GRASS VALLEY Kayak HD 100C, Kayak HD 200C, Kayak HD 200, Kayak HD 150C, Kayak HD 250 User Manual

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Kayak

DIGITAL PRODUCTION SWITCHER

User Manual

SOFTWARE VERSION 6.9.1

071844705 MAY 2007

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Affiliate with the N.V. KEMA in The Netherlands

CERTIFICATE

Certificate Number: 510040.001

The Quality System of:

Grass Valley, Inc.

400 Providence Mine Road Nevada City, CA 95945 United States

15655 SW Greystone Ct. Beaverton, OR 97006 United States

10 Presidential Way 3rd Floor, Suite 300 Woburn, MA 01801 United States

Nederland B.V. 4800 RP BREDA The Netherlands

Weiterstadt, Germany Brunnenweg 9 D-64331 Weiterstadt Germany

Rennes, France Rue du Clos Courtel Cesson-Sevigne, Cedex France

Technopole Brest Iroise CS 73808 29238 Brest Cedex 3 France

17 rue du Petit Albi-BP 8244 95801 Cergy Pontoise Cergy, France

2300 South Decker Lake Blvd. Salt Lake City, UT 84119 United States

7140 Baymeadows Way Suite 101 Jacksonville, FL 32256 United States

Including its implementation, meets the requirements of the standard:

ISO 9001:2000

Scope: The design, manufacture and support of video hardware and software products and related systems.

This Certificate is valid until: June 14, 2009 This Certificate is valid as of: August 30, 2006 Certified for the first time: June 14, 2000

H. Pierre Sallé President KEMA-Registered Quality

The method of operation for quality certification is defined in the KEMA General Terms And Conditions For Quality And Environmental Management Systems Certifications. Integral publication of this certificate is allowed.

KEMA-Registered Quality, Inc.

4377 County Line Road Chalfont, PA 18914 Ph: (215)997-4519 Fax: (215)997-3809

CRT 001 073004

Accredited By:

ANAB

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Kayak

DIGITAL PRODUCTION SWITCHER

User Manual

SOFTWARE VERSION 6.9.1

071844705 MAY 2007

Page 4

4 Kayak — User Manual

Contacting Grass Valley

Grass Valley Web Site

The www.thomsongrassvalley.com web site offers the following:

Online User Documentation — Current versions of product catalogs, brochures,

data sheets, ordering guides, planning guides, manuals, and release notes in .pdf format can be downloaded.

FAQ Database — Solutions to problems and troubleshooting efforts can be

found by searching our Frequently Asked Questions (FAQ) database.

Software Downloads — Download software updates, drivers, and patches.

International

Support Centers

France

24 x 7

+800 8080 2020 or +33 1 48 25 20 20 +800 8080 2020 or +33 1 48 25 20 20

United States/Canada

24 x 7

+1 800 547 8949 or +1 530 478 4148

Local Support

Centers

(available

during normal

business hours)

Asia

Hong Kong, Taiwan, Korea, Macau: +852 2531 3058 Indian Subcontinent: +91 22 24933476 Southeast Asia/Malaysia: +603 7805 3884 Southeast Asia/Singapore: +65 6379 1313 China: +861 0660 159 450 Japan: +81 3 5484 6868

Australia and New Zealand: +61 1300 721 495 Central/South America: +55 11 5509 3443

Middle East: +971 4 299 64 40 Near East and Africa: +800 8080 2020 or +33 1 48 25 20 20

Europe

Belarus, Russia, Tadzikistan, Ukraine, Uzbekistan: +7 095 2580924 225 Switzerland: +41 1 487 80 02 S. Europe/Italy-Roma: +39 06 87 20 35 28 -Milan: +39 02 48 41 46 58 S. Europe/Spain: +34 91 512 03 50 Benelux/Belgium: +32 (0) 2 334 90 30 Benelux/Netherlands: +31 (0) 35 62 38 42 1 N. Europe: +45 45 96 88 70 Germany, Austria, Eastern Europe: +49 6150 104 444 UK, Ireland, Israel: +44 118 923 0499

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Kayak — User Manual 5

Contents

Preface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

About This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Standard Documentation Set. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Other Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Section 1 — System Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Kayak HD Switcher Models. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Kayak DD Switcher Models. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Kayak DD-1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Kayak DD-2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Kayak HD Standard Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Kayak HD Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Supported Control Protocols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

System Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Kayak Control Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

1 M/E Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

1.5 and 2 M/E Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

2.5 and 3M/E Control Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Kayak Video Processor Frames. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Kayak HD 4 RU Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Kayak HD 8 RU Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

KDD-PSU Power Supply Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Video Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Section 2 — Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Kayak System Configuration Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Installation (Engineering Setups) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Config — Application Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Personal Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Inputs and Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Kayak HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Kayak DD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Source Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Button Assignment (Source to Button Mapping) . . . . . . . . . . . . . . . . . . . . . . . . . 39

Key Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Buses and Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Shifted Sources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Source Scalars (HD Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Mix/Effects (M/E) Stage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Alternate Buses and Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Utility Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Effects Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Kayak HD Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

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6 Kayak — User Manual

Contents

Kayak HD AUX Busses and Output Assignments . . . . . . . . . . . . . . . . . . . . . 44

Kayak DD Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Kayak DD Program and Preview Output Busses . . . . . . . . . . . . . . . . . . . . . . 44

Kayak DD Aux Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Resource Sharing and Point Of Use. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Transition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Full Additive Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Other Wipe Pattern Generator Uses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Preset Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Fade to Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Transition Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Flip Flop Background Buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Look Ahead Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Current and Next Stack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Key Priority and Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Half M/E and DSK Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Keying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Matte Fill Key Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Shaping Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Key Control Signal Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Clip and Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

High Gain, Low Gain, and Unity Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Clip Hi and Clip Lo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

S-Shaped Key Signals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Additional Keying Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Key Invert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Masking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Key Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Key Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Coring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Show Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Linear Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Luminance Key and Self Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Chroma Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Primary and Secondary Color Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Flare Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Chroma Key Shadow Generator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Preset Pattern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Split Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Properly and Improperly Shaped Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Downstream Keyers (Half M/E and DSK Option) . . . . . . . . . . . . . . . . . . . . . . . 64

Flexible Chroma Keyers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

3-D Digital Effects Concepts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Translation and Transformation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Rotate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Aspect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Skew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Page 7

Kayak — User Manual 7

Contents

Axis Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Source and Target Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Post Transform Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Front and Back, Near and Far . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Transform Numbering Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Screen Coordinates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Skew. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Aspect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Spin and Rotation Relationship. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Path Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Paths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Tension, Continuity, and Bias Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Path Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Vector Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Tension Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Continuity Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Bias Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Sure Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Parallel Mode Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Converge Mode Example. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Comparing Parallel and Converge Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Section 3 — Control Panels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Overview Kayak-100 Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Overview Kayak-200 Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Background Bus Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Unshifted and Shifted Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Button and Bus Indications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

On Air . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Uncal / Asynchronous Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Miscellaneous Bus Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Available Bus Delegations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Key1 – Key4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

AUX1-AUX10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Utility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Macro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Macro Attachment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Transition Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Main Transition Subpanel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Second Transition Subpanel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Transition Elements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Transition Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Performing Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Preset Black. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Transition Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Transition Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Other Transition Control Interactions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

DD Mode Keyer Subpanel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

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Key 1...4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Key Types. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Add Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Lum Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Lin Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Preset Pattern Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Key Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Matte Fill. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Self/Couple Key Button / Split/Couple Key Button . . . . . . . . . . . . . . . . . . 104

Strategy for Manual Chroma Key Setup.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Automatic Key Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Auto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Automatic Chroma Key Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Border On. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

FGD Fade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Key Prior Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Key Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Key Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Mask Delegation Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Key PVW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Freeze Fill Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Freeze Key Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

DPM Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Default Mode Keyer Subpanel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Positioner Subpanel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Positioner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Positioner Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Positioner Delegation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

DPM (Digital Picture Manipulator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Key Wipe, Wipe1, Wipe2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Axis Lock Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Effects Subpanel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

DPM (Digital Picture Manipulator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Recalling a Register. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Enabling and Disabling Bank Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Enabling Bank Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Disabling Bank Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Selecting a Register for Storing / Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Deleting a Register . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

RAM Recorder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

MP (Media Player) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Button Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Hint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

E-MEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

E-MEM Operating Modes Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

E-MEM - DD Mode of Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Definition of Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

123

Enabling and Disabling Bank Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Selecting a Register While Storing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Selecting a Register While Recalling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Storing a Snapshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Deleting Snapshots and Timelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

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Dissolve Functions Depending on Snapshot or Timeline Preselection . . . . 125

Other Button Functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Timeline Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

E-MEM - Default Mode of Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Button Functionality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

The Digit Buttons in TL Enable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

MaKe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Selecting a Register for Record Start. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Recalling a Macro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Menu Subpanel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Menu Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Live Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Last Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

User 1 – User 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Half M/E (HD Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Feature Set of the Half M/E. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Selecting Half M/E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Operation Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

NORMAL Mode Description (Not coupled) . . . . . . . . . . . . . . . . . . . . . . . . . . 144

DSK Mode Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Section 4 — Menu Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Menu Panel Description. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Touch Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Soft Knobs (Digipots) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Menu Screen Organization and Components. . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Data Pads and Touch Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Menu Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Menu Category Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Delegation Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Mode Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Parameter Control Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Menu Access Touch Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Numeric Keypad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Alphanumeric Keypad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Menu and Panel Interactions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Section 5 — Kayak Menu Summaries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Home Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Mouse Access to Home Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Recall Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Install Menus Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Install - E-Box Misc Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Store Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

DD Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Load / Save Install Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Install - Panel Misc Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Pgm/ Pst Pos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Cut/Auto Pos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Load / Save Install Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

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System Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Software Versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Software Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Software Option Licenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Available Options and Configuration Licenses . . . . . . . . . . . . . . . . . . . . . . . 163

Installing Licenses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Config Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Application Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

E-Box Configurations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Config - GPI Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Config - GPO / Tally Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Config - Input Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Config - AUX Couple Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Config - M/E Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Config - M/E Couple Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Config - DPM Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Config - Substitution Tables Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Config - Editor Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Config - H/V Blanking Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Config Tally In Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Config - Misc Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Config - Flexible Licenses Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Config - Scalar Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Panel Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Personal Settings Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Digipots and Low Light. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

XBar Tally. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Macro Attachment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Async Blinking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Wipes Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Point Of Use. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Wipe Pattern Number Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Page 1 – Basic Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Page 2 – Circle and Rotary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Page 3 – Stars and ZigZag. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Page 4 – Matrix Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Wipe Modifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Keyer Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Key Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Keyer Priority Misc Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Keyer Mask Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Mask Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Mask Sources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Keyer Mattes Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Chroma Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Preset Pattern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Background Mattes Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

M/E Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

YUV Bus Correction Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

RGB Input Correction Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

226

DPM Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

DPM Live Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Misc Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Transform Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

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Edit Gang. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Path Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

X, Y, Z Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Timeline Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Save / Recall Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Save / Discard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Modify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Use Priority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Use Video Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Protect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Show Timeline Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Sure Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Cursor Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Direct Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Modify Keyframe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Delete Keyframe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Keyframe Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Constant Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

SpecFX Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

SpecFX Kurl Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Selecting the Kurl Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Page Turn / Roll Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Page Fold. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Pos / Size Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Slits Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Advanced Effect Options (HD-Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Glow Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Defocus Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Drop Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Shadow Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Lighting Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Source Pane. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Ambient Shading Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Light Type Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Appearance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Flare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Independent Flare Intensity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Light Color / Flare Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Path Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Lighting with Page Turn/Roll Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Misc Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Set to Defaults. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Digital Effects Library. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Configuration Notes for DPM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

How to Load the Effects to Your Switcher. . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Catalog of Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

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Naming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

C1fx – for Channel 1 Only . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

C4fx for Kayak HD™ System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

HD RAM Recorder Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Stills Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Delegation Pane. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Readout Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Clip Select Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Clip Play Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Tape Motion Commands (TMC). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Modify. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Clip Record Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Tape Motion Commands (TMC). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Clip/Still Transfer with Internet Explorer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Active Area Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

HD RAM Recorder Live Mode Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Stills Recall / Clips Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Setting the HD RAM Recorder IP Address. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

E-MEM Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Default Mode of Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

E-MEM Define Memo Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

E-MEM Timeline Mode Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Graphical Timeline Representation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Direct Mode and Digipots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Modify Popup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Insert Misc. Popup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Delete Popup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Duration Popup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Save / Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Media Player Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Clip Select Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Clips Play Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Machine Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

AUX Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

External Router Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Scalar Menu (HD Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Setting Up Scalar Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Selecting Scalar Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Scalar Configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Additional Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

HD Scalar Characteristics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

P-Bus Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

P-Bus Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Configuration of Input Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Usage Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Compatibility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Other Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Section 6 — System Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Matte Menu Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

Keyer Priority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

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To Change the Current Keyer Priority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

To Transition Between Different Keyer Priorities . . . . . . . . . . . . . . . . . . . . . . . 333

Chroma Key Operating Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Auto Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Chroma Key Using Auto Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Chroma Key Using Auto Setup with FGD Fade. . . . . . . . . . . . . . . . . . . . . . . . . 337

Manual Chroma Key Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Primary Suppression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Key Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

FGD Fade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Secondary Color Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Other Chroma Key Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Pattern Mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

To Create a Pattern Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Section 7 — Sidepanel Menu Summaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Sidepanel Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Sidepanel Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Color Coding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Fixed Softkeys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Transfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Lock Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Digits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Previous Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Bar Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Digipot Designator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Selection Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

List Boxes and Index Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Typewriter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Using a Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Dialog Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Menu Groups and Hierarchy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Startup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Selection of the Mainframe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Selection of an Attached Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Close / Minimize / Shut Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Status Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Selecting the M/E Main Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Enable / Disable the Faders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

User Definable Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Attached Macros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

