may include DVD players, VTR’s, etc. that do not have professional, balanced analog outputs.

When you select the ANLG button on the front panel as the audio input type, a menu page will appear on the front panel LCD allowing you to choose which of the two analog audio sources you want to use.

Teranex 2D Processor analog audio pin connections.

Analog

Audio Ch.

Hot Pins (+) Cold Pins (–) Ground Pins

1 IN 1 14 10

2 IN 2 15 12

3 IN 3 16 13

4 IN 4 17 22

1 OUT 5 18 23

2 OUT 6 19 24

3 OUT 7 20 25

4 OUT 8 21 25

13 12 10 8 7 6 5 4 3 2 1

25 24 23 22 21 20 19 18 17 16 15 14

DB-25 pin outs also compatible with Yamaha™, Mackie™,

Sony™ and Apogee™ connectors.

Getting Started with Capture and Playback

18

AES/EBU Audio

A DB-25 connector is provided for connecting up to 8 input channels (4 pairs) and 8 output channels (4 pairs) of balanced AES/EBU digital audio to the Teranex 2D Processor. An optional breakout cable is required, which is a standard Yamaha format cable for balanced XLR connections. This inexpensive breakout cable may be purchased through many vendors, or may be fabricated using off the shelf connectors and cable.

HDMI Video and Audio

The Teranex Processor supports video and audio via HDMI inputs and outputs. Any audio associated with the HDMI input is treated as an embedded source, so you should select EMBED as the audio Input source to use it.

HDMI cable quality varies greatly so we recommend buying high quality cables from a high end video reseller. High quality cables help eliminate unwanted sparkles or glitches in the HDMI video input.

If you don't see video on the HDMI video input, even though you have a device connected, then you might want to check if the HDMI device you have connected uses HDCP. This content protection prevents the HDMI video from being seen on anything other than a television, so you won't be able to see images from these devices. Devices with HDCP include DVD players, and set top boxes.

In general, cameras and computers don't create content containing content protection, so you should not have any problems connecting these devices.

Please always be sure you have copyright ownership before using or displaying content publicly.

Thunderbolt

The Teranex Processor includes a super fast 10 Gb/s Thunderbolt port so you can connect it to your computer for capture and playback of video and audio. Simply plugging in a Thunderbolt cable transforms the Teranex Processor into a high end capture and playback solution with full software and SDK support. Now you can perform high quality conversions and capture all in one pass! With the Teranex Processor and included software, you get compatibility with editing software including Apple Final Cut Pro, Avid Media Composer and Adobe Premiere Pro, plus support for Adobe After Ef fects, Photoshop, Nuke

™

, ProTools, as well as the included Media Express and UltraScope software from

Blackmagic Design.

The Thunderbolt connection supports up to 16 channels of audio capture and playback.

Teranex 2D Processor AES/EBU audio pin connections.

AES/EBU Audio Ch.

Hot Pins (+) Cold Pins (–) Ground Pins

1&2 IN 1 14 10

3&4 IN 2 15 12

5&6 IN 3 16 13

7&8 IN 4 17 22

1&2 OUT 5 18 23

3&4 OUT 6 19 24

5&6 OUT 7 20 25

7&8 OUT 8 21 25

13 12 10 8 7 6 5 4 3 2 1

25 24 23 22 21 20 19 18 17 16 15 14

DB-25 pin outs also compatible with Yamaha™, Mackie™,

Sony™ and Apogee™ connectors.

Getting Started with Capture and Playback

19

Teranex 2D Processor Connection Reference Guide

DB-25 pin outs also compatible

with Yamaha™, Mackie™, Sony™

and Apogee™ connectors.

DB-25 pin outs also compatible

with Yamaha™, Mackie™, Sony™

and Apogee™ connectors.

STEREO IN AES/EBU DIGITAL AUDIO IN/OUT HDMI IN

IN

REF IN Y/NTSC/PAL IN Y/NTSC/PAL OUTB-Y IN B-Y OUTR-Y IN R-Y OUT

LOOP OUT OUT

SD/HD/3G-SDI

HDMI OUT

ANALOG AUDIO IN/OUT

GND +12V GND

AUX POWER

L

R

REMOTE IN/OUT

SD/HD/3G-SDI

Power

Connection

B-Y In B-Y Out

Y/NTSC/PAL

In

Y/NTSC/PAL

Out

R-Y In R-Y Out

REF In

Analog Audio

In/Out

(4 Channels)

SD/HD/3G-SDI

In/Loop

SD/HD/3G-SDI

Out

HDMI In HDMI Out Remote In/Out USB

AES/EBU

Digital Audio

In/Out

(8 Channels)

Stereo In

L /R

+12V AUX

Power Connection

(Power Supply

Optional)

Thunderbolt

™

Ethernet

Getting Started with Capture and Playback

20

Install the Blackmagic Teranex Software

After installing your hardware, the next step is to install the Blackmagic Teranex software.

Installing Blackmagic Teranex Software on Mac OS X

Before installing any software you will need administrator privileges.

Step 1. Ensure you have the very latest driver. Visit www.blackmagicdesign.com/support

Step 2. Open the “Blackmagic Teranex” folder from the disc or downloaded disk image and launch the

“Blackmagic Teranex Installer”.

Step 3. Click Continue, Agree and Install buttons and the software will be installed on your system.

Step 4. Now restart your computer to enable the new software drivers.

Plugins and Applications that are installed

The Desktop Video software installs the following components:

 Teranex Utility  Blackmagic Desktop Video drivers  Blackmagic Design system preference  Blackmagic Design LiveKey  Blackmagic Media Express  Blackmagic QuickTime

™

codecs  Blackmagic Disk Speed Test  Adobe

®

Premiere Pro, After Effects, Photoshop presets and plug-ins

 Apple Final Cut Pro

™

7 Easy Setups, presets and enablers

 Apple Final Cut Pro

™

X plug-ins

 Avid Media Composer 6 plug-ins

On Mac OS X, all the ﬁles needed to run your Teranex Processor will be installed into a folder called Blackmagic Teranex in the Applications folder. In this folder, you will see Teranex Utility which allows you to update the internal software via USB. Also included in the folder is this instruction manual.

In the Applications folder, you will see Blackmagic Media Express which allows you to capture and playback video when your Teranex Processor is connected to your computer via a Thunderbolt connection. Alternatively the Thunderbolt connection allows you to perform waveform monitoring of your video input using the Blackmagic UltraScope software.

Follow install prompts

Getting Started with Capture and Playback

21

Installing Blackmagic Teranex Software on Windows

Step 1. Ensure you have the very latest software. Visit www.blackmagicdesign.com/support

Step 2. Open the “Blackmagic Teranex” folder and launch the “Blackmagic Teranex Installer”.

Step 3. The software will now be installed on your system. An alert will appear: “Do you want to allow the

following program to install software on this computer?” Click Yes to continue.

Step 4. You might see a dialog bubble saying “found new hardware” and the hardware wizard will appear.

Select “install automatically” and the system will ﬁnd the required Teranex drivers. You will then receive another dialog bubble saying “your new hardware is ready for use.”

Step 5. Now restart your computer to enable the new software drivers.

Plugins and Applications that are Installed

The Blackmagic Teranex software installs the following components:

 Teranex Utility

The Blackmagic Teranex software also installs additional Blackmagic Desktop Video components which are used by other Blackmagic Design capture products when installed on the same computer:

Once the computer has restarted, all the Blackmagic Teranex software applications will be installed and can be accessed from Start > Programs > Blackmagic Design.

In the Teranex folder, you will see Teranex Utility, which allows you to update the internal software via USB. Also included in the folder is this instruction manual.

How to update the Blackmagic Teranex Software

From time to time Blackmagic Design will release new software for your Teranex Processor, with new features, bug ﬁxes, and increased compatibility with third party software and video devices.

To update your Teranex Processor with new software, you need to use the Teranex Utility to connect to the Teranex Processor via USB. This utility checks the internal Teranex Processor software and lets you know if there is new software.

First, download the latest Blackmagic Teranex software and install it on your computer using the instructions in the Installing Blackmagic Teranex Software section of this manual. Once installed, the new software for your Teranex Processor will be included in the Teranex Utility.

Follow install prompts

Teranex Utility

Getting Started with Capture and Playback

22

Updating the Teranex Processor Software

Step 1. Connect the Teranex Processor via USB to your computer. The switcher chassis is equipped with

a mini-USB 2.0 port which can be connected to your computer's USB 2.0 or USB 3.0 port using a USB cable. When upgrading software, make sure there is only one Teranex Processor connected via USB to the computer running the Teranex Utility software.

Step 2. Launch the Teranex Utility software.

Step 3. If the Teranex Processor software requires updating, you will be prompted by a window asking

if you would like to update the software. Select Update Now to initiate the update process. The update process may take a few minutes. Do not unplug power from the Teranex Processor during the software update.

Step 4. Once the software update is complete, the Teranex Processor will automatically restart to enable

the new software.

It's a good idea to run a quick test to ensure you can capture and play back video before you need to use your Teranex 2D Processor hardware for anything important:

 Connect a video monitor or TV to the video output of your Teranex 2D Processor. An HDMI TV is

very convenient for this test as both video and audio can be monitored without needing external audio connections.

 Connect a video source to the video input of your Teranex 2D Processor, especially a camera or

deck. DVD players shouldn't be used for this test as they typically have copy protection on their HDMI and analog outputs so you won't be able to capture from them even if you're using home made DVD's.

 Use the buttons on the Teranex 2D Processor to set your video and audio connections for input

and output.

 Locate Blackmagic Media Express and open it:

- on Mac OS X, look in the Applications folder.

Camera Outputs

HDTV

Connect a video monitor and source to your Teranex 2D Processor

Capturing and Playing Back Video

23

Video Playback test using Blackmagic Media Express

Import a test clip in to Media Express. If you see a message that the selected video format is not compatible with the current project, click "Don't save" to discard the current project and create a new project for the test clip.

Double click the test clip and you should see the video on the monitor connected to the output of your Teranex 2D Processor. Audio output can also be monitored.

Video Capture test using Blackmagic Media Express

 Go to Media Express>Preferences on Mac OS X.  Select a project format which matches your converted video output rather than the source video.  Choose a capture ﬁle format.  Set the storage location for your captured video and audio and choose whether to stop capture

or playback if dropped frames are detected. Choose a compressed capture ﬁle format so you can capture to any disk.

 Close the Preferences and click on the Log and Capture tab. You should immediately see your

converted video source in the video preview pane of Media Express.

 Click Capture to perform the capture test. Click Capture again to ﬁnish the test. Double click on

the captured clip in the Media List to play it back on screen and on the outputs of your Teranex 2D Processor hardware.

For further information on Blackmagic Design Media Express refer to detailed section in this manual.

Click the "Capture" button to commence recording

Understanding the Control Panel

24

Teranex Processor Control Panel Layout

When you use the Teranex Processor as a stand alone format converter and frame synchronizer, the control panel provides intuitive and quick access to critical functions and status. The selection buttons are easy to read multicolored LEDs, which allows you to easily view the current system status. Selection of video & audio sources, output formats and the desired output aspec t ratio are all accomplished via the front panel buttons.

The LCD display is used as a video display and for menu navigation. This allows for conﬁdence monitoring of the input or output signals, with a text overlay showing the format and frame rate of the monitored signal.

Control Panel LED Color Code

When you selec t the IN or OUT button on the front panel, the remaining sections of the control panel will display your current input or output set tings, respectively, providing an intuitive look at the current settings in use.

Two colors are used for the control panel buttons, blue and green.

Blue buttons will indicate the current settings of the processor. For example, the portion shown of the front panel shown here indicates that the output (OUT) signal is being routed to the SDI, HDMI, and analog video output connectors, audio is being routed via the embedded, AES and analog outputs, and the current output format is 1080i50.

When you make a new selection, such as a new output format selection, green buttons will light to indicate your pending choices and indicate that the Processor is in “update” mode. The changes will not be made until you conﬁrm the new settings via the LCD menu. If you change your mind, press the cancel button on the LCD menu. If you make a button choice that is not permitted, other buttons will ﬂash green momentarily, indicating the choices that are available for the selection.

Understanding the Control Panel

25

Input/Output Selection

The IN/OUT section allows you to select whether the front panel is displaying settings related to the Input signal or the Output signal. When selected, the button is lit BLUE and the buttons on the front panel will indicate the current settings for that selected mode. It’s easy to glance at the panel and determine your current settings, such as the current format, frame rate and aspect ratio conversion in use. The LCD will show the video signal related to the IN or OUT – great for conﬁdence checking.

Video Selection

The buttons in the Video section deﬁne the type of video in use.

 When IN is selected in the IN/OUT section, the Video section buttons will indicate the current

input type in use, SDI, HDMI or analog. You can change the video type by pressing the button corresponding to the input type you want to use. The type of analog video output, composite or component, can be selected in the Video Setup Menu.

- SDI – Press to select the SDI video input as the video input to the processor.

- HDMI – Press to select the HDMI input as the video input to the processor.

- ANLG – Press to select the analog video input. A menu will appear on the LCD allowing you to select composite or component as the analog input type to the processor.

 When OUT is selected in the IN/OUT section, all buttons in the Video section will be lit

BLUE, which indicates that all output types are active simultaneously, SDI, HDMI and analog. If you press the ANLG button, the composite/component menu will appear allowing you to deﬁne the analog output type you wish to use.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

1080

FRAME

P

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RATE

23.98

25

29.97 30

24

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59.94 60

ANAM

LBOX PBOX

ASPECT

SMART

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CCUT

ZOOM

ADJ

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

1080

FRAME

P

I

PSF

MENU

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PANEL LOCK

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23.98

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59.94 60

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PRESETS AUDIO STATUS

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Input/Output Selection - Left Side of Panel

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

1080

FRAME

P

I

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MENU

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23.98

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29.97 30

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59.94 60

VIDEO

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SAT

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PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

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SMART

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IN

OUT

SDI

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EMBED

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Video Selection - Left Side of Panel

Understanding the Control Panel

26

Audio Selection

The buttons in the Audio sec tion deﬁne the type of audio in use.

 When IN is selected in the IN/OUT section, the Audio section buttons will indicate the current input

type in use (embedded, AES or analog). You can change the audio type by pressing the button corresponding to the input type you want to use. The type of analog audio input, DB-25 or Stereo RCA Phono, must be selected by you in the Audio Setup Menu.

- EMBED – Press to select the embedded audio input as the input to the processor. Use this setting if your audio is embedded in your SDI or HDMI inputs.

- AES – Press to select the AES/EBU input available via the AES In/Out DB-25 connector.

