How it Works
Crystal Vision
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Safire 3
User Manual
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Crystal Vision Safire 3 User Manual

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Safire 3
Crystal Vision Ltd., Lion Technology Park, Station Road East, Whittlesford, Cambridge, CB22 4WL, England.
Tel: +44(0) 1223 497049 Fax: +44(0) 1223 497059 sales@crystalvision.tv www.crystalvision.tv
Crystal Vision Safire 3 User Manual
Contents
1 Introduction 5
Block Diagram 6
2 Hardware installation 8
Board configuration 8 Link Configuration 8
3 Rear modules 9
Rear module connections with RM50 9 Rear module connections with RM73 10
4 General Purpose Interface 11
Introduction 11 Indigo DT desk top box GPI connections 13 1U frame GPI connections 14 2U frame GPI connections 14
5 VisionPanel 15
Introduction 15 Panel Overview 16 Mounting 16 Connecting 17 Setting Up 18 Operation 21
6 VisionWeb Control 23
Introduction 23 Connecting 24 Menu Tree 24
7 Control Descriptions 29
Auto Setup 29 Gain & Spill 31 Edges and Key Remove 33 Hue and Balance 34 Lighting Compensation 35
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Crystal Vision Safire 3 User Manual
Brightness & Contrast 36 FG Colour Correct 37 Filters & Re-Spill 37 Output Signal 39 Keys & Masks 39 Internal FG Mask 41 Internal BG Mask 41 FG/BG Source & Matte 42 FG Mask Softness 42 BG Mask Softness 43 Signal Status 43 Key Status 44 Key Fade 45 Presets 46 Delay & Timing 46 Engineering 47
8 Using Safire 3 50
Auto Setup 52
Foreground Suppression 53 Background Key 56
Additional Controls 57
Re-Spill 60 Foreground Tints 61 Lighting Compensation 61 Colour Adjust 61
Keys and Masks 61
External Key 62 External Mask 64 Internal Masks 65
9 Key Signals 68
Chroma key 68 Self Key 68 External Key 69 External Mask 70
10 Chroma Key Tips 71
Lighting 71
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Crystal Vision Safire 3 User Manual
Subject Placement 71 Background 71 Clothing 71 Reflective Foreground Objects 71
11 Troubleshooting 72
Card edge monitoring 72 Basic fault finding guide 72
12 Specification 73 13 Appendix 1 75
Statesman Control 75
Statesman operation 75
Status & Presets 76
Signal Status 76 Key Status 77 Presets 77
Chroma Key 78
Auto Setup 78 Manual Setup 80
Fine Tune 83
Chroma Key Adjust 83 Chroma Key Refine 84
Colour Adjust 85
FG & BG Colour Match 85 FG Colour Correct 86
Keyers & Effects 87
Keyers 87 Effects 89
Masks 90
FG Mask 90 BG Mask 91
Engineering 91
Signals 91 Timing 92
Safire 3 User Manual R1.3 3 24 March 2017
Crystal Vision Safire 3 User Manual
R1.1 Major revision to whole manual, including addition of Safire 3
Controller and VisionWeb Control and removal of front panel and board edge control. Statesman control moved to appendix.
R1.2 Safire 3 Controller renamed as VisionPanel. Updated panel operation
and GUIs.
R1.3 Clarified GPI section. 29/07/16
02/04/14
23/10/15
Safire 3 User Manual R1.3 4 24 March 2017
Crystal Vision Introduction

1 Introduction

Safire 3 is a modular real-time chroma keyer for 3Gb/s, HD and SD sources. Ideal for
live virtual productions from studio to sport. It includes enhanced key processing features to create a realistic key as well as video delay and foreground colour correction. The main features are as follows:
• Use with any source – works with 3Gb/s, HD and SD.
• Supports the following video standards: 625i, 525i, 720p50, 720p59.94,
720p60, 1080i50, 1080i59.94, 1080i60, 1080p23.98, 1080p24, 1080p25, 1080p29.97, 1080p30, 1080p50, 1080p59.94, 1080p60, 1080PsF23.98, 1080PsF24, 1080PsF25, 1080PsF29.97, 1080PsF30, 2048x1080p23.98*, 2048x1080p24*, 2048x1080p25*, 2048x1080p29.97*, 2048x1080p30*, 2048x1080PsF23.98*, 2048x1080PsF24*, 2048x1080PsF25*, 2048x1080PsF29.97*, 2048x1080PsF30* (*= YUV 4:2:2 10 bit).
• Key on any colour – select any key colour including grass.
• Auto setup – cursor based auto setup produces optimal chroma key result.
• Optimise the video – video proc-amps allows adjustment of foreground and
background video gains and black levels to provide the most realistic composite image after chroma keying. RGB gain and lift of the Foreground video signal.
• Offset the graphic generator’s delay – up to ten frames of video delay for each input.
• Correct timing errors automatically – each input has a frame synchroniser timed to an external reference or selected input.
• Internal mask generator – to overrule the chroma keyer to force areas to be foreground or background. Use to prevent unwanted keying from reflective objects or to force keying if the backdrop is too small or damaged.
• External key input – use Safire 3 as a linear keyer to key graphics into a video source, or use as a chroma key mask.
• Internal matte generator – use as a fill for Foreground and Background keys.
• Fade keys – fade keys up and down with an auto-transition or manually.
• Fade to Black – fade main output to black with an auto-transition or manually.
• Two video outputs – independent Main and Aux outputs feature routable
sources to display all inputs and outputs.
• Control of Safire 3 is most easily achieved by VisionPanel or VisionWeb Control web browser software. Control can additionally be from SNMP.
• GPI control of configuration set-ups and key fade.
• Supports the following rear module connectors: RM50, RM73.
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Crystal Vision Introduction
• Compatible with Crystal Vision standard frames available in 2U, 1U and desk top box.
• Passes all ancillary data.

Block Diagram

Safire 3 simplified block diagram
Block Diagram Description
The Foreground (FG), Background (BG) and External Key video inputs are firstly frame synchronised, delayed and timed to an external analogue Black and Burst or tri-level syncs reference, or to one of the other inputs.
The FG signal is then passed to the FG suppression block where, in Suppress Foreground mode, all colours in the FG acceptance window are de-saturated to shades of grey and any colour exactly the same as the FG hue colour will be suppressed to black. Luminance is subtracted from the suppressed signal to ensure that all the coloured backdrop area is black. In Multiply Foreground mode the suppression block is bypassed.
A key is derived from the chroma key processing block which is maximum for FG colours exactly the same as the Chroma Key Colour hue. All other colours within the Chroma Key Colour acceptance window will produce varying amounts of key from maximum in the centre to zero at the edges. The clipped chroma key is combined with other keys and masks to produce a single key which is used to cut a hole in the Background video – and in Multiply Foreground mode only, the inverse key cuts a hole in the FG signal as well.
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Crystal Vision Introduction
The FG and BG signal are mixed with their selected video, matte or black fills before being added together to make the final composite output.
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Crystal Vision Hardware installation
to be 10.0.0.201
PL2
GPI 1 Input = RS422 Rx+
GPI 1 Input = GPI 1
PL3
GPI 2 Input = RS422 Rx-
GPI 2 Input = GPI 2
PL4
GPI 3 Input = RS422 Tx+
GPI 3 Input = GPI 3
PL5
GPI 4 Input = RS422 Tx-
GPI 4 Input = GPI 4

2 Hardware installation

Board configuration

Safire 3 main board top-side

Link Configuration

There are four user-settable links on the Safire 3. These are PL2-5, all other links should be left in the position shown in the above picture. PL2-5 set whether the board’s GPI inputs are used as GPIs or as an extra serial I/O port.

Link Towards front of board or Up Towards the rear of board or Down
J1 Sync input unterminated. Sync input terminated by 75 ohms
J9 Debug mode – forces board’s IP address
Normal mode (factory set, do not alter)
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Front Edge LEDs
PSU HD SD
On if power
supply OK
On if reference signal is
HD format
On if reference signal is
SD form at
Crystal Vision Rear modules
RM50 rear module connector
Description
RM50
• All frame slots can be used

3 Rear modules

The 2U Indigo 2 frame will house up to 12 single height modules and dual power supplies. The 1U Indigo 1 frame will house six single height modules and a single or dual power supply. The Indigo DT desk top boxes have a built-in power supply and will house up to two single height modules. All modules can be plugged in and removed while the frame is powered without damage.
Note: For details of fitting rear connectors please refer to the appropriate frame manual.
Safire 3 can support the following rear modules: RM50, RM73.

Rear module connections with RM50

The RM50 being a single height module will allow maximum packing density with the maximum number of inputs and outputs available.

BNC connections

BNC
FG IN
KEY IN
SYNC IN
BG IN
MAIN OUT
AUX OUT
• 12 per Indigo 2 frame
• Six per Indigo 1 frame
• Two per Indigo DT
I/O assignment
3G/High Definition/Standard Definition serial digital input
3G/High Definition/Standard Definition serial digital input
Analogue Black & Burst or tri-level syncs reference for video synchroniser
3G/High Definition/Standard Definition serial digital input
3G/High Definition/Standard Definition serial digital output
3G/High Definition/Standard Definition serial digital output
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Crystal Vision Rear modules
RM73 rear module connector
Description
RM73
All frame slots can be used

Rear module connections with RM73

The RM73 being a single height module will allow maximum packing density with the maximum number of outputs available. This module features relay bypass protection, automatically switching the main output to BG IN in the event of power failure.
• 12 per Indigo 2 frame
• Six per Indigo 1 frame
• Two per Indigo DT
•

BNC connections

BNC
FG IN
KEY IN
SYNC IN
BG IN
MAIN OUT (SWITCHED)
AUX OUT
I/O assignment
3G/High Definition/Standard Definition serial digital input
3G/High Definition/Standard Definition serial digital input
Analogue Black & Burst or tri-level syncs reference for video synchroniser
3G/High Definition/Standard Definition serial digital input
3G/High Definition/Standard Definition serial digital output
3G/High Definition/Standard Definition serial digital output
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Crystal Vision General Purpose Interface
2
‘b’
Recall preset bit 2
GPI
Bit 16
Bit 8
Bit 4
Bit 2
Bit 1
Preset
1
H
H
H
H
H 2 H
H
H
H
L 3 H
H
H
L
H 4 H
H
H
L
L 5 H
H
L
H
H 6 H
H
L
H
L 7 H
H
L
L
H

4 General Purpose Interface

Introduction

Each frame slot has up to six connections ‘a-f’ for GPI control and monitoring. These connections are available at the rear of the frame on the 26-way D-Type remote connectors.
Safire 3 has six GPI inputs. Five recall one of 32 presets and the sixth is used to trigger an auto transition of the Key Fade (see GPI Fade Keys control description).
Each General Purpose Interface (GPI) input is fitted with a 10kΩ resistor connected to the
internal +5V and in the following table, this equates to logic ‘H’. With the GPI preset recall lines set to ‘level’ mode and no connections (logic ‘HHHHH’), preset 1 will be selected. With the GPI preset recall lines set to ‘pulse’ mode, the GPI will be activated whenever a bit is pulled low but no change to the preset selection will occur when all bits return to logic ‘HHHHH’. Note that preset 32 is not accessible in pulse mode.
Note: Because the GPI inputs are sampled in the vertical interval it is recommended that in ‘pulse’ mode, the GPI should be asserted at least 2mS before the start of vertical sync to ensure stability and held active for at least 40mS.
See Presets, Resets & GPI/Os in this manual for details of inverting the GPI preset logic.
Each General Purpose Interface output has a 270Ω resistor in series with its output. This allows for an external LED to be driven, connected to a DC voltage of +5V.
The GPI inputs can be programmed to automatically recall a previously saved preset configuration. The 32 user preset configurations are selected using binary notation. Presets 33-40 are only accessible via VisionWeb or VisionPanel.
GPI Low (<1V) High (+5V)
1 ‘a’ Recall preset bit 1
3 ‘c’ Recall preset bit 4
4 ‘d’ Recall preset bit 8
5 ‘e’ Recall preset bit 16
6 ‘f’ Fade Key Autotrans
Table showing the six GPI functions
See following table for user preset control
Trigger Autotrans (see GPI Fade Keys Setup)
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Crystal Vision General Purpose Interface
8
H
H
L
L
L 9 H
L
H
H
H
10
H
L
H
H
L
11
H
L
H
L
H
12
H
L
H
L
L
13
H
L
L
H
H
14
H
L
L
H
L
15
H
L
L
L
H
16
H
L
L
L
L
17
L
H
H H H
18
L
H
H
H
L
19
L
H
H
L
H
20
L
H
H
L
L
21
L
H
L H H
22
L
H
L H L
23
L
H
L
L
H
24
L
H
L
L
L
25
L
L
H
H
H
26
L
L
H
H
L
27
L
L
H
L
H
28
L
L
H
L
L
29
L
L
L
H
H
30
L
L
L
H
L
31
L
L
L
L
H
32
L
L
L
L
L
GPI
Bit 16
Bit 8
Bit 4
Bit 2
Bit 1
No change
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
Binary coding of GPI inputs to recall preset configurations in level mode.
Preset
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Crystal Vision General Purpose Interface
22
23
24
25
26
27
28
29
30
31
32
Not accessible in pulse mode
1
8 (1)
9 (1)
18 (1)
26 (1)
19 (2)
20 (2)
2
7 (1)
16 (1)
17 (1)
25 (1)
10 (2)
11 (2)
Note:
Remote 1: 26-way high-density D-Type female socket. Frame ground is pin
1A.
Binary coding of GPI inputs to recall preset configurations in pulse mode.

