Datavideo SE-500P, SE-500 User manual

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4 CHANNEL MIXER / SWITCHER

SE-500

Instruction Manual

www.datavideo-tek.com

Table of Contents

Warnings and Precautions ................................................................................................ 3

Warranty ............................................................................................................................. 4

Standard Warranty ......................................................................................................................................... 4

Two Year Warranty ........................................................................................................................................ 4

Disposal .............................................................................................................................. 4

Radio and Television Interference ................................................................................................................. 5

Introduction ........................................................................................................................ 5

Product Overview ........................................................................................................................................... 6

Features ..................................................................................................................................................... 6

Packing List ........................................................................................................................ 6

Installation, Connections, Set up ..................................................................................... 7

Some General Notes on Installation .............................................................................................................. 7

Power up State ............................................................................................................................................... 7

Connecting Video Sources ............................................................................................................................ 8

Connecting Audio Sources ............................................................................................................................ 8

Outputs and Monitoring .................................................................................................................................. 8

Audio Mixer .................................................................................................................................................... 9

RS-232 control ............................................................................................................................................... 9

Tally control .................................................................................................................................................... 9

MIDI control .................................................................................................................................................... 9

Quick Start ........................................................................................................................ 10

SE-500 Front Panel ...................................................................................................................................... 10

SE-500 Rear Panel ...................................................................................................................................... 13

Selecting video input formats and adjusting audio levels ........................................... 15

Selecting video output format ...................................................................................................................... 15

Using Video and Audio Monitors .................................................................................................................. 16

Cutting between sources ................................................................................................ 16

Dissolving between sources ........................................................................................................................ 16

Other transitions between sources .............................................................................................................. 16

Effects ............................................................................................................................... 17

Controls and Operations ................................................................................................. 18

Video Source ................................................................................................................................................ 18

Color Processor ........................................................................................................................................... 19

MENU ................................................................................................................................ 20

Audio Inputs, Levels, and Meters ................................................................................... 21

Audio Input Level Calibration Procedure ..................................................................................................... 21

Using Transitions ............................................................................................................ 22

Selecting a transition: Fade, Wipe ............................................................................................................... 22

Playing a transition ....................................................................................................................................... 22

Playing a transition autom aticall y ................................................................................................................. 22

List of transitions and parameters ................................................................................. 23

Using Effects .................................................................................................................... 24

Effects: Quad ............................................................................................................................................... 25

Effects: Split ................................................................................................................................................. 25

Effects: Picture in Picture ............................................................................................................................. 25

Effects: Freeze ............................................................................................................................................. 25

Border........................................................................................................................................................... 26

Background .................................................................................................................................................. 26

Sample applications ........................................................................................................ 27

Four Camera Shoot: Live Stage Performance / Sporting Event .................................................................. 27

Live Conference ........................................................................................................................................... 28

Live Event Mixing: Club VJ / Concert ........................................................................................................... 29

Using SE-500 with CG-100 for Titles/Graphics/Logos overlay .................................... 30

Troubleshooting / FAQ .................................................................................................... 31

No power ...................................................................................................................................................... 31

No image at output / black and white output from S (Y/C) ........................................................................... 31

Audio clipping ............................................................................................................................................... 31

Frozen image at output ................................................................................................................................ 31

Image distortion ............................................................................................................................................ 31

How does the RS 232 work in practice? ...................................................................................................... 31

Appendix .......................................................................................................................... 32

Glossary of Terms ........................................................................................................................................ 32

Tech Notes ............................................................................................................................................... 34

Video Standards, Formats, and Quality ....................................................................................................... 34

Monitor Calibration (procedures, test patterns/bars) ................................................................................... 35

Specifications .................................................................................................................. 37

SE500 RS-232 Remote Control Command ..................................................................... 38

SE500 MIDI Remote Control Command ......................................................................... 43

SE500 Tally Pin Outs Cross Reference .......................................................................... 45

Product registration......................................................................................................... 46

Service and Support ........................................................................................................ 47

Disclaimer of Product and Services

The information offered in this instructi on m anual is i ntended as a guide only. A t all times, Datavideo Technologies will try to give correct, complete and suitable information. However, Datavideo Technologies cannot exclude t hat some information i n this manual, from t ime to time, may not be correct or may be incomplet e. This manual may contain typing errors, omissions or incorrect information. Datavideo Technologies always recommend that you double check the information in this document for accuracy before making any purchase decision or using the product. Datavideo Technologi es is not responsible for any omissions or errors, or for any subsequent loss or damage caused by using the information contained within this manual. Further advice on the content of this manual or on the product can be obtained by contacting your local Datavideo Office or dealer.

Warnings and Precautions

1. Read all of these warnings and save them for later reference.

2. Follow all warnings and instructions marked on this unit.

3. Unplug this unit fr om the wall outlet before cleaning. Do not use l iquid or aerosol cleaners. Use a damp cloth for cleaning.

4. Do not use this unit in or near water.

5. Do not place this unit on an unstable cart, stand, or table. The unit may fall, causing serious damage.

6. Slots and openings on the cabinet to p, back , and bo ttom ar e provided f or venti lation. T o ensure s afe and reliable operation of this unit, and to protect it from overheating, do not block or cover these openings. Do not place this unit on a bed, sofa, rug, or similar surface, as the ventilation openings on the bottom of the cabinet will be blocked. This unit should never be placed near or over a heat register or radiator. T his un it should not be p laced in a built -in insta llation unles s proper ventilation is provided.

7. This product should onl y be operated from the type of power source indicated on the m arking label of the AC adapter. If you are not sure of the type of power a vailable, consult your Datavideo dea ler or your local power company.

8. Do not allow a nything to res t on the po wer c ord. D o n ot locate th is uni t wher e th e po wer cor d wil l be walked on, rolled over, or otherwise stressed.

9. If an extension cord must be used with this unit, make sure that the total of the ampere ratings on the products plugged into the extension cord do not exceed the extension cord’s rating.

10. Mak e sure that the total amperes of all the units that are plugged into a single wall outlet do not exceed 15 amperes.

11. N ever pus h objects of an y kind into t his un it through the ca binet vent ilation s lots, as the y may touch dangerous voltage p oints or short out parts that c ould result in r isk of fire or electric shock . Never spill liquid of any kind onto or into this unit.

12. Except as specifically explained elsewhere in this manual, do not attempt to service this product yourself. Opening or removing covers that are marked “Do Not Remove” may expose you to dangerous voltage points or other risks, and will void your warranty. Refer all service issues to qualified service personnel.

13. U nplug this product f rom the wall outlet and refer to qua lified service personn el under the follo wing conditions:

a. When the power cord is damaged or frayed; b. When liquid has spilled into the unit; c. When the product has been exposed to rain or water; d. When the product does not operate normally under normal operating conditions. Adjust only

those controls that are covered by the operating instructions in this manual; improper adjustment of other controls may result in damage to the unit and may often require

extensive work by a qualified technician to restore the unit to normal operation; e. When the product has been dropped or the cabinet has been damaged; f. When the product exhibits a distinct change in performance, indicating a need for service.

Warranty

•

Standard Warranty

• Datavideo equipm ent is guar anteed against an y manu fac turing def ects for one year f rom the date of purchase.

• The original purchas e invoice or o ther documentar y evidence shou ld be supplied at the time of an y request for repair under warranty.

• Damage caused by accident, m isuse, unau thor ized re pairs, s and, gri t or water is not co vered b y this warranty.

• All mail or transportation costs including insurance are at the expense of the owner.

• All other claims of any nature are not covered.

• Cables & batteries are not covered under warranty.

• Warranty only valid within the countr y or region of purchas e.

• Your statutory rights are not affected.

Two Year Warranty

All Datavideo products purchased after 01-Oct.-2008 qualify for a free one year extension to the

standard Warrant y, providing the prod uct is registere d with Datavid eo within 30 days of purchase . For information on how to register please visit office or authorized Distributors

Certain parts with limited lif etime expectancy such as LCD Panels, DVD Drives, Hard Dr ives are only

covered for the first 10,000 hours, or 1 year (whichever comes first).

www.datavideo-tek.com or contact your local Datavideo

Any second year warranty claims must be made to your local Datavideo office or one of its authorized Distributors before the extended warranty expires.

Disposal

For EU Customers only - WEEE Marking

This symbol on the produc t indicates th at it should not be trea ted as house hold waste. It must be handed over to the applicable take-back scheme for the recycling of Waste Electrical and Electronic Equipment. For m ore detaile d inform ation abo ut the rec ycling of this product, please contact your local Datavideo office.

Radio and Television Inter f er enc e

UNITED STATES: The equipment des cribed in this manual gener ates and us es radio f requency energ y. If it

is not installed and used in accordance with t he instructions in this manual, it may cause inter ference with radio and television reception.

This equipment has been t ested and found t o com ply with the lim its for a Class B digit al devic e, pursua nt to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a r esidential installation. This eq uipment generates , uses, and can radiate radio f requency energy, and if not installed and used in accordance with these instr uctions, ma y cause harmf ul interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation.

If this equipment does caus e harmful interference to radi o or television reception , which can be determined by turning the equipment off and on, the us er is enc ouraged to try to corr ect th e int erfer ence b y one or m ore of the following measures:

1. Reorientate or relocate the receiving antenna;

2. Increase the separation between the equipment and the receiver;

3. Connect the equ ipm ent into an o utlet on a circ uit diff erent f rom that to whic h the receiver is connected.

If necessary, consult your dealer or an experienced radio/TV technician for help and/or additional suggestions.

N.B.: Changes or modifications not expressly approved by the party responsible for compliance could void the user’s right to opera te this equipment.

Peripherals used in conj un ction with this e quipm ent m ust b e co nnecte d via shie lded interf ace cabl es. Us e of unshielded interf ace cables may result in interferenc e to radio and TV receptio n, and may void the user’s right to operate this equipment.

Introduction

Thank you for purchas i ng Datavideo’s SE-500 Dig ital Video S witcher. W e hope you will be pleased wit h your purchase, and with what you can ac hieve with this advanced p iece of technology. In order to get the m ost out of your new switcher, we recommend that you spend some time getting familiar with this manual, as it will describe in detail all the fu nctions of this unit. In add ition, you’ll find som e useful back ground inform ation on video and audio, and some detailed examples of ways to use your new switcher.

If you are experienced in video production, you may want to immediately take a look at the Quick Start section on page 10.

Product Overview

The Datavideo SE-500 is a n analog input, digital pr ocessing video switcher . The SE-500 inclu des 4 groups of video input (4 x composite & 4 x S-Video), a 3 channel audio mixer, 2 micr ophone i nputs , c olor c orr ect ion , digital video trans ition effects, MIDI control interf ace, Tally out , RS-232 rem ote control inter face…and man y more professional features.

A built in TBC in each channel with YUV 4:2:2 frame synchroni zer for Composite, and S (Y/ C) inputs a nd outputs assures stable and high quality video from virtually any source. A bui lt in R. G.B. Col or Proc es sor and a Color Corrector for eac h video input, with set tings that are saved, allow you to f ine tune your video. The SE-500 has 15 different digital effects, which include Quad, Split, PIP, Wipes, and Fade.

Additionally, the SE-500 includes a trul y unique feature “Quad Preview.” This previe w output displays both tally light signals, and next video effects indicator. The op erator can use one single m onitor to obser ve four video input sources , camera activities, and video trans ition effects. The SE-500 has all the popular f eatures of many more expensive m ixers and it is extremely compact in size. Now you can s hoot, mix, and edit, all within this compact size digital switcher.

With the Data video DAC-6 (DV to Com posite, Y/C, an d Component convert er), VP-314 (DV Rep eater), and 10, 20, 40meter DV cables, you may use DV cameras to feed video from up to 200 meters away.

Features

 Digital Processor, high image quality  Four inputs of S-Video (Y/C) and Composite video  Quad video preview monitor output with tally & transition indicators on screen  Optional YUV output – via supplied breakout cable  Quad, Split, PIP, Wipe, and Fade digital video effects  T-Bar control of digital video effect transitions  Color processor for video correction  RS232 remote control  MIDI control interface  Tally output  Audio mixer with two microphone channels and one auxiliary input

Packing List

1. SE-500 switcher x 1

2. S-Video 1.2m Cable x 1

3. AC/DC Switching adapt er x 1

4. BNC to RCA connector x 2

5. Instruction Manual x 1

Installation, Connect ions, Set up Some General Notes on Installa ti on

There are a fe w other things to be aware of when you are insta ll ing and integr ati n g the S E -500. Please make sure you have read the Warnings and Precautions section on page 3.

The SE-500 sends an d receives analog signals excep t the RS-232, MIDI, and T ally. You need to be aware that cable lengths, im pedance, crossing power cords, and adaptor s might interfere with video tr ansmission. The cautions below, with the excep tion of physical damage, wi ll give you the general idea about cabli ng for analog video or audio.

We strongly recomm end you use analog vi deo and audio c ables that are rou ghly the right lengt h to connec t between components. The longer the cable, the m ore noise and deterioration of the video signal can be introduced. We strongl y recommend that you check the integrity of each analog c able before installation b y using a continuit y tester (available from most electronic and vide o supply stores). Cables can go bad over time, with use, by som eone walk ing o n them , carts rolling o ver them , or even for n o appar entl y good reaso n. It will happen eventually. Have a continuity tester handy and save yourself some troubleshooting headaches.

Make sure you don’t ru n video/audio c ables and po wer lines together, on top of each o ther, or across eac h other. This is another good way to introduce nois e and s igna l degrad ati on.

Cable connectors will e ventuall y become dirty or oxidation will st art. The dirt can cause a bad connec tion or introduce noise in the signal. It is advisable to buy some electrical contact cleaning products. Use adaptors if you must, but keep in mind that each connector is one more acc id ent wa iti ng to ha ppe n, one more place the signal can be degraded or broken.

Finally, for exam ples of how t o connect and integra te the SE-500 int o a var iety of s et ups, tak e a look at the brief Quick Start on page 10 and the more in depth explanations in S ample Applications on page 30.

Power up State

When you first power up the S E-500, you will need to check each channel ‘s connection and s et the audio levels. All the setting will be retained except color bar output, see “MENU” on page 21.

At power up, chann el 1 will be the s el ect ed Ma in Vid eo So ur c e a nd channel 2 wil l be the selected S ub Video Source.

Settings that are ret ained ar e: color corr ection set tings; rem ote contr ol setting; tr ansition s etting; video eff ect setting, video output settings and background color.

Connecting Video Sourc e s

S-Video

¼ Stereo Jack

There are two types of plugs used for video signals on the SE-500: BNC, and S-video.

BNC connectors look like this on the cable end. The connector slides over the connector on the SE-500 and is loc ked in place wit h a pus h in a nd c l ockwise turn. The bi g v irtue of th es e connectors, which are the standard for almost all professional video applications, is that they lock in place and cannot be accidentally dislodged.

S-video plugs (also known as Y/C) have 4 tiny pins in them, which carry a separated Y (luminance) and C (chroma) video signal and provide a much better quality video signal than composite. These plugs have a tiny bar in them to assure correct alignment in the socket. They need to be pressed f irmly in place, but very carefully, as the little pins can bend easily. Align plug and socket and push straight in, firmly.

BNC

Connecting Audio Sourc e s

The SE-500 uses 2 kinds of plugs for audio connections: RC A and 1/4 inch jack plugs. There are lots of different names for these plugs. Fortunately for us all, they are not easily confused in the size and shape departments, so we’ll show you some pictures.

RCA plugs (also sometim es known as phono plugs, cinch, or tulips) ar e used for line level audio, such as the connections between a CD pla yer and amp. The SE-500 uses these in stereo pairs, white for left and red for right , at the audio input and output sections.

1/4 inch jack plugs go t their nam e, som e sa y, because the y used to be us ed to manually patch together p hone lines in the o ld central switchbo ard days. They come in mono and s tereo configurations:

the plug, the stereo has two. The SE-500 uses a mono plug on MIC CH1 and mono plugs for MIC CH2.

If you need to use balanced audio inputs or outputs, for low impedance microphones or connecti ons with other profes siona l audio g ear, you nee d to use an impedance m atching device to convert low to high impedance (and/or vice versa). For example D ata vi deo BAC-03 (on page 45)

the mono has one dark band around

RCA

¼ Mono Jack

Outputs and Monitoring

Your particular set up and application for the SE-500 will determine what video and audio devices you connect to the outputs. T ake a look at the Sample Applications, page 30 for som e examples. W hile all the outputs of the S E-500 are very high qualit y, keep in mind that the video quality of the various f ormats, in descending order, goes like this: Y.U.V. (analog com ponent), Y/C (S-video), and Com posite. Audio output s are all line level, suitable for connecting to an amp, VCR, or video projector (for example).

We can’t stress enough t he im portanc e of good m onito ring s ystem s. If something does n’t l ook or sound righ t

Connecting a Datavideo TLM-70D 7” TFT LCD for

at the last stage of the s ignal path, t he Main ou tput, it c an only be eas ily correc ted if you can pinpoint where in the signal path the prob lem is being i ntroduced. Certain set ups will b enef it greatly by being ab le to monitor the video of each input channel, as well as the Main output. High quality headphones allow you to hear the audio with far fewer intermediate steps and far more accuracy, thanks to the Headphone control o n the front panel, than go ing through an amp and speakers. We suggest both methods of m onitoring, and listen ing to the sound through a video m onitor’s speak ers is als o a good idea. Needless to say, if you are outputting to a record deck, you sh ould be able to eas ily monitor the output of that device as well.

preview video monitoring, page 44.

Audio Mixer

 An Audio Mixer with two mono microphone inputs and stereo Aux input allows you to adjust and

balance the volume from various audio sources.

RS-232 control

 The RS-232 Control Port enables control of the SE 500 from a PC or other device thru the RS-232 port.

Connects to PC RS-232 se rial interface for rem ote controlled by PC application sof tware. Refer to the Appendix detail of RS-232 Remote Control Protocol, page 46.

Tally control

 The tally output allows you to send out tally light signals. Refer to the Appendix detail of tally pin outs

cross reference, page 53.

MIDI control

 Connects to oth er MIDI devices, suc h as MIDI keyboard, and electronic piano. Refer to the Appendix

detail of MIDI Control Protocol, page 51.

Quick Start

8. Video Effect: Freeze

4 5 6

SE-500 Front Panel

1. Audio faders

2. Headphone Socket

3. Audio meters

4. Headphone Volume Control

5. Video Effect: Quad

6. Video Effect: Split

7. Video Effect: PIP

9. Background color selection/Menu

10. Border On/Off

11. T-Bar

12. Transition Effect preview

13. Main Video Source selectors

14. Sub Video Source selectors

15. Transition mode selectors

1. Faders: s liders t o contr ol audio le vels f or the Ma in au dio output mix. Thes e Audio Level pots are the first stage in the audio signal path. Analog audio comes in through the 1/4 inc h pho no jac k and RCA conn ectors on t he r ear panel see Rear Panel, page 14.

2. Headphones jack: accepts a stereo mini jack plug for stereo headphones. The headphone volume is controlled by the Headphone volume control (4.).

3. Audio Meters: LED style m eters, which show the signal strength at the Audio Output. The signal measured is determined by the levels set with the Faders (1.). The LEDs turn r ed at +10 dB to indicate c li ppi ng distor ti on. F or more information, see Audio Inputs, Levels, and Meters, page 24.

4. Headphone volume control: controls Headphone level and s igna l( s) present at the Head phone jack (2.). Lev el is controlled b y the rotary knob. For more inform ation, see Using Video and Audio Monitors, page 16 and Audio Inputs, Levels, and Meters, page 24.

5. Quad Video Effect: com bines four different input sources into one single output on program monitor.

6. Split Video Effect: split the selected Sub Video Source and the Main Video Source into left an d right half si ze video screen. Use l eft and right function key to swap sides. For more information, see Using Effects: Split, page 29.