- ANLG – Press to select analog audio input. A menu will appear on the LCD allowing you to select the RCA or DB-25 connector as your input.

 When OUT is selected in the IN/OUT section, all buttons in the Audio section will be lit blue, which

indicates that all output types are active simultaneously, embedded, AES and analog.

Video Format, Frame Type and Frame Rate Selection

The buttons in the Format, Frame and Rate sections deﬁne the speciﬁc video format.

Video production formats are described by three factors: format line rate, frame type and frame rate (e.g. 486i59.94, 720p50, 1080PsF23.98, etc.).

The buttons in the Format section correspond to the line rate and are labeled: 486 (SD/NTSC), 576 (SD/PAL ), 720, 1080 and 2K 1080.

The buttons in the Frame section are labeled: P (Progressive), I (Interlaced) and PSF (Progressive Segmented Frame).

The buttons in the Rate section are labeled: 23.98, 24, 25, 50, 29.97/30 and 59.94/60.

Input Format Detection is Automatic

The Automatic Input Format Detec tion feature permits the processor to automatically conﬁgure itself for the current video input format. Once you manually deﬁne the desired output format, the Auto Input Detection feature provides for automatic, unattended operation. Should the input format change upstream from the processor, the output format will remain as previously selected if the new conversion is a permitted format conversion.

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

1080

FRAME

P

I

PSF

MENU

HOME

MENU

1

MENU

2

REM

LOCK

PANEL LOCK

RATE

23.98

25

29.97 30

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

ANAM

LBOX

PBOX

ASPECT

SMART

14:9

CCUT ZOOM

ADJ

Audio Selection - Left Side of Panel

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

1080

FRAME

P

I

PSF

MENU

HOME

MENU

1

MENU

2

RATE

23.98

25

29.97 30

24

50

59.94 60

ANAM

LBOX PBOX

ASPECT

SMART

14:9

CCUT

ZOOM

ADJ

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

1080

FRAME

P

I

PSF

MENU

HOME

MENU

1

MENU

2

REM

LOCK

PANEL LOCK

RATE

23.98

25

29.97 30

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

ANAM

LBOX

PBOX

ASPECT

SMART

14:9

CCUT ZOOM

ADJ

Video Format, Frame Type and Frame Rate Selection - Left Side of Panel

FORMAT

486

720

2K

1080

576

1080

FRAME

P

I

PSF

MENU

HOME

MENU

1

MENU

2

RATE

23.98

25

29.97 30

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

PRESETS

1

3

5

ANAM

LBOX

PBOX

ASPECT

SMART

14:9

CCUT

ZOOM

ADJ

Understanding the Control Panel

27

Output Format Selection

The current Format, Frame and Rate settings will be indicated by BLUE front panel buttons.

To change the output format, we recommend that you work from left to right on the control panel. Select the desired format line rate, frame type and frame rate via the control panel buttons, which will turn GREEN if available. If a selection is NOT available, other buttons will ﬂash GREEN momentarily to indicate permissible selections.

During selection of a new output mode, the LCD menu will display the pending conversion, as seen in the graphic. After selecting the desired line rate, frame type and frame rate, press the “Accept” soft button along side the LCD menu to enable the new selection. Press “Cancel” to abandon the selection.

486 and 576 Formats

The 486 and 576 Format buttons indicate the NTSC and PAL standard deﬁnition interlaced formats, respectively. The numbers refer to the active lines in each standard (486 for NTSC, 576 for PAL). When the 486 button is pressed, the system will default to an interlaced (I), 59.94 setting in the Frame and Rate sections. Likewise, when the 576 button is selected, the system will default to an interlaced (I), 50 setting. The LCD Menu will display NTSC or PAL as the pending output mode.

720 Formats

The 720 Format button will indicate that the line rate of the input or output is 720. When chosen as the output format, the P button will turn GREEN automatically, as a Progressive frame is the only permissible type for 720 signals. You can then select a frame rate of either 59.94 (for 720p59.94) or 50 (for 720p50) to deﬁne the desired output format.

1080 Formats

The 1080 Format button will indicate that the line rate of the input or output is 1080. When 1080 is chosen as the output format, the P, I and PSF buttons are all permissible frame types. Select your desired output Frame type, and then select the desired Rate button to ﬁnalize the output format selection. If you select a frame rate that is not permissible for a given Line rate and Frame type, the buttons for the valid rates will ﬂash green momentarily.

2K 1080 Formats

The 2K 1080 video formats are not currently available. They will be added in a future software release.

Change Output Mode

720p59.94

Accept Cancel

Understanding the Control Panel

28

Output Input

486 i59.94 486 i59.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080i50

1080p59.94

1080i59.94

Output Input

1080i50 48 6i5 9.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080p50

1080i50

1080i59.94

Output Input

1080i59.94 486 i59.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080i50

1080p59.94

1080i59.94

Output Input

1080p23.98 4 86i 59.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080i50

1080i59.94

Output Input

1080p24 486 i59.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080i50

1080i59.94

Output Input

576 i5 0 486 i59.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080p50

1080i50

1080i59.94

Output Input

720p50 486 i59.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080p50

1080i50

1080i59.94

Output Input

72 0 p59.94 4 86i 59.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080i50

1080p59.94

1080i59.94

Format Conversion Table

Understanding the Control Panel

29

Output Input

1080p25 486 i59.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080p50

1080i50

1080i59.94

Output Input

1080p59.94 486 i59.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080i50

1080p59.94

1080i59.94

Output Input

1080PsF23.98 4 86i59.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080i50

1080i59.94

Output Input

1080PsF24 486i59.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080i50

1080i59.94

Output Input

1080p29.97 4 86i 59.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080i50

1080p59.94

1080i59.94

Output Input

1080p50 48 6i59.94

576 i5 0

720p50

72 0 p59.94

1080p23.98

1080PsF23.98

1080p24

1080PsF24

1080p25

1080p29.97

1080p50

1080i50

1080i59.94

Format Conversion Table

Understanding the Control Panel

30

Aspect Ratio Selection

Aspect ratio conversion (ARC) provided in the Teranex Processor includes ﬁxed modes such as Anamorphic (ANAM), 14x9, Letterbox/Pillarbox (LBOX/PBOX), Center Cut/Zoom (CC UT/Z OOM) and SMART conversion. An adjustable (ADJ) aspect ratio conversion will be added in a future software release. The output aspec t ratio conversion you use is dic tated by your desired output format. HD to HD conversions are always Anamorphic, while SD to HD and HD to SD conversions may use any aspect ratio conversion, depending on your needs for the output video aspect ratio. The sections below provide details of the aspect ratio conversions available.

The Teranex Processor is an “output centric” processor. This means that you may establish parameters for your chosen output video format that will automatically be maintained regardless of the input format received. For example, if you decide that your output will be 1080i59.94 (16:9), you can set the output ARC to Anamorphic and all input signals will formatted for the widescreen, 16:9 output. This may be OK if your input format is also 16:9. But what happens if your source is a standard deﬁnition 4:3 aspect ratio? In that case, the Anamorphic stretch would be applied, which may not be desirable. To prevent the geometric distor tion caused by the Anamorphic stretch, you may set your OUTPUT aspect to LBOX/PBOX mode, which will automatically put the 4:3 image inside a 16:9 pillarbox output! (See illustration below.) Since the Processor defaults to the anamorphic mode for all HD to HD conversions, any HD input will retain its proper 16:9 aspect ratio, even with the chosen LBOX/PBOX setting.

Similarly, if your OUTPUT is a standard deﬁnition 4:3 format and your input is sometimes a 16:9 HD source, you can set the output aspect ratio to LBOX/PBOX to achieve a letterboxed 16:9 display inserted into your 4:3 output.

16:9 Ratio Display4:3 Ratio Image

IN

OUT

SDI

VIDEO

HDMI

ANLG

AUDIO

EMBED

AES

ANLG

FORMAT

486

720

2K

1080

576

1080

FRAME

P

I

PSF

MENU

HOME

MENU

1

MENU

2

REM

LOCK

PANEL LOCK

RATE

23.98

25

29.97 30

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

ANAM

LBOX

PBOX

ASPECT

SMART

14:9

CCUT ZOOM

ADJ

Aspect Ratio Selection - Left Side of Panel

MENU

HOME

MENU

1

MENU

2

REM

LOCK

PANEL

LOCK

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

ANAM

LBOX PBOX

ASPECT

SMART

14:9

CCUT

ZOOM

ADJ

16:9 Ratio Image

4:3 Ratio Display

Understanding the Control Panel

31

If you prefer a center cut output rather that letter box, select the CCUT/ZOOM as your aspect ratio selection:

SD to SD conversions

A special note must be made concerning the operational modes used for SD to SD conversions. While most SD programming may utilize a 4:3 aspec t ratio, some SD source material may exist in 16:9. For such projects, you have to tell the Teranex Processor that the SD source is 16:9.

First, press the IN button on the front panel. If you are currently feeding your source to the Processor, the SD input format will be automatically detected as either NTSC or PAL. Next, in the ASPECT control section, press the LBOX/PBOX button to deﬁne the input as 16:9. This step is required if you are processing an SD 16:9 widescreen source.

If the SD video input is 4:3, press the CCUT/ZOOM button.

ANAM - Anamorphic

Anamorphic mode ensures that the entire output screen is ﬁlled by either stretching or squeezing the input image. This mode is designed for use with material that was originally captured with an anamorphic lens, thereby generating an output image with correct geometry when stretched horizontally to 16:9. When used with standard 4:3 source material, it will have the effect of stretching the material horizontally to 16:9, causing circles to appear as ovals, etc.

16:9 Ratio Image 4:3 Ratio Display

Understanding the Control Panel

32

LBOX/PBOX - Letterbox / Pillarbox

If the input aspect ratio is 16:9 and it is passed on to a 4:3 display, as in a down conversion, the LBOX/ PBOX aspect ratio will produce a Let terbox output, where the entire image appears vertically centered in the 4:3 display with bars at the top and bottom of the image.

If the input aspect ratio is 4:3 and the output aspect ratio is 16:9, as in an up conversion, the LBOX/ PBOX aspect ratio will produce a Pillarbox output, where the image appears horizontally centered in the 16:9 display with bars on the left and right sides of the image.

16:9 Ratio Image

(correct geometry)

4:3 Ratio Image

(shot with an

anamorphic lens)

4:3 Ratio Image 4:3 Ratio Image

(incorrect geometry)

Upconversion

Downconversion

16:9 Ratio Image

4:3 Ratio Display

(incorrect geometry)

16:9 Ratio Image

4:3 Ratio Display

Understanding the Control Panel

33

This aspect ratio yields an image with no loss of picture information, but the disadvantage is that it does not ﬁll the entire output display.

CCUT/ZOOM - Center Cut / Zoom

If the aspec t ratio of the input video is 16:9 and is to conver ted to a 4:3 display, as in a down conversion, the original image will be cropped on the left and right sides, which is often called a “Center Cut,” so that the center of the original image will ﬁll the output display. This setting maintains correc t geometry, but results in a loss of picture on each side.

If the aspec t ratio of the input video is 4:3 and it is to be converted to a 16:9 display, as in an up conversion, the original 4:3 image will be cropped on the top and bottom, which is often called a “Zoom”, so that the image will ﬁll the output display. This setting maintains correct geometr y, but results in a loss of picture on the top and bottom.

This aspec t ratio ﬁlls the entire output image while maintaining correct geometry, but results in a loss of picture information.

16:9 Ratio Display4:3 Ratio Image

16:9 Ratio Image

4:3 Ratio Display

4:3 Ratio Image

16:9 Ratio Display

Understanding the Control Panel

34

14:9

The ﬁxed 14:9 mode is often used as a compromise between Center Cut and Letterbox in down conversions and between Zoom and Pillarbox in up conversions. The 14:9 mode scales the input image to occupy a 14:9 ratio area of the output display.

If a 4:3 input aspect ratio is to be up converted to a 16:9 display, the input image will be zoomed to ﬁll only a 14:9 aspect ratio of the 16:9 output image, leaving a display with small bars on the left and right sides (pillarboxed). A small amount of pic ture information will be lost from the top and bottom of the input image.

If a 16:9 input aspect ratio is to be down converted to a 4:3 ratio display, the input image will be zoomed to ﬁll a 14:9 aspect ratio of the 4:3 output image, leaving a display with bars at the top and bottom (letterboxed). A small amount of pic ture information will be lost from the left and right of the input image.

This aspect ratio maintains correct geometry and results in a minor loss of picture information in both up and down conversions.

SMART

Smart is a non linear anamorphic aspect ratio designed for use when converting a 4:3 source to a 16:9 output without the traditional distortion of an anamorphic stretch. Smart, which is available in up-conversions only, leaves the center portion of the image virtually untouched, while providing increasing amounts of stretch towards the left and right edges of the image, ﬁlling the 16:9 image without distorting the center action area.

Downconversion

4:3 Ratio Image

Upconversion

16:9 Ratio Image

4:3 Ratio Display

16:9 Ratio Display

4:3 Original

Ratio Image

16:9 Ratio Display

Understanding the Control Panel

35

LCD User Interface and Menu Controls

LCD User Interface

The LCD user inter face utilizes a menu displayed on an LCD with 8 associated “soft buttons”. The menu tree employs a hierarchical structure offering multiple layers of parameter selec tion. The 8 buttons are called “soft but tons” because their function will change based on the current menu tree page. In some menus, they will take you to the next menu in the menu tree; in other cases they are used for parameter selection.

The rotary encoder knob to the right of the LCD is used to adjust parameter values by turning it clockwise to increment or counterclockwise to decrement. In menu parameters where a “default” value exists, you can press the encoder to quickly reset the parameter to its default value.

MENU Buttons

The HOME button toggles the control panel LCD display between active video and the main menu of the menu tree.

The MENU 1 and MENU 2 buttons may be used to save speciﬁc menu pages for instant recall, which can be useful when a speciﬁc parameter must be accessed repeatedly. To store a menu page, navigate to the desired menu tree page, then press and hold the MENU 1 or MENU 2 buttons for 3 seconds to save the current menu page. The but ton will be illuminated to indicate that a menu tree page has been assigned to it and, when the button is pressed, the LCD will switch directly to the stored menu tree page.

