Grass Valley Kayenne XL Package User Manual

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Kayenne XL Package

KAYAK HD DIGITAL PRODUCTION SWITCHER

User Manual

Software Version V704

071870104 APRIL 2011

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.

2 Kayenne XL Package — User Manual

Kayenne XL Package

KAYAK HD DIGITAL PRODUCTION SWITCHER

User Manual

Software Version V704

071870104 APRIL 2011

Affiliate with the N.V. KEMA in The Netherlands

CERTIFICATE

Certificate Number: 510040.001 The Quality System of:

Thomson Inc, and it’s wordwide 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

ccredited By:

ANAB

Preface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Section 1 — System Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Contents

About This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Software/Manual Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Standard Documentation Set. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Other Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Kayenne XL Control Panel Models. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

KHDXL-PNL-100-15 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

KHDXL-PNL-100-15-A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

KHDXL-PNL-200-25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

KHDXL-PNL-200-25-A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

KHDXL-PNL-200-35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

KHDXL-PNL-200-35-A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

KHDXL-PNL-300-25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

KHDXL-PNL-300-25-A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

KHDXL-PNL-300-35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

KHDXL-PNL-300-35-A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

KHDXL-PNL-400-25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

KHDXL-PNL-400-25-A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

KHDXL-PNL-400-35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

KHDXL-PNL-400-35-A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Kayak HD Mainframe Standard Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Kayak HD Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

RamRecorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

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

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

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

Kayenne XL Package Configuration Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Installation (Engineering Setups) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Config — Application Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Personal Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

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

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

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

Button Assignment (Source to Button Mapping) . . . . . . . . . . . . . . . . . . . . . . . . . 29

Key Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Buses and Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Shifted Sources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Source Scalars (HD Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Mix/Effects (M/E) Stage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Alternate Buses and Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Utility Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Effects Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Kayenne XL Package — User Manual 3

Contents

Kayenne XL Package Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Kayenne XL Package AUX Buses and Output Assignments . . . . . . . . . . . . . 34

Resource Sharing and Point of Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Transition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

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

Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Full Additive Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Additive Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Other Wipe Pattern Generator Uses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Preset Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Fade to Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Transition Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

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

Look Ahead Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Current and Next Stack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Key Priority and Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Half M/E and DSK Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Keying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Matte Fill Key Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Shaping Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Key Control Signal Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Clip and Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

High Gain, Low Gain, and Unity Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Clip Hi and Clip Lo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

S-Shaped Key Signals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Additional Keying Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Key Invert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Masking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Key Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Key Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Coring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Show Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Linear Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Luminance Key and Self Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Chroma Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Primary and Secondary Color Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Flare Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Chroma Key Shadow Generator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Preset Pattern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Split Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Properly and Improperly Shaped Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Downstream Keyers (Half M/E and DSK Option) . . . . . . . . . . . . . . . . . . . . . . . 56

Flexible Chroma Keyers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

3-D Digital Effects Concepts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

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

Translation and Transformation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Rotate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Aspect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Skew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

4 Kayenne XL Package — User Manual

Axis Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Source and Target Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Post Transform Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Front and Back, Near and Far . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Transform Numbering Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Screen Coordinates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

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

Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Skew. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

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

Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Spin and Rotation Relationship. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Path Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Tension Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Continuity Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Bias Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Sure Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Parallel Mode Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Converge Mode Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Comparing Parallel and Converge Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Contents

Section 3 — Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Control Panel Modules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Touch Screen Menu Panel and PC Menu Control . . . . . . . . . . . . . . . . . . . . . . . . 85

Kayenne XL Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Button Color Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Source Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Button and Bus Indication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Aux Bus Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Aux Bus Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Router Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Macros. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Transition Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Transition Elements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Transition Types. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Performing Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Preset Black. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Transition Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Transition Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Other Transition Control Interactions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Positioner Subpanel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Delegation Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Positioner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Local EMEM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Panel Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Panel Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

DPM (Digital Picture Manipulator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

RamRecorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

EMEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Timeline Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Macro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

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

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

Panel Lock Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Master EMEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Define MEMO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Subgroup for PP, M/E1, M/E2, M/E3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Subgroup for M/Eh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Subgroup Aux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Subgroup Router . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Subgroup Ram. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Subgroup Misc Int. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Subgroup Misc Ext . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Page/Bank Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Display Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Half M/E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Feature Set of the Half M/E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Selecting Half M/E. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Control Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Operation Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Machine Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Operational Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

External VTR Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Recorder Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

System Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Switched Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Macro Recording / Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Macro Building . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Macro Attachment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Multiple Device Assignment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Temporary Machine Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Machine Delegation Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Operational Example:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Prev/Next . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Cue/Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Timecode Display Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Multi Function Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Main (Home) Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Menu History. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Control for M/E Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Key and Wipe Delegations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Auto Delegation (ADel) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Joystick and Digipots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Keyer Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Key 1...6. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Key Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Key Types. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Chroma Key Main Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

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

Automatic Key Adjustment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Automatic Chroma Key Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Main Mask Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

193

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Main Keyer Store Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Main Keyer Priority Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Pattern Key Main Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

iDPM (eDPM). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

iDPM (eDPM) Main Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

iDPM (eDPM) Edit - Locate Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

iDPM (eDPM) Edit > Crop Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

iDPM (eDPM) Edit - Skew Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

iDPM (eDPM) Edit - SpFX Special Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

iDPM (eDPM) Edit - Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

iDPM (eDPM) Edit - Misc - Default Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

iDPM (eDPM) Edit - Misc - Priority Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

iDPM (eDPM) Edit - Misc - Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

iDPM (eDPM) Edit - Misc - Load / Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

iDPM (eDPM) Edit - Misc - Use DPM Crosspoint . . . . . . . . . . . . . . . . . . . . . 214

iDPM (eDPM) Edit - Near - Input Crosspoint Selection . . . . . . . . . . . . . . . . 215

iDPM (eDPM) Edit - Near/Key - Input Crosspoint Selection. . . . . . . . . . . . 216

Wipe and Key Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Home - Matt (Col Mattes) Selection - BGD (Background Color1) . . . . . . . . 217

Matt (Col Mattes) Selection - ColT (Test Signal Gen) . . . . . . . . . . . . . . . . . . . 219

Matt (Col Mattes) Selection - Fill (Key Fill Col) Flat . . . . . . . . . . . . . . . . . . . . 220

Matt (Col Mattes) Selection - Bord (Key Border Col) Key Wipe. . . . . . . . . . 221

Matt (Col Mattes) Selection - Trans (Trans Border Col) Main Wipe1 . . . . . 222

Wipe Sel - Wipe Source = Main Wipe1, Mix = Delegated . . . . . . . . . . . . . . . 223

Wipe Sel - Wipe Source = Main Wipe2, Misc. Modifiers . . . . . . . . . . . . . . . . 224

Media Players (MPs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Machine Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Ram Recorder - Selecting a Clip or a Still. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Ram Recorder - Mode (Play Mode / Record Mode) . . . . . . . . . . . . . . . . . . . 230

Ram Recorder - Play Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Ram Recorder - Record Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Ram Recorder - Loop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Ram Recorder - Bout (Break Out) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Ram Recorder - Read (Read out) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Ram Recorder - Trim (Trim Clip) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

External Machines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

External Machines - Selecting a Clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

iDPM / eDPM - Selecting an Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Input Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Input (M/E# Keys, Aux, Ram, eDPM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Input (M/E# Crosspoints) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Input (M/E# Keyer). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Input (M/E-H) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Input (Aux - Non Page Mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Input (Aux Safe Title / Center Cross Delegation) . . . . . . . . . . . . . . . . . . . . . 248

Input (Aux Safe Title / Center Cross Modes) . . . . . . . . . . . . . . . . . . . . . . . . . 249

Input (Aux Page Mode”Page01”,”Page02”and”Page12”) . . . . . . . . . . . . . . . 250

Input (Aux - RamRecorder Inputs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Input (eDPM1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Camera Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

How to Disable Control Panel Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Disabling single Controls or a Whole Module . . . . . . . . . . . . . . . . . . . . . . . . 261

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Section 4 — Sidepanel Menu Summaries. . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Menu Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Menu Panel Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Touch Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Soft Knobs (Digipots) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Navigation Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Navigation Inside the Menu and Modify . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Numeric Keypad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Alphanumeric Keypad, Typewriter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Using a Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Menu Structure Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Startup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Selection of the Mainframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Selection of an Attached Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Help Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Manual Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Help Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Status Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Status Main Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Selecting the M/E Main Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Enable / Disable the Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

User Definable Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

M/E Mapping Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Install Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Install Main Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Save Installation and Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . 285

Install E-Box Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Aux CP Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Tally Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Input Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

GPI Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

GPO Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Extern DVE Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Editor Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Router Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Timing Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

UMD Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Machine Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

P-Bus Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Extern Key Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Camera Tally Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Install Panel Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Workplace and Driver Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Workplace Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Fader Calibration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Joystick Calibration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Install System Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

HW Option Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

SW Option Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Temporary Licenses Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Drives Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Devices Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Install Diagnose Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

354

8 Kayenne XL Package — User Manual

Device Control Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Config Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Config Main Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Application Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Copy Config Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Copy Config Detailed Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Config E-Box Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Substitution Tables Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

M/E Couple Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Bus Couple Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Aux Bus Overlays Title Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

DPM Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Misc Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Aux CP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Tally In Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Input Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

GPI Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

GPO Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Ext. DVE Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Editor Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Router Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Config Panel Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Macro Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Macro Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

Assignment Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Brightness Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

PMEM Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Panel Color Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Attached Macros Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Flexible Licenses Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Personality Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Personality Main Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Panel Subpage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Sidepanel Subpage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

M/E Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

M/E Main Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Subpage Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Subpage Misc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Subpage Extern Keyer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

M/E Wipe Trans Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Offset Transi Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Key Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Key Main Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Key Matte Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Keyer Freeze Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Key Mask Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Mask Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Chr Key Main Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Chr Key Suppression Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464

Keyer Wipe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preset Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Keyer Priority Misc Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Wipe Adjust Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

466

Contents

Kayenne XL Package — User Manual 9

Contents

Wipe Select Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Color BGD Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Color BGD 1 - 3 Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Test Signal Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Color Correction Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

YUV Input Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

YUV M/E Bus Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

YUV Aux-Bus Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

RGB Input Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478

RGB Bus Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480

RGB Aux Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Remote Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

Remote Main Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

Remote GPI Out Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Remote P-Bus Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485

Camera Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487

Media Player Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491

MP Clips Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

RamRecorder Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

RR Status Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499

RR Clips Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

RR Stills Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516

RamRecorder Transfer Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517

Transfer Mode Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518

Single Transfer Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518

Multi Transfer Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518

Transfer from the RamRecorder to the PC . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Transfer from the PC to the RamRecorder . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Color Information for Multi Transfer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Realtime Export. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Backup your Clips/Stills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Restore your Clips/Stills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523

RR Image Converter Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524

Select Destination Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

Source Pixel Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

Destination Pixel Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Converting Size, Positioning, and Preview. . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Untangle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

RR Audio Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528

Audio Play Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Audio Group Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Split Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Join Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Delay Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

RR Active Area Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532

Aux / Router Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Scaler Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

Input Scaler Submenu (MatchDef™). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

Setting Up Scaler Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538

Aux Bus Scaler Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541

DPM Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

iDPM Main Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544

iDPM Edit Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549

eDPM Main Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586

544

10 Kayenne XL Package — User Manual

Contents

eDPM Edit Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Transform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Crop & Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Priority. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Kurl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Splits & Mirrors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Misc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Light. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Defocus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Glow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591

Recursive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591

Setup & Default . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591

Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591

Save & Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591

Corner Pinning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591

How to Work with eDPM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592

General Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592

eDPM Advantages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593

Creating a Simple Zoom Effect Using eDPM Channels. . . . . . . . . . . . . . . . . 595

Copying of DPM Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

Copy a Channel Within an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596

Copying DPM Channels Between Different Effects . . . . . . . . . . . . . . . . . . . . 596

Copy Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596

Transfer All Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597

DVE Extern Submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598

EMEM Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600

EMEM Select Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600

EMEM Edit Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604

EMEM Define Submenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623

Section 5 — Stand-Alone Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625

Macro Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625

Main Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626

Main Dialog, Left Part - Offline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627

Main Dialog, Left Part - Online . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628

Main Dialog, Right Part - Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629

Creating, Modifying, Updating, Deleting Commands . . . . . . . . . . . . . . . . . . . 630

Create a New Command 'Classic' Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631

Modify an Existing Command 'Classic' Style . . . . . . . . . . . . . . . . . . . . . . . . . 632

Create a New Command 'Kayenne XL' Style . . . . . . . . . . . . . . . . . . . . . . . . . 633

Modify an Existing Command 'Kayenne XL' Style. . . . . . . . . . . . . . . . . . . . . 635

Create New Multiple Commands 'Kayenne XL' Style . . . . . . . . . . . . . . . . . . 636

Update Parameters of Macro Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638

Image Converter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640

Select Destination Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641

Output File Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641

Converting in AVI Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642

Source Pixel Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642

Destination Pixel Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643

Converting Size, Positioning, and Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643

Untangle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644

Kayenne XL Package — User Manual 11

Contents

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645

12 Kayenne XL Package — User Manual

Preface

About This Manual

Software/Manual Version

Standard Documentation Set

This Kayenne XL Package User Manual is designed as a reference manual for operators of Kayenne XL Packages, which include the Kayenne XL control panel and the Kayak HD video processor frame.

• Kayenne XL / Kayak HD Software Release V704

• Kayenne XL / Kayak HD User Manual Version V704.xx

The standard Kayenne XL Package documentation set consists of:

• Kayenne XL Package User Manual (Control Panel)

• Kayenne XL Package Installation and Service Manual (Control Panel)

• Release Notes

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

The Installation and Service Manual contains information about installing, configuring, and maintaining the Kayak HD mainframe and the control panels.

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

Kayenne XL Package — User Manual 13

Preface

System Overview

Introduction

The Grass Valley Kayenne XL Package is an affordable, compact, and flexible digital production switcher system that offers an array of high-end features for everything from live studio and mobile production to small corporate studios and editing applications. The Kayenne XL Package lever ages many of the features found in the Grass Valley Kayak™ switchers. The result is a compact system with superior image quality and features not found in any other product.

Section 1

Kayenne XL Control Panel Models

In this section you will find the different panel configurations:

KHDXL-PNL-100-15

1 M/E Kayenne XL panel with Kayak keycap legends, with 15 button source selectors, Panel Control Unit with rendundant power, menu panel, 1 license (KAYN-LIC-PNL-ME), manual set and cables (pick 7.5 meter or 15 meter). Includes one 15 button source select module (KAYN-PNL-SRC-15), one Local E-MEM module (KAYN-PNL-LEM), one Master E-MEM module (KAYN-PNL-MEM), one Transition Module (KAYN-PNL-TRM), one Multi-function module (KAYN-PNL-MFM), and the System Bar. There are no option slots available in the panel trays included.

KHDXL-PNL-100-15-A

Additional 1 M/E Kayenne XL panel with Kayak keycap legends, with 15 button source selectors, 1 license (KAYN-LIC-PNL-ME), manual set and cables (pick 7.5 meter or 15 meter). Includes one 15 button source select module (KAYN-PNL-SRC-15), one Local E-MEM module (KAYN-PNLLEM), one Master E-MEM module (KAYN-PNL-MEM), one Transition Module (KAYN-PNL-TRM), one Multi-function module (KAYN-PNLMFM), and the System Bar. There are no option slots available in the panel trays included. Does not include menu panel or Panel Control Unit.

Kayenne XL Package — User Manual 15

Section 1 — System Overview

KHDXL-PNL-200-25

2 M/E Kayenne XL panel with Kayak keycap legends, with 25 button

source selectors, Panel Control Unit with rendundant power, menu panel,

2 licenses (KAYN-LIC-PNL-ME), manual set and cables (pick 7.5 meter or

15 meter). Includes two 25 button source select modules (KAYN-PNL-SRC-

25), one 25 button local aux panel (KAYN-PNL-AUX-25), two Local E-MEM

modules (KAYN-PNL-LEM), one Master E-MEM module (KAYN-PNL-

MEM), two Transition modules (KAYN-PNL-TRM), one Multi-function

module (KAYN-PNL-MFM), and the System Bar. There are no option slots

available in the panel trays.

KHDXL-PNL-200-25-A

Additional 2 M/E Kayenne XL panel with Kayak keycap legends, with 25

button source selectors, 2 licenses (KAYN-LIC-PNL-ME), manual set and

cables (pick 7.5 meter or 15 meter). Includes two 25 button source select

modules (KAYN-PNL-SRC-25), one 25 button local aux panel (KAYN-PNL-

AUX-25), two Local E-MEM modules (KAYN-PNL-LEM), one Master E-

MEM module (KAYN-PNL-MEM), two Transition modules (KAYN-PNL-

TRM), one Multi-function module (KAYN-PNL-MFM), and the System Bar.

There no option slots available in the panel trays. Does not include menu

panel or Panel Control Unit.

KHDXL-PNL-200-35

2 M/E Kayenne XL panel with Kayak keycap legends, with 35 button

source selectors, Panel Control Unit with rendundant power, menu panel,

2 licenses (KAYN-LIC-PNL-ME), manual set and cables (pick 7.5 meter or

15 meter). Includes two 35 button source select modules (KAYN-PNL-SRC-

35), one 35 button local aux panel (KAYN-PNL-AUX-35), two Local E-MEM

modules (KAYN-PNL-LEM), one Master E-MEM module (KAYN-PNL-

MEM), two Transition modules (KAYN-PNL-TRM), one Multi-function

module (KAYN-PNL-MFM), and the System Bar. There are no option slots

available in the panel trays.

KHDXL-PNL-200-35-A

Additional 2 M/E Kayenne XL panel with Kayak keycap legends, with 35

button source selectors, with 2 licenses (KAYN-LIC-PNL-ME), manual set

and cables (pick 7.5 meter or 15 meter). Includes two 35 button source select

modules (KAYN-PNL-SRC-35), one 35 button local aux panel (KAYN-PNL-

AUX-35), two Local E-MEM modules (KAYN-PNL-LEM), one Master E-

MEM module (KAYN-PNL-MEM), two Transition modules (KAYN-PNL-

TRM), one Multi-function module (KAYN-PNL-MFM), and the System Bar.

There are no option slots available in the panel trays. Does not include

menu panel or Panel Control Unit.

16 Kayenne XL Package — User Manual

KHDXL-PNL-300-25

3 M/E Kayenne XL panel with Kayak keycap legends, with 25 button source selectors, Panel Control Unit with rendundant power, menu, 3 licenses (KAYN-LIC-PNL-ME), manual set and cables (pick 7.5 meter or 15 meter). Includes three 25 button source select modules (KAYN-PNL-SRC-

25), one 25 button local aux panel (KAYN-PNL-AUX-25), three Local EMEM modules (KAYN-PNL-LEM), one Master E-MEM module (KAYNPNL-MEM), three Transition modules (KAYN-PNL-TRM), one Multi-func tion module (KAYN-PNL-MFM), and the System Bar. There is one option slot available in the panel trays.

KHDXL-PNL-300-25-A

Additional 3 M/E Kayenne XL panel with Kayak keycap legends, with 25 button source selectors, 3 licenses (KAYN-LIC-PNL-ME), manual set and cables (pick 7.5 meter or 15 meter). Includes three 25 button source select modules (KAYN-PNL-SRC-25), one 25 button local aux panel (KAYN-PNLAUX-25), three Local E-MEM modules (KAYN-PNL-LEM), one Master EMEM module (KAYN-PNL-MEM), three Transition modules (KAYN-PNLTRM), one Multi-function module (KAYN-PNL-MFM), and the System Bar. There is one option slot available in the panel trays. Does not include menu panel or Panel Control Unit.

Introduction

KHDXL-PNL-300-35

3 M/E Kayenne XL panel with Kayak keycap legends, with 35 button source selectors, Panel Control Unit with rendundant power, menu, 3 licenses (KAYN-LIC-PNL-ME), manual set and cables (pick 7.5 meter or 15 meter). Includes three 35 button source select modules (KAYN-PNL-SRC-

35), one 35 button local aux panel (KAYN-PNL-AUX-35), three Local EMEM modules (KAYN-PNL-LEM), one Master E-MEM module (KAYNPNL-MEM), three Transition modules (KAYN-PNL-TRM), one Multi-func tion module (KAYN-PNL-MFM), and the System Bar. There is one option slot available in the panel trays.

KHDXL-PNL-300-35-A

Additional 3 M/E Kayenne XL panel with Kayak keycap legends, with 35 button source selectors, 3 licenses (KAYN-LIC-PNL-ME), manual set and cables (pick 7.5 meter or 15 meter). Includes three 35 button source select modules (KAYN-PNL-SRC-35), one 35 button local aux panel (KAYN-PNLAUX-35), three Local E-MEM modules (KAYN-PNL-LEM), one Master EMEM module (KAYN-PNL-MEM), three Transition modules (KAYN-PNLTRM), one Multi-function module (KAYN-PNL-MFM), and the System Bar. There is one option slot available in the panel trays. Does not include menu panel or Panel Control Unit.

Kayenne XL Package — User Manual 17

Section 1 — System Overview

KHDXL-PNL-400-25

4 M/E Kayenne XL panel with Kayak keycap legends, with 25 button

source selectors, Panel Control Unit with rendundant power, menu, 4

licenses (KAYN-LIC-PNL-ME), manual set and cables (pick 7.5 meter or 15

meter). Includes four 25 button source select modules (KAYN-PNL-SRC-

25), one 25 button local aux panel (KAYN-PNL-AUX-25), four Local E-

MEM modules (KAYN-PNL-LEM), one Master E-MEM module (KAYN-

PNL-MEM), four Transition modules (KAYN-PNL-TRM), one Multi-func

tion module (KAYN-PNL-MFM), and the System Bar. There are two option

slots available in the panel trays.

KHDXL-PNL-400-25-A

Additional 4 M/E Kayenne XL panel with Kayak keycap legends, with 25

button source selectors, 4 licenses (KAYN-LIC-PNL-ME), manual set and

cables (pick 7.5 meter or 15 meter). Includes four 25 button source select

modules (KAYN-PNL-SRC-25), one 25 button local aux panel (KAYN-PNL-

AUX-25), four Local E-MEM modules (KAYN-PNL-LEM), one Master E-

MEM module (KAYN-PNL-MEM), four Transition modules (KAYN-PNL-

TRM), one Multi-function module (KAYN-PNL-MFM), and the System Bar.

There are two option slots available in the panel trays. Does not include

menu panel or Panel Control Unit.

KHDXL-PNL-400-35

4 M/E Kayenne XL panel with Kayak keycap legends, with 35 button

source selectors, Panel Control Unit with rendundant power, menu, 4

licenses (KAYN-LIC-PNL-ME), manual set and cables (pick 7.5 meter or 15

meter). Includes four 35 button source select modules (KAYN-PNL-SRC-

35), one 35 button local aux panel (KAYN-PNL-AUX-35), four Local E-

MEM modules (KAYN-PNL-LEM), one Master E-MEM module (KAYN-

PNL-MEM), four Transition modules (KAYN-PNL-TRM), one Multi-func

tion module (KAYN-PNL-MFM), and the System Bar. There are two option

slots available in the panel trays.

KHDXL-PNL-400-35-A

Additional 4 M/E Kayenne XL panel with Kayak keycap legends, with 35

button source selectors, 4 licenses (KAYN-LIC-PNL-ME), manual set and

cables (pick 7.5 meter or 15 meter). Includes four 35 button source select

modules (KAYN-PNL-SRC-35), one 35 button local aux panel (KAYN-PNL-

AUX-35), four Local E-MEM modules (KAYN-PNL-LEM), one Master E-

MEM module (KAYN-PNL-MEM), four Transition modules (KAYN-PNL-

TRM), one Multi-function module (KAYN-PNL-MFM), and the System Bar.

There are two option slots available in the panel trays. Does not include

menu panel or Panel Control Unit.

18 Kayenne XL Package — User Manual

Kayak HD Mainframe Standard Features

• Switchable between several HD formats

• Supports SD production

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

• Compact 4 RU and 8 RU lightweight frames

• Low power consumption

• Hot swappable, front removable modules and power supplies

• Intuitive menu with touch screen

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

• 2 high-quality chroma keyers standard

•Number of M/Es:

• 1 for Kayak HD 100C

Introduction

• 1.5 for Kayak HD 150C

• 2 for Kayak HD 200, 200C

• 2.5 for Kayak HD 250, 250C

• 3 for Kayak HD 300

• 3.5 for Kayak HD 350

• 4 for Kayak HD 400

• 4.5 for Kayak HD 450

Note 0.5 M/E (that is, half an M/E) includes cuts and mixes, no wipes or iDPM, with

simple linear/luminance keyers and no chroma keys.

Kayenne XL Package — User Manual 19

Section 1 — System Overview

•Number of inputs:

• Number of outputs:

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

• 24 to 48 for Kayak HD 100C, 150C

• 48 for Kayak HD 200C, 250C

• 48 to 96 for Kayak HD 200, 250

• 72 to 96 for Kayak HD 300, 350

• 96 for Kayak HD 400, 450

• 12 to 24 for Kayak HD 100C, 150C

• 24 for Kayak HD 200C, 250C

• 24 to 48 for Kayak HD 200, 250

• 36 to 48 for Kayak HD 300, 350

• 48 for Kayak HD 400, 450

• GPI (General Purpose Interface) inputs:

• 8 to 16 for Kayak HD 100C, 150C

• 16 for Kayak HD 200C, 250C

• 16 to 32 for Kayak HD 200, 250

• 24 to 32 for Kayak HD 300, 350

• 32 for Kayak HD 400, 450

• GPI/Tally Outputs:

• 32 to 64 for Kayak HD 100C, 150C

• 64 for Kayak HD 200C, 250C

• 64 to 128 for Kayak HD 200, 250

• 96 to 128 for Kayak HD 300, 350

• 128 for Kayak HD 400, 450

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

• Five background generators include black, white, and three color backgrounds

• Test pattern generator

• Two analog reference inputs (tri-level sync and black burst) and HD/SD serial digital input reference

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

20 Kayenne XL Package — User Manual

Introduction

• Freeze frame buffer on every full-function keyer

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

• YUV color correction on every keyer and background bus

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

• Eight serial ports for external machine control

Kayenne XL Package — User Manual 21

Section 1 — System Overview

Kayak HD Options

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

• Three additional iDPMs with 2D transforms and crops on keyers 2, 3,

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

• DPM Spektra Lighting, Defocus, Glow, and Output Recursives. Adds

• Four channels of eDPM with 2D transforms and crops that re-enter on

•Kurl for eDPM

• Spektra for eDPM

• RGB color correction option on every keyer and background bus, or per

and 4 per M/E

M/E. Includes Page Turn, Page Roll, Spheres, Ripples, Splits, Mirrors, and Slits

Spektra effects to all of the enabled DPMs in one M/E.

any M/E

input

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

• Remote monitoring and diagnostic support via NetCentral software

• KHD-PSU internal redundant power supply unit

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

• MatchDef™ Dual Video Source Scalar for converting 2 SD or HD sources to the production format, maximum of four for up to eight sources in the 4RU models, up to 16 sources in the 8RU models. One Mix/Effects or IOXPAND option required for every four sources. Scalars accept either HD or SD input and act as a frame-sync when not converting or being bypassed.

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

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

• Adds four DSKs for up to 12 keyers in the 4RU frame

• Or Half M/E Mode with A/B background mix and four Lin/Lum

keyers

• I/O Expander Module adds 24 SDI inputs, 12 SDI outputs, 8 GPI inputs, 32 GPI outputs/tallies, and optionally 4 MatchDef™ scalar inputs. Fits in any available M/E slot.

• Full M/E Upgrade Option. Adds one Mix/Effects module to any Kayak HD chassis. Order one or more options to get the total M/Es required. The 4RU chassis holds up to two M/E modules and/or I/O Expander modules. One M/E upgrade option can be added to a Kayak

22 Kayenne XL Package — User Manual

• Upgrade Kit for minor modifications of XtenDD panels to enable

RamRecorder

The HD RamRecorder is a solid state video server with six input/output channels. All stills and clips are stored within a common data pool and may be accessed by all six output channels. The HD RamRecorder supports video standards: 525, 625, 720, and 1080i.

Note To use the RamRecorder, a new 6910000xx or 7710060xx Controller Board

Introduction

HD 1-M/E or 1.5-M/E system if it does not also have an I/O Expander module. The 8RU chassis holds up to four M/E modules and/or I/O Expander modules. One or two upgrade options can be added to a Kayak HD or SD 2-M/E system, less any I/O Expander modules in the chassis.

control of a Kayak HD/SD video processor frame.

in the Mainframe is required. The new 6910000xx or 7710060xx Controller Board does not support software earlier than 6.8.8.

Total HD RamRecorder storage size is based on line rate units and the installed memory size of 4 GB or 8 GB, as shown in the following table.

Table 1. HD RamRecorder Storage Sizes

4GB 8GB

Line Rate Units Frames Seconds Frames Seconds

525i59.9 4911 163 9822 326

625i50 4161 165 8336 332

1080i50/sf25 863 33 1726 68

1080i60/59.9/sf30/29.9 863 28 1726 57

1080sf24/23.9 863 35 1726 71

720p50 1941 38 3883 77

720p60/59.9 1941 32 3883 64

Kayenne XL Package — User Manual 23

Section 1 — System Overview

Supported Control Protocols

• VTRs (BVW-75)

• AMP (Advanced Media Protocol). For Profile PVS, XP, K2, M Series,

• Video servers (Louth VDCP, Odetics)

• Routers/Routing Control Systems (Trinix™, Venus™, Triton™, and

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

• Grass Valley Under Monitor Displays (Serial tally for UMD. Requires

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

• ESAM II for audio-follow-video applications

• Edit controllers (native and Grass Valley Model 100 and 200 or DD35)

and Turbo DDRs. RS422 Serial supported

third party routers; Jupiter™ and Encore™ router control systems)

Grass Valley Andromeda™ system or third-part tally box such as Tally Display Corp. or Image Video.)

24 Kayenne XL Package — User Manual

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 XL Package to enhance its operational speed and flexibility. Understanding these con cepts, as well as basic switcher fundamentals, will help you take full advantage of the exceptional power of the Kayenne XL Package.

Kayenne XL Package Configuration Overview

The Kayenne XL Package is designed for operational flexibility, and can be configured to fit various applications. Different systems can have different capabilities, or the same Kayenne XL Package can be re-configured to have different capabilities at different times.

The way a Kayenne XL Package is wired into your facility affects the digital production switcher’s capabilities. For example, the number of sources physically connected to the system obviously determines what video the system can handle. However, because Kayenne XL Package video/key inputs and AUX Bus outputs can be configured, once video cables are phys ically connected they need not be moved. Configuration settings also control many other capabilities that affect Kayenne XL Package behavior.

Kayenne XL Package configuration information is divided into three areas:

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

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

• Configuration Settings (for example, a production that affect all the

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

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Section 2 — Concepts

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

All Kayenne XL Package settings are non-volatile. Disk save and load operations are available via the display menu (Sidepanel) that enable users to store configuration information on the hard disk of a PC or on a movable media for easy transport and for use as backup copies.

Installation (Engineering Setups)

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

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

Engineering Setups information includes:

• Networking (IP addresses),

• Timing, type of reference signal

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

• Various other system functions

Config — Application Control

The configuration defines how the control surfaces associated with a Kayenne XL Package suite behave. A configuration can substantially change system behavior, not just a user’s view of the system. The configu ration is saved in applications and is intended for day-to-day or session-tosession changes in system operating behavior. Applications are open for modification by operators.

Loading and Storing applications can be performed using the control panel or side panel operation menu (

Config Applications include:

Config).

• EMEM

• Macros

• Key Memory

• Pattern Memory

26 Kayenne XL Package — User Manual

• Safe title behavior

• Video specifications (such as aspect ratio)

• Various other suite functions

Personal Settings

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

Personal Settings include:

• Menu delegation behavior,

• Shift preferences

• Various other user functions.

General Rule:

Installation (Engineering Setups)

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

device, are part of Installation (menu).

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

device, are part of Configuration (menu).

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

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Section 2 — Concepts

Signal Routing

Inputs and Sources

In this section you will find information regarding the switcher input sources, crosspoints and buses.

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

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

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

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

Source Definition

The source definition process includes assigning a name to each input source. Once sources are defined, you can then select the source by name in the control panel menu. Sources that use separate video and key signals are coupled in the Input menu to enable a single button to select the video-key pair from the switcher control panel. Tally relays can be assigned to the cor responding inputs in the Config - GPO/Tally menu. All these settings are part of a configuration and may change from production to production.

28 Kayenne XL Package — User Manual

Button Assignment (Source to Button Mapping)

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

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

Note EMEM effects store Source IDs, not the source select buttons, so remapping

sources does not change the appearance of recalled effects.

You can also assign sources to buttons using the Sidepanel program.

Key Memory

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

Signal Routing

Buses and Crosspoints

A bus is technically defined as a signal path where one of several available inputs can be selected to feed a single output. A crosspoint is an electronic switch that enable 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 ground A bus. This signal can now be called background video and is avail- able for further processing.

Figure 1. Buses with Crosspoints

Figure 1 on page 29, source 2 has been selected on the back-

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

Kayenne XL Package — User Manual 29

Section 2 — Concepts

8324_07_r1

output signal going out the right side. In earlier generation switchers, the terms crosspoint button and crosspoint bus have been used in reference to control panel source selection.

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

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

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

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

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

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

Figure 2

Figure 2. Multiple Crosspoint Control

30 Kayenne XL Package — User Manual

Shifted Sources

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

For example, on the Kayenne XL Package 400 system, up to 35 sources can be mapped at one time, 14 to the unshifted source selection, and 14 to the shifted buttons. A dedicated crosspoint button (Crosspoint 15) for every bus. Two shift modes are avail able: Normal and Latched.

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

Signal Routing

Shift button is provided as the farthest right

the state of the pressing a source button always selects the shifted source for that bus. The

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

shifted.

Shift button light. Holding down the Shift button while

•In Latched mode, the

to the indicate that the subsequent selection(s) on the crosspoint selector row will be made from the shifted set of sources (15 through 28). When off, the subsequent selection(s) come from the unshifted set (1 through 14). If the user toggles the shift state for the currently selected input, then the crosspoint selector button blinks to indicate this “out of sync” condition.

A useful configuration is to have sources normally used for backgrounds (for example, VTRs) mapped to unshifted buttons, and sources normally used as keys (for example, character generators) mapped to shifted but tons. Then you can then set all the background buses to an unshifted preference, and all the key buses to a shifted preference. All normal source selections can then be made without having to use the shift modifier but tons.

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

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

Source Scalars (HD Only)

Shift button toggles on and off in a manner similar

Shift button to the state that is opposite from the

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

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

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Section 2 — Concepts

Mix/Effects (M/E) Stage

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

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

page 33 for more information).

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

Figure 3. Simplified Mix Effects (M/E) Subsystem

Effects Send on

Source Signal Inputs

Crosspoint

Matrix

Key Fill

Key Cut

Background A

Background B

Keyer

Wipe

Generator

Mixer

M/E Outputs

M/E Program

M/E Preview

061_00_22_r1

The basic M/E shown in Figure 3 on page 32 has an A and a B background bus. These buses select the background video signals sent to the output of the M/E.

Generally the source on the background A bus is the current background output, and the source on the background B bus is the background video that will be used next. During most transitions, portions of both back

grounds are output simultaneously. The keyers in the M/E enable 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 to the mixer.

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

Alternate Buses and Delegation

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

32 Kayenne XL Package — User Manual

Utility Bus

Effects Send

Mix/Effects (M/E) Stage

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

Besides the standard A and B background inputs, each Kayenne XL Package also accepts two Utility inputs. The 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 the Utility bus can be used to feed a custom pattern into a wipe generator, or create a custom border wash pattern.

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

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

Figure 4. Effects Send Diagram

Digital

Source Signal Inputs

Source

Selection

Buses

Keyer

M/E

Effects

System

Mixer

M/E Outputs

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

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Section 2 — Concepts

Kayenne XL Package Outputs

Kayenne XL Package AUX Buses and Output Assignments

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

AUX Bus outputs may also be used for special purposes.

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

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

Resource Sharing and Point of Use

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

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

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

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

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 M/E wipe transition and a preset pat tern, adjusting softness at one point of use will not affect the other’s softness settings. However, changing the pattern shape affects both locations.

34 Kayenne XL Package — User Manual

Transition

Cut

Transition

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

•Cut

•Mix

•Wipe

•DPM (optional)

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

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

The 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. Back ground cut transitions on the M/E are first selected on the Background B bus to enable previewing the upcoming picture before it is cut

Mix

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

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

Full Additive Mix

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

On Air.

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Section 2 — Concepts

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Figure 5. Normal and FAM Mixes

FAM transitions 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 generating illegal video.

36 Kayenne XL Package — User Manual

Additive Transition

ADD

Additive Transition (ADD) is a special mix transition that Kayenne XL Package supports besides normal crossfade transitions. Picture elements in Additive Transitions are composited differently through the time of the transition.

Figure 6. Normal and ADD Mixes

Additive Transition

Wipes

Additive transitions 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 generating illegal video.

Additive transitions can be selected either with the ADD button in the Tra n-

sition modules of the control panel or the ADD button in the side panel's M/E Main menu.

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 XL Package M/E has two separate transition wipe systems, each of which can be assigned a different wipe pattern and be adjusted independently. These systems can each use one of the two available complex wipe pattern generators with advanced capabilities. It is also pos sible 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.

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Section 2 — Concepts

Other Wipe Pattern Generator Uses

Preset Black

Wipe pattern generator circuitry can be used for purposes that do not involve transitions. Each Kayenne XL Package M/E has the two complex wipe pattern generators described above, and each of its four Keyers also has a simple pattern generator and a box pattern generator, making a total of six wipe generators. These pattern generators can also be used for Preset Pattern, Masking, and Matte Washes.

Preset Black 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.

Fade to Black

The Fade to Black control in the DSK enable the Program output of the switcher to be brought down to black at a predetermined transition rate.

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 on the control panel. It is also possible to manually control transitions using a lever arm.

On the Kayak HD system, one transition rate can be assigned to the main transition of the M/E. This type of transition can be controlled by that M/E’s lever arm. Each of the four keyers on the M/E can also be assigned its own transition rate, initiated with a separate

Flip Flop Background Buses

At the completion of a transition, the background buses swap their source selections (flip-flop). This makes the upper bus always act as the on-air bus, and the lower bus act as a preset bus. The operator can reliably setup the next source on the lower bus without disturbing the source selected on the on-air upper bus.

Key Mix button.

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,

38 Kayenne XL Package — User Manual

source 2 will be taken to the Background A bus (without disturbing the output of the M/E). The source 1 selection will also be immediately taken to the Background B bus.

Look Ahead Preview

If a preview monitor is configured for Look Ahead Preview mode, the end result of the upcoming transition can be viewed on that monitor. This lets the operator know in advance what will occur for that next transition.

Current and Next Stack

Kayenne XL Package uses a current and next stack approach for transitions that involve multiple elements. The current stack is the current M/E output including any keys that are on. The next stack is defined by the current stack and whatever next transition elements have been selected. Look ahead preview always displays the next stack. Next transition elements affecting stacks are Keys 1 - 4, background, and key priority.

Additive Transition

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 Kayak HD system, opacity is retained throughout the transition, so midway through this example Key 1 remains fully keyed over Background A, and Key 2 is fully keyed over Background B. The transition occurs between these two fully keyed composites.

If multiple keys are faded in or out using the separate Mix button each keyer has it is opacity changed with relation to all other keys. This means that keyer transitioned this way are no longer considered part of the composite and will show transparency.

Key Priority and Transitions

The four keyers on a Kayenne XL Package M/E can be assigned priorities. This determines the layering of the keys. The highest priority key appears on top, while keyers with lower priority may be partially or fully hidden behind those with higher key priorities. The backgrounds always have the lowest priority. Changes in key priority can be included as a part of a tran sition.

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Section 2 — Concepts

Half M/E and DSK Option

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.

The Half M/E and DSK option is available to add an additional M/E with cuts and mixes on backgrounds and keyers. The output of this Half M/E can be re-entered into any other M/E, and/or be assigned to an Aux output. The Half M/E is controlled by delegating any switcher bank with a single button press.

DSK capa bility that add s four ex tra key ers is al so inclu ded wit h this o ption. Half M/E and DSK functionality cannot be used simultaneously, however.

40 Kayenne XL Package — User Manual

Keying

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 fill. A separate key cut input signal is not necessarily required for keying. For example, a self key (also called a video key) uses the same input signal for both key cut and key fill.

The Kayak HD system supports the following types of keys:

• Additive Key

• Luminance Key

•Linear Key

•Chroma Key

• Preset Pattern

The 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 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 7). Because luminance values of the key cut signal are used to cut the hole in the background this is called a luminance key.

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Section 2 — Concepts

Key Cut

Key Fill

Background

Background with Matte Key Inserted

LOGOLOGO

Figure 7. Matte Fill Luminance Keying Example

Shaping Video

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.

Some external devices (for example, 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 back ground signal (with a hole cut) and achieve the desired result.

The appropriate key mode for this type of signal is the additive key.

If a key fill does not match the hole in the background (like in the matte key example above), the key fill needs to be shaped by the switcher. By 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 appropriate key mode for this type of signal is the Linear key or Luminance Key.

42 Kayenne XL Package — User Manual

See the section on Properly and Improperly Shaped Video on page 52 for more

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

0618_00_31_r1

information.

Note that an unshaped signal viewed directly will show harsh edge artifacts due to dividing by a small number. This is normal and expected.

Keying this signal will clean up its appearance.

Key Control Signal Adjustment

During keying, the selected key cut signal can be converted into a key control signal. It is the key control signal that actually cuts the hole in the background video. Adjusting the key control signal (Clip and Gain) is essential in the keying process. The art of setting up a good key is to use just enough Gain to suppress any imperfections in the incoming key signals.

Setting Gain too high can cause ragged key edges.

The Kayak HD 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.

Keying

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 8. Key Clip, Gain, and Key Control Signal

Clip and Gain control is appropriate for high gain keys (see below), to

Kayenne XL Package — User Manual 43

easily adjust where the relatively hard transition from background to fill

Section 2 — Concepts

Key Cut

Signal

Clip

Gain

0618_00_29

Clip Hi

Clip Lo

High Gain, Low Gain, and Unity Gain

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.

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 9. Keying Gain Values

Figure 9). Note that the Kayak HD system also supports keys

On the this 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).

Clip Hi and Clip Lo

The Kayak HD system also supports a Clip Hi and Clip Lo mechanism. With Clip Hi and Clip Lo, two thresholds are established. The upper threshold specifies at what point video will be completely removed from the background, and the lower threshold determines at what point back ground video will be retained completely intact.

44 Kayenne XL Package — User Manual

Figure 10. Key Hi, Clip Lo vs. Clip and Gain

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Key Control Signal

S-Shaped

Key Control Signal

Keying

Clip Hi

Clip Lo

Key Cut

Signal

Clip

Gain

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In this mode, Gain changes when either control is adjusted. The difference between the upper and lower keying thresholds is equivalent to gain:

• Clip Hi = Clip + Gain/2

• Clip Lo = Clip – Gain/2

Clip Hi and Lo control is more appropriate for low gain keys, to enable 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 Kayak HD 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 11. S-Shaped Luminance Key Control Signal

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Section 2 — Concepts

Additional Keying Controls

Key Invert

Masking

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.

The following additional controls are available for keying.

Keys can be inverted, causing holes to be cut in the background where a normal key retains the background, and vice versa. Key invert makes the white areas of the key cut signal produce transparency, and the black areas produce opacity, the opposite of a standard key.

Masking defines areas that are protected from keying (Inhibit Mask) or always key (Force Mask). The shape of the mask can originate from a wipe pattern generator or by a selected mask signal (typically a key fill signal delivered via the Utility bus).

With the Kayenne XL Package RamRecorder (Still Store), the mask signal can be a frozen page of video or a key fill. Complex mask shapes are often easier to draw by hand than to create with multiple wipe patterns.

Opacity

The opacity of a key can be adjusted. When opacity is reduced below 100%, some background video is allowed to show through areas where it is 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 enable 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

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

46 Kayenne XL Package — User Manual

Coring

Show Key

Linear Key

Keying

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.

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.

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 enable 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.

Kayenne XL Package — User Manual 47

Section 2 — Concepts

LOGO

Figure 12. Linear Keying

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 smoothly with the background. In the Kayak HD System the Linear Key is just a special parameter setup of the Luminance Key

Key Hole in Background

Invert

Completed

Linear Key

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enable these edges to blend

48 Kayenne XL Package — User Manual

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 13. Luminance Keying (Self Key)

Keying

Background Video

Key Source

(video only)

Clip

Gain

Key Hole in Background

Invert

Key Control

Completed

Luminance Key

Key Fill

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

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Section 2 — Concepts

Background Video

Chroma Key Source

(video only)

Backing Colors Selected Key Control

Completed

Chroma Key

Chroma Key Fill

Backing Color Suppressed

Additive Chroma Key

Multiplicative Chroma Key

Key Hole in Background

Clip

Gain

Chroma Key

Primary

Suppression

Chroma Key Fill

Backing Color Removed

Invert

Chroma Key

Secondary

Suppression

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Chroma Key

A chroma key is a key that detects color (rather than luminance) in a video image and replaces it with a new background. For example, a reporter may be in a studio sitting in front of a backdrop with a blue or green backing color, and the new background can be a mountain scene. The completed chroma key consists of the mountain scene replacing the backing color, cre ating the illusion that the reporter is sitting in front of the mountain.

Figure 14. Chroma Key (Additive or Multiplicative)

50 Kayenne XL Package — User Manual

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.

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 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 back ground outside the keyed area. This is called a multiplicative chroma key (used when the system Foreground Reshaping feature is on). Setting up a successful chroma key setup involves many more adjustments than other keys. No amount of adjustment, however, can overcome problems caused by an improperly set up studio chroma key scene.

Primary and Secondary Color Suppression

As described above, chroma key primary color suppression replaces the old backing color with black before replacing it with the new background video. It usually has a very low selectivity and therefore suppresses a wide range of colors. The goal is to suppress as much of the backing color as 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 Kayak HD system has a shadow generator that can be used to include shadows that fall on the backing area of the scene in the background.

Kayenne XL Package — User Manual 51

Section 2 — Concepts

Preset Pattern

Shadow offset, range, and density controls are also available that offer control over the placement and appearance of the added shadow.

A preset pattern uses a wipe pattern generator, rather than an incoming key cut signal to define the hole cut in the background. Key clip and gain con trols are not available for a preset pattern, but controls over the location, size, border, opacity, and edge softness are available.

Figure 15. Preset Pattern

Background

Pattern Key Cut

Background with Preset Pattern Inserted

Key Fill

Split Key

A split key uses an alternative key cut signal for keying. On the Kayak HD system, a key split is performed by holding down the selecting the desired key cut signal.

Split keys should normally treat the fill as unshaped since by definition a split key uses a fill that is not related to the cut; that means the normal mode for keying is Luminance or Linear Key Mode.

Properly and Improperly Shaped Video

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Key Split button and

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

52 Kayenne XL Package — User Manual

DPM’s key signal, fill video that has been set as a shaped output, and fill

8447_03r0

video set as unshaped is shown in

Figure 16. Video and Key Signals from DPM

When the shaping is done properly (using either shaped (Additive Key) or unshaped (Luminance Key) key fill), the desired output is the result

Figure 13 on page 49).

(

Keying

Figure 19 on page 54.

Figure 17. Correctly Shaped DPM Key Example

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Kayenne XL Package — User Manual 53

Section 2 — Concepts

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Invert

Background Key Hole in Background

Key Control

Shaping Circuit On

Doubly-Shaped

Video

Incorrect Key

with Dark Halo

Shaped Key Fill

Correct Key

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Figure 18. Incorrect Key with Dark Halo

Figure 19. Incorrect Keying with Shaped Input

In this case the shaped input is incorrectly shaped again, sometimes called a double-multiply. Luminance Key was used for shaped key fill signal.

When the DPM provides an unshaped video output but the key is processed as though it were shaped, excessive luminance occurs where the key fill video and key hole edges overlap, producing a white halo around the key. Additive Key was used for unshaped key fill signal.

54 Kayenne XL Package — User Manual

Figure 20. Incorrect Key with White Halo

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Invert

Background Key Hole in Background

Key Control

Shaping Circuit Off

Unshaped

Video

Incorrect Key

with White Halo

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Unshaped

Key Fill

Correct Key

In this case the unshaped video fails to be shaped at all.

Keying

Figure 21. Incorrect Keying with Unshaped Key Fill

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

Kayenne XL Package — User Manual 55

Section 2 — Concepts

Downstream Keyers (Half M/E and DSK Option)

Flexible Chroma Keyers

Besides the six standard full-function keyers, an additional four simple (Linear and Luminance only) Downstream Keyers are available as an option (as part of the Half M/E and DSK Upgrade). These DSKs can be coupled to any M/E in the system to operate downstream of that M/E. The DSKs do not support chroma keys or DPM effects.

A Half M/E that provides additional mix and cut functions is also included with this option. Half M/E and DSK functionality cannot be used simulta neously, however.

Additional Dual Chromatte flexible chroma keyers are also available as an option. Two chroma keyers are included with each option. Each chroma keyer can be flexibly assigned to any desired keyer in any M/E.

56 Kayenne XL Package — User Manual

3-D Digital Effects Concepts

X Axis Translate Y Axis Translate Z Axis Translate

(moved farther away)

0865_10

The Kayak HD Digital Picture Manipulator options provide 3-D planar image translation and transformation from within each M/E of the system. Image translation has special basic concepts and terminology you should understand in order to get the most out of using the option.

Definition of Terms

• iDPM - internal Digital Picture Manipulator using M/E resources

• eDPM - expanded (external) Digital Picture Manipulator without using M/E resources. The Kayenne XL Package 8 RU mainframe provides an expansion slot that can house a single M/E Board. This hardware option can be utilized to provide up to 4 channels of Expansion Video/Key DPM (DVE) known as eDPM.

3-D Digital Effects Concepts

Translation and Transformation

Figure 22. Picture Translation

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.

Transformation includes translation, and also includes these other functions:

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Section 2 — Concepts

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X Rotate

(Around Y Axis)

Y Rotate

(Around X Axis)

Z Axis Rotate

Size

Rotate

Figure 23. Rotate

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 rotation about the reference axis in the X, Y, and Z dimensions (

Figure 23). Rotate is limited to ± one half revolution, and will always take

the shortest path to the new position. Rotate uses Quaternion mathematics to calculate the move with increased accuracy. Multiple rotations are per

formed with the Spin function.

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 mathematics to cal culate the move, which is not quite as precise as Quaternion, but permits multiple rotations. Spin applies transform values in Z, X, Y order, so editing effects in this axis order provides the best control of the effect.

Note Following broadcast conventions, moving the Joystick forward or back along

the Joystick’s Y axis rotates the top of the picture forward or back (a rotation about the X reference axis). Similarly, moving the Joystick left or right along the Joystick’s X axis rotates the side picture left or right (a rotation about the Y reference axis).

58 Kayenne XL Package — User Manual

Figure 24. Aspect, Skew, Perspective

0865_11

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 24). Z axis changes affect both X and Y dimensions, and is the same as Size.

3-D Digital Effects Concepts

Skew

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

Figure 24).

Perspective

Changing the viewer’s apparent viewpoint of a picture. This only applies when a picture is tilted so part of it is farther from the viewer.

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

Figure 24 on page 59). Multi-channel perspective is discussed later in this

section.

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Section 2 — Concepts

0865_08

Axis at

Center of Picture

Z Axis Rotation at

Different Axis Locations

Axis Off

Center of Picture

Axis Off Screen

Axis Location

The axis location of the channel determines the center point of translations, spins, and rotations for that channel. You can move the axis to a new loca tion to change the behavior of that channel. The axis location can be within or outside the screen area.

Z Axis Rotation at Different Axis Locations

Figure 25. Frame of Reference Axis Locations

Source and Target Space

The Kayenne XL Package Digital Picture Manipulator uses source and target space frames of reference.

• Source space for a control channel uses that channel’s coordinate system for reference.

• Target space for a channel uses the next higher level’s coordinate  system for reference.

Being able to use both source and target space can help make effects editing easier. One frame of reference may offer a simple and easy to understand context for a picture transform, while in another frame of reference the same transform may be difficult to understand and control. Kayenne XL Package Digital Picture Manipulator effects can also employ both source and target space directed transforms simultaneously, which can create complex and beautiful effects.

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

60 Kayenne XL Package — User Manual

Figure 26. Source and Target Space

3-D Digital Effects Concepts

Source

Transformed

Picture

Target

Monitor Screen

0865_03

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 27. Source and Target Space Translation

0865_04

Source Translate

Along X Axis

Target Translate

Along X Axis

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. Note that the target translate of the channel is the same as a source translate of the global channel.

Kayenne XL Package — User Manual 61

Section 2 — Concepts

Global Channel

Camera Channel

0865_06

Global Channel Source Translate

Along X Axis

Global Channel TargetTranslate

Along X Axis

Figure 28. Channel Translate with Global Rotated

0865_0

Global Channel

Logical Channel Source Translate

Logical Channel Target Translate

Along X Axis

Figure 29. Global Channel Translate with Global Rotated

Global Channel

Along X Axis

Post Transform Space

62 Kayenne XL Package — User Manual

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 30). 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 30. Post Transform Translation

3-D Digital Effects Concepts

0865_09

X Axis Translation

with Locate 3-D

All post transform functions are made relative to the monitor screen frame of reference. For example, a positive X post transform always moves to the right side of the screen.

Front and Back, Near and Far

Pictures manipulated by a Kayak HD Digital Picture Manipulator have front and back sides, each of which is revealed in turn as the picture spins or rotates. After a picture has been translated it can be difficult to determine which side was originally on the front and which was originally on the back. This distinction can be important when, for example, different sources are being selected for different sides of an effect.

The 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 do not need to know whether the image being changed is actually the front or back side.

X Axis Translation

with Post Xform

Transform Numbering Systems

The Kayenne XL Package Digital Picture Manipulator uses the following numbering systems to precisely define picture locations, picture size, and picture rotation and spin.

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Section 2 — Concepts

+3Y

-3Y

+4X-4X

+9Y

-9Y

+16X

-16X

0865_01

Screen Coordinates

Figure 31. Screen Coordinates

The Kayenne XL Package Digital Picture Manipulator accommodates two different aspect ratios, 4 x 3 and 16 x 9, selectable via the Video Standards menu. In 4 x 3 mode, the screen is six units high and eight units wide. In 16 x 9 mode, the screen is 18 units high and 32 units wide. The numbering system begins in the center of the screen, and has the standard horizontal X axis and the vertical Y axis ( 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).

Figure 31). For simplicity, examples in this

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 32).

64 Kayenne XL Package — User Manual

Figure 32. Viewer Location in 3-D Space

-Z

Target

Viewer

- 16.67 Screen Units

+ 16.67 Screen Units

0865_02

Source

3-D Digital Effects Concepts

Size

Rotation

Spin

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.

Picture size is defined relative to picture screen units. A size of 0.50 indicates a picture is one-half its full size in linear edge measures. It is one quarter of its full size area.

Rotation 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.

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.

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Section 2 — Concepts

Skew

Aspect

Perspective

Spin and Rotation Relationship

Skew supports values of ±999, though extreme values will probably rarely be used.

Aspect values are in percentage of the original size, with 1.0 = 100%, 

0.5 = 50%, etc.

Perspective supports values from 0-100, with 0.06 as the default in 4x3 operation and 0.015 in 16x9.

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 33. Spin and Rotate Transform Nesting

Spin

Source

Rotate Source

Rotate

Target

Spin

Target

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66 Kayenne XL Package — User Manual

Path Control

3-D Digital Effects Concepts

Paths

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

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

• HOLD — No interpolation. Keyframes hold their values for their dura-

tions, then change all at once for the next keyframe.

• LINEAR — Applies a linear interpolation between keyframes; no accel-

eration or deceleration is applied. Movement is mechanical with a con-

stant 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.

Figure 34 on page 67):

• CURVE — This selection causes a rounded path through the keyframe.

Paths are user adjustable with path modifiers (tension, continuity, and

bias) described below.

Figure 34. Path Types

KF1

Slow

KF2

KF3

Hold Linear

KF2

Stop

Fast

Slow

KF1

Constant

KF 1

Fast

Slow

Speed

Slow

Fast

Slow

KF2

KF3

KF2

KF3

S-Linear Curve

KF3

0721_06_45_r1

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Section 2 — Concepts

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 keyframe, 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).

68 Kayenne XL Package — User Manual

3-D Digital Effects Concepts

KF1

KF2

KF3

Tension

Vector

–

Bias

Vector

Continuity

Vector

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Path Vectors

With respect to the path between keyframes, each keyframe is made up of three vector parameters as shown below. 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 35. Path Vectors

Vector Values

Path vector setting values of ± 1.0 are available, same as the Thomson Grass Valley

Kaleidoscope DPM.

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Section 2 — Concepts

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 36. Tension Control Setting Zero

Figure 36).

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 37). The

70 Kayenne XL Package — User Manual

Figure 37. Tension Control Setting 1.0

Tension = 1.0

KF1

KF2

KF3

No Tension Vector

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Tension = -1.0

KF1

KF2

KF3

Tension

Vector

0721_06_49_r0

3-D Digital Effects Concepts

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 38). The longer path will appear to make the image speed up through KF2 as it travels from KF1 to KF3.

Figure 38. Tension Control Setting - 1.0

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Section 2 — Concepts

Continuity = 0.0

KF1 KF2

KF3

0721_06_50_r0

–

Continuity

Vector

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

( path of the other controls.

Figure 39. 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 39 on page 72).

72 Kayenne XL Package — User Manual

Figure 40. Continuity Control Setting 1.0

Continuity = -1.0

KF1

KF2

KF3

–

Continuity

Vector

3-D Digital Effects Concepts

KF1

Continuity

Vector

Continuity = 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 41. Continuity Control Setting - 1.0

KF2

–

KF3

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Section 2 — Concepts

Bias = 0.0

KF1

KF2

KF3

Bias

Vector

Tension

Vector

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Bias Control

The BIAS control determines whether the path will be pulled towards the previous or the following keyframe. With extreme settings, all of the biasing will occur either before or after KF2. With bias set to 0 (zero), the curve through the keyframe is gentle as shown in

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

Figure 42. Bias Control Setting Zero

Figure 42.

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3-D Digital Effects Concepts

Bias = 1.0

KF1

KF2

KF3

Entry

Bias

Tension

Vector

0721_06_54_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 keyframe, and the path of the effect travels completely through KF2 before turning towards KF3.

Figure 43. Bias Control Setting 1.0

With the bias set to -1.0, the path is pulled towards the previous keyframe. Entry into and exit from the keyframe is a straight line to the following key frame.

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Section 2 — Concepts

Bias = -1.0

KF1

KF2

KF3

Exit Bias

Tension

Vector

0721_06_55_r0

Figure 44. Bias Control Setting - 1.0

76 Kayenne XL Package — User Manual

Sure Touch

3-D Digital Effects Concepts

Sure Touch changes the way in which effects behave during recall and playback, providing more control and flexibility. An effect can be safely recalled using two new modes which eliminate abrupt changes: hence the name Sure Touch is being used. When using a Sure Touch mode, the effect adapts itself to the switcher’s current state. Upon recall of any effect, no changes are made to the current state, regardless of the nature or the composition of the effect. Then, when the effect is run, the relative changes from the inter polated effect are applied instead of the traditional absolute output. Only elements which changed over the course of the original effect are affected.

One way of thinking about safe touch is to think of it as running an effect in “relative” mode.

These changes can be applied in different ways, allowing the effect to interpolate on a path parallel to the original effect (Parallel mode), or on a path that converges the changing state smoothly to the actual end state of the original effect ( prior to recalling an effect, or it can be saved with the effect to be used auto matically.

Converge mode). A safe touch mode can be “forced on” just

This feature changes the paradigm of control for effects, allowing effects to be applied under more flexible set of conditions and also to be used as spe cialized functions to perform specific actions.

Within the DPM timeline system, when an effect is first created, a snapshot of all values is saved. For any subsequent keyframes, only values which have changed are then saved. Those values that have changed are referred to as “bound elements” and are subject to interpolation as the effect runs.

When an effect is recalled in a sure touch mode, the current states of the bound elements are read by the timeline system. These values are com pared with the original first keyframe (snapshot) of the effect, and an “offset” or “new zero” is established for each bound element of the effect. This “offset” is then applied during all subsequent fields of the effect. A new “offset” is established each time the effect is recalled. The result is that a “new effect” is established each time the effect is recalled.

The essential result is this: When an effect is recalled in a safe touch mode, only those values which underwent changes after the first key-frame of the original effect are touched, and only changes in values are applied.

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Section 2 — Concepts

KF-1

KF-2

KF- 1

KF-2

8447_08r0

Parallel Mode Example

For example, suppose we have the following effect.

• Effect 3: The channel is at 50% size and on screen in the upper left. It is

moved off screen to the right.

• Keyframe 1: locate X = -2.0, locate Y = 1.0, size = 50%.

Keyframe 2: locate X = 8.0.

Figure 45. Parallel Mode Example

Now suppose that the image is centered and size = 30%. Next, effect 3 is recalled in sure touch “parallel” mode.

78 Kayenne XL Package — User Manual

Converge Mode Example

8447_09r0

KF-1

KF-2

Sure touch converge mode begins in the same way as parallel mode, but the effect converges to the absolute end state of the effect over the course of the effect.

• Effect 2: Starts with the image centered and 30% size. Image is spun off screen to the right and down

• Keyframe 1: size = 30%

• Keyframe 2: locate X = 8.0, locate Y = -6.0, spin Z = 1.875.

Figure 46. Converge Mode Example

3-D Digital Effects Concepts

Now suppose the starting image is moved up and right and then effect 2 is recalled with sure touch “converge” mode. The result would appear as shown here. The effect converges towards the original effect over the dura

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Section 2 — Concepts

8447_10r0

KF-1

KF-2

tion of the effect. The final keyframe of the effect would set the location and spin Z to exactly the same values as in the original effect.

Figure 47. Converge Mode Example (continued)

80 Kayenne XL Package — User Manual

Comparing Parallel and Converge Modes

8447_11r0

KF-1

KF-2

KF-3

8447_12r0

KF-1

KF-2

KF-3

Suppose we have an effect 5 which is as follows:

• Effect 5: The channel is 5% size, off screen to the left, and moves in a sweeping path towards the lower left screen and finally ending in upper right at 25% size.

• Keyframe 1: size = 5%, locate X = -6.0.

• Keyframe 2: size = 15%, locate X = -2.0, locate Y = -2.0.

• Keyframe 3: size = 25%, locate X = 2.0, locate Y = 1.5.

Figure 48. Comparing Parallel and Converge Modes

3-D Digital Effects Concepts

The result of moving the starting image location and recalling this effect in parallel mode (red) and converge mode (green) is shown here.

Figure 49. Comparing Parallel and Converge Modes (continued)

Obviously, there are ways to use sure touch which would create a bad result, as in the red case.

Kayenne XL Package — User Manual 81

Section 2 — Concepts

82 Kayenne XL Package — User Manual

Control Panel

The Grass Valley Kayak HD 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-M/E to 4.5M/Es, Kayenne XL Packages combine features available in the Grass Valley Kalypso and Kayak HD switchers along with additional capabilities previ ously unavailable in any video production switcher by any manufacturer.

A Kayenne XL control surface consists of a Control Panel, a Menu Panel with an included articulated support arm, a Panel Control Unit frame, and optional Satellite panels. This control surface has an innovative modular design, permitting customized operator control layouts.

Control Panel Modules

Section 3

The following Kayenne XL Control Panel and Satellite modules are  available:

• KAYN-PNL-TRM - Transition Module, used to control M/E transitions and keying.

• KAYN-PNL-LEM - Local EMEM Module, used to control EMEM effects on that M/E stripe.

• KAYN-PNL-M/EM - Master EMEM Module, used for delegated EMEM control of any or all system M/Es.

• KAYN-PNL-MFM - Multi-Function Module, used for delegated control of various functions.

• KAYN-PNL-DCM - Device Control Module, used for internal and external .

• KAYN-PNL-SRC-35, 25, 15 - Source Module, available in 35, 25, and 15 button widths, used for M/E source selection.

• KAYN-PNL-BAR-35, 25, 15 - Panel Bar, available in three sizes to match various control panel widths, used for device control and macros.

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Section 3 — Control Panel

Crossbar Selection

M/E1 M/E2 M/E3 PP

Aux Control Panel Local EMEM Transition Panel Display Panel

Machine Control Panel

Multi-Function Panel

Master EMEM Panel

Row D

Row C

Row B

Row A

• KAYN-PNL-AUX-35, 25, 15 - Local Aux Module, available in 35, 25, and 15 button widths, used for Aux Bus control.

Representative Kayenne XL 4M/E control surfaces are shown in the

Figure 50 on page 84.

Figure 50. Overview of Kayenne XL Package Control Panel

•Row A:

• 35 button source and bus select

• Transition

•Local EMEM

• Master EMEM

84 Kayenne XL Package — User Manual

•Row B:

• 35 button source and bus select

• Transition

•EMEM

• Multi-function module with joystick

• Row C:

• 35 button source and bus select

• Transition

•EMEM

• Machine control

•Row D:

• 35 button source and bus select

• Transition

•EMEM

Control Panel Modules

• Optional panel

• System bar with 6 device control sections

• 35 buttton source for local aux panel

• Display panel

Touch Screen Menu Panel and PC Menu Control

Each Kayenne XL control surface includes a Menu Panel that features a wide format touch screen display. An articulated arm is also included, offering a wide variety of installation options.

An additional touch screen Kayenne XL Menu Panel is available as an option. It is also possible to run the Kayenne XL menu application on a standard PC, permitting mouse and keyboard control from a laptop, or remote control from any location on the network.

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Section 3 — Control Panel

Kayenne XL Features

The following features are available:

• up to 4.5 M/E switcher

• 6 keys per M/E (half M/E 4 keyer)

• 2 frames of V/K storage per keyers on M/E1/M/E2/M/E3 and PP

• 16 integrated DPMs (4 per M/E on M/E1, M/E2, M/E3 and PP)

• 4 channels of expansion DPM (M/E board in the Expansion slot)

• 1000 EMEMs

• 1000 macros

• Multi-format input and output conversion (MatchDef and SetDef)

• FlexiKey (4 PGM, 2 PVW per M/E 2PGM 1 PVW on the half M/E)

• Define EMEM

• Macro Editing

86 Kayenne XL Package — User Manual

Button Color Definitions

Green low/highlight

• Static function selection/toggle with indication when function is enabled (On/Off).

Yellow lowlight

• Available functions with subselection (2nd page) via button "Next" or double-click.

Yellow highlight

• Function is enabled but not delegated.

Orange lowlight

• Available sub-selection(s) (2nd page) with On/Off status indication.

Orange highlight

Control Panel Modules

• Sub-selection(s) (2nd page) are enabled but not delegated.

Blue lowlight

• Delegation buttons for embedded menu controls.

Blue highlight

• Indicates selection.

Magenta lowlight

• Indicates preselection and available digipot delegations. Enables next level of controls.

Magenta highlight

• Indicates activated/enabled selection and digipot delegations.

White lowlight

• Available selection and static On/Off.

White highlight

• Confirmed selection.

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Section 3 — Control Panel

Source Selection

Figure 51. Kayenne XL Source Select Panel

Overview

The functionality described in this section refers to the following groups of buttons groupings and status displays:

• Source select buttons

• Source name displays (SNDs)

• Shift buttons

• Hold buttons (not yet implemented)

• Row delegation buttons

• Row select buttons:

• M/E bus select buttons: K1, …, K6, A, B, U1, U2

• Aux bus select button: Aux

• Macro select button: Macro

• Router select button: Rtr

• EMEM select button: EMEM

• eDPM select button: eDPM

• Define Memo select button: Define Memo

• Other buttons: Far, Key Split

88 Kayenne XL Package — User Manual

Figure 52. Kayenne XL Source Select Panel Right Part

Key Split

Far

eDPM Define

Memo

Aux

Hold Key

Key 4

Key 6

Router

EMEM

Hold Key

Key 3

Key 5

Macro

Hold

Hold B U2

3rd 2nd

Direct Trans

Auto

Trans

BGDA

BGDB

M3 A

RAM5

BLCK

2RD

MEhA

RAM5

BLCK BLCK

3RD

AXDL

AUX1

RAM5

BLCK

2RD

RAM5

BLCK BLCK

3RD

Source Selection

Source Select Buttons

Depending on the panel type modules are available with 15, 25 or 35 source selection buttons per row.

The source select buttons can be mapped as:

•Switcher sources

• Shift function

• Row delegation function

By convention, it is assumed (but not required) that starting from the right and working to the left source select buttons will be mapped as:

• 0 or 1 row delegation buttons

• 0 to 3 shift buttons

• Primary source select buttons

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Section 3 — Control Panel

The default mapping of a 4M/E switcher will be, from right to left:

• Button 35: Row delegation button

• Buttons 33 and 34: Shift buttons

• Buttons 30, 31, and 32: M/E re-entry buttons

The button of the selected input is highlighted. If the input is assigned to a button in a non-selected level, the button is blinking. That feature can be disabled ("Shift level hidden source blinking").

Row Delegation

• Row delegation buttons are generally mapped to the rightmost source select button.

• The color of each delegation button is set to indicate the current delegation. Its color is set to match the color of the bus select button, aux select button, macro select button, router select button, etc.

• The Source Name Display associated with the row delegation button indicates the name of the bus or the function (for example KEY2, MCRO, BGDB, UTIL2).

• Initially the rows are delegated as follows:

•Row 1: KEY1

•Row 2: KEY2

•Row 3: BGDA

•Row 4: BGDB

The following rows can be selected by pressing the corresponding row selection button: Macro, Aux, Router, Define Memo, eDPM

The previous selection occurs by pressing that button again.

For KEY1...KEY6, BGDA, BGDB, UTIL1, UTIL2, EMEM the row will be delegated temporarily as long as the selection button is pressed. A static delegation can be done by pressing the row delegation button and the row selection button simultaneously.

90 Kayenne XL Package — User Manual

Source Selection

Shift Level Delegation

• Standard Latch Mode

• If a shift level button is pressed, the row will be permanently delegated to that shift level.

•If the 4th level button is not assigned, both shift level buttons (2nd and 3rd) have to be pressed to reach the level.

• Manual Latch Mode

• By pressing a shift level button, the row will be temporarily delegated to that level. For a static delegation a double-click has to be done.

•The 1st level can be reached by pressing the selected shift level button (temporarily) or bye double-clicking on it.

•If the 4th level button is not assigned, the level can be temporarily reached by pressing the 2nd and 3rd level button at the same time.

• For a static delegation of the 4th level a double-click of the 2nd level button and a double-click of the 3rd level button have to be done.

• To reach the 1st level, one of the selected shift level buttons has to be double-clicked twice.

• Auto Latch Mode

• In auto-latch mode, taking a source at a certain shift level automatically causes a delegation of the source row (and source name displays) to the new shift level and tallies the shift buttons for the new shift level. This means the bus stays delegated to the shift level.

• To delegate a bus to a shifted level, push the shift button. The shift button is high tallied and the source name displays show the source names for the selected shift level. The bus now remains in this shifted state.

Delegation to Aux Bus Selection

Aux bus delegation supports the selection of sources for any aux bus, eDPM, iDPM and RamRecorder bus.

To functionally delegate the row 1 and/or 2 to aux bus selection:

• Press the aux bus select button (toggle it on).

For each set of controls:

• Pressing a button on the top row of buttons selects an aux bus (destination).

• Pressing a button on the bottom row selects a source for the aux bus selected on the top row.

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Section 3 — Control Panel

The source name display between these two buttons has four lines displaying the following:

• Line 1: Aux bus number

• Line 2: Aux bus name

• Line 3: Current Aux Bus source

• Line 4: Sources

Holding down the aux bus select button and pressing the row delegation button (or vice versa), delegates that row to an aux source row. In that case the aux bus can be selected by holding down the row delegation button. The source selection buttons will be switched to the aux bus selection and an aux bus can be delegated.

Delegation to Macros

• To delegate both rows 1 and 2 to macros, press the Macro button (tog-

gling macro on).

• To delegate a single row (either row 1 or row 2)

• Hold down the Macro button and then press a bus delegation

button.

• Or, hold down a bus delegation buttons, and then press the MACRO button.

Macros are shown in groups depending on the shift level, row, and M/E.

For each M/E, each shift level for rows 1 and 2 is assigned a macro starting number. The default condition is that all shift levels for all M/Es are assigned to start with macro 1.

• Pressing the Macro button a second time, turns it off and the bus (or buses) revert to previous delegations.

Delegation to Routers Source Selection

Router control involves selecting a router destination and then being able to select a router source for this destination.

• To delegate both rows 1 and row 2 to router selection, press the Router button (toggling router on).

• The top row shows all configured router delegations (external aux buses).

• The bottom row shows available router sources for the router destination selected on the row above.

• So multiple source selections can be made for the same destination

if wanted.

92 Kayenne XL Package — User Manual

Source Selection

Delegation to EMEM Selection

• Pressing the EMEM button where there are bus delegation buttons

defined causes temporary delegation of rows 1 and 2 for quick EMEM selection/recall.

• Pressing the EMEM button and then row 1 or row 2 bus delegate button

delegates the row to EMEM selection. One or both rows may be delegated at the same time.

• Pressing the EMEM button and then either the row 3 or row 4 bus dele-

gation button causes BOTH rows 3 and 4 to be delegated to EMEM selection.

• Delegated rows show the names of the EMEM on the source name display.

• The functionality differs depending on which rows are delegated.

Delegation of rows 1 and 2 to EMEM selection enable EMEM to be directly recalled.

Delegation of rows 3 and 4 puts the system into 'transitional EMEM selection mode' where EMEM selection and recall can be controlled in conjunction with the transition module.

• Selection on row 3 is equivalent to selection on rows 1 or 2 as already described.

• Selection on row 4 prepares the EMEM.

• Pressing the Cut button on the transition module causes the EMEM

to be recalled, as already described

• Pressing the Auto button on the transition module causes an effects

dissolve to the EMEM register at the auto transition rate.

• Moving the lever arm on the transition module causes a dissolve to

the EMEM with a percentage related to the lever arm position, that is, a manual effects dissolve.

EMEMs which are parked on the first keyframe, can now be run using the local EMEM panel.

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Section 3 — Control Panel

Delegation to eDPM

When the eDPM is delegated, the upper key row is used to show the eDPM channels.

On the lower key row the sources for each channel can be selected.

Delegation to Define Memo

When the define memo delegation button is pressed, both key rows will be delegated to the local EMEM. In this case the source select buttons are used to select the parts of the switcher whose signals be stored in the EMEM. The assignment of the buttons corresponds to the EMEM/Define Memo menu (local EMEM).

Split Key

To create a split key, select a source for the fill signal, hold down the keysplit button, and select a source on a row delegated to the key bus. The selected source will become the key (cut) selection for that key bus using the currently selected keyer mode.

• If a bus is temporarily delegated to control a keyer, then the split key button becomes an on/off toggle, so that again source selection can be made using two hands.

FAR Button Operation

•When Far is off (inactive), taking a source sets both near and far sides.

•The Far button is active when held down.

•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, the invisible other side is defined as the far-side.

• To set the far side for the current delegation of a bus, press and hold the Far button, select a shift level if necessary, and make a source selection for that side.

94 Kayenne XL Package — User Manual

Button and Bus Indication

On Air

Input buttons and the bus row delegation button which are involved in the output picture are indicated with a red.

Uncalibrated /Asynchronous Sources

Asynchronous sources will slowly flash their source name displays between normal text and reverse-video text.

Sources which are uncalibrated will be indicated by having the source name underlined.

M/E Delegation Indication

• There is a four character LED display between the K4 and U1 buttons.

Source Selection

• This display shows the current delegation of the panel row to the logical M/E:

• M/E1, M/E2, M/E3, PP, M/E-H

Corrected Inputs or Buses

In the source displays corrected buses or corrected inputs are marked with an underline! For details refer to

Color Correction Menu on page 473

Kayenne XL Package — User Manual 95

Section 3 — Control Panel

Key Split

Hold

Key Split

Macro

Aux

Macro

Aux

Rtr

Far

Gang

Direct Trans

Auto

Trans

Auto

Trans

AXDL

AUX1

M3 A

RAM5

BLCK BLCK

2RD

MEhA

RAM6

BLCK BLCK

3RD

AXDL

AUX1

M3 A

RAM5

BLCK BLCK

2RD

MEhA

RAM6

BLCK BLCK

3RD

Aux Bus Control

There are two identical sets of aux bus controls, the upper and the lower. Both sets operate identically.

Figure 53. Kayenne XL AUX Control Panel

Aux bus mode of operation is the default for the two sets. If Macro, and Rtr are off, the set of controls is in Aux Bus control mode, the default mode.

Figure 54. Kayenne XL AUX Control Panel - Right Part

96 Kayenne XL Package — User Manual

Aux Bus Control

For each set of controls:

• Pressing a button on the top row of buttons selects an aux bus (destination).

• Pressing a button on the bottom row selects a source for the aux bus selected on the top row.

• The source name display between these two buttons has four lines displaying the following:

• Line 1: Aux bus number

• Line 2: Aux bus name

• Line 3: P = permanent input (if selected)

• Line 4: Sources

•The Split button acts in the same way to modify source selection as described in Split Key on page 94 when the eDPM is selected.

•The Far button acts in the same way to modify source selection as described in FAR Button Operation on page 94 when the eDPM is selected.

• The two four-digit displays show the selected aux bus.

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Section 3 — Control Panel

Aux Bus Transitions

Aux Bus Transition is a new feature introduced with software version V703. It offers the possibity to execute up to two AUX-AUTO-MIX transitions simultaneously from any Kayenne XL or Kayak control panel. The AUX transition control settings Transition Mode and Transition Duration can be enabled individually per AUX Bus of the video frame and are stored with the frame's configuration settings.

During an Aux transition, the transition amount is displayed in the LED display of that module.

Button designation (up to now these buttons were unused):

• Direct Trans

• Auto Trans

Refer to Figure 55 on page 99 and Figure 56 on page 99.

In the Aux Transition module, the preset source name is displayed in the so far unused (empty) OLED row.

• Line 1: Aux bus number

• Line 2: Inverted, shows the current source visible at the AUX outputAux

bus name

• Line 3: Inverted, shows the AUX Transition preset source. A Transition to this source is executed if the transitions AUTO button is pressed in the GUI or in Direct Mode when the Auto Trans is pressed.

• Line 4: Shows the AUX source that is switched to when source button is pressed while AUX Transition is OFF or transitioned to in case of Transition Direct Mode.

Note Please note, that Aux Transition is not available in 4.5 M/E configuration with

SD video standard.

98 Kayenne XL Package — User Manual

Grass Valley Kayenne XL Package User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Preface

About This Manual

Software/Manual Version

Standard Documentation Set

Other Documentation

System Overview

Introduction

Kayenne XL Control Panel Models

KHDXL-PNL-100-15

KHDXL-PNL-100-15-A

KHDXL-PNL-200-25

KHDXL-PNL-200-25-A

KHDXL-PNL-200-35

KHDXL-PNL-200-35-A

KHDXL-PNL-300-25

KHDXL-PNL-300-25-A

KHDXL-PNL-300-35

KHDXL-PNL-300-35-A

KHDXL-PNL-400-25

KHDXL-PNL-400-25-A

KHDXL-PNL-400-35

KHDXL-PNL-400-35-A

Kayak HD Mainframe Standard Features

Kayak HD Options

RamRecorder

Supported Control Protocols

Concepts

Introduction

Kayenne XL Package Configuration Overview

Installation (Engineering Setups)

Config — Application Control

Personal Settings

Signal Routing

Inputs and Sources

Source Definition

Button Assignment (Source to Button Mapping)

Key Memory

Buses and Crosspoints

Shifted Sources

Source Scalars (HD Only)

Mix/Effects (M/E) Stage

Alternate Buses and Delegation

Utility Bus

Effects Send

Kayenne XL Package Outputs

Kayenne XL Package AUX Buses and Output Assignments

Resource Sharing and Point of Use

Transition

Full Additive Mix

Additive Transition

Wipes

Other Wipe Pattern Generator Uses

Preset Black

Fade to Black

Transition Rate

Flip Flop Background Buses

Look Ahead Preview

Current and Next Stack

Key Priority and Transitions

Half M/E and DSK Option

Keying

Matte Fill Key Example

Shaping Video

Key Control Signal Adjustment

Clip and Gain

High Gain, Low Gain, and Unity Gain

Clip Hi and Clip Lo

S-Shaped Key Signals

Additional Keying Controls

Key Invert

Masking

Opacity

Key Positioning

Key Size

Coring