M/E Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

M/E Main Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Select Trans Duration Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Dialog Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Auto Times Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Color Background Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Keyers Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Key Main Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Page 14

14 Kayak — User Manual

Contents

Key Matte Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Key Mask Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Chroma Key Main Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Chroma Key Suppression Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Wipe Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Wipe Adjust Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Wipe Select Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Color Background Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Correction Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

RAM Recorder Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

RAM Recorder Status Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

RAM Recorder Clips Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

RAM Recorder Stills Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

RAM Recorder Transfer Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Image Converter Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Select Destination Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Source Pixel Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Destination Pixel Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Converting Size, Positioning, and Preview. . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Untangle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

AUX Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

TiM/E Memo Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

TiM/E Memo Select Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Define Memo Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

TiM/E Edit Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Selecting of the Modify All mode: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Object Overview and Parameter Entry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Remote Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

GPI-Out Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Remote P-Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Media Player Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

MP Status Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Dialog Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Media Player Clip Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

DVE Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

DVE External. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Dialog Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

DPM Main . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Inner Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Dialog Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

DPM Edit Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

General Control Principles of the Index Cards. . . . . . . . . . . . . . . . . . . . . . . . 428

Cursor Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Run Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Page 15

Kayak — User Manual 15

Contents

Kurl-PS-Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Save / Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Misc / Priority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Installation Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Install Main Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Saving Operation Preset Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Selecting Default /DD Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Install E-Box Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Timing Index Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Input Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445

GPI Index Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

GPO Index Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Ext. DVE Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Router Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

AUX Bus Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Tally Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452

AUX CP Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Ext AUX Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

UMD Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Machine Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Editor Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

P-Bus Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Install Panel Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Dialog Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Function Buttons / Index Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

AUX CP Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Misc Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464

UPK (User-Programmable Keys/Buttons) Index Card . . . . . . . . . . . . . . . . . 465

UMD Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466

ME-Delegation Index Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

GPI Index Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

GPO Index Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Sat Panel Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Install System Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Hardware Option Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Software Option Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Temporary License Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

Drives Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Devices Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

Diagnosis Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Configuration Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Config Main Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478

Config Copy Simple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Config Copy Detailed Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Config E-Box Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485

Dialog Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485

Audio Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

Misc Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488

Input Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491

GPI Index Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492

Page 16

16 Kayak — User Manual

Contents

GPO Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494

AUX CP Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495

M/E Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499

Editor Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501

Router Index Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502

AUX Couple Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Subst. Table Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504

Extern DVE Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506

DPM Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507

Aux Bus Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508

Tally In Index Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509

Config Panel Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510

Function Buttons / Index Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510

How to Store a Macro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

Macro Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513

Assign Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

AUX CP Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522

ME-Delegation Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523

MP-Delegation Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

GPI Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

ME-Delegation Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Misc Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528

SatPanel Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Attached Macros Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Viewer for Attached Macros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Principles of Macro Attachment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

Personality Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Panel Index Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Side Panel Index Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547

Page 17

Kayak — User Manual 17

Preface

About This Manual

This Kayak User Manual includes Kayak HD and DD information and is designed as a reference manual for operators of Kayak Production Switcher systems.

Standard Documentation Set

The standard Kayak HD/DD documentation set consists of:

• User Manual

• Installation and Service Manual

• Release Notes

The User Manual contains background information about the Kayak HD/ DD Digital Production switcher and describes operating procedures. This manual can be used while learning about Kayak HD/DD and for enhancing your basic knowledge of the system.

The Installation and Service Manual contains information about installing, configuring, and maintaining the system. The service section of this manual is in preparation.

The Release Notes contain information about new features and system enhancements for a specific software version, and also includes software installation procedures. Always check the Release Notes for your current system software before you begin operating your system.

Other Documentation

Communication protocols of Kayak HD/DD are available upon request for developers and software engineers to use to design editor and other external interfaces to the Kayak HD/DD system.

Page 18

18 Kayak — User Manual

Preface

Page 19

Kayak — User Manual 19

Section 1

System Overview

Introduction

The Grass Valley Kayak digital production switcher is an affordable, compact, and flexible system that offers an array of high-end features for everything from live studio and mobile production to small corporate studios and editing applications.

Kayak HD Switcher Models

Te n mo d el s a re a va il abl e:

•Kayak HD 100C, which includes a 1 M/E Control Panel and a compact 4 RU Video Processor Frame

•Kayak HD 150C, which includes a 2 M/E Control Panel and a 4 RU Video Processor Frame frame equipped with one M/E module

•Kayak HD 200C, which includes a 2 M/E Control Panel and a 4 RU Video Processor Frame frame equipped with two M/E modules

•Kayak HD 200, which includes a 2 M/E Control Panel and a 8 RU Video Processor Frame frame equipped with two M/E modules

•Kayak HD 250C, which includes a 2 M/E Control Panel and a 4 RU Video Processor Frame frame equipped with two-and-a-half M/E modules

•Kayak HD 250, which includes a 2 M/E Control Panel and an 8 RU Video Processor Frame frame equipped with two-and-a-half M/E modules

•Kayak HD 300, which includes a 3 M/E Control Panel and an 8 RU Video Processor Frame frame equipped with three M/E modules

•Kayak HD 350, which includes a 3.5 M/E Control Panel and an 8 RU Video Processor Frame frame equipped with three-and-a-half M/E modules

Page 20

20 Kayak — User Manual

Section 1 — System Overview

Kayak DD Switcher Models

Tw o mo d el s a re a va il ab l e:

Kayak DD-1

One M/E production switcher with the following features:

•Switch able between 525-line and 625-line formats

•Fully digital 10-bit, 4:2:2 inputs, outputs, and video processing

•Compact, lightweight 2 RU video processing frame

•Low power consumption

•Intuitive menu with touch screen

•16 inputs

•5 fixed M/E outputs (2x PGM, 1x Preview, 1xClean, 1xCleanPVW)

•10 timed auxiliary buses

•Internal frame optional RAMRecorder holds short clips and stills and works as a frame synchronizer

•Remote monitoring support via optional NetCentral software

•Four keyers, each with linear, luminance and optional Chromatte™ chroma key functionality

•Optional RGB color correction

•Four channels of high-end digital effects (Option)

Page 21

Kayak — User Manual 21

Introduction

Kayak DD-2

Two M/ E pr od ucti on s wi tche r with the following features:

•Switch able between 525-line and 625-line formats

•Fully digital 10-bit, 4:2:2 inputs, outputs, and video processing

• Compact, lightweight 3 RU video processor frame

• Low power consumption

•Intuitive menu with touch screen

•32 inputs

•10 fixed M/E outputs (2x PGM, 1x Preview, 1xClean, 1xCleanPVW per

M/E)

•10 timed auxiliary buses

•Internal frame optional RAMRecorder holds short clips and stills and

works as a frame synchronizer

•Remote monitoring support via optional NetCentral software

•Four keyers, each with linear, luminance and optional Chromatte™

chroma key functionality per M/E

•Optional RGB color correction

•Four channels of high-end digital effects (Option) per M/E

Page 22

22 Kayak — User Manual

Section 1 — System Overview

Kayak HD Standard Features

•Switchable between several HD formats

•Supports SD production

•Fully digital 10-bit, 4:2:2 inputs, outputs

•Compact 4 RU and 8 RU lightweight frames

•Low power consumption

•Hot swappable, front removable modules and power supplies

•Intuitive menu with touch screen

•One DPM Channel standard with planar 3D effects, remaining channels optional, adding non-linear effects (Software License Key (SLK)

•Two high-quality chroma keyers standard

•Number of M/Es:

•One for Kayak HD 100C

•1.5 for Kayak HD 150C

•Two for Kayak HD 200, 200C

•2.5 for Kayak HD 250, 250C

•Three for Kayak HD 300

•3.5 for Kayak HD 350

Note .5 M/E includes cuts and mixes, no wipes or iDPM, with simple linear/lumi-

nance keyers and no chroma keys.

•Number of inputs:

•24 to 48 for Kayak HD 100C, 150C

•48 for Kayak HD 200C, 250C

•48 to 96 for Kayak HD 200, 250

•72 to 96 for Kayak HD 300, 350

•Number of outputs:

•12 to 24 for Kayak HD 100C, 150C

•24 for Kayak HD 200C, 250C

•24 to 48 for Kayak HD 200, 250

•36 to 48 for Kayak HD 300, 350

•Video outputs programmable as M/E, Program or AUX bus outputs

Page 23

Kayak — User Manual 23

Introduction

•GPI (General Purpose Interface) inputs:

•Eight to 16 for Kayak HD 100C, 150C

•16 for Kayak HD 200C, 250C

•16-32 for Kayak HD 200, 250

•24-32 for Kayak HD 300, 350

•GPI/Tally Outputs:

•32-64 for Kayak HD 100C, 150C

•64 for Kayak HD 200C, 250C

•64-128 for Kayak HD 200, 250

•96-128 for Kayak HD 300, 350

•Four full-function keyers per full M/E, each with linear and luminance

keying

•Five background generators include black, white, and three color back-

grounds

•Test Pattern Generator

•Two analog reference inputs (tri-level sync and black burst) and

HD/SD serial digital input reference

• White or colored pushbutton keycaps (factory installed, choose when

ordered)

•Freeze frame buffer on every full-function keyer

•Two main wipe generators and 4 keyer wipe generators per M/E

•YUV Color correction on every keyer and background bus

•Internal four-port Gigabit Ethernet (10/100/1000 base T) switch

•Eight serial ports for external machine control

Kayak HD Options

•Internal six-channel RAMRecorder option for video clips and stills

•Three additional iDPMs and Kurl effects package with Page Turn, Page

Roll, Spheres, Ripples, Splits, Mirrors, and Slits

•DPM Kurl per M/E. Adds Kurl effects to all of the enabled DPMs in one

M/E.

•DPM Spektra Defocus and Glow. Adds Spektra effects to all of the

enabled DPMs in one M/E.

•RGB color correction option (SLK) on every keyer and background bus

Page 24

24 Kayak — User Manual

Section 1 — System Overview

•Dual Chromatte™ chroma keyers, with flexible licenses allowing assignment of Chroma keys to different keyers

•Remote monitoring and diagnostic support via NetCentral software

•KHD-PSU internal redundant power supply unit

•KDD-PSU rack-mounted remote power supply unit for remote (or additional) control panels

•MatchDef™ Dual Video Source Scalar for converting 2 SD or HD sources to the production format, maximum of 4 for up to 8 sources. One Mix/Effects or IOXPAND option required for every two MatchDef™ options. Scalars accept either HD or SD input. Each M/E is capable of supporting up to 4 Scalar inputs with this license option.

•DSK (Downstream Keyer)/ Half M/E option for full M/E systems.

•Adds four DSKs for up to 20 keyers for 4.5 M/Es in the 8RU frame

•Adds four DSKs for up to 12 keyers in the 4RU frame or Half M/E

Mode with A/B background mix and four Lin/Lum keyers

•Full M/E Upgrade Option. Adds one Mix/Effects module to any Kayak HD chassis. Order one or more options to get the total M/Es required. The 4RU chassis holds up to two M/E modules and/or I/O Expander modules. One M/E upgrade option can be added to a Kayak HD 1-M/E or 1.5-M/E system if it does not also have an I/O Expander module. The 8RU chassis holds up to four M/E modules and/or I/O Expander modules. One or two upgrade options can be added to a Kayak HD or SD 2-M/E system, less any I/O Expander modules in the chassis.

Supported Control Protocols

• VTRs (BVW-75)

•AMP (Advanced Media Protocol). For Profile PVS, XP, K2, M Series, and Turbo DDRs. Available for RS422 Serial.

•Servers (Louth VDCP, Odetics)

•Routers/Routing Control Systems (Trinix™, Venus™, Triton™, and third party routers; Jupiter™ and Encore™ router control systems)

•Control Systems (Grass Valley Andromeda™ and third-party systems)

•Grass Valley Under Monitor Displays (Serial tally for UMD. Requires Grass Valley Andromeda™ system or third-part tally box such as Tally Display Corp. or Image Video.)

•Grass Valley external Remote AUX Panels (CP-300 Series)

• ESAM II for audio-follow-video applications

•Edit controllers (native and Grass Valley Model 100 and 200)

Page 25

Kayak — User Manual 25

System Components

Kayak Control Surfaces

Kayak Production Switcher systems use a control panel with an integrated menu display (color TFT with touch-screen). The Sidepanel program, which runs on a user-supplied Windows PC, can also be used to control the Kayak system.

1 M/E Control Panel

Figure 1. 1 M/E Control Panel, Top View

Figure 2. 1 M/E Control Panel, Rear View

Digipots and

Menu Butt ons

Program/Preset

Crossbar Selection

2nd Transition Subpanel

Positioner Subpanel

Transition Lever

Effect Subpanel

Graphical Display

Keyers Subpanel

Misc Delegation and Crossbar Selection

Main Transition Subpanel

Digipots and Menu ButtonsMenu Navigation Buttons

Program/ Preset Crossbar Selection

Kayak DD-1 Panel

PS/2 Port

48V DC Power In (from Frame)

LAN RS 485 RS 232

8448_04_r0

USB #4

USB #2

(Future use)

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26 Kayak — User Manual

Section 1 — System Overview

1.5 and 2 M/E Control Panel

Figure 3. Kayak 2 M/E Control Panel

Figure 4. 2 M/E Control Panel, Rear View

Positioner Subpanel

Transition Lever M/E1 Transition Subpanels

Graphical Display

M/E1

P/P

Misc Delegation

and Crossbar Selection

Digipots and Menu Buttons

Menu Navigation Buttons

Delegation SubpanelKeyers Subpanel

Effect Subpanel

P/P

Transition Lever P/P Transition Subpanels

M/E1

Misc Delegation

and Crossbar Selection

Kayak DD-2 Panel

USBP/S 2

8448_05_r0

(Future use)

PS/2 Port

48V DC Power In

(from Frame)

Redundant

DC Power In

USB #4

LAN RS 485 RS 232USB #2

Page 27

Kayak — User Manual 27

System Components

2.5 and 3M/E Control Panel

Figure 5. Kayak HD 250C, 250, and 300 Control Panel

Figure 6. 3 M/E Control Panel, Rear View

J1A J1B

DIGITAL PRODUCTION SWITCHER

J2 J3

DC POWER IN

48V/1.3A max. 48V/1.3A max.

RED. DC POWER IN

USB

LAN RS 485

RS 232

COM 2

COM 1

Spare

KAYAK

48V DC Power In

(from Frame)

Redundant

DC Power In LANUSB RS 485 RS 232

8448_12_r0

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28 Kayak — User Manual

Section 1 — System Overview

Kayak Video Processor Frames

Kayak HD 4 RU Frame

Figure 7. Kayak 4RU Frame, Front View with Door Removed

OFF

Top M/E Slot

M/E 0 (PP)

Bottom M/E Slot

(M/E 1)

Controller

(and 0.5 M/E)

2 USB

(unused)

Air Filter

Fan Assembly

Flash

Memory

Power Switch

Reset

Button

RS-232

Power Supply Unit 1 Redundant Power Supply Unit 2 (option)

8448_01_r1

PS2

Keyboard

VGA

Page 29

Kayak — User Manual 29

System Components

Kayak HD 8 RU Frame

Figure 8. Kayak 8RU Frame, Front View with Door Removed

OFF

M/E 0

(PP)

M/E 1

M/E 2

M/E 3

Expansion

Slot

Controller

(and 0.5 M/E)

Fan Assembly Flash

Memory

Power

Switch

Reset

Button

2 USB

(unused)

Air Fi

Power Supply Unit 1 Power Supply Unit 2 Power Supply Unit 3 (Optional)

RS-232 PS2

Keyboard

VGA

Page 30

30 Kayak — User Manual

Section 1 — System Overview

KDD-PSU Power Supply Option

The KDD-PSU option is a one-rack unit, wide range AC power supply providing power for a remotely-mounted Kayak Control Panel or for each additional Control Panel connected to the same processor chassis.

Power output is sufficient for two 1 M/E systems or one 2 M/E system.

Grass Valley recommends that customers purchase this option if the distance from the Frame to the Control Panel is more than 100 meters.

Figure 9. KDD-PSU

Figure 10. KDD-PSU Rear View

KDD-PSU-Front-Left

8448_17_r0

Page 31

Kayak — User Manual 31

Video Signal Flow

The basic video signal flow (Figure 11 on page 32) of the Kayak system has been designed for operational flexibility. F o r e x a m pl e , a l l th e o ut p u t s f r om the M/E are routed back to the video crosspoint matrix, making all these signals accessible to the entire system.

The video inputs to the Video Processor frame can be mapped to any of the crosspoint buttons.

Internally generated white, black and three color backgrounds are also available sources, as are the six RAMRecorder outputs. This source-tobutton mapping is performed through the touch screen menu and can be stored as a user profile for any number of individual users. Button mapping is the same on all buses.

The selected video on each bus is deserialized and reclocked before entering the video processing circuitry. Video processing is available for each separate M/E background, Key, and Utility bus. In addition, contrast, brightness, and hue can be adjusted on a bus-by-bus basis.

Each M/E has four full-function keyers with optional internal Digital Picture Manipulator effects. Each keyer has access to its own wipe generator as well as a pair of standard flexible chroma keyers which may be assigned to any keyers in the system. Two complex wipe generators serve each M/E, providing a wide range of wipe choices with modulation, rotation and multiplication of each one. Wipe signals can also be taken from the two Utility buses on the M/E.

The outputs from M/E Program, Preview, and clean feed are fed back to the crosspoint circuitry for the selection on the Auxiliary buses as well as the clean feed output.

The AUX bus outputs can be utilized in a number of ways. Every AUX bus provides individually adjustable safe area and crosshair (center cross) capability. Each AUX bus is timed to the reference.

Page 32

32 Kayak — User Manual

Section 1 — System Overview

Figure 11. KayakHD Video Signal Flow

Des

A T

Ser

Deserializer

Auto Timer

Diagnostic Checksum Accumulator

Serializer

1.485 Gb/s or 270 Mb/s Dierential Ser ial

SMPTE SD or HD SDI

Various Parallel Video Buses

Kayak HD 2½ M/E Simplied Video Block Diagram

Future Use

Variable Delay

Ser

Des

Analog HD Reference

Variable Delay

Ser

Des

Variable Delay

Ser

Des

Variable Delay

Ser

Des

Variable Delay

Ser

Des

Variable Delay

Ser

Des

Variable Delay

Ser

Des

Variable Delay

Ser

Des

Variable Delay

Ser

Des

Variable Delay

Ser

Des

Variable Delay

Ser

Des

Variable Delay

Ser

Des

A T

Des

A T

Des

A T

Des

A T

Des

M/E 1 Key 1 Video

Key

Processing

M/E 1 Key 1 Key

M/E 1 Key 2 Video

M/E 1 Key 2 Key

A T

Des

A T

Des

M/E 1 Bkg A

Background

Processing

M/E 1 Bkg B

Mixer

Ser

Pgm A

2 Key Wipe Gen

A T

Des

A T

Des

A T

Des

A T

Des

M/E 1 Key 3 Video

Key

Processing

M/E 1 Key 3 Key

M/E 1 Key 4 Video

M/E 1 Key 4 Key

A T

Des

A T

Des

M/E 1 Bkg C

Background

Processing

M/E 1 Bkg D

2 Key Wipe Gen

A T

Des

Eect Send Return 3

A T

Des

Eect Send Return 4

M/E 1 Pgm A

M/E 1 Pvw A

M/E 1 Pgm B

M/E 1 Pvw B

M/E 1 Eect Send 1

M/E 1 Eect Send 2

Crosspoint 144 x 144

M/E 1 Mix Eect Board

Main Board

Ser

Pvw A

Ser

Pgm B

Ser

Pvw B

Ser

Eects Send 1

Ser

Eects Send 2

Video Proc

Variable Delay

Ser

Des

Variable Delay

Ser

Des

M/E 2 Mix Eect Board

Video Proc

Analog SD Reference

2 Complex Wipe Gen

A T

Des

Eect Send Return 1

A T

Des

Eect Send Return 2

Transform

Engine

Transform

Engine

Ser

Eects Send 3

Ser

Eects Send 4

Section A

Section B

Sync Generator

Background Generator

Bgk 1

Bgk 2

Black

White

Ram Recorder/ Stillstore

Ch 1

Ch 2

Ch 3

Ch 4

Ch 1

Ch 2

Ch 3

Ch 4

Des

Ser

Des

Ser

A T

Des

A T

Des

A T

Des

Float 1 Key Video

Float

Keyer

Mixer

Float 1 Key Key

Float 1 Bkg

A T

Des

A T

Des

A T

Des

Float 2 Key Video

Float

Keyer

Mixer

Float 2 Key Key

Float 2 Bkg

A T

Des

A T

Des

A T

Des

HM/E Key 1 Video

Float

Half M/E

DSK

HM/E Key 1 Key

A T

Des

A T

Des

A T

Des

A T

Des

A T

Des

A T

Des

A T

Des

HM/E Key 2 Video

HM/E Key 2 Key

HM/E Key 3 Video

HM/E Key 3 Key

HM/E Key 4 Video

HM/E Key 4 Key

HM/E Bkg A

HM/E Bkg B

HM/E Pgm A

HM/E Pvw A

HM/E Pgm B

Float 1 Mix

Float 2 Mix

Ser

Pgm A

Ser

Pvw A

Ser

Pgm B

Ser

Pvw B

Ser

Float 1 Mix

Ser

Float 2 Mix

Des

Digital Reference

Des

Timing Analyzer

HM/E Pvw B

Timing Analyzer

Ch 5

Ch 6

Des

Ch 5

Ch 6

Ser

8448_02_r0

Page 33

Kayak — User Manual 33

Video Signal Flow

Figure 12. KayakDD Vidoe Signal Flow

iDPM

Video Proc

AUX Proc

PP: Single Mixer Eect (Plug-In Board) RY 3720

ME: Single Mixer Eect (Plug-In Board) RY 3930

Main Board RY 3910

8448_62

Page 34

34 Kayak — User Manual

Section 1 — System Overview

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Section 2

Concepts

Introduction

In general, any video switcher receives multiple video inputs, performs signal processing on selected input signals, and then outputs the processed video. Efficient real time switcher operation is essential for live production, and can save valuable time in post production environments as well.

Several innovative concepts are employed in the KayakDigital Production Switcher to enhance its operational speed and flexibility. U nd e r s t an d i n g these concepts, as well as basic switcher fundamentals, will help you take full advantage of the exceptional power of the Kayak system.

Kayak System Configuration Overview

The Kayak Digital Production Switcher is designed for operational flexibility, and can be configured to fit various applications. Different Kayak systems can have different capabilities, or the same Kayak system can be reconfigured to have different capabilities at different times.

The way a Kayak Digital Production Switcher is wired into your facility affects the Kayak system’s capabilities. For ex ample, the num ber of sources physically connected to the system obviously determines what video the system can handle. However, because Kayak system video/key inputs and AUX Bus outputs can be configured, once video cables are physically connected they need not be moved. Configuration settings also control many other capabilities that affect Kayak system behavior.

Kayak Digital Production Switcher configuration information is divided into three areas:

•Installation (Engineering Setups) (settings established by the engineer

in charge that affect the entire system, which never need to be changed by operators),

•Configuration (settings for e.g. a production that affect all the operators

working in that suite, that are designed to suit a particular show or production style and ensure a consistent working environment), and

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•Personality Setting (settings that give the operator the ability to customize his individual work surface to meet his personal preferences).

All Kayak settings are non-volatile. Disk save and load operations are available via the Sidepanel Program that allows users to store configuration information on the hard disk of a PC or on a movable media for easy transport and for use as backup copies.

Installation (Engineering Setups)

Engineering Setups control how the Kayak Digital Production Switcher’s major components behave and interact, and how the Kayak system interacts with the rest of the facility.

Engineering Setups are not likely to change on a daily basis and so are grouped separately from Configurations and Personality Settings. Facility maintenance personnel or the engineer in charge of a production truck generally manages Engineering Setups. These parameters are usually set during installation.

Engineering Setups information includes:

•Networking (IP addresses),

•Timing, Type of Reference signal

•External device interfaces (DDRs, VTRs, DPM, Router, AUX Control Panels, etc.),

•Various other system functions

Config — Application Control

The configuration defines how the control surfaces associated with a Kayak suite behave. A configuration can substantially change system behavior, not just a user’s view of the system. The configuration is saved in applications and is intended for day-to-day or sess ion-to -sess ion cha nges i n Kayak system operating behavior. Applications are open for m odif ica tion by operators.

Loading and Storing applications can be performed using the Sidepanel (

Config) and also with the Control Panel Menu (Config / Appli Control).

Config Applications include:

• E-MEM

• Macros

• Key Memory

• Pattern Memory

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Signal Routing

• Safe title behavior

• Video specifications (such as aspect ratio)

• Various other suite functions

Personal Settings

Personal Settings allow users to customize a Kayak control surface to suit their personal operational style. User Preferences do not change Kayak system capabilities. Loading and Storing Personal Settings is possible via the Sidepanel Program

Personal Settings include:

•Menu delegation behavior,

•Shift preferences

•Various other user functions.

General Rule:

•All setup changes, which will not work without an physical change of

a device, are part of Installation (menu).

•All setup changes, which will work without an physical change of a

device, are part of Configuration (menu).

Setting up the type, the address, and the connection port for an auxiliary control panel is part of Installation. Configuring the behavior and the button assignment of this AUX CP is part of a configuration.

Signal Routing

Inputs and Sources

Kayak HD

Incoming video signals are connected to the Kayak HD system via BNC connectors on the rear of the Kayak HD Digital Processor frame. All inputs are serial digital (SMPTE 274M, SMPTE 296M, SMPTE RP211). Signals from external devices not operating in this standard will need to be converted.

Some devices (for example, a camera providing serial digital output) may provide a video signal that can be received on a single connector. However, other devices may output multiple signals.

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For example, a character generator usually provides a signal with two components (commonly called video and key). Some incoming signals may also originate from devices the Kayak HD system can control (Router, DPM, DDR).

For a Kayak HD Digital Production Switcher, the term source refers to all the video signals and other attributes associated with a device. This is a fundamental concept. The Kayak HD system is based on sources, not input signals or crosspoints. Each source can be given a descriptive name, but has an ID Number for absolute identification. The Kayak HD system uses ID numbers, not source names or input connectors, to identify each source. Defining each source is an important aspect of the Kayak HD system.

Kayak DD

Incoming video signals are connected to the KayakDD system via BNC connectors on the rear of the KayakDD Digital Processor frame. All inputs are serial digital (SMPTE 259M, CCIR 601). Signals from external devices not operating in this standard will need to be converted.

Some devices (for example, a camera providing serial digital output) may provide a video signal that can be received on a single connector. However, other devices may output multiple signals.

For a KayakDD Digital Production Switcher, the term source refers to all the video signals and other attributes associated with a device. This is a fundamental concept. The KayakDD system is based on sources, not input signals or crosspoints. Each source can be given a descriptive name, but has an ID Number for absolute identification. The KayakDD system uses ID numbers, not source names or input connectors, to identify each source. Defining each source is an important aspect of the KayakDD system.

Source Definition

The source definition process includes assigning a name to each input source. Once sources are defined, you can then select the source by name in the control panel menu. Sources that use separate video and key signals are coupled in the Input menu to allow a single button to select the video-key pair from the switcher control panel. Tally relays can be assigned to the corresponding inputs in the

Config - GPO/Tally menu. All these settings are part

of a configuration and may change from production to production.

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Signal Routing

Button Assignment (Source to Button Mapping)

Source to button mapping makes it possible to organize sources on Kayak control panels to suit your personal preferences. For example, cameras can be grouped into a set of buttons on the left side or the right side of a button row, or in any way that is desired or convenient.

Source mapping is distinct from source definition, as source mapping only involves the location of sources on the control panel and does not affect the inputs or names defined for the sources.

For details on how to assign sources to buttons please refer to the Kayak Installation and Service Manual.

Note E-MEM effects store Source IDs, not the source select buttons, so remapping

sources does not change the appearance of recalled effects.

Yo u ca n a ls o a ss i gn s o ur ce s t o bu ttons using the Sidepanel program.

Key Memory

Key parameters can be saved to a separate key memory for every Kayak system source. These parameters can be applied automatically whenever that source is selected.

Buses and Crosspoints

A bus is technically defined as a signal path where one of several available inputs can be selected to feed a single output. A crosspoint is an electronic switch that allows a signal to pass when the switch is closed. On video switchers, a bus can be constructed containing a series of crosspoints, which permits selecting which one of several incoming signals will be sent out the bus. In Figure 13 on page 39, source 2 has been selected on the background A bus. This signal can now be called background video and is avail- able for further processing.

Figure 13. Buses with Crosspoints

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Buttons on a control panel can be used to control the switching of crosspoints. The buttons are usually arranged horizontally, making it easy to imagine the available signals coming in from the top, and the single bus output signal going out the right side. In earlier generation switchers, the terms crosspoint button and crosspoint bus have been used in reference to control panel source selection.

For a Kayak system, the terms source button and source bus will be used.

These terms better reflect a system operating philosophy that is source rather than crosspoint based.

The Kayak system does not directly associate a source select button with a physical crosspoint. The association goes first through source to button mapping, then through source definition to find the physical inputs.

On the Kayak system, a single source button can control crosspoints on different buses simultaneously. For example, during keying, both the video and key signals of a source can be selected with a single button press.

In this case two different crosspoints on separate buses (key fill bus and key cut bus) are actually switched when the button is pressed.

In the upper part of Figure 14 below, the video component of source 2 in the figure has been selected on the key fill bus and becomes the key fill signal for subsequent keying. The key component of source 2 selected on the key cut bus becomes the key cut signal for keying. The lower part of Figure 14 below shows how the same source (source 4) can be selected for both the key fill and key cut signals.

Figure 14. Multiple Crosspoint Control

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Signal Routing

Shifted Sources

An operator may need to quickly access many sources during a production. However, a control panel has size limitations, since all the source selection buttons must remain within reach. The Kayak system provides shifted buttons to allow access to more input sources from the control panel.

For example, on the Kayak HD-100 system, up to 28 sources can be mapped at one time, 14 to the unshifted source selection, and 14 to the shifted buttons. A dedicated

Shift button is provided as the farthest right crosspoint

button (Crosspoint 15) for every bus. Two shift modes are available: Normal and Latched.

In Normal mode, shifted or unshifted status of the bus is indicated by the state of the

Shift button light. Holding down the Shift button while pressing

a source button always selects the shifted source for that bus.

The

Shift button will light when the row of buttons to its left are shifted.

In Latched mode, the

Shift button toggles on and off in a manner similar to

the

Caps Lock button on a standard keyboard. When on, it lights to indicate

that the subsequent selection(s) on the crosspoint selector row will be made from the shifted set of sources (15 through 28). When off, the subsequent selection(s) come from the unshifted set (1 through 14). If the user toggles the

Shift button to the state that is opposite from the shift state for the cur-

rently selected input, then the crosspoint selector button blinks to indicate this “out of sync” condition.

A useful configuration is to have sources normally used for backgrounds (e.g. VTRs) mapped to unshifted buttons, and sources normally used as keys (e.g. character generators) mapped to shifted buttons. Then you can then set all the background buses to an un shifted p refere nc e, and all th e key buses to a shifted preference. All normal so ur ce se le ctions c an then b e made without having to use the shift modifier buttons.

It is also possible to have a different assignment for background and key buses.

Source Scalars (HD Only)

Each Mix Effects (M/E) has 4 scalars that can be used for scaling video sources of the same frame rate but different resolutions than the video being processed.

The scalars are software enabled options. Two scalars are enabled on one option, up to 2 options per M/E maximum. The scalars are fixed to a specific M/E.

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Mix/Effects (M/E) Stage

Each M/E of the Kayak system can create a composite of two or more pictures. It includes multiple source selection buses and provides transition (mix and wipe) and keying capabilities on the selected signals.

The M/E can be organized with the keying circuitry separate from the mixing circuitry, which permits Effect Send capabilities (see Effects Send on

page 43 for more information).

A simple basic M/E used in a typical switcher will be used as an example in the following discussion. The Kayak M/E has added capabilities, but the basic principles described here will apply.

Figure 15. Simplified Mix Effects (M/E) Subsystem

The basic M/E shown in Figure 15 on page 42 has an A and a B ba ckgro und bus. These buses select the background video signals sent to the output of the M/E.

Generally the source on the background A bus is the current background output, and the source on the background B bus is the background video that will be used next. During most transitions, portions of both backgrounds are output simultaneously. The keyers in the M/E allow the inclusion of additional material over the background. Wipe generators also exist, which create patterns used by the mixer for wipe transitions, or used by the keyers to modify the signals it sends the mixer.

The processed signal in an M/E is then sent to an M/E output, typically program or preview (or can be selected as input in the second M/E).

Alternate Buses and Delegation

Many earlier generation switchers had M/Es equipped with two keyers, and each M/E could accept two background sources. This permitted mixing or wiping between two backgrounds, and keying up to two additional sources over the background. Dedicated rows of control panel buttons were used to select these key and background signals.

Source Signal Inputs

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Crosspoint

Matrix

Keyer

Mixer

Wipe

Generator

M/E Outputs

Background A

M/E Program

M/E Preview

Background B

Key Cut

Key Fill

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Mix/Effects (M/E) Stage

The Kayak system M/E actually has four keyers, each handling a fill and a key signal, and it can accept three background sources (A, B, and Utility). Providing individual source selection rows for each bus is impractical, as the panel would become too large. For ease of use, Kayak panels have alternate buses accessed by delegation, using Key and PVW/AUX delegation via the Miscellaneous Bus selection subpanels.

Utility Bus

Besides the standard A and B background inputs, each Kayak also accepts two Utility inputs. The Utility buses can be used to select signals for special purposes, and has no relation to the background buses. For example, a video signal selected on the Utility bus can be used to feed a custom pattern into a wipe generator, or create a custom border wash pattern.

Effects Send

Effects Send provides a method of integrating digital effects devices into the M/E. Effects Send switches the key cut and key fill outputs of the keyer of the M/E to a digital effects device for manipulation. The manipulated key cut and key fill outputs are then received and sent directly to the inputs of the mixer circuits of the M/E. Effects Send allows you to process a key effect as though the digital effects circuits were located inside the M/E itself.

On the Kayak system, Effects Send is integrated into the M/E and is an extension of the keying control system.

Figure 16. Effects Send Diagram

If the Kayak system is equipped with the optional Digital Picture Manipulator option, the effects become part of the internal M/E’s mixer.

Source Signal Inputs

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Source

Selection

Buses

Keyer

M/E

Mixer

Digital Effects

System

M/E Outputs

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Kayak HD Outputs

Video production switchers generate several different video outputs (such as Program, Preview, AUX busses, and others). A final program output (Main or DSK) is typically sent to the transmitter for broadcast and/or to output devices for recording.

AUX Bus outputs may also be used for special purposes.

Kayak HD AUX Busses and Output Assignments

Kayak HD switchers provide 12 outputs per M/E. This means you can have up to 24 outputs in the compact frame and up to 48 in the large frame. For installed M/E boards the rear BNC outputs are active.

Any internal source can be assigned to these AUX bus outputs for monitoring. Safe Title can also be enabled on any of these AUX busses.

Kayak DD Outputs

Video production switchers generate several different video outputs (Program, Preview, etc.). A final program output from PGM is typically sent to the transmitter for broadcast and/or to output devices for recording.

Aux Bus outputs may also be used for special purposes.

Kayak DD Program and Preview Output Busses

For each M/E, the KayakDD system has dedicated BNC output connectors

for the following signals:

•

2x Program

• 1x Preview

• 1x Clean

• 1x Clean Preview

In addition

•1x Aux 1 … Aux 10

Kayak DD Aux Busses

Video production switcher Aux Buses can be used to select and route sources to specific destinations. For example, a source selected on an Aux bus can be sent to an recorder for instant replay. This can be done directly by the Technical Director while he/she switches the program.

Remote Aux panels can be used to give different oper ators control over one or more Aux buses.

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Resource Sharing and Point Of Use

The KayakDD system has 1 dedicated BNC output connector per aux bus.

Resource Sharing and Point Of Use

The Kayak system can share some resources for use at different locations. The location where a resource is being used is called a point of use.

The wipe pattern generator resources can be used for an M/E wipe transition, as a preset pattern, as a mask, or at other points of use. It is also possible to assign the output of the same wipe pattern generator to different points of use at the same time.

For efficient operation, the Kayak system has divided the parameters controlling wipe pattern generators and related utility bus functions into two categories; shared generator parameters and point of use parameters.

The set of parameters for the shared generator are used by all points of use, so changing one of these parameters will affect all locations where that wipe pattern generator is being used at that time. Separate sets of point of use parameters, however, are maintained for each Kayak system point of use.

These settings are used only by each individual points of use, so changing them will not affect any other point of use.

For example, a wipe shape (box, circle, etc.) is a generator parameter, but the softness of the shape’s edges is a point of use parameter. If the same wipe generator is used by both an M/E wipe transition and a preset pattern, adjusting softness at one point of use will not affect the other’s softness settings. However, changing the pattern shape affects both locations.

Transition

A transition is a change from one image to another. The Kayak system supports three basic types of transitions:

•Cut

•Mix

•Wipe

•DPM (optional)

A transition can be applied to the entire picture, or to only the background or keyed elements of the picture, and can include multiple elements.

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Cut

A cut is an instantaneous switch from one image to another (between successive video fields or frames). The simplest type is a hot cut, accomplished by selecting a different source on a bus feeding an M/E output. This only changes that bus’s contribution to the output, and does not change what elements may be involved in the output (the same buses are involved).

The Kayak system also provides cut transitions, where the elements involved in a composite can be changed instantaneously. Different buses can be included or excluded, causing changes in the resulting composite image. Background cut transitions on The M/E are first selected on the Background B bus to allow previewing the upcoming picture before it is cut

On Air.

Mix

A mix is a transition from one picture to another where the new picture fades in as the existing picture fades out. During a standard mix transition a superimposition of both pictures, each at a lower intensity, is visible.

The Kayak system allows mixing from one background to another and to mix up to four separate keys on or off over a background. Background and key mixes can be done separately or simultaneously.

Full Additive Mix

Full Additive Mix (FAM) is a special mix transition that the Kayak system supports besides normal crossfade transitions. Picture elements in FAM transitions are composited differently through the time of the transition.

Figure 17. Normal and FAM Mixes

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Tr a ns i t io n

FAM t ra nsition s first fa de a n ew pictur e to full intensity and then fade the old picture out, but both full intensity pictures are mixed together to the output during the transition. The resulting signal is clipped at white level to prevent generating illegal video.

Wipes

A wipe is a transition from one picture to another in which the edge of a shape moves across the screen, revealing the new picture. Wipe transitions can be applied to backgrounds, to keys, or to both simultaneously. A wipe transition shape can be selected from a variety of patterns, and these patterns can be adjusted in several ways (position, aspect ratios, edge attributes, etc.).

Each Kayak M/E has two separate transition wipe systems, each of which can be assigned a different wipe pattern and be adjusted independently. These systems can each use one of the two available complex wipe pattern generators with advanced capabilities. It is also possible to combine these wipes to create extremely complicated wipe transition shapes, and generally this is used only by advanced operators. Utility bus video signals can also be used to generate a custom pattern for a wipe transition or other purposes.

Other Wipe Pattern Generator Uses

Wipe pattern generator circuitry can be used for purposes that do not involve transitions. Each Kayak M/E has the two complex wipe pattern generators described above, and each of its four Keyers also has a simple pattern generator and a box pattern generator, making a total of six wipe generators. These pattern generators can also be used for Preset Pattern, Masking, and Matte Washes.

Preset Black

Preset Black is a special type of transition, where the picture transitions to black, and then transitions out of black to the new picture. Preset Black is really two transitions, one to and one from black, and so requires two operator commands to complete. Preset Black can be used with any transition type (cut, mix, or wipe). The entire picture goes to black, even if all the transition elements involved in the picture were not selected.

Fade to Black

The Fade to Black control in the DSK allows the Program output of the switcher to be brought down to black at a predetermined transition rate.

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Transition Rate

Cut transitions are instantaneous, but mix and wipe transitions have durations.

Tr an sit io n du ra tio ns c a n be s e t in ad va nce to a specific transition rate, and be initiated by pressing a button on the control panel. It is also possible to manually control transitions using a lever arm.

On the Kayak system, one transition rate can be assigned to the main transition of the M/E. This type of transition can be controlled by that M/E’s lever arm. Each of the four keyers on the M/E can also be assigned its own transition rate, initiated with a separate

Key Mix button.

Flip Flop Background Buses

At the completion of a transition, the background buses swap their source selections (flip flop). This makes the upper bus always act as the on-air bus, and the lower bus act as a preset bus. The operator can reliably setup the next source on the lower bus without disturbing the source selected on the on-air upper bus.

For example, if a transition begins with source 1 on Background A and goes to source 2 on Background B, as soon at the transition to source 2 completes, source 2 will be taken to the Background A bus (without disturbing the output of the M/E). The source 1 selection will also be immediately taken to the Background B bus.

Look Ahead Preview

If a preview monitor is configured for Look Ahead Preview mode, the end result of the upcoming transition can be viewed on that monitor. This lets the operator know in advance what will occur for that next transition.

Current and Next Stack

Kayak uses a current and next stack approach for transitions that involve multiple elements. The current stack is the current M/E output including any keys that are on. The next stack is defined by the current stack and whatever next transition elements have been selected. Look ahead preview always displays the next stack. Next transition elements affecting stacks are Keys 1 - 4, background, and key priority.

Kayak transitions always occur from the current stack to the next stack.

For example, if the current stack has Key 1 over Background A, and the next stack specifies Key 2 over Background B, a mix transition will occur between the composites (Key 1 over A to Key 2 over B). This is different

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Keying

from mixing Key 1 off, Key 2 on, and mixing between A and B at the same time, which would cause the keys to go transparent over their background during the transition.

On the Kayak system, opacity is retained throughout the transition, so midway through this example Key 1 remains fully keyed over Background A, and Key 2 is fully keyed over Background B. The transition occurs between these two fully keyed composites.

If multiple keys are faded in or out using the separate

Mix button each keyer

has it’s opacity changed with relation to all other keys. This means that keyer transitioned this way or no longer considered part of the composite and will show transparency.

Key Priority and Transitions

The four keyers on a Kayak M/E can be assigned priorities. This determines the layering of the keys. The highest priority key appears on top, while keyers with lower priority may be partially or fully hidden behind those with higher key priorities. The backgrounds always have the lowest priority. Changes in key priority can be included as a part of a transition.

Like any other transition, the current stack will transition to the key priority of the next stack. For example, suppose the current stack has Keys 1, 2, and 3 in that key priority order over Background A, and the next stack specifies key priority order 3, 2, 1. A mix transition will occur between the 1, 2, 3 composite order to the 3, 2, 1 composite order. All three keys will remain fully keyed over the background, and will mix to their new key priority order.

Half M/E and DSK Option

The Half M/E and DSK option is available that adds an additional M/E with cuts and mixes on backgrounds and keyers. The output of this Half M/E can be re-entered into any other M/E, and/or be assigned to an Aux output. The Half M/E is controlled by delegating any switcher bank with a single button press.

DSK capabilities that adds four extra keyers is also included with this option. Half M/E and DSK functionality cannot be used simultaneously, however.

Keying

Keying inserts part of one picture into another to create a composite picture.

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Keying involves three signals:

•Background,

•Key cut, used to specify where to cut a hole in the background, and

•Key fill, used to fill the hole in the background.

The fill can be an incoming video signal or it can be an internally generated matte fill. A separate key cut input signal is not necessarily required for keying. For example, a self key (also called a video key) uses the same input signal for both key cut and key fill.

The Kayak system supports the following types of keys:

•Additive Key

•Luminance Key

•Linear Key

•Chroma Key

•Preset Pattern

The Kayak system also supports self keys and split keys.

Matte Fill Key Example

One of the earliest keying techniques was to use an art card and camera to perform a luminance key with a matte fill. This type of key is a good example for explaining basic keying principles because three separate and independent incoming signals are used.

To i ns e rt a gr ee n lo go in to ba ck g ro un d vi de o , th e l og o c an be p ri nt ed in white on black paper and a camera can be focused on it. The signal from the camera can be selected as the key cut signal and green matte video can be selected as the key fill signal sent to the keyer. The key cut signal is then adjusted (clipped) to ignore the black paper and use only the white logo shape to cut a hole in the background video. The keyer then shapes the key fill to precisely match the logo-shaped hole cut in the background and fills it with green matte video. This creates a green logo inserted into the background (Figure 18). Because luminance values of the key cut signal are used to cut the hole in the background this is called a luminance key.

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Keying

Figure 18. Matte Fill Luminance Keying Example

In this keying discussion illustrations rather than actual screen images are used for simplicity, and because the printing process has difficulty capturing the subtleties of soft key edges.

Shaping Video

In the matte key example above, the key fill signal was a full raster color that did not match the shape of the key cut signal. This key fill signal is accurately called non-shaped video, but may also be referred to as unshaped video since both signal types are processed identically during keying.

Some external devices (e.g., character generators) provide a key cut signal and an already processed companion key fill signal. A key fill signal that correctly matches the key cut signal is called shaped video. During keying, properly shaped key fill video can be summed with a background signal (with a hole cut) and achieve the desired result.

The appropriate key mode for this type of signal is the additive key.

If a key fill does not match the hole in the background (like in the matte key example above), the key fill needs to be shaped by the switcher. By multiplying the key fill signal with the key control signal the unwanted areas of the fill can be made black, shaping the video to match the hole before it is summed with the background. Key fill video must be shaped using the key cut signal actually used to create the hole in the background. Video shaped with a different key cut signal will not key correctly.

The appropriate key mode for this type of signal is the Linear key or Luminance Key.

Key Cut

Key Fill

Background

Background with Matte Key Inserted

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LOGO

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See the section on Properly and Improperly Shaped Video on page 62 for more information.

Note that an unshaped signal viewed directly will show harsh edge artifacts due to dividing by a small number. This is normal and expected.

Keying this signal will clean up its appearance.

Key Control Signal Adjustment

During keying, the selected key cut signal can be converted into a key control signal. It is the key control signal that actually cuts the hole in the background video. Adjusting the key control signal (Clip and Gain) is essential in the keying process. The art of setting up a good key is to use just enough Gain to suppress any imperfections in the incoming key signals.

Setting Gain too high can cause ragged key edges.

The Kayak system provides two methods for adjusting the key control signal, Clip and Gain, and Clip Hi and Clip Lo. Note that the same basic keying process is controlled by either of these methods.

Clip and Gain

The Clip and Gain operation selects a threshold of the selected key cut video that will be used to cut the hole in the background video. Clip controls the threshold, and Gain controls the softness of the key edges and any translucent areas. High portions of the key cut signal specifies what video is retained, and low portions determine what video is removed. Intermediate levels specify a soft blend of the background and fill video.

Figure 19. Key Clip, Gain, and Key Control Signal

Key Cut

Signal

Key Control

Signal

Key Control

Signal

Inverted

(Hole Cutter)

Video

Retained

Mix of

Background

and Fill Video

Video

Removed

Background Video

Removd

Background Video

Retained

Clip

Gain

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Keying

Clip and Gain control is appropriate for high gain keys (see below), to easily adjust where the relatively hard transition from background to fill occurs. In this mode, changing the Clip control moves the threshold up and down without affecting Gain, which is adjusted separately with its own Gain control.

High Gain, Low Gain, and Unity Gain

A high gain key has a narrow range, creating harder key edges. A low gain key has a wider range, creating softer key edges. Linear keys typically use minimal gain (also called unity gain) to completely preserve the soft edges of the keys (Figure 20). Note that the Kayak system also supports keys that go below unity gain.

Figure 20. Keying Gain Values

On the Kayak system, Gain has a percentage value. A Gain value of 50% requires a luminance change of 50% of the distance between black and white to produce a keying signal ranging from transparent to opaque. A gain value of 100% (unity gain) uses the entire range between black and white for this transparent to opaque transition. A gain value of 0% produces the hard key edges (a high gain key).

Clip Hi and Clip Lo

The Kayak system also supports a Clip Hi and Clip Lo mechanism. With Clip Hi and Clip Lo, two thresholds are established. The upper threshold specifies at what point video will be completely removed from the background, and the lower threshold determines at what point background video will be retained completely intact.

High Gain Low Gain

Clip

Gain

Clip

Unity Gain

Clip

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Figure 21. Key Hi, Clip Lo vs. Clip and Gain

In this mode, Gain changes when either control is adjusted. The difference between the upper and lower keying thresholds is equivalent to gain:

•Clip Hi = Clip + Gain/2

•Clip Lo = Clip – Gain/2

Clip Hi and Lo control is more appropriate for low gain keys, to allow independent control of the two thresholds. For example, when adjusting a linear key the operator wants to control where the fill becomes opaque (Clip Hi) and where the fill becomes transparent (Clip Low). In Clip Hi/Lo mode adjusting the point of opacity does not change the point of transparency, and vice versa.

Clip, Gain, Clip Hi and Clip Low adjustments always interact. Changing one always results in changes to two other values. Changing Clip Hi or Clip Low changes both Clip and Gain, not just Gain.

S-Shaped Key Signals

On the Kayak system, an S-shaping function is applied to the edges of luminance keys. S-shaping smooths the sharp corners of a luminance key control signal, which helps prevent banding artifacts. S-shaping a signal minimally affects the key edges, and does not move key thresholds or affect the overall gain of the key.

Figure 22. S-Shaped Luminance Key Control Signal

Key Cut

Signal

Clip

Gain

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Clip Hi

Clip Lo

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Key Control Signal

S-Shaped

Key Control Signal

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S-shaping is generally not applied to linear keys because the external device usually applies an S-shaping function when it generates the key cut and key fill signals. S-shaping should not be applied twice.

Additional Keying Controls

The following additional controls are available for keying.

Key Invert

Keys can be inverted, causing holes to be cut in the background where a normal key retains the background, and vice versa. Key invert makes the white areas of the key cut signal produce transparency, and the black areas produce opacity, the opposite of a standard key.

Masking

Masking defines areas that are protected from keying (Inhibit Mask) or always key (Force Mask). The shape of the mask can originate from a wipe pattern generator or by a selected mask signal (typically a key fill signal delivered via the Utility bus).

With the Kayak RAM Recorder (Still Store), the mask signal can be a frozen page of video or a key fill. Complex mask shapes are often easier to draw by hand than to create with multiple wipe patterns.

Opacity

The opacity of a key can be adjusted. When opacity is reduced below 100% some background video is allowed to show through areas where it is normally excluded. Key opacity is an adjustment to the overall intensity of the key, and is separate from Clip and Gain controls. Note that a common mistake is to set opacity to zero and forget that adjustment was made, which can cause confusion later when that key is selected but not visible.

Key Positioning

Key positioning allows slight adjustment of the horizontal position of the key cut signal relative to the key fill signal. This is useful if the timing of the two signals at the switcher inputs are not matched properly. This is generally only a problem if the cut or fill follow analog paths from source to switcher or if the source has video/key timing adjustments which have been set to compensate for other delays within the facility.

Key Size

Key size allows the key cut signal to be narrowed slightly. This can greatly enhance self keys and chroma keys that have been reshaped.

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Coring

Coring helps reduce video noise in chroma keys. Coring is used when a key fill signal has noise in areas that are supposed to be transparent. When noise exists in these areas it can appear in the background portion of the keyed composite. Coring replaces the noisy black areas outside the shaped fill with clean black before it is summed, eliminating the noise.

Show Key

Although the key control signal is not directly visible in the final video output, this signal can be previewed as a black and white image using the Show Key function. White areas of a show key indicate areas of complete opacity, black indicate complete transparency, and gray areas indicate translucent areas of the key. The whiter the show key signal, the more opaque the key will be. This key preview signal reflects all the adjustments that have been made to the key control signal.

Linear Key

A linear key typically uses separate key cut and key fill input signals that are intended to be used for linear keying. The key cut and key fill are usually anti-aliased (soft edged) shaped signals created by a character generator or graphics system. There may also be translucent areas intended to allow some background to show through the key (watermarks). The level of the key cut signal determines where and how deeply the hole will be cut into the background. The intended soft edge and translucency of the key can then be faithfully reproduced.

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Figure 23. Linear Keying

Note The soft edges in the illustrations in this part of the manual are simulated. The

key edges are actually gradients, which allows these edges to blend smoothly with the background. In the Kayak System the Linear Key is just a special parameter setup of the Luminance Key

Background Video

Key Cut Key Control

(typically unchanged)

Completed

Linear Key

Key Fill

LOGO

Key Hole in Background

Clip

Gain

Invert

618_00_61

LOGO

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Luminance Key and Self Key

A luminance key uses the luminance of an incoming source to specify where to cut the hole in the background. The earlier example of a matte fill key is a type of luminance key. Luminance keying is typically done on sources that do not have an accompanying key cut signal, like a video camera. The key cut signal must be generated from the incoming video signal, using clip and gain controls. When only one source is used for both key cut and key fill, the key is called a Self key or Video key. The same key source signal is multiplied by the key cut signal to create the key fill, and then the signals are summed.