Video Proc Amp

The following Proc Amp controls are available and will take you directly to the corresponding LCD menu tree page:

GAIN Luminance Gain BLK Black Level SAT Chroma Saturation HUE Chroma Hue R-Y/B-Y Color Difference value SHARP Sharpness setting

P

I

PSF

MENU

HOME

MENU

1

MENU

2

REM

LOCK

PANEL

LOCK

RATE

23.98

25

29.97 30

24

50

59.94 60

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

ANAM

LBOX PBOX

ASPECT

SMART

14:9

CCUT

ZOOM

ADJ

LCD User Interface and Menu Controls - Right Side of Panel

MENU

HOME

MENU

1

MENU

2

REM

LOCK

PANEL

LOCK

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

MENU

HOME

MENU

1

MENU

2

REM LOCK

PANEL LOCK

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

Video Proc Amp - Right Side of Panel

MENU

HOME

MENU

1

MENU

2

REM

LOCK

PANEL

LOCK

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS

AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

Understanding the Control Panel

36

Press the pushbutton of the desired parameter. The button will immediately turn green and the corresponding LCD Menu will be displayed (see below). Turn the rotary encoder to adjust the parameter. You can push the rotary encoder to reset the parameter to its default value. Once the adjustment is complete, the button will remain illuminated white, indicating that it is not at its default value.

For more details about these controls, see the Proc Amp section in the Video Menu chapter.

Presets

PRESET BUTTONS (1 – 6)

Six Presets are available, which allow the user to save and recall custom set tings for the system.

 To SAVE a preset into memory, press and HOLD the desired preset button number for three

seconds. The button will ﬂash to indicate that the save command has been completed. The pushbutton will remain illuminated to indicate that parameters were stored and are available for recall.

 To RECALL a preset, press the desired preset button 1 through 6. A message will be displayed on

the LCD requiring you to “Accept” or “Cancel” your request. Once the preset has been recalled, the corresponding preset button will remain lit. If any system parameter is changed, the Preset button will turn off.

Please note that under certain conditions, recalling a preset may cause a disruption or loss of output video and audio while the new parameters are being loaded. An example would be a preset that calls for a change in format conversion. The Processor must load new software code to affect the new conversion, which will cause a loss of output for a few seconds. A preset that only changes Proc Amp settings or Aspect Ratio settings will not typically cause a loss of output. If you are operating in a live, “on the air” environment, be sure to test your presets prior to using them.

Set Value

0

Back

Sharp

Hue

Black

Reset All

R-Y B-Y

Saturate

Gain

Recall Preset 1?

Accept Cancel

MENU

HOME

MENU

1

MENU

2

REM LOCK

PANEL LOCK

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

Presets - Right Side of Panel

REM

LOCK

PANEL

LOCK

VIDEO

BLK

HUE

SHARP

PRESETS

AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

Understanding the Control Panel

37

Status LEDs

Audio Status LEDs

When illuminated, the Audio Status LEDs will indicate the presence of audio on the active input audio channels. The maximum numbers of channels supported for each audio type are:

Embedded Audio: 1 through 16 AES/EBU Audio: 1 through 8 Analog Audio: 1 through 4 for DB-25 I/O

1 and 2 for Stereo R/L Input

System Status LEDs

When illuminated, the System Status LEDs will indicate the following:

VID Input video is present REF External Reference is selected and External Reference Input is present PS1 Power Supply 1 is operational PS2 Power Supply 2 is operational (optional) TC Timecode is present in input video CC Closed Captions are present in input video <--> Ethernet communication is present

Thunderbolt™ communication is present

MENU

HOME

MENU

1

MENU

2

REM LOCK

PANEL LOCK

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

Status LEDs - Right Side of Panel

REM

LOCK

PANEL

LOCK

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

2

4

6

Understanding the Control Panel

38

MENU

HOME

MENU

1

MENU

2

REM LOCK

PANEL LOCK

VIDEO

GAIN

SAT

R-Y B-Y

BLK

HUE

SHARP

PRESETS AUDIO STATUS

SYSTEM STATUS

PRESETS

1

3

5

2

4

6

Panel Lock / Power / Remote Lock - Right Side of Panel

REM

LOCK

PANEL

LOCK

AUDIO STATUS

SYSTEM STATUS

Panel Lock / Power / Remote Lock

PANEL LOCK Button

The PANEL LOCK button allows you to lock the control panel to prevent accidental changes to system settings. To activate or deactivate, press and hold the button for 3 seconds. When locked, the PANEL LOCK button will be red. If the button is not held long enough to lock or unlock the panel, the button will ﬂash three times and you should try again.

Power Switch

Press the power switch to power ON the system. Press and hold for three seconds to power OFF. If the button is not held long enough, the button will ﬂash three times and you should try again.

REM LOCK Button

REM LOCK prevents a remote device from connec ting to and controlling this chassis via ethernet. To activate or deactivate, press and hold the button for 3 seconds. When locked, the REM LOCK button will be red. If the button is not held long enough to lock or unlock the panel, the but ton will ﬂash three times and you should try again.

Understanding the LCD Menus

39

The LCD Menu on the control panel provides the primary means for setting the Teranex Processor's parameters. The menu is arranged in a hierarchical, tree structure.

Main Menu

Press the HOME but ton on the control panel to access the Main Menu. The Main Menu is the top level menu in the processor’s menu tree and provides access to the top level functions in the menu structure, which are listed below.

 Video – Video menu  Noise Reduction – Noise Reduction menu  Ancillary Data – Closed Caption, Timecode and Video Indexing menus  Setup – External Reference, Video and Audio Setup menus  Back – Press Back to move back one level in the menu tree.

Video Menu

Selecting the Video Menu provides access to the following user functions:

 Color – Color Correction  Clip – Luminance and Chrominance clipping  Aspect Fill – Selection of ﬁll color used in pillar box and letterbox outputs  Proc Amp – Access to Proc Amp and Sharpness settings  Test Patterns – Selection of video test patterns  Advanced – Access to settings such as cadence correction and sce

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Understanding the LCD Menus

40

Color Correction Menu

The Color menu takes you to the Color Correction controls, which provide access to Red, Green and Blue Gain adjustments. Turn the rotary encoder to make adjustments on each color channel until the color correction process is complete.

 The Range of each color control is -200 to +200.  The default is 0.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Video

Back

Advanced

Test

Patterns

Proc Amp

Aspect Fill

Clip

Color

2

Video

Set Value

0

Back

Reset

All

Blue

Green

Red

3

Color / Red

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Video

Back

Advanced

Test

Patterns

Proc Amp

Aspect Fill

Clip

Color

2

Video

Understanding the LCD Menus

41

Clip Menu

The Clip menu allows you to clip luminance and chrominance (Y & C) overshoots and undershoots from the incoming video signal. The Clip function is not deﬁned as a "legalizer"; however, adjusting the luminance and chroma settings will assist in obtaining the desired output video levels.

 Luma Low – Range: 4 to 1018. Default: 4.  Luma High – Range: 5 to 1019. Default: 1019.  Chroma Low – Range: 4 to 1018. Default: 4.  Chroma High – Range: 5 to 1019. Default: 1019.

Aspect Fill

The Aspect Fill menu allows you to deﬁne a desired color for use in aspect ratios requiring a ﬁll, such as pillar box or letterbox aspect ratios. Luminance and Cb and Cr chroma values may be independently adjusted using the front panel rotary encoder.

 Luma – Range: 64 to 940. Default: 64  Cb – Range: 64 to 960. Default: 512  Cr – Range: 64 to 960. Default: 512

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Video

Back

Advanced

Test

Patterns

Proc Amp

Aspect Fill

Clip

Color

2

Video

Set Value

4

Back

Reset

All

Chroma High

Chroma Low

Luma High

Luma Low

3

Clip / Luma Low

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video Video

Back

Advanced

Test

Patterns

Proc Amp

Aspect Fill

Clip

Color

2

Video

Set Value

64

Back

Reset

All

Cr

Cb

Luma

3

Aspect Fill / Luma

Understanding the LCD Menus

42

Proc Amp Menu

The Proc Amp Menu may be accessed via the Video menu above, or by pressing the desired adjustment parameter directly from the front panel. Available parameters are: Gain, Saturation, Black Level, Hue, R-Y and B-Y color difference and Sharpness. Select the desired parameter to adjust on the menu or via the corresponding front panel button, and then turn the Rotary Encoder to adjust. You can press the rotary encoder knob to return the default value for the current parameter.

 Gain – Range: -60 to +60. Default: 0  Saturate (Saturation) – Range: -60 to +60. Default: 0  Black – Range: -30 to +30. Default: 0  Hue – Range: -179 to +180. Default: 0 degrees  R-Y and B-Y – Range: -200 to +200. Default: 0  Sharp (Sharpness) – Range:-50 to 50. Default: 0  Reset All – Resets all Proc Amp parameters to their default values

Please note that the R-Y and B-Y selection will open another menu page, as shown below

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Video

Back

Advanced

Test

Patterns

Proc Amp

Aspect Fill

Clip

Color

2

Video

Back

Advanced

Test

Patterns

Proc Amp

Aspect Fill

Clip

Color

2

Video

Set Value

0

Back

Sharp

Hue

Black

Reset All

R-Y B-Y

Saturate

Gain

3

Proc Amp / Gain

Set Value

0

Back

Sharp

Hue

Black

Reset All

R-Y B-Y

Saturate

Gain

3

Proc Amp

Set Value

0

Back

B-Y

R-Y

4

R-Y B-Y / R-Y

Understanding the LCD Menus

43

Test Patterns Menu

The internal video test signal generator will provide Blackburst output and the test patterns shown below.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Video

Back

Advanced

Test

Patterns

Proc Amp

Aspect Fill

Clip

Color

2

Video

Test Patterns

Back

Off

Black

Grid

Res Chart

Colorbar 75%

SMPTE 75%

3

Test Patterns

Back

Off

Black

Grid

Res Chart

Colorbar 75%

SMPTE 75%

3

Test Patterns

Back

Off

Black

Grid

Res Chart

Colorbar 75%

SMPTE 75%

3

Test Patterns

Back

Off

Black

Grid

Res Chart

Colorbar 75%

SMPTE 75%

3

Test Patterns

4

SMPTE 75%

4

Colorbar 75%

4

Res Chart

4

Grid

Understanding the LCD Menus

44

Advanced Menu

The Video Advanced menu provides access to the following user controls.

 Clean Cadence – Forces the creation of a clean 3:2 sequence in the output video.  Scene Detect – Scene change detection prevents blending of scenes at scene boundaries.  Source Type – Sets the algorithmic response of the system based on the type of input video being

received.

 FRC Aperture – Adjusts the response of ﬁlters used during frame rate conversions

Clean Cadence

The Clean Cadence Menu allows you to remove broken, non standard and mixed cadences and creates a clean 3:2 sequence from a source that originally contained ﬁlm based material.

 On – Selects the Clean Cadence mode  Off – Selects the Normal video mode of operation

 The default mode is OFF

Please note that you should only use the Clean Cadence mode when you are certain that your source material was originated with a 3:2 sequence, such as ﬁlm transferred to video by a Telecine. If the Clean Cadence algorithm is used on video rather than a ﬁlm source, unwanted artifacts may be seen.

Clean Cadence is available for the following format conversions ONLY:

 486i59.94 to 486i59.94  486i59.94 to 1080i59.94  1080i59.94 to 486i59.94  1080i59.94 to 1080i59.94

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Video

Back

Advanced

Test

Patterns

Proc Amp

Aspect Fill

Clip

Color

2

Video

Off

On

Clean Cadence

Back

FRC Aperture

Source Type

Scene Detect

Clean Cadence

3

Advanced /

Clean Cadence

Understanding the LCD Menus

45

Scene Detection

The Scene Detection menu allows you to enable scene cut (or scene change) detection, which will preserve clean cuts between scenes. Upon detecting a cut, the temporal aperture is reduced from 4 ﬁelds to 2 ﬁelds for the ﬁrst frame of the new scene. This prevents the mixing of ﬁelds from the previous and new scenes.

 On – Enables Scene Cut Detection  Off – Disables Scene Cut Detection

 The default mode is ON

Some video sequences may “stutter” when Scene Detection is turned ON due to the momentary change in temporal resolution. Video with a text crawl at the bottom of the picture may show this effect. If you see this anomaly, set the Scene Detection mode to OFF.

Source Type

The Source type sets the algorithmic response of the system based on the type of input video being received. The default mode is Auto; however, if you want to force the response to either the Film of Video modes, choose the desired Source Type in the menu.

 Auto – This mode will look for ﬁlm and video based material and will select the appropriate

algorithm. Since the Processor can automatically detect ﬁlm or video, this mode should be used in most cases.

 Film – Select this mode when the source material contains a ﬁlm like cadence. This means that

duplicate ﬁelds have been inserted into the material in order to transfer lower frame rate material into a higher frame rate transport. An example of this is material shot at a 23.98 frame rate that has a 3:2 cadence insertion to create material that has a 59.94 frame rate.

 Video – Select this mode if the source material does not have duplicate frames inserted into it to

force a particular cadence.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Video

Back

Advanced

Test

Patterns

Proc Amp

Aspect Fill

Clip

Color

2

Video

Off

On

Scene Detect

Back

FRC Aperture

Source Type

Scene Detect

Clean Cadence

3

Advanced / Scene Detect

Understanding the LCD Menus

46

Frame Rate Conversion Aperture

FRC Aperture allows you to adjust the interpolation aperture during frame rate conversions.

Please note that this adjustment will only be available while performing frame rate conversions.

The linear interpolation aperture is used to set the characteristics of the ﬁlter used to create the synthetic information in a frame rate conversion. A setting of 0 is typically used for dramatic scenes with little motion and will produce a sharper image with potential for judder in motion areas. A setting of 3 is typically used for scenes with faster motion, such as sporting events, and will produce a softer image with less motion judder.

 The range is 0 to 3  The default value is 0

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Video

Back

Advanced

Test

Patterns

Proc Amp

Aspect Fill

Clip

Color

2

Video

Film

Video

Auto

Source Type

Back

FRC Aperture

Source Type

Scene Detect

Clean Cadence

3

Advanced / Source Type

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Video

Back

Advanced

Test

Patterns

Proc Amp

Aspect Fill

Clip

Color

2

Video

3 (Sport)

2

1

0 (Drama)

FRC Aperture

Back

FRC Aperture

Source Type

Scene Detect

Clean Cadence

3

Advanced / FRC Aperture

Understanding the LCD Menus

47

Noise Reduction Menu

The Noise Reduc tion algorithm is a mot ion adaptive temporal recu rsive ﬁlter that works we ll in removing random and Gaussian noise. Each pixel is labeled as motion, no motion, or noise. Each of these classes of pixels is treated differently in the noise reduc tion process. For pixels in which there is no motion, low level Gaussian noise may be reduced via temporal processing by a weighted averaging over successive frames. For pixels labeled as random noise, spatial processing replaces these pixels. Pixels labeled as being “in motion” are retained “as is” to avoid artifacts that may be introduced through temporal processing.