7. Picture in Picture: puts th e selected Sub Video Source in a window on the Main Video Source, with control over window size and placement. Used in conjunctio n with t he B order k e ys (10.) For more inform ation, see Using Effects: Picture in Picture, page 29.

8. Freeze Video Effect: will grab the last field from the Main vide o output and hold it as a still image. For more information, see Using Effects: Freeze, page 29.

9. Background: When Background is selected in either the Main or Sub

Video Source (13, 14.), and the button is pressed (and the LED is lit except with black color background), repeated presses of the color button cycle through the 8 possible solid backgrounds. For more information, see Background, page 30.

10. Menu: Press and hold the button “BACKGROUND COLOR” for 2

seconds or more, a menu will pop up. You are able to change the camera settings, which include Brightness, Contrast, color, Tint (NTSC only). For more information, see Color Processor, page 21. Press it again, and you can chang e output format between YU V or S-video out, select RS232C or MIDI control, and color bar output.

11. Border: controls the border style and color for the Picture in Picture

effect, and the color edge f or the Wipe effect. This control is accessible when the Picture in Picture controls and Wipe transitions (15.) are engaged. For more inf ormation, see Using Effects: Picture in Picture, page 28 and Using Transitions: Wipe page 25.

12. T-Bar: used to manually perform a transition. For more information, see Playing a Transition, page 25.

13. Preview: preview the selec ted transiti on effec t, and back ground col or by pressing the “Preview” button.

14. Main Video Source Selector: Used to select which of the four video input channels or background is sent to the Main video output. For more information see Video Source, page 21.

15. Sub Video Source Selector: Used to select which of the four video input channels or background will be transit ioned to or used as a sub source in an effect.

1. Video In (Channels 1, 2, 3, and 4 are all set up the same way) a. Composite vid eo input: takes a BNC connec tor from the composite output of a VCR, camera,

DVD player, etc.

b. S-Video (Y/C) in put: takes a standard 4 pin S-video cable from the output of a VCR, camera,

DVD player, etc.

N.B If S-Video (Y/C) is connected it will be automatically selected in priority over Composite.

2. Video Output. These ports carry the Main video output of the SE-500. a. Composite video out: BNC connector typically connected to a program monitor. b. S-video out: stan dard 4 pin S-video (Y/C) connect or, typicall y connected to a VCR, projector, or

monitor.

c. Y.U.V. video out: Combine Composite & Y/C with the supplied breakout cable. These BNC

connectors carry the analog component Main video signal, and would typically be connected to a master recorder (Betacam , DVCPro, or DVCam, for example) , component video monitor, or a satellite uplink. (See page 16 for more information on connecting these ports to a device.)

d. Quad preview out: BNC connector carrying a quad video signal with effect, Tally light,

background, and speed indicators.

3. RS-232 control: f or PC or other devices to remote c ontrol via RS-232 protocol. Please rea d the Appendix of RS-232 Protocol on page 46 for more information.

4. Tally Out: send out Red, Amber, and Gree n color tally signals to eac h channel. Red m eans On-Air, Amber means nex t camera source, Green means free to move.

5. MIDI Control interface: for connecting to other MIDI devices, such as MIDI keyboard, and electronic piano. Please read the Appendix of MIDI Control Protocol, page 51

6. MIC CH2: A ¼” jack connector f or a high impedance analog a udio source, such as a microphone. MIC inputs 1 and 2: accept ¼” Inch mono plugs,

carrying high impedance signals from one or two mono microphones. With high impedance MIC, the longer the cable from microphone to the SE-500, the more noise is introduced into the signal.

7. MIC CH1: When a stereo ¼” jack is connected to C H 1 on l y, the CH1 and CH2 Faders (page 13) will

have equal volum e on each channel. When both CH 1 and CH2 have a MIC connected, each fader channel will adjust the respective input from the rear panel.

8. Audio Inputs: A RCA stereo for a line level auxiliary analog audio source, such as a CD player or tape deck . If you are using more than two s ources via an external audio mixer, connect the audio mixer’s line level output to this unbalanced Audio input.

9. Audio Output: A RCA st ereo line level a nalog audi o output , carr ying th e si gnal present at the output of the audio mixer section (see Controls and Operations, page 20).

10. Power: Switches the unit On / Off.

11. DC Input: connect the power supp ly that came with the SE-500, an d only the po wer supply that came with the SE-500, here, and plug the other end into an electrical outlet, preferably on a surge suppressor for added protection.

Selecting video input for m at s and adjusting audio levels

(Numbers refer to the Front Panel illustration on page 10).

Verify that there is a valid source at each input you’ve connec ted by using the Main Sourc e Select buttons (13.) to select a channel and view the output on the main monitor.

For each input channe l ( 1, 2, 3, 4): conn ec t e ither a Compos ite or S-V id eo s o urc e to e ac h c ha nne l. For more information please see below.

Adjust any audio input l evels you will be us ing, for example mic rophones, Aux in from a mixer, etc. Set the level of the LEDs in the Audio Met er s (3.) to occasionally peak at +8 or +10 and there is no audible distortion.

Tech Note: The SE-500 will automatically detect which connector is plugged in. T herefore, there is no

need to change the setti ng when you switch the vide o source from S-Video to Com posite, and vice versa. However, if you connect both S-Video and Composite inputs on the same Channel, the SE-500 will automatically select the S-Video as main input source.

Selecting video output format

In addition to the Com posite Video Output the SE-500 can outp ut either S-V ideo (Y/C) or Com ponent Video (YUV). To output Com ponent Vide o there is a spec ial break out cable tha t connec ts to the (Y/C ) out and one of the Composite Outputs.

To switch the SE-500 Video Output to S-Video (Y/C) or Component Video (YUV):

Press and hold the Background Button for 5 Seconds until the On-Screen Menu appears. Press the Background Button again and the second page of the menu will appear.

Use the UP and Down Buttons to navigate the menu and highlight Video Output. Video Output can be set to Y/C C C or Y.U.V. C. If you want to output S-Video use the Left or Right Arrow Buttons to select Y/C, C, C. If you want to use Y.U.V. Component Output via the supplied Breakout Cable then select Y.U.V, C.

Using Video and Audio Monitors

Without reliable video and audio monitors, you won’t be able to tell what’s what in your mix. The SE-500 provides the ability to easily and reliably monitor video and audio at the output stages. All video input channels can be monitored on one monitor, via the Quad Preview Monitor Output.

You should have a video monitor displaying the Main Output. This could be a composite monitor, for example, connected t o the one of two C V plug ( Compos ite) in the Video Outp ut section, or t o the com posite output of a VCR connected to the Video Output.

For output audio monitoring with hea dphones, set the rotary he adphone volum e control knob to the c enter. (4.); to monitor thro ugh an amplifier and speakers, push the MASTER f ader to -12 in the Audio Faders ( 1.) section. For more information, see Controls and Operations, page 20.

Cutting between sources

The simplest wa y to cut (switch) between source video inputs : use the Video Mai n Source buttons ( 13.) to select which input goes to the program monitor (output). Look at the results on your program or record monitor.

Dissolving between sour c es

Select the Main Video Source (13.) by pres s ing t he a p propr ia te channel button. The L ED f or the c ha nne l you have selected should be l it and you should see that source on th e program monitor. Select the Sub Video Source (14.) you want to dissolve to.

The default transition is fad e (The LED sh ould be lit when you turn on the sw itcher. If a different t ransition is selected at power up, pr ess it to d eselect.) Move the T-Bar (11.) to the opposite pos ition and watch the fade happen on the program monitor. You can stop the fade part way through and watch the Ma in source fade away.

Other transitions between sources

Select Main and Sub sources as above. Select the wipe you wish to use. There are total 11 different Wipe styles and the corresponding ic o n wi ll be displayed on the preview monitor when you press it. At this point you can hit Preview (12.), to see the transition on the preview monitor. Then, use the T-Bar to perform the transition manually. For more information, see Using Transitions, page 24.

Effects

There are two places on the SE-500 where you can add effects: in the Transition Effects section (15.) and in the Video Effects section (5-8.). Some of these work on a single source, and some need two or four sources to work.

Select a Main Video source and try the following:

In the Transition Effects section, select the WIPE effect you wish to use. You could also add a border to the edge by turning on the BORDER effect (10.).

For more information, see Using Transitions, page 24

In the Video Ef f ec ts s ec tion , tr y the Quad effect (5.). Press the button to engage the ef f ec t; the L ED will light. You can see 4 input sources showing on the program monitor at the same time.

For Split effect (6.), s elect a sub sourc e for right ha nd side windo w. Then, pr ess the “ SPLIT” button. You will see Main source on left hand side, and Sub source on right hand side.

PIP effect (7.), which stands for Pictur e in Picture. As you might guess , this effect requ ires a Main and S ub Video Source. Assum ing you have valid inputs on Ch annel 1 and 2, select Channel 1 as the Main Source and Channel 2 as the Sub S ource. When you enga ge the effect by pres sing the PIP button (a nd verifying that the LED on the button is lit), on the program monitor you will have Channel 1 as the Main Source and Channel 2 as a smaller window ins et. There ar e two c hoices for window size. Change thes e by pressing t he ＋ and － buttons, see below. You can position this windo w using the other f ive dif ferent posit ion butto ns on (15.), with the button set to Position Contr o l (LED is lit). You could also add a border by turning on the Border control (10.).

Next, try the Freeze effect (8.) to grab a s till frame of the Main Sour ce video. Move the T -Bar to manually dissolve to the Sub Video Source.

For more information, see Using Effects, page 27

Controls and Operati ons Video Source

The first thing to do when using the SE-500 is to select the Main a nd Sub V ideo S ources .

The source you s elect (by pressing one of t he buttons; a bright red L ED on the selected button lights for confirmation) on the Main Source bus is what is sent to the Video output. This means that you can per form cuts between sources by simply pressing different buttons.

The Sub Source selection determines which input will be transitioned to when using an y of the transition controls (Wipe and Fade) and provides the video for Picture in Picture and Split functions. (See Using Transitions, page 24, and Using Effects, page 26 for more details.)