Figure 24. Luminance Keying (Self Key)

Clip and Gain (or Clip Hi/Lo) controls for luminance keys offer wide adjustment ranges. On the Kayak system, an S-shaping function is also applied to the edges of luminance keys.

Background Video

Key Source

(video only)

Key Control

Completed

Luminance Key

Key Fill

Key Hole in Background

Clip

Gain

Invert

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Keying

Chroma Key

A chroma key is a key that detects color (rather than luminance) in a video image and replaces it with a new background. For example, a reporter may be in a studio sitting in front of a backdrop with a blue or green backing color, and the new background can be a mountain scene. The completed chroma key consists the mountain scene replacing the backing color, creating the illusion that the reporter is sitting in front of the mountain.

Figure 25. Chroma Key (Additive or Multiplicative)

The terms foreground and background are often a source of confusion when used for chroma keys. Foreground refers to the people or objects in a chroma key scene that are in front of the colored backdrop. Background refers to the scene that will replace the backing color (same as a linear or luminance key) in the final picture. Background does not refer to the backdrop of the foreground scene.

Background Video

Chroma Key Source

(video only)

Backing Colors Selected Key Control

Completed

Chroma Key

Chroma Key Fill

Backing Color Suppressed

Additive Chroma Key

Multiplicative Chroma Key

Key Hole in Background

Clip

Gain

Chroma Key

Primary

Suppression

Chroma Key Fill

Backing Color Removed

Invert

Chroma Key

Secondary

Suppression

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Chroma keys are performed by suppressing the backing color in the foreground scene, cutting a hole in the background, and then combining the two processed signals. When conditions are ideal, complete suppression of the backing color is possible and the hole cut in the background will match the suppressed foreground, permitting these two signals to be added successfully.

This is called an additive chroma key (used when the Kayak system Foreground Reshaping feature is off). When conditions do not permit adequate backing color suppression, the foreground with its backing color suppressed can be multiplied by the keying signal to prevent contaminating areas of the background outside the keyed area. This is called a multiplicative chroma key (used when the Kayak system Foreground Reshaping feature is on). Setting up a successful chroma key setup involves many more adjustments than other keys. No amount of adjustment, however, can overcome problems caused by an improperly set up studio chroma key scene.

Primary and Secondary Color Suppression

As described above, chroma key primary color suppression replaces the old backing color with black before replacing it with the new background video. It usually has a very low selectivity and therefore suppresses a wide range of colors. The goal is to suppress as much of the backing color as possible without affecting foreground regions.

Secondary suppression is essentially a second chroma keyer that can be used to deal with areas where the backing color passes through some translucent portion of the foreground object, like smoke or liquid. This also includes hair since fine detail often mixes with the backing color. The goal of secondary suppression is to restore the natural color of the foreground object. In general, medium to high selectivity values will be used.

Primary and secondary suppression adjustments are used to select the hue to be replaced and for adjusting the luminance and chrominance levels in the areas of the picture where suppression is applied.

Flare Suppression

Flare suppression can be used to compensate for backing color reflected onto foreground objects, or for lens flare (backing color reflections within the camera lens). In these cases, the foreground object will take on a slight greenish or bluish tint. Flare suppression subtracts a slight amount of the primary suppression color from the foreground.

Chroma Key Shadow Generator

The Kayak system has a shadow generator that can be used to include shadows that fall on the backing area of the scene in the background.

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Keying

Shadow offset, range, and density controls are also available that offer control over the placement and appearance of the added shadow.

Preset Pattern

A preset pattern uses a wipe pattern generator, rather than an incoming key cut signal to define the hole cut in the background. Key clip and gain controls are not available for a preset pattern, but controls over the location, size, border, opacity, and edge softness are available.

Figure 26. Preset Pattern

Split Key

A split key uses an alternative key cut signal for keying. On the Kayak system, a key split is performed by holding down the Key Split button and selecting the desired key cut signal.

Split keys should normally treat the fill as unshaped since by definition a split key uses a fill that is not related to the cut; that means the normal mode for keying is Luminance or Linear Key Mode.

Pattern Key Cut

Key Fill

Background

Background with Preset Pattern Inserted

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Properly and Improperly Shaped Video

The following illustrations show the results of using correctly and incorrectly shaped video. In these examples, the video fill comes from a DPM that provides both a key signal and a fill video signal (a linear key). The DPM’s key signal, fill video that has been set as a shaped output, and fill video set as unshaped is shown in Figure 30 on page 63.

Figure 27. Video and Key Signals from DPM

When the shaping is done properly (using either shaped (Additive Key) or unshaped (Luminance Key) key fill) the desired output is the result (Figure 24 on page 58).

Figure 28. Correctly Shaped DPM Key Example

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Figure 29. Incorrect Key with Dark Halo

Figure 30. Incorrect Keying with Shaped Input

In this case the shaped input is incorrectly shaped again, sometimes called a double-multiply. Luminance Key was used for shaped key fill signal.

When the DPM provides an unshaped video output but the key is processed as though it were shaped, excessive luminance occurs where the key fill video and key hole edges overlap, producing a white halo around the key. Additive Key was used for unshaped key fill signal.

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Invert

Background Key Hole in Background

Key Control

Shaping Circuit On

Doubly-Shaped

Video

Incorrect Key

with Dark Halo

Shaped

Key Fill

Correct Key

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Figure 31. Incorrect Key With White Halo

In this case the unshaped video fails to be shaped at all.

Figure 32. Incorrect Keying with Unshaped Key Fill

Recognizing the appearance of improperly shaped video helps you know how to correct the problem should it occur.

Downstream Keyers (Half M/E and DSK Option)

Besides the four standard full-function keyers, an additional four simple (Linear and Luminance only) Downstream Keyers are available as an option (as part of the Half M/E and DSK Upgrade). These DSKs can be coupled to any M/E in the system to operate downstream of that M/E. The DSKs do not support chroma keys or DPM effects.

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Invert

Background Key Hole in Background

Key Control

Shaping Circuit Off

Unshaped

Video

Incorrect Key

with White Halo

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Unshaped

Key Fill

Correct Key

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3-D Digital Effects Concepts

A Half M/E that provides additional mix and cut functions is also included with this option. Half M/E and DSK functionality cannot be used simultaneously, however.

Flexible Chroma Keyers

Additional Dual Chromatte flexible chroma keyers are also available as an option. Two chroma keyers are included with each option. Each chroma keyer can be flexibly assigned to any desired keyer in any M/E.

3-D Digital Effects Concepts

The Kayak Digital Picture Manipulator options provide 3-D planar image translation and transformation from within each M/E of the Kayak system. Image translation has special basic concepts and terminology you should understand in order to get the most out of using the option.

Translation and Transformation

Tra ns la ti on is a s ub set of t ra nsfo rm ation, and involves picture movement along the X, Y, and Z axis. The picture is simply relocated to a different place and does not change in actual size or shape.

Figure 33. Picture Translation

Tra ns fo rm ation i nc lu des translation, and also includes these other functions:

Size

Enlargement and reduction of the picture area while it remains in the same plane in 3-D space. This is different from picture translation in the Z axis, where the picture retains its original size, but appears smaller when moved away, and larger when moved closer.

X Axis Transla te Y Axis Translate Z Axis Translate

(moved farther away)

0865_1

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Rotate

Picture rotation about the reference axis in the X, Y, and Z dimensions (Figure 34). Rotate is limited to ± one half revolution, and will always take the shortest path to the new position. Rotate uses Quaternion math to calculate the move with increased accuracy. Multiple rotations are performed with the Spin function.

Figure 34. Rotate

Spin

Supports multiple rotations about the reference axis in the X, Y, and Z directions. Spin supports fractional values, and is similar to Rotate when the move is less than ±. one half revolution. Spin uses Euler math to calculate the move, which is not quite as precise as Quaternion, but permits multiple rotations. Spin applies transform values in Z, X, Y order, so editing effects in this axis order provides the best control of the effect.

Note Following broadcast conventions, moving the Joystick forward or back along

the Joystick’s Y axis rotates the top of the picture forward or back (a rotation about the X reference axis). Similarly, moving the Joystick left or right along the Joystick’s X axis rotates the side picture left or right (a rotation about the Y reference axis).

Figure 35. Aspect, Skew, Perspective

Aspect

Scaling the X or Y components of the picture. X axis changes affect horizontal size, Y axis changes affect vertical size (Figure 35). Z axis changes affect both X and Y dimensions, and is the same as Size.

0865_12_r

X Rotate

(Around Y Axis)

Y Rotate

(Around X Axis)

Z Axis Rotate

0865_11

Aspect

Skew

Perspective

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Skew

Slanting the picture in the X (horizontal) and Y (vertical) directions (Figure 35).

Perspective

Changing the viewer’s apparent viewpoint of a picture. This only applies when a picture is tilted so part of it is farther from the viewer.

The farther portion appears smaller than the closer portion, and the amount of perspective controls how much smaller the distant part is (Figure 35 on page 66). Multi-channel perspective is discussed later in this section.

Axis Location

The axis location of the channel determines the center point of translations, spins, and rotations for that channel. You can move the axis to a new location to change the behavior of that channel. The axis location can be within or outside the screen area.

Z Axis Rotation at Different Axis Locations

Figure 36. Frame of Reference Axis Locations

Source and Target Space

The Kayak Digital Picture Manipulator uses source and target space frames of reference.

•Source space for a control channel uses that channel’s coordinate

system for reference.

•Target space for a channel uses the next higher level’s coordinate 

system for reference.

Being able to use both source and target space can help make effects editing easier. One frame of reference may offer a simple and easy to understand context for a picture transform, while in another frame of reference the

Axis at

Center of Picture

Different Axis Locations

Axis Off

Center of Picture

Axis Off Screen

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same transform may be difficult to understand and control. Kayak Digital Picture Manipulator effects can also employ both source and target space directed transforms simultaneously, which can create complex and beautiful effects.

The simplest example for source and target space concerns a channel that has been rotated while the global channel remains unchanged.

Figure 37. Source and Target Space

In this example the source space for the channel is referenced to the picture itself (tilted back at an angle) while the target space is referenced to the monitor screen (straight). X axis translations will move this picture differently, depending on whether source or target space is being used.

Figure 38. Source and Target Space Translation

If the channel is controlled by a global channel, and the global channel itself has been rotated, an X axis translation will depend on whether the channel itself or the global channel is being manipulated, and whether source or target space is being used (Figure 40 and Figure 40). Note that the target translate of the channel is the same as a source translate of the global channel.

Target

Source

Transformed

Picture

0865_0

Monitor Screen

0865_0

Source Translate

Along X Axis

Target Translate

Along X Axis

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Figure 39. Channel Translate with Global Rotated

Figure 40. Global Channel Translate with Global Rotated

Post Transform Space

Post transform (Post Xform) is a special transform function that only affects size and location operations. It does not change the perspective of the image (Figure 41). This can be used as a convenient method to quickly project pictures onto new locations of the screen. For example, if an image has the right perspective but is partially off screen, it can be brought back on screen without changing the perspective.

Figure 41. Post Transform Translation

Global Channel

0865_

Logical Channel Source Translate

Along X Axis

Global Channel

Logical Channel Target Translate

Along X Axis

Global Channel

Global C

hannel

Camera Channel

0865_0

Global Channel Source Translate

Along X Axis

Global Channel TargetTranslate

Along X Axis

0865_0

X Axis Translation

with Locate 3-D

X Axis Translation

with Post Xform

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All post transform functions are made relative to the monitor screen frame of reference. For example, a positive X post transform always moves to the right side of the screen.

Front and Back, Near and Far

Pictures manipulated by a Kayak Digital Picture Manipulator have front and back sides, each of which is revealed in turn as the picture spins or rotates. After a picture has been translated it can be difficult to determine which side was originally on the front and which was originally on the back. This distinction can be important when, for example, different sources are being selected for different sides of an effect.

The Kayak system uses a Near and Far convention to ease system operation. Near is always the side of the picture that is visible (facing toward the viewer), and Far is the hidden side of the picture (facing away from the viewer). The current Near side can be either the front side or the back side of the picture, depending on orientation. For example, to change the source on the visible image, just change the Near side. To change the source on the hidden side, change the Far side. You don’t need to know whether the image being changed is actually the front or back side.

Transform Numbering Systems

The Kayak Digital Picture Manipulator uses the following numbering systems to precisely define picture locations, picture size, and picture rotation and spin.

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Screen Coordinates

The Kayak Digital Picture Manipulator accommodates two different aspect ratios, 4 x 3 and 16 x 9, selectable via the Video Standards menu. In 4 x 3 mode, the screen is six units high and eight units wide. In 16 x 9 mode, the screen is 18 units high and 32 units wide. The numbering system begins in the center of the screen, and has the standard horizontal X axis and the vertical Y axis (Figure 42). For simplicity, examples in this manual use the 4 x 3 aspect ratio.

These coordinates can be used for monitor screen locations (channel target space with default global channel), or they can be applied to picture locations (channel source space).

Figure 42. Screen Coordinates

Screen units are also used to define Z axis dimension depth in 3-D space. Positive Z axis values are back behind the picture, and negative values are in front of the picture (Figure 43).