 Enable – Enables/disables noise reduction.

- The default setting is OFF.

The menu items below will be grayed out (unavailable) until Noise Reduction is turned ON.

 Bias – Takes you to the Noise Reduction Bias level adjustment  Split Screen – Takes you to the Split Screen menu.  Red Overlay – Takes you to the Red Overlay menu.

Please note that Noise Reduction is NOT available while performing frame rate conversions, such as 486i59.94 to 576i50 (NTSC to PAL) or 1080i59.94 to 1080i50.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Off

On

Noise Reduction

Back

Red Overlay

Split Screen

Bias

Enable

2

Noise Reduction / Enable

Understanding the LCD Menus

48

Bias

The Bias level sets the aggressiveness of the noise reduction. The higher the Bias value, the more aggressive the noise reduction will be.

 The range is -6 to +6.  The default value is 0.

Split Screen On/Off

The Split Screen menu Enables/Disables the noise reduction Split Screen mode. In this mode, the image is divided vertically, with the right half of the image having noise reduction applied and the left half having no noise reduction applied.

 ON – Enables the Split Screen mode.  OFF – Disables the Split Screen mode.  The default value is OFF.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Set Value

0

Back

Red Overlay

Split Screen

Bias

Enable

2

Noise Reduction / Bias

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Off

On

Split Screen

Back

Red Overlay

Split Screen

Bias

Enable

2

Noise Reduction /

Split Screen

Understanding the LCD Menus

49

Red Overlay On/Off

In the Red Overlay mode, pixels that are interpreted as being “in motion” will be colored red. The red overlay helps to identify how pixels are being processed by the temporal recursive noise reduction ﬁlter.

 ON – Enables the Red Overlay.  OFF – Disables the Red Overlay.  The default value is OFF.

Ancillary Data Menu

The Ancillar y Data menu provides access to Closed Caption, Timecode and Video Index features.

Please note that the system does not process the entire ancillary data space and will only pass the items available on the Ancillary Data Menu.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Off

On

Red Overlay

Back

Red Overlay

Split Screen

Bias

Enable

2

Noise Reduction /

Red Overlay

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Understanding the LCD Menus

50

Closed Caption Menu

The Closed Caption menu allows you to conﬁgure the closed caption functions in the system for CEA608B and CEA-708B sta ndards, depending on the for mat conversion being per formed. In NTSC analog video and SMPTE 259M digital video systems, CEA-608B is the reference standard and captions are encoded on line 21 of the vertical blanking inter val (VBI). For HD-SDI video systems, the CEA-708B standard describes the method for encoding captions in the SMPTE 292M digital bit stream, typically on line 9.

The default settings for closed caption processing in the Teranex Processor will likely be the best settings for you to start with, but the menus below provide you with ﬂexibility in handling unusual closed caption situations.

The Teranex Processor will automatically discover digital captions if they exist in both SD and HD video formats therefore no user interface menus or adjustments are provided. Keep in mind that digital captions take precedence over analog captions in SD input signals. If no digital captions are present, the processor will look for analog captions by default on line 21. If you believe the program has captions but don’t see captions on line 21, you can use the Analog In Line selection menu to look for captions on lines 20 or 22.

Closed Caption Processing in SD Sources

Standard deﬁnition formats will output 608 captions in both analog and digital formats.

Closed Caption Processing in HD Sources

For high deﬁnition output formats, closed captions will be inserted on line 9 by the Teranex Processor. This setting is not adjustable.

Closed caption processing also suppor ts up-conversion of the 608 CC2 and CC3 secondary language services to the 708 Service 2 (S2) via the Ser vice 2 Source menu described below.

The Closed Captioning menu offers the following selections and adjustments:

 CC Enable – Turns Closed Captions ON or OFF in the output video.  Analog In Line – Allows you to select the Analog Closed Caption Input Line.  Analog Out Line – Allows you to select the Analog Closed Caption Output Line.  Service 2 Source – Allows you to select between CC2 and CC3 as the Closed Caption Service 2

Source.

 Service 1 Language – Allows you to select the language used for Service 1.  Service 2 Language – Allows you to select the language used for Service 2.

Understanding the LCD Menus

51

CC Enable

The CC Enable menu allows you to turn closed captioning ON or OFF in the output video of the Processor. Disabling the captions may be helpful if the incoming closed caption data is incorrect or corrupt.

 The default setting for this menu is Off.

Analog In Line

The Analog In Line selection is used to identify the line on which closed caption information will be located in the incoming video. This menu applies only to sources with analog closed captions. If your captions are digital, they will be automatically detected.

 The range of adjustment is lines 20 to 22.  The default setting is line 21.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

On

Off

Closed Caption

Back

Service 2

Language

Service 1

Language

Service 2 Source

Analog Out Line

Analog In Line

CC Enable

3

Closed Caption /

CC Enable

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Set Value

21

Back

Service 2

Language

Service 1

Language

Service 2 Source

Analog Out Line

Analog In Line

CC Enable

3

Closed Caption /

Analog In Line

Understanding the LCD Menus

52

Analog Out Line

The Analog Out Line selection is used to identify the line on which closed caption information will be located in the output video. This menu applies only to the analog SD output.

 The range of adjustment is lines 20 to 22.  The default setting is line 21.

Service 2 Source

The Service 2 Source menu allows you to select CEA-608 CC2 or CC3 for up converting to CEA-708, Service 2.

 The choices are CC2 and CC3.  The default setting is CC2.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Set Value

21

Back

Service 2

Language

Service 1

Language

Service 2 Source

Analog Out Line

Analog In Line

CC Enable

3

Closed Caption /

Analog Out Line

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Set Value

CC 3

CC 2

Back

Service 2

Language

Service 1

Language

Service 2 Source

Analog Out Line

Analog In Line

CC Enable

3

Closed Caption /

Service 2 Source

Understanding the LCD Menus

53

Service 1 Language

The Service 1 Language menu allows you to select the language for that Service in CEA-708 closed captions.

 The language choices are:

- English

- French

- German

- Italian

- Spanish

 The default language is English.

Service 2 Language

The Service 2 Language menu allows you to select the language for that Service in CEA-708 closed captions.

 The language choices are:

- English

- French

- German

- Italian

- Spanish

 The default language is English.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Spanish

Italian

German

French

English

Select Language

Back

Service 2

Language

Service 1

Language

Service 2 Source

Analog Out Line

Analog In Line

CC Enable

3

Closed Caption /

Service 1 Language

Understanding the LCD Menus

54

Timecode Menu

A wide range of options are available for deﬁning the processor’s response to incoming timecode or for generation of new timecode. This ﬂexibility allows you to pass the incoming timecode to the output, strip incoming timecode completely or regenerate timecode based on your project’s needs.

The Timecode menu, shown below, permits selection of the desired timecode mode of operation and provides access to registers for setting speciﬁc timecode data.

Please note that Timecode processing is TURNED OFF as the default setting for the processor. It should be turned ON via one of the selections in the Mode menu below, if needed.

While timecode detection is usually automatic in the Teranex Processor, the timecode Setup menu page allows you to manually deﬁne the line on which timecode will be detected on the input or inserted in the output. The Setup menu also permits selection of drop frame or non drop frame operation in format conversions where drop frame timecode is applicable.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Spanish

Italian

German

French

English

Select Language

Back

Service 2

Language

Service 1

Language

Service 2 Source

Analog Out Line

Analog In Line

CC Enable

3

Closed Caption /

Service 2 Language

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Timecode

Back

Source

Setup

Start

Mode Select

3

Timecode / Mode Select

Understanding the LCD Menus

55

 Mode Select– When Mode is selected, ﬁve available timecode modes will be displayed. Detailed

descriptions for each mode are provided on the following pages.

- Off (default)

- Input

- Input Regen

- Generate

- Jam Sync

 Setup – Displays the Timecode Setup menu, described below  Start Source – The timecode source may be the timecode from the Input video or a Start Value

deﬁned by you in the internal timecode generator.

 Set Timecode – Displays the timecode register ﬁelds. This control is only active when Generate or

Jam Sync modes are selected via the Mode selection above.

 Start – Manually starts the internal timecode generator or initiates the Jam Sync mode, depending

on current settings.

Timecode Setup Menu

The items found i n the timecode Setup men u are typically set for au tomatic (AUTO) operation. However, some projects may require custom settings, which are described on the following pages. The possible settings are:

 Input Line – The timecode Input Line setting deﬁnes the line on which timecode will be detected

in the input video.

 Output Line – The timecode Output Line setting deﬁnes the line on which timecode will be

inserted in the output video.

 DF Mode – The DF Mode menu allows you to select between Automatic, Drop Frame or Non

Drop Frame timecode modes.

Jam Sync

Generate

Input Regen

Input

Off

Timecode

Back

Source

Setup

Start

Mode

1

Mode Select

Understanding the LCD Menus

56

Input Line

By default, the timecode Input Line selec tor is set for AUTO detect, where the system scans each input video frame for timecode. The Input Line selector allows you to manually select the line on which timecode is located, which may be useful if the timecode is not detected via the AUTO detect mode.

 The range for this menu is dependent on the current input video format:

- For 486i59.94 (NTSC), the range is lines 10-20.

- For 576i50 (PAL), the range is lines 6-22.

- For HD 1080 formats, the range is lines 9-20.

- For HD 720 formats, the range is lines 9-25.

 The default is Auto. To return to the default value, press the rotary encoder.

Output Line

The timecode Output Line is usually set for the default value associated with the current output video format. The default settings are provided below. The Output Line selector allows you to manually select the output line, if needed.

 The range for this menu is dependent on the current output video format:

- For 486i59.94 (NTSC), the range is lines 10-20.

- For 576i50 (PAL), the range is lines 6-22.

- For all HD formats, the range is lines 9-20.

 The default values are also dependent on the current output format:

- For 486i59.94 (NTSC), the default is line 14.

- For 576i50 (PAL), the default is line 19.

- For all HD formats, the default is line 9.

 To return to the default value, press the rotary encoder.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Set Value

Auto

Back

DF Mode

Output Line

Input Line

4

Setup / Input Line

Timecode

Back

Source

Setup

Start

Mode Select

3

Timecode

Understanding the LCD Menus

57

Drop Frame Mode

The Drop Frame Mode menu allows for automatic or manual selection of the timecode type in use. In the AUTO mode, the output timecode t ype will be the same as the input type. You can manually force the timecode into drop frame or non drop frame mode, depending on the requirements of your project. You might want to use this feature, for example, if some of your source material is drop frame, but your current project is being produced using non drop frame timecode.

 Auto – The output timecode type will match the input type.  Drop Frame – Forces the output to drop frame timecode, regardless of the input type.  Non Drop Frame – Forces the output to non drop frame timecode, regardless of the input type.

Please note that Drop Frame time code only applies to 23.98, 29.97 and 59.94 frame rates. For other frame rates, the processor will automatically use the Non Drop Frame mode, even if Drop Frame is selected.

If the AUTO mode is selec ted, but no input timecode is present, the processor will default to the Non Drop Frame mode. If Drop Frame timecode is required, select Drop Frame mode in this menu.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Set Value

9

Back

DF Mode

Output Line

Input Line

4

Setup / Output Line

Timecode

Back

Source

Setup

Start

Mode Select

3

Timecode

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Non Drop Frame

Drop Frame

Auto

Timecode

Back

DF Mode

Output Line

Input Line

4

Setup / DF Mode

Timecode

Back

Source

Setup

Start

Mode Select

3

Timecode

Understanding the LCD Menus

58

Drop Frame Mode

The Drop Frame Mode menu allows for automatic or manual selection of the timecode type in use. In the AUTO mode, the output timecode t ype will be the same as the input type. You can manually force the timecode into drop frame or non drop frame mode, depending on the requirements of your project. You might want to use this feature, for example, if some of your source material is drop frame, but your current project is being produced using non drop frame timecode.

 Auto – The output timecode type will match the input type.  Drop Frame – Forces the output to drop frame timecode, regardless of the input type.  Non Drop Frame – Forces the output to non drop frame timecode, regardless of the input type.

Please note that Drop Frame time code only applies to 23.98, 29.97 and 59.94 frame rates. For other frame rates, the processor will automatically use the Non Drop Frame mode, even if Drop Frame is selected.

If the AUTO mode is selec ted, but no input timecode is present, the processor will default to the Non Drop Frame mode. If Drop Frame timecode is required, select Drop Frame mode in this menu.

Start Source Menu

The Start Source menu allows you to select the source for the timecode generator. If you want the generator to reproduce the timecode received on your video input, select “Input” as the Star t Source. If you want to deﬁne a speciﬁc timecode for the generator, select “Start Value” as the Start Source. When you selec t either the Generate or Jam Sync modes from the Mode menu, you will be presented with a timecode register in which you can program a speciﬁc timecode start value.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Non Drop Frame

Drop Frame

Auto

Timecode

Back

DF Mode

Output Line

Input Line

4

Setup / DF Mode

Timecode

Back

Source

Setup

Start

Mode Select

3

Timecode

Understanding the LCD Menus

59

 Start Value – A speciﬁc timecode value will be used when the timecode generator is started.

The desired value will be entered in the Generate or Jam Sync menus.

 Input – The timecode present on the input video source will be used by the timecode generator.

If no timecode is present, the generator will start at 00:00:00:00.

Mode Menu

The Mode Select menu will display a choice of ﬁve timecode processing modes, selectable by turning the rotary encoder on the control panel. Each mode will display a sub menu of choices or timecode registers.

 Off – Prevents any timecode from being inserted into the output video. (Default)  Input – Converts the incoming timecode to the appropriate output rate.  Input Regen – Synchronizes the output timecode to the input timecode. This is a useful mode

when converting between frame rates.

 Generate – Starts generating output timecode when the Start button is pressed. The starting value

for the output timecode generator may be set to match the input timecode or may be a user deﬁned value set via a register on the Generate mode timecode menu.

 Jam Sync – Pauses the output timecode generator until a user-deﬁned input timecode value is

reached, at which time the generator starts counting. The starting value for the output timecode generator may be set to match the input timecode or may be a user-deﬁned value set via a register on the Jam Sync mode timecode menu.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Input

Start Value

Timecode

Back

Source

Setup

Start

Mode Select

3

Timecode / Start Source

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Jam Sync

Generate

Input Regen

Input

Off

Timecode

Back

Source

Setup

Start

Mode Select

3

Timecode / Mode Select

Understanding the LCD Menus

60

Input Mode

Select Input to route or copy the input timecode directly to the output. This is useful when the frame rates of the input and output are the same and you want to preserve the original timecode.