In addition to sel ecting which video in put channel will be present in the Main and Sub Source buss es, you must check the appropriate input for each channel in use. (See Selecting video input formats and adjusting audio levels, page 18.) The SE 500 has automatic input select; if there is an S-Video cable connected to the S-Video input, the c hannel will aut omatically sw itch to S-Video input. However this means that, if both com posite and S-Video inputs are conn ected and there is no valid video signal present thru SVideo, you will see a black video when that channel is selected for output. For example, if you have a camcorder connected to channel 1 through the composite input, and you also have channel 1’s S(Y/C) connected to another non-working device, you will see a black video, e ven if the camcorder is supplying a signal. You will also see a black video if the camcorder is n ot supplying a video signal, suc h as when it is powered off, or in playback mode with no tape loaded.

Tech note: The frozen image is a function of how the time base corrector (TBC, a.k.a. frame synchronizer)

works. The SE-500 has a TBC at the Main Video Source and the Sub Video So urce input on each c hannel. Their purpose is to s tabil ize the vide o signa ls as th e y com e into th e swit cher, a nd to s ynchr onize th eir t iming so that they can be switched and otherwise combined with no disruption to the video signal.

Color Processor

＋

1 2 3

Brightness

Contrast

Color

Tint*

The Color Processor controls work when you press and hold the “Background” (9.) button for 2 seconds or more, which is tempor arily displayed at the Preview Output. For more information, please see the “MENU” section. These controls are like picture controls on a vide o monitor or the proc am p (processing amplifier) c ontrols on a time base corrector. In f act, th ey are th e proc am p contr ols of one of the S E-500’s 4 internal TBCs.

On the top of screen you can see 4 dif ferent numbers, each r epresent the input channel f rom the SE-500 rear p anel. On the left sid e of this section are the 4 co ntrols ( Brig htness , Contrast, Color, and Tint (NTSC only)). 0 stands for Unity, or perhaps Unchanged. In either case, it shows that the signal passing through that particular control is being neither boosted nor cut. T o move to another control, press the up or

down arrow button. To move to another channel, press the left or right arrow button. To change the settings, press the

or － buttons.

±0 ±0 ±0 ±0 ±0 ±0 ±0 ±0 ±0 ±0 ±0 ±0 ±0 ±0 ±0 ±0

You can see the extent of color processing available in this section by experimenting with the controls. Brightness adjusts how light or dark the colors in the image will appear at the Video Output. The Y-Gain controls affect the range between the lightest and the darkest parts of the image, including how much shadow and highlight detail can be seen. Col or controls the saturati on or intensity of the co lor image, from fully saturated or extrem ely inte nse at the top of the s cale to com pletel y de-satura ted or m onochrom e (black and white) at th e bott om. The Tint butto ns ( NT SC only) control the ac tu al hu e or specific colors i n t he image, in effect rotating all the colors equally around an imaginary color wheel.

Reset works on the selected input source, and when pressed and held for 2 seconds, resets the Color Processor controls for just that input to 0 or unit y. (Press and hold the Res et button unt il you see the image shake a bit and return to it’s unprocessed state.)

So how do you know for cer tain how effective any of these adjustments are? You can see the changes by looking at the Main Output on a video monitor, but how do you know if that reference is accurate?

The first part of the answer is: by having a n accuratel y calibrated monitor that s hows exactl y, with reference to a standard, what the v ideo looks lik e. That standard has been described and agr eed to by the Socie ty of Motion Picture and Television Engineers (SMPTE) and the European Broadcasters Union (EBU), and is most commonly show n as “ c olor bar s.” Col or bar s are an im age c onsisti ng of columns and blocks of spec ific colors and gray ton es. Because of differences in te levision standards, SMPTE bars and EBU bars do not look the same. T hey are us ed in much th e same ways: when t hese are disp layed on a m onitor, th e monitor can then be adjusted to meet the standard.

The most serious, accurate color correction is done with the aid of a waveform monitor/vector scope, a signal

＋

－

analysis instrument (actually a pair of instrum ents) common in video editi ng suites, which shows precise ly the details of the vid eo signal. W ith one of these instrum ents, you can see at a glance ( once you know what you are looking for) the most intimate electronic details and irregularities of the video signal.

Many users may not have access to a waveform monitor or vector scope, but this does not necessarily condemn them to produc e less than high quality vide o. It means that more care m ust be taken and some different procedures must be followed.

Nothing will take the pl ace of a cali brated, proper ly adjusted m onitor, so th at must alw ays be your f irst step. For more information on monitor calibration procedure, see Appendix: Monitor Calibration, page 39.

If you don’t have an y video test equ ipment, follow the suggested procedure to adjust all the video sources, which is described at the end of Appendix: Monitor Calibration, page 39..

Settings made in this sec ti o n ar e “r emembered” by the SE-500 after you power down th e unit. In other words , these settings remain in effect until they are changed or the Reset button is pressed.

The MENU works when you press and hold the “BACKGROUND” (9.) button for 2 seconds or more, which is temporarily displayed at the Preview Output. The first adjustment is the “Color Processor” as described above. Press the but ton again, and you can s elect IRE, video output form at, remote control protocol, and color bar output. Use the up or down arrow keys to move to different categorie s, and then use change the setting.

You may select between Y/C, C, C or YUV, C (Compos ite) for video o utput f ormats. If you want to outp ut SVideo select Y/C, C, C. If you want to run a Component ( YUV) output, select YU V, C and use the suppl ied breakout cable to get a Component output signal.

If you use a MIDI keyboard in live concer ts, you can control the SE-500. Go to “Rem ote Control”, use ＋ or

to change the setting from RS-232C to MIDI. Press “BACKGROUND” again, select the desired MIDI channel you wish to use. While you are setting the channel on the SE-500, please also set up the channel on your MIDI device. Af ter you f inish setting, pr ess the button again. T urn off the un it, and then tur n it back on. Now you can start to use the MIDI device to control the SE-500. For more detailed information on MIDI control protocol, please refer to page 53.

Tech Note: All the settings will be memorized except color bar output.

or － to

Audio Inputs, Levels, and Meters (Faders, bus selectors,) Audio Input Level Calibration Procedure

The first step in set ting u p the a udio f or a ses sion with your SE -500 c onsists of adj ust ing the l evels o n which channel you will be using. Slide the Master fader to Max, an d set the ot her fader s to 0. T hen, lis tening to t he audio and watching t he Audio Level M eters (see below), set the level with th e fader so that the sound is consistently at between +0 dB (green LED) and +8 dB (yellow LED) and jus t barely peaks occasionally to +10 dB (red LED) . The idea is to a void any audible d istortion (clipping), caus ed by making the si gnal level too high at this stage.

Three faders on the lef t represent the input volumes (CH-1, CH-2, AUX ), which determine what s ignals are present at the Ma in Output. If an y of the fader s are all the way down, there will be no audio from that input channel heard at the output.

These faders corr espond with e ach input and control the relative vo lume of each i nput in the m aster output as well as the master output le vel. When the faders are set to 0, th ey pass the audio signal throug h at the same level it was at when it entered t his bus. You can increase or dec rease the volum e of each chann el by moving the fader up or down.

These meters sho w the audi o signal level at t he Main output. T he strengt h of any a udio signa l that is routed to the output will be displ ayed here. As mentioned ab ove, these meters play a vital part i n correctly setting the audio levels t o avoid c lipping or other dis tortion. You’ll notice that the LEDs a re green u p throu gh the + 0 dB level, turn yellow at +4 dB, and tur n red at + 10 dB. As you set the audio leve l for each input, m ake sure that the signal peaks to +8 dB or very occas ionall y to +10 dB. Every time the signal goes to +12 d B, it wi ll b e distorted.

Use the Headphone section to accurately monitor with the “Master” volume output. In man y cases, headphones m ay be a more useful and acc urate choice than speakers for audio monitoring. For example, in a noisy club or at a c oncert, you won’t be able to hear any additional sound coming through speakers. Headphones will als o more accuratel y reproduce the sound you wish to monitor at a lower cost than speakers.

Using Transitions

The SE-500 can do 3 kinds of transitions: cut, fade, and wipe. The cut is a simple switch from one input source to another, and can be accomplished by selecting a source on the Main Source Bus, and then selecting a second one. One source is replaced by the next at the video output. Not flashy, not fancy, nothing to customize, but gets the job done. In fact, if you watch a film or video, paying attention to transitions, you’ll see that the cut is far and away the most often used transition.

When you want a transition that is more stylish or fancy, see the next section.

Selecting a transition: Fade, Wipe

First, some definitions: A fade, also known as a di ssolve, is a transiti on wherein all the pixels of one sour ce are replaced by al l the pixels of another, at a smooth rate, and at the same time.

In a wipe transition, the change f rom one source to anoth er happens along a pr edefined edge. It is lik e one source is being pulled back or pushed on to the other.

But a picture is worth a thousand words, so... Select a main source and s ub source, select W ipe, or Fade from the buttons above, press “Preview” button to see what it would like on program . Then, perform the actual transition manuall y by moving the T-bar up and down. See below for a list of transitions and variations.

Playing a transition

The T-Bar is the tradit ional s witcher dev ice for performing tr ansitions; it can be e ither all the way up, all the way down, or anywhere in between. The up and down positions are relative, meaning one position is before and one position is after the transition.

The T-Bar perform s the selected transition bet ween the selected sources as fast as you move the T-Bar. And it performs as much of the transition as you want.

If no transition is s elected, moving the T -Bar performs a fade between th e selected sources.

Playing a transition automatically

The auto transition can be performed by RS-232 or MIDI control. In the auto-take, there are three different speeds you could select. For further detail see RS-232 Remote Control Command on page 45 and MIDI

Remote Control Command on page 51.

List of transitions and para m et er s (suitable for photocopying)

Wipe (works in conjunction with Border controls):

Block wipe from center to full screen.

Right angle wipe on, upper right to lower left

Right angle reveal, lower right to upper left

Right angle wipe on, upper left to lower right

Right angle reveal, lower left to upper right

10:

Horizontal wipe, top to bottom

Horizontal wipe, bottom to top

Vertical wipe, left to right

Vertical wipe, right to left

Vertical wipe, middle to left and right

11:

Horizontal wipe, middle to top and bottom

Using Effects

The SE-500 is capable of producing a wide variety of digital effects. These falls into 2 categories: single channel and dual channel effects.

Single channel effects are produced on the source selected in the Main Video Source bus and need no second video input. Single channe l eff ects include Fre e ze.

For example, select any input channel having a valid signal as the Main Video Input. Press the Freeze button once. You’ll see, on the pr ogram monitor, that the so urce video stops instant ly. Press the butt on again, and watch the source video ret urn to full motion. With the Fr eeze effect, there are no param eters, just a single source stopping and starting.

For more information on single channel effects, see the appropriate section (Freeze) below.

Dual channel effects are produced on the source selected in the Main Video Source bus and require a second source, whic h is alwa ys selected in the Sub V ideo Source bus. Dual c hannel eff ects include P icture in Picture.

For example, select Main and Sub Video Sources, and then press the PIP (Picture in Picture) button; immediately, on the program monitor, you will see the Sub Video Source in a s mall window.

For more information on these d ua l ch ann el ef f ec ts , s ee t he ap pr opr iate s ec ti ons (Quad, Split, and Picture in Picture) below.

Effects: Quad

＋

The Quad effect combines 4 input videos into 1 output. When this effect is activated, it shows 4 video sources on 1 single m onitor . Eac h sour c e t akes one quarter of the entire scr een. P r ess the butt on ag ai n, an d it returns to the previous selected source in full screen.

This is a dual channel effect, and cannot be used with any other transitions or effects.

Effects: Split

This effect will squee ze the Main Video Source an d Sub Video Source into a half size screen. The default setting is Main Video S ource on the l eft, and the Sub Vid eo Source on t he right. Select d ifferent sources for the left window by press ing diff erent c hannels on th e Mai n Vide o Sourc e. You could s witch f rom lef t to right , or right to left b y pressing the “LEFT” or “RIGHT” button. You could also s elect diff erent sources for the left window by pressing 1-4 channel on Main source or pressing 1-4 channel on Sub source for right window.

Effects: Picture in Picture

The Picture in Pictur e effect puts the selected Sub Vide o Source in a window on the Main Video Source. Variables for this effect include window size and position. Engage the effect by pressing the Picture in Picture button and verifying that the LED on the button is lit.

Window size (2 si zes are availa ble); c hange the window s ize b y pres sing the ＋ and － buttons on the left of the Wipe transitions. (

There are 9 differ ent positions that are located on the right of the W ipe transition eff ects. Select from one of the preset locations b y using the buttons. O n each corner, us e “Right” and “Left” to move the window cl oser to the edge or to the center.

This effect may also be used in conjunction with the Border keys (see below).

This is a dual channel effect, and cannot be used with any other transitions or effects.

is larger, － is smaller).

Effects: Freeze

This effec t freezes th e inco ming video, as selected on the Ma in Video S our c e Bus . There are no parameters , no variations. Press the button once and the video freezes, press it again, and it returns to the selected source in full motion.

The Freeze effect is single channel, and can work in conjunction with any transition.

Border

These controls are use d in conjunction with the Pictur e in Picture Effect and W ipe transition only, and can only be activated when the Picture in Picture or Wipe control is active.

8 Colors are avai lable for the wipe border: black , blue, magenta, red, green, c yan, yellow and white. See “Background Color” below. (Wipe only). In PIP mode the border can only be white.

Background

While not strictly an eff ect, these controls are in t he same general area, an d we thought you’d look here for any information you might need. These contr ols s e lec t what s o li d color t he b ac k ground wi ll be when s e lecte d on either the Main or Sub Video bus. T here ar e eight possible b ack ground colors ; see belo w, the LED lights up in the selected c o lor (except for bl ack where the LED go es out) , and it is indicated on the previe w monitor output. The background colors are: black, blue, magenta, red, green, cyan, yellow, and white. Engage this control by pressing the button. The LED’s color will correspond with the background color (except black) to indicate that the controls are active. Repeated presses of the button select different colors.

Sample applications

We figured th at the best way to show off what the SE-500 can do is to give you s ome examples of how it could be used in real life situations. Each example refers to a block diagram for set up and connections.

Each of these examples is m eant t o illus trat e a typical t ype of us e for the SE-500. Needles s to sa y, there will be many variations on an y of these themes. Tr y to look for the principles of each set up and adapt these t o your particular situation. As you get deeper into working wi th your SE-500 in different s ituations, you should familiarize yourself with the Tech Notes, page 34 and Appendix for a quick index of how to do various things with your digital Switc her.

Four Camera Shoot: Live Stage Pe rf ormance / Sporting Event

The first example is a t ypical four-camera shoot. T he example is based on a stage perf ormance such as a play or a band, but it could just as easily be slightly modified for other live situations such as sporting events. The four cameras are feeding analogue signals to the SE 500, via Composite or S-Video. It would be possible to use DV cameras by adding a Datavideo DAC 6 to each of the channels that you want to run DV. With four cameras it may be worth using the Tally Light feed, so t hat the camera operators will be a ware when they are live, or save to re-position.

Depending on the com plexity of the s hoot, you m ay want to use an ex ternal Mic/Audio Mixer to handle th e audio and then chan nel the output of the a udio mixer to the SE 500, or simply use th e two Mic inp uts and have an audio source, s uch as a C D pla yer for back ground mus ic. If you shooting a s porting ev ent the m ain microphone would be the commentator and the second Mic would be crowd noise. The output can be recorde d live t o tap e or DVD, or alternativel y it could b e s ent t o a gi ant sc r een or pr oj ector. The vision mixer operator will be responsible for ensuring the right camera feed is selected and that switching from camera to camera is carried out at appropriate times.

Live Conference

In this second example we see a typical conference set up. There are two camer as to handle the speaker and the over view, with audience reaction or other action on the stage. Both camer as are ana logue, but b y adding a DAC 6 to an y of the c han nels it w ould be pos si ble t o use a DV camera.

There is a VCR or D VD player cued up w ith f ootage t o enh ance the speaker’s pr esent ation, and a feed f rom a laptop of a PowerPoint presentation that the speaker will be referencing throughout his speech. There is a microphone f eed from centre s tage, and the pos s ibil ity of a second mic ropho ne f or ambient sound or perhaps to field questions from the audience.

The output can be fed to a giant screen, video-wall or projector; the audio output can be fed to the P.A. System.

In this situation the vis ion mixer operator w ill take cues from the speaker for when to intr oduce the video footage and PowerPoint presentation. The operator will also control the volume levels of the two microphones and the audio feed from the VCR / DVD.

Live Event Mixing: Club VJ / Concert

In our final exam ple we are looking at a typical V.J. set up. Increasingl y in clubs video images ar e used to add to the overall effect and atmosphere, they are combined with light displays and other audio / visual effects.

In the set up above we see two cameras being used , one on the audience and the sec ond on the V.J, it could just as easily be a second angle of the audience.

There are two DVD or VCR sources, these could be showing animated patterns or backgrounds, promotiona l videos, music videos , just about anything. T he audio from one of the DVD decks is being fed into the aux audio input; although it is more lik ely you would ru n both the D VD pla yer audio f eeds into an ex ternal audi o mixer, together with CD pl ayers, keyboards and other audio feeds . The mixed output from the audio m ixer would then be fed into the SE 500.

The job of the V.J is to control everything that is seen and heard. Combining video and audio images together in an entertaining way. It is possible the V.J may control the SE 500 via MIDI control from a Keyboard, or sequences the whole show via RS 232 and run it all from a PC.

Troubleshooting / FAQ

No power No image at output / black and white output from S-Video (Y/C) Audio clipping Audio or video feedback Frozen image at output Image distortions

How does the RS 232 work in practice

No power

1. Check that the power supply is plugged into the SE 500, and to a suitable mains outlet, and that it is switched on.

2. Move the SE-500 to a cooler location and allow the unit time to cool off before powering on again.

No image at output / black and whit e output f rom S (Y/C)

1. Make sure that there is an image from all your Video Input sources on the quad preview monitor.

2. Check that the output format is set correctly for S (Y/C) or Component.

Press and hold the Background Button for 5 Seconds unil the On-Screen Menu appears. Press the Background Button again and the second page of the menu will appear. Use the UP and Down Buttons to navigate the menu and highlight Video Output. Video Output can be set to Y/C C C or Y.U.V. C. If you want to output S-Video use the Left or Right Arrow Buttons to select Y/C, C, C. If you want to use Y.U.V. Component Output via the supplied Breakout Cable then select Y.U.V, C.

Audio clipping

1. Audio input level is too high.

2. Incorrect calibration of audio input level.

Frozen image at output

3. The Freeze function was activated

4. The video input source is no longer valid, or playback has stopped.

Image distortion

1. The video input level is too high, check the color processor settings

2. The video quality is poor from video input source.

How does the RS 232 work in practice?