Indigo DT desk top box GPI connections

GPI lines ‘a’ to ‘f’ of each card connect to two rear remote connectors as follows:
Slot no. ‘a’ pin ‘b’ pin ‘c’ pin ‘d’ pin ‘e’ pin ‘f’ pin
Table shows pin number (remote number)
2 and +5V @500mA is pin 1. Remote 2: 26-way high-density D-Type male plugs and frame ground is pin 6 and +5V @500mA is pin 15. Note: The +5V output is protected by self-resetting thermal fuses, which limit the total output current available from Remotes 1-2 to approximately
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Crystal Vision General Purpose Interface
Slot no.
‘a’ pin
‘b’ pin
‘c’ pin
‘d’ pin
‘e’ pin
‘f’ pin
1
8 (1)
9 (1)
18 (1)
26 (1)
19 (2)
20 (2)
2
7 (1)
16 (1)
17 (1)
25 (1)
10 (2)
11 (2)
3
5 (1)
6 (1)
15 (1)
24 (1)
1 (2)
2 (2)
4
4 (1)
14 (1)
13 (1)
23 (1)
3 (2)
4 (2)
5
3 (1)
12 (1)
22 (1)
21 (1)
12 (2)
13 (2)
6
10 (1)
11 (1)
19 (1)
20 (1)
21 (2)
22 (2)
Note:
Remote 1: 26-way high-density D-Type female socket. Frame ground is
1A.
Slot no.
‘a’ pin
‘b’ pin
‘c’ pin
‘d’ pin
‘e’ pin
‘f’ pin
1
8 (1)
9 (1)
18 (1)
26 (1)
19 (2)
20 (2)
2
7 (1)
16 (1)
17 (1)
25 (1)
10 (2)
11 (2)
3
8 (3)
9 (3)
18 (3)
26 (3)
19 (4)
20 (4)
4
7 (3)
16 (3)
17 (3)
25 (3)
10 (4)
11 (4)
5
5 (1)
6 (1)
15 (1)
24 (1)
1 (2)
2 (2)
6
4 (1)
14 (1)
13 (1)
23 (1)
3 (2)
4 (2)
7
5 (3)
6 (3)
15 (3)
24 (3)
1 (4)
2 (4)
8
4 (3)
14 (3)
13 (3)
23 (3)
3 (4)
4 (4)
9
3 (1)
12 (1)
22 (1)
21 (1)
12 (2)
13 (2)
10
10 (1)
11 (1)
19 (1)
20 (1)
21 (2)
22 (2)
11
3 (3)
12 (3)
22 (3)
21 (3)
12 (4)
13 (4)
12
10 (3)
11 (3)
19 (3)
20 (3)
21 (4)
22 (4)
Remote 1 and Remote 3 are 26-way high-density D-Type female
approximately 1A.

1U frame GPI connections

GPI lines ‘a’ to ‘f’ of each card connect to two rear remote connectors as follows:
Table shows pin number (remote number)
pin 2 and +5V @500mA is pin 1. Remote 2: 26-way high-density D-Type male plugs and frame ground is pin 6 and +5V @500mA is pin 15. Note: The +5V output is protected by self-resetting thermal fuses, which limit the total output current available from Remotes 1-2 to approximately

2U frame GPI connections

GPI lines ‘a’ to ‘f’ of each card connect to two of four rear remote connectors as follows:
Table shows pin number (remote number)
Note:
sockets. Frame ground is pin 2 and +5V @500mA is pin 1 in each case. Remote 2 and Remote 4 are 26-way high-density D-Type male plugs and frame ground is pin 6 in each case and +5V @500mA is pin 15 on Remote 2. Note: The +5V output is protected by self-resetting thermal fuses, which limit the total output current available from Remotes 1-4 to
Safire 3 User Manual R1.3 14 24 March 2017
Crystal Vision VisionPanel
Button
Function
Select Channel 1 as the device to control or Channel 5 if the ‘Shift’ button is held down.
Select Channel 2 as the device to control or Channel 6 if the ‘Shift’ button is held down.
Select Channel 3 as the device to control or Channel 7 if the ‘Shift’ button is held down.
Select Channel 4 as the device to control or Channel 8 if the ‘Shift’ button is held down.
Hold down to select alternate function. Hold down for knob coarse adjustment.
Jump directly into the outputs menu, allowing you to quickly monitor your incoming and outgoing signals.
Jump to the presets menu, allowing the quick recalling or storing of a preset.
Go back a menu level or jump to the ‘Home’ menu, if the ‘Shift’
available.

5 VisionPanel

Introduction

VisionPanel is a stylish 3U control panel for the hands-on control of up to 16 frames containing Crystal Vision products including the Safire 3 and Safire 3 Xpress chroma keyers. Multiple VisionPanels can be installed – allowing any device to be controlled from a number of locations. It can also be used alongside the VisionWeb web browser control for simultaneous operation of systems.
VisionPanel features eight hard buttons that have the following function:
C 1/5
C 2/6
C 3/7
C 4/8
Shift
Outputs
Presets
Back/Home
Devices, which can be a mix of Crystal Vision cards, can be assigned to one of eight channels by using the card management menu (see below). The four buttons on the left of VisionPanel in conjunction with the ‘Shift’ button ( top right) allow you to select which one of eight devices you want to control but should your system contain more than eight devices, you can easily select additional ones to control using the ‘Cards List’ menu (see below) on the touch screen.
Soft buttons on the touch screen are used in conjunction with physical knobs to access the various intuitive setup menus, which allow the key processing, masks and engineering settings to be configured with ease. Fades can be implemented using one of these soft buttons or by using a GPI.
VisionPanel is designed to operate the Safire 3 over Ethernet using standard CAT5 cables. Just plug the panel into your Ethernet network to connect to the Safire 3 chroma keyers set up on that network.
button is held down, where all the top level menu options are
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Crystal Vision VisionPanel

Panel Overview

Mounting

VisionPanel can be mounted on a desk, inside a desk or in a 19” rack using the supplied mounting ears.
The desk stand brackets can be mounted in two orientations as shown below. The panel is shipped with the brackets pre-fitted to the shallower orientation. To change to the steep orientation undo the four fixing screws and reverse the
Safire 3 User Manual R1.3 16 24 March 2017
Crystal Vision VisionPanel
brackets so the left hand bracket is fitted to the right and vice versa.

Connecting

VisionPanel requires an Ethernet link to the Crystal Vision frame housing the Safire 3 chroma keyer. The Crystal Vision frame must therefore be Ethernet capable such as the Indigo 2SE/2AE or equivalent 1U or desk top models. See the frame specific manuals for details on how to assign an IP address to the frame.
Connect VisionPanel to the same network as the Crystal Vision frame using a standard CAT5 network cable. Direct connections from the panel to the frame are also supported and do not require a crossover cable.
Screw the supplied 9V External PSU onto the power connector on the rear of the VisionPanel.
Safire 3 User Manual R1.3 17 24 March 2017
Crystal Vision VisionPanel

Setting Up

When first powering VisionPanel you will need to set the panel’s network settings.
The procedure is as follows:
1. Turn VisionPanel on using the power button on the front of the control panel. The screen will display the ‘Card List’ menu which will eventually be filled by the names and locations of detected cards:
Example of Card List display showing a number of Crystal Vision cards
2. Press the “Options” button at the top left of the touch screen and the ‘Network Settings’ menu will be displayed:
Example of Network Settings display.
3. Using the pop-up on screen keyboard, enter the following address fields in ‘dot­decimal’ notation:
IP Address – the panel’s IP Address.
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Crystal Vision VisionPanel
Default Gateway – the address of any device that must be addressed in order to
access devices within external networks, usually the router’s IP address.
Netmask address – this selects the range of network addresses that are checked when identifying devices within a network. For instance a Netmask of 255.255.255.0 will only test the first 24 bits of IP addresses. So a panel with an IP address of
10.0.0.203 and with the netmask above will consider all devices with an IP address of 10.0.0.xx as part of the same network.
Broadcast address – the address that a packet uses to broadcast to the whole network and is usually the IP address of the panel but with all bits that are zero in the netmask set to 1. So the broadcast address in the above example would be
10.0.0.255.
DNS Server – this is the address of a server that translates domain names and IP addresses.
Note: The Broadcast address and DNS server information is not currently used so can be left at the default values.
4. Press ‘Set’ when all the fields have been entered.
5. Press the ‘Card Discovery’ tab to enter IP addresses of the frames you want to scan:
Example of ‘Card Discovery’ display.
6. Enter the IP addresses and port number 80 (e.g. 10.0.0.201:80) of all the frames you wish to control, up to a maximum of 16 frames. Press ‘Add’ to include an IP address or ‘Delete’ to remove it.
7. Press ‘Discover’ to make the panel search the IP addresses in the list and create a new list of cards (the old card list will be deleted).
8. Select ‘Card Management’ to assign different cards to the hard Channel Select buttons on the panel (CH1 to CH8) by using the ‘Move Up’ buttons below. It also allows you to delete cards you don’t want to show on the VisionPanel. You cannot rename cards on VisionPanel. However you can rename cards using VisionWeb (V5.1 or later) and this name will then propagate to the VisionPanel.
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Crystal Vision VisionPanel
Example of ‘Card Management’ display.
9. Returning to the ‘Cards List’ menu by pressing ‘Cards’ at the top left hand corner should now display a list of all the cards in all the frames detected by card discovery, except those cards specifically excluded by card management.
10. Selecting any Safire 3s will display the card’s home page:
Safire 3’s home page.
The Safire 3’s home page is split into three panels: Chroma Keyer Setup, Keys/FG/BG & Masks and General. Within each panel are a number of buttons, each one reveals a number of controls. These controls are documented in the ‘Controls’ section of this handbook.
Safire 3 User Manual R1.3 20 24 March 2017
Crystal Vision VisionPanel

Operation

Left hand side panel buttons
Use the push buttons on the left hand side of the VisionPanel to quickly select which device is to be controlled.
For systems containing more than eight keyers, the touch screen 'Cards List' menu can be used for accessing additional channels.
Right hand side panel buttons
Use the push buttons on the right hand side for the following actions:
Shift – Hold down to select the alternate function.
Outputs – jumps the touch screen to the 'Outputs' menu for incoming and outgoing signal monitoring.
Presets – jumps the touch screen to the presets store and recall menu.
Back/Home – to return the touch screen to the previous menu, or if ‘Shift’ is held down, quickly return the touch screen to the keyer’s 'Home' menu.
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Crystal Vision VisionPanel
Knobs
The six knobs allow easy adjustment of the touch screen slider controls. For coarse adjustment, either press, hold down and turn the knob, or hold down the ‘Shift’ button and turn the knob.
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Crystal Vision VisionWeb Control

6 VisionWeb Control

Introduction

VisionWeb Control is the web interface for controlling Crystal Vision boards. Just by connecting the Indigo frame containing Safire 3 to a PC via an Ethernet connector, and browsing to the IP address of the frame, a similar page to below will be displayed, showing all the controllable boards fitted in the frame:
By selecting Safire 3 the board’s home page will be displayed:
All of Safire 3’s controls are accessible from here. Click on each tab to reveal more controls. All controls are documented in the ‘Controls Descriptions’ section of this handbook.
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Crystal Vision VisionWeb Control

Connecting

Connect the Indigo frame to the PC via an Ethernet cable. Some older PCs may require a crossover cable. Enter the IP address of the frame into the browser to load the home page. Indigo frames have a default IP address of 10.0.0.201.
See the relevant frame user manual for more information on VisionWeb Control and setting up of the frame IP address and connecting to a computer.