Figure 43. Viewer Location in 3-D Space

+3Y

-3Y

+4X-4X

+9Y

-9Y

+16X

-16X

0865_0

-Z

Target

Viewer

- 16.67 Scr

een Units

+ 16.67 Screen Units

0865_02

Source

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For perspective calculations the factory default viewpoint places the viewer -16.67 screen units from the monitor screen surface (4 x 3 aspect ratio). In this case, moving a full screen image 16.67 screen units back behind the screen makes the picture appear half its normal size to the viewer.

Size

Picture size is defined relative to picture screen units. A size of 0.50 indicates a picture is one-half its full size in linear edge measures. It is one quarter of its full size area.

Rotation

Rotation is measured fractionally with respect to 360°. A value of 0.25 indicates a rotation of 90 degrees; 0.50 indicates 180 degrees (maximum rotation).

Rotation values can be positive or negative, which determines the direction of rotation.

Spin

Spins are measured in number of 360° rotations (up to 999). Fractional spin values are also supported. A single axis 0.50 spin is the same as a single axis

0.50 rotation. Spin values can be positive or negative, which determines the

direction of spin.

Skew

Skew supports values of ±999, though extreme values will probably rarely be used.

Aspect

Aspect values are in percentage of the original size, with 1.0 = 100%, 0.5 = 50%, etc.

Perspective

Perspective supports values from 0-100, with 0.06 as the default in 4x3 operation and 0.015 in 16x9.

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Spin and Rotation Relationship

It is possible to use both Spin and Rotation at the same time in an effect. When both are used, the transforms are nested so that the values of one transform are applied after the previous transform values have been calculated.

This nesting provides increased control of the effect dynamics. Source and Ta rg et s pa ce al so af fe ct s th e t ra n sf or m n est in g o rd er.

Figure 44. Spin and Rotate Transform Nesting

Spin

Source

Rotate

Source

Rotate Target

Spin

Target

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Path Control

Paths

Keyframes specify parameter values at specific times in an effect. Most of the duration of an effect, however, occurs between these keyframes. The Kayak system interpolates parameter values between keyframes (inbetweening).

The trajectory, or path, a manipulated picture travels between keyframes is determined by how these in-between values are interpolated. The Kayak system offers you several path controls (Figure 45 on page 74):

• HOLD — No interpolation. Keyframes hold their values for their durations, then change all at once for the next keyframe.

• LINEAR — Applies a linear interpolation between keyframes; no acceleration or deceleration is applied. Movement is mechanical with a constant velocity.

• S-LINEAR — Applies a linear or straight line motion between keyframes, with acceleration and deceleration applied at the beginning and end of each keyframe. At each S-Linear keyframe the motion is stopped for two fields.

• CURVE — This selection causes a rounded path through the keyframe. Paths are user adjustable with path modifiers (tension, continuity, and bias) described below.

Figure 45. Path Types

Hold Linear

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S-Linear Curve

KF1

Slow

Fast

Stop

Constant

Speed

Slow

Fast

Slow

KF2

KF3

KF1

KF2

KF3

KF 1

KF2

KF3

KF1

KF2

KF3

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The path concept can also be applied to functions that do not move a picture across the screen, like matte hue changes. For these functions, the rate of change of the parameter follows the same path types above. For example, an S-Linear hue rotation will accelerate and decelerate the speed of the hue change at the beginning and end of the keyframe.

Tensio n, C onti nuity, and Bias Cont rols

When the Curve parameter is selected, additional fine-tuning path controls become available:

• TENSION — Controls the length of the tension vector. At a setting of 0.0,

this imaginary line extends an equal distance into and out of the keyframe, and the path through the middle keyframe is curved.

• CONTINUITY — Determines the angle of the path into and out of the

keyframe.

• BIAS — Determines whether the path will be pulled towards the pre-

vious or the following keyframe. In the following examples, a physical path is shown between three keyframes. The first keyframe (KF1) is the upper left square; the last keyframe (KF3) is the lower right square. The adjustments in these examples are applied to the middle keyframe only (KF2).

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Path Vectors

With respect to the path between keyframes, each keyframe is made up of three vector parameters as shown below. Th e soft k no b contro ls act on th es e vector parameters to adjust the path into (entry) and out of (exit) the keyframe. The path through KF2 is parallel to an imaginary line drawn between KF1 and KF3.

Figure 46. Path Vectors

Vector Values

Path vector setting values of ± 1.0 are available, same as the Thomson Grass Va ll ey Ka le i do sc o pe DP M.

KF1

KF2

KF3

Tension

Vector

–

Bias

Vector

Continuity

Vector

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Tension Control

In the example below, the keyframes comprise a right angle, so the TENSION control operates on a 45° line drawn through the keyframe. This line is referred to as the Tension Vector and is parallel to a line drawn between adjacent keyframes (Figure 47).

The TENSION soft knob controls the length of the tension vector. The length of the tension vector is inversely proportional to its parameter value. For example, at a Tension setting of 0 (zero), this imaginary line extends an equal distance into and out of the keyframe, and the path through the middle keyframe is curved. The unmodified KF2 is said to have a correction value of 0.0.

Figure 47. Tension Control Setting Zero

In the example below, the TENSION control is increased to 1.0, so that the Te ns io n v ec t or i s s ho r te ned t o n on -e x is te n ce t h ro ug h K F2 (Figure 48). The path enters and leaves the middle keyframe in a straight line as it takes on an S-Linear motion; decelerating as it enters the middle keyframe and accelerating as it leaves.

Tension = 0.0

KF1 KF2

KF3

Tension

Vector

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Figure 48. Tension Control Setting 1.0

In the example below, the TENSION control has been set to -1.0. This lengthens the Tension vector, causing the path through the middle keyframe to be longer and broader (Figure 49). The longer path will appear to make the image speed up through KF2 as it travels from KF1 to KF3.

Figure 49. Tension Control Setting - 1.0

Tension = 1.0

KF1

KF2

KF3

No Tension Vector

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Tension = -1.0

KF1

KF2

KF3

Tension

Vector

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Continuity Control

The continuity adjustment determines the angle of the path into and out of the keyframe. It is represented by a vector 90 degrees to the tension vector (Figure 50). The unmodified path shown is identical to the unmodified path of the other controls.

Figure 50. Continuity Control Setting Zero

With continuity set to 1.0, the entry path through the keyframe is pulled positively along the continuity vector. The effect of 1.0 continuity is that of motion dropping into and then out of the keyframe, similar to a bouncing ball (Figure 50 on page 79).

Figure 51. Continuity Control Setting 1.0

Continuity = 0.0

KF1 KF2

KF3

0721_06_50_r0

–

Continuity

Vector

Continuity = 1.0

KF1

KF2

KF3

–

Continuity

Vector

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With continuity set to -1.0, the paths between the keyframes become straight lines, accelerating into the keyframe and decelerating as it leaves the keyframe.

Figure 52. Continuity Control Setting - 1.0

Continuity = -1.0

KF1

KF2

KF3

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–

Continuity

Vector

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Bias Control

The BIAS control determines whether the path will be pulled towards the previous or the following keyframe. With extreme settings, all of the biasing will occur either before or after KF2. With bias set to 0 (zero), the curve through the keyframe is gentle as shown in Figure 53.

Note A Tension vector must be present for Bias control to be available.

Figure 53. Bias Control Setting Zero

With the bias set to 1.0, the path is pulled towards the following keyframe. Entry into and exit from the keyframe is a straight line from the previous keyframe, and the path of the effect travels completely through KF2 before turning towards KF3.

Bias = 0.0

KF1

KF2

KF3

Bias

Vector

Tension

Vector

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Figure 54. Bias Control Setting 1.0

With the bias set to -1.0, the path is pulled towards the previous keyframe. Entry into and exit from the keyframe is a straight line to the following keyframe.

Figure 55. Bias Control Setting - 1.0

Bias = 1.0

KF1

KF2

KF3

Entry

Bias

Tension

Vector

0721_06_54_r0

Bias = -1.0

KF1

KF2

KF3

Exit Bias

Tension

Vector

0721_06_55_r0

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3-D Digital Effects Concepts

Sure Touch

Sure Touch changes the way in which effects behave during recall and playback, providing more control and flexibility. An effect can be safely recalled using two new modes which eliminate abrupt changes: hence the name Sure Touch is being used. When using a Sure Touch mode, the effect adapts itself to the switcher’s current state. Upon recall of any effect, no changes are made to the current state, regardless of the nature or the composition of the effect. Then, when the effect is run, the relative changes from the interpolated effect are applied instead of the traditional absolute output. Only elements which changed over the course of the original effect are affected.

One way of thinking about safe touch is to think of it as running an effect in “relative” mode.

These changes can be applied in different ways, allowing the effect to interpolate on a path parallel to the original effect (

Parallel mode), or on a path

that converges the changing state smoothly to the actual end state of the original effect (

Converge mode). A safe touch mode can be “forced on” just

prior to recalling an effect, or it can be saved with the effect to be used automatically.

This feature changes the paradigm of control for effects, allowing effects to be applied under more flexible set of conditions and also to be used as specialized functions to perform specific actions.

Within the DPM timeline system, when an effect is first created, a snapshot of all values is saved. For any subsequent keyframes, only values which have changed are then saved. Those values that have changed are referred to as “bound elements” and are subject to interpolation as the effect runs.

When an effect is recalled in a sure touch mode, the current states of the bound elements are read by the timeline system. These values are compared with the original first keyframe (snapshot) of the effect, and an “offset” or “new zero” is established for each bound element of the effect. This “offset” is then applied during all subsequent fields of the effect. A new “offset” is established each time the effect is recalled. The result is that a “new effect” is established each time the effect is recalled.

The essential result is this: When an effect is recalled in a safe touch mode, only those values which underwent changes after the first key-frame of the original effect are touched, and only changes in values are applied.

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Section 2 — Concepts

Parallel Mode Example

For example, suppose we have the following effect.

•Effect 3: The channel is at 50% size and on screen in the upper left. It is moved off screen to the right.

•Keyframe 1: locate X = -2.0, locate Y = 1.0, size = 50%.

Keyframe 2: locate X = 8.0.

Figure 56. Parallel Mode Example

Now suppose that the image is centered and size = 30%. Next, effect 3 is recalled in sure touch “parallel” mode. The result would look like this:

KF- 1

KF-2

KF- 1

KF-2

8447_08r0

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3-D Digital Effects Concepts

Converge Mode Example

Sure touch converge mode begins in the same way as parallel mode, but the effect converges to the absolute end state of the effect over the course of the effect.

•Effect 2: Starts with the image centered and 30% size. Image is spun off

screen to the right and down

•Keyframe 1: size = 30%

•Keyframe 2: locate X = 8.0, locate Y = -6.0, spin Z = 1.875.

Figure 57. Converge Mode Example

8447_09r0

KF-1

KF-2

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Section 2 — Concepts

Now suppose the starting image is moved up and right and then effect 2 is recalled with sure touch “converge” mode. The result would appear as shown here. The effect converges towards the original effect over the duration of the effect. The final keyframe of the effect would set the location and spin Z to exactly the same values as in the original effect.

Figure 58. Converge Mode Example (continued)

8447_10r0

KF-1

KF-2

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3-D Digital Effects Concepts

Comparing Parallel and Converge Modes

Suppose we have an effect 5 which is as follows:

•Effect 5: The channel is 5% size, off screen to the left, and moves in a

sweeping path towards the lower left screen and finally ending in upper right at 25% size.

•Keyframe 1: size = 5%, locate X = -6.0.

•Keyframe 2: size = 15%, locate X = -2.0, locate Y = -2.0.

•Keyframe 3: size = 25%, locate X = 2.0, locate Y = 1.5.

Figure 59. Comparing Parallel and Converge Modes

The result of moving the starting image location and recalling this effect in parallel mode (red) and converge mode (green) is shown here.

Figure 60. Comparing Parallel and Converge Modes (continued)

Obviously, there are ways to use sure touch which would create a bad result, as in the red case.

8447_11r0

KF-1

KF-2

KF-3

8447_12r0

KF- 1

KF-2

KF- 3

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Section 2 — Concepts

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Section 3

Control Panels

Overview Kayak-100 Panel

•Sources are selected in the crossbar section on the left bottom side of the

panel.

•Basic key control, DPM / Ram / MP / E-MEM / MaKe selection and

transition control are handled in the middle sections.

•The graphical menu in the top section allows full control and edit facil-

ities.

•The positioner subpanel in the upper right provides easy positioning of

DPM, wipes, and pattern keys.

•The separate

Cut/Auto buttons in the bottom right section allow keyer

control independent from the transition section.

Figure 61. Overview Kayak-100 Control Panel

Digipots and

Menu Butt ons

Program/Preset

Crossbar Selection

2nd Transition Subpanel

Positioner Subpanel

Transition Lever

Effect Subpanel

Graphical Display

Keyers Subpanel

Misc Delegation and Crossbar Selection

Main Transition Subpanel

Digipots and Menu ButtonsMenu Navigation Buttons

Program/ Preset Crossbar Selection

Kayak DD-1 Panel

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Section 3 — Control Panels

Overview Kayak-200 Panel

•The top section of the panel with Keyer subpanel, Effect subpanel, Positioner subpanel, Display and gadgets buttons can be delegated to M/E or P/P,

•Sources are selected in the M/E1 and P/P crossbar section on the left bottom side of the panel.

•The graphical menu allows full control and edit facilities.

•The positioner subpanel provides easy positioning of DPM, wipes, and pattern keys.