It’s important to make sure that the Drop Frame mode in the timecode Setup menu is set to Auto to ensure the output timecode will match the input timecode.

Please note that if you want to ensure that the output timecode matches your input timecode, do not use the processor as a frame synchronizer with external reference. You should set the Reference menu to “Input.” The external reference can cause a dropped or duplicated frame in the output, which will affect your timecode count.

Input Regen Mode

The Input Regen mode synchronizes the output timecode to the input timecode and is often used when performing frame rate conversions, such as PAL-to-NTSC or 1080i50-to-1080i59.94. When using this mode, the output timecode will resynchronize to the input timecode at the top of every second. This keeps the “seconds” digits synchronized between the input and output timecode.

The Input Regen mode should only be used when your Teranex processor is locked to your input video. If you must reference the processor to an external reference, the Jam Sync timecode mode should be used instead. Jam Sync mode will start the new output timecode from a cer tain user-deﬁned input timecode value, then “free-run” the output timecode, as opposed to syncing to the input timecode every second.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Jam Sync

Generate

Input Regen

Input

Off

Timecode

Back

Source

Setup

Start

Mode Select

3

Timecode / Mode Select /

Input

Understanding the LCD Menus

61

In Input Regen mode, drop frame and non drop frame modes are both supported in 23.98, 29.97 and 59.94 frame rates. However, in a conversion where the source timecode is drop frame and the video output format does not support drop frame timecode, (e.g. 50Hz or 60Hz integer frame rates), the output timecode will automatically be converted to non drop frame.

Generate Mode

The timecode generator will generate free running output timecode appropriate for the selected output format, even if no timecode is present on your video input signal. The Set Timecode menu seen is dependent on the choice you made in the Start Source menu, “Input” or “Start Value.”

If the Start Source menu is set to “Input,” the Set Timecode menu will show “Input” as the Start Value for the generator (see below). When you press the Start button, the generator will capture the current input timecode value and use that value to start outputting free running timecode. If no timecode is present on your input video source, the generator will begin counting at 00:00:00:0 0.

Menu number 4 above will be seen when the Set Timecode but ton is pressed and the Start Source menu is set to Input.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Jam Sync

Generate

Input Regen

Input

Off

Timecode

Back

Source

Setup

Start

Mode Select

3

Timecode / Mode Select /

Input Regen

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Start Value

Input

Timecode

Back

Source

Setup

Start

Mode

4

Mode Select / Generate /

Set Timecode

Jam Sync

Generate

Input Regen

Input

Off

Timecode

Back

Source

Setup

Start

Mode Select

3

Timecode

Understanding the LCD Menus

62

If the Start Source menu is set to “Star t Value,” the Set Timecode menu will display an eight-character register that will permit you to enter a speciﬁc timecode generator Start Value. Turn the rotary encoder to adjust the timecode generator values. Use the Previous and Next buttons to move the cursor left or right. When you press the “Star t” button to start the Generator, the timecode generator will begin outputting timecode based on your Star t Value choice.

Menu number 4 above will be seen when the Set Timecode but ton is pressed and the Start Source menu is set to Start Value.

Jam Sync Mode

The Jam Sync mode is similar to the Generate mode. However, when you press the “Start” button, Jam Sync mode allows you to hold the output timecode generator until a pre-determined timecode point is reached in your input video, called the Jam Sync value. The Jam Sync value must be entered via the Set Timecode menus shown below. The Set Timecode menu seen is dependent on the choice you made in the Start Source menu, “Input” or “Start Value.”

If the Start Source menu is set to “Input,” the Set Timecode menu will show “Input” as the Start Value for the timecode generator. When you press the “Start” button, the generator will start looking for a timecode match to the Jam Sync value you have entered. When the timecode in the input video signal matches the Jam Sync value, the generator will use that “Input” timecode as the star t value to generate free running output timecode.

Menu number 4 above will be seen when the Set Timecode but ton is pressed and the Start Source menu is set to Input.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Start Value 00:00:00:00

Timecode

Back

Source

Setup

Start

Mode

4

Mode Select / Generate /

Set Timecode

Jam Sync

Generate

Input Regen

Input

Off

Timecode

Back

Source

Setup

Start

Mode Select

3

Timecode

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Jam Sync

00:00:00:00

Start Value

Input

Timecode

Back

Source

Setup

Start

Mode

4

Mode Select / Jam Sync /

Set Timecode

Jam Sync

Generate

Input Regen

Input

Off

Timecode

Back

Source

Setup

Start

Mode Select

3

Timecode

Understanding the LCD Menus

63

If the Start Source menu is set to “Start Value,” the Set Timecode menu will display an additional eight charac ter register that will permit you to set a speciﬁc Start Value for the timecode generator. (As before, the Jam Sync register will be used to enter the Jam Sync value.) Turn the rotary encoder to adjust the timecode values. Use the Previous and Next buttons to move the cursor left or right. When you press the “Start” button, the generator will start looking for a timecode match to the Jam Sync value you have entered. When the timecode in the input video signal matches the Jam Sync value, the generator will use the Star t Value you entered as the start value to generate free running output timecode.

Menu number 4 above will be seen when the Set Timecode but ton is pressed and the Start Source menu is set to Start Value.

Video Index Menu

The Video Index menu enables/disables reaction to video indexing signals that may be embedded in your source video. The three video indexing modes that are supported are Active Format Description (AFD), Wide Screen Signaling (WSS) and SMPTE RP186.

If the Video Index Mode is turned ON, the Teranex Processor will be set to react to incoming video indexing signals. The processor will automatically scan for the presence of video index packets and will react to them if found. AFD indexing takes precedence over the WSS, which takes precedence over RP186.

 The default setting is Off.

Please note that the Processor will not pass or inser t WSS or RP186 codes. It will only react to them if they are present on the input.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

Jam Sync

00:00:00:00

Start Value

00:00:00:00

Timecode

Back

Source

Setup

Start

Mode

4

Mode Select / Jam Sync /

Set Timecode

Jam Sync

Generate

Input Regen

Input

Off

Timecode

Back

Source

Setup

Start

Mode Select

3

Timecode

Understanding the LCD Menus

64

AFD Insertion Menu

This menu allows you to select the desired AFD code that will be inserted in the output video. The output line on which the code will be inser ted can be selected in the AFD Insert Line menu.

 Settings include:

- Off – No AFD code will be inserted in the output ancillary data space.

- Auto – The appropriate code will be inserted based on the current video output format.

- Bypass – Any code present in the incoming video stream will be passed through to the output.

- AFD codes 0000 – 1111 – These codes are manual selections which may be used as needed.

 The default setting is Off.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

On

Off

Index Reaction

Back

AFD Insert Line

AFD Insertion

Index Reaction

3

Video Index /

Index Reaction

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

6

0001

0000

Bypass

Auto

Off

Back

AFD Insert Line

AFD Insertion

Index Reaction

3

Video Index /

AFD Insertion

Understanding the LCD Menus

65

AFD Insert Line Menu

If AFD Insertion is enabled in the AFD Insertion menu above, the AFD Insert Line menu allows you to select the line on which the AFD code will be inserted in the ancillary data space of the output video signal.

 The range of adjustment is dependent on the current output video format:

- For SD formats, the range is lines 10 to 19. The default value is line 15.

- For HD 1080 formats, the range is lines 9 to 20. The default value is line 11.

- For HD 720 formats, the range is lines 9 to 25. The default value is line 11.

 Press the rotary encoder to go back to the default value.

Setup Menu

The Setup menu provides access to the external Reference, Video and Audio Setup menus.

 Reference – Allows selection and timing adjustment of the external reference, if used.  Video – Deﬁnes the analog video input and output signal types to be used, composite or

component.

 Audio – Permits selection of the desired analog audio input and output connections to be used on

the rear panel, RCA Phono or DB-25.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Ancillary Data

Back

Video Index

Timecode

Closed Caption

2

Ancillary Data

11

Back

AFD Insert Line

AFD Insertion

Index Reaction

3

Video Index /

AFD Insert Line

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Setup

Back

Audio

Video

Reference

2

Setup

Understanding the LCD Menus

66

Reference Setup Menu

The Reference menu allows you to lock the processor to your input video source or to an external reference.

 Input – Selects the current input video source as the reference.  External – Selects the external reference (REF) input.

Valid external reference signals that may be used are dependent on the OUTPUT format conversion you have chosen. The Processor will auto-detect the reference source, but the reference you are using must be compatible with the output format.

 For SD interlaced output formats (e.g. 486i59.94, 576i50), ONLY blackburst (BLACK) may be used.

The frame rate must match the output format (59.94 or 50).

 For HD interlaced output formats (e.g. 1080i59.94, 1080i50), either blackburst (BLACK) or tri-level

interlaced (TRI-I), in the respective frame rate (59.94 or 50), may be used.

 For HD Progressive Segmented Frame output formats (e.g. 1080PsF23.98, 1080PsF25), tri-level

interlaced (TRI-I), in the respective frame rate (59.94 or 50), may be used.

 For HD progressive output formats (e.g. 720p59.94 or 720p50), either blackburst (BLACK) or tri-level

progressive (TRI-P), in the respective frame rate (59.94 or 50), may be used.

Examples:

Output Format Applicable External Reference Comments

486 i59.94 Black (59.94) only Tri-I and Tri-P are not applicable

576 i5 0 Black (50) only Tri-I and Tri-P are not applicable

1080i59.94 Black (59.94) or Tri-I (59.94) Tri-P is not applicable

72 0 p59.94 Black (59.94) or Tri-P (59.94) Tri-I is not applicable

Please note that if External reference is selected and a valid reference signal has been applied, the REF Status LED on the front panel will be illuminated.

Understanding the LCD Menus

67

If the external reference is removed or lost, the processor will go into a free run condition until the reference is restored. The REF Status LED on the front panel will be NOT be illuminated.

Line Offset

This control adjusts the Line timing of the output relative to the external reference selected.

 The Range is determined by the current output format selection.

Pixel Offset

This control adjusts the Pixel timing of the output relative to the external reference selected.

 The Range is determined by the current output format selection.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Setup

Back

Audio

Video

Reference

2

Setup

Back

Audio

Video

Reference

2

Setup

External

Input

Reference Type

Back

Pixel Offset

Line Offset

Type

3

Reference / Type

Line Offset

0

Back

Pixel Offset

Line Offset

Type

3

Reference / Line Offset

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Setup

Back

Audio

Video

Reference

2

Setup

Pixel Offset

0

Back

Pixel Offset

Line Offset

Type

3

Reference / Pixel Offset

Understanding the LCD Menus

68

Video Setup Menu

The Video Setup menu allows you to deﬁne the type of analog video being used for the input and output video connections on the rear panel. The choice will be either composite or component. This menu is also used to deﬁne which video signal will be output when there is a loss of input video.

 No Input – Allows you to deﬁne the video signal that the processor will output when input video

is lost

 Input Analog – Allows you to deﬁne the type of input analog video that you are using  Output Analog– Allows you to deﬁne the type of output analog video that you are using

No Input Menu

This menu allows you to deﬁne whether Black or Colorbars will be output when there is a loss of input video.

 The default setting is Black.

Input Analog Video Setup Menu

This menu allows you to deﬁne the type of input analog video that you are using.

 Component – Deﬁnes the analog input BNC connections as component Y, R-Y and B-Y.  Composite – Deﬁnes the analog Y/NTSC/PAL input BNC connector as composite.

 The default setting is Component.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Setup

Back

Audio

Video

Reference

2

Setup

Colorbars

Black

No Input

Back

Output Analog

Input Analog

No Input

3

Video / No Input

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Setup

Back

Audio

Video

Reference

2

Setup

Composite

Component

Analog Input

Back

Output Analog

Input Analog

No Input

3

Video / Input Analog

Understanding the LCD Menus

69

Output Analog Video Setup Menu

This menu allows you to deﬁne the type of output analog video that you are using.

 Component – Routes component Y, R-Y and B-Y to the respective output BNC connections.  Composite – Routes composite video to the Y/NTSC/PAL output BNC connector.

 The default setting is Component.

Audio Setup Menu

The Audio Setup menu allows you to select the analog audio input source that you want to use on the rear panel. The choices are the RCA Phono or DB-25.

 RCA – Stereo RCA Phono connectors (L/R).  DB-25 – 4-channel balanced analog audio via the DB-25 connector.

 The default setting is DB-25.

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Setup

Back

Audio

Video

Reference

2

Setup

Composite

Component

Analog Output

Back

Output Analog

Input Analog

No Input

3

Video / Output Analog

Main Menu

Back

Setup

Ancillary Data

Noise Reduction

Video

1

Main Menu

Setup

Back

Audio

Video

Reference

2

Setup

DB25

RCA

Analog Input

Back

Input Analog

3

Audio / Input Analog

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70

Editing with your Teranex 2D Processor

When connected to a Mac OS X computer with Thunderbolt technology, your Teranex Processor can be used as a powerful editing solution for video capture, conversion and playback. The Teranex Installer software installs Blackmagic System Preferences which allow your favorite video editing software to work with your Teranex Processor. The Blackmagic System Preferences are exclusively used by your video software and do not change any of the settings in your Teranex Processor hardware. You still need to use the buttons on the Teranex Processor itself to change any settings in the Teranex Processor, just as you would if using it as a standalone converter.

Video Capture

When an application is capturing video, the Teranex Processor LCD will show the word "capture" followed by the video format of the input signal, e.g. Capture 1080p24. Applications including Blackmagic Media Express, DaVinci Resolve, Adobe Premiere Pro CS6, Adobe Photoshop CS6, Apple Final Cut Pro 7 and Avid Media Composer 6 can capture video from your Teranex Processor.

In contrast to traditional capture cards, the converted video output signal of the Teranex Processor is used in your video capture software. Accordingly you should set the project preferences, in your video capture software, to match the converted output of your Teranex Processor. To do so, press the OUT button on your Teranex Processor and make sure the project preferences match the video format, frame type and frame rate shown by the illuminated buttons. Once you have correctly conﬁgured the project preferences and set your application to capture, the converted video will appear on your computer screen within a few seconds.

If no video image appears in your video capture software, make sure the project settings are not accidentally set to the video input signal displayed on the Teranex Processor LCD. Double-check your project settings and ensure they match the output format of your Teranex Processor.

If you still can't see an image in your video capture software, quit out of the software and launch Blackmagic UltraScope. Make a note of the output video standard which is displayed on the left side of the Picture Display. Quit out of UltraScope, launch your video capture software and set the project preferences to match the standard reported by UltraScope.

Batch captures with RS-422 deck control might not be exactly frame accurate because of the conversion processing delay. Accordingly it is a good idea to use an offset or add handles to your captures. Alternatively you can capture without deck control.

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Video Playback

When any video application is in playing back a clip, the Teranex Processor LCD will show the word "playback" followed by the video format being played by the application, e.g. Playback 1080p24. The only illuminated buttons will be those that match the video format of the clip being played. All other buttons will be unlit and unavailable as the playback format is set by the clip and so no conversions are allowed. Some video applications, including Adobe After Effects and Apple Final Cut Pro X, are always in playback mode.

Using Blackmagic System Preferences

Blackmagic system preferences provide a central location so you don't need to conﬁgure the same software settings in each video application that you use.

 On Mac OS X, open the System Preferences and look in the “Other” category to locate the

Blackmagic Design icon. Click the Blackmagic Design icon to gain access to the settings.

The Blackmagic system preferences are only used by your video software and do not change any of the settings in your Teranex Processor. You still need to use the buttons on the Teranex Processor itself to make any changes to the Teranex Processor settings, just as you would if using it as a standalone converter.

The following section takes you through the Blackmagic system preferences seen when using a Teranex Processor. When other Blackmagic video capture hardware is connected to your computer, additional settings may be available.

Video and Audio connections

All of the video and audio outputs of of your Teranex Processor are active all of the time so no conﬁguration is required. The video and audio inputs are set using the buttons on your Teranex Processor and so the input settings are grayed out in the Blackmagic system preferences.

Progressive HD1080 video playback switch

Choose between 1080PsF and 1080p on playback.

Remove Field Jitter

When interlaced video is paused on old CRT monitors, eliminate ﬁeld ﬂicker by only displaying a single ﬁeld. We do not recommend using this option with modern ﬂat screens.

Set default video standard

On Mac OS X, if you want to use broadcast monitoring with Final Cut Pro X, set the video standard in these preferences so that it matches your Final Cut Pro X project. This setting is exclusively used by Final Cut Pro X.

Blackmagic Design system preferences in Mac OS X

Progressive HD1080 video playback switch

Set the default video standard to match your Final Cut Pro X project

Using your Favourite Editing Software

72

Frame output switch

If you have switched out of a video application and video is no longer being played, this setting determines whether your Blackmagic video hardware will output black or the last played frame of video.

Reference Output Timing

A reference signal may also be known as genlock, black burst, house sync or tri-sync. If you have reference connected but your picture is rolling, adjust the "Set reference output timing" until the picture locks and is no longer rolling on the Blackmagic video output.

VITC Reader A Frame - Reverse 3:2 Pulldown

This option decodes the VITC and uses it to correctly locate the A-frame when performing reverse 3:2 pulldown while capturing video at 23.98fps. Carefully set the correct A-frame VITC reference to match the timecode on tape. Selecting the wrong A-frame will generate incorrect presentation of ﬁelds and frames.

Preserving Blanking Data or VANC

This feature lets you use up to 3 video lines at the top of a captured movie ﬁle to store any 3 lines from vertical blanking. This allows 3 line timecode, VITC (vertical interval test signals) subtitle info or any other VANC data to be preserved during capture. These lines are then inserted back into the video blanking when the ﬁle is played back.

To preserve VANC data, select the VANC and 3:2 Pulldown tab and tick the On check box for video line 1, 2 or 3 depending on how many blanking lines you want to capture.

Video ﬁle line 1 needs to be enabled for lines 2 and 3 to work.

Because these lines can be passed to the application, a developer could write software to read the VANC data and use it for various purposes, e.g. 3-line timecode and audio chasing, or other uses.

An example of VANC data is 3-line timecode, which uses lines 18, 19, and 20 in NTSC or lines 19, 20 and 21 in PAL. 3-line timecode, as used in AATON

™

equipped telecine suites, featuring audio timecode and

keycode information along with the normal timecode numbers.

Genlock timing adjustment.

Frame output switch

The Processing Tab

Set the A-Frame VITC Reference when performing 3:2 pulldown.

VANC preferences.

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73

Media Composer

Avid Media Composer 6

Avid Media Composer 6 captures and plays back standard deﬁnition and high deﬁnition video and audio with Teranex 2D Processor hardware, and also supports RS-422 deck control. Blackmagic plug-ins for Media Composer are automatically installed if Media Composer is installed before the Desktop Video software.

You can use the buttons on your Teranex Processor to select your video and audio connections including SDI, analog and HDMI, as well as other settings such as up, down and cross conversion, reference clocking and HD progressive frame type.

Setting up

Step 1. Launch Media Composer and the Select Project dialog box will appear.

Step 2. Choose your preferred User Proﬁle if you have previously created one.

Step 3. Select the folder in which you want to create the project: Private, Shared or External.

Step 4. Click the New Project button.

Step 5. Type a project name and set the project options including Format, Color Space and Stereoscopic.

Click OK. Once the project has been created, the frame rate and raster cannot be changed. The color space and stereoscopic settings can be changed later in the Format tab of the project.

Step 6. Double-click the project name in the Select Project dialog box. The Media Composer interface

will appear along with the project window for your new project. You have completed setting up your project.

Playback

As a quick test to make sure everything is connected correctly, go to the Media Composer Editing Guide and follow the section entitled "Importing Color Bars and Other Test Patterns". Double-click the imported ﬁle to play it in a pop-up monitor. You should now see the image on both your computer monitor and your Blackmagic output.

If you can’t see any video on your Blackmagic output, check the connections again. If using an analog monitor, use the Teranex Processor LCD to go to Setup>Video>Output Analog and check that component or composite analog video has been correctly selected to match your monitor.

Step 5. Type a project name and set the project options.

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74

Capture from Non-Controllable devices

Many video sources including all kinds of modern cameras and disk recorders, as well as old cameras and VHS tape players, do not have any device control. To capture video without deck control:

Step 1. Choose Tools > Capture to open the Capture Tool.

Step 2. Click the Toggle Source button so that the button's icon of a deck shows a red circle-slash symbol.

This symbol indicates that deck control has been disabled.

Step 3. Set the Video and Audio input menus to "Blackmagic".

Step 4. Select the video source track (V) and the audio source tracks (A1, A2, ...) you wish to capture.

Step 5. Use the Bin menu to select a Target Bin from the list of open bins.

Step 6. From the Res (resolution) menu, choose which compressed or uncompressed codec you wish

to use for your captured clips. For maximum quality uncompressed video, choose "1:1" for 8-bit video capture or "1:1 10b" for 10-bit video capture.

Step 7. Select the disk storage for your captured video and audio. Use the Single/Dual Drive Mode

button to determine if video and audio will be stored together on a single drive or video on one drive and audio on another drive. Select the target drive(s) for your captured media from the Target Drives menu(s).

Step 8. Click the "Tape Name?" button at the bottom of the window to open the Select Tape dialog box.

Select the desired tape, or add a new one, and then click OK.

Step 9. Ensure your video and audio source is ready or playing and then click the Capture button or press

the F4 key. The Capture button will ﬂash red while recording. Click the Capture button again or press the Escape button on your keyboard to end the capture.

Step 2. Set up the Capture Tool to capture video without deck control by clicking the Toggle Source button.

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Capture from Controllable devices

If you have a deck which connects via RS-422, you will need to conﬁgure the deck settings before performing a capture with deck control:

Step 1. From your project window, click the Settings tab and double-click on Deck Conﬁguration.

Step 2. In the Deck Conﬁguration dialog box, click Add Channel and then set the Channel Type to Direct

and the Port to RS-422 Deck Control. Click OK and choose "No" when asked, "Do you want to autoconﬁgure the channel now?"

Step 3. Click Add Deck and then select your brand and model of deck from the Device menus and also

set the desired preroll. Click OK and then Apply.

Step 4. Under the Settings tab, double-click on Deck Preferences.

Step 5. If you plan to make assemble edits to tape, enable the option to "Allow assemble edit & crash

record for digital cut". If this option is left unchecked, you will only be able to perform insert edits.

Step 6. Enable the option to "Relax coincidence point detection" and set other settings as needed. Click

OK. You have completed setting up the RS-422 connection to your deck.

To test the RS-422 connection, ensure an RS-422 serial cable is connected between your Teranex 2D Processor and the deck. The Remote/Local switch must be set to Remote on the deck so you can use the transport controls in Media Composer. Open the Capture Tool and use the standard j, k, l shortcut keys to shuttle backwards, pause and shuttle forwards on the deck. If a deck name appears in italics in the Deck Selection menu, or "NO DECK" is displayed, click the menu and select Check Decks one or more times, until the deck is listed without italics, to reestablish deck control.

To capture with deck control on-the-ﬂy:

Step 1. Choose Tools > Capture to open the Capture Tool.

Step 2. The Capture/Log Mode button should show the CAP icon. If this button displays a LOG icon, click

the button to switch to capture mode and the CAP icon should appear.

Step 3. The Toggle Source button should show the icon of a deck. If a red circle-slash symbol is present,

click the button to enable deck control and make the red symbol disappear.

Step 4. Conﬁgure video and audio input, video and audio source tracks, target bin, res, target drive and

tape name the same way as in "Capture from non-controllable devices".

Step 5. Use the Deck Controller Window in the Capture Tool to cue the tape and start playing.

Step 6. Click the Capture button or press the F4 key. The Capture button will ﬂash red while recording.

Click the Capture button again or press the Escape button on your keyboard to end the capture.

Step 6. In the Deck Preferences, enable the option to "Relax coincidence point detection".

Set the CAP and Toggle Source buttons to use deck control. Use the Deck Controller Window to cue the tape and start playing.

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Batch Capture

To log clips for batch capture:

Step 1. Choose Tools > Capture to open the Capture Tool.

Step 2. Click on the Capture/Log Mode button so it displays the LOG icon.

Step 3. Conﬁgure video and audio input, video and audio source tracks, target bin, res, target drive and

tape name the same way as in "Capture from non-controllable devices".

Step 4. Use the Deck Controller Window, or use the standard j, k, l shortcut keys, to shuttle backwards,

pause and shuttle forwards on the deck and locate the video you want to capture.

Step 5. Click the Mark IN/OUT button, to the left of the LOG button. The icon will alternate between IN

and OUT so you only have to click the one button to mark all your in and out points. This can be more convenient that using the separate Mark IN and Mark OUT buttons in the Deck Controller Window. Alternatively use the "i" and "o" keys on the keyboard to mark in and out points.

Step 6. When you have ﬁnished logging in and out points, open the logging bin, select the clips you want

to capture.

Step 7. Choose Clip > Batch Capture, select the desired options in the resulting dialog box and click OK.

Recording to Tape

Once you have captured your clips, dragged them in to the timeline, edited them and applied and rendered any effects, you will want to record the completed project to tape.

Step 1. Double-click on a sequence, in your project bin, to open it into the Timeline window.

Step 2. Choose Output > Digital Cut to open the Digital Cut Tool.

Step 3. Set Output Mode to Real-Time, Bit Depth to 10-bit, and Deck Control to Remote.

Step 4. From the Edit Menu, choose to Insert Edit or Assemble Edit for precise edits onto a timecode

striped tape. Alternatively choose Crash Record for an easy way to record. If Insert Edit is the only option, go to the Settings tab in your project, double-click on Deck Preferences and enable "Allow assemble edit & crash record for digital cut".

Step 5. If a deck name appears in italics in the Deck Selection menu, or "NO DECK" is displayed, click

the menu and select Check Decks one or more times, until the deck is listed without italics, to reestablish deck control.

Step 6. Press the Play Digital Cut button (red triangle icon) to record your sequence to tape.

Step 5. Click on the Mark IN/OUT button or use the "i" and "o" keys on the keyboard to mark in and out points.

The Digital Cut Tool is used for recording to tape.

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Final Cut Pro 7

Select a Blackmagic Easy Setup

Apple Final Cut Pro 7

“Easy Setups” for Final Cut Pro 7 are automatically installed if Final Cut Pro is installed before the Teranex software. The Teranex 2D Processor is fully compatible with Apple’s RT Extreme

™

real time effects.

Setting up

Step 1. Launch Final Cut Pro 7 and the Easy Setup window will appear.

Step 2. Click on the popup menu and select the desired Blackmagic Easy Setup. For each video format

(NTSC, PAL and HDTV) you will ﬁnd a range of Blackmagic compressed and uncompressed ﬁle formats you can choose.

Step 3. Click on the popup menu named Primary Scratch Disk and select your disk array from the popup

menu.

Step 4. Click OK and the Final Cut Pro interface will appear.

Playback

As a quick test to make sure everything is connected correctly, use the Blackmagic test media (bars and tone) which can be found on the installer CD or disk image. Find a test clip which matches the format of your project, e.g. NTSC 8 bit, and copy it to your disk array. Import this clip into your Final Cut Pro project and drop it into the timeline. You should now see the image on both your computer desktop and your Blackmagic output.

If you can’t see any video on your Blackmagic output, check the connections again and ensure you have the correct output settings conﬁgured within Final Cut Pro by going to the View > Video Devices. In the same menu, make sure “External Video” is set to “All Frames”.

Capture from Non-Controllable devices

Many video sources including all kinds of modern cameras and disk recorders, as well as old cameras and VHS tape players, do not have any device control. For this reason, after selecting a Blackmagic Easy Setup, Final Cut Pro will sometimes warn that device control has been set to “non-controllable device”. This is as expected. Click OK and then create a project with these settings.

To capture video from a non-controllable device, choose File > Log & Capture. (Command + 8). Press play on your video source and then press the Now button in the Log and Capture window. Final Cut Pro will show you a preview of the video you are capturing. Press the ‘esc’ key at the top left of your keyboard to stop capturing.

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Capture from controllable devices

To capture with RS-422 deck control, choose File > Log & Capture. (Command + 8)

Your video deck will respond in the same way as a clip in the timeline, via the “<spacebar>”, “j”, “k” and “l” keys.

To immediately capture, click the Capture Now button.

To log the clip, enter the desired “in” and “out” points using either the “i” and “o” keys on your keyboard, or manually by typing in the timecode and clicking Log Clip. The clip will appear in your browser with a diagonal red line indicating that it’s “ofﬂine”. Repeat this until you have logged all of the clips you wish to capture in a batch.

Batch Capture

Select the clips you wish to capture by drag selecting or shift-click. Select File > Batch Capture or click on the Batch button in the “Logging” tab of the “Log & Capture“ window. (Control + C)

Enable the “Add Handles” box if you wish to capture additional frames (“handles”) before and after the “In” and “Out” points of a clip.

Recording to Tape

Once you have captured your clips, edited them and applied any effects, you will want to record the completed project to tape.