Menu Tree

The following menu structure is the means to access the various Safire 3 controls and status. A more detailed description is in section – ‘Control Descriptions’. The basic menu structure for VisionPanel, VisionWeb and front panel access is identical and consists of the following groups and sub-groups:
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Crystal Vision VisionWeb Control
Chroma Key
Setup
Auto Setup
Sample Setup
Grab
Background
Foreground
Show Samples
Show samples on Main
Show samples on Aux
Freeze Input
Sample Positions
Reset Samples
Sample Select
Horizontal
Vertical
Auto Settings
Reset Chroma Keyer
Auto Lighting
Auto Respill
Gain and Spill
Chroma Key
Min Clip
Max Clip
Acceptance
Foreground
Suppression
Acceptance
Chroma Key Control
Enable
Suppress Foreground
Multiply Foreground
Edges & Key
Invert
Remove
Chroma Key Removal
Black
Greys
White
Edges & Shadows
Edge Processing
Shadow Density
Key Shrink
Hue & Balance
Key Colour Tune
Key Hue
Background Saturation
Balance & Tints
Suppression Hue
Foreground Balance
Lighting
Foreground Tints
Compensation
Lighting Compensation
Enable
Aspect Ratio
Left
Right
Top Bottom
Brightness &
Radial
Contrast
Foreground Adjust
FG Lift
FG Gain
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Crystal Vision VisionWeb Control
FG Chroma
Background Adjust
BG Lift
BG Gain
FG Colour
BG Chroma
Correct
Foreground RGB Gain
Red
Green
Blue
Foreground RGB Lift
Red Green
Filters &
Blue
Re-spill
Filters
Ring Suppression
Noise Reduction
Edge Softening
Foreground Re-spill
Re-spill enable
Red Green
Output
Blue
Signal
Outputs
Main
Keys
Aux
FG/BG &
Masks
Keys & Masks
External Key Control
Enable
Multiply
Invert
Min Clip
Max Clip
External Mask Control
Enable
Multiply
Invert
Min Clip
Max Clip
Self Key Control
Enable
Multiply
Invert
Min Clip
Internal FG Mask
Max Clip
FG Mask Control
Enable
Invert
FG Mask Window
Left Right
Top
Bottom
Internal BG Mask
BG Mask Control
Enable
Invert
BG Mask Window
Left
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Crystal Vision VisionWeb Control
Right
Top
FG/BG Source
Bottom
& Matte
Foreground Matte
Red Green
Blue
Background Matte
Red Green
Blue
FG/BG Source
Foreground
FG Mask
Background
Softness
FG Softness
Left
Right
Top Bottom
BG Mask
Softness
BG Softness
Left
Right
Top Bottom
General
Signal Status
FG Input
Standard
Input Present
Input Black
Input Frozen
Input ATC Present
BG Input
Standard
Input Present
Input Black
Input Frozen
Input ATC Present
Key Input
Standard
Input Present
Input Black
Input Frozen
Input ATC Present
Reference Input
Standard
Input Present
Output
Standard
Input Freeze Enabled
Key Status
Output Faded to Black
Chroma Key
Enabled
Faded Down
Self Key
Enabled
Faded Down
External Key
Enabled
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Crystal Vision VisionWeb Control
Faded Down
Masks Enabled
External
FG
BG
Key Fade
Fade Keys
Autotrans
Fades Up
Fades Down
Fade Time
Fade
Fade to Black
Autotrans
Fades Up
Fades Down
Fade Time
Presets
Fade
Presets
Store
Preset Select
Recall
Delay & Timing
Genlock
Source
Reference
Foreground Input Delay
Background Input Delay
Key Input Delay
Short Delay
Output Delay
Pixel Timing
Line Timing
Frame Delays
FG
BG
Key Engineering
Output
Format
Ancillary Data
Invert Output Key
GPI Preset Recall
Enable
GPI Active level
GPI Trigger
GPI Fade Keys
Enable
GPI Active level
GPI Trigger
Progressive Frames
Lock Frames to ATC
Swap FG Input
Swap BG Input
Swap Key Input
Swap Output Frames
Reset
Defaults
Erase Presets
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Crystal Vision Control Descriptions
Auto Setup
Set up chroma key auto-sampling. Enable Auto Lighting and Re-Spill. Select the
Compensation'.

7 Control Descriptions

The controls of Safire 3 are accessible from VisionPanel, the VisionWeb Control software or the board edge. The screen grabs of controls used in this manual are from VisionPanel but are similar to VisionWeb Control with a few minor differences. The path to locate controls via VisionWeb Control or board edge follows similar logic. For instance, in the VisionPanel display, an ‘Input Frozen’ indicator is accessed via the ‘General’ panel, ‘Signal Status’ tab and ‘FG Input’ group where it can also be found in VisionWeb Control. To find the same control using the card edge follow the path General->Signal Status->FG Input to the Input Frozen indicator.
VisionWeb GUI controls are located in a number of tabs each containing panels which mostly contain the controls. Some controls are LEDs that are used to show status, others are check boxes, buttons or sliders which change various Safire 3 settings. (Note: Slider controls in VisionWeb Control, once selected, can be moved by the keyboard up and down arrow keys to give finer control than possible with a mouse.)
The description of the tabs are in the order shown in the GUI i.e.
AUTO SETUP, GAIN & SPILL, EDGES & KEY REMOVE, HUE & BALANCE, LIGHTING COMPENSATION, BRIGHTNESS & CONTRAST, FG COLOUR CORRECT, FILTERS & RE-SPILL, OUTPUT SIGNAL, KEYS & MASKS, INTERNAL FG/BG MASK, FG/BG SOURCE & MATTE, FG/BG MASK SOFTNESS, SIGNAL STATUS, KEY STATUS, KEY FADE, PRESETS, DELAY & TIMING, ENGINEERING.
Each tab is shown with a screen grab and description of each control’s function:
number and position of samples and grab samples to create a composite image.
Reset Chroma Keyer Return Safire 3 to its calibrated settings.
Auto
Settings
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Auto Lighting
Select to automatically compensate for lighting fade-off towards the edges when grab samples is selected. See 'Lighting
Crystal Vision Control Descriptions
Select this to freeze the FG input signal.
moving.
Return sample positions to their default locations.
Select to automatically compensate for any backdrop colour spill on FG objects when grab samples is selected. See Colour Adjust tab->FG Re-Spill.
Set up Safire 3 using FG samples taken from the backdrop and foreground areas. The following parameters are automatically adjusted: Max Clip, Chroma Key Colour – Hue, Foreground Suppression – Hue, Acceptance & Suppression, Chroma Key Tune – Key Saturation.
Select 1, 5 or 12 samples from the backdrop area of the FG picture to use for auto setup. Samples are (optionally) visible on the main and/or aux outputs and can be re-positioned. These samples are used to automatically select optimum chroma key values to allow for variations in chroma key backdrop hue and saturation. Usually the more samples chosen, the more accurate the result.
Sample
Setup
Auto Re-Spill
Grab
Background
Show
Samples
Sample
Positions
Foreground
Show Samples on Main
Show Samples on Aux
Freeze Input
Horizontal/Vertical
Reset Samples
Select 0,1 or 4 samples from the foreground area of the FG picture to use for auto setup. These samples are (optionally) visible on the main and/or aux outputs and can be re-positioned as necessary. These samples are used to amend the settings of the chroma keyer to isolate regions in foreground areas that may cause unwanted keying by forcing the key signal to zero at these points.
Select this to display the sample positions as small rectangles on the Main output.
Select this to display the sample positions as small rectangles on the Aux output.
This is useful to enable accurate positioning of the backdrop and foreground samples when the subject is
Adjust the sample's position horizontally and vertically to the desired location.
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Crystal Vision Control Descriptions
Gain & Spill
Manual adjustment of chroma key controls including key clip and gain. Control key
Sample
Select
and FG suppression acceptance angles, and FG suppression gain. Setup chroma key suppression modes.
Select which sample to re-position – the selected sample will slowly flash on the main and/or aux output.
Adjust the offset of the key signal that will cut a hole in the new Background video signal. Increasing the min clip value will force lower key levels to zero. This is mainly used when small amounts of key level remain in foreground object areas causing breakthrough of the
Chroma Key
Min Clip
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new background. Any increase in min clip value will have to be compensated for by reducing the max clip value to restore the key in other areas. Note that shadows and scuffs appear as high to mid level key values and that increasing the min clip setting and reducing the max clip setting will tend to accentuate these. The effect of this control is best observed by monitoring the Output Key. The default level for this control is 0.
Crystal Vision Control Descriptions
Adjust the gain of the key signal that will cut a hole in the new Background video signal. Reducing the max clip level value will force variations in key level to full key value by amplifying and clipping. Use this control
Max Clip
Acceptance
to compensate for uneven chroma key backdrop illumination. Adjusting this control is a compromise between removing key variations and retaining key edge detail. The effect of this control is best observed by monitoring the Output Key. The default level for this control is 50.
Adjust this control to change the range of colours about the hue colour (acceptance angle) used by the new Background key circuitry. Monitor the output key and with the min and max clip controls set to default values, adjust this control to give the best overall key. Note: It may help to invert the key output in the Engineering menu so that full key level is peak white and no key is black. Setting the acceptance value too small may result in an uneven key in the chroma key backdrop area. Too large a value may cause keying in foreground areas resulting in the new background breaking through to the foreground.
Chroma Key
Control
Enable
Suppress
Foreground
Multiply
Foreground
Select this to enable chroma key operation on the foreground.
Select this to enable FG suppression. This is usually always selected if 'Multiply Foreground' is NOT selected. If 'Multiply Foreground' IS selected then deselecting this option can sometimes give better results if FG suppression has altered foreground colours.
Select this to multiply the Foreground by the inverse of the new Background key. If de-selected, the FG is added to the keyed background. With good lighting and a high quality chroma key backdrop it is usually better to not select 'Multiply Foreground' as FG Suppression and non-multiply mode give better results particularly with fine detail such as hair. However sometimes it is not possible to fully suppress all backdrop detail from the FG picture and that can show in the final composite. In this case multiply mode will cut out the backdrop entirely, but at the expense of fine detail. The different modes should be tried to see what gives the best result.
Invert
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In Multiply Foreground mode this control will invert the generated key – thereby swapping the FG and BG pictures in the final composite.
Crystal Vision Control Descriptions
set mid-way to see the effect most clearly.
Edges and Key Remove
Adjust chroma key settings to remove unwanted keying in black, grey or white
Adjust this control to set the suppressed backdrop area to black. Monitor the keyed FG signal and set the control to the minimum level necessary to give a solid black in the chroma key backdrop area. This control is best adjusted after the hue and acceptance controls have been set and – because because of their interactive nature – the min and max clip controls set to
Suppression
Foreground
Acceptance
their default values. Note that when the suppressed FG signal and keyed Background signal are added together to form a final composite, any luminance in the FG backdrop area will be added to the new background. This can sometimes be compensated for with BG lift reduction in the BG Match sub menu of the Colour Adjust tab, but every attempt should be made to achieve as close to black as possible. Over­suppressing will distort edges possibly causing a black halo around FG objects.
Adjust this control to change the range of colours about the hue colour (acceptance window) suppressed by the Foreground suppression circuitry. Monitor the Keyed FG signal and adjust this control to entirely suppress the chroma key backdrop colour. If the acceptance angle is set too small, then due to variations in backdrop colour, a colour tint may remain in places. If the angle is set too large then unwanted suppression may occur on foreground objects. Adjust the hue control as well to get the best compromise if there are large variations in backdrop colour. This control is best adjusted with the suppression control
areas. Adjust key levels to remove or enhance shadows. Alter key shape to improve effect.
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Crystal Vision Control Descriptions
background.
Use these controls to attenuate the new
Chroma Key
Removal
Black/Greys/White
Edge Processing
background key in foreground areas of black, grey or white. This is useful where colour spill from the chroma key backdrop onto foreground objects are causing unwanted keying of the
Adjust the level of the key in the edge areas. This control changes the gain of the key at the edges and other low value areas such as shadows.
Edges and
Shadows
Shadow Density
Key Shrink
This control changes the appearance of shadows. Increasing the value of this control will make shadows appear more prominent and decreasing less prominent.
Adjust the shape of the key. If a black line appears around foreground objects when the new background is added, adjust the key shrink control to help compensate for this.
Hue and Balance
Manually set the chroma key colour, compensate for under-saturated backdrop colour and fine-tweak the balance between FG suppression window.
Set the colour that will be used by the new Background key circuitry. Monitor the output key, and with the acceptance control set to 90 degrees, and the
Key Colour
Tune
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Key Hue
min and max clip controls set to default values, adjust the control to give the best overall key. Note: it may help to invert the key output in the Engineering menu so that full key level is peak white and no key is black. Note also: this control rarely needs adjusting after auto setup.
Crystal Vision Control Descriptions
Lighting Compensation
This control helps compensate for a poorly saturated camera output in FG backdrop areas. Ideally, a well lit backdrop would produce a 100% saturated colour
Background
Saturation
Suppression
Hue
Balance and
Tints
Foreground
Balance
output from the camera - but this is rarely the case. While monitoring the output key and with max clip set to 100, adjust this control to provide an even and low noise key in the backdrop area. The max clip control can then be adjusted to amplify the key to full level. This control is automatically set by quick setup.
Set the colour that will be used by the Foreground suppression circuitry. Monitor the Keyed FG signal and adjust this control to suppress the chroma key backdrop colour. Note that often there is a variation in backdrop colour caused by lighting etc. so adjust this control to give the best suppression in the most noticeable areas. This control is best adjusted with the suppression control set mid-way and the acceptance control set to 90 degrees to see the effect most clearly. Note also: this control rarely needs adjusting after auto setup.
This control moves the acceptance window of the FG suppressor circuitry about the selected backdrop hue. This control is useful when the FG objects contain colours close to the backdrop colour and so can help minimise desaturation of some FG colours while maintaining good backdrop colour suppression.
Foreground
Tints
This control allows areas of the foreground that contain low saturation levels of the backing colour to be passed without being suppressed.
Compensate for a poorly lit backdrop.
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Crystal Vision Control Descriptions
lighting' is selected in quick setup.
Brightness & Contrast
Adjust the lift and gain of the keyed FG and BG signals to produce a more realistic composite.
These controls help compensate for uneven backdrop lighting. By monitoring the output key and adjusting the lighting
Left/Top/Right/Bottom
Radial
compensation controls it is possible to minimise the effects of lighting edge fade. With max clip set to 100, adjust the position controls to provide as even a key distribution in the backdrop area as possible. These controls are automatically set if 'auto
The lighting distribution of a spotlight is a bright centre that fades away to the edges in a circular pattern. The Background key produced when a spotlight is used to illuminate a chroma key backdrop will reflect that lighting distribution. Increasing key gain (max clip) will help compensate for that but at the expense of fine detail. By monitoring the output key and adjusting the lighting compensation controls it is possible to minimise the effects of lighting edge fade. With max clip set to 100, adjust the radial and control to provide as even a key distribution in the backdrop area as possible. These controls are automatically set if 'auto lighting' is selected in quick setup.
Aspect Ratio
Foreground
Adjust
FG
Lift/Gain/Chroma
Select the aspect ratio of the radial lighting compensation to match the image.
These controls modify the FG video signal so it matches the keyed Background in the final composite. Monitor the output video and use the lift, gain and chroma controls to achieve the best results.
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Crystal Vision Control Descriptions
FG Colour Correct
Filters & Re-Spill
Filter FG input for noise and ring removal and soften keyed edges. Add colour tint to
These controls modify the BG video signal so it matches the keyed Background in the final
Background
Adjust
BG
Lift/Gain/Chroma
RGB Lift and Gain correction of the keyed foreground signal.
composite. Monitor the output video and use the lift, gain and chroma controls to achieve the best result. These controls are left untouched by quick setup. BG lift control can help reduce any luminance added to the composite by the suppressed FG if some luminance remains in the FG backdrop areas.
Foreground RGB
Gain
Foreground RGB
Lift
suppressed FG edges to match new background.
These controls adjust the individual red, green and blue gains of the suppressed FG signal between 80% - 120%.
These controls give positive and negative lift to the individual red, green and blue channels of the suppressed FG signal.
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Crystal Vision Control Descriptions
is selected in quick setup.
Filters
Foreground
Re-Spill
Ring
Suppression
Noise Reduction
Edge Softening
Red/Green/Blue
Enable Enable the Re-Spill feature
This control helps minimise ringing introduced by the camera.
This control adds a variable amount of filtering to the Background key signal to help minimise noise while maintaining fine edge detail.
This control adds a variable amount of filtering to the Background key signal to smooth jagged edges caused by high levels of key gain and to minimise noise.
These controls add a colour tint to the backdrop spill areas of the suppressed FG picture to counteract any noticeable colourisation. When an object is placed in front of a green backdrop, say, it will experience a green spill around its edges and reflecting surfaces, but if a blue background (i.e. sky) was chroma keyed behind, the green spill would look unnatural. Adding a blue FG re-spill in this case would produce a more realistic composite. These controls are automatically set if 'auto re-spill'
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Crystal Vision Control Descriptions
Output Signal
Select which signals are routed to the Main
Select video source for Main and Aux outputs.
and Aux video outputs:­Output video: the composite chroma keyed result. Output key: the key signal, as a monochrome image, produced by the combination of the chroma keyer, other keys and masks. FG input: the Foreground video input. BG input: the Background video input. Key input: the external key input signal.
Outputs
Main/Aux
Keyed FG: the suppressed Foreground image after chroma keying. This signal is useful for fine adjustment of the various controls to optimise the removal of the key colour from the subject. Keyed BG: the Background signal after keying. This signal is useful in fine adjusting the key gain and other controls. FG Matte: display the matte colour set by the keyers and effects/FG source and matte controls. BG Matte: display the matte colour set by the keyers and effects/BG source and matte controls.
Set clip and gain levels for the External Key, External Mask and Self Key. Enable all keys, set key operation to Multiply and enable key inversion.
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Keys & Masks
Crystal Vision Control Descriptions
outside of the caption fill area.
to the BG signal.
would be disabled if self key mode is enabled.
outside of the caption fill area.
External Key
Control
Min Clip
Max Clip
Enable
Multiply
Invert
Use this control to clip all key signals below the threshold set by the control – i.e. if the control is set to 20 then all key levels up to 20% of max will be removed.
Use this control to amplify and clip all key signals above the threshold set by the control – i.e. if the control is set to 80, then all key levels above 80% of max will be clipped and amplified to full scale.
Select to enable the External Key signal as a key. The BG picture is keyed and filled with the FG source. Use this control to key a caption into the Background video and fill with matte, black or video. This key augments the chroma key and self key in its active areas. In chroma key mode this key will force the FG video to mask chroma keying in unwanted regions. The external key combines with the self key to extend the size of the key.
Select to key the FG signal before adding to the keyed BG signal. Select if the FG signal is not black
Select to invert the clipped key.
External Mask
Control
Self Key
Control
Enable
Multiply
All other
controls
Enable
Multiply
Select to enable the external key signal as a mask. The mask signal disables the self key and chroma key in its active areas. If the chroma key is enabled the mask will force the final composite to Background and this can be used to compensate for missing backdrop areas or to promote an area of Background to the front of the composite.
Multiply mode is the normal way of using the external mask; the suppressed FG signal is keyed with the mask prior to adding to the BG. In non­multiply mode the FG signal is not keyed and added
As External Mask.
Select to use the luminance of the FG signal as a key. The BG is keyed and filled with the FG source. Use this control to key a caption derived from the FG video into the Background video and fill with a matte, black or video. Usually chroma key mode
Select to key the FG signal before adding to the keyed BG signal. Select if the FG signal is not black
All other
controls
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As External Mask.
Crystal Vision Control Descriptions
Internal FG Mask
edges.
Internal BG Mask
Enable and set rectangle size for internal FG mask.
Left/Top/Right/Bottom Use these controls to position the mask rectangle.
Select this control to enable the FG mask. This user-
Enable
positionable mask will override the chroma key in its active area to force the BG signal. Use this mask if the chroma key backdrop is too small or damaged, or badly lit at the
Invert Select this control to invert the mask.
Enable and set rectangle size for internal BG mask.
Left/Top/Right/Bottom Use these controls to position the mask rectangle.
Select this control to enable the BG mask. This user­positionable mask will override the chroma key in its active
Enable
area to force FG video. Use this mask to disable the chroma key in FG non-backdrop areas containing the key colour, or reflective objects. Note that the BG mask does not override FG suppression, only the BG key.
Invert Select this control to invert the mask.
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Crystal Vision Control Descriptions
FG/BG Source & Matte
FG Mask Softness
Set FG and BG matte colour. Select FG and BG video sources.
Foreground
Matte
Background
Matte
Foreground
Background
Red/Green/Blue
Red/Green/Blue
Use these controls to set the colour of the FG matte that will be used when the FG source is set to ‘matte’.
Use these controls to set the colour of the BG matte that will be used when the BG source is set to ‘matte’.
Use these controls to select the source of the FG signal. Select either video, black or the colour matte – usually video for chroma keying.
Use these controls to select the source of the BG signal. Select either video, black or the colour matte – usually video for chroma keying.
Set the amount of softness for each edge of the FG mask rectangle.
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Crystal Vision Control Descriptions
BG Mask Softness
Signal Status
Use these controls to soften the four edges of
FG
Softness
Left/Top/Right/Bottom
Set the amount of softness for each edge of the BG mask rectangle.
the mask to make the mask less noticeable. The internal masks can be configured and positioned as a rectangular wipe and added softness can be used as an artistic effect.
BG
Softness
Left/Top/Right/Bottom
Monitor the status of all inputs and outputs.
Use these controls to soften the four edges of the mask to make the mask less noticeable. The internal masks can be configured and positioned as a rectangular wipe and added softness can be used as an artistic effect.
Shows input video standard i.e
Standard
FG /BG/ Key Input
Input Present Lights green if input video present.
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“1920x1080/50i” or “missing” if none detected.
Crystal Vision Control Descriptions
detected.
Key Status
Reference Input
Output
Input Black
Input Frozen Lights yellow if input video frozen.
Input ATC Present
Standard
Input Present
Standard
Input Freeze
Enabled
Output Faded to
Black.
Lights yellow if input video at black level.
Lights green if audio timecode is detected.
Shows input video reference standard i.e “1080/50i” or “missing” if none
Lights green if reference video present.
Shows output video standard i.e 1920x1080/50i”.
Lights yellow if FG input freeze selected in ‘Auto Setup’.
Lights yellow if output faded to black in ‘Key Fade’.
Monitor the status of Chroma Key, External Key, Self Key and External Mask.
Chroma/Self/External
Key
Masks Enabled
Enabled Lights yellow if key is enabled.
Faded Down Lights yellow if key is faded down.
External
FG
BG
Lights yellow if External mask enabled in ‘Keys & Mask’.
Lights yellow if FG mask enabled in ‘Internal FG Mask’.
Lights yellow if BG mask enabled in ‘Internal BG Mask’.
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Crystal Vision Control Descriptions
Key Fade
fade time of 0-100 seconds.
outputs to and from black.
Fade all keys up and down – fade outputs to and from black.
Fade Keys
Fade to Black
Fade Time
Fade
Auto Trans
Fades Up/Down
Fade Time
Fade
Auto Trans.
Use this control to set an autotrans fade time of 0-100 seconds.
Use this control to manually fade keys up and down.
Use this control to automatically fade enabled keys up and down at the rate set by the Fade Time control. In chroma key mode the FG image will be faded up and down but masks are unaffected. External and self key will fade up and down.
These indicate which direction the autotrans operation will take.
Use this control to set an autotrans
Use this control to manually fade
Use this control to automatically fade main and aux outputs to and from black at the rate set by the Fade Time control.
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Fades Up/Down
These indicate which direction the autotrans operation will take.
Crystal Vision Control Descriptions
Presets
Delay & Timing
Select which preset memories to save to or recall from.
Store Store Safire 3 settings as one of 40 presets.
Preset Select
Recall Recall one of 40 previously stored settings.
Select genlock source, output timing with respect to reference and video delays for all inputs.
Select preset number 1-40 to store or recall.
Pixel Timing
Output Delay
Line Timing
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Delay output video horizontally by 0 to 2640 pixels with respect to reference. (See note below.)
Delay output video vertically by 0 to 1125 lines with respect to reference. See note above for max delay. Note: the total Pixel + Line delay cannot
exceed one frame for any output standard. E.g. 720 lines is the maximum delay for 720p standard.
Crystal Vision Control Descriptions
Select whether the external Select this to disable the Noise Reduction and
Engineering
Source
Reference
Genlock
Foreground, Background, Key, Input Delay
Short Delay
Frame Delays FG/BG/Key Delay
Select which input Safire 3 will use as its reference source.
analogue reference input is Tri-Level or Black & Burst. No reference needs to be applied unless 'Reference' is selected as the genlock source.
Indicates whether the output signal is more than one whole frame delayed with respect to each input.
Edge Softening filters to minimise propagation delay. Short Delay for SD = 85uS, HD = 18uS, 3G = 10uS. Without Short Delay selected, add 5 lines delay to the above values.
These controls delay the selected signal by up to ten frames at the Safire 3's input frame synchroniser.
Control Engineering functions such as Ancillary data, GPI preset recall, GPI fade keys, swap field sequences and reset Safire 3.
Select which input video should be
Output Format
used as the format for the video output.
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Crystal Vision Control Descriptions
Select to enable recall of presets
GPI.
GPI Preset
Recall
Ancillary
Data
Invert Output Key
GPI Active
Level
GPI Trigger
Enable
Select which video input is the source of output ancillary data, or blank it.
Select this to invert the output key. Use this to match the key polarity with other equipment or for monitoring purposes to make the key more visible.
by GPI. Presets 1-32 can be selected from the binary coding of the external GPI inputs.
Select low or high level as the active level for the GPI.
Select whether GPI recall should be triggered by a change in level or a pulse.
GPI Fade
Keys
Progressive
Frames
Enable
GPI Active
Level
GPI Trigger
Lock Frames to ATC
Swap FG/BG/Key Input
Swap Output frames
Select to enable fading of keys by
Select low or high level as the active level for the GPI.
Select whether GPI triggering should be triggered by a permanent change in level or a transition.
Lock the HD progressive video output to Ancillary Timecode.
Swap field sequence of the selected progressive video input.
Swap field sequence of the progressive video output.
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Crystal Vision Control Descriptions
Reset
Defaults
Erase Presets
Select to restore Safire 3 to default conditions without erasing stored presets.
Select to restore Safire 3 to default conditions AND erase stored presets.
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Crystal Vision Using Safire 3