For those wishing to use RS232 control, here is an example of RS 232 data for the SE-500

Enable RS232 Tbar control: 1) F0,32,0E,05,02,01,00,0A,00,00,00,32,34,FF * F0=preamble,32=SE500 ID,0E=length,05=command group, * 02=Tbar control,01=TBar enable,00= tbar_value_L,0A=tbar_value_H ( The three 00 after 0A are dummy data, don't care)

2) F0,32,0E,05,02,01,00,10,00,00,00,38,34,FF

3) F0,32,0E,05,02,01,00,14,00,00,00,3C,34,FF Release RS232 Tbar control: F0,32,0E,05,02,00,00,00,00,00,00,37,33,FF

* the 00 after 02 = disable RS232 Tbar

Appendix Glossary of Terms

Analogue video: A video signal that is recorded and played back using changes in magnetic levels recorded

on a tape or disk, e.g., the video we see when we watch a VHS videocassette. Animation: A video or film sequence that gives the illusion of motion b y presenting a series of im ages or photographs. Balanced audio: A 3 wire circuit for audio, with the 2 legs of the circuit balanced with r espect to ground, usually terminating in a 1/4” phone or XLR connector, having excellent noise rejection capability.

bit: The smallest unit of computer memory. Black burst: video signal used to synchronize the scan timing of multiple devices. BNC: A connector with a secure locking feature, used for video signals. Brightness: The darkness or lightness of an image or color; see also, luminance CD: Compact Disc, an optical recording system popular for audio and data. CD-ROM: A subset of CD standards (ROM stands for “read only memory”); holds about 700 MB of data. Chroma: The color component of a video signal. Chroma key: A color-based video matte (overlay) system that drops all areas of a selected color, often

green or blue, from one image and replaces them with the corresponding areas of a second image. Component video: video system where the color and luma components of the video signal are kept separate (as Y.U.V. or RGB, etc) to maintain highest image quality. Composite: 1) t he combination of several images into one; 2) vid eo system where the color (chroma) and brightness (luma) signals are combined into one waveform. Compression: translating data into a more compact form by discarding redundant information, then reconstructing the data to its original form; can be either lossless or lossy. Color correction: the use of filters, processing amplif iers, and other software and/or hardware de vices to correct a video image

dB: a unit of measurement for audio signal levels. Digital video: a method of representing still or moving images by number values instead of by varying

magnetic levels (analog video).

Dub: a copy. DV: a digital video format recorded at 25 Mbps using (roughly) 5:1 compression. DVCAM: Sony’s version of native DV format in a professional sized tape format. EBU: European Broadcasters Union, the professional standard setting organization for European television. Field: for a video s ignal, a s et of lines pr oduced b y one sweep down the sc reen. For inter laced video ( what we watch on TV), it takes two such fields to make one frame (complete image). Filter: 1) A partially transparent material that passes or blocks certain light colors;

2) An electronic circuit or unit that passes or blocks signals of a particular type or frequency;

3) Any circuit or device (hardware or software) that shapes or conditions a signal or information.

FireWire: Apple Computer’s trademarked name for IEEE1394. Frame: 1) to compose a shot in video or film, to make the image fit into the “frame” of the screen;

2) a complete video image.

Frame synchronizer: a digital buffer that stores a frame of video, compares the sync information to a

reference, and releases the frame at a specific time to adjust for timing errors.

Glossary: a list of difficult or specialized words for reference. GPI: General Purpose Interface, a simple trigger device. Hue: a specific color; one of the 3 attributes of color, see also saturation, brightness. IEEE1394: a low cost digital interface that can transport data at up to 400 Mbps.

Impedance: A.C. resistance in an electrical circuit, measured in Ohms. Impedances must be m atched in audio circuits to avoid distortion and the introduction of noise. Key: 1) in lighting, short for key light, the principle (usually brightest) light used to illuminate the main

subject;

2) to switch between two or more video sources using a control signal;

3) an image whose color or brightness is used to determine the switching between two or more video

signals.

Level: another word for signal strength, power, volume. Line level: an audio signal le vel, betwe en –10dB u and + 30dBu, lik ely to be th e outp ut of a cass ette dec k or

CD player as opposed to that of a microphone. Line level signals are most often unbalanced

Luminance: the brightness or intensity of an image, in particular the brightness without regard to color. Microphone level: a high sensitivity audio input intended for low level signals, such as a microphone,

typically below –30dBu. Non-linear editing (NLE): video editing methods that record source clips on a hard disk, allowing the user to assemble the clips into any order and see the result without shuttling through the tape from beginning to end.

Overdub: to add a signal or channel to existing material, especially audio. Overlay: to show one image (still, moving, or text) on top of another image. Pan: moving the camera or point of view horizontally. See also tilt, zoom. Parameter: a limit, boundary, or defining term. Pixel: picture element, the smallest part of a picture that can be addressed or changed in a digital image. Posterize: to transf orm an image to a mor e stark form by rounding al l tonal values to a sm aller number of

possible values, with the result bein g visi ble band ing. Resolution: a measure of the detail in an image or a sound. Image resolution i s often described in pixels (i.e., 1024 x 768 pixels) or bit depth (i.e., 8 or 10 bit). Sound resolution is described in terms of sampling frequency (kHz.) and bit depth. The higher the numbers, the greater the possible detail. RGB: one format of component vid eo; one of the descriptions of component color space, in this cas e Red, Green, Blue. See also Y.U.V. Sampling frequency: the number of times per second that a sound's waveform is captured and converted to digital form, expressed as kiloHertz (kHz.). Saturation: indicates the strength or richnes s of a color; from paint mixing term inology, the amount of the color pigment in the mix.

SDI: Serial Digital Interface, a standard for 10 bit digital video with a transfer rate of up to 270 Mbps. Shot: a single continuous run of film or videotape. Signal: an electrical current that transmits video or audio inf ormation. SMPTE: the Society of Motion Picture and Television Engineers, the standard-setting professional

organization for American television.

Solarize: to invert a range of brightness values in an image. S-video: Y/C separated video, used with a specific round, 4 pin plug. Sync: electronic pulses that synchronize the scan rates of different components (cameras, recorders,

switcher, etc.) in a video system. THD (Total Harmonic Distortion): Of a signal (most often audio), the ratio of the sum of the powers of all harmonic frequencies a bove the f undamental to t he power of the f undamental , usually express ed in dB. Useful measurement of the accuracy of an amplifier or signal processor.

Tilt: camera movement of pointing the lens up or down Time Base Corrector (TBC): a frame synchronizer used to correct timing errors in a video stream. Unbalanced: an audio c ircuit in whic h the 2 l egs are n ot balanc ed with res pec t to ground. Les s ex pensive t o

make, but more susceptible to noise and distortion.

Vector scope: a test instru ment for displaying col or hue an d saturatio n in a video s ignal used to aid in c olor correction. Waveform monitor: a test instrument which sh o ws a graph ical re present ation of the lum inance levels of the video waveform, us ed, in conjunction with a vectorscope, as an aid in color a nd image correction and video system set up. White balance: the adjustments of color circuitry in a video camera to produce an image with balanced white and color components, where the white component has a specific color temperature or color cast. Y/C: the separate proces si ng of the light (l um a or Y) and chroma (C ) parts of a video s ignal f or hig her im age quality than composite video; a.k.a. S-video. Y.U.V.: one of the format s of component video; one of the descriptions of component color space, in t his case Y (luminance), and U (blue), and V (red) hue saturation. Zoom: 1) to change the size of an area s elected for displa y to provide either a more detail ed view or more of an overview;

2) for a camera shot, to change the distance relationship between the camera and subject.

Tech Notes

Books are writte n about m any of the t opics belo w, larg e and c om plex book s. Look for them if you want more information than what we have pr esented here. What we want to do here is to provide a bit more in depth information, deeper background, on some relevant topics, and give you a framework for further technical investigations.

Video Standards, Formats, a nd Q uality

Video standards ref er to the broadcast and/or viewing systems; they are specific to certain regions of the world. In the US, Canada, and Japan, the analog standard is NTSC ( which stands for National Television Standards Comm ittee, the organ ization that form alize d the stan dard) . In Europe (exc ept Franc e and Eas tern Europe), the standard is PAL (“phase alternate line”). In France, the Middle East, and most of Eastern Europe, SECAM (“sequential coleur avec mémoire”) is the standard. Why is this important? In part, because each standard requires compatible monitors, cameras, VCRs, projectors, and switchers. The signals are electronically different from format to format, and so cannot interoperate unless the equipment is specifically designed to be multi-standard. Within each standard are multiple formats - different systems of recording video onto different types of medium. At the lowest quality and c ost lev el is VHS, a compos ite form of video, m eaning t he c hrom a (color) and l um a (lightness) bits of i nformation are electronically m ashed together into one signal: con venient, inexpensive, and very much of a c ompromise of image qualit y. Colors are not reproduce d especially brilliantl y, but firsts generation qualit y is usually high enough for accur ate viewing. 8mm is the similar f ormat but recorded on narrower tape. Plugs for composite video can be either RCA or BNC. Y/C, or S-video, is so named because the chroma (C) and luma (Y) information is kept separate in the signal, processed separately, and even transmitted separately. The result of this separation is far greater color fidelity and detail. S-video can be recorded onto specially formulated VHS (S-VHS) or 8mm (Hi8) tapes. There is a special 4 pin connector for Y/C signals. There are many variat ions of 3 wire analog c omponent video: B etacam, MII, etc. They are all relati vely (but not completely) similar ways of desc r ibing a c o lor s pace like Y/C, exce pt th at t he C component is broken into 2 signals, for max imum color reproduction, fidelit y, and detail. You may see the s ignal described as RGB, YUV, YCC, Y B-Y R-Y. Usually cables with BNC connectors are used for component signals. The point of all this technical information is ultimately to help you to make high quality video: video that looks good and serves the purpo se for which it is made. But ho w do we know if the video is of hig h quality? And what does that really mean? There are certain tec hnic al s tandards that video m ust m eet s impl y in ord er to be vi ewable on a m onitor. An d beyond that fairly cut and dr ied realm is the area of aesthetics. Whic h leaves us with the notion that most discussions of video q ual ity are relative, in th e s ens e t hat th er e is a c ont ex t, a purpose to which defin it ions of quality level relat e. For example, a vide o that looks acceptab le on an inexpensive te levision set might look absolutely horrible on a hi gh end video monitor. Is this because the expe nsive monitor cannot display the video properly? No, probab ly not. In fact, the reverse is tr ue: the inexpensive monitor does n’t show enough

of the signal to rev eal ho w bad it ac tua ll y is or wher e t he pr o bl ems actually lie. The c ontex t in th is cas e is t he display, the quality of the monitor. As video makers , we have to produce to the qual ity specifications our clie nts’ demand, what is appr opriate for the project, what they can affor d. If the clients are ourselves, then the quality level has to be better than the weakest link in the viewing chain - now or in the future - but not so good that the cost of producing prohibits the production. One important wa y, perhaps the most important way, to m ake sure that your vid eo really looks as good on other monitors as it does on yours is to monitor the video with a properly calibrated monitor of as professional-level qu ality as you can af ford. See below for some methods to c alibrate monitors . And it goes without saying that you should have dependable, high quality audio monitoring as well, either through headphones or speakers you can trust. A second way to be sure that your video looks as good as it can is to use, if available, monitoring test equipment (waveform monitor, vector scope) in parallel with the well-calibrated monitor mentioned above.

Monitor Calibration (pr oc e dures, test patterns/bars)

The following technique was suggested by an old broadcast engineer who began working in video when tape was two inches wide and scene c hanges were m ade with razor blades and t apes; Fades and dissolves did not exist. One h ad to walk up 6 flights of stairs to t he studio and back, of ten carrying a 65-pound camer a. Test instruments were exp ensi ve and of ten unavai labl e. Netw ork engineers ha d to f ind a con venient, s im ple, reliable way to calibrate m onitors that could be don e in the field. (You could a lways recognize one of these fellows by the Wratten 47B (dark blue) they kept in their wallets or in their mechanical pencil pocket protectors, along with their little screwdrivers.) To calibrate a monitor is to adj ust it s o that it disp la ys colors that ar e the sam e as a s tandard. T hat stand ard, and a major aid to calibrati on, is called color b ars: a pattern of colored strips (and in some c ases gray scale strips) of very specific colors, arranged in a very specific way. To do the following calibr ation procedure, you w ill need a source of standar d color bars. There are sever al possible places to get this: your camera may generate bars; perha ps your black burst generator puts ouT Bars; you could use a grap hics program on your com puter to disp la y an im age of s tandard color bars. T here are numerous places on th e Internet to do wnload stan dard color bars if you don’t have th em; do an Internet search for “color bars” and take your pick. The following procedure will be described using SMPTE bars, but EBU bars will work for most of this technique as well. As you will see, they bars are different in f ormat, in part because of the diff erences in broadcast systems between NTSC and PAL, but much of the usage will be the same. You can use the SMPTE bars regard less of w here you are an d what video s ystem you ar e pr oducing for , just as you c an use EBU bars wherever. You’ll notice that the EBU bars don’t have the gray scale information The first thing to do is to g et the color bars disp layed on t he monitor you want to calibrate. And then, loc ate the image controls on the video monitor, as these are the ones we will be adjusting. Turn the contrast control to its m idpoint. Turn the chroma (color) control all the way down so the screen image is shades of black, white, and gray. Look in the lower right corner of the color bars. In the absolute lower right corner is a black square. Immediately to the left of that black square are three thinner vertical bars. (These are called Pluge Bars, which stands for Picture Li n eup G en er at ing Equ ipm ent . ) Ac tual l y, whe n the monitor is correctl y adjusted , you should only see two of these bars. Adjust the brig htn es s contr ol u nti l th e b ar on t he right is just barely visible, and the bar in the middle is just not visible. Now look at the lower left hand corner: the s econd box in from the lef t is a pure white. Turn the co ntrast control all the wa y to maximum and watch the white box flare and bloom . No w t u rn do w n t he c o ntras t c o ntr o l just until the white box begi ns to change notic eably. At this point, the Pluge B ars should still l ook as you set them in the previous step above: only the right most should be barel y visible. If that is not the cas e, adjust the brightness control until it is. If your monitor doesn’t have a bl ue only switch, you have t o do this next bit strictly by e yeball and luck: put the color control to the m idpoint, and adjust the hue c ontrol so that the vertic al yellow bar is a lem on yellow (no orange or green tint) and the vertical magenta bar should not tilt toward red or purple. If your monitor does ha ve a blue o nly switch , or if you can find som e blue light ing gel ( like W ratten 47B dark blue), make it so the m onitor is blue only. As you look at the top half of the bars, the large vertical bars should look like al ternating bars of eq ual brightness. Adj ust the chroma contr ol until the gra y bar on the far left and the blue bar on the far right are of equal intensity. As an aid in doing this, look at the line of horizontal bars and match the gra y vertic al bar on the left with the gr a y horizontal b ar on t he righ t. Or do the sam e w ith the blue bars.

Next adjust the hue c ontrol until the cyan and m agenta vertical bars are of the same brightness. Use the same technique des cribed abo ve, m atc hing the ver tical bar with the diag ona lly o pposite h ori zontal bar of the same color. The goal of these las t 2 adjustments, to chrom a and hue, is to make the 4 l arge vertical bars (gra y, cyan, magenta, and blue) of all the same intensity or brightness. When that is done, turn of f the blue on ly switch or remove the b lue filter, and look at some pr ogram mater ial (video) with skin tones, and use that as a somewhat subjective (though accurate) basis for making fine tuning adjustments to chroma and hue.

If you have a wavef orm monitor a nd/or a vector s cope, you can and probabl y do use it to chec k and adjus t the input video signals. The instruction manual will give you all the information you need. But, if you don’t have a waveform monitor/vector scope to adjust incoming video, you can make those adjustments by e ye, using the SE-500’s color processing controls, no w that you have a prop erly calibrated program monitor. The process for each input channel will be very similar to the process we just used to calibrate the program monitor, except we were adjusting the controls on the monitor, and now we will be adjusting the controls on the SE-500. For each input you p lan to be us ing, have a va lid signal and adjust the Color Proc essor controls on the SE 500 in this order:

1. Set Y-Gain to Zero; turn color all the way down so that the image is gray;

2. Adjust brightness until the image shows shadow detail and no blown out highlights;

3. Adjust Y-Gain until just before the highlights bloom;

4. (NTSC only) Bring the color control back to its midpoint; adjust hue so that the skin tones look natural;

5. Adjust color, and hue if nec essar y, to keep the sk in tones natur al and not overs aturated (too red).

Specifications

Video Formats Analog Y/C, Composite CCIR601 NTSC and PAL

(PAL and NTSC are separate models)

Video Inputs 4 – S (Y/C), Composite

Video Output 1 – Quad Video source monitoring (Composite)

2 – Composite 1 – S (Y/C) 1 – Component (With breakout cable, it uses the S (Y/C), and one Composite output.)

Audio Inputs 1 – Stereo input (RCA connector)

2 – Mono Microphone (1/4” phono jack)

Audio Output 1 – Stereo main outputs (RCA connector)

1 – Stereo headphone (Mini jack with volume control) 0.3Wrms 8 ohm

Quad Channel Time Base Correction Full Frame Synchronization, 4:2:2, 13.5MHz

Digital Effects including A/B dissolves, PIP, border lines, and ov er 12 Wipes with various

manually transition speeds

RS-232 Data Control Port Connecting PC RS-232 for remote control

Color Processing Br ightnes s +/-10%

Y-gain +/- 3dB Color +3/-10dB Tint +/- 10 degrees (NTSC only)

Video Bandwidth Component 5.2 MHz

S (Y/C) 5.0 MHz Composite5.0 MHz DG, DP +/- 3%, 3 degrees

Signal/Noise Ratio: Video > 50 dB

Audio > 65 dB

Audio 20 to 20KHz +/-1dB

Audio THD <0.1%

Dimensions W x D x H 15.75" x 10.5" x 3.25" (Approx)

400mm x 265mm x 83mm (Approx)

Weight 13.8 lb, 5.5 Kg

Power Input: DC 12V, 1.5A

SE500 RS-232 Remote Control Command

1st

2nd

3rd

4th

5th

6th

7th

,,,

Last-2

Last-1

Last

Header

Length

Data0

Data1

Data2

Data3

,,,

Chksum_L

Chksum_H

End

4th

5th

6th

7th

8th

9th

10th

11th

…

Command Group

Operated #0

Operated #1

Operated #2

Operated #3

Operated #4

Operated #5

Operated #6

…

Release date: 2006/01/19 VER: 1.01

1. Physical layer

1.1 Control output format: RS-232C

1.2 Communication rate: 57600 BPS

1.3 Data format: 8 bits serial, LSB first, 1 start bit, 1 stop bit, odd parity

1.4 Must delay 100uSEC between 2 bytes

2. Data link layer

2.1 Frame format

1) Header

Code consisting of one byte for frame synchronization. The frame header send from the master machine is termed the command header. The frame header send from the slave machine is termed the return header.

The command header byte is fixed as fallow. 1st: F0h (base 16)

The return header byte is fixed as fallow. 1st: FCh (base 16)

2) ID number

The equipment ID number is composed of 8 bits The ID of SE500: 32h (base 16)

3) Length

The length is the sum of bytes from the header to the end. It is composed of 8 bits. 6h (base 16) < Length <= 80h (base 16)

4) Data

Data block used by application layer. Refer to Section 3.

5) Checksum

The 8 bits checksum is obtain from header to the last data, and then convert to two numeric ASCII code.

Checksum=header+ID+legth+data0+data1+…+data_last chksum_L=(low nibble of checksum) + 30h chksum_H=(high nibble of checksum) + 30h

6) End

The end byte are fixed to FFh(base 16).

3. Application layer

The application layer designates the command structure and contents.

3.1 Command data format

1) The command group 05h (base 16) = SE500 control command

2) The operated refer to section 4.

4th

5th

6th

7th

8th

9th

10th

11th

…

Command Status

parameter #0

parameter #1

parameter #2

parameter #3

parameter #4

parameter #5

parameter #6

…

5th

6th

7th

8th

Operated

Mode Code

Key

code

T-bar

low

T-bar

high

3.2 Return data format

1) The command status 05h=SE500 control command status

2) The parameter refers to section 6.

4. The operated of SE500 control command

4.1. OP#0 = Control mode code 00H = Ask status 01H = Normal key control 02H = T-BAR control

4.1. OP#1 = control key code.( refer to section 5) when OP#0=01H = 00h= disable remote control T-bar when OP#0=02H = 01h= enable remote control T-bar when OP#0=02H

4.2. OP#2 and OP#3 = T-BAR control value when OP#0=02H

The T-bar control value is 10 bits

The bit4 to bit 0 of OP#1 = the low 5 bits of the T-bar control value. The bit4 to bit 0 of OP#2 = the high5 bits of the T-bar control value.

5. The SE500 control key code

(Base 16) 01h = key_main_A 02h = key_main_B 03h = key_main_C 04h = key_main_D 05h = key_main_BK

06h = key_sub_A

07h = key_sub_B 08h = key_sub_C 09h = key_sub_D 0ah = key_sub_BK

0bh = key_QUAD 0ch = key_POP 0dh = key_freeze 0eh = key_preview 0fh = key_take

10h = key_fade 11h = key_center_block (wipe) 12h= key_right_top_block (wipe) 13h= key_right_bottom_block (wipe) 14h= key_left_top_block (wipe) 15h= key_left_bottom_block (wipe) 16h= key_top_block (wipe) 17h= key_bottom_block (wipe)

18h= key_right_block (wipe)

5th

6th

7th

8th

9th

10th

11th

12th

parameter

Parameter

parameter

Parameter

Error code

Busy

Effect

+Speed

Effect

Background

& border

LED1

LED2

LED3

13th

14th

,,,

parameter

,,,

LED4

LED5

,,,

19h= key_left_block (wipe) 1ah= key_horizontal (wipe) 1bh= key_vertical (wipe)

20h= key_border_on 22h= key_background_color 24h= key_speed* 26h = key_PIP

3bh = key_menu 3ch = key_up 3dh = key_down 3eh = key_left 3fh = key_right

40h = key_reset 41h = key_plus 42h = key_minus

*Note: Send the key_speed code to the SE500,the speed of effect will be changed follow below rule. SPEED_1 SPEED_2SPEED_3SPEED_1,,,,

6. The return parameter of SE500 control command status

flag

1) The error code 01h = Time out (over 15ms) 02h = length error 03h = checksum error 04h = not support command 05h = operated error

2) The Busy Flag 00h = ready 01h = busy 11h = busy + T_bar active

3) The effect mode & effect speed

The bit 3 to bit0 is the effect mode

x0h=cut mode, x1h=MENU mode, x2h=fade mode, x3h=wipe mode, x4h=QUAD mode, x5h=POP

mode, x6h=PIP mode

The bit6 to bit4 are the auto effect speed

0xh = SPEED_1, 1xh= SPEED_2 2xh = SPEED_3

4) The effect No. The value from 0 to 99(63h) Fade effect No. = 0

Mode

No.

Color

Wipe effect No.= 0 to 10 Quad effect No.= 0 POP effect No. = 0 to 1 PIP effect No.:bit3 to bit0= x0h to x4h (position) Bit4=0=big size, bit4=1=small size Bit5=0=not shift, bit5=1=shift to close center.

5) The background color & border The bit4 to bit0 are the background color x0h=Black , x1h=Blue , x2h=Magenta , x3h=Red x4h=Green , x5h=Cyan , x6h=Yellow , x7h=White

The bit5 are the border flag 0xh= border off 1xh= border on

6) LED data The bit = 1 = LED on, the bit = 0 = LED off

Bit0 of LED1 = LED of key_main_a Bit1 of LED1 = LED of key_main_b Bit2 of LED1 = LED of key_main_c Bit3 of LED1 = LED of key_main_d Bit4 of LED1 = LED of key_main_bk Bit6 of LED1 = LED of key_take

Bit0 of LED2 = LED of key_sub_a Bit1 of LED2 = LED of key_sub_b Bit2 of LED2 = LED of key_sub_c Bit3 of LED2 = LED of key_sub_d Bit4 of LED2 = LED of key_sub_bk Bit6 of LED2 = LED of key_preview

Bit0 of LED3 = LED of key_FADE Bit1 of LED3 = LED of key_QUAD Bit2 of LED3 = LED of key_POP Bit3 of LED3 = LED of key_PIP Bit4 of LED3 = LED of key_freeze Bit5 of LED3 = LED of key_border Bit6 of LED3 = LED of key_MENU

Bit0 of LED4 = LED of key_center_block Bit1 of LED4 = LED of key_right_top_block Bit2 of LED4 = LED of key_right_bottom_block Bit3 of LED4 = LED of key_left_top_block Bit4 of LED4 = LED of key_left_bottom_block Bit5 of LED4 = LED of key_top_block Bit6 of LED4 = LED of key_bottom_block

Bit0 of LED5 = LED of key_right_block Bit1 of LED5 = LED of key_left_block Bit2 of LED5 = LED of key_horizontal Bit3 of LED5 = LED of key_vertical Bit4 of LED5 = LED1 of speed Bit5 of LED5 = LED2 of speed Bit6 of LED5 = LED3 of speed

7. EXAMPLE

1) PC control SE500, key command = key_take= 0fh a.) The command stream = F0h,32h,0eh,05h,01h,0fh,,30h,34h,ffh

Header=F0h ID=32h Length = 9 bytes=09h Command group=05h Command mode=normal control code=01h Control key code=key_take =0fh

checksum= (f0h+32h+09h+05h+01h+0fh) = 40h checksum_low =00h+30h = 30h checksum_high=04h+30h = 34h END =ffh

b.) SE500 return data,

The return data stream =

Fch,32h,11h,05h,00h,01h,10h,00h,07h,41h,42h,01h,00h,20h,30h,30h,ffh

Header=fch

ID=32h

Length = 17 bytes=11h

Command status=05h

Error code =00h

Busy flag=01h

Effect mode & speed=fade +speed_2=00h+10h=10h

Effect No. =00h

Background color & border =white + border of f =07h +00h =07h

LED1=41h

LED2=42h

LED3=01h

LED4=00h

LED5=20h

Checksum = (fch+32h+11h+05h+00h+01h+10h+00h+07h+41h+42h+01h+00h+20h) =x00h

checksum_low =00h+30h = 30h

checksum_high=00h+30h = 30h

END=ffh

SE500 MIDI Remote Control Command

fade key

wipe key

Release date: 2005/06/03 VER: 1.00a

1. Physical layer

1.5 Follow the MIDI SPEC. 1.0

1.6 Communication rate: 31250 BPS

1.7 Data format: 8 bits serial, LSB first, 1 start bit, 1 stop bit, none parity

2. Data link layer

2.1 Control messages = MIDI Channel voice messages * Received only if Note Mode is ON * The input of each channel is selected. * Ignored if a non-selectable note message is received.

2.2 Control messages * Note –on

Status 2

--------------------------------------------------------------------------- 9nH kkH vvH

Symbol Meaning Range

--------------------------------------------------------------------------------------------------------------------------- n: MIDI channel 0H-FH(ch.1--ch.16) kk: Note number 00H-7FH(0--127) = SE500 control command vv: Velocity value,etc. 00H-7FH(0--127) Only in the case of Note-on Velocity 01H-7FH(1--127)

3. SE500 control command correspond to note number as follows Note Note No. SE500 command

; ; ;

C4 48

byte 3rd byte

C#4 49 D4 50 D#4 51 E4 52 F4 53 F#4 54 G4 55 G#4 56 A4 57 A#4 58 B4 59 C5 60 SUB A key C#5 61 QUAD key D5 62 SUB B key D#5 63 SPLIT key E5 64 SUB C key F5 65 SUB D key F#5 66 PIP key

G5 67 SUB BG key G#5 68 Freeze key A5 69 Preview key A#5 70 NC B5 71 TAKE key C6 72 MAIN A key C#6 73 Background color key D6 74 MAIN B key D#6 75 Border key E6 76 MAIN C key F6 77 MAIN D key F#6 78 Speed _1 key G6 79 MAIN BG key G#6 80 Speed_ 2 key A6 81 Change Speed key A#6 82 Speed_ 3 key

4. Example

1. Change the transition effect to fade = 90H, 30H, 64H

90H= Note on, Channel =1 (IF the SE500’s MIDI channel is 1)

30H=Note No 48=fade k e y 64H= Velocity value > 0

2. Take the transition effect = 90H, 47H, 64H

47H=Note No 71=Take key

* Very Easy to use, any MIDI keyboard can control the SE500.

Product registration

Go on line www.datavideo.info for product registration See the warranty card for warranty period

REGISTRATION CARD QUESTIONS

SE-500 REGISTRATION CARD – Please return this card for product warranty registration

Serial Number: Where did you purchase:

Your name:

Your mailing Address:

Email address:

May we include you in our mailing list to learn about new Datavideo products? Yes/No

Why did you buy the SE-500?

Do you have a COMPONENT video recorder or player?

What video sources wil l you use with the S E-500?

Where will you use your SE-500?

Service and Support

Tel: +1 562 696 2324

Fax: +1 562-698-6930

E-Mail: contactus@datavideo.us

Tel: +31-30-261-96-56

Fax: +31-30 261-96-57

E-Mail: service@datavideo.nl

Tel: +44 1457 851 000

Fax: +44 1457 850 964

E-Mail: sales@datavideo.co.uk

Tel: +886 2 8227 2888

Fax: +886-2-8227-2777

E-mail: service@datavideo.com.tw

Tel: +86 21-5603 6599

Fax:+86 21-5603 6770

E-mail: service@datavideo.cn

Tel: +65-6749 6866

Fax: +65-6749 3266

E-mail: service@datavideo.sg

Tel: +852 2833 1981

Fax: +852-2833-9916

E-mail: info@datavideo.com.hk

It is our goal to mak e your products o wnership a satisf ying experience. Our support staff are avai lable to assist you in setting up a nd operating your system. Please ref er to our web sit e www.datavideo-tek.com for answers to common questions, support requests or contact your local office below.

Datavideo Global Website:

Datavideo Corporation

Datavideo Technologies Europe BV

Datavideo UK Limited

Datavideo Technologies Co., Ltd

Datavideo Technologies China Co., Ltd

www.datavideo-tek.com

Datavideo Technologies (S) PTE Ltd

Datavideo HK Ltd

Rev Date: 03-01-2012 P/N: G082060372E5

Datavideo SE-500P, SE-500 User manual

Specifications and Main Features

Frequently Asked Questions

User Manual