One easy method is to select File > Print to Video (Control + M).

If you want to perform precise insert and assemble edits onto a timecode striped tape, select File > Edit to Tape.

Naming a clip in the Log and Capture window

Batch Capture

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Final Cut Pro X

Apple Final Cut Pro X

If you want to use Final Cut Pro X to play back video on an external video monitor or TV, you can use the broadcast monitoring feature of Final Cut Pro X 10.0.4 and newer to output your video through Teranex 2D Processor hardware. You can also use as many as two computer monitors for the Final Cut Pro X interface.

Setting up Final Cut Pro X

Step 1. Ensure you are running Final Cut Pro X 10.0.4 or newer with the latest version of Mac OS X Lion or

Mountain Lion.

Step 2. Open the System Preferences and click on Blackmagic Design. Go to the setting, "Set default

video standard as" and then set the same standard that you will use in your Final Cut Pro X project, e.g. HD 1080i59.94. The standard should be the same as the video format of your clips.

Step 3. Launch Final Cut Pro X and create a new project.

Step 4. Type a name and choose a location for the new project.

Step 5. Set the Video Properties to Custom and then set the format, resolution and frame rate to match

the default video standard set in the Blackmagic Design Desktop Video system preferences.

Step 6. Set the Audio and Render Properties to Custom. Set the audio channels to Stereo or else you can

choose Surround for 6 audio channels. Set the audio sample rate to the television rate of 48kHz. Set the render format to the same format as your video clips. Final Cut Pro X defaults to using ProRes compression but you can switch this to Uncompressed 10-bit 4:2:2 for an uncompressed workﬂow. Click OK to complete the creation of your new project.

Step 7. Go to the Final Cut Pro menu, choose Preferences and then click the Playback tab. Ensure the A/V

Output menu has selected "Blackmagic" and the same video standard as your project and then close the Preferences.

Step 8. Go to the Window menu and select A/V Output to enable video output via your Teranex 2D

Processor hardware.

If you also wish to monitor audio via your Teranex 2D Processor, open the System Preferences, click the Sound icon, click the Output tab and then select "Blackmagic Audio" for the sound output.

Step 6. Set the Audio and Render Properties to Custom.

Step2. Set the default video standard in the System Preferences to match your Final Cut Pro X project.

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Playback

Step 1. Import some clips in to your new project.

Step 2. You can now use the Final Cut Pro X timeline on your computer monitor and view the video

preview on the monitor or TV connected to the output of your Teranex 2D Processor.

Capturing Video and Audio

You can use Blackmagic Media Express to capture video and audio with your Teranex 2D Processor. Once you have captured the clips, you can import them in to Final Cut Pro X for editing.

When capturing clips with Media Express, make sure you choose one of the video formats which is also supported by Final Cut Pro X, i.e.: Apple ProRes 4444, Apple ProRes 422 (HQ), Apple ProRes 422 or Uncompressed 10-bit 4:2:2.

Editing to Tape

Once you have completed a project in Final Cut Pro X, you can render the project to a movie ﬁle and then use Blackmagic Media Express to master the movie to tape with your Teranex 2D Processor.

Step 1. Select your clips from the timeline in Final Cut Pro X.

Step 2. Go to the Share menu and choose Export Movie.

Step 3. In the Export Movie window, leave Export on "Current Settings" and also set Include to "Video

and Audio". Click "Next".

Step 4. Open Media Express and import the clip that was exported from Final Cut Pro X.

Step 5. Refer to the Blackmagic Media Express section of this manual for "Editing video and audio ﬁles

to tape".

Step 3. In the Export Movie window, leave Export on "Current Settings" and also set Include to "Video and Audio".

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Adobe Premiere Pro CS6

Setting up a Blackmagic Design project

Step 1. Launch Premiere Pro.

Step 2. Create a New Project and click on the Scratch Disks tab.

Step 3. Set the desired Location and Name for your project at the bottom of this window.

Step 4. Set the locations for your captured video, captured audio, video previews and audio previews.

Step 5. Click on the General tab and review the Video Rendering and Playback settings. If your graphics

card is supported by Premiere Pro's Mercury Playback Engine, the Renderer option will be available and you should switch it to "Mercury Playback Engine GPU Acceleration".

Step 6. Set the Capture Format to Blackmagic Capture and click on the Settings button to reveal the

Blackmagic Capture Settings for your project. The Video Standard can be set to NTSC, PAL, HD720 or HD1080. The Video Format can be uncompressed or compressed. Now click OK.

Step 7. The New Sequence window will appear. To preserve maximum video quality, you'll need to create

a full resolution uncompressed sequence. To do so, click the discovery triangle next to "Blackmagic Design" select a preset to match the video standard and choose from uncompressed 8 bit YUV, 10 bit YUV or 10 bit RGB. If you don't have the storage space or disk speed for uncompressed video, choose a JPEG sequence preset for a full resolution, open-standard codec.

Premiere Pro CS6 also includes a variety of sequence presets for compressed and RAW camera

formats. Any clips you drop in to a resulting sequence will be rendered in the compressed or RAW camera format. For example any clips dropped into a DVCPRO HD sequence will be rendered in the compressed DVCPRO HD format even if they are uncompressed clips.

When you have selected the desired sequence preset, give the sequence a name and click OK.

Audio

Blackmagic audio hardware needs to be selected each time a new project is created. Go to Preferences > Audio Hardware and set the Default Device to Blackmagic Audio.

Now go to Preferences > Audio Output Mapping and set "Map Output for" to "Blackmagic Audio". Conﬁgure the mix of the multi-channel audio as desired.

Adobe Premiere Pro

New Sequence

Audio Output Mapping

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Device Control

The Teranex 2D Processor features RS-422 device control for controlling decks. Blackmagic Device Control needs to be selected each time a new project is created. Go to Preferences > Device Control and select "Blackmagic Device Control".

The Options button is disabled as the settings are automatically detected and conﬁgured when you choose Blackmagic Device Control.

Playback

Playback settings need to be selected each time a new project is created by going to Preferences > Playback.

The default player is Adobe Player but the Audio Device needs to be switched to "Blackmagic Playback".

Under "Video Device," enable the checkbox for "Blackmagic Playback" and ensure the other checkboxes are cleared. If working with other video applications such as After Effects, you'll usually want to enable the option to "Disable video output when in the background." Click OK to close out of the Preferences.

As a quick test to make sure everything is connected correctly, use the Premiere Pro test media (Bars and Tone or Universal Counter Leader). Drag your test media from within the Premiere Pro project and drop it on to the timeline. You should now see the image on both your computer desktop and the output of your Teranex 2D Processor. If you can’t see any video on your Teranex output, check the connections again and ensure you have the correct output settings conﬁgured with the buttons on your Teranex 2D Processor. SDI, HDMI and analog outputs are always active during playback.

Capture

To capture choose: File > Capture [F5]

To immediately capture, or to capture from a non-controllable device, click the red record button [G].

If you wish to log the clip using RS-422 deck control, enter the desired In and Out points using either the Set In and Set Out buttons, or manually by typing the timecode and clicking Log Clip. The empty clip will now appear in the Project window. Repeat this until you have logged all of the clips you wish to batch capture.

To change the capture format, click on the Settings tab and then the Edit button. Ensure the Capture Format is set to Blackmagic Capture, click on the Settings button and then change the Blackmagic Capture Settings as desired.

Playback

Capture

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Batch Capture

If you wish to batch capture using RS-422 deck control, select the clips you wish to capture by drag-selecting or shift-clicking each clip. Then choose: File > Batch Capture [F6]. To set handles on the clips, enable the option to Capture with handles and type the number of additional frames you require at the start and end of each clip.

Export to Tape

To export to tape via RS-422 deck control, select the sequence you require and then choose File > Export > Tape

Insert editing requires unbroken timecode over the full length of the project which is to be laid to tape.

In assemble mode the tape needs only to be “blacked” until a point just beyond the start time of the project. As assemble editing erases the tape ahead of the record heads, it should not be used where other projects already exist on the tape after the out point of your edit.

When editing to tape, the software waits at the ﬁrst frame of your project for the deck to drop into record at the predetermined timecode. Should you ﬁnd that either the ﬁrst frame of your program is repeated or lost, during the edit to tape procedure, you will need to adjust the playback offset to bring the deck and computer in sync. You should only need to do this once with any combination of deck and computer and the correct setting will be retained.

Now, simply enter the desired in point and offsets if required, and click OK.

Export to Tape

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After Effects

“Output Module Settings” rendering options

“Video Preview” preferences

Adobe After Effects CS6

How to use Blackmagic as a preview output frame buffer

To allow your Adobe After Effects composition to be displayed in real-time through your Teranex 2D Processor, go to Preferences > Video Preview. Select Blackmagic Video Output and the appropriate Output Mode. This lets you view your Adobe After Effects compositions in the correct video colorspace on your broadcast monitor as you work. You will always see the correct color and interlace when working, and you don’t have to wait until your composition is rendered to see what it looks like when output as video.

If you also want to listen to audio through your Teranex 2D Processor, set the "Default Device" to "Blackmagic Audio" in Preferences > Audio Hardware and Preferences > Audio Output Mapping.

Rendering

When you have completed your composition, you will need to render to a pixel format supported by your Teranex 2D Processor hardware. You can render to a DPX image sequence or any of the following supported codecs:

Other codecs including ProRes and DVCPRO HD will be available if Final Cut Pro is installed on the same computer.

 Blackmagic RGB 10 bit (uncompressed)  Apple Uncompressed YUV 10 bit 4:2:2  Apple Uncompressed YUV 8 bit 4:2:2

 Apple Photo - JPEG (compressed)  Apple DV - NTSC (compressed)  Apple DV - PAL (compressed)

QuickTime codecs on Mac OS X

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Adobe Photoshop CS6

How to grab and output video frames

Import an image into Photoshop Step 1. From Photoshop select File > Import > Blackmagic Image Capture

Step 2. Select the “Video Input Format” and the “Image Bit Depth” and then click Capture Image

Export an image from Photoshop Step 1. Select File > Export > Blackmagic Image Export

Step 2. Select Video Output Format and then click Output Image

Once you have set the options in the “Import” or “Export” windows, each subsequent Import and Export will not display the window, so you can grab and output frames much faster. However if you would like to change your import or export formats, hold the Option key, when selecting import or export.

Adobe Photoshop

Image Capture

Image Export

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What is Media Express?

Blackmagic Media Express software is included with every Teranex 2D Processor. Media Express 3 lets you batch capture and play back in DPX, ProRes, uncompressed YUV and RGB, DVCPRO 50 and DVCPRO HD ﬁles.

Media Express 3 also supports CMX EDL import, frame accurate deck control via RS-422, and will even insert and assemble to tape! Media Express is fast, accurate, easy to use and works on Mac OS X. You can even grab still frames directly from your deck and save them as perfect digital quality still images. That's a complete solution for capture and playback!

Blackmagic Media Express 3 is a great tool when you don’t need the complexity of NLE software but simply want to capture, play back and output clips to tape, especially when working with video compositing software.

The User Interface

Media Express can easily be scaled for different sizes of monitors or even small notebook screens. When you open Media Express, you'll notice the log and capture, playback and edit to tape views are color-coded so you will know at a glance which mode is being used.

Media List

The left "media list" always displays the scratch, any bins you have created and also any media you have imported, captured or logged for capture. Media can be displayed in Timecode List view or Thumbnail view and you can even ﬁlter media by favorites. The Search ﬁeld makes it easy to ﬁnd media by name or by attributes captured in the media metadata. The project name and format are shown in the bottom-left corner of the Media Express window.

The top-right pane always displays the video preview. Timecode is displayed at the top of the video preview pane and NO REMOTE will be indicated if no RS-422 device control is connected.

Log and Capture

Click on the red Log and Capture tab. The video preview pane shows the source video from your camera or deck. Here you can enter metadata for the clips you will capture including name, description, reel number, favorite and more. You can capture with or without device control, log clips with in and out points, and batch capture. Double-clicking a captured clip in the media list will automatically switch Media Express to Playback view.

Playback

In the green Playback view, the video preview pane shows the video of the clip being played. Click the favorites button to add to your favorites in the media list.

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Edit to Tape

After clicking the blue Edit to Tape tab, select clips from the media list to be mastered to tape using RS-422 device control. Set the In/Out points for your edit and choose between Assemble or Insert edit. You can even preview before mastering to tape. The video preview pane shows the clips being sent to tape.

Capturing Video and Audio ﬁles

Setting up a Project

Before capturing any clips in Media Express, you will need to select the settings for your project. Go to Media Express>Preferences on Mac OS X.

Select from a range of professional compressed and uncompressed capture ﬁle formats or even a DPX image sequence.

Set the storage location for your captured video and audio and choose whether to stop capture or playback if dropped frames are detected.

Standard deﬁnition projects are set to the 4:3 aspect ratio unless you enable the Anamorphic SD 16:9 checkbox.

Usually video applications stop playing video if you send them to the background. If you want Media Express to keep playing video through your

Teranex 2D Processor, even if you open another application in

the foreground, enable the checkbox to "Continue playback when in the background".

The ﬁnal options relate to tape decks with RS-422 deck control.

Your tape deck requires a pre-roll of a few seconds before performing an edit so the tape speed is stable by the time it is used for an edit.

Timecode offsets can also be set to calibrate the timecode to the video.

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Media List Search FieldTimecode List, Thumbnail and Favorites view VTR / deck timecode Video Preview

Clip Bins Capture

options

Transport

Controls

Grab Still

Frame

Project name, video format

and frame rate

Remote

indicator

Logging

Information

Mark In / Mark Out

Audio MetersAudio channel

enable/disable

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Capture

Capturing video is easy and all you need to do is connect a video source, set the Media Express preferences and press the Capture button.

Start by connecting your video source to an input of your

Teranex 2D Processor and check that the video

input buttons are set to the same video input, e.g. SDI, HDMI or analog.

Open Media Express and set its preferences to the converted project video format and capture ﬁle format. The project video format must be set correctly otherwise you will not see your video in the preview pane.

Click the red Log and Capture tab and enter a description for your video into the Description ﬁeld of the logging information area.

Click the "+" button next to the Description to add it to the automatic Name ﬁeld. Click the "+" button next to any of the other ﬁelds that you wish to add to the Name ﬁeld.

You can increment the value in each of these ﬁelds by clicking on the corresponding clapper board icon. Alternatively you can type directly in to any ﬁeld to customize its name and number.

The text in the automatic Name ﬁeld will be applied to the clip(s) which are about to be captured.

Click the "star" icon next to the Name ﬁeld if you want to log the clip as a favorite.

Click the "!" icon next to the Name ﬁeld if you wish a clip name conﬁrmation prompt to appear before every capture. This will provide you with the chance to change the clip name.

Set the desired number of audio channels to be captured and then click the “Capture” button to start recording.

To end capture, click the “Capture” button again to automatically keep the clip. Alternatively press the “Esc” key if you want to be prompted to delete or save the clip.

The captured clips will be added to the Media List.

Logging clips

Ensure an RS-422 serial cable is connected between your

Teranex 2D Processor and the deck. The Remote/

Local switch must be set to Remote on the deck so you can use the transport controls in Media Express. Use the standard j, k, l shortcut keys to shuttle backwards, pause and shuttle forwards on the deck.

Click the Mark In button to mark the In point, or use the shortcut key

i.

Click the Mark Out button to mark the Out point, or use the shortcut key

o.

Click the Log Clip button to log the clip, or use the shortcut key

p. The entry should now appear in the

Media List with a red X in its icon to indicate the media is ofﬂine.

Set the desired number of audio channels to be captured

Enter a description for your video

Click the "Capture" button to commence recording

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Batch Capture

After logging a clip, you can click the Clip button if you just want to capture a single clip.

If you want to capture multiple clips, continue logging all the clips that you wish to batch capture.

When logging is completed, select the logged clips in the Media List and:

 click the Batch button, or  right-click on the selection and select ‘Batch Capture’, or  go to the File menu and choose Batch Capture.

Media Express will cue the tape and precisely capture the clip from the In to the Out timecode points, including any handles speciﬁed in the Media Express preferences.

DPX Capture

If you want to capture a DPX image sequence rather than a movie ﬁle, open the Media Express preferences and set the Capture File Format to DPX 10-Bit RGB. You will need a fast disk array to cope with the uncompressed, 10-bit RGB format.

 Create a DPX project by setting the capture ﬁle format to DPX.  Capture.

When the capture has been completed, a single thumbnail will appear in the Media List representing the entire frame sequence. The sequence of DPX frames will be stored in its own folder in your disk storage. Audio will be stored in a .wav ﬁle in the same folder.

By default, DPX captures are assumed to be from YUV sources. If you need to capture from an RGB source, disable the "Capture to DPX from a YUV source" option otherwise your DPX ﬁles will show weird pink and green colors.

If you want the DPX frame numbers to be based on the timecode of the captured video, rather than just starting from zero, enable the option to "Use absolute frame numbering when capturing DPX".

If you aren't performing long DPX captures, you may wish to reduce the number of zeroes in the frame numbers by changing the option, "When capturing DPX ﬁles, use (2-8) digit numbers in the frame count.

DPX capture preferences

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Clip Bins Favorites

Selection

Transport

Controls

Grab Still

Frame

Project name, video format

and frame rate

Remote

indicator

Clip

Information

Mark In / Mark Out

Audio Meters

Media List Search FieldTimecode List, Thumbnail and Favorites view VTR / deck timecode Video Preview

Audio channel enable/disable

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Playing back Video and Audio Files

Importing clips

You can play back your video and audio ﬁles after importing media in to Media Express in any of the following ways:

 Double-click an empty area of the Media List.  Right-click an empty area of the Media List and select Import Clip from the contextual menu.  Go to the File menu, select Import and then Media Files.

Then select the clip(s) you wish to import from the Open Video Clip dialog box. The clips will appear in the Scratch area of the Media List. If you have created your own bins in the Media List, you can drag the clips in to the desired bin.

If you want to import media directly to a bin, right-click within the desired bin and select Import Clip from the contextual menu.

If the ﬁles being imported do not match the frame rate and size of existing clips in the Media List, you will be prompted to create a new project and to save the current project.

Another way to import media is to use an XML ﬁle which has been exported from Final Cut Pro 7. Go to the File menu, select Import and then Final Cut Pro XML. Open the desired XML and all the bins and media from the Final Cut Pro project will appear in the Media List.

Media Express also supports the import of CMX EDL ﬁles to batch capture clips using EDL ﬁles from other video software. Go to the File menu, select Import and then CMX EDL. Select the EDL and open it. The logging information will appear in the Media List. Select the logged clips and perform a batch capture to import the clips from your deck.

Playing back single and multiple clips

To play back a single clip, double-click the clip in the Media List. Alternatively select the clip in the Media List and press the space bar on your keyboard or the play button in the transport controls.

To play back multiple clips, select the clips in the Media List and then press the space bar on your keyboard or the play button in the transport controls.

Your video will play back in the video preview pane of Media Express and on all the video outputs of your Teranex 2D Processor hardware. During playback, the audio channels being monitored can be switched on or off via the track enable/disable buttons.

There are three ways to import clips in to Media Express

You can use the transport controls to play, stop, jump to the next or previous clip and loop playback of your clips.

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Browsing Media

In the Media List, you can view your clips in Thumbnail view or Timecode List view by clicking on the desired view button at the top-right of the Media List.

Thumbnail view

Thumbnails are the most intuitive way to display your clips. To get information for a clip, hover your mouse over the clip's thumbnail and then click on the popup info icon which will appear at the bottom-right of the thumbnail. Click the info bubble to hide it.

List view

You can view your clips in Timecode List view by clicking on the Timecode List button at the top-right of the Media List. Use the horizontal scroll bar at the bottom of the Media List to view all the columns of information for your clips including: in and out points, video format, audio channels, ﬁeld dominance and logging information.

Creating and using bins

To create a bin for your clips, right click an empty spot in the Media List and select "Create Bin". Type in a name for the new bin.

You can move clips from the Scratch, or from one bin to another, by dragging the clip icons to the desired bin. If you want a clip to appear in more than one bin, import the same clip again by right-clicking on the bin and choosing "Import Clip".

By default, logged clips appear in the Scratch. If you want to log clips and have them appear in a new bin, right-click the new bin and choose "Select As Log Bin".

Creating and using favorites

In the Log and Capture tab, click the "star" icon next to the Name ﬁeld if you want to log a clip as a favorite.

In the Playback tab, clicking the "star" icon will make the clip a favorite if it is selected in the Media List. Click the "star" icon again to deselect it as a favorite.

Clips marked as favorites will show a yellow star in their icon in Timecode List view and Thumbnail view.

In the Media List, choose to view your clips in Timecode List view or Thumbnail view.

Click the popup info icon on a thumbnail to view its info bubble.

Clips marked as favorites are easily identiﬁed by the yellow star in their icon.

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Once you have marked clips as favorites, click on the gray, Favorites, star button at the top of the Media list and it will turn yellow. All clips in your Media List will be hidden except for those marked as favorites. This is similar to creating a playlist and makes it easy to only play back your favorite clips and even master them to tape.

Deleting clips and bins

To delete clips, select the unwanted clips and press the forward delete button on your keyboard. This will only delete the clips from the Media List and they will safely remain on your disk storage.

To delete bins, right-click within a bin and choose "Delete Bin". This action will delete the bin and any clips it contained. This will only delete the clips from the Media List and they will safely remain on your disk storage.

Searching the Media List

Clips can easily be found in a project by typing the name of your clips in the Search ﬁeld at the top of the Media List. When used in conjunction with the favorites feature, the search will be conﬁned to your favorite clips so you will see a shorter list of found clips.

Click the Favorites button at the top of the Media List to only show your favorite clips. Type in the Search ﬁeld to ﬁnd your favorite clips.

In the Log and Capture tab, click the "star" icon next to the Name ﬁeld if you want to log the clip as a favorite.

In the Playback tab, clicking the "star" icon will mark a clip as a favorite if it is selected in the Media List.

Using Blackmagic Media Express

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Master to

Tape

Record

Modes

Audio channel enable/disable

Mark In / Mark Out

Using Blackmagic Media Express

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Editing Video and Audio Files to Tape

Mastering your clips to a deck is easy. While we usually talk about mastering or editing to "tape", it doesn't matter if your deck uses tapes or disks. To master your clips:

 Select the clips you want to send to tape.  Click the blue Edit to Tape tab.  Set the In point and type of edit.  Master to tape.

Selecting clips to master

From the Media List, select the clips you wish to master to tape. If you only want to send your favorite clips to tape, click the favorite (star) icon at the top of the Media List to show your favorites and hide all other clips. Then select the favorite clips you wish to send to tape.

Insert and Assemble to tape

Click the blue Edit to Tape tab. If "No Remote" appears in the video preview pane, check that an RS-422 serial cable is connected between your Teranex 2D Processor and the deck. The Remote/Local switch needs to be set to Remote on the deck so you can use the transport controls in Media Express.

Enter the In point of the tape by entering timecode into the In point ﬁeld, or by cueing the tape to the desired point via the transport control and then clicking the Mark In button, or use the shortcut key i.

If no Out point is entered, Media Express will set the duration of the edit to the total length of the clips in the Media List. If an out point is deﬁned, Media Express will stop recording once the Out point timecode is reached, even if some clips have not been output.

The Assemble and Insert buttons are mutually exclusive and only one mode can be selected at a time. Choose to master to tape using Assemble or Insert edit. Then press the Master button.

The Preview and Master buttons are also mutually exclusive. Preview mode mimics the edit process but does not record to tape. This mode lets you check the edit point is correct. Preview edit operations should always be checked on monitors connected directly to the output of the deck. This lets you view the video already on tape and the new video.

If Record Inhibit is enabled either on the deck or on the tape, Media Express will display a dialog box, that Record Inhibit is enabled when you click the Master button. Check the deck and tape. Disable Record Inhibit before trying again.

Before mastering, the audio channels to be put to tape can be selected on or off via the track enable/ disable buttons.

Click the favorite (star) icon at the top of the Media List to only show your favorites

This picture shows that 2 clips have been selected to be sent to tape

Set the desired number of audio channels to be mastered

Using Blackmagic UltraScope

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What is Blackmagic UltraScope?

Now with Teranex 2D Processor, you get the incredible features of Blackmagic UltraScope which you can even use with compatible iMac and MacBook Pro notebook computers with Thunderbolt technology! Blackmagic UltraScope software is installed by the Teranex 2D Processor Installer.

Previously broadcast quality television and post production scopes were incredibly expensive custom solutions that only let you see one scope at a time on a tiny screen! Some scopes look ugly and don’t really look good in front of your client. With Blackmagic UltraScope, you get 6 wonderful scopes that let you see all aspects of your converted video signals!

Blackmagic UltraScope is perfect for quality control checks of the converted output of your Teranex 2D Processor no matter which SDI, HDMI, component analog or composite analog video input you use. Simply connect a Thunderbolt cable between your Teranex 2D Processor and a Mac computer and away you go!

Installation Requirements for Mac OS X

Teranex 2D Processor connects to Mac OS X computers with Thunderbolt technology.

The Blackmagic UltraScope software interface requires a computer display with a minimum resolution of 1280 x 800 pixels to view two scopes simultaneously. Blackmagic Design recommends viewing all 6 scopes simultaneously by using a computer display resolution of 1920 x 1200 or 1920 x 1080 pixels.

Please see the support pages at www.blackmagicdesign.com for a comprehensive list of the latest, minimum system requirements for Blackmagic UltraScope for Mac.

Using Blackmagic UltraScope

98

1. Parade Display 2. Waveform Display 3. Vectorscope Display

4. Histogram Display 6. Audio Metering Display 7. Picture Display

5. Error Logging

Blackmagic UltraScope Interface

Using Blackmagic UltraScope

99

Understanding Blackmagic UltraScope Views

Blackmagic UltraScope has two different views available depending on your workﬂow needs and screen resolution. You have the choice of viewing six displays in “Full Screen” view, or for more compact viewing, choose any 2 displays in “2-up” view.

The display view can be selected from the

View menu.

Choose

Full Screen to enter “Full Screen” view. If this option is unchecked, “2-up” view will be displayed.

You can quickly switch between Full Screen view and 2-up view by using the hot key CMD-F on Mac OS X.

In “2-up” view, select the desired left and right scopes by opening the

View menu or by right-clicking

anywhere in the UltraScope window. Make your selections from the

Left View and Right View menu

options. If you attempt to choose the same scopes for both the

Left View and Right View, the existing

scopes will swap sides.

Screen Resolution Requirements for Display Views

 Full Screen view: 1920 x 1200 pixels or 1920 x 1080 pixels. If your monitor doesn’t support these

resolutions, then Full Screen view will not be available.

 2-up view: minimum resolution of 1280 x 800 pixels.

Full Screen view

2-Up view

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Zoom Function

Blackmagic UltraScope allows you to zoom in on various displays for a more detailed analysis. This helpful function will also pan and zoom the graticules for each display in high resolution.

The zoom function is available in the Parade, Waveform, Vectorscope and Picture displays.

To zoom in, simply click on the bottom right of each respective display. Now you will be able to view the display in ﬁner detail. Drag the mouse within the display area to pan around the zoomed display. Clicking again, will return the display back to its normal view.

1. Parade Display

Parade Display is perfect for checking for illegal colors and checking levels.

Press the RGB button to display the full height of each color channel as red, green and blue. Monitoring the levels of each red, green and blue color channel makes it is easy to view color balance in the blacks, mids and whites of the video signal. Parade Display enables you to identify details common to the red, green and blue channels.

It’s often important to make sure you’re not clipping the video levels. Make sure the video is full level but not clipped. You can turn on the GAMUT function, and any illegal levels will be highlighted in bright red, so they are easy to see. Instructions for setting gamut limits can be found in the Error Logging Display section of this manual. If you want to increase the video level, then make sure it doesn’t go above upper RGB limit or you will encounter illegal levels. Some equipment won’t let you generate illegal 100% RGB levels, however other equipment will. Blackmagic UltraScope lets you see illegal levels whenever they occur.

Illegal video can also happen in blacks as well as whites. Some equipment produces black levels which can be lowered below the black point of 0%. The levels will be shown as bright red if this falls below the lower gamut limit and the GAMUT warning mode is enabled. If you observe illegal black levels, just add some “lift” or gain to eliminate them but check the 100% graticule level to make sure the whole video signal has not lifted and generated illegal colors in the whites.

To check levels, simply press the YUV or YUV+ button.

The COLOR setting switches the RGB display to color rather than traditional black and white. When the COLOR setting is used with the YUV or YUV+ display, luma (brightness) remains white, B-Y (difference between blue and luma) appears blue and R-Y (difference between red and luma) appears red. The COLOR setting is not a professional setting and should usually be switched off, especially when showing video to clients.

Zoom button

Zoom Function

Parade Display

Blackmagicdesign Teranex 2D Processor Installation And Operation Manual

Specifications and Main Features

Frequently Asked Questions

User Manual