8 Using Safire 3

In this section, when we refer to ‘FG’ and ‘BG’ we are referring to the FG and BG input video signals. FG is the signal with objects placed in front of a coloured backdrop. BG is the signal that will replace the coloured backdrop in the final composite. Whereas, to avoid confusion, ‘foreground’ and ’backdrop’ refers to parts of the FG image.
Here is an example of a FG image:
The model is sitting in front of a green backdrop. The backdrop can be of any uniform colour provided the foreground objects don’t contain exactly the same colour. The backdrop must be well and uniformly lit and the foreground objects placed at least 2m in front to reduce colour tinting from backdrop reflections (see section - Chroma Key Tips).
The BG image will appear behind the foreground objects in place of the backdrop. Here is an example of a BG picture:
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Crystal Vision Using Safire 3
With Suppress Foreground in the Gain & Spill menu selected, the chosen hue set by the Suppression Hue control in the Hue & Balance menu is subtracted from the FG signal to replace the backdrop colour with black:
Above, the green backdrop has been replaced by black and other foreground colours remain largely unaffected. A similar process is used to create a ‘key’ to cut a hole in the BG signal. In this case the Key Hue control in the Hue & Balance menu sets the key colour:
The two images are then added together to create a high-quality composite:
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If Multiply Foreground is selected, the FG signal is keyed before adding to the keyed BG. Normally this is left de-selected but can be used if it otherwise proves impossible to create a realistic effect. In this mode, Suppress Foreground’ can still be selected to suppress any colour tinting on foreground objects.
Selecting ‘Suppress Foreground’ and de-selecting ‘Multiply Foreground’ helps retain fine foreground detail and generally gives the most realistic results with a well-lit backdrop.
Safire 3 is capable of producing a very realistic composite chroma key image, but to get the best results, attention must be paid to the lighting and quality of the coloured backdrop, the lighting of the foreground objects and colour and reflectivity of foreground objects. If all of the above have been considered, then the Auto Setup feature of Safire 3 will give excellent results.

Auto Setup

For most well lit scenes, Auto Setup provides an acceptable chroma keyed result. Not all of Safire 3’s controls are adjusted automatically so some knowledge of the other controls is essential. Each control is explained in detail in the ‘Controls’ section but the following brief explanation with pictorial examples will help aid understanding.
Auto Setup works by using up to 12 samples from the backdrop area and up to four samples of the foreground to automatically adjust most of Safire 3’s settings to achieve the best result by taking into account variations in illumination and saturation. Auto Setup allows the number and position of samples to be adjusted and it also offers the option of freezing the FG input video to make positioning the samples easier.
In the above example, the 12 grab samples can be seen distributed around the model. With perfect lighting, only one sample might be necessary. In this example no foreground samples were used and the Auto Lighting and Auto Re-Spill options were selected. Auto Lighting compensates for variations in lighting intensity across the backdrop, and Auto Re-Spill replaces any backdrop colour that may be reflected onto foreground objects with another more realistic colour derived from the BG signal.
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The Grab Samples control automatically produced the following composite image:
Here we can see a realistic result; notice that hair detail and glass transparency has been retained. No foreground samples were necessary here but would be used if small amounts of BG image broke through to the foreground. Selecting foreground samples will automatically adjust the key Min Clip setting to force the key to zero at these points. Not all FG images are as well lit as the above example and it may be necessary to fine tune Safire 3’s settings after Auto Setup.

Foreground Suppression

Safire 3 works by suppressing the colours of foreground objects within a range of hues set by a combination of the Suppression Hue control in the Hue & Balance menu and the Foreground Acceptance control in the Gain & Spill menu. Foreground colours that are exactly the same as the selected hue are suppressed to black and other colours close to that are suppressed to varying shades of grey. The Foreground Suppression control in the Gain & Spill menu adjusts the result to provide an even black backdrop – this control is set automatically by Auto Setup. The following picture shows the Keyed FG output where all the backdrop area has been suppressed to black prior to adding to the keyed BG signal.
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If we manually adjust the FGS Suppression control away from ideal to show a grey backdrop, it shows more clearly the effects of colour suppression. In the next picture you can see residual green backdrop colour around the model’s hair – this is because the FGS Acceptance control, which adjusts the range of colours that are suppressed, has been set at too narrow an angle.
This control is set automatically by Auto Setup but may need adjusting for best results. In the next picture the FGS Acceptance control has been set at too large an angle and has noticeably changed the colour of the leaves of the flowers in the vase.
Adjustment of the FGS Acceptance control is a compromise between removing residual backdrop colour and leaving wanted foreground colours unaffected.
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Another example in the picture below shows the model wearing a top of similar colour to the blue backdrop:
Auto Setup without a foreground sample produces the following result:
Some key remains, which causes the BG signal to be visible on foreground areas – but with a single foreground sample the Min Clip control is automatically adjusted to resolve this:
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Notice how the model’s top now appears purple as suppression has removed some blue from it, but this can be improved by minimising the FG Acceptance angle:
This an area where Multiply Foreground mode can sometimes be advantageous. De-selecting Suppress Foreground ensures that there can be no colour change to foreground objects of similar colour to the backdrop.

Background Key

The key that cuts the hole in the new BG is derived from Key Hue in the Hue & Balance menu and Chroma Key Acceptance in the Gain & Spill menu, and modified by the Chroma Key controls, Min Clip and Max Clip. The Key Hue and Acceptance controls are independent of those that produce Foreground suppression and are automatically set by Auto Setup, but may need adjusting.
The following picture is the Output Key signal produced by Auto Setup. This is the level of quality of key to aim for: solid blacks and whites with no noise and fine detail retained.
.
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The Chroma Key Gain (CKG) Min Clip and Max Clip controls are used to clip the key at its minimum and maximum levels. Both these controls are set automatically by Auto Setup but may need adjusting. Min Clip is mainly used to reduce any small amounts of key level in foreground object areas causing breakthrough of the BG picture. Increasing the Min Clip value will force lower key levels to zero. Shadows can also be accentuated by raising Min Clip.
Max Clip is used to increase the overall gain of the key signal, removing variations to give an even result. The following picture is the Output Key with Max Clip set to a low value – although there are no variations in key in backdrop areas, fine hair detail has been lost. Set Max Clip to as high a value as possible.
Low values of Max Clip also change the shape of the key causing edges to be more noticeable in the composite output.

Additional Controls

To illustrate more advanced Safire 3 features it is necessary to use a more challenging FG signal. The backdrop is unevenly lit and has shadows and reflections that may or may not be wanted. The model is also wearing a shiny black jacket that tends to reflect and cause an unwanted key.
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Auto Setup produces a key with signs of breakthrough in the black jacket and skirt. The reflective floor is also producing a key. The Key Output in the picture below shows unwanted keying in the model’s jacket:
To illustrate the importance of good lighting and backdrop quality, in the following
picture the Max Clip value has been deliberately raised above the Auto Setup value to show the raw key signal:
The variations in backdrop illumination can clearly be seen, as can scuff marks on the floor.
Should Auto Setup fail to produce a satisfactory result, these imperfections can be minimised by manually adjusting the key gain controls:
With Max Clip set to zero and Max Clip set to 40, adjust the Background Saturation control in the Hue & Balance menu to give as best a ‘noise’ free key signal possible – aim for consistent greys.
Now adjust Min Clip sparingly to remove any residual key noise.
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The Chroma Key Removal tools in the Edges & Key Remove menu allows key to be removed from areas where the foreground picture is black, grey or white. Slightly adjusting the Greys control removes the key from the jacket. The Max Clip control will need adjusting to compensate. The following picture shows the improved Key Output after Chroma Key Removal:
Notice that the floor reflections still remain in the key signal. Increasing key gain by reducing the Max Clip value will certainly remove the keying in the floor area but at the expense of key quality. Increasing the Min Clip value will have the opposite effect by emphasising low key levels. The following picture shows just that:
The key on the floor area has been exaggerated. This can be useful when shadows need to be emphasised, but not in this case. The Shadow Density control in the Edges & Key Remove menu changes the density of the key signal in shadow areas to enhance or reduce shadows:
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The final composite shows a realistic scene with shadows removed and some fine hair detail remaining:
Even better results can be obtained with careful lighting and non-reflecting and unmarked backdrop surfaces.

Re-Spill

Spill is the effect where backdrop colour appears on the foreground objects usually by reflection off skin or clothes. This can make foreground objects appear unnatural when chroma keyed over a different colour background. The Re-Spill controls in the Filters & Re-spill menu add a colour tint to those foreground objects containing some residual backdrop colour. Auto Re-Spill uses the same sample positions to sample the BG image as is used for the FG.
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Foreground Tints

If the foreground objects contain similar colours to the backdrop colour there is a likelihood of those colours being de-saturated by the suppression process. The FG Acceptance window control can be narrowed to minimise this effect but sometimes a wider acceptance angle is necessary to suppress all the backdrop colour. In that case the Foregrounds Tints control in the Hue & Balance menu can add colour back to the suppressed FG.

Lighting Compensation

The light output from a studio light often fades towards the edges which results in a non-uniform key signal requiring more key gain to even it out. The Lighting Compensation controls in the Lighting Compensation menu boost the key at the edges, or radially. Auto Setup will automatically adjust these controls if enabled.

Colour Adjust

In the Brightness & Contrast menu, Safire 3 has controls that enable the final composite image to be as realistic as possible. These include individual Lift, Gain and Chroma level control of both FG and BG signals. Also available in the Foreground Colour Correct menu are FG RGB Gain/Lift controls. Here the BG has been darkened and the FG red gain increased slightly to give a sunset feel:

Keys and Masks

See section - ‘Key Signals’ for more information on how keys and masks combine.
In addition to chroma keying, Safire 3 can generate an internal linear self key derived from the luminance of the FG signal. Enabled in the Keys & Mask menu, this can be used to key a caption into the background video and fill with a matte, black or video. In the picture below the Crystal Vision logo signal is the FG input and is self keyed into the BG signal using the FG signal as both key and fill. (Note: The model in front of the green backdrop is the BG signal in this setup).
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The Self Key, Max Clip and Min Clip controls are adjusted to give the best result.
In the picture below with a different BG and key signal, Matte is selected as the FG key fill in the FG/BG Source & Matte menu.

External Key

The External Key input can be used as a linear key to cut a hole into the BG signal. Logos often have two separately generated components – a key and a fill. To create the picture below, the model in front of the green backdrop is the BG signal, the logo key signal is fed to the External Key input and the logo fill signal to the FG input:
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The External Key can also be used as a FG force signal during chroma keying to prevent unwanted keying on foreground objects. In the example below, the chroma keyer has been set to key off the pitch colour in Multiply Foreground mode. The logo signal here is both the External Key input and BG signal. The logo needs to appear as though it is painted onto the pitch with players apparently able to walk over it, and it is possible to combine the chroma key and External Key to limit chroma keying to the External Key area only:
Because, in this case, the key and fill signals are the same signal, the External Key Inversion control needs selecting to disable chroma keying in the non-logo key areas by forcing the FG signal (See Section – Key Signals). Below is the Key Output:
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The white outline of players and spectators produced by the chroma key can be seen, but note that there is no other chroma keying outside of the logo key area. The External Key can also be used to prevent unwanted keying on foreground objects during normal studio chroma key operation. For example, if the foreground contained an object of exactly the same colour as the backdrop, or a highly reflective object was causing unwanted keying, then a well placed key could be input to prevent this.

External Mask

During chroma keying, the External Mask combines with the chroma key to force the BG signal. In the following example, an External Key input signal is selected as External Mask:
The External Mask signal combines with the key produced by the chroma keyer, as can be seen in the following Key Output:
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The result is that the BG signal appears to be in front of the FG image:
This technique is commonly used to promote architectural features such as pillars from the background to the foreground so actors appear to be walking behind them.

Internal Masks

Safire 3 has two independent internal rectangular mask generators to remove unwanted foreground keying and to force keying in areas where the backdrop is too small or badly illuminated. These masks can be re-sized, inverted or not and moved to the ideal position. The following are examples of where FG and BG mask generators could be useful:
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In this example the backdrop is torn either side and features a discoloured patch.
Without the FG Mask the tears are clearly visible. The patch can be keyed out by widening the FG Acceptance window control and adjusting the key controls:
With the FG Mask, the left hand side and some of the right hand side tears are removed by correct positioning of the FG Mask rectangle:
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As part of the right hand side tear is within the wanted foreground image area it cannot be totally masked without losing some part of the foreground. To remove this entirely would require an external key signal set up as a mask. The second example shows the FG model wearing a badge of identical colour to the backdrop. Normally this would cause an unavoidable key.
After chroma keying the BG image can be seen in the badge:
Using the BG Mask controls, a rectangle can be placed over the badge to disable keying in that area. Note that FG suppression would still be acting, so the chroma keyer must be set to Multiply Foreground mode to retain the original colour:
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Crystal Vision Key Signals

9 Key Signals

All the keys in Safire 3 combine to form a single key which is used to cut a hole in the BG picture. The keys combine as a logical ‘OR’ such that high level (white) areas take priority. All keys can be individually inverted from VisionWeb or VisionPanel.
The following is a pictorial description of key polarities for common Safire 3 key operations. The White (high level key) is the part of the key signal that will show the FG picture and Black (low level key) the BG picture.

Chroma key

Generated by Safire 3 to cut a hole in the BG signal. The white areas will show the selected FG source, usually the suppressed or keyed FG picture:

Self Key

To cut a caption derived from the FG signal into the BG and fill with same FG video, matte or black:
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Crystal Vision Key Signals

External Key

To cut a caption using the external key input into the BG signal and fill with FG video, matte or black:
To force the FG picture to override the chroma key:
This key shape would limit chroma keying to the black area only and force the FG picture to stay unaffected in the white areas.
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External Mask

The External Key input when used as an External Mask combines with the other keys as a logical ‘AND’ such that black areas take priority.
To force the BG picture to override the chroma key using the external key input as a mask:
The mask signal above combines with the chroma key to force the composite to BG in the black areas:
Or to override the chroma key in areas where the backdrop is missing, damaged or poorly lit – typically the edges:
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10 Chroma Key Tips

Lighting

Proper set lighting is essential for realistic chroma keying and can help to minimise the amount of time required to set up Safire 3.
The coloured backdrop must be as evenly illuminated as possible over its entire useable surface. Variations in lighting cause chroma key level variations which require extra key gain to remove. As key gain is increased, the shape of the key edges change making the composite result less realistic. Lighting Compensation controls can help minimise the effects of uneven lighting.
Wherever possible use the same type of lighting on the backdrop – all tungsten, all LED etc. Try to avoid mixing light types as they have different colour temperatures and will produce a variable key signal.
The lighting on the backdrop should be diffused and as low level as possible to minimise spill – that is the reflection of the backdrop colour onto the foreground – but bright enough to produce a low-noise camera output. Ideally, the backdrop lighting should have roughly the same incident light level as the subject’s key light.

Subject Placement

To minimise spill, the foreground subjects should be as far away as possible from the backdrop, at least 2m. This may not be possible with weather maps, for example, but some lighting techniques can minimise the effect of spill: up or down lighting the vulnerable areas with white light can help, as can using a gel of a complementary colour – i.e. a magenta gel when using a green backdrop.

Background

The backdrop itself should be of a consistent quality: scuff marks, patches etc. also require increased key gain. Use an internal or external mask signal to force the composite to BG in difficult areas.
The backdrop should be of a non-reflective nature as should the floor surface. It is very difficult to avoid keying on foreground reflections from a shiny floor.

Clothing

The colour of foreground objects should be chosen to be dissimilar, wherever possible, to the backdrop colour. Narrowing the acceptance angle to avoid keying on foreground objects makes it harder to achieve a good key on variations in backdrop colour.

Reflective Foreground Objects

Any Foreground object that is reflective may reflect some of the backdrop colour causing unwanted keying. Use the internal BG mask or external key to prevent keying on glass table tops etc. unless wanted, but consider that natural reflections often mirror image the reflected scene.
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information
Check that a valid SDI input is present and that any cabling is intact
Check that the input SDI stability is within normal limits
If necessary reset the card
retained, use a factory reset to erase any configurations stored in the card

11 Troubleshooting

Card edge monitoring

The front edge of the card provides useful power rail monitoring and input status.
Safire 3 front edge view
See Card Edge Controls for explanation of card edge LEDs.
The card edge LEDs and 10-digit display may be used in conjunction with status information from any connected remote status panel display or from Statesman if available.

Basic fault finding guide

The Power OK LEDs are not illuminated
Check that the frame PSU is functioning – refer to the appropriate frame manual for detailed
There is no video output
The video output exhibits jitter
The card no longer responds to front panel control
Check that the card is seated correctly and that the Power OK LEDs are lit Check any active control panel cabling Check if the control panel can control another card in the same rack
Resetting the card
If required, the card may be reset by removing the card from the rack and then re-inserting it It is safe to re-insert the card whilst the rack is powered. Any previous configuration will be
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Crystal Vision Specification

12 Specification

Safire 3
General
Inputs
Outputs
Dimensions
Weight
Power
consumption
Video
Video standards supported
Delay through
board
100mm x 266mm module with DIN 41612 connector.
200g.
11.9 Watts.
HD or SD SDI 270 Mb/s to 2.970 Gb/s serial digital compliant to EBU 3267-E, SMPTE 259, SMPTE 292-1 and SMPTE 424/425-A.
Cable Equalisation: 3G (2.970Gb/s) – 80 metres, Belden 1694A or equivalent. HD (1.485Gb/s) – 140 metres, Belden 1694A or equivalent. SD (270Mb/s) >250 metres, Belden 8281A or equivalent.
Automatic de-embedding to SMPTE 272M or SMPTE 299M.
625i, 525i, 720p50, 720p59.94, 720p60, 1080i50, 1080i59.94, 1080i60, 1080p23.98, 1080p24, 1080p25, 1080p29.97, 1080p30, 1080p50, 1080p59.94, 1080p60, 1080PsF23.98, 1080PsF24, 1080PsF25, 1080PsF29.97, 1080PsF30, 2048x1080p23.98*, 2048x1080p24*, 2048x1080p25*, 2048x1080p29.97*, 2048x1080p30*, 2048x1080PsF23.98*, 2048x1080PsF24*, 2048x1080PsF25*, 2048x1080PsF29.97*, 2048x1080PsF30* (*= YUV 4:2:2 10 bit).
Input format auto selected.
Selectable ten frame video delay on all inputs can be used to compensate for delays in graphic generators. Minimum delay with Short Delay ‘ON’: SD=85uS, HD=18uS, 3G=10uS. Short Delay Mode ‘OFF’: as for ‘ON’, but plus five video lines.
Video
Rear Module I/O
RM50 Three serial video inputs, one analogue sync input. Two BNC video
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Serial output: 270Mb/s to 2.970Gb/s serial compliant to EBU 3267-E, SMPTE 259, SMPTE 292-1 and SMPTE 424/425-A.
Output follows the input format. Audio is embedded to SMPTE 272M or SMPTE 299M.
outputs.
Crystal Vision Specification
Remote:
Control from VisionWeb Control web browser software.
Connectors:
RJ45 Ethernet connection.
Power
9v dc external mains power supply, 100-240Vac.50/60Hz 1A.
Three serial video inputs, one analogue sync input. Two BNC video
RM73
outputs – Main Output relay bypassed in the event of power failure.
Status monitoring
LEDs
GPI inputs
Number and type:
GPI outputs
Number and type:
Input fail output
Type:
Control
Front of card edge LED indicators to indicate: PSU rails present. SDI input HD/SD.
6 x GPI inputs. For recall of 32 presets and trigger of auto key transition. Active pull to ground, pulled up to +5V through 10 kohm. Pulse mode GPI to be asserted for min. of 40mS and at least 2mS
before vertical interval.
None.
Dark Blue.
General
Control
Dimensions:
Control from VisionPanel 3U touch screen control panel. SNMP control and monitoring via frame CPU and Ethernet connection.
VisionPanel
3U touch screen. 344mm wide, 133.5mm high (3U), 44mm deep (rear connector to mounting plate); 65mm deep (rear connector to display bezel). Weight 1.64kg without stand; 1.97kg with stand.
USB2 x 2 DC power connector.
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Crystal Vision Appendix 1

13 Appendix 1

Statesman Control

Statesman software control of Safire 3 is no longer supported. The following is included for users of Statesman up to v 4.51.
The Crystal Vision Statesman PC control software is designed to control a range of Crystal Vision modules via Ethernet control from a PC. Statesman provides a user friendly means of configuring and operating Crystal Vision modules with the benefit of “see-at-a-glance” status monitoring.
The main Statesman application communicates with each module in a frame through a Statesman-capable front panel CPU or full active control panel. Either of these must be fitted to the frame to allow Statesman control.

Statesman operation

The initial view will show an Explorer style view of the connected frames and modules. Double clicking on a module will enable the display of the main application menus.
The two large control panes shown in the upper and lower halves of the window may display different menus for the same card, or controls for different cards. Click on the horizontal button-bar between the two panes to close the lower pane or drag the button to vary the size of the panes.
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video frozen. If a LED turns red this is a fault condition. A greyed LED will
Signal Status
Statesman GUI controls are located in a number of tabs each containing panels which mostly contain the controls. Some controls are LEDs that are used to show status, others are check boxes, buttons or sliders which change various Safire 3 settings. (Note: Slider controls, once highlighted, can be moved by the keyboard up and down arrow keys to give finer control than possible with a mouse.)
The description of the tabs are in the order shown in the GUI i.e.
STATUS & PRESETS, CHROMA KEYER, FINE TUNE, COLOUR ADJUST, KEYERS & EFFECTS, MASKS, ENGINEERING.
Each tab is shown with a screen grab and description of each control’s function:
The board status is shown using a mixture of simulated LEDs and text
Status &
information. As a general rule a green LED shows a good condition such as input present. An amber LED will give a warning as with video black or
Presets
indicate an absence such as non-alarm or non-warning status.
FG/BG/Key
Input
Standard Displays input video standard e.g. 1920x1080/50i.
Input Present On when video input present.
Input Black On when input video is black level.
Input Frozen On when input video is frozen.
Input ATC Present On when ancillary timecode is present in input video.
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Key Status
>Chroma Key Control.
On when Self Key is enabled. See Keyers & Effects tab->Self Key Control.
tab ->Fade Keys.
External Key Control.
Effects tab->Fade Keys.
>External Mask Control.
Presets
Reference
Input
Output
Chroma
Key
Self Key
External
Key
Standard Displays ref video standard e.g. 1080/50i.
Input Present On when reference video present.
Standard Displays output video standard e.g. 1920x1080/50i.
Input Freeze Enabled On if input video freeze selected.
Output Faded to Black On if main output faded to black.
Enabled
Faded Down On when key is faded down. See Keyers & Effects tab->Fade Keys.
Enabled
Faded Down
Enabled
Faded Down
External Mask Enabled
On when chroma key mode is enabled. See Chroma Key tab-
On when self key is enabled and faded down. See Keyers & Effects
On when External Key is enabled. See Keyers & Effects tab->
On when external key is enabled and faded down. See Keyers &
On when External Mask is enabled. See Keyers & Effects tab-
Masks
FG Mask Enabled On when FG Mask is enabled. See Masks tab->FG Mask Control.
BG Mask Enabled On when BG Mask is enabled. See Masks tab->BG Mask Control.
Store Store Safire 3 settings as one of 40 presets.
Preset Select Select preset to store or recall.
Recall Recall one of 40 previously stored settings.
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Chroma Key
Auto Setup
Auto and manual setup of Chroma Keyer.
Quick Setup
Set up Safire 3 using FG samples taken from the backdrop
Grab Samples
Reset Chroma Keyer Return Safire 3 to its calibrated settings.
Auto Lighting
Auto Re-Spill
Background Samples
and foreground areas. The following parameters are automatically adjusted: Max Clip; Chroma Key Colour - Hue; Foreground Suppression - Hue, Acceptance & Suppression; Chroma Key Tune - Key Saturation.
Select to automatically compensate for lighting fade-off towards the edges when grab samples is selected. See Fine Tune tab->Lighting Compensation.
Select to automatically compensate for any backdrop colour spill on FG objects when grab samples is selected. See Colour Adjust tab->FG Re-Spill.
Select 1, 5 or 12 samples from the backdrop area of the FG picture to use for auto setup. Samples are (optionally) visible on the main and/or aux outputs and can be re-positioned. These samples are used to automatically select optimum chroma key values to allow for variations in chroma key backdrop hue and saturation. Usually the more samples chosen, the more accurate the result.
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rectangles on the Main output.
Select which signal is routed to the Main output:
Auto Setup (contd.)
Select 0,1 or 4 samples from the foreground area of the FG picture to use for auto setup. These samples are (optionally) visible on the main and/or aux outputs and can be re­positioned as necessary. These samples are used to amend the settings of the chroma keyer to isolate regions in foreground areas that may cause unwanted keying by forcing the key signal to zero at these points.
Select this to display the sample positions as small
Select this to display the sample positions as small rectangles on the Aux output.
Select this to freeze the FG input signal. This is useful to enable accurate positioning of the backdrop and foreground samples when the subject is moving.
Adjust this control to minimise the effect of noisy samples on the auto setup. As auto setup parameters are calculated from a single frame, a noisy picture may give false samples. This control adjusts the levels of the samples to compensate.
Quick Setup
(contd.)
Foreground Samples
Show samples on Main
Show samples on Au x
Freeze Input
Safety Margin
Sample
Positions
Horizontal/Vertical
Outputs
Reset Samples Return sample positions to their default locations.
Sample Select
Main Output
Aux Output Select which signal is routed to the Aux output.
Select which sample to re-position - the selected sample will slowly flash on the main and/or aux output.
Adjust the sample's position horizontally and vertically to the desired location.
Output video: the composite chroma keyed result. Output key: the key signal, as a monochrome image, produced by the combination of the chroma keyer, other keys and masks. FG input: the Foreground video input. BG input: the Background video input. Key input: the external key input signal. Keyed FG: the suppressed Foreground image after chroma keying. This signal is useful for fine adjustment of the various controls to optimise the removal of the key colour from the subject. Keyed BG: the Background signal after keying. This signal is useful in fine adjusting the key gain and other controls. FG Matte: display the matte colour set by the keyers and effects/FG source and matte controls. BG Matte: display the matte colour set by the keyers and effects/BG source and matte controls.
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Manual Setup
for this control is 0.
through to the foreground.
Adjust the offset of the key signal that will cut a hole in the new Background video signal. Increasing the min clip value will force lower key levels to zero. This is mainly used when small amounts of key level remain in foreground object areas causing breakthrough of the new background. Any increase
Min Clip
in min clip value will have to be compensated for by reducing the max clip value to restore the key in other areas. Note that shadows and scuffs appear as high to mid level key values and that increasing the min clip setting and reducing the max clip setting will tend to accentuate these. The effect of this control is best observed by monitoring the Output Key. The default level for this control is 0.
Chroma Key
Gain
Chroma Key
Colour
Max Clip
Edge Size
Hue
Acceptance
Adjust the gain of the key signal that will cut a hole in the new Background video signal. Reducing the max clip level value will force variations in key level to full key value by amplifying and clipping. Use this control to compensate for uneven chroma key backdrop illumination. Adjusting this control is a compromise between removing key variations and retaining key edge detail. The effect of this control is best observed by monitoring the Output Key. The default level for this control is 50.
Adjust the shape of the key. When the key signal is amplified it loses its original shape and this can cause a black line around foreground objects when the new background is added. Adjusting the key edge shape can help to compensate for this. Note that changing the key shape can also be used in conjunction with the min clip control to subtly change the appearance of shadows. The default level
Set the colour that will be used by the new Background key circuitry. Monitor the output key and with the acceptance control set to 90 degrees and the min and max clip controls set to default values adjust the control to give the best overall key. Note: it may help to invert the key output in the Engineering menu so that full key level is peak white and no key is black. Note also: this control rarely needs adjusting after auto setup.
Adjust this control to change the range of colours about the hue colour (acceptance angle) used by the new Background key circuitry. Monitor the output key and with the min and max clip controls set to default values, adjust this control to give the best overall key. Note: It may help to invert the key output in the Engineering menu so that full key level is peak white and no key is black. Setting the acceptance value too small may result in an uneven key in the chroma key backdrop area. Too large a value may cause keying in foreground areas resulting in the new background breaking
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possibly causing a black halo around FG objects.
Manual Setup (contd.)
Set the colour that will be used by the Foreground suppression circuitry. Monitor the Keyed FG signal and adjust this control to suppress the chroma key backdrop colour. Note that often there is a variation in backdrop colour
Hue
Acceptance
Foreground
Suppression
caused by lighting etc. so adjust this control to give the best suppression in the most noticeable areas. This control is best adjusted with the suppression control set mid-way and the acceptance control set to 90 degrees to see the effect most clearly. Note also: this control rarely needs adjusting after auto setup.
Adjust this control to change the range of colours about the hue colour (acceptance window) suppressed by the Foreground suppression circuitry. Monitor the Keyed FG signal and adjust this control to entirely suppress the chroma key backdrop colour. If the acceptance angle is set too small, then due to variations in backdrop colour, a colour tint may remain in places. If the angle is set too large then unwanted suppression may occur on foreground objects. Adjust the hue control as well to get the best compromise if there are large variations in backdrop colour. This control is best adjusted with the suppression control set mid-wa y to see the effect most clearly.
Adjust this control to set the suppressed backdrop area to black. Monitor the keyed FG signal and set the control to the minimum level necessary to give a solid black in the chroma key backdrop area. This control is best adjusted after the hue and acceptance controls have been set and – because because of their interactive nature – the min and max clip
Suppression
controls set to their default values. Note that when the suppressed FG signal and keyed Background signal are added together to form a final composite, any luminance in the FG backdrop area will be added to the new background. This can sometimes be compensated for with BG lift reduction in the BG Match sub menu of the Colour Adjust tab, but every attempt should be made to achieve as close to black as possible. Over-suppressing will distort edges
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foreground colours.
Manual Setup (contd.)
Chroma Key
Control
Suppress Foreground
Multiply Foreground
Enable
Invert
Select this to enable chroma key operation on the foreground.
Select this to enable FG suppression. This is usually always selected if 'Multiply Foreground' is NOT selected. If 'Multiply Foreground' IS selected then deselecting this option can sometimes give better results if FG suppression has altered
Select this to multiply the Foreground by the inverse of the new Background key. If de-selected, the FG is added to the keyed background. With good lighting and a high quality chroma key backdrop it is usually better to not select 'Multiply Foreground' as FG Suppression and non-multiply mode give better results particularly with fine detail such as hair. However sometimes it is not possible to fully suppress all backdrop detail from the FG picture and that can show in the final composite. In this case multiply mode will cut out the backdrop entirely, but at the expense of fine detail. The different modes should be tried to see what gives the best result.
In Multiply Foreground mode this control will invert the generated key – thereby swapping the FG and BG pictures in the final composite.
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Chroma Key Adjust
setup.
Fine Tune
Adjust chroma key settings for optimum performance.
Chroma Key
Removal
Lighting
Compensation
Black/Greys/White
Enable
Aspect Ratio
Left/Right/Top/Radial
Use these controls to attenuate the new background key in foreground areas of black, grey or white. This is useful where colour spill from the chroma key backdrop onto foreground objects are causing unwanted keying of the background.
Select this to activate lighting compensation. This feature is enabled if 'auto lighting' is selected in quick setup.
Select aspect ratio of radial lighting compensation parameter. Note that quick setup assumes 4x3 which is primarily for Standard Definition.
These controls help compensate for uneven backdrop lighting. The lighting distribution of a spotlight is a bright centre that fades away to the edges in a circular pattern. The Background key produced when a spotlight is used to illuminate a chroma key backdrop will reflect that lighting distribution. Increasing key gain (max clip) will help compensate for that but at the expense of fine detail. By monitoring the output key and adjusting the lighting compensation controls it is possible to minimise the effects of lighting edge fade. With max clip set to 100, adjust the radial and position controls to provide as even a key distribution in the backdrop area as possible. These controls are automatically set if 'auto lighting' is selected in quick
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Chroma Key Refine
prominent and decreasing less prominent.
maintaining fine edge detail.
This control moves the acceptance window of the FG suppressor circuitry about the selected backdrop hue. This
Foreground Balance
control is useful when the FG objects contain colours close to the backdrop colour and so can help minimise desaturation of some FG colours while maintaining good backdrop colour suppression.
Chroma Key
Tune
Chroma Key
Filters
Foreground Tints
Background Saturation
Shadow Density
Ring Suppression
Noise Reduction
Edge Softening
This control allows areas of the foreground that contain low saturation levels of the backing colour to be passed without being suppressed.
This control helps compensate for a poorly saturated camera output in FG backdrop areas. Ideally, a well lit backdrop would produce a 100% saturated colour output from the camera; but this is rarely the case. While monitoring the output key and with max clip set to 100, adjust this control to provide an even and low noise key in the backdrop area. The max clip control can then be adjusted to amplify the key to full level. This control is automatically set by quick setup.
This control changes the appearance of shadows. Increasing the value of this control will make shadows appear more
This control helps minimise ringing introduced by the camera.
This control adds a variable amount of filtering to the Background key signal to help minimise noise while
This control adds a variable amount of filtering to the Background key signal to smooth jagged edges caused by high levels of key gain and to minimise noise.
Outputs Main/Aux Outputs
Select which signal is routed to the main and aux outputs. See Chroma Keyer tab for details.
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FG & BG Colour Match
Adjust FG and BG video levels to match each other to
Colour Adjust
give best composite image. Colour correct FG signal. Colour adjust in areas tinted by backdrop colour.
FG Match FG Lift/Gain/Chroma
BG Match BG Lift/Gain/Chroma
These controls modify the FG video signal so it matches the keyed Background in the final composite. Monitor the output video and use the lift, gain and chroma controls to achieve the best results.
These controls modify the BG video signal so it matches the keyed Background in the final composite. Monitor the output video and use the lift, gain and chroma controls to achieve the best result. These controls are left untouched by quick setup. BG lift control can help reduce any luminance added to the composite by the suppressed FG if some luminance remains in the FG backdrop areas.
FG & BG Colour Match (contd.)
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FG Colour Correct
Enable
FG Re-Spill
Red/Green/Blue
FG Gain Red/Green/Blue Gain
FG Lift Red/Green/Blue Lift
Select this to enable FG re-spill in areas of the foreground that were tinted by the backing colour. This control is selected if 'auto re-spill' is selected in quick setup.
These controls add a colour tint to the backdrop spill areas of the suppressed FG picture to counteract any noticeable colourisation. When an object is placed in front of a green backdrop, say, it will experience a green spill around its edges and reflecting surfaces, but if a blue background (i.e. sky) was chroma keyed behind, the green spill would look unnatural. Adding a blue FG re-spill in this case would produce a more realistic composite. These controls are automatically set if 'auto re-spill' is selected in quick setup.
These controls adjust the individual red, green and blue gains of the suppressed FG signal between 80% - 120%.
These controls give positive and negative lift to the individual red, green and blue channels of the suppressed FG signal.
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Keyers
FG to adjust this control.
Enable and adjust self key. Set up external key input as key and mask. Fade keys in and out, automatically and manually.
Keyers & Effects
Select sources for FG and BG. Adjust FG and BG matte colours. Fade output to and from black.
Self Key Control
Select to use the luminance of the FG signal as a key. The
Enable
Multiply
Invert Select to invert the clipped key.
Min Clip
Max Clip
BG is keyed and filled with the FG source. Use this control to key a caption derived from the FG video into the Background video and fill with a matte, black or video. Usually chroma key mode would be disabled if self key mode is enabled.
Select to key the FG signal before adding to the keyed BG signal. Select if the FG signal is not black outside of the caption fill area.
Use this control to clip all key signals below the threshold set by the control – i.e. if the control is set to 20 then all key levels up to 20% of max will be removed. Monitor the keyed
Use this control to amplify and clip all key signals above the threshold set by the control – i.e. if the control is set to 80, then all key levels above 80% of max will be clipped and amplified to full scale. Monitor the keyed FG to adjust this control.
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Keyers (contd.)
Select to enable the External Key signal as a key. The BG picture is keyed and filled with the FG source. Use this control to key a caption into the Background video and fill
Enable
with matte, black or video. This key augments the chroma key and self key in its active areas. In chroma key mode this key will force the FG video to mask chroma keying in unwanted regions. The external key combines with the self key to extend the size of the key.
External Key
Control
External Mask
Control
Multiply
Invert Select to invert the clipped key.
Min Clip
Max Clip
Enable
Multiply
Invert Select to invert the clipped mask.
Select to key the FG signal before adding to the keyed BG signal. Select if the FG signal is not black outside of the caption fill area.
Use this control to clip all key signals below the threshold set by the control – i.e. if the control is set to 20 then all key levels up to 20% of max will be removed.
Use this control to amplify and clip all key signals above the threshold set by the control – i.e. if the control is set to 80, then all key levels above 80% of max will be clipped and amplified to full scale.
Select to enable the external key signal as a mask. The mask signal disables the self key and chroma key in its active areas. If the chroma key is enabled the mask will force the final composite to Background and this can be used to compensate for missing backdrop areas or to promote an area of Background to the front of the composite.
Multiply mode is the normal way of using the external mask; the suppressed FG signal is keyed with the mask prior to adding to the BG. In non-multiply mode the FG signal is not keyed and added to the BG signal.
Min Clip
Max Clip
Use this control to clip all key signals below the threshold set by the control – i.e. if the control is set to 20 then all key levels up to 20% of max will be removed.
Use this control to amplify and clip all key signals above the threshold set by the control – i.e. if the control is set to 80, then all key levels above 80% of max will be clipped and amplified to full scale.
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Effects
take.
Keyers (contd.)
Use this control to automatically fade enabled keys up and
Auto Trans
down at the rate set by the Fade Time control. In chroma key mode the FG image will be faded up and down but masks are unaffected. External and self key will fade up and down.
Fade Keys
FG Source and
Matte
BG Source and
Matte
Fades Up/Down
Fade Time
Fade Use this control to manually fade keys up and down.
FG Source
Red/Green/Blue Set the FG colour matte using these controls.
BG Source
Red/Green/Blue Set the BG colour matte using these controls.
These indicate which direction the autotrans operation will take.
Use this control to set an autotrans fade time of 0-100 seconds.
Use these controls to select the FG signal. Select either FG video, black or the colour matte – usually FG video for chroma keying.
Use these controls to select the BG signal. Select either BG video, black or the colour matte – usually BG video for chroma keying.
Fade to Black
Autotrans
Fades Up/Down These indicate which direction the autotrans operation will
Fade Time
Fade Use this control to manually fade to/from black.
Use this control to start an automatic fade to black transition of the video output at a rate set by the Fade Time control.
Use this control to set an autotrans fade time of 0-100 seconds.
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FG Mask
The FG and BG masks are used to override the chroma key to either force the BG image in areas of poor backdrop quality or to
Masks
disable in unwanted areas. Note that the masks also have an effect on the self key and external key signals.
FG Mask Control
FG Mask
Window
FG Mask Softness
Select this control to enable the FG mask. This user-
Enable
Invert Select this control to invert the mask.
Left/Right/Top/Bottom Use these controls to position the mask rectangle.
Left/Right/Top/Bottom
positionable mask will override the chroma key in its active area to force the BG signal. Use this mask if the chroma key backdrop is too small or damaged, or badly lit at the edges.
Use these controls to soften the four edges of the mask to make the mask less noticeable.
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BG Mask
Signals
Select this control to enable the BG mask. This user­positionable mask will override the chroma key in its active
Enable
BG Mask Control
Invert Select this control to invert the mask.
area to force FG video. Use this mask to disable the chroma key in FG non-backdrop areas containing the key colour, or reflective objects. Note that the BG mask does not override FG suppression, only the BG key.
BG Mask
Window
BG Mask Softness
Left/Right/Top/Bottom Use these controls to position the mask rectangle.
Left/Right/Top/Bottom
Engineering
Use these controls to soften the four edges of the mask to make the mask less noticeable.
Control engineering functions such as genlock, timing and board reset.
Genlock Source Select which source Safire 3 will use as its reference.
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Select whether the external analogue reference input is Tri-
unless 'Reference' is selected as the genlock source.
output.
data.
Timing
selected, add 5 line delay to the above values.
Output
GPI Preset
Recall
GPI Fade Keys
Reference
Format Select which input video format should be used for the video
Ancillary Data Select which video input is the source of output ancillary
Invert Output Key
Enable
GPI Active Level
GPI Trigger
Enable Select to enable fading of keys by GPI.
GPI Active Level Select low or high level as the active level for the GPI.
GPI Trigger
Level or Black & Burst. No reference needs to be applied
Select this to invert the output key. Use this to match the key polarity with other equipment or for monitoring purposes to make the key more visible.
Select to enable recall of presets by GPI. Presets 1-32 can be selected from the binary coding of the external GPI inputs.
Select low or high level as the active level for the GPI signals.
Select whether GPI recall should be triggered by a change in level or a pulse.
Select whether GPI triggering should be triggered by a permanent change in level or a transition.
Defaults
Board Reset
Erase Presets
Frame Delays FG/BG/Key Delay
FG Short Delay
FG/BG/Key Frame Delay
Output Delay
Pixel Timing
Line Timing
Select to restore Safire 3 to default conditions without erasing stored presets.
Select to restore Safire 3 to default conditions AND erase stored presets.
These controls delay the selected video by up to ten frames at the Safire 3's inputs.
Select this to disable the Noise Reduction and Edge Softening filters to minimise propagation delay. Short Delay for SD = 85uS, HD = 18uS, 3G = 10uS. Without Short Delay
Indicates whether the output signal is more than one whole frame delayed with respect to each input.
Delay output video horizontally by 0 to 2640 pixels with respect to reference. (See note below)
Delay output video vertically by 0 to 1125 lines with respect to reference. See note above for max delay. Note: the total
Pixel + Line delay can not exceed one frame for any output standard. E.g. 720 lines is the maximum delay for 720p standard.
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Timing (contd.)
Crystal Vision Appendix 1
Lock Frames to ATC Lock the HD progressive video output to Ancillary Timecode.
Progressive
Frames
Swap FG/BG/Key Input Swap field sequence of the selected progressive video input.
Swap Output Frames Swap field sequence of the progressive video output.
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