GRASS VALLEY KAYENNE - V2.0, KAYENNE User Manual

Download

Page 1

KAYENNE

VIDEO PRODUCTION CENTER

User Manual

Software Version 2.0

071869102

JANUARY 2011

Page 2

Affiliate with the N.V. KEMA in The Netherlands

CERTIFICATE

Certificate Number: 510040.001 The Quality System of:

Thomson Inc, and its worLdwide Grass Valley division affiliates DBA GRASS VALLEY

Headquarters

400 Providence Mine Rd Nevada City, CA 95959 United States

15655 SW Greystone Ct. Beaverton, OR 97006 United States

10 Presidential Way Suite 300 Woburn, MA 01801 United States

Kapittelweg 10 4827 HG Breda The Nederlands

7140 Baymeadows Way Ste 101 Jacksonville, FL 32256 United States

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

Rue du Clos Courtel CS 31719 35517 Cesson-Sevigné Cedex France

1 rue de l’Hautil Z.I. des Boutries BP 150 78702 Conflans-Sainte Honorine Cedex France

Technopole Brest-Iroise Site de la Pointe du Diable CS 73808 29238 Brest Cedex 3 France

40 Rue de Bray 2 Rue des Landelles 35510 Cesson Sevigné France

Spinnereistrasse 5 CH-5300 Turgi Switzerland

Brunnenweg 9 D-64331 Weiterstadt Germany

Carl-Benz-Strasse 6-8 67105 Schifferstadt Germany

Including its implementation, meets the requirements of the standard:

ISO 9001:2008

Scope:

The design, manufacture and support of video and audio hardware and software products and related systems

This Certificate is valid until: June 14, 2012 This Certificate is valid as of: June 14, 2009 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

Page 3

KAYENNE

VIDEO PRODUCTION CENTER

User Manual

Software Version 2.0

071869102

JANUARY 2011

Page 4

Contacting Grass Valley

International

Support Centers

Local Support

Centers

(available

during normal

business hours)

France

24 x 7

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

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

Hong Kong, Taiwan, Korea, Macau: +852 2531 3058 Indian Subcontinent: +91 22 24933476

Asia

Southeast Asia/Malaysia: +603 7805 3884 Southeast Asia/Singapore: +65 6379 1313 China: +861 0660 159 450 Japan: +81 3 5484 6868

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

United States/Canada

24 x 7

+1 800 547 8949 or +1 530 478 4148

Grass Valley Web Site

The www.grassvalley.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.

4 KAYENNE — User Manual

Page 5

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

Section 1 — Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

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

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

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

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Kayenne Video Processor Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Kayenne Control Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Multiple Suites and Control Surfaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Flat or Curved Control Panel Orientation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Control Panel Stripes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Control Panel Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Touch Screen Menu Panel and PC Menu Control . . . . . . . . . . . . . . . . . . . . . . . . 23

Panel Control Unit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Redundant Power Supplies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

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

Section 2 — Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Kayenne System Configuration Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Engineering Setups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Suite Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Panel Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Inputs and Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Source Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Source to Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Source Naming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Source Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Source Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Buses and Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Shifted Sources and Shift Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Mix/Effects (ME). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Logical Assignments of MEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Re-Entry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Utility Buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Output Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Aux Buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Point Of Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

KAYENNE — User Manual 5

Page 6

Contents

Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Mix Through Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Non-Additive Mix, Full Additive Mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Wipe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Other Wipe Pattern Generator Uses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Preset Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Transition Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Flip Flop Background Buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Look Ahead Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Current and Next Stack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Key Priority and Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Keying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Matte Fill Key Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Shaping Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Key Control Signal Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Clip and Gain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Clip Hi and Clip Lo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

S-Shaped Key Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Additional Keying Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Key Invert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Borderline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Masking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Key Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Key Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Coring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Show Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Linear Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Fixed and Adjustable Linear Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Luminance Key and Self Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Chroma Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Primary and Secondary Color Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Flare Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Chroma Key Shadow Generator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Preset Pattern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Split Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Properly and Improperly Shaped Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

E-MEM (Effects Memory) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Work Buffer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Effect Register, Work Buffer, and Current Effect. . . . . . . . . . . . . . . . . . . . . . . . . 55

Banks and Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Multiple Keyframes and Timelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Effect Dissolve. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Effect Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

E-MEM Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Master Timeline and Multiple Level Keyframe Effects. . . . . . . . . . . . . . . . . . 63

Number of E-MEM Levels and Sublevels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Default Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Source Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Work Buffer, E-MEM, and Source Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Source Memory Organization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Default Source Memory and Factory Default Source Memory . . . . . . . . . . . . . 69

3-D Digital Effects Concepts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

6 KAYENNE — User Manual

Page 7

Contents

Translation and Transformation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Axis Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Source and Target Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Post Transform Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Front and Back, Near and Far . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Transform Numbering Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Screen Coordinates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Spin and Rotation Relationship. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Path Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Paths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Path Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Vector Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Tension Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Continuity Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Bias Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Section 3 — System Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Control Panel Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

4-ME Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

2-ME Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Panel Saver Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Module Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Transition Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Local E-MEM Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Master E-MEM Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Multi-Function Module. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Source Select Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Local Aux Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

System Bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Device Control Module. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Delegation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

ME Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Automatic Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Multiple Keyer Delegations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

DPOP and SPOP Menu Delegation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Menu Panel Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Menu Panel Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Touch Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Menu Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Soft Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Menu Screen Organization and Components. . . . . . . . . . . . . . . . . . . . . . . . . . . 113

History and Favorites Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

History Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Favorites Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Quick Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Data Pads and Touch Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Menu Top Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Menu Category Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Delegation Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Parameter Control Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Numeric Keypad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Alphanumeric Keypad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Scrolling Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

KAYENNE — User Manual 7

Page 8

Contents

Menu and Panel Interactions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Default Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Source Button Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Local Panel Source Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Remote Aux Panel Source Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Aux Bus Delegation Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Map Local Aux Module Delegation Buttons . . . . . . . . . . . . . . . . . . . . . . . . . 130

Map Remote Aux Panel Delegation Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . 130

Source Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Source Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Source Naming Background Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Engineering Names, Eng IDs, and Logical IDs. . . . . . . . . . . . . . . . . . . . . . . . 134

Alternative Source Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Multiple Suites and Source Names. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Name Display Hierarchy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Source Patch Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Logical Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Using Source Patching for Effects Portability. . . . . . . . . . . . . . . . . . . . . . . . . 137

Source Patching Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Source Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Create a Source Rules Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Store a Source Rules Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Apply a Source Rules Pattern to other Sources . . . . . . . . . . . . . . . . . . . . . . . . . 141

Source Rules Pattern Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

SetDef MatchDef. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

SetDef Output Conversion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

MatchDef Input Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

E-MEM Control of SetDef MatchDef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

SetDef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

MatchDef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

File Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

File Type Extensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Kayenne Drive Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

File Storage Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Utilities Pane Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Copy/Pasting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Delete Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Create Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Rename Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Multi-Select Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Show File Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Choose Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Update Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Load Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

All Files Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

User Setups File Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

To Save Panel Prefs or Suite Prefs Files: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

To Save Source Memory Files: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

To Load Panel Prefs, Suite Prefs, or Source Memory Files: . . . . . . . . . . . . . 157

Panel MEM, E-MEM, Macros, Cues, e-DPM, and Router MEM File Ops . . . 157

To Save Register Files: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

157

8 KAYENNE — User Manual

Page 9

To Load Register Files: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Loading to a Different Set of Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Source Rules File Operations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

To Save Source Rules Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

To Load Source Rules Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Eng Setup Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Transition Module. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Manual Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

To Perform a Lever Arm Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

To Perform an Auto Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Mix Through Video Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

NAM and FAM Mixed Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Transitions Using E-MEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Aux Bus Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Mix-Only Aux Bus Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Mix and Wipe Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Key Chaining . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Creating Chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Time Value Entry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

E-MEM Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Learning Registers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Learn a Register in the Current Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Learn a Register from a Different Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Recalling Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Recall a Register in the Current Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Recall a Register from a Different Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Clearing Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

To Clear the Current Register . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

To Clear a Different Register . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

To Run an Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

E-MEM Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

To Learn a Sequence of Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

To Play a Sequence of Registers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

To Break a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Basic Effect Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Inserting a Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Deleting a Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Editing a Keyframe Duration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Showing Keyframe Durations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Changing the Duration of a New Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Modifying an Existing Keyframe Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Restoring KF Duration Default to the Keypad . . . . . . . . . . . . . . . . . . . . . . . . 181

Editing Effect Duration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Editing Effect Duration with the Control Panel . . . . . . . . . . . . . . . . . . . . . . . 182

Editing Effect Duration with the Menu Panel . . . . . . . . . . . . . . . . . . . . . . . . . 182

Editing Effect Durations of Individual Levels. . . . . . . . . . . . . . . . . . . . . . . . . 183

E-MEM Modify All Operations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

E-MEM Learn Auto Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Editing Path Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

To Change Path Control Values in an Effect:. . . . . . . . . . . . . . . . . . . . . . . . . . 186

General Curve Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Cutting and Pasting Path Values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Controlling Smooth Path Windup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

185

Contents

KAYENNE — User Manual 9

Page 10

Contents

E-MEM Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

E-MEM Transition Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

To Build Background E-MEM Transitions: . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

To Build Keyer E-MEM Transitions: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

To Change the Length of an E-MEM Transition: . . . . . . . . . . . . . . . . . . . . . . 190

To Prevent Elements from Transitioning in E-MEMs: . . . . . . . . . . . . . . . . . 191

Return to Normal Technique: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Source Holds in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

To Set a Source Hold in a New Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

To Set a Source Hold in an Existing Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Reusing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

E-MEM and Macro Interaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Macros in an E-MEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

E-MEM Prefs Macro Sublevel Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Preventing Assigned Macros from Running. . . . . . . . . . . . . . . . . . . . . . . . . . 195

To Add a Macro to an E-MEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Advanced E-MEM Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Partial Keyframing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Define E-MEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Background Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Multi-Function Module Matte Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Matte Menu Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

iDPM Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Multi-Function Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Parameter and Soft Knob Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Transform Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Transforms Menu Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Global Channel Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Global Channel Control Over Multiple MEs . . . . . . . . . . . . . . . . . . . . . . . . . 212

Secondary Global Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Key Off Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Easy Cube Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Keyer Partition Visibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Split Layered Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Transform Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Crop Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Reverse Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Path Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Clear Transforms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Corner Pinning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Corner Pinning and Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Corner Pinning Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Corner Pinning with the Multi-Function Module . . . . . . . . . . . . . . . . . . . . . 223

Borderline Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Shadow Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Shadow Crop Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Glow Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Film Look Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Kurl Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Position/Size Modulation Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Page Turn/Roll Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Ripple Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Slits Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

229

10 KAYENNE — User Manual

Page 11

Contents

Sphere Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Splits Mirrors Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Splits Pane. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Splits & Mirrors Modifiers Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Defocus Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Defocus Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

NAM Matte Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Lighting Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Light Type Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Shadow Control Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Light Type Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Light Control Pane. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Lighting Path Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Lighting with Page Turn/Roll Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Lighting and Post Transform Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Output Recursive Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Output Recursive Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Output Recursive Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

eDPM Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Kayenne Version 2.0 and Later . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

eDPM Partitioning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

eDPM Definable Sub-levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Aux Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Assigning Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Source Ops Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Source Ops from the Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Assigning Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Split Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Button Mapping eDPMs to an ME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

eDPMs and the MFM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

eDPM Mode Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

eDPM Effects Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

eDPM Category Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

File Ops Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

E-MEM & Timeline Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Source Ops Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Picture Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Keyer Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

eDPM Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Wipes Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Split Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Keyer Priority. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Key Store. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Key Store Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Grabbing and Using a Key Store Image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Chroma Key Operating Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Auto Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Manual Chroma Key Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Access Keyer Menu and Delegate Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Primary Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Key Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Secondary Color Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Extra Chroma Key Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

KAYENNE — User Manual 11

Page 12

Contents

Pattern Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Copy/Swap. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Copy Swap Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Copy Swap ME Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Copy Swap Wipes Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Copy Swap Mattes Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Copy Swap Keyer Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Copy Swap Source Memory Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Copy Swap Macro Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Copy Swap Timeline Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Copy/Swap with the Multi-Function Module. . . . . . . . . . . . . . . . . . . . . . . . . . 294

ME Copy/Swap. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Keyer Copy/Swap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

e-DPM Copy Swap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Bus Linking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Bus Linking Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Source Substitution Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Table Setup, Linked Source Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Configuring Source Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Storing (Copying) Source Table Substitutions to another Source table . . . 301

Changing Source Tables for a Bus Link. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Source Table File Operations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Linking Busses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Linking Busses one-to-one. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Linking Multiple Busses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Link Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Bus Linking Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Source Override. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Bus Pair Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Device Control Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

System Bar Device Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Local Aux Module Device Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Ganging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Multi-Function Module Device Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Single Device Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Multiple Device Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

GOTO Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Device Control with the Device Control Module . . . . . . . . . . . . . . . . . . . . . . . 317

Device Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Gangs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Q-MEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Learning a Q-MEM Register with a Single Device . . . . . . . . . . . . . . . . . . . . . . 322

Learning a Q-MEM Register with Multiple Devices. . . . . . . . . . . . . . . . . . . . . 322

Learning Devices with Letter Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Learning Additional Devices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Learning Only Device Associations into a Register. . . . . . . . . . . . . . . . . . . . 324

Learning Clips for Devices without Affecting Letter Button Associations

Cues and Gangs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Status Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

E-MEM Control of External Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

324

12 KAYENNE — User Manual

Page 13

Contents

Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Timecode Entry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Multiple Events on the Same Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Device Control with the Menu Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Loading Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Clip Directory (AMP Protocol) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Timeline Event Information and Work Buffer Values . . . . . . . . . . . . . . . . . . 330

Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

Router Interface Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Router Interface Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Control Panel Router Interface Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Menu Panel Router Interface Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

R-MEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

R-MEM Menu Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

E-MEM Control of R-MEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

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

E-MEM Prefs Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Learning R-MEMs on the Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Changing R-MEM on an Existing E-MEM Register . . . . . . . . . . . . . . . . . . . . 349

Loading R-MEM Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Empty R-MEM Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

ME Split Mode Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

ME Split Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Control Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Control Panel ME Partition Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Source Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Transition Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Local E-MEM Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Master E-MEM Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Split Local E-MEM Module Register Save to Disk . . . . . . . . . . . . . . . . . . . . . 355

ME Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Split MEs and E-MEM Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Partition Boundary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Split ME E-MEM Level Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

ME Partitions Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Split Layered Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Split Layered Mode Menu Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Control Panel Controls in Split Layered Mode . . . . . . . . . . . . . . . . . . . . . . . . 360

Macros. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Macro Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Macro Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Macro Attachments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Macro Control Button Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Macro Button Function Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

KAYENNE — User Manual 13

Page 14

Contents

Macro Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Using Macros. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Accessing Shifted Macros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Recording a Macro with the Control Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Recording a Macro with the Menu Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Inserting a Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Playing Back a Macro Register . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Attaching a Macro to a Panel Button Using the Control Panel . . . . . . . . . . 367

Attaching a Macro Using the Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Playing an Attached Macro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Removing a Macro Attachment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Appending to a Macro with the Control Panel . . . . . . . . . . . . . . . . . . . . . . . 369

Appending to a Macro in the Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Appending a Macro to Another Macro in the Menu. . . . . . . . . . . . . . . . . . . 370

Saving Macro Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Loading Macro Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Using a Macro for Multiple Copies or Swaps. . . . . . . . . . . . . . . . . . . . . . . . . 370

Macros and E-MEMs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

E-MEM Recalls in a Macro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

ClipStore (Image Store Clips) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Summit/Solo Software Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

ClipStore as an External Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Kayenne Control Panel Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

ClipStore Menu Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Clip Replay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Recording Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Editing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

File Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Image Store (Stills) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

File Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Setup Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Image Store Input Aux Delegate Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Image Store Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Menu Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Image Store Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

File Transfers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Shared Image Folder on a Networked PC. . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Kalypso Still Image Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Backup & Restore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Device Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Newton Modular Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Installation on Kayenne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Newton Controls Configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

External Device Newton Menu Description. . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Delegation Pvw Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Input Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Setup Selector. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Newton Channel Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Newton Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

14 KAYENNE — User Manual

Page 15

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Contents

KAYENNE — User Manual 15

Page 16

Contents

16 KAYENNE — User Manual

Page 17

Preface

About This Manual

The Kayenne User Manual is designed for operators of Kayenne systems.

Standard Documentation Set

The standard Kayenne documentation set consists of a:

• User Manual,

• Installation & Service Manual,

• Release Notes, and

• Release Notes Addendum.

The Kayenne User Manual contains background information about the Kayenne Video Production Center, and describes operating procedures. This manual can be used while learning about Kayenne, and for enhancing your basic knowledge of the system.

The Kayenne Installation & Service Manual contains information about installing, configuring, and maintaining the system.

The Kayenne 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.

The Kayenne Release Notes Addendum contains corrected and known issues about the system software.

Introduction

Note For reader convenience this identical Section 1 is included at the beginning

Overview

The Grass Valley Kayenne family of multi-format digital production switchers provides powerful, ground-breaking features designed to meet the widest range of requirements for live studio, mobile, and post-produc tion applications. Available in configurations ranging from 1.5-ME to

4.5-MEs, Kayenne systems combine features and functionality available in the current Grass Valley Kalypso, KayakHD, and XtenDD switchers along with additional capabilities previously unavailable in any video produc tion switcher from any manufacturer.

Section 1

of each Kayenne manual. If you are already familiar with this material you can skip to the next section.

A wide variety of possible Kayenne system configurations exist to meet different customer requirements.

Kayenne Video Processor Frames

The Kayenne Video Processor Frame is available in two sizes. The 8-RU full size frame supports up to 4.5 ME systems. The 4-RU compact frame sup ports 1.5-ME through 2.5-ME Kayenne systems (Figure 1). The number of licensed boards present in the Kayenne frame determines the number of

KAYENNE — User Manual 19

Page 20

Section 1 — Introduction

8623266_06

Kayenne 8-RU Video Processor Frame

Kayenne 4-RU Video Processor Frame

4-ME 35 Control Panel Menu Panel

Menu Panel Articulated Arm

8623266_01

Panel Control Unit (PCU)

Optional Device Control Module

Optional

Module

Menu Panel

Menu Panel Articulated Arm

8623266_02

Panel Control Unit (PCU)

3-ME 35 Control Panel

Optional Device Control Module

MEs available, as well as the number of video inputs, outputs, GPIOs and Relay Tallies.

Figure 1. Kayenne Video Processor Frames

Kayenne Control Surfaces

A Kayenne control surface typically consists of a Control Panel, a Menu Panel with an included articulated support arm, a Panel Control Unit (PCU) frame, and optional Satellite Panels. This control surface has an innovative modular design. Representative Kayenne control surfaces are shown in the following illustrations.

Figure 2. Kayenne 4-ME 35 Control Surface

Figure 3. Kayenne 3-ME 35 Control Surface

20 KAYENNE — User Manual

Page 21

Kayenne Control Surfaces

Menu Panel

Menu Panel Articulated Arm

8623266_04

Panel Control Unit (PCU)

1-ME 15 Control Panel

Figure 4. Kayenne 2-ME 25 Control Surface

2-ME 25 Control Panel

Figure 5. Kayenne 1-ME 15 Control Surface

Menu Panel

Menu Panel Articulated Arm

Panel Control Unit (PCU)

8623266_03

The modular design and use of a separate PCU supports the hot-replacement of individual Control Panel components, if necessary, while the rest of the system remains operational.

Multiple Suites and Control Surfaces

A Kayenne system can be subdivided into two suites, if desired, each of which can have two control surfaces. Hardware resources in the Video Pro cessor Frame can be assigned to an individual suite during configuration, essentially creating two separate switchers from one Kayenne system. A Kayenne PCU can support two control surfaces using its eight available ports.

Flat or Curved Control Panel Orientation

The main Kayenne Control Panel supports different physical orientations. Besides a conventional flat surface, a special support design permits a curved working surface, where the MEs progressively tilt for improved ergonomics (

Figure 6).

KAYENNE — User Manual 21

Page 22

Section 1 — Introduction

Hold

BU1U2

Hold

Far

Key Split

Rules Hold

EMEM

Sec

Aux

Pri

Key

Macro

Key

RtrKeKey

EMEM

Macroro

Rev

Rwd

Run

ans

Rate

Auto

Run

nel

Mem

Mix

Transns

PVW

ans

Rate

EMEM

Runun

Ptntn

Limit

Pst

BLK

Key

Key1

Cut

Key2

Cut

Key4

Cut

Key3

Cut

Key6

Cut

Key5

Cut

Key1 Auto

Key2 Auto

Key3 Auto

Key4 Auto

Key6 Auto

Cut

Auto

Key5 Auto

Userer5Userer

Userer4W

ipe2W

ipe

Userer3Userer2Userer

Key Prior

Control Panel Stripes

Figure 6. Curved and Flat Control Surface Installations

Flat Control Panel AssemblyCurved Control Panel Assembly

8623266_36

The main Kayenne Control Panel is organized into from one to five Stripes. Each Stripe consists of a tray and its complement of drop-in modules. An ME Stripe has a module for Source Selection, Transition, and individual E-MEM control (

Figure 7). Additional Master E-MEM, Machine Control,

Multi-Function, and Local Aux modules are populated to complete the control surface functionality.

Figure 7. Portion of Control Panel ME Stripe

Key

Hold

Key Spl

Hold

Key

Macro

Far

Key

Rules

Sec

Hold

Key

EMEM

ipe

Cut

Key

ipe

Auto

Source Module (35, 25, or 15) Local E-MEM ModuleTransition Module

Control Panel Modules

The following Kayenne modules are available:

ans

EMEM

Lim

Key

Auto

Cut

Auto

Cut

Auto

Cut

Auto

Cut

Auto

Cut

Auto

Cut

EMEM

ans

nel

Rate

Mem

Run

Rev

Rwd

Run

8623266_54

• KAYN-PNL-TRM - Transition Module

• KAYN-PNL-LEM - Local E-MEM Module

• KAYN-PNL-MEM - Master E-MEM Module

22 KAYENNE — User Manual

• KAYN-PNL-MFM - Multi-Function Module

Page 23

• KAYN-PNL-SRC-35, 25, 15 - Source Module, available in 35, 25, and 15 button widths.

Note 15 button widths are only available with 1-ME Control Panels.

• KAYN-PNL-AUX-35, 25 - Local Aux Module, available in 35 and 25 button widths.

• KAYN-PNL-BAR-35, 15 - System Bar, available in two sizes to match various Control Panel widths.

• KAYN-PNL-DCM - Device Control Module, available as an option for 3 and 4-ME panels and as a satellite panel module.

Touch Screen Menu Panel and PC Menu Control

Each Kayenne control surface includes a Menu Panel that features a wide format 15 in. touch screen display. An articulated arm is also included, offering a wide variety of installation options ( has a standard VESA-75 hole pattern and M4 threads, compatible with this and many other mounting devices.

Kayenne Control Surfaces

Figure 8). The Menu Panel

The Menu Panel has four USB ports, two on the right side edge of the panel and two on the back for keyboard and mouse (wired or wireless are sup ported).

Figure 8. Menu Panel with Articulated Arm

8623266_05

An additional touch screen Kayenne Menu Panel is available as an option (additional Menu Controller Board is required in the PCU).

It is also possible to run the Kayenne Menu application on a standard PC, permitting mouse and keyboard control from a laptop, or remote control from any location on the network.

KAYENNE — User Manual 23

Page 24

Section 1 — Introduction

Panel Control Unit

The Kayenne Control Panel and Menu Panel(s) are powered from a separate rack mount Panel Control Unit (PCU). Control surface processing and communications are handled by this unit. The PCU eliminates the need for cooling fans in the Control Panel and Menu Panels, making for quiet system operation.

Redundant Power Supplies

Optional built-in redundant power supplies are available for the Kayenne 4-RU and 8-RU Frames. An additional redundant power supply is stan dard with the Kayenne PCU.

Supported Control Protocols

All Kayenne systems support the following control interfaces and types of external devices:

• Serial control of VTR/DDR (BVW, AMP, and Odetics protocols),

• Ethernet control of DDR channels (AMP protocol),

• Peripheral Bus II protocol,

• Tally (Contact Closure and Serial),

• GPI Inputs and Outputs,

• Routing Control Systems (Jupiter, Encore, SMS-7000, and third party routers), and

• Grass Valley Editor protocol.

24 KAYENNE — User Manual

Page 25

Concepts

Introduction

Section 2

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 Kayenne Video Produc tion Center to enhance its operational speed and flexibility. Understanding these concepts, as well as basic switcher fundamentals, will help you take full advantage of the exceptional power of the Kayenne system.

Kayenne System Configuration Overview

The Kayenne Video Production Center is designed for operational flexibility, and can be configured to fit various applications. Different Kayenne systems can have different capabilities, or the same Kayenne system can be re-configured to have different capabilities at different times. The system has also been designed to support multiple users on the same system, but remains suitable for use by a single operator. For these reasons, it is impor tant for you to have a basic understanding of how a Kayenne system is configured.

The way a Kayenne Video Production Center is wired into your facility affects the Kayenne system’s capabilities. For example, the number and types of sources physically connected to the system obviously determines what video the system can handle. However, because Kayenne system inputs and outputs can be configured, once video cables are physically con nected they need not be moved. Configuration settings also control many other capabilities that affect Kayenne system behavior.

KAYENNE — User Manual25

Page 26

Section 2 — Concepts

Engineering Setups

Kayenne Video Production Center configuration information is divided into three areas, to simplify and increase the speed of reconfiguring the system. The basic areas of Kayenne configuration are:

• Engineering Setups (settings established by the engineer in charge that affect the entire system, which never need to be changed by operators),

• Suite Preferences (settings for a suite 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

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

All Kayenne configuration settings are non-volatile. Disk save and load operations are available that allow users to store configuration information on removable media for easy transport and for use as backup copies.

Engineering Setups control how the Kayenne Video Production Center’s major components behave and interact, and how the Kayenne system inter acts with the rest of the facility. Engineering Setups are not likely to change on a daily basis and so are grouped separately from the Suite and Panel Preferences. Facility maintenance personnel or the engineer in charge of a production truck generally manages Engineering Setups.

Note It is not recommended that you store Engineering Setup files with Show files.

Engineering Setups information includes:

• Acquired Resources menu (if assigning ME 50 (half ME) to a logical ME)

• Networking IP addresses,

• Source definition (described later in this section),

• Output assignment (identifying which output connectors are Program, which are Preview, etc.),

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

• Control surface and suite definitions,

• Single Suite or (for Resource Sharing) Multi Suite operating mode, and

• Various other system functions.

Suite Preferences

A Kayenne suite corresponds to a control room, where there is a grouping of one or more control surfaces. Suite Preferences define how all the control

26 KAYENNE — User Manual

Page 27

Kayenne System Configuration Overview

surfaces associated with a Kayenne suite behave when they control the Kayenne system. Some parameters (for example, safe title displays) must be identical to all Kayenne users involved in a session. Suite Preferences can substantially change system behavior, not just a user’s view of the system. Suite Preferences are intended for day-to-day or session-to-session changes in Kayenne system operating behavior and so are open for modi fication by operators.

The Resource Sharing feature makes it possible to configure the Kayenne system with two suites, corresponding to two different work envrion ments. Each suite can be operated with its own Suite Preferences settings.

Suite Preferences include:

• Resource Allocation

• Source patching

• Safe title, preview behavior, etc.,

• Default Source Memory (initial keying and video processing settings

used for each source on each bus),

• Default Keyframe (initial settings for many other user controls), and

• Various other suite preferences.

Panel Preferences

Panel Preferences allow users to customize a Kayenne control surface to suit their personal operational style. Panel Preferences apply to only one control surface, and only affect the behavior of the panel controls available to a single operator. Panel Preferences do not change Kayenne system capa bilities.

The Resource Sharing feature makes it possible to configure each of the two two suites with two different control surfaces. Each control surface can run its own Panel Preferences settings.

Panel Preferences include:

• Source to button mapping (described later in this section),

• Aux bus delegation button mapping,

• Panel color scheme,

•Source color,

• Macro and E-MEM start number, and

•DPOP prefs.

KAYENNE — User Manual27

Page 28

Section 2 — Concepts

Signal Routing

Inputs and Sources

Incoming video signals are connected to the Kayenne system via connectors on input modules located at the back of the Kayenne Video 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 example, a character gener ator usually provides a signal with two components (commonly called video and key). Some incoming signals may also originate from devices the Kayenne system can control (Router, DPM, DDR).

Note Although the character generator utilizes two inputs, it should

be defined as only a single Video/Key source (CGx). It is not required to source define or button map the character generator’s Key signal.

For a Kayenne Video Production Center, the term source refers to all the video signals and other attributes associated with a device. This is a funda mental concept. The Kayenne 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 Kayenne system uses ID numbers, not source names or input connectors, to identify each source. Defining each source is an important aspect of the Kayenne system.

Source Definition

When the Kayenne system is first configured, all sources are defined so the incoming signals from each device can be used effectively. This is usually done by engineering personnel, not operators, and once set these defini tions are not changed. A source definition data file tells the system how many signals a source has (video only, or video and key), which physical inputs to route whenever a particular source is selected, the default pro cessing of the source’s key signal (if present), and what external devices (if any) are associated with that source. Tally is another important attribute of a source. On-air tally relays are related to sources, not physical inputs or source select buttons. The source definition process includes assigning a name to each source. Once sources are defined, they are mapped to specific source selection buttons. The user is then able to select the source by pressing its button, and the Kayenne system automatically manages all the necessary signals, performs any default processing, and enables any addi tional control capabilities associated with that source.

28 KAYENNE — User Manual

Page 29

Source definition data is stored as a part of Engineering Setups. Only one set of source definition data can be active on a Kayenne system at a time. Note that source definition is separate from source memory (part of Suite Prefs), and specifies what processing is to be applied to the source and can dynamically change during system operation.

Source to Button Mapping

Source to button mapping makes it possible to organize sources on Kayenne Control Panels in a preferred order. For example, cameras can be placed on the left side or the right side of the button row, whichever is pre ferred. Source mapping is distinct from source definition, as source mapping only involves the location of sources on the Control Panel and does not affect any capabilities defined for the sources. Note that E-MEM effects store the source IDs, not the source select buttons, so remapping or unmapping of sources will not change the appearance of recalled effects. On the Kayenne system, button mapping for each Control Panel bank and Local Aux Module can be different.

Signal Routing

Source Naming

Names can be given to sources. The Kayenne system actually supports different source naming schemes, with associated IDs, to accommodate different needs.

Engineering ID – An unchanging numeric value associated with a source. This

value is used to unambiguously identify each source from an engineering perspective, regardless of how it may have been named. On-air tally uses Engineering IDs so the proper device always receives tally.

Engineering Name – An editable name that can be associated with a source,

intended for use by facility engineers to ease source identification. An Engi neering name may that of a particular hard wired device (Cam 1), or it may indicate a patch bay location or a router source or destination. Naming sources in this manner can help engineers configure and re-configure their facility wiring.

Logical ID – An unchanging numeric value associated with a source used in

a production environment. E-MEMs, source selection, macros, source memory, and source rules, all use Logical IDs.

Alternative Names – Alternative editable names that can also be associated

with a Logical ID. Generally alternative names are short to make larger characters appear in the Kayenne system Displays.

Source Patching

The Kayenne system allows logical sources to be associated with different engineering sources. A source patch table is used to map Logical IDs to Engineering IDs. This table acts like a patch bay. It then becomes possible

KAYENNE — User Manual29

Page 30

Section 2 — Concepts

Source Memory

Buses and Crosspoints

to use effects in different environments. For example, effects created in one production truck equipped with one set of devices can be used in a dif

ferent truck with different devices by modifying the source patch table.

Source Patching associates all attributes of a defined source’s tally and attributes if included, for example: key signal, external device settings, and router destination settings.

Keying and other parameters can be saved to a separate source memory for every Kayenne system source. These parameters can be applied automati cally whenever that source is selected. See Source Memory on page 65 for specific information.

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 9, source 2 has been selected on the background A

bus. This signal can now be called background video and is available for further processing.

Figure 9. Buses with Crosspoints

Source Signal Inputs

12345

Crosspoint

Switch

Background A Bus

Signals Continue to Other Buses

061_00_20

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 Kayenne system, the terms source button and source bus will be used. These terms better reflect a system operating philosophy that is based on sources rather than crosspoints. The Kayenne system does not directly associate a source select button with a physical crosspoint. The association goes first

30 KAYENNE — User Manual

Page 31

Signal Routing

through source to button mapping, then through source definition to find the physical inputs.

On the Kayenne system, a single source button can control crosspoints on different buses simultaneously. For example, during keying on an ME, 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 10, 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 10 shows

how the same source (source 4) can be selected for both the key fill and key cut signals.

Figure 10. Multiple Crosspoint Control

Source Signal Inputs

123 45

Key

Key Video Key Video Video Only Video OnlyVideo

1 3 4 5

Single Button Controls Both Crosspoints

1 3 4 5

Single Button Sends Same Signal to Both Buses

Shifted Sources and Shift Preference

There are four levels of shift with Kayenne. See Source Button Mapping on

page 126 for more information.

Key 1 Fill Bus

Key 1 Cut Bus

Key 2 Fill Bus

Key 2 Cut Bus

0618_00_21_r1

Mix/Effects (ME)

An ME is a subsystem of a video production switcher that can create a composite of two or more pictures. An ME includes multiple source selection

KAYENNE — User Manual31

Page 32

Section 2 — Concepts

Source Signal Inputs

Crosspoint

Matrix

Keyer

Mixer

Wipe

Generator

M/E Outputs

Background A

M/E Program

M/E Preview

Background B

Key Cut

Key Fill

buses and provides transition (mix and wipe) and keying capabilities on the selected signals.

A simple basic ME used in a typical switcher will be used as an example in the following discussion. A Kayenne ME has added capabilities, but the basic principles described here will apply. See Section 1 - System Overview for a simplified diagram of the actual Kayenne ME architecture.

Figure 11. Simplified Mix Effects (ME) Subsystem

The basic ME shown in Figure 11 has an A and a B background bus. These buses select the background video signals sent to the output of the ME. 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 back

grounds are output simultaneously. The keyers in the ME 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. See

Transitions on

page 35 and Keying on page 39 for more information. The processed signal

in an ME is then sent to an ME output, typically program or preview.

32 KAYENNE — User Manual

Each Kayenne ME actually is able to produce up to six outputs (Program A, Preview A, Program B, C, D, and Preview 2 that is shared by the three addi tional program outputs). These additional outputs allow great flexibility in configuring a Kayenne system for special purposes.

Logical Assignments of MEs

A video production switcher can have more than one ME. For example a

4.5-ME Kayenne system has five (ME 1, ME 2, ME 3, ME 4 and PGM A 4.5-ME frame consists of four full ME cards, A, B, C, and D and the stan dard Half ME (ME 50). Any frame ME can be assigned to the logical MEs by using the Eng Setup, Acquire Resources menu. ME 50 could be assigned as ME 2 or later assigned as PGM/PST on a show-by-show basis. Any of the frame’s MEs can be assigned to one of the five logical Kayenne MEs.

PST).

Page 33

Re-Entry

Utility Buses

Signal Routing

Switchers with multiple MEs generally have re-entry capabilities. Re-entry permits the switcher to select the output of one ME for use as an input source to another ME. The signals are routed internally.

The Kayenne system supports ME re-entry in any order. For example, an output of ME 2 can be sent to ME 1, and an output of ME 1 can be sent to ME 3. Infinite looping re-entry (for example, ME 1 sent to ME 2 and ME 2 sent back to ME 1) is allowed but should be done with great caution.

Besides the standard A and B background buses, each Kayenne ME also accepts Utility 1 and Utility 2 inputs. Kayenne Utility buses can be used to select signals for special purposes, and have no relation to the background buses. For example, a video signal selected on a Utility bus can be used to fill a keyed Borderline border, to feed a custom pattern into a wipe gener ator, or create a custom border wash pattern. When the ME is in DoubleTake, Split ME mode, the Utility Buses contribute to the secondary mixer of that ME allowing for independent ME transitions

Outputs

Output Mapping

Video production switchers generate several different video outputs (Program, Preview, etc.). A final program output from PGM PST is typically sent to the Master Control/Transmission for broadcast and/or to servers or VTRs for recording. Individual ME program and preview outputs and an additional switched preview output are sent to monitors in the control room. These outputs may also be routed elsewhere in the facility. Aux Bus outputs may also be used for studio display systems, ISO feeds, and complex clean feeds.

Unlike earlier generation switchers, all the Kayenne system outputs are configurable. There are no dedicated output connectors. Any signal can be assigned to any output connector, which provides flexibility and control of the number of fixed and up to 46 Aux bus outputs the system will have. A fixed output is always the same, while an Aux bus’s output can change depending on what source has been selected on that bus. Once the fixed system outputs have been assigned, all the remaining outputs can be assigned for use with Aux Buses. When the system is configured, the out going signals are assigned to connectors on output modules located at the back of the Kayenne Video Processor.

KAYENNE — User Manual33

Page 34

Section 2 — Concepts

Aux Buses

The most important difference between a fixed output and aux bus is that an operator has control over an aux bus but a fixed output always provides the same signal. Aux bus outputs also support YUV color correction and optionally RGB color correction with E-MEM and macro control. If an output is assigned to a fixed output, any color correction settings are bypassed and the output is set back to unity default.

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 ISO recorder for instant replay. This can be done directly by the Technical Director while he switches the program. Remote Aux Panels can be used to give different operators control over one or more Aux Buses.

On the Kayenne system, each Remote Aux Bus panel can have its own source to button mapping. Source name displays on the 2 RU Local Aux Module show what source is currently available for each button. Aux Buses can also be configured in pairs, to send matching key cut and key fill signals to external devices, Remote Aux Panel IP Address, Logical Aux settings, and Button Mapping are exclusively saved with the Eng Setup file.

Point Of Use

The Kayenne system can share some resources for use at different locations. The location where a resource is being used is called a point of use. Different types of resources are shared differently.

Floating resources (like Transform Engines) move between points of use, and the parameters controlling these resources are considered part of the point of use. These resources are used at only one point of use at a time. When the resource floats to the new location, its behavior changes. For example, a Transform Engine can be set for 0.25 Z rotation (parameter) on ME 1 Key 2 (point of use). That same Transform Engine can then be assigned to ME 2 Key 3 and set to a Z rotation of 0.0. When the Transform Engine is reassigned back to ME 1 Key 2, the 0.25 Z rotation parameter will be restored.

Other Kayenne system resources behave differently. For example, wipe pattern generator resources can be used for an ME 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 Kayenne 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

34 KAYENNE — User Manual

Page 35

Transitions

locations where that wipe pattern generator is being used at that time. Separate sets of point of use parameters, however, are maintained for each Kayenne system point of use (same as Transform Engines described above). These settings are used only by each individual point 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 ME 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.

Kayenne systems differ from the Grass Valley Model 4000 switchers in the division between wipe pattern generator and point of use. In the 4000, the edge is created as part of the generator so all points of use have the same softness and border width. The Kayenne system duplicates this circuitry allowing each point of use to have a different edge on the same basic wipe pattern shape.

Transitions

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

•Cut

•Mix

•Wipe

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. See

Current and Next Stack on page 38 for information on transitions involving

more than one element.

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 ME 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 Kayenne 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 an ME are first selected on the Back ground B bus to allow previewing the upcoming picture before it is cut onair.

KAYENNE — User Manual35

Page 36

Section 2 — Concepts

Crossfade Transition

Start End

Midpoint

Current

Picture

Intensity

Picture

Current Picture

Picture

NAM, FAM

Transition

Start End

Midpoint

Mix

Mix Through Video

Non-Additive Mix, Full Additive 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 Kayenne system allows mixing from one background to another and to mix up to six separate keys on or off over a background. Background and key mixes can be done separately or simultaneously.

A Mix Through Video transition is a special mix transition that incorporates a third intermediate video source. This type of transition can mix from one video source, through a matte or Utility bus video source, to the final video source, all as one transition.

Non Additive Mix (NAM) and Full Additive Mix (FAM) are special mix transitions that the Kayenne system supports besides normal crossfade transitions. Picture elements in NAM and FAM transitions are composited differently through the time of the transition(

Figure 12).

Figure 12. Normal, NAM and FAM Mixes

NAM transitions pass only the brightest regions of each picture to the output. During the first half of a NAM transition the original picture retains its original intensity while the next picture mixes to full intensity. Brighter areas in the new picture replace any corresponding darker areas of the pre vious picture. During the second half of a NAM transition the previous picture mixes out of the darker areas of the new picture. FAM transitions also first fade a new picture 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 gen erating illegal video.

36 KAYENNE — User Manual

Page 37

Wipe

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 pat terns can be adjusted in several ways (position, aspect ratios, edge attributes, etc.).

Each Kayenne ME has two separate 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 gener ators 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 Kayenne ME has the two complex wipe pattern generators described above, and each of its six Keyers also has a simple pattern generator and a box pattern generator, making a total of six. These pattern generators can also be used for Preset Pattern, Masking, and Matte Was he s.

Transitions

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 oper ator 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 tran sition elements involved in the picture were not selected.

Transition Rate

Cut transitions are instantaneous, but mix and wipe transitions have durations. Transition durations can be set in advance to a specific transition rate, and be initiated by pressing a button the Control Panel. It is also possible to manually control transitions using a lever arm.

On the Kayenne system, one transition rate can be assigned to the main transition of each ME. This type of transition can be controlled by that ME’s lever arm. Each of the six keyers on each ME can also be assigned its own transition rate, initiated with a separate Key Mix button on that ME.

KAYENNE — User Manual37

Page 38

Section 2 — Concepts

Flip Flop Background Buses

Look Ahead Preview

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 that ME). The source 1 selection will also be immediately taken to the Background B bus.

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. The mode you select for each preview monitor depends on the number of mon itors available and the individual requirements of the facility.

Current and Next Stack

Kayenne uses a current and next stack approach for transitions that involve multiple elements. The current stack is the current ME 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.

Kayenne 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 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 Kayenne 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.

Key Priority and Transitions

The six keyers on a Kayenne ME can be assigned priorities. This determines the layering of the keys. The highest priority key appears on top, while

38 KAYENNE — User Manual

Page 39

Keying

keyers with lower priority may be partially or fully hidden behind those with higher key priorities. The backgrounds always have the lowest pri ority. 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.

Keying inserts part of one picture into another to create a composite picture. 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.

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 Kayenne system supports the following types of keys:

• Linear Key (fixed and adjustable)

• Luminance Key

• Preset Pattern

• Chroma Key (option)

The Kayenne 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 insert a green logo into background video, the logo can be printed 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

KAYENNE — User Manual39

Page 40

Section 2 — Concepts

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 back ground (Figure 13). Because luminance values of the key cut signal are used to cut the hole in the background this is called a luminance key.

Figure 13. Matte Fill Luminance Keying Example

Background

Shaping Video

LOGO

Key Cut

Key Fill

In this keying discussion illustrations rather than actual screen images are used for simplicity, and because the printing process has difficulty cap turing the subtleties of soft key edges.

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.

LOGO

Background with Matte Key Inserted

0618_00_32_r1

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. When the shaping is per formed by the source device, the Kayenne system can use a standard clip

40 KAYENNE — User Manual

and gain setting defined during system configuration to create the key cut control signal, and so relieve the operator of having to adjust clip and gain manually.

Page 41

Keying

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 multi plying 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 Kayenne system, as well as some external devices like DPMs, can also divide a shaped video signal by its own key signal. The result is called unshaped video. For optimum image quality, shaping and unshaping oper ations should be minimized. In general, devices should be installed and configured in a manner that prevents them from having to unshape incoming video just to reshape it again afterwards.

Specifying whether source signals are shaped or unshaped is part of the Kayenne system configuration process (source definition). Properly shaped video is an important aspect of keying. See

Video on page 51 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.

Properly and Improperly Shaped

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 Kayenne 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 con trols 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. Interme diate levels specify a soft blend of the background and fill video

Figure 14).

(

KAYENNE — User Manual41

Page 42

Section 2 — Concepts

0618_00_31_r1

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

Figure 14. Key Clip, Gain, and Key Control Signal

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 ( that go below unity gain.

Figure 15. Keying Gain Values

Gain

Clip

High Gain Low Gain

On the Kayenne 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% pro duces the hard key edges (a high gain key).

42 KAYENNE — User Manual

Figure 15). Note that the Kayenne system also supports keys

Gain

Clip

Unity Gain

0618_00_30_r1

Page 43

Clip Hi and Clip Lo

Key Cut

Signal

Clip

Gain

0618_00_29

Clip Hi

Clip Lo

The Kayenne 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 back ground, and the lower threshold determines at what point background video will be retained completely intact (

Figure 16. 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:

Keying

Figure 16).

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 transpar ency, 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 Kayenne 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 17).

KAYENNE — User Manual43

Page 44

Section 2 — Concepts

Figure 17. S-Shaped Luminance Key Control Signal

Key Control Signal

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.

Borderline

The Borderline feature generates borders around keys. The key signal is delayed and/or enlarged, and the extra bordering space can be filled with matte or video. Borderline can be adjusted in size, and in horizontal and vertical placement.Variations on Borderline include Shadow, Extrude, and Outline.

S-Shaped

Key Control Signal

0618_00_33_r1

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 one of the Utility buses).

With the Kayenne SuperStore option, 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. The Kayenne system sup ports drawing masks into a SuperStore page using a third party graphics tablet.

44 KAYENNE — User Manual

Page 45

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 nor mally 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 gener ally 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

Keying

Key size allows the key cut signal to be narrowed slightly. This can greatly enhance self keys and chroma keys that have been reshaped.

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 gen erator or graphics system. There may also be translucent areas intended to

KAYENNE — User Manual45

Page 46

Section 2 — Concepts

LOGO

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 (

Figure 18. Linear Keying

Figure 18).

LOGO

Background Video

LOGO

Key Cut Key Control

Clip

Gain

Key Fill

Note The soft edges in the illustrations in this part of the manual are simulated. The

LOGO

(typically unchanged)

key edges are actually gradients, which allows these edges to blend smoothly with the background.

Key Hole in Background

Invert

Completed

Linear Key

0618_00_61

46 KAYENNE — User Manual

Fixed and Adjustable Linear Keys

The Kayenne system supports both fixed and adjustable linear keys. A fixed linear key uses clip and gain values defined in system configuration to create the key cut signal. Typically these values are Clip Gain (equivalent to Clip Hi 100%, Clip Lo 0%). Once fixed linear key values are defined, these sources can be used easily without the operator having to set up the key every time it is used.

An adjustable linear key provides the operator limited control over Clip and Gain (or Clip Hi/Lo) values. This lets the operator fine tune the set tings if the normal fixed linear values are not producing a good enough key.

50% and unity

Page 47

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 19. Luminance Keying (Self Key)

Keying

Figure 19).

Background Video

Key Source

(video only)

Key Hole in Background

Invert

Clip

Gain

Key Control

Completed

Luminance Key

Key Fill

Clip and Gain (or Clip Hi/Lo) controls for luminance keys offer wide adjustment ranges. On the Kayenne system, an S-shaping function is also applied to the edges of luminance keys.

0619_00_62

KAYENNE — User Manual47

Page 48

Section 2 — Concepts

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 contains the mountain scene replacing the backing color, cre

ating the illusion that the reporter is sitting in front of the mountain (

Figure 20).

Figure 20. Chroma Key (Additive or Multiplicative)

Background Video

Chroma Key Source

(video only)

Backing Colors Selected Key Control

Chroma Key

Primary

Suppression

Chroma Key Fill

Backing Color Suppressed

Invert

Clip

Gain

Chroma Key Fill

Backing Color Removed

Multiplicative Chroma Key

Key Hole in Background

Invert

Completed

Chroma Key

Secondary

Suppression

Additive Chroma Key

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 back drop of the foreground scene.

48 KAYENNE — User Manual

0618_00_63

Page 49

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 suc cessfully. This is called an additive chroma key (used when the Kayenne 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 Kayenne system Fore ground Reshaping feature is on). Setting up a successful chroma key setup involves many more adjustments than other keys. No amount of adjust ment, 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 pos sible without affecting foreground regions.

Keying

Secondary suppression is essentially a second chroma keyer that can be used to deal with areas where the backing color passes through some trans lucent 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 Kayenne system has a shadow generator that can be used to include shadows that fall on the backing area of the scene in the background. Shadow offset, range, and density controls are also available that offer control over the placement and appearance of the added shadow.

KAYENNE — User Manual49

Page 50

Section 2 — Concepts

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 (

Figure 21). 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 21. Preset Pattern

Background

Pattern Key Cut

Split Key

Background with Preset Pattern Inserted

Key Fill

0618_00_71_r1

A split key uses an alternative key cut signal for keying. On the Kayenne system, a key split is performed by selecting the desired key fill signal, then selecting an alternative signal to be used as the key cut (

Figure 22. Split Key

123 45

1 3 4 5

Video Only Key Video Key Video Key VideoVideo Only

Key Fill Bus

Key Cut Bus

Split Key, Alternative Key Cut Signal Selected

Figure 22).

0618_00_36

Note that if the key fill video has been shaped by an external device, this previously shaped video will not match the different key cut signal selected

50 KAYENNE — User Manual

Page 51

for the split key. Split keys normally treat the fill as unshaped since by def-

DPM Key Signal DPM Shaped Key Fill DPM Unshaped Key Fill

inition a split key uses a fill that is not related to the cut. The Kayenne system gives the operator the ability to override this assumption for use when a cut and fill are brought into the switcher from two separate sources, such as a pair of DDRs producing related video and key signals.

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 23. Video and Key Signals from DPM

Keying

Figure 23.

KAYENNE — User Manual51

Page 52

Section 2 — Concepts

When the shaping is configured properly (using either shaped or unshaped key fill) the desired output is the result (

Figure 24. Correctly Shaped DPM Key Example

Figure 24).

When the DPM provides a shaped video output but the key is processed as though it were unshaped, the shaped video does not completely fill the key hole in the background so a dark halo appears around the key (

Figure 25. Incorrect Key with Dark Halo

Figure 25).

52 KAYENNE — User Manual

Page 53

Keying

In this case the shaped input is incorrectly shaped again, sometimes called a double-multiply (

Figure 26. Incorrect Keying with Shaped Input

Figure 26).

Background Key Hole in Background

Correct Key

Invert

Key Control

Shaping Circuit On

Shaped

Key Fill

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 (

Figure 27).

Figure 27. Incorrect Key With White Halo

Doubly-Shaped

Video

Incorrect Key

with Dark Halo

0618_00_34

In this case the unshaped video fails to be shaped at all (Figure 28)

KAYENNE — User Manual53

Page 54

Section 2 — Concepts

Figure 28. Incorrect Keying with Unshaped Key Fill

Background Key Hole in Background

Correct Key

Invert

Key Control

Shaping Circuit Off

Unshaped

Key Fill

Recognizing the appearance of improperly shaped video helps you know how to correct the problem should it occur.

Unshaped

Video

Incorrect Key

with White Halo

0618_00_35

54 KAYENNE — User Manual

Page 55

E-MEM (Effects Memory)

Grass Valley developed the E-MEM (Effects Memory) system to provide a way of storing effects for later use. An effect defines parameter settings that determine how the selected video sources are processed. An E-MEM effect is learned into an effect register, and can then be recalled at a later time with a single button press. Effects can be edited after they have been learned, and effect data can also be saved to and loaded from disk.

Work Buffer

The work buffer is a fundamental aspect of system operation. The work buffer contains the current state of the system, specifying the sources selected and the video processing applied to those sources. The work buffer tracks all the system parameters, including those that do not have controls delegated. As the operator delegates and alters Control Panel and menu settings, the associated parameters in the work buffer change. If any altered work buffer parameters affect the video outputs of the switcher, the appearance of these outputs will change accordingly.

E-MEM (Effects Memory)

Keyframe

A single set of processing control settings can be called a keyframe. A keyframe defines the state of all or a portion of the switcher. Keyframes are stored in E-MEM effect registers. Two types of information are associated with a keyframe:

• On/off settings, including source selections, and

• Parameter settings.

For example, an effect can consist of a keyframe specifying source 1 on ME-1’s background A bus, source 2 on its background B bus, a horizontal wipe transition type, and a border. These are button settings, as they can be turned on and off. The border could be thick and colored red. These are parameter settings because a range of continuous values are available.

Effect Register, Work Buffer, and Current Effect

For clarity, the following description uses single keyframe effects. Multiple keyframe effects are discussed later (see

The Kayenne system has 1000 E-MEM registers (numbered 0 - 999) able to store operational settings for immediate recall. Effect register data must be applied to the work buffer before these settings can affect the system. When an effect register is recalled, keyframe data is loaded into the work buffer, and that register number becomes the current effect (

page 57).

Figure 29). The current

KAYENNE — User Manual55

Page 56

Section 2 — Concepts

0618_00_37

Effect

Registers

Work

Buffer

Effect 1

Recalled

012 99

Effect 1

Settings

Current

Effect

Effect 1

Keyframe

0618_00_38_r1

Effect

Registers

Work

Buffer

Operational

Change,

Effect Register

Unaffected

012 99

Settings

Modified

Current

Effect

Effect 1

Keyframe

(no change)

effect is an important concept, as it defines a relationship between the effect registers and the work buffer. Only a current effect can be run or edited.

Figure 29. Work Buffer and Current Effect

The work buffer actually holds a copy of some of the effect register information. When an operator changes a control setting manually, the work buffer settings change but the effect register data itself remains unaltered (

Figure 30).

Figure 30. Work Buffer Operational Change

When an effect is learned, the current operational settings in the work buffer are loaded into the specified effect register, overwriting any informa tion that was in that register. If a register different from the current effect is learned, the information is loaded into it and that register becomes the current effect. In this case the original effect register will not be altered, and can be instantly recalled to return the system to its earlier state (

Figure 31).

56 KAYENNE — User Manual

Page 57

Figure 31. Learn Operation Changes Effect Register

Work

Buffer

Effect 2

Settings

E-MEM (Effects Memory)

Effect 2 Learned,

Effect Register

Replaced with

Work Buffer Data

Effect

Registers

012 99

Effect registers can be locked to prevent them from being altered, and they can be saved to disk and reloaded and recalled for use at a later time.

Banks and Registers

The Kayenne Local E-MEM and Master E-MEM Modules are optimized for rapid recall of effects during live production. The Kayenne system’s 1000 effect registers can be thought of as being organized into pages (numbered 0 (0-99) and 100-900) and banks (numbered 0 to 9), with each bank con taining ten registers (also numbered 0 to 9). For example:

• register 46 means page 0, bank 4, register 6 or

• register 226 means Page 200, bank 2, register 6.

Note Pages 100-900 are accessed by pressing the Page hard button on the Local

E-MEM Module or the PAGE soft button on the Master E-MEM Module in the E-MEM mode.

Effect 1

Keyframe

(no change)

Effect 2

Keyframe

Current

Effect

0618_00_39

This organization is for user convenience, to allow immediate single button effect recall from ten different registers, and for clearing, copying, and saving to and from disk banks of registers with a single operation.

Multiple Keyframes and Timelines

A timeline is an arrangement of keyframes in linear time order. A multiple keyframe effect contains a series of two or more keyframes on a timeline. Each keyframe has a position on the timeline, specifying its location in time in the effect. The timespan from one keyframe to the next keyframe can be considered that keyframe’s duration. The sum of these durations generally determine the total duration in time of the effect.

KAYENNE — User Manual57

Page 58

Section 2 — Concepts

Current

Effect

Timeline with

Keyframes

Effect 1

Recalled

Effect

Registers

012

0618_02_44_r1

Effect 1

KF 1

Interpolator

KF 1 2 3

Work

Buffer

When a multiple keyframe effect is recalled from an E-MEM register, only its first keyframe is loaded into the work buffer (

Figure 32). This is exactly

the same as the recall of a single keyframe effect.

Figure 32. Keyframe Effect

The only difference between a single and multiple keyframe effect is a multiple keyframe effect can be run after it has been recalled. Running an effect changes the state of the system from keyframe to keyframe. During the effect run the values between the keyframes are usually interpolated (

Figure 33).

Figure 33. Keyframe Effect Run

Effect

Registers

Work

Buffer

012

Effect 1 KF 1 - 2

Interpolated

Interpolator

KF 1 2 3

Current

Effect

Current Effect Run Between

KF 1 and KF 2

0618_02_45_r1

58 KAYENNE — User Manual

Page 59

E-MEM (Effects Memory)

The interpolated work buffer values created during the effect run do not exist in the effect register. Instead, path information saved in the effect determines the type of interpolation to be used between each pair of key frames.

As each keyframe location is encountered on the timeline, the work buffer values at that moment in time will exactly match those specified by that keyframe in the effect register. Note that this is very similar to an effects dis solve and effects sequence of multiple registers, but keyframing uses only one register and also offers path control.

A keyframe in an effect can be changed by applying work buffer values back to the current effect register (Modify). The new values can modify an existing keyframe, or they can be inserted between keyframes (called inserting on the path). It is also possible to Learn, rather than Modify, an existing effect. However, the Learn operation overwrites all existing key frames in the effect with one new set of work buffer values. A single keyframe effect is the result, and all the other keyframes in that effect are lost.

Effect Dissolve

Effect dissolve produces a smooth transition from the current state of the work buffer to the state defined in a recalled register. Effect dissolve first takes to the source and other button settings specified as a starting point in the effect register. The parameter settings in the work buffer then smoothly change so they match the settings of the recalled effect register. Effect dis solve can also simultaneously perform a transition to the specified ending sources at a specified duration. An interpolator is used to smoothly change the parameters settings involved in an effect dissolve. Before performing an effect dissolve, source and other button settings in the work buffer should be compatible with those in the effect dissolve register. This prevents an abrupt change when the new button settings are taken, and so permits smooth transitions between sources. One way this can be accomplished is by using two different, but complimentary, effect registers.

For example, if register 2 contains compatible button settings, it can be recalled into the work buffer. If an effect dissolve is then performed to reg ister 3, the transition occurs and the parameters from register 2 in the work buffer are interpolated to those of register 3. Register 3 becomes the new current effect (

Figure 34).

KAYENNE — User Manual59

Page 60

Section 2 — Concepts

Figure 34. Effect Dissolve

Work

Buffer

Effect 2

Settings

Interpolated To

Effect 3

Effect

Dissolve

Effect

Registers

Note that the effect dissolve does not occur directly between two registers, and the transition aspect is handled separately from the interpolated parameter values. If work buffer parameter settings are changed before an effect dissolve, the current modified work buffer values (but not the source and button settings) will be smoothly interpolated to the new register values.

Effect Sequence

Copy Of Work

Buffer Before

Effect Dissolve

Effect 2

Keyframe

0123

Previous Current

Effect

Interpolator

Effect 3

Keyframe

New Current

Effect

0618_01_40_r0

Effect sequence allows the operator to chain a set of specified effect registers together. Recalling the first register can initiate a sequential recall of all the registers in the sequence. As each register is recalled, its settings will be applied to the work buffer and the appearance of the system’s output signals will change if they are affected. Delays can be programmed that determine when the next register in the sequence will be recalled. Effect dissolves can also occur as each register is recalled, though this is not required (

Figure 35).

60 KAYENNE — User Manual

Page 61

Figure 35. Effects Sequence

Work

Buffer

Effect 0

Settings

Interpolated To

Effect 1

E-MEM (Effects Memory)

Midway Throgh

Effect Sequence

2- 0 - 1 - 3

With Effect

Dissolve

Start End

E-MEM Levels

Effect 1

Keyframe

Effect 2

Keyframe

Effect 3

Keyframe

031

Current

Effect

0618_00_43_r2

Effect

Registers

Effect 0

Keyframe

0123

In the above example, recalling effect 2 as a sequence will proceed from register 2 to register 0 to register 1 to register 3. A sequence can begin from any of the effect registers in the sequence. For example, in the above example if register 0 is recalled, the sequence will proceed from register 0 to register 1 to register 3.

Effect dissolves can occur within a sequence. The interpolator described earlier is used to smoothly change to the next register in the sequence.

The E-MEM system is divided into functional areas, called levels. Each effect level corresponds to a specific set of system operational controls, or to an individual interface to an external device. Effect levels are used to allow the operator to store and recall settings for specific system control areas without disturbing settings for other control areas. For example, on a 4-ME Kayenne system each ME has its own level. Each level also has its own set of effect registers. The settings for ME changing the settings for ME

2, ME 3, or PGM PST. The work buffer is actu-

1 can be recalled without

ally divided into sections that correspond to each effect level.

The earlier E-MEM discussion was simplified to explain basic concepts. Actually, register learn and recall operations and work buffer modifications apply to each level of an effect, though multiple levels of an effect can be changed simultaneously. Settings for each level’s E-MEM register is applied to the corresponding level of the work buffer (

KAYENNE — User Manual61

Figure 36).

Page 62

Section 2 — Concepts

Recalling

Multiple

E-MEM

Levels

Current

Effect

Current

Effect

Current

Effect

Work

Buffer

Effect

Registers

Level 1 Effect 1 Settings

Level 2 Effect 1 Settings

Level 3 Effect 1 Settings

Effect

Levels

Recalling

Multiple

E-MEM

Levels

Current

Effect

Current

Effect

Current

Effect

Work

Buffer

Effect

Registers

Level 1 Effect 1 Settings

Level 2 Effect 1 Settings

Level 3 Effect 2 Settings

Effect

Levels

Figure 36. E-MEM Levels

If only one effect level is selected for a recall, the resulting change is only applied to its level in the work buffer. The other levels of the work buffer remain unaltered. Note that this makes is possible to have current effects from different registers, also called a skewed effect (

Figure 37. Single Level Recall

Figure 37).

62 KAYENNE — User Manual

Page 63

Master Timeline and Multiple Level Keyframe Effects

Current Effects

Work

Buffer

Interpolator

Level 3 1 2 3

1 2 3 4 Master TL

0618_02_46_r1

Level 1 1 2 3 4

Level 2 1 2 3

Multiple Level

Keyframe Effect

Run To

Master Timeline

Keyframe 3

299

Level 1 Effect 1 KF 3

Level 2 Effect 1 KF 2

Level 3 Effect 1 KF 2-3 Int.

Effect

Registers

Effect

Levels

A master timeline exists to coordinate the activity of the individual level timelines. The master timeline contains a master timeline keyframe at every point in time where a keyframe exists on any of the level timelines. Keyframes from the levels are projected to the master timeline. If more than one level has a keyframe at a particular time, only one keyframe is pro jected to the master timeline. The master timeline keyframe can be considered a representation of the sum total of all the parameters in all the timelines that have keyframes at that point in time. However, the master timeline and its keyframes are an organizational tool only. Master timeline keyframes are not saved to a register or to the work buffer. The master time line is constructed in real time, depending on what levels are in use by the effect.

When a multiple level keyframe effect is run, each level generally runs simultaneously, guided by the location of a time cursor on the master time line. The time cursor represents the current time of the effect. As the time cursor moves, the work buffer is updated with the changing parameters.

Figure 38 shows an effect with its time cursor located on master timeline

keyframe 3.

E-MEM (Effects Memory)

Figure 38. Keyframe Effect and Master Timeline

KAYENNE — User Manual63

Page 64

Section 2 — Concepts

Number of E-MEM Levels and Sublevels

An edit cursor is also available, which can be used during effect editing. Usually the time and edit cursors are superimposed on one another and move as one. When separated, editing actions occur at the edit cursor loca tion.

The Kayenne E-MEM system has 31 levels with dedicated Enable buttons in the Master E-MEM Module (see including an independent secondary level (Split Mode). A secondary E-MEM level is attached to another level. This peer relationship is one directional. The Secondary level is controlled by the level to which it is attached, but not vice versa.

The Kayenne E-MEM system also has several sublevels. E-MEM sublevels can be assigned to an E-MEM level, which provides flexibility in config uring the Kayenne E-MEM system to control desired portions of the switcher and related devices.

Each Aux bus, Image Store output, GPI output, PBus device, External Device, etc. is a sublevel. The associations of sublevels to levels is com pletely flexible. Any sublevel can be assigned to any level. For example, a DDR or PBus device can be mapped to an ME level. This can be useful if, for example, a specific ME is always used for a replay effect. The external device playing back the animation, an Image Store output and possibly other sublevels can all be assigned to that ME's Primary level and the Local E-MEM Module will control the entire effect. Sublevels can also be discon nected from E-MEM control by assigning them to no level.

Master E-MEM Module on page 95),

Each ME also has sublevels for each keyer, each complex wipe generator, each keyer's transform engine parameters, etc. Unlike other sublevels, all ME sublevels are always mapped to either the ME primary level or the ME secondary level, based on the DoubleTake ME partition information. The ME partition boundary information is itself a special sublevel, but contains no key frames since changing the ME partition within an effect is not pos sible.

Auto Recall and Effect Levels

The Kayenne system has an Auto Recall feature. This feature makes a recalled effect automatically enable all the levels (and associated sublevels) that were involved in that effect when the effect was learned. This is a useful feature, since is can be difficult to remember all the levels involved in every learned effect, and time is required to manually enable levels before recall. The Auto Recall feature is on by default, but can be turned off to permit manual level enabling.

64 KAYENNE — User Manual

Page 65

Default Keyframe

An important E-MEM concept is the Default Keyframe. A Default Keyframe is a standard collection of effect settings. When the work buffer is cleared, the initial settings it receives will be those defined as the Default Keyframe. The Default Keyframe does not alter effect registers and does not change current source selections or panel delegations, which should only be changed directly by the operator (

Figure 39. Default Keyframe

Suite Preferences

Keyframe

Settings

Factory

Default

Settings

Defined by User

Default Default

Keyframe Keyframe

Source Memory

Figure 39).

Work

Buffer

Source Memory

Effect

Keyframe

Effect

Registers

Current

Effect Register

0618_00_83_r2

The operator can define exactly what these default settings should be (Suite Preference), and these settings can be stored and reused to meet varying requirements. A separate set of factory default settings also exist that cannot be changed, but may be loaded to the Default Keyframe and then to the work buffer, typically for system test and initial system installation.

Source memory is a Kayenne system feature that retains the last settings of keying and video processing parameters used for each source on each bus. Source memory permits the operator to hot cut from one key to another and retain the settings for each source. Source memory keying settings include Clip, Gain, Borderline, Mask, and many other parameters used for various keying functions. Video processing (proc amp) settings include Lumi

nance, Chrominance, DC Offset, etc. The source memory feature can be turned on and off by the operator.

KAYENNE — User Manual65

Page 66

Section 2 — Concepts

Work Buffer, E-MEM, and Source Memory

When source memory is on, it tracks the work buffer’s source selection for each bus. Whenever a new source is selected on a bus, the last settings used by that new source are loaded into the work buffer from source memory. Source memory settings are automatically updated when corresponding values in the work buffer are changed. For example, suppose Source 1 has a clip level of 50%, and Source 2 has a clip level of 70%. Selecting Source

1 applies its last used source memory setting to the work buffer (50%). Adjusting its Clip level to 40% in the work buffer also modifies the corre

sponding source memory of Source 1. Selecting Source 2 recalls its last used source memory settings (70%), not those used by Source Source the setting used by Source 2 (

Figure 40. Source Memory and Work Buffer

1 again applies its modified setting of 40%, not its earlier setting or

Figure 40).

Source

Memory

Last Keyer and Video Processing Settings:

- Every Source on every Bus

- Key Fill

- Key Cut

- Every Key Cut Mode

New Source

Selected

Change In

Work Buffer

Work

Buffer

Original or

Modified

Current Effect

Settings

1. Selecting

Factory

Default

Source

Memory

Default

Source Memory

Effect

Keyframe

Current

Effect Register

0618_00_59

Source memory is separate from the E-MEM system, though they are related to one another through the work buffer. When an effect is learned to a register, the keyer and video processing settings for the sources involved are saved to that register. When an effect register is recalled, the sources selected on a bus will use settings from the recalled register, not from source memory. This recall changes the work buffer. When source memory is on, the source memory for each source involved in the recall is updated with the changed work buffer values, and so each source memory will initially have the same values as the recalled register. Subsequent changes to work buffer settings will update the source memory of each source, but these changes are only saved to an E-MEM register if the effect is learned.

66 KAYENNE — User Manual

Page 67

Source Memory Organization

0618_00_69

Linear Key Settings

Lum Key Settings

Chroma Key Settings

Preset Pattern Settings

Proc Amp settings

Key Cut Source ID #

General Settings (includes Mode)

S 1

Bus 1

Bus 2

Bus 3

Bus n

Key Cut

Key Fill

Bus 3, Source 2 Source Memory Settings (Fixed Linear Key)

S 2

S 3

S 4

S n

Linear Key Settings

Lum Key Settings

Chroma Key Settings

Preset Pattern Settings

Proc Amp settings

Key Cut Source ID #

General Settings (includes Mode)

Key Cut

Key Fill

Bus 2, Source 4 Source Memory Settings (Preset Pattern Key)

Each source on each Kayenne bus has its own source memory. Source memory parameters for each source are organized into groups to allow some settings to be remembered and applied independently to meet dif ferent requirements (Figure 41).

Figure 41. Source Memory Organization

Source Memory

KAYENNE — User Manual67

Because a Kayenne source may have two signals (key cut and key fill), different groups of source memory parameters are associated with each signal. The Kayenne system key buses always have key cut and key fill sig nals. The background A and B buses that do not have key cut signals do not use the key cut group of source memory parameters.

Source memory for the key fill signal has video processing (proc amp) parameters, and also specifies which key cut signal to use. Source memory for the key cut signal contains all the keying parameter settings. Some of these keying parameters are in turn organized into four subgroups, or key modes. These modes correspond to linear key, luminance key, chroma key, and preset pattern. A parameter specifying which of the four modes is being used is included in the key cut portion of source memory. This means with source memory on, selecting a source with a key fill and a key cut signal will automatically apply any proc amp settings to the key fill, select the last used key cut signal which specifies the key mode, and the last used key memory settings for that key mode will be applied to the key cut signal.

Page 68

Section 2 — Concepts

0618_00_70

Split Key with Source 2 Key Fill, Source 4 Key Cut

Linear Key Settings

Lum Key Settings

Chroma Key Settings

Preset Pattern Settings

Proc Amp settings

Key Cut Source ID #

General Settings (includes Mode)

S 1Bus 1

Key Cut

Key Fill

S 2 S 3 S 4

Linear Key Settings

Lum Key Settings

Chroma Key Settings

Preset Pattern Settings

Proc Amp settings

Key Cut Source ID #

General Settings (includes Mode)

Key Cut

Key Fill

Bus 1, Source 2 Source Memory Settings Bus 1, Source 4 Source Memory Settings

This organizational structure allows source memory to retain different settings for the same source, and it also accommodates split keys.

Because each source on each bus has its own source memory, different settings can be used for the same source on different buses. For example, Camera 1 on ME 1 Key 2 can be set up as a chroma key. At the same time, Camera 1 on ME 1 Key 3 can be set up as a luminance key with a black and white proc amp setup. Calling up that same source on different buses pro vides different keying effects.

Different source memory settings are retained for the different key modes. These different settings can be applied to the same source on the same bus, as needed. For example, a camera source on ME

1 Key 1 can be setup for both a chroma key and a preset pattern. The operator can choose the key type for that source as the session requires. Choosing a chroma key will recall its latest chroma key source memory settings, which can then be altered without changing the preset pattern source memory settings. Choosing preset pattern on that same source and bus later in the session will recall its unaltered source memory settings.

When a key split is performed a different key cut signal is selected for use. On a Kayenne system with source memory on, that new key cut source’s key mode and keyer settings will be used for the split key (

Figure 42). This

is different from the Grass Valley 4000 switcher, which associated its source memory only with the key fill signal.

Figure 42. Source Memory and Split Key

68 KAYENNE — User Manual

Page 69

Default Source Memory and Factory Default Source Memory

X Axis Translate Y Axis Translate Z Axis Translate

(moved farther away)

0865_10

Default source memory settings can be set for every Kayenne source, and these defaults can be restored by an operator when desired ( defaults for a source are not bus specific. The same default values for a source are used on every Kayenne bus. Default source memory is a Suite Preference.

A fixed factory default source memory that cannot be changed by the end user is also included in every Kayenne system. Factory default source memory is provided to be a starting point for building a custom source memory set.

3-D Digital Effects Concepts

The Kayenne Transform Engine option provides 3-D planar image translation and transformation from within the Kayenne system. Image translation has special basic concepts and terminology you should understand in order to get the most out of using the option.

3-D Digital Effects Concepts

Figure 40). The

Translation and Transformation

Translation is a subset of transformation, 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 (

page 69).

Figure 43. Picture Translation

Transformation includes 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.

Picture Translation on

KAYENNE — User Manual69

Page 70

Section 2 — Concepts

Y Rotate

(Around X Axis)

Z Axis Rotate

0865_12_r1

X Rotate

(Around Y Axis)

Rotate — Picture rotation about the reference axis in the X, Y, and Z dimen-

sions (Figure 44). Rotate is limited to ± one half revolution, and will always take the shortest path to the new position. Rotate uses Quaternian math to calculate the move with increased accuracy. Multiple rotations are per

formed with the Spin function.

Figure 44. 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 calcu late the move, which is not quite as precise as Quaternian, 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 45. Aspect, Skew, Perspective

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 45). Z axis

changes affect both X and Y dimensions, and is the same as Size.

Skew — Slanting the picture in the X (horizontal) and Y (vertical) directions

(

Figure 45).

0865_11

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.

70 KAYENNE — User Manual

Page 71

Axis Location

Axis At

Center of Picture

Axis Off

Center of Picture

Axis Off Screen

Z Axis Rotation at Different Axis Locations

0865_08

3-D Digital Effects Concepts

The farther portion appears smaller than the closer portion, and the amount of perspective controls how much smaller the distant part is (

Figure 45). Multi-channel perspective is discussed later in this section.

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 loca tion to change the behavior of that channel. The axis location can be within or outside the screen area (

Figure 46. Frame of Reference Axis Locations

Figure 46).

Source and Target Space

The Kayenne Transform Engine 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 same transform may be difficult to understand and control. Kayenne Trans form Engine effects can also employ both source and target space directed transforms simultaneously, which can create complex and beautiful effects.

KAYENNE — User Manual71

Page 72

Section 2 — Concepts

Target

Source

Monitor Screen

Transformed

Picture

0865_03

Source Translate

Along X-Axis

Target Translate

Along X-Axis

0865_04

The simplest example for source and target space concerns a channel that has been rotated while the global channel remains unchanged (

Figure 47. Source and Target Space

Figure 47).

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 differ ently, depending on whether source or target space is being used

Figure 48).

(

Figure 48. 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 49 and Figure 50). Note that the target

translate of the channel is the same as a source translate of the global channel.

72 KAYENNE — User Manual

Page 73

Figure 49. Channel Translate with Global Rotated

X Axis Translation

with Locate 3-D

X Axis Translation

with Post Xform

0865_09

3-D Digital Effects Concepts

0865_05

Global Channel

Logical Channel Source Translate

Figure 50. Global Channel Translate with Global Rotated

Global Channel

Global Channel Source Translate

Post Transform Space

Along X-Axis

Global Channel

Logical Channel Target Translate

Along X-Axis

Global Channel

Camera Channel

Global Channel Target Translate

Along X-Axis

0865_06

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 51). 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 51. Post Transform Translation

KAYENNE — User Manual73

Page 74

Section 2 — Concepts

Front and Back, Near and Far

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.

Pictures manipulated by a Kayenne Transform Engine 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 distinc tion can be important when, for example, different sources are being selected for different sides of an effect.

The Kayenne 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 Kayenne Transform Engine uses the following numbering systems to precisely define picture locations, picture size, and picture rotation and spin.

Screen Coordinates

The Kayenne Transform Engine 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 52). 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 loca tions (channel source space).

74 KAYENNE — User Manual

Page 75

Figure 52. Screen Coordinates

-Z

Tar get

Viewer

- 16.67 Screen Units

+ 16.67 Screen Units

0865_02

Source

+3Y

3-D Digital Effects Concepts

+9Y

0865_01

+4X-4X

-16X

+16X

-9Y

-3Y

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 53. Viewer Location in 3-D Space

Figure 53).

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.

Rotation

KAYENNE — User Manual75

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.

Page 76

Section 2 — Concepts

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.

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 calcu lated. This nesting provides increased control of the effect dynamics. Source and Target space also affects the transform nesting order

Figure 54. Spin and Rotate Transform Nesting

Spin

Source

Rotate

Source

Rotate

Target

Figure 54.

Spin

Target

0618_04_138_r0

76 KAYENNE — User Manual

Page 77

Path Control

Hold Linear

0721_06_45_r1

S-Linear Curve

KF1

Slow

Fast

Stop

Constant

Speed

Slow

Fast

Slow

KF2

KF3

KF1

KF2

KF3

KF 1

KF2

KF3

KF1

KF2

KF3

Paths

3-D Digital Effects Concepts

Keyframes specify parameter values at specific times in an effect. Most of the duration of an effect, however, occurs between these keyframes. The Kayenne system interpolates parameter values between keyframes (inbe

tweening). The trajectory, or path, a manipulated picture travels between keyframes is determined by how these inbetween values are interpolated. The Kayenne system offers you several path controls (

HOLD — No interpolation. Keyframes hold their values for their durations,

Figure 55):

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 55. Path Types

KAYENNE — User Manual77

Page 78

Section 2 — Concepts

KF1

KF2

KF3

Tension

Vector

–

Bias

Vector

Continuity

Vector

0721_06_46_r1

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.

Tension, Continuity, and Bias Controls

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 key frame, and the path through the middle keyframe is curved.

CONTINUITY — Determines the angle of the path into and out of the key-

frame.

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).

Path Vectors

With respect to the path between keyframes, each keyframe is made up of three vector parameters as shown below. The soft knob controls act on these vector parameters to adjust the path into (entry) and out of (exit) the key frame. The path through KF2 is parallel to an imaginary line drawn between KF1 and KF3 (

Figure 56. Path Vectors

Figure 56).

78 KAYENNE — User Manual

Page 79

Vector Values

Path vector setting values of ± 1.0 are available, same as the Grass Valley Kaleidoscope DPM.

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 (

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 correc tion value of 0.0.

Figure 57. Tension Control Setting Zero

3-D Digital Effects Concepts

Figure 57).

Tension

Vector

KF1 KF2

Tension = 0.0

KF3

In the example below, the TENSION control is increased to 1.0, so that the Tension vector is shortened to non-existence through KF2 ( 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.

0721_06_47_r0

Figure 58). The

KAYENNE — User Manual79

Page 80

Section 2 — Concepts

Figure 58. Tension Control Setting 1.0

No Tension Vector

KF1

Tension = 1.0

KF2

KF3

0721_06_48_r0

In the example below, the TENSION control has been set to -1.0. This lengthens the Tension vector, causing the path through the middle key

frame to be longer and broader (Figure 59). The longer path will appear to make the image speed up through KF2 as it travels from KF1 to KF3.

Figure 59. Tension Control Setting -1.0

Tension

Vector

KF1

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 60). The unmodified path shown is identical to the unmodified

( path of the other controls.

Tension = -1.0

KF2

KF3

0721_06_49_r0

80 KAYENNE — User Manual

Page 81

3-D Digital Effects Concepts

Continuity = 0.0

KF1 KF2

KF3

–

Continuity

Vector

Continuity = 1.0

KF1

KF2

KF3

–

Continuity

Vector

Figure 60. 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 60).

Figure 61. Continuity Control Setting 1.0

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 62).

KAYENNE — User Manual81

Page 82

Section 2 — Concepts

Figure 62. Continuity Control Setting -1.0

KF1

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

Note A Tension vector must be present for Bias control to be available.

Continuity

Vector

Continuity = -1.0

KF2

–

KF3

0721_06_52_r0

Figure 63.

Figure 63. Bias Control Setting Zero

Tension

Vector

Bias

KF1

KF2

Bias = 0.0

KF3

Vector

0721_06_53_r0

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

82 KAYENNE — User Manual

Page 83

3-D Digital Effects Concepts

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

keyframe, and the path of the effect travels completely through KF2 before turning towards KF3 (

Figure 64. Bias Control Setting 1.0

Figure 64).

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 key frame (Figure 65).

Figure 65. Bias Control Setting -1.0

KAYENNE — User Manual83

Page 84

Section 2 — Concepts

84 KAYENNE — User Manual

Page 85

System Operation

A basic Kayenne system is equipped with a Control Panel and a Menu Panel. These separate control components make up a Kayenne control sur face. A control surface is typically used by a single operator. Interactions occur between the components of the control surface. For example, changing controls on the Control Panel ca n cha nge the s tatu s of s oft butt ons on the Menu Panel, and vice versa. Remote Aux Panels are also available as an option. These remote panels are typically used by different operators at different locations.

The basic Kayenne system is operated using button, knob, and lever controls on the Control Panel and Aux panels, and touch screen and knob controls on the Menu Panel. Text and number entry is also possible via a standard PC computer keyboard. The Control Panel is used during live operation for fast, real time control. The Menu Panel is generally used in conjunction with the panel controls to set up effects and for system config uration. Effects can be saved for future recall, allowing fast and precise control of complex visual effects in real time.

Section 3

The Kayenne Video Production Center is an extremely powerful and flexible production tool, but also provides basic operations available on a typical production switcher.

KAYENNE — User Manual 85

Page 86

Section 3 — System Operation

Control Panel Overview

4-ME Control Panel

The 4-ME Kayenne Control Panel is designed for large scale live productions. Sources are selected in the Source Select Modules on the left side of each Stripe. Delegated controls for various Hold, Row Delegation, and ME Bus selection are at the right of each Source Select Module (

Transition, Keying, Local/Master E-MEM, and device control selections are made on the following:

• KAYN-PNL-TRM - Transition Module

• KAYN-PNL-LEM - Local E-MEM Module

• KAYN-PNL-MEM - Master E-MEM Module

• KAYN-PNL-MFM - Multi-Function Module

• KAYN-PNL-SRC-35, 25, 15 - Source Select Module, available in 35, 25,

and 15 button widths.

Figure 66).

Note 15 button widths are only available with 1-ME Control Panels.

• KAYN-PNL-BAR-35 and 25- System Bar, available in two sizes to match

various Control Panel widths.

• KAYN-PNL-DCM - Device Control Module, available as an option for

3 and 4-ME panels and as a satellite panel module.

The Kayenne Control Panel is shipped in a default configuration

Figure 66), however module configuration can be customized. For more

( information about module configuration options, refer to the Kayenne

Installation & Service Manual.

86 KAYENNE — User Manual

Page 87

Figure 66. 4-ME Control Panel and Modules

8623267_05

Stripe

Master E-MEM

Module

Transition

Module (4)

Multi-Function

Module

Stripe

Local

Aux

Optional

Module

Local E-MEM

Module (4)

Switched Preview

(On System Bar)

Macro

(On System Bar)

System Bar Device Control (6)

(On System Bar)

Local Aux

(OLED) Source

Name Display

Source Name

Display (OLED)

Source

Selection

Local Aux

Modifiers

Device Control

Module

(Optional)

Bus/Row

Delegation/

Modifiers

Local Aux

Source

Selection

Control Panel Overview

KAYENNE — User Manual 87

Page 88

Section 3 — System Operation

8623267_06

Stripe

Local

Aux

Transition

Module (2)

Multi-Function

Module

Stripe

Local E-MEM

Module (2)

Local Aux

Source

Selection

Local Aux

(OLED) Source

Name Display

Local Aux

Modifiers

Master E-MEM

Module

Switched Preview

(On System Bar)

Macro

(On System Bar)

System Bar Device Control (6)

(On System Bar)

Source Name

Display (OLED)

Source

Selection

Bus/Row

Delegation/

Modifiers

2-ME Control Panel

The 2-ME Control Panel is similar to the 4-ME panel (Figure 67). Delegated controls for various Hold, Row Delegation, and ME Bus selection are at the right of the Source Select Modules.

Figure 67. 2-ME Control Panel and Modules

Panel Saver Mode

Other Control Panel configurations are available for the Kayenne system, including 1-ME and 3-ME.

The Kayenne Control Panel will go into Panel Saver or “Sleep” mode, if no Control Panel buttons are pressed. The Control Panel goes into Panel Saver mode after 10 minutes of inactivity.

Starting with Kayenne 2.0, the Panel Saver mode for the Control Panel can be set to 10, 20, 30, or 60 Minutes (default is 10 minutes), in the Multi-Func tion Module, by pressing from Home: Panl, Bri, and turning the bottom soft knob labeled

Panel Saver Delay, Minutes.

88 KAYENNE — User Manual

Page 89

Module Overview

HoldHold

BU1U2

HoldHold

FarFarKeyKey

SplSplit

RulesRules HoldHold

EMEMEMEM

SecSec

Aux

Pri

KeyKey3KeyKey

MacroMacro

KeyKey

KeyKey4KeyKey

RtrKeKey

EMEMEMEM

MaMacroro

RevRev

RwdRwd

RunRun

Transans RateRate

Auto Run

Run

Panelnel MemMem

MeMenu

Mix

Transns

PVW

Transans Rate

EMEMEMEM

Runun

Ptnt n LimLimi t

Pst

BLK

KeyKey1KeyKey2KeyKey3KeyKey4KeyKey5KeyKey

KeKey1

CutCut

KeKey2

CutCut

KeKey4

CutCut

KeKey3

CutCut

KeKey6

CutCut

KeKey5

CutCut

KeKey 1 Auto

Auto

KeKey 2 Auto

Auto

KeKey 3 Auto

Auto

KeKey 4 Auto

Auto

KeKey 6 Auto

Auto

CutCut AutoAuto

KeKey 5 Auto

Auto

Userer5Userer

Userer4Wipeipe2Wipeipe

Userer3Userer2Userer

Key Prior

8623266_54

Source Module (35, 25, or 15) Local E-MEM ModuleTransition Module

An ME Stripe has a module for source selection, transition, and individual E-MEM control ( (optional), Multi-Function, and Local Aux modules are populated to complete the control surface functionality. System operation information and procedures will be covered more thoroughly later in this chapter.

Figure 68. Portion of Control Panel ME Stripe

Transition Module

Control Panel Overview

Figure 68). Additional Master E-MEM, Device Control

The Transition Module is organized into two control groups, the main transition controls, with status display and transition lever arm, and Keyer transition controls (

Figure 69). For information about using transitions, see

Transitions on page 161.

Main Transition controls:

• Lever Arm—For manual transitions

• Status Display—Displays bus and keyer delegation and status

• Next Transition Element buttons

• Next Transition Type buttons

• Cut/Auto Transition buttons with Trans Rate display

• Transition Preview and Preset Black buttons

Keyer transition controls:

• K1-K6 (Keyer) Cut buttons

• K1-K6 Auto Transition buttons

KAYENNE — User Manual 89

Page 90

Section 3 — System Operation

Mix

Transns

PVW

Transans

Rate

EMEMEMEM

Runun

Ptntn LimLimit

Pst

BLK

KeyKey

KeyKey3KeyKey

KeyKey

KeKey1

CutCut

KeKey2

CutCut

KeKey4

CutCut

KeKey3

CutCut

KeKey6

CutCut

KeKey5

CutCut

KeKey1 AutoAuto

KeKey2 AutoAuto

KeKey3 AutoAuto

KeKey4 AutoAuto

KeKey6 Auto

Auto

CutCut AutoAuto

KeKey5 AutoAuto

Userer

Wipeipe

Userer

Key

Prior

8623266_65

7 7

2 2

BLKBLK

MIXMIX

BkgdBkgd

MIXMIX

10 10

ME1ME1

MIXMIX

10 10

17 17

MIXMIX

10 10

15 15

23 23

MIXMIX

10 10

12 12

MIXMIX

30 30

BLKBLK

MIXMIX

30 30

i DPMDPM i DPMDPM i DPMDPM i DPMDPM i DPMDPM i DPMDPM

1.001.00

Figure 69. Transition Module Overview

Lever Arm and Bar Graphs

90 KAYENNE — User Manual

The Lever Arm is used to perform manual transitions, giving the same result as an Auto Transition and is generally used for manual control of the next selected transition. However, when the

E-MEM Run button is enabled,

the lever arm is delegated to controlling Local or Master E-MEMs.

When the Transition Module is delegated to running Local or Master E-MEMs, the scaling of the bar graph tracks the percentage of completion for the entire effect as the effect runs.

The Bar Graph shows the percentage of completion of the transition, per partition (Primary and Secondary). Manual transitions display bars, auto transitions are tracked with a single indicator, displaying from 0-100 percent showing the percentage complete of the current transition and the direction of movement required to complete the transition. The bar graph is not necessarily identical to the lever arm position. For example, when the

Auto button is pressed, the bar graph will track the transition. For auto tran-

sitions, the bar graphs similarly track the percentage of completion of the transition (per partition in Split Mode).

The Lever Arm can be split into two separate arms to allow each partition to be transitioned separately (Primary and Secondary). To unlock the two lever arms, push the button in on the left arm. To lock, align the two sec tions and push the button in on the right.

Transition Module Status Display

The Transition Module Status Display has seven columns with four character rows plus one row with both BKGD bus text (column 1) and two rows of status indicators for keyers 1-6 (

Figure 70).

Page 91

Control Panel Overview

Figure 71. Exchange ME Button Icon

8623267_07

7 7

2 2

BLKBLK

MIXMIX

BkgdBkgd

MIXMIX

10 10

ME1ME1

MIXMIX

10 10

17 17

MIXMIX

10 10

15 15

23 23

MIXMIX

10 10

12 12

MIXMIX

30 30

BLKBLK

MIXMIX

30 30

i DPMDPM i DPMDPM i DPMDPM i DPMDPM i DPMDPMi DPMDPM

Row 1: BKD A source (Green) and video sources for relevant keyers (Yellow)

Row 2: BKD B source (Green) and key sources for split keys (Yellow)

Row 3: Utility 1 source (Green) and keyer transition types (Yellow)

Row 4: Utility 2 source (Green) and keyer transition rates (Yellow)

Row 5: BKD transition type (Green), iDPM keyer partition (Primary-White and Secondary-Green), and keyer ON (Orange)

BKGD Bus

Keyer 1

Keyer 2

Keyer 3 Keyer 4

Keyer 5 Keyer 6

i-DPM

Keyer ON/OFF

Primary Partition (White) Secondary Partition (Green) ON/OFF

Figure 70. Transition Module Status Display Example

Additionally, when the Key Prior button (Keyer Priority) is pressed on the Transition Module, Row 4 changes from displaying transition rates to Keyer Priority for Keyers 1-6 and shows the differences between the current and next priority stacks.

KAYENNE — User Manual 91

Function Buttons

The top button row, above the lever arm (Figure 69) provides the following functions (from left to right):

Exchange ME (button icon, left)—Toggle button for fast exchange (tem-

porary delegation) of an ME not delegated to a Stripe (see Exchange

ME on page 108 for more information).

Pat Lim—Inactive.

EMEM Run—Runs an E-MEM from the Local or Master E-MEM Module.

• SPOP (single button push) of the EMEM Run button delegates the lever arm to control the local E-MEM.

• DPOP (double button push) of the lever arm to control the Master E-MEM timeline.

• Pressing the E-MEM Run button again, exits the mode.

•Trans Rate—Allows Auto and Key Mix 1-6 buttons having an associated

transition rate to be altered, set, or queried. Once the Trans Rate button is selected, the associated buttons flash and the Local E-MEM Module changes to Trans Rate Mode for input. Pressing one of the flashing buttons indicates that its transition rate is to be set. While holding down this button any of the other flashing buttons can be pressed for multiple selection.

EMEM Run button delegates the

Page 92

Section 3 — System Operation

Next Transition Buttons

The Next Transition Element buttons are located just below the status display: BKGD, K1-K6, and Key Prior.

The Next Transition Type buttons are located below the Next Transition Element buttons: Selecting one turns the others off if a next transition element button is not held down.

Cut and Auto Buttons

The Cut and Auto buttons are located at the bottom, middle of the Transition Module.

• Cut—Executes a cut on the buses selected as being in the set of next tran-

•

A press and release of a Next Transition Element button high tallies the button and low tallies the others.

Mix, Wipe 1, Wipe 2, and User 1-User 6 (radio buttons).

sition elements.

Auto—causes the selected next transition type to be executed with a

Next Transition Duration.

To multi-select next transition element buttons:

• Press more than one button at a time or,

• Press and hold down any of the eight transition element buttons and then select one or more of the remaining buttons.

The rule is that while any next transition button is held down, other next transition buttons can be added or removed from the next transition by tog gling that button.

Additional Buttons

• Trans PVW (Transition Preview)—When a transition is performed in this mode, it occurs only on the LAP output. At completion of the transition, the Transition Preview is auto-cancelled.

Pressing the Trans PVW button causes the button to flash. Both the PGM and LAP outputs show the current PGM out stack.

•Trig (Trigger)—Inactive

•

PST Black (Preset Black)—Pressing the PST Black button, then pressing the Cut button, Auto button, or using the lever arm, will delegate the first

transition using Mix or Wipe to black.

92 KAYENNE — User Manual

Page 93

Local E-MEM Module

EMEMEMEM

MaMacroro

RevRev

RwdRwd

RunRun

Transans RateRate

Auto Run

Run

Panelnel

MemMem

MeMenu

LRNLRN BNK3BNK3

BNK2BNK2

BNK1BNK1

BNK0BNK0

9 9 8 8 7 7

SEQSEQ 6 6 5 5 4 4

DISDIS 3 3

2 2 1 1

BNKBNK Ø . .

1010 E102KFKF04102

The Local E-MEM Module is part of an ME Stripe and is organized into two sections, the mode area (left), with supporting buttons and status display, and two rows of function buttons (right) for mode selection and effects control (

E-MEM Operations on page 173.

Introduced in Kayenne 2.0, Bank buttons BNK 0 - BNK 3 have been added to the Local E-MEM Modules (right side of keypad) to provide faster access to banks ( cated, a DPOP of the button takes you to the bank indicated + 4, e.g. one press for Bank (DPOP of DPOPed selection high tallies cyan (blue) color.

Figure 72. Local E-MEM Module Example

Figure 72). For more information about using E-MEMs, see

Figure 72). A single press of the button delegates to the bank indi-

BNK 3 button). The buttons will be unlit for Banks 8 and 9. A

Control Panel Overview

0, DPOP for Bank 4. The highest bank available is Bank 7

KAYENNE — User Manual 93

Page 94

Section 3 — System Operation

EMEM

Macroro

Rev

Rwd

Run

ans

Rate

Auto

Run

nel

Mem

LRN

STR1

BNK

Panel

---

Bank 0

STR2

STR3

STR4

AUX

There are several modes available with the Local E-MEM module, accessed by pressing the following buttons:

• EMEM—Local ME E-MEM recall and edit mode,

•

DELG—Change ME control on selected Stripes,

Panel Mem—Learn and recall panel memory,

Trans Rate —Set transition rates for ME,

Macro—20 Macro recalls can be set to any page using the Page button in

this mode,

• Dissolve Rate—Press

Learn, Dis, Trans R a t e buttons

The Local E-MEM Module display shows specific information for each mode, for example if the

Panel Mem button is pressed, Panel Memory infor-

mation is displayed as shown in Figure 73.

Figure 73. Local E-MEM Module, Panel Memory Example

Panel

LRN

BNK

Mem

Bank 0

Ø .

AUX

---

STR1

STR2

STR3

STR4

EMEM

Mem

Rate

Run

Rev

Rwd

ans

nel

94 KAYENNE — User Manual

Run

8623267_14

Page 95

Master E-MEM Module

Autoto Recall

Autoto RunRun

Seleelect All

All

Eff

Dur

PausePause

Stoptop

NeNext

RevRev RwdRwd

eDPMDPM

PriPri

eDPMDPM

SecSec

ME 1 PriPri

ME 1 SecSec

ME 2 PriPri

ME 2 SecSec

ME 3 Pri

Pri

ME 3 Sec

Sec

ME 4 PriPri

ME 4 SecSec

PGMPGM PriPri

PGMPGM SecSec

RunRun

EMEMEMEM

EditEdit

eDPMDPM

Eff

MSC1 IS-2IS-1PARTMSC5

MSC2 IS-4IS-3AUXMSC6

MSC3 IS-6IS-5GPIMSC7

MSC4 PAGEEXTPBUSMSC8

10 102 KF04 E102 Ø2:ØØ:

LRN 9

8 7

SEQ 6 5 4

DIS 3 2 1

BNK

BNK3

BNK2

BNK1

BNK0

0 .

862367_08_r1

The Master E-MEM Module (Figure 74) is not part of a Stripe, it provides E-MEM control across the Control Panel and Local Aux Module. The Master E-MEM Module can control the entire Kayenne effects system, including e-DPM. The 19 Enable/Delegate buttons (

GPI, PBUS, IS 1-6, and EXT)

determined by the mode selection (Run control verses Edit).

Introduced in Kayenne 2.0, Bank buttons BNK 0 - BNK 3 have been added to the Master E-MEM Module (right side of keypad) to provide faster access to banks ( cated, a DPOP of the button takes you to the bank indicated + 4, e.g. one press for Bank (DPOP of DPOPed selection high tallies cyan (blue) color.

Figure 74. Master E-MEM Module Example

Figure 74). A single press of the button delegates to the bank indi-

BNK 3 button). The buttons will be unlit for Banks 8 and 9. A

Control Panel Overview

MISC 1-8, PART, AUX,

are used to both enable and delegate, which is

0, DPOP for Bank 4. The highest bank available is Bank 7

KAYENNE — User Manual 95

Page 96

Section 3 — System Operation

The following describes the Master E-MEM Module organization (

Figure 74):

• Two rows of delegation buttons (left side),

• One row of Function and Mode buttons across the top (left),

• Jog Knob with LED (top right)—Rotating this knob clockwise advances

• Below the Jog Knob (right side) is the Bar Display that also shows the

• Just left of the Bar Display is the Jog Enable button (enables the Jog

• In the center are the Level buttons with displays. The Level buttons

through the effect. Rotating the knob counter-clockwise moves the effect position backwards. The degree of rotation advances the current effect position (time) proportional to the effect duration (not to keyframes). Two full rotations moves from one end of an effect to the other. The status display above the Jog Knob displays the current effect’s position (M-SS-FF).

current effect position, and the

Knob) and the

have two modes:

Pause, Stop Next, and Rew effects function buttons,

REW and Run effects buttons.

• Enables for run control and

• Delegates for keyframe editing.

Multi-Function Module

The Multi-Function Module with positioner, delegates to the following functions:

• Keyer Modifiers,

•Mask Modifiers,

• Matte Modifiers,

•Wipes,

•e-DPM,

•i-DPM,

• Copy/Swap utilities,

• Device control, and

• Source Selection.

96 KAYENNE — User Manual

Page 97

Control Panel Overview

Wipeipe

KeyKey

Wipeipe

KeyKey

ME1

Adel Last

ME2 WipeeDPMiDPMMattMaskKeys

ME3 Swap SSel

Cams

CopyDevs

PGM Panl

8623267_09_r1

Figure 75. Multi-Function Module Example

The following describes the Multi-Function Module organization

Figure 75):

(

• Function button row (top left), with six Keyer (Key 1-Key 6) buttons and

Wipe 1 and Wipe 2 buttons for delegating to a keyer for the selected ME.

• Below the function row is the main delegation area with buttons and

status display:

• The first column (left) are radio buttons for delegating the MEs, for example

Adel button (right)—ON supports ‘Auto Delegation’ of this module

•

ME 1, ME 2, ME 3, and PGM as shown in Figure 75.

when selecting a source on a key bus, delegating a keyer in the bus control section of any Source Module, selecting a keyer in any Next Transition section of any ME, and selecting Wipe 1 or Wipe 2 in any Tran sit ion Mo dul e,

Last button (far right)—Toggles between current and previous dele-

• gation modes,

HOME button (only displayed when not at the Home position)—

• Moves the display to the top or ‘Home’ level,

KAYENNE — User Manual 97

Page 98

Section 3 — System Operation

HoldHold

BU1U2

HoldHold

FarFarKeyKey

SplSpli t

RulesRules HoldHold

EMEMEMEM

SecSec

Aux

Pri

KeyKey

MacroMacro

KeyKey

RtrKeKey

PGM

KEY1 KEY2

2ND3RD

ME3 AME2 AME1 ABkgd1Bkgd2

27262524232221

2524232221

2ND3RD

ME3 AME2 AME1 ABkgd1Bkgd2

2726

UTIL1

UTIL2

8623627_10

Note The HOME, Adel, and Last buttons change position in some delegated

• Knob row with LEDs (middle-right) provides adjustment and display

• Joystick (top-right) performs multiple functions depending on the del-

Note Starting with Kayenne 2.0, the joystick can be calibrated from the MFM: from

modes, for example in Copy or Swap mode, these buttons move from the main delegation area to the Multi-Function area just below the joystick.

• The other buttons in the main delegation area, when in the Home position, delegate to: Keys, Masks, Mattes, i-DPM, e-DPM Wipe, Device, Copy, Swap, Source Select, and Panel Preference. When pressed, the LEDs and buttons are delegated to those modes and modifiers,

of parameters for delegated functions (Figure 75),

egation, for example for keyers the joystick positions a delegated keyer (X,Y, and Z axis), but with device control the joystick performs jog control operations (Up, Down, Fast Forward, Rewind—center button performs Mark-In),

Home, press Panl, Cali and follow the instructions displayed on the MFM.

• Multi-Function area, (bottom-right) below the joystick, supports various delegated functions, for example Copy/Swap and Devices.

•The

XFER button, displayed in the Multi-Function area for certain

functions, assigns control of values and status display for the five other buttons in the group to the five soft knobs. Pressing one of the soft knobs delegates control for numeric entry in the main delegation area. Pressing

Source Select Module

The Source Select Module is available in three configurations: 15, 25, and 35 button models.

Figure 76. Source Module Example

Enter completes the numeric entry operation.

98 KAYENNE — User Manual

Page 99

Control Panel Overview

Introduced in Kayenne 2.0:

• Outlines have been added to border the display text; this is now the

default. Outlines can be toggled off/on in the MFM: from Home, press the

Panl, Bri, buttons then toggle the OUTL (under Joystick) button.

• Inserting a space in the Source Name wraps the text to the second line.

For example typing to the next line of the OLED button display.

The Source Module can be viewed as being in two sections; left for source selection buttons, in groups of five, with SND (Source Name Display) display and right, with function and delegation buttons (and one display) for that ME (

Figure 76).

CAM then a space then the number 3 would wrap ‘3’

Source Select Buttons and SND

The following describes the Source Module organization for source select buttons (

• Source Selection buttons (left)—Can be mapped and delegated to

Figure 76):

buses, macros, routers, etc. and there are no limits to mapping so the same function or source can be mapped numerous times, and saved in Panel Memory (Local E-MEM Module/File Ops, Panel Mem menu). Source selection buttons can be mapped as:

• Switcher sources—Can be delegated to source selection for any ME bus, Aux bus/Aux selection, Router control, Macros, or E-MEM recall,

• Shift function—There are four shift levels 1st (unshifted), 2nd, 3rd, and 4th,

• Row Delegation function—Mapped to the right-most source select button (default). The SND (Source Name Display) associated with the row delegation button indicates the name of the bus or function, e.g. K2, MACRO, Router, U2, etc.,

• SND LEDs— SNDs have two modes, ‘Full’ and ‘Split’. If both adjacent rows have identical text for a source, it is displayed in full, i.e. large text. If the two rows have different text, the SND is split into two rows of smaller text. SNDs show source names, macro names, router source and router destination names, Aux bus numbers, etc.

• Shift buttons—Shifts can be mapped anywhere using the

Button Mapping menu (default is 2nd and 3rd on the second and third

source select buttons from the right). Each ME row can have three buttons labeled 2nd, 3rd, and 4th for shift levels or just 2nd 3rd (when pressed together delegate to the 4th shifted level, the default), or none at all and sources can be assigned to these buttons (no shift levels).

User Prefs,

KAYENNE — User Manual 99

Page 100

Section 3 — System Operation

Function and Delegation Buttons

The following describes the function and delegation buttons (Figure 76):

• Hold button—Sets a bus hold on the delegated row.

• ME bus select buttons— one of these buttons delegates that bus.

Macro select button—Delegates rows 1 and 2 of a Source Module to

• macros.

Note To delegate one row, hold down the Macro button and press a bus delegation

button or hold down the bus delegation row button and press the Macro button.

• Key Split button—Creates a split key when a source is selected for the fill signal, the row delegated to the key bus.

Far button—The Far modifier is used for DPM rotation transitions.

• During DPM operations, the side that is seen by the user is defined as the ‘near side’. To set the far side for the current delegation of a bus, press and hold the a source selection for that side.

Aux select button—Delegates Rows 1 and 2 of a Source Module to Aux

• bus control.

Router select button—Delegates Rows 1 and 2 of a Source Module to

• Router selection.

Key Split button is held down, and a source is selected on a

K1-K6, A, B, U1, and U2 in columns 2-4, pressing

Far button (and shift button if necessary) and make

Rules Hold button—When pressed (toggle), Source Rules are not applied

• to that Source Module.

E-MEM select button—Delegates rows 1 and 2 of a Source Module to

• E-MEMs.

100 KAYENNE — User Manual

GRASS VALLEY KAYENNE - V2.0, KAYENNE User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Preface

About This Manual

Standard Documentation Set

Other Documentation

Introduction

Overview

Kayenne Video Processor Frames

Kayenne Control Surfaces

Multiple Suites and Control Surfaces

Flat or Curved Control Panel Orientation

Control Panel Stripes

Control Panel Modules

Touch Screen Menu Panel and PC Menu Control

Panel Control Unit

Redundant Power Supplies

Supported Control Protocols

Concepts

Introduction

Kayenne System Configuration Overview

Engineering Setups

Suite Preferences

Panel Preferences

Signal Routing

Inputs and Sources

Source Definition

Source to Button Mapping

Source Naming

Source Patching

Source Memory

Buses and Crosspoints

Shifted Sources and Shift Preference

Mix/Effects (ME)

Logical Assignments of MEs

Re-Entry

Utility Buses

Outputs

Output Mapping

Aux Buses

Point Of Use

Transitions

Mix Through Video

Non-Additive Mix, Full Additive Mix

Wipe

Other Wipe Pattern Generator Uses

Preset Black

Transition Rate

Flip Flop Background Buses

Look Ahead Preview

Current and Next Stack

Key Priority and Transitions

Keying

Matte Fill Key Example

Shaping Video

Key Control Signal Adjustment

Clip and Gain

Clip Hi and Clip Lo

S-Shaped Key Signals

Additional Keying Controls

Key Invert

Borderline

Masking

Opacity

Key Positioning

Key Size

Coring

Show Key

Linear Key

Fixed and Adjustable Linear Keys

Luminance Key and Self Key

Chroma Key

Primary and Secondary Color Suppression

Flare Suppression

Chroma Key Shadow Generator

Preset Pattern

Split Key