•Transition control for M/1 and P/P are handled in the right sections of the panel.

•The separate

Cut/Auto buttons on the right of the transition lever allow

keyer control independent from the transition section.

Figure 62. Overview Kayak-200 Control Panel

8447_13r0

Program / Preset

Transition

Subpanels

Effects

Subpanel

Positioner

Subpanel

M/E 1 Transition

Subpanels

Digipots and

Delegation Buttons

Screen

Menu Navigation

Buttons

Keyer

Subpanel

Subpanel Delegation

M/E 1 - PP

Program / Preset

Miscellaneous Delegation

and Crossbar Selection

M/E 1

Miscellaneous Delegation

and Crossbar Selection

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Background Bus Selection

Figure 63. Subpanel Background Bus Selection

Sources are selected on the PGM and PST row. Each row contains 15 source buttons and a

Shift but ton . Onl y on e so urce at a tim e can be sele cte d fo r each

bus on the row of interlocked buttons. If more than one button on a row is pressed, the last pressed one will be executed.

Holding down a source select button when recalling an E-MEM register performs a source override. That source will be held on that bus even if a register is recalled and/or run that specifies a different source as long as the source button is held.

Unshifted and Shifted Sources

When the Shift button is not pressed, the row of source selection buttons accesses inputs 1 to 12. When the

Shift button is held down, it lights and the

row of crosspoints now accesses inputs 13 to 16. If a selection is made on the shifted bus, the

Shift button remains lit to indicate the tallied input is

shifted. If another selection is made without holding down the

Shift button,

the row returns to an unshifted state and the

Shift button light goes off.

8447_15r0

Example: Kayak HD-100

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Section 3 — Control Panels

Button and Bus Indications

On Air

Buttons involved in the output picture are indicated with a red.

Uncal / Asynchronous Sources

Asynchronous (non-synchronous) sources and color corrected sources are indicated by the Uncal sign on the right of the bus.

1. A blinking Uncal sign indicates an asynchronous source.

2. A constantly lit indicator indicates a color corrected source. This

function is unaffected by the “Async Blinking” button, i.e. you still get a constantly lit indicator for a color corrected source when “Async Blinking” is turned off. Turning off “Async Blinking” completely disables the indication of asynchronous sources via the Uncal lamps.  For details refer to the section on Personal Settings Menus on page 195

Note Asynchronous picture signals are instantaneously switched through by the

switcher.

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Miscellaneous Bus Selection

Figure 64. Miscellaneous Bus Selection

The top row of this section is the bus delegation row. Since there are more than 16 buses to be delegated, a

Shift button is used to access the corre-

sponding delegations. Within the bus delegation row the buttons can be unshifted and shifted in the same manner as the Background buses. Buttons which have a shifted layer are marked blue in the drawing above.

When a bus is selected in the bus delegation row, the currently selected source or the last recalled macro will light on the bus selection row. Selecting a different source / macro will change the bus selection.

Available Bus Delegations

Key1 – Key4

A button press in the bus selection row selects the fill signal and the coupled key signal for the corresponding keyer. This coupled key signal is defined in the key couple table in the setup menu. For use of a separate key signal see the description in the Key Section.

AUX1-AUX10

The AUX buses can be delegated in two groups, unshifted Aux1-Aux5, shifted Aux6-Aux10.

Example: Kayak HD-1

8447_16r0

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Section 3 — Control Panels

Utility

Selecting the Util button delegates the selection bus to be the Utility bus source selector. A crosspoint selected on the Util ity bus c an be used as a key signal.

Macro

Selecting the Macro button delegates the selection bus to be a set of macro function buttons. Only in Macro delegation the two buttons

Rec and Del left

to the

Macro button (gray in the drawing) are active. Selecting a button in

the bus selection row while holding down the

Rec button starts recording a

macro at that button position. Any previously stored macro at that position is cleared.

Selecting a button in the bus selection row while holding down the

Del

button deletes the macro at the corresponding button position.

Holding down the

Macro button for longer than 2 seconds lights all buttons

with active macros in the bus selection row.

While recording a macro you can insert a pause. To do so press Rec and Del simultaneously. Now you can enter the time for the pause using the key pad in the

Effect section. The maximum pause time is 25.5 seconds. If you

need longer pauses you can add more than one pause.

With macro delegation all 16 buttons serve as macro positions, that means, also the button labeled

Shift is a macro button, allowing to record and play

a total of 16 macros.

Within all other delegations, the bus selection row can be unshifted and shifted in the same manner as the Background buses.

Macro Attachment

It is useful to execute a macro together with the function of another button. E.g. when selecting a VTR which is under Machine Control on the Preset Bus it could be useful to cue the machine to the Mark In point.

Consider selecting a store output and select the readout with the same button push. For such uses the Macro Attachment is very effective. With macro attachment the macro can be added to the normal button function. In this case a macro can be executed before the normal function (pre– macro); it can be executed after the normal function (post–macro) or both pre–macro and a post–macro can be activated. A macro can also replace the

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Miscellaneous Bus Selection

normal function of the button. This can be created in Macro attachment Play mode for all the macro attachments made.

• Function only regardless whether a macro has been attached or not only

the normal function is executed.

• Function and macros if a macro is attached, the normal function and the

macro is executed.

• Macros only if a macro is attached, only the macro is executed.

The macro attachment is done in the following steps:

Record the macro(s)

Pre–macro: Press and hold the button where the macro will be recorded and simultaneously press and hold the button where the macro will be attached.

After 2 seconds a beep and flashing buttons indicate the attachment is stored. Both buttons can then be released.

Post–macro: Press and hold the button where the macro will be attached and simultaneously press and hold the button where the macro will be recorded.

After 2 seconds a beep and flashing buttons indicate the attachment is stored. Both buttons can then be released.

• Pre–macro and post–macro: First attach the pre–macro. Then proceed to

attach the post–macro.

Note During the process of attaching the macro and the button’s function will be

executed.

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Section 3 — Control Panels

Transition Control

Overview

Figure 65. Subpanel Transition Control

The transition control is performed in 3 sections.

•Main Transition Subpanel with all main controls for transitions

•Transition Lever Arm (Fader) for manual transition control

•2nd Transition Subpanel with separate cut/mix per keyer and fade to black

Example: Kayak HD-1

8447_17r0

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Tr a ns i t io n Co n t ro l

Main Transition Subpanel

The transition controls are used to select the signal elements that will be involved in the transition (background or keys), define the type of transition, and perform the transition.

Second Transition Subpanel

These transition controls allow the operator to cut or mix the separate keyers with individual transition times. The

Cut and Auto buttons at the

bottom or used to cut or auto trans Fade to Black.

This Fade to Black function can be enabled with the

FTB Enable button in the

Main Transition Subpanel.

Note In a later software version the Fade to Black, Cut, and Auto buttons as well

as most buttons of the Main Transition Subpanel will be user-programmable.

Transition Elements

The Key 1 – 4 and BGD buttons select the elements that will change during the next transition. Pressing these buttons does not change the current output of the switcher, but prepares for a change (the next transition).

Pressing one transition element button automatically turns off the others in this group. More than one transition element can be selected by holding down one button while pressing another in the group. Elements not selected remain in their current state when the transition is performed. For example, if

Key 1 is on and is not selected as part of the next tra nsit ion , it w ill

remain on during and after the transition.

The

BGD button selects a change in the background buses. The result will be

a transition from the current source on the PGM bus to the source selected on the PST bus. After the transition, the buses will flip flop, so the PGM bus always remains the on-air bus. The PGM bus selection remains the background source if this button is not selected as part of the next transition.

The

Key 1-4 buttons selects the keyers that will be involved in the next tran-

sition. The keys currently visible on the output of the switcher are identified by the

On indicator lights below each button. Note that a key may be on

but not visible (for example, half way through a preset black transition).

The

Prior Trans button selects a change in the key priority. The layering order

(stack) of the keys will transition from the current stack to a new stack specified by the operator. The new key priority stack is defined using the Keyers subpanel or via a menu.

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Section 3 — Control Panels

Transition Types

The DPM, Mix, and Wipe transition type buttons select what type of transition will be used on the elements selected above for the next transition. Pressing these buttons does not change the appearance of the current output of the switcher. Only one transition type can be selected at a time.

•The

DPM button is only available for Key Transitions. If the Background

is selected for next transition in combination with keyers, the background will perform an add/mix/wipe transition, depending on the last transition type selected prior to the DPM selection. This type will be indicated in the display above the

BGD button.

The behavior of a

DPM Key Transition is as follows:

In a mix/wipe transition the Lever Arm or the Auto Trans control the video amount of the keyer. In a DPM transition the

Lever Arm or the Auto Trans

control the timeline of the DPM effect selected for this keyer.

When the key was off at transition start, the video amount of the keyer is fully switched on at transition start, allowing to fly the key in.

When the key was on at transition start, the video amount of the keyer is fully switched off at the end of the transition, allowing to fly the key out.

Note The DPM effects used for transitions should be build in a way that the last

keyframe is out of screen or size zero.

•The Mix button selects a mix as the next transition.

•The

Wipe button selects a wipe as the next transition. Each wipe is pre-

defined using either the complex wipe generators or the Utility buses as the wipe shape. Wipe pattern selections are made in the Wipe menu.

Note Additive Mix transitions, intended to be selected with the Add button, are not

supported in v6.8.6 software. The Add button will illuminate when pressed, but no change in operation results.

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Tr a ns i t io n Co n t ro l

Performing Transitions

The Cut and Auto Trans buttons and the Transition Lever Arm are used to perform main transitions. After a transition completes, the background source selections flip-flop, readying the PST bus for the next source selection. The progress of a transition is indicated by the up and down arrows to the left of the lever arms.

The Cut button instantaneously replaces the selected elements with their new sources or states, regardless of the transition type selected. The button will light briefly to confirm the operator's action.

The

Auto Trans button starts an automatic transition of a predetermined rate.

The button will light during the transition. Pressing

Auto Trans a second time

during a transition stops the transition at that point. The transition can then be completed by pressing the button a third time or by moving the

Tran sitio n

Lever Arm

to its opposite limit.

The Transition Lever Arm is used to manually perform a transition. You can move the lever in either direction to run a transition due to the flip-flop architecture of the buses. Moving the lever from one limit to the other performs a complete transition. It is possible to start a transition with the lever, then stop moving the lever at any point, reverse its direction, and even return it to the original limit without completing the transition.

If the

Transition Lever Arm is not in an end position when recalling an effect or

performing an

Auto Trans the lever arm is resynced by recalculating the

resting lever arm way to complete the transition in the direction of the arrow. Moving the lever arm in the opposite direction allows the operator to resync the arm to an end position without affecting the output signal.

Preset Black

The Preset Black button modifies a main transition so that it will go through black, instead of going directly to the new state. This is an alternate action button (pressed to turn it either on or off). The Preset Black button lights when it has been selected.

Two su cc es siv e tr an sition commands (

Auto Trans button,  button, or

Tra ns it io n Lev er A rm a cti on ) ar e used for a complete preset black transition.

The first command transitions the switcher to black (first stage). When in black, both the PGM and PST bus selections will go low tally. The second command transitions from black to the final stage, completing the preset black transition.

The preset black function is canceled automatically at the end of the second transition.

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Section 3 — Control Panels

The transition type can be changed when the M/E has reached its first preset black stage, allowing for example a wipe to and a mix from preset black. While in preset black, the key ON indicators report the states the keys will have when the second transition command completes. The keys involved can be changed at this time, if desired. The source on the PST bus can also be changed while in the preset black stage.

A preset black transition can be canceled by pressing the

Preset Black button

a second time. If cancelled while at the preset black stage, the system will switch back the original signal. Pressing a source button on the PGM bus will also cancel a preset black transition. The source pressed on the A bus will immediately be placed on air without any keys, even if the next transition had specified key changes.

Transition Preview

The transition preview feature allows a main transition to be previewed without affecting the program output. A transition preview cannot be performed if the Transition Lever Arm or main transition is off limit, if an auto transition is in progress, or when Preset Black has been selected.

Pressing

Trn s Pvw routes the main transition video to preview output and

disables program transitions on that M/E, leaving the existing program output unchanged. Pressing

Auto Trans or moving the Transition Lever Arm

with

Trn s Pvw active will show the transition only on preview, allowing the

setting of wipe parameters or adjusting auto transition times before actually performing that transition. Transition preview overrides whatever preview mode is currently selected.

Tr an si t io n p re vi ew ma y be ca nc el e d at any time by pressing the lit

Trns Pvw

button. If an auto transition preview is in progress, it will be aborted. If the transition lever arm was used for the transition preview, canceling the preview part way through will cause the lever arm to resync by recalculating the resting lever arm way to complete the transition in the direction of the arrow. Moving the lever arm in the opposite direction allows to resync the arm to an end position without affecting the output signal.

Transition Rates

Auto transition rates are set using the Trans Rate button and keypad located on that Effects subpanel.

When the

Tran s R ate button is pressed, the Auto button in the M ain Tra nsitio n

subpanel and the four

Key 1-4 Mix buttons and the Auto button in the 2nd

Tr an sit io n S u bp ane l wi ll f la sh a nd t h e Ef fe c ts r ea do ut p ro m pt s f o r th e r a te to be set.

GRASS VALLEY Kayak HD 100C, Kayak HD 200C, Kayak HD 200, Kayak HD 150C, Kayak HD 250 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual