GRASS VALLEY Zodiak Digital Production Switcher, Zodiak User Manual

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Zodiak

DIGITAL PRODUCTION SWITCHER

User Manual

SOFTWARE VERSION 5.0

071812607 APRIL 2005

Contacting Grass Valley

Region Voice Fax Address Web Site

North America (800) 547-8949

Support: 530-478-4148

Paciﬁc Operations +852-2585-6688

Support: 852-2585-6579 U.K., Asia, Middle East +44 1753 218 777 +44 1753 218 757 France +33 1 45 29 73 00 Germany, Europe +49 6150 104 782 +49 6150 104 223

Grass Valley Web Site

Sales: (530) 478-3347 Support: (530) 478-3181

+852-2802-2996

Grass Valley P.O. Box 599000 Nevada City, CA 959597900 USA

www.thomsongrassvalley.com

The www

Online User Documentation

.thomsongrassvalley.com web site offers the following:

— 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

— Software updates, drivers, and patches can be down-

loaded.

2 Zodiak User Manual

Preface

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

About This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Standard Documentation Set. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Other Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Section 1 — System Overview

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

2.5-M/E System Standard Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

3-M/E System Standard Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Zodiak System Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

External Interfaces Supported . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

System Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Main Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Menu Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Panel Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Remote Aux Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Video Processor Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Video Processor Power Supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Video Processor Frame Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Transform Engine Option. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

RGB Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Chroma Keyers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Zodiak Facility Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Functional Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Video Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

System Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Section 2 — Concepts

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Zodiak System Configuration Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Engineering Setups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Suite Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

User Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Inputs and Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Source Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Source to Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Source Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Buses and Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Shifted Sources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Mix/Effects (M/E). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Zodiak User Manual 3

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Contents

Re-Entry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Alternate Buses and Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Utility Buses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Effects Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

M/E, Program and Preview Output Buses. . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Aux Buses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Resource Sharing and Point Of Use. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Full Additive Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Wipe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Other Wipe Pattern Generator Uses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Preset Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Fade to Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Transition Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Flip Flop Background Buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Look Ahead Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Current and Next Stack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Key Priority and Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Keying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Matte Fill Key Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Shaping Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Key Control Signal Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Clip and Gain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Clip Hi and Clip Lo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

S-Shaped Key Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Additional Keying Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Key Invert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Masking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Key Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Key Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Coring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Show Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Linear Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Fixed and Adjustable Linear Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Luminance Key and Self Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Chroma Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Primary and Secondary Color Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Flare Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Chroma Key Shadow Generator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Preset Pattern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Split Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Properly and Improperly Shaped Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

E-MEM (Effects Memory) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Work Buffer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Effect Register, Work Buffer, and Current Effect. . . . . . . . . . . . . . . . . . . . . . . . . 62

Banks and Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Multiple Keyframes and Timelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Effect Dissolve. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Effect Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

4 Zodiak User Manual

Contents

E-MEM Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Master Timeline and Multiple Level Keyframe Effects . . . . . . . . . . . . . . . . . . 69

Number and Types of E-MEM Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

300 Mode E-MEM Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Default Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Source Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Work Buffer, E-MEM, and Source Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Source Memory Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Default Source Memory and Factory Default Source Memory . . . . . . . . . . . . . 76

3-D Digital Effects Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Translation and Transformation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Axis Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Source and Target Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Post Transform Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Front and Back, Near and Far . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Transform Numbering Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Screen Coordinates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Spin and Rotation Relationship. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Path Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Paths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Path Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Vector Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Tension Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Continuity Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Bias Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Section 3 — Control Surface Description

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Button Behavior . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Single Press . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Alternate Action. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Momentary Action. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Interlocked Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Double Press . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Button Tally . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Dialogs and Prompting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Knob Behavior . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Delegation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Automatic Subpanel Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Momentary Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

DPOP and SPOP Menu Delegation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Keypad Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Time Value Entry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

2.5-M/E and 3-M/E Main Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Source Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Unshifted and Shifted Sources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Re-entry Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Background Buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Key Buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Source Button Tally . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

PVW/AUX Bus Source Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Bus Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Source Selection Buses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

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Preview Subpanel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Primary Signal Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Transition Subpanels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Main Transition Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Keyer Transition Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Transition Rates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Other Transition Control Interactions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

M/E Keyer Subpanels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Keyer Delegation Button Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Clip and Gain Knobs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Key Type Button Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Key Source Button Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Key Split Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Key Invert Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Key Prior Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Show Key Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Mask Delegation Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Effects Loop Control Button Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

DSK Keyer Subpanel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Keyer Delegation Button Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Key Type Button Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Key Source Button Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Key Invert Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Show Key Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

DSK Subpanel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Keyer Delegation Button Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

DSK Cut and Mix Button Groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Fade to Black Subpanel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Joystick Subpanel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Joystick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Joystick Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Axis Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

E-MEM Subpanels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Keypad Numeric Entry Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Keypad Prefix Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Run Control Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

E-MEM Readout Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Master E-MEM Subpanel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Master E-MEM Keypad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Master E-MEM Enable Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Auto Recall Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Master E-MEM Readout Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Run Control Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Hold Inputs Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Keyframe Edit Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Auto Run Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Remote Aux Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

24-Crosspoint Remote Aux Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

32-Crosspoint Remote Aux Panels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Source Select Modifier Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Disk Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

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Section 4 — Menus Overview

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Menu Panel Description. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Touch Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Soft Knobs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Menu Screen Organization and Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Data Pads and Touch Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Menu Top Line. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Menu Category Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Delegation Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Mode Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Parameter Control Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Additional Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Menu Access Touch Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Numeric Keypad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Alphanumeric Keypad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Scrolling Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Menu and Panel Interactions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Menu Summaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

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

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

Home Menu Window Management Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Daily Setups Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Daily Setups Save-Load Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Profiles Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Suite Prefs Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Default Keyframe Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

To Learn a Default Keyframe: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

E-MEM Prefs Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

E-MEM Sublevel to Enable Button Assignment . . . . . . . . . . . . . . . . . . . . . . . 160

Master E-MEM Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Video Settings Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Line/Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Matte Limiting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Aspect Ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

M/E Output Blanking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Command Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Default Transform Engine Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

GPI IN Settings Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Source Patch Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Logical Source Selection Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Logical Source Name Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Source Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Using Source Patching for Effects Portability . . . . . . . . . . . . . . . . . . . . . . . . . 168

Source Memory Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Key Drop Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Bus Linking Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Bus Picker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Bus Linking Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Source Associations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Link Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Shortcut Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Unity Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

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Same Source Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Copy Link Mapping Table. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Display All Links Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

User Prefs Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Button Mapping Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Shift Preferences Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Normal Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Latched Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

No Shift Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Aux Deleg Mapping Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Clip Hi Lo Preferences Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Eng Setups Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Eng Setups Save-Load Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Source Definition Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Outputs Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Ports & Devices Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Tally Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Tally Calculation Definition Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Tally Relay Assignments Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Router Interface Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

System Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Config Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Aux Panel Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Install Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Macro Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Macro Save-Load Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Macro Catalog Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Macro Catalog Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Control Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Append Macros Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Soft Knob Register Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

E-MEM Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Macro Copy Swap Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Macro Attach Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Panel Attach Mode Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Macro Attachments Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

File Operations Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Status/Diags – Versions Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

External Device Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

External Device Enables Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Enables Device Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Enables Device Status. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

External Device Source Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Editor Pane. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

DPM Panes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

External Device Time Code Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

External Device Timeline Events Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Device Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Timeline Device Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Events Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Events Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

External Device Control Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Playback Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Device Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

8 Zodiak User Manual

Preset and Program Clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Manual Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

External Device Event List Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Clip Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

List Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Event List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Event List Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

External Device Links Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

E-MEM Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

R-MEM Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

R-MEM Auto Recall Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

To Learn an R-MEM Register: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

To Recall an R-MEM Register . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

R-MEM Save-Load Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

PBus2 & GPI Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

PBus Triggers Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Enables Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

GPI Out Triggers Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

DSK Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Aux Bus Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Timeline Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Timeline – View Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Timeline – Edit Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Clear Work Buffer Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Restore Work Buffer Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Timeline Navigation Button Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Constant Duration Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Timeline Edit Button Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Clipboard Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Modify, Insert Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Timeline – Time Adjust Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Timeline – Path Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

To Change Path Control Values in an Effect:. . . . . . . . . . . . . . . . . . . . . . . . . . 240

General Curve Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Cutting and Pasting Path Values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Controlling Smooth Path Windup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

E-MEM Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

E-MEM – Save-Load Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

E-MEM – Source Holds Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

To Set a Source Hold in a New Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

To Set a Source Hold in an Existing Effect: . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

E-MEM – Path Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

E-MEM – Register Ops Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Copy Swap Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Copy Swap ME Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Copy Swap Wipe Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Copy Swap Matte Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Copy Swap Source Memory Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Copy Swap Macro Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Still Store Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Still Store Playback Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Menu Delegation to an Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Preset Transfer to Program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Contents

Zodiak User Manual 9

Contents

Still and Clip Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Unload Output Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Start at KF Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Folder Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Playback Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Playback Menu Position and Crop Controls. . . . . . . . . . . . . . . . . . . . . . . . . . 258

Still Store Create Edit Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Capture Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Create Edit Menu Position and Crop Controls. . . . . . . . . . . . . . . . . . . . . . . . 262

Freeze and Clip Playback Editing Controls . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Freeze Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Clip Playback Editing Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Clip Loop Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Still Store Icons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Still Store Cache Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Matte Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Matte – M/E Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Matte – DSK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Matte – Background Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Transform Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Transform Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Transforms Menu Delegation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Global Channel Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Key Off Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Easy Cube Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Transform Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Crop Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Reverse Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Path Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Clear Transforms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Drop Shadow Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Drop Shadow Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Transform Subpanel Drop Shadow Controls . . . . . . . . . . . . . . . . . . . . . . . . . 279

Shadow Crop Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Kurl Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Menu Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Position/Size Modulation Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Modulation Pane. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Mod Type Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Pattern Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Slits Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Page Turn/Roll Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Page Turn Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Show Sides Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Split Axis Pane. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Splits Mirrors Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Splits Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Split Modifiers Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Glow Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Glow Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Glow Matte Pane. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Glow Path Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Defocus Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Defocus Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

10 Zodiak User Manual

NAM Matte Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Keyer Menu Defocus Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

M/E Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Video Processing Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Proc Amp Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Proc Amp Transfer Function Graphics Detailed Description . . . . . . . . . . . . 297

PseudoColor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Color Modulation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Hue Modulation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Hue Rotation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Quantizer Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Pixelator Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Transitions Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Intermediate Video Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Source Select Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Color Corrector Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Effects Send Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Keyer Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Mode Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Fixed Linear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Adjustable Linear Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Luminance Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Chroma Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Preset Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Keyer Priority Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Keyer Mask Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Mask Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Mask On Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Mask Invert Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Defocus Mask On. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Source Select Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Wipe Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Point of Use Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Pattern Selection Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Pattern Modifiers Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Other Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Contents

Section 5 — System Operation

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

Power Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Local Panel Source Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Remote Aux Panel Button Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Aux Bus Delegation Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

To Map Local Aux Panel Delegation Buttons:. . . . . . . . . . . . . . . . . . . . . . . . . 335

To Map Remote Aux Panel Delegation Buttons:. . . . . . . . . . . . . . . . . . . . . . . 335

Mapping Aux Bus Pairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Bus Linking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Examples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Bus Linking Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Source Override . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Bus Pair Rules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

File Operations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Zodiak User Manual 11

Contents

Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

File Type Icons and Extensions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Zodiak Drive Access. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

File Storage Organization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

System Upgrade Backup Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Formatting Zip Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

File Operations Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Copy/Pasting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Moving Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

To Save a Preference, Source Memory, or Profile File: . . . . . . . . . . . . . . . . . 345

To Load a Preference or Source Memory File: . . . . . . . . . . . . . . . . . . . . . . . . 346

Profiles Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Loading Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Eng Setups Save-Load Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

E-MEM Save-Load Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Saving E-MEMs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Loading E-MEMs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Manual Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

To Perform a Lever Arm Transition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

To Perform an Auto Transition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Transitions Using E-MEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

E-MEM Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Recalling Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

To Recall A Register in the Same Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

To Recall A Register from a Different Bank . . . . . . . . . . . . . . . . . . . . . . . . . . 353

To Run an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

E-MEM Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

To Learn a Sequence of Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

To Play a Sequence of Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

To Break a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Basic Effect Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Inserting a Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Deleting a Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Editing a Keyframe Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Showing Keyframe Durations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Changing the Duration of a New Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Modifying an Existing Keyframe Duration. . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Restoring KF Duration Default to the Keypad . . . . . . . . . . . . . . . . . . . . . . . . 360

E-MEM Modify All Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

E-MEM Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

E-MEM Transition Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

To Build Background E-MEM Transitions: . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

To Build Keyer E-MEM Transitions: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

To Change the Length of an E-MEM Transition: . . . . . . . . . . . . . . . . . . . . . . 364

To Prevent Elements from Transitioning in E-MEMs:. . . . . . . . . . . . . . . . . . 364

Return to Normal Technique: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

E-MEM 300 Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

E-MEM Prefs Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

300 Mode Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

E-MEM and Macro Interaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Macros in an E-MEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

12 Zodiak User Manual

E-MEM Prefs Macro Sublevel Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Preventing Assigned Macros from Running . . . . . . . . . . . . . . . . . . . . . . . . . . 368

To Add a Macro to an E-MEM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Matte Menu Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Split Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Keyer Priority. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Chroma Key Operating Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Auto Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

To Chroma Key Using Auto Setup:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

To Chroma Key Using Auto Setup with Reshape: . . . . . . . . . . . . . . . . . . . . . 378

Manual Chroma Key Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Access Keyer Menu and Delegate Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Primary Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Key Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Reshape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Secondary Color Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Other Chroma Key Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Mix Through Video Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Pattern Mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Transform Engine Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Building a Cube and Using Easy Cube . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Still Store Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

General Still Store Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Output Based Menu Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Image File Size and Disk Management. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Caching Times . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Cache Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Item Numbers, Storage Locations, and Folders . . . . . . . . . . . . . . . . . . . . . . . 396

Position, Crop, and Fenced Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Source Selection and Video Key Pairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Shaped and Unshaped Still Store Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Still Store Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Preview and Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Still Store Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

General Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Folder Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Folder Creation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Input Source Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Still Capture and Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Clip Record and Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Marking Clip Begin and End Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Looping Clip Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Loading Items to Still Store Outputs with the Still Store Menu . . . . . . . . . . 405

Clip and Still Caching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Machine Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Duplicating a Still Store Item . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Cache Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Disk Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Still Store E-MEM Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Still Store File Transfers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

File Operations File Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Still Store File Renaming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

File Operations Folder Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Contents

Zodiak User Manual 13

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Still Store Folder Browser Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Still Store Loader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Direct FTP File Transfers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Macros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Macro Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Macro Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Macro Attachments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Macro Shortcut Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Macro Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Using Macros. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Delegating the Macro M/E and Keyer Row . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Recording a Macro with the Main Panel Shortcut Button . . . . . . . . . . . . . . 416

Recording a Macro with the Menu Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Inserting a Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Playing Back a Macro Register . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Attaching a Macro to a Panel Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Playing an Attached Macro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Removing a Macro Attachment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Appending a Macro with the Main Panel Shortcut Button . . . . . . . . . . . . . 418

Appending a Macro with the Menu Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

Saving Macro Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

Loading Macro Registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

Macros and E-MEMs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

E-MEM Recalls in a Macro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

Appendix — Still Store Loader

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Installing Still Store Loader on a PC or a Zodiak System. . . . . . . . . . . . . . . . . . . 422

PC Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

PC IP Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

PC Monitor Set Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Installation Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Using Still Store Loader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Main Application Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Line Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Debug . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Version Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Selecting the Zodiak Stillstore Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Downloading an Image From PC to Zodiak Stillstore . . . . . . . . . . . . . . . . . . . 427

Uploading an Image From Zodiak Stillstore to PC . . . . . . . . . . . . . . . . . . . . . . 429

Repositioning an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Previewing an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Using Background Matte. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Saving an Image to Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Glossary

Index

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

14 Zodiak User Manual

Preface

About This Manual

This Zodiak User Manual is designed for operators of Zodiak systems.

Standard Documentation Set

The standard Zodiak documentation set consists of a:

•User Manual,

• Installation and Service Manual, and

•Release Notes.

The

Zodiak User Manual

Digital Production switcher and describes operating procedures. This manual can be used while learning about Zodiak and for enhancing your basic knowledge of the system.

The

Zodiak Installation and Service Manual

installing, conﬁguring, and maintaining the system.

The

Zodiak Release Notes

system enhancements for a speciﬁc software version, and also includes software installation procedures. Always check the release notes for your current system software before you begin operating your system.

System Overview

Introduction

The Zodiak Digital Production Switcher is optimized for mobile, post-production and broadcast facilities that need compact, easy to use, highly creative, real-time tools for video switching, effects creation and run-time device control. Powerful digital video switching, mixing, and keying with E-MEM are standard features of Zodiak, in addition to internal Still Store capability.

The switcher is available in 2.5-M/E or 3-M/E models with or without Transform Engines (internal DPMs). Zodiak’s architecture provides an easy upgrade path from a 2.5-M/E to a 3-M/E; requiring the addition of a M/E module and power supply to the Video Processor frame and keycap changes to the Main panel. Reduced frame processor size (7 RU) and power consumption along with a smaller panel, sized to replace older analog Grass Valley Group switchers, make this switcher system an ideal replacement or addition to any existing or new facility.

Section

Features

2.5-M/E System Standard Features

The standard features for the 2.5-M/E system are:

• 64 auto-timed SMPTE 259M inputs (conﬁgured as single inputs or video/key pairs),

•Nine Aux buses plus switched preview — up to four Aux buses can be utilized for two Effects Send pairs,

• 24 Source Selection buttons including Shift on each M/E, Key, PWV/AUX and PGM/PST bus rows,

•Program and preview outputs per M/E,

• Look ahead and other preview modes conﬁgured per each M/E,

•Two full M/Es, each with dedicated E-MEM (100 registers),

Zodiak User Manual 17

Section 1 — System Overview

•One Utility bus per full M/E for video in borders, video wipe patterns,

• Four full function keyers with dedicated key controls per M/E,

•Two complex and four simple (in each keyer) wipe generators per M/E,

• Solarization, posterization, mosaic capabilities and YUV color correc-

• Input freeze for each M/E key source and ﬁll buses,

•PGM and PST buses with E-MEM, Downstream Keyers (DSK) with

•One pair of ﬂoating Chroma Keyers for use on any full-function keyer,

• 100 frame Still Store,

•Redundant power supplies for the Main panel and Video Processor

or masking,

tion as part of the video processors on each full M/E bus,

three simple linear or luminance keyers, and programmable Clean Feed,

frame,

• Four optional Transform Engines (internal DPMs) each on M/E 1 and M/E 2,

•Hot swapable Video Processor frame modules (including frame power supplies)

•Touch screen Menu Display, and

• CD-ROM (internal to the Menu panel), external USB-powered Zip drive and two Floppy drives (one in the Main panel and one in the Video Processor frame for emergency recovery procedures).

3-M/E System Standard Features

The standard features for the 3-M/E model are the same as the 2.5-M/E system in addition to the following:

•A third full M/E (replacing PGM/PST) with two complex and four simple wipes and four full function keyers plus three linear DSK keyers, and

• 13 Aux buses total plus switched Preview — up to eight Aux buses can be utilized for four Effects Send pairs.

Zodiak System Options

The options listed below are for all models of Zodiak, except those dedicated to M/E 3. Selected sets of options may be combined into packages for initial purchase. Individual options can be purchased and added to a Zodiak system at a later time. Some Zodiak system options contain hardware components and some are software enabled.

18 Zodiak User Manual

Introduction

The options are:

•Upgrade Kit (2.5-M/E only) adds a third full M/E (replacing

PGM/PST) by changing keycaps to the Main panel, and installing a M/E module (M/E 3) and additional Video Processor frame power supply in the Video Processor frame,

• Four Transform Engines (internal DPMs) each for M/E 1, M/E 2 and

M/E 3 (3-M/E only),

•KlipCache increased StillStore capacity,

•Additional ﬂoating Chroma Key pairs for use on any full-function

keyer,

• RGB Color Correction for all keyer, background, and utility buses on

M/E 1, M/E 2, and M/E 3 (3-M/E only),

• AMP protocol control of VDRs,

• 24– and 32–Crosspoint Remote Aux panels,

• Spare Video Processor frame power supply,

•Menu Panel Flush Mount and Adjustable Console Bracket mounting

kits, and

•NetCentral SNMP Agent.

External Interfaces Supported

All Zodiak systems have the following control interfaces:

• Ethernet Facility LAN connections allowing error reporting and

upload/download capability for conﬁgurations, E-MEMs and images,

•Video Processor frame GPI interface with eight opto-isolated inputs

and eight relay outputs,

•Main panel GPI interface with four opto-isolated inputs and four relay

outputs,

• 32 programmable tally contact closures and serial tally,

•Two USB ports on the Menu panel (one connecting to the external Zip

drive, and one spare),

• Six RS-422 serial ports for interfacing to 24- and 32-Crosspoint Remote

Aux panels, Peripheral Bus II devices, edit controllers and CPL for external DPM (Krystal, GVeous) interface.

Zodiak User Manual 19

Section 1 — System Overview

System Components

A Zodiak system consists of a Main panel, Menu panel, Video Processor frame, CD-ROM (internal to the Menu panel), external USB-powered Zip drive, and two standard 1.4 MB 3.5 in. ﬂoppy disk drives (one in the Main panel (see Figure 3) and one in the Video Processor frame (see Figure 5).

CAUTION The ﬂoppy drives are used exclusively for emergency boot procedures. A 2-

The Zodiak 2.5 M/E system components depicted in Figure 1 are also common to 3 M/E systems. Both systems use the same Video Processor frame and Main and Menu panels.

ﬂoppy set is provided for the Main panel and a single ﬂoppy is provided for the Video Processor frame. The boot ﬂoppies are not interchangeable between the Main panel and Video Processor frame. The boot ﬂoppies are not to be used in other facility or personal equipment as they are designed to reformat the Main panel and Video Processor frame hard drives.

Figure 1. Zodiak System Components

Pvw/Aux

12345678 91011 12 13 14 15 16 17 18 19 20 21 22 23

Key

M/E 1

12345678 91011 12 13 14 15 16 17 18 19 20 21 22 23

Key

M/E 2

12345678 91011 12 13 14 15 16 17 18 19 20 21 22 23

Key

Program

Preset

Control Surface

A group of panels available to a single operator is called a Control Surface. A Control Surface consists of at least two components, a Main panel and a Menu panel. The Zodiak Control Surface provides real time access to the full function M/Es through the Main panel. In addition, the Menu panel allows custom user conﬁguration of special effects and matte settings not requiring real time operation. Optional 24- and 32-Crosspoint Remote Aux panels are also available.

Main Panel Refer to page 21 Menu Panel Refer to page 23 Video Processor Frame Refer to page 24

Clean

Shift M/E1M/E

M/E

PGM

Feed

Transition

Key1Key2Key3Key4Key

Shift

M/E

On On On

Bkgd DSK

Effects Send

Uncal

M/E

Shift

Mix Wipe User

Trans

M/E

Shift

Cut Auto

Trans

015

E-MEM Transition Keyers Master E-MEM

B0 001 OPEN

Shift

M/E

Lock

789

Learn

Seq

456

Shift

M/E

Effect

123

Dis

Shift

M/E

Trans

Undo

Rate

•

Bank

Transition Keyers

Macro

Key1Key2Key3Key4Key

Shift

M/E 2

M/E 1

On On On

Delay

Rec

Key

Effects Send

Uncal

Shift

M/E

Key1Key1Trans

Key

Shift

M/E

Key1Preset

Key

027

Preview Key Bus Delegate

M/E1Pvw

DSK

M/E

Pri

Key Bus Delegate

Key

Key2Key3Key4Utility Macro

Key Bus Delegate

Key1Key2Key3Key4Utility Macro

Key4Key3Key2Key1Utility DSK1DSK2DSK

Bus Delegate

Aux1Aux2Aux3Aux4Aux5Aux6Aux7Aux8Aux9Aux

PVW

E-MEM

Key 1

B0 001 OPEN

Mix

Prior

Lock

Learn Key 2 Mix

Link

Seq

Key 3

Trans

Mix

PVW

Effect

Dis

Preset

Key 4

Black

Mix

Bank

Key2Key3Key4Key

Key

Prior

On On On

Run

Bkgd DSK

Effects Send

Link

Bank

Uncal

Mix Wipe User

Trans

PVW

Bank

Cut Auto

Preset

Enter

Trans

Black

032

Int Key 1

DPM

Prior

Mix

Matte

Fill Key 2

DSK

Mix

Link

Video

Key

Key 3 Mix

PVW

Lin

Key

Key 4

Key

Black

Mix

789

456

123

Undo

•

Ext

Key

DPM

Invert

Freeze

Inhibit

Fill

Mask

Freeze

Split

Key

Lum

Chr

Key

Internal CD-ROM Drive

Menu Panel

Keyers

Int DPM

Matte

Run

Fill

Video

Bank

Key

Bank

Lin Key

Trans

Enter

Key

Rate

Int

Key 1

DPM

Mix

Matte

Fill Key 2 Mix

Video

Key

Key 3 Mix

Lin

Key

Key 4

Key Mix

Show Key

Force Mask

Key Over

Preset Patter

Key

Ext DPM

Freeze Fill

Freeze Key

Lum Key

Key

Ext DPM

Freeze Fill

Freeze Key

Lum Key

Key

Fade to Black

DSK

DSK1DSK2DSK

On On On

DSK 1 Cut

DSK 1 Mix

Size

Spin

Locate

Key

Show

Invert

Key

Box

Source

Wipe

Mask

Inhibit

Force

Mask

Split

Key Over

Chr

Preset

M/E

Key

Pattrn

Key

Auto

Clear

Key

Show

Recall

Run

Wk Bfr

Invert

Key

Ext

Prev Next

M/E

Inhibit

Force

DPM

Mask

M/E

Misc1Mod Paste

Split

Key Over

M/E

Misc2Cut Copy

Chr

Preset

Key

Pattrn

Insert

DSK Misc

Key

Before

Recall

Keyframe

Enables

Edit

027

B0 001 OPEN

Stop

Lock

789

Learn

Seq

Bank

456

DSK 2

DSK 3

Bank

Effect

123

Cut

Dis

DSK 2

DSK 3

Trans

Undo

Trim

+/-

Mix

Rate

Enter

•

Bank

Src Space

Pri Wipe

Center

Ext DPM

Key

Go To KF

Insert After

Hold Input

Rev

Rewind

Run

Main Panel

Zip Drive

Control Surface

Video Processor Frame

8125_00_01_r1

20 Zodiak User Manual

Main Panel

8126_00_01_r0

PVW/AUX Bus

E-MEM

Subpanels (3)

M/E

Master E-MEM

Subpanel

Transition

Subpanels (3)

Preview

Subpanel

Transform

Subpanel

M/E

PGM

PST

Keyframe Edit

Subpanel

Key Bus

Delegation (3)

Fade to Black

Subpanel

Keyer

Subpanels (3)

DSK

Subpanel

Source Selection

Key, M/E A/B, and PGM/PST

PVW/AUX Re-entries

Aux Bus Delegation

The panel is organized into subpanels that contain groups of related controls (Figure 2).

The 3-M/E Main panel provides real time button, knob, and lever arm control of three full function mix/effects (PGM/PST with full M/E capability). The panel is identical to the 2.5-M/E panel except for keyer and wipe functionality in the PGM/PST rows.

The 2.5-M/E Main panel provides real time button, knob, and lever arm control of two full function mix/effects and one PGM/PST with three simple Downstream Keyers (DSKs).

Figure 2. Zodiak Main Panel (2.5 and 3 M/E)

System Components

Connectors to the Zodiak Video Processor frame and to other components of the Zodiak Control Surface are located on the rear of the Main panel. The Main panel provides power to the separate Menu panel.

Zodiak User Manual 21

Section 1 — System Overview

The Main panel power switches, fuses, reset buttons, and ﬂoppy drive are accessed by lifting the top of the Main panel (Figure 3).

Figure 3. Main Panel Inside View

Crosspoint Switch Board

Main Power Supply

M/E Switch Board

Control Panel

Processor Board

Master Reset ButtonBoot Dial Switch (0)

Menu Reset Button

RT Panel Reset Button

Floppy Disk Drive

(Main Panel Reset)

Redundant Power Supply

8096_00_07_r3

22 Zodiak User Manual

Menu Panel

8096_00_03_r2

Fan

CD-ROM

The Menu panel provides access to additional system controls that generally do not require real time adjustment. The panel includes a touch screen display, control processor, ﬁve knobs for adjusting parameter values, builtin cooling fan, and a CD-ROM (Figure 4 on page 23).

The Menu panel can be installed behind, above, or to either side of the Main panel, and should be oriented so the screen directly faces the operator. The Menu panel can be mounted using the standard adjustable console mounting bracket or an optional ﬂush mount kit that allows for rack mounting or mounting into a console cutout.

Figure 4. Menu Panel, Front View

System Components

Panel Options

Remote Aux Panels

Connectors to the Zodiak Main panel, Video Processor frame, an external Zip drive, and other devices are located on the bottom of the Menu panel.

Remote Aux panels provide control of selected Zodiak Aux buses from a remote location. Three 24-Crosspoint and two 32-Crosspoint Remote Aux panel types are available for Zodiak systems. Any combination of these aux panels can be used in a Zodiak system. See

Zodiak Installation and Service Manual

for additional information.

Section 2 – Installation

of the

Zodiak User Manual 23

Section 1 — System Overview

Video Processor Frame

The Zodiak Video Processor frame houses most of the system electronics, with horizontal slots that hold individual system control, video routing, and signal processing modules. A built-in fan system allows cooling of the frame. A fully loaded 3-M/E system is shown in Figure 5.

Figure 5. Fully Equipped Zodiak Video Processor Frame Front View (Door Removed)

Floppy Drive

Power Switch

Control Processor/DSK/Still Store

(Slot 1)

M/E (M/E 1 & 2)

(Slot 2)

Air Filter

Air Filter Handle

M/E (M/E 3)

(Slot 3)

Input/Crosspoint/Sync Generator

(Slot 4)

Power Supply Slots (3)

Single Board Computer

OFF

P/S Slot 2P/S Slot 1 P/S Slot 3

P/S Latch

Mezzanine

Fan (4) on Module

Fan Module

8096_00_16_r2

The Zodiak system has been designed for easy maintenance. Modules and power supplies can be removed and replaced safely from the front of the frame with the power on, simplifying troubleshooting to the module level.

The standard 2.5-M/E Zodiak Processor frame includes the following:

• Floppy disk drive,

•Control Processor/Still Store/DSK module,

•M/E module (M/E 1 and M/E 2),

• Input/Crosspoint/Sync Generator module,

•Two Video Processor frame power supplies, and

•Air ﬁlter and Fan module.

The standard 3-M/E Zodiak Processor frame includes the same modules as the 2.5-M/E system in addition to the following:

•M/E module (M/E 3), and

•Redundant power supply.

The rear of the Zodiak Processor frame provides the reference, video and system control connectors for the system.

24 Zodiak User Manual

Video Processor Power Supply

The Zodiak Video Processor frame houses up to three slide-in modules rated at 400 watts each. (Figure 5 on page 24). Two hot-swappable power supply modules (primary and redundant) are standard with the 2.5-M/E system, and three power supply modules are standard with the 3-M/E system.

The power supplies load share such that a supply can fail and the Video Processor frame will continue to operate on the other supply/supplies.

It is recommended that each module’s AC input be connected to a separate AC supply circuit. Any module(s) for which a separate supply circuit is not available can be connected to an uninterrupted power supply (UPS).

Video Processor Frame Options

Transform Engine Option

System Components

The Zodiak Transform Engine option available per keyer provides the following internal DPM capability:

• 2-D effects in 3-D space with perspective,

• Page turn,

• Border, outline, and extrude effects,

• Independent drop shadow,

•Glow and defocus effects, and

•Output recursive effects (such as star trails and montage).

RGB Color Correction

In addition to the standard solarization, posterization, mosaic capabilities and YUV color correction, RGB color correction can be added to all M/E buses (background, keyer, and utility).

Chroma Keyers

In addition to the two standard chroma keyers, two optional ﬂoating chroma keyers may be added to the system via software.

Zodiak User Manual 25

Section 1 — System Overview

Zodiak Facility Example

A basic facility conﬁguration example of a Zodiak system is shown in

Figure 6. Numerous types of sources can be fed to the Video Processor

frame. Each M/E, Keyer and Utility bus has internal video processing capability to correct color (including optional RGB color correction) and add effects. In addition to the optional internal Transform Engine capabilities available on each keyer, this facility also utilizes an external DPM system conﬁgured for Effects Send.

Figure 6. Basic Facility Conﬁguration Example

Cam 1

Cam 2

Cam 3

Character Generator

Paint

System

Monitor

Analog

VTR

8900

Series

Profile VDR

Video/Key

Router

TSG

Reference Black

Aux Bus Outputs

Video/Key

Zodiak Video Processor Frame

Panel LAN

Program Out

Video/Key (Effects Send)

Synchronous Serial (CPL)

Menu LAN

Menu Panel

VTR

Preview Monitor

Video/Key (Effects Return)

Other Monitors

Master Control/ Transmitter

Program Monitor

DPM

Video or Key Signal Control Line

CPL Compatible DPMs: Krystal, GVeous/Dveous

Main Panel

Zodiak Control

Zodiak Main Control Surface

26 Zodiak User Manual

8096_00_18_r4

Functional Overview

Video Signal Flow

The basic system architecture (Figure 7) of the Zodiak system has been designed for operational ﬂexibility. For example, all the outputs from every M/E and the PGM/PST are routed back to the video crosspoint matrix, making all these signals accessible to the entire system.

The 2.5-M/E system has two full M/Es and a PGM/PST with DSK. The 3-M/E system has three full M/Es in addition to three simple DSKs and the ability to link DSK keys to any M/E.

The 64 video inputs to the Video Processor frame can be mapped to any of the 46 crosspoint buttons (23 unshifted and 23 shifted sources). Internallygenerated black and two backgrounds are also available sources, as are the four Still Store outputs. This source-to-button mapping is done through a touch screen menu and can be stored as a user proﬁle for any number of individual users. Button mapping is the same on all buses.

Functional Overview

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

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

The outputs from each M/E Program and Preview are fed to dedicated BNCs and sent back to the crosspoint circuitry for reentry selection in the other M/Es. Either Program/Preset output can be programmed as a clean feed output or with any combination of DSK 1, 2 and 3 keyers active.

Nine Aux buses are available in the 2.5-M/E system; thirteen in the 3-M/E system. The Aux bus outputs can be utilized in a number of ways, including conﬁguration as Effects Send pairs for interfacing to external digital effects systems.

Zodiak User Manual 27

Section 1 — System Overview

Figure 7. Simpliﬁed Video Flow Diagram — Top Half

Video or Key Signals

Deserializer and Reclock

Serializer

Delay1

Input/Xpt/ Sync Gen

1 – 64

Xpts

M/E 1 Inputs

Key 1 Video

Key 1 Key

Key 2 Video

Key 2 Key

Key 3 Video

Key 3 Key

Key 4 Video

Key 4 Key

A Video B Video

Utility Video

M/E 2 Inputs

Key 1 Video

Key 1 Key

Key 2 Video

Key 2 Key

Key 3 Video

Key 3 Key

Key 4 Video

Key 4 Key

A Video B Video

Utility Video

Dual Mix Effect

Key Wipe Gen

4 Simple

Complex

Wipe Gen

Video

Processor

Video

Processor

Key 1 Video

Key 1 Key

Key 2 Video

Key 2 Key

Key 3 Video

Key 3 Key

Key 4 Video

Key 4 Key

A Video B Video

Utility Video

Key 1 Video

Key 1 Key

Key 2 Video

Key 2 Key

Key 3 Video

Key 3 Key

Key 4 Video

Key 4 Key

A Video B Video

Utility Video

Transform

Engines

Transform

Engines

Key 1 Video

Key 1 Key

Key 2 Video

Key 2 Key

Key 3 Video

Key 3 Key

Key 4 Video

Key 4 Key

Key 1 Video

Key 1 Key

Key 2 Video

Key 2 Key

Key 3 Video

Key 3 Key

Key 4 Video

Key 4 Key

Mixer

Program

Preview

Program

Preview

M/E 1 Outputs

Program

Preview

M/E 2 Outputs

Program

Preview

Aux/Return 6 Aux/Return 7 Aux/Return 8 Aux/Return 9

M/E 1 PGM M/E 1 PVW

M/E 2 PGM M/E 2 PVW

Key Wipe Gen

4 Simple

Complex Wipe Gen

Aux/Send 6

Aux/Send 7

Aux Send 8

Aux/Send 9

8126_00_01_r0

28 Zodiak User Manual

Figure 8. Simpliﬁed Video Flow Diagram — Bottom Half

Control Processor DSK

Input/Xpt/ Sync Gen

Deserializer and Reclock

Serializer

Delay

Video or Key Signals

Program A

Aux 1

Aux 2

Aux 3

Aux 4

Aux 5

Switched PVW

Stillstore 1

Key 1 Video

Key 1 Key

Key 2 Video

Key 2 Key

Key 3 Video

Key 3 Key

A Video

B Video

Stillstore 1

Stillstore 2

Stillstore 3

Stillstore 4

Stillstore 2

Switched Preview

Still Store

Preview A

Preview B

Program B

Stillstore 1

Background

Generator

Sync

Generator

Stillstore 2 Stillstore 3 Stillstore 4 Program A Program B

PGM/PST DSK Mixer

Bkg 1

Bkg 2

Single Mix Effect (3-M/E Switchers only)

M/E 3 Outputs

M/E 3 Inputs

Key 1 Video

Key 1 Key

Key 2 Video

Key 2 Key

Key 3 Video

Key 3 Key

Key 4 Video

Key 4 Key

A Video B Video

Utility Video

Key 1 Video

Key 1 Key

Key 2 Video

Key 2 Key

Key 3 Video

Key 3 Key

Key 4 Video

Key 4 Key

Key 1 Video

Key 1 Key

Key 2 Video

Key 2 Key

Key 3 Video

Key 3 Key

Key 4 Video

Key 4 Key

A Video B Video

Utility Video

Video

Processor

Transform

Engines

Mixer

Key Wipe Gen

4 Simple

Complex Wipe Gen

Program

Preview

Aux/Send 10

Aux/Send 11

Aux Send 12

Aux/Send 13

M/E 3 PGM

Aux/Return 10 Aux/Return 11 Aux/Return 12 Aux/Return 13

M/E 3 PVW

Analog 525/625 Reference Input

Xpts

1 – 64

8126_00_03r0

Functional Overview

Zodiak User Manual 29

Section 1 — System Overview

System Control

Zodiak system control is designed for ﬂexibility and simplicity. Ethernet, serial, parallel, and USB are used for system component interconnections. Tally and GPI control are available. Windows 2000 drives the Menu panel touch screen. An overview of Zodiak system control is shown in Figure 9.

Figure 9. Zodiak System Control

Main Control Surface

Menu LAN

Tally (Relay) 8 GPI In 8 GPI Out

4 Serial 2 CPL

Panel LAN

Video Processor Frame

Floppy

Drive

Control

System

Hard Drive

Menu Panel

System Processor

Button Knob Control (Serial)

Touch Screen Control (Serial)

Zip Drive

Optional Keyboard

Optional Mouse

USB

Serial

CD-ROM

Main Panel

Control Panel Processor

Floppy

Drive

Control Line Control Surface Boundary

NOTE: Main Panel, Menu LAN, Panel LAN 10Base-T or 100Base-T Ethernnet

Point to Point Serial RS-422/Serial Async

4 GPI In

4 GPI Out

Optional Future Satellite Panels (1-2)

8096_00_19_r3

30 Zodiak 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 Zodiak Digital Production Switcher to enhance its operational speed and ﬂexibility. Understanding these concepts, as well as basic switcher fundamentals, will help you take full advantage of the exceptional power of the Zodiak system.

Zodiak System Conﬁguration Overview

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

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

Zodiak User Manual 31

Section 2 — Concepts

Engineering Setups

Zodiak Digital Production Switcher conﬁguration information is divided into three areas, to simplify and increase the speed of reconﬁguring the system. The basic areas of Zodiak conﬁguration are:

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

• Suite Preferences (settings for a suite that affect all the operators working in that suite, that are designed to suit a particular show or production style and ensure a consistent working environment), and

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

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

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

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

Engineering Setups information includes:

•Networking (IP addresses),

• Source deﬁnition (described later in this section),

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

•Control surface and suite deﬁnitions (identifying the operating panels present and their relationships to one another), and

•Various other system functions.

32 Zodiak User Manual

Suite Preferences

Suite Preferences deﬁne how the control surfaces associated with a Zodiak suite behave. Suite Preferences can substantially change system behavior, not just a user’s view of the system. Suite Preferences are intended for dayto-day or session-to-session changes in Zodiak system operating behavior and so are open for modiﬁcation by operators.

Suite Preferences include:

•Preview preferences,

• Safe title, preview behavior, etc.,

•Video speciﬁcations (525/60, 625/50, aspect ratio, etc.),

•Default Source Memory (initial keying and video processing settings

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

•Various other suite functions.

Zodiak System Conﬁguration Overview

used for each source on each bus),

User Preferences

User Preferences allow users to customize a Zodiak control surface to suit their personal operational style. User Preferences do not change Zodiak system capabilities.

User Preferences include:

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

•Aux Bus delegation mapping,

•Clip control preferences

• Shift preferences, and

•Various other user functions.

Zodiak User Manual 33

Section 2 — Concepts

Signal Routing

Inputs and Sources

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

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

For 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 Zodiak system can control (Router, DPM, DDR).

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

Source Deﬁnition

When the Zodiak system is ﬁrst conﬁgured, all sources are deﬁned so the incoming signals from each device can be used effectively. This is usually done by engineering personnel, not operators, and once set these deﬁnitions are not changed.

A source deﬁnition data ﬁle tells the system how many signals a source has (video only, or video and key), which physical input(s) to route whenever a particular source is selected, the default processing of the source’s key signal (if present), and what external devices (if any) are associated with that source. Tally is another important attribute of a source. On-air tally relays are related to sources, not physical inputs or source select buttons.

The source deﬁnition process includes assigning a name to each source. Once sources are deﬁned, the user is able to select the source by name, and the Zodiak system automatically manages all the necessary signals, performs any default processing, and enables any additional control capabilities associated with that source.

34 Zodiak User Manual

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

Source to Button Mapping

Source to button mapping makes it possible to organize sources on Zodiak control panels in a preferred order. For example, cameras can be placed on the left side or the right side of the button row, whichever is preferred.

Source mapping is distinct from source deﬁnition, as source mapping only involves the location of sources on the control panel and does not affect any capabilities deﬁned for the sources. Note that E-MEM effects store the source IDs, not the source select buttons, so remapping sources will not change the appearance of recalled effects.

Source Memory

Signal Routing

Keying and other parameters can be saved to a separate source memory for every Zodiak system source. These parameters can be applied automatically whenever that source is selected. See Source Memory on page 72 for speciﬁc information.

Buses and Crosspoints

A bus is technically deﬁned as a signal path where one of several available inputs can be selected to feed a single output. A crosspoint is an electronic switch that allows a signal to pass when the switch is closed. On video switchers, a bus can be constructed containing a series of crosspoints, which permits selecting which one of several incoming signals will be sent out the bus. In Figure 10, source 2 has been selected on the background A bus. This signal can now be called background video is available for further processing.

Figure 10. Buses with Crosspoints

Source Signal Inputs

12345

Crosspoint

Switch

Background A Bus

Signals Continue to Other Buses

Zodiak User Manual 35

061_00_20

Section 2 — Concepts

Buttons on a control panel can be used to control the switching of crosspoints. The buttons are usually arranged horizontally, making it easy to imagine the available signals coming in from the top, and the single bus output signal going out the right side.

In earlier generation switchers, the terms crosspoint button and crosspoint bus have been used in reference to control panel source selection. For a Zodiak 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 Zodiak system does not directly associate a source select button with a physical crosspoint. The association goes ﬁrst through source to button mapping, then through source deﬁnition to ﬁnd the physical inputs.

On the Zodiak system, a single source button can control crosspoints on different buses simultaneously. For example, during keying on an M/E, 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 11, the video component of source 2 in the ﬁgure has been selected on the key ﬁll bus and becomes the key ﬁll signal for subsequent keying. The key component of source 2 selected on the key cut bus becomes the key cut signal for keying. The lower part of Figure 11 shows how the same source (source 4) can be selected for both the key ﬁll and key cut signals.

Figure 11. Multiple Crosspoint Control

Source Signal Inputs

123 45

Key

1 3 4 5

Single Button Controls Both Crosspoints

1 3 4 5

Key Video Key Video Video Only Video OnlyVideo

Single Button Sends Same Signal to Both Buses

Key 1 Fill Bus

Key 1 Cut Bus

Key 2 Fill Bus

Key 2 Cut Bus

0618_00_21_r1

36 Zodiak 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 Zodiak system provides shifted buttons to allow access to more input sources from the control panel.

On a 2.5- or 3-M/E Zodiak system, up to 46 sources can be mapped at one time, 23 to the unshifted source selection, and 23 to the shifted buttons. A dedicated (Crosspoint 24) for every bus. Two shift modes are available: Normal and Latched.

In Normal mode, shifted or unshifted status of the bus is indicated by the state of the a source button always selects the shifted source for that bus. The button will light when the row of buttons to its left are shifted.

Signal Routing

Shift button is provided as the farthest right crosspoint button

Shift button light. Holding down the Shift button while pressing

Shift

In Latched mode, the the Caps Lock button on a standard keyboard. When on, it lights to indicate that the subsequent selection(s) on the crosspoint selector row will be made from the shifted set of sources (24 through 46). When off, the subsequent selection(s) come from the unshifted set (1 through 23). If the user toggles the rently selected input, then the crosspoint selector button blinks to indicate an Out of Sync condition.

A useful conﬁguration is to have sources normally used for backgrounds (e.g. VTRs) mapped to unshifted buttons, and sources normally used as keys (e.g. character generators) mapped to shifted buttons. Then you can then set all the background buses to an 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 buttons.

Mix/Effects (M/E)

An M/E is a subsystem of a video production switcher that can create a composite of two or more pictures. An M/E includes multiple source selection buses and provides transition (mix and wipe) and keying capabilities on the selected signals. An M/E can be organized with the keying circuitry separate from the mixing circuitry, which permits Effect Send capabilities (see Effects Send on page 39 for more information).

Shift button toggles on and off in a manner similar to

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

A simple basic M/E used in a typical switcher will be used as an example in the following discussion. A Zodiak M/E has added capabilities, but the basic principles described here will apply. See Figure 7 on page 28 for a simpliﬁed diagram of the actual Zodiak M/E architecture.

Zodiak User Manual 37

Section 2 — Concepts

Figure 12. Simpliﬁed Mix Effects (M/E) Subsystem

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 12 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 backgrounds are output simultaneously. The keyers in the M/E allow the inclusion of additional material over the background. Wipe generators also exist, which create patterns used by the mixer for wipe transitions, or used by the keyers to modify the signals it sends the mixer. See Transitions on

page 42 and Keying on page 46 for more information. The processed signal

in an M/E is then sent to an M/E output, typically program or preview.

A video production switcher can have more than one M/E. For example, a 3-M/E Zodiak system has three (M/E 1, M/E 2, and M/E 3). Each Zodiak M/E produces two outputs, M/E Program and Preview.

Re-Entry

Switchers with multiple M/Es generally have re-entry capabilities. Reentry permits the switcher to select the output of one M/E for use as an input source to another M/E. The signals are routed internally.

The Zodiak system supports M/E re-entry. For example, an output of M/E 1 can be sent to M/E 2 or M/E 3 (PGM/PST), and an output of M/E 2 can be sent to M/E 1 or M/E 3 (PGM/PST).

Alternate Buses and Delegation

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

Each Zodiak system M/E actually has four keyers, each handling a ﬁll and a key signal, and each M/E can accept three background sources (A, B, and Utility). Providing individual source selection rows for each M/E is

38 Zodiak User Manual

Utility Buses

Effects Send

Signal Routing

impractical, as the panel would become too large for an operator to reach all the buses. For ease of use, Zodiak panels have alternate buses accessed by delegation, using Key and PVW/AUX delegation subpanels.

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

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

On the Zodiak system, Effects Send is integrated into each M/E and is an extension of the keying control system (Figure 13).

Figure 13. Effects Send Diagram

Digital

Source Signal Inputs

Source

Selection

Buses

Keyer

M/E

Effects

System

Mixer

M/E Outputs

0618_00_24

The Zodiak system supports external Effects Send. External Effects Send routes the key ﬁll and key cut output signals from an M/E keyer to a separate, external digital effects system, like a Krystal DPM. The signals are manipulated by the external device and then sent directly back to that M/E’s mixer inputs. If the Zodiak system is equipped with the optional Transform Engine option, the effects become part of the internal M/E’s mixer.

Zodiak User Manual 39

Section 2 — Concepts

Outputs

M/E, Program and Preview Output Buses

Video production switchers generate several different video outputs (Program, Preview, etc.). A ﬁnal program output from PGM is typically sent to the transmitter for broadcast and/or to output devices for recording. Individual M/E program and preview outputs and an additional switched preview output are sent to monitors in the control room. These outputs may also be routed elsewhere in the facility. Aux Bus outputs may also be used for special purposes.

The Zodiak system has dedicated BNC output connectors for the following signals:

•M/E 1 PGM and PVW,

•M/E 2 PGM and PVW,

•M/E 3 PGM and PVW (3-M/E systems only),

•Program A and B (with conﬁgurable clean feed),

Aux Buses

•Preview A and B, and

•Switched Preview, selectable on the control panel from PVW PRI, ME 1, ME 2, ME 3 (3-M/E system only), PGM A or PGM B.

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

Remote Aux panels can be used to give different operators control over one or more Aux buses. It is also possible to assign control of an Aux bus to an external device, like a DPM, and allow that device to directly switch sources as required.

40 Zodiak User Manual

Resource Sharing and Point Of Use

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

Floating resources (like Chroma Keyers) move between points of use, and the parameters controlling these resources are considered part of the point of use. These resources are used at only one point of use at a time. When the resource ﬂoats to the new location, its behavior changes. For example, A Chroma Keyer set for speciﬁc parameters in M/E 1 Key 1 can be assigned to another keyer and have different settings applied.

Other Zodiak system resources behave differently. For example, 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 Zodiak 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 Zodiak system point of use (same as Chroma Keyers described above). These settings are used only by each individual points of use, so changing them will not affect any other point of use.

Resource Sharing and Point Of Use

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

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

Zodiak User Manual 41

Section 2 — Concepts

Transitions

Cut

A transition is a change from one image to another. The Zodiak system supports four (three basic and one optional) types of transitions:

•Cut

•Mix

•Wipe

• DVE (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 suc- cessive 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).

Mix

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

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

Full Additive Mix

Full Additive Mix (FAM) is a special mix transition that the Zodiak system supports besides normal crossfade transitions. Picture elements in FAM transitions are composited differently through the time of the transition(Figure 14).

42 Zodiak User Manual

Figure 14. Normal and FAM Mixes

Transitions

Wipe

Current Picture

Picture

Intensity

Start End

Crossfade Transition

Midpoint

Start End

Current

Picture

FAM

Transition

Midpoint

8126_00_24_r0

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.

A wipe is a transition from one picture to another in which the edge of a shape moves across the screen, revealing the new picture. Wipe transitions can be applied to backgrounds, to keys, or to both simultaneously. A wipe transition shape can be selected from a variety of patterns, and these patterns can be adjusted in several ways (position, aspect ratios, edge attributes, etc.).

Other Wipe Pattern Generator Uses

Preset Black

Each Zodiak M/E has two separate wipe systems, each of which can be assigned a different wipe pattern and be adjusted independently. These systems can each use one of the two available complex wipe pattern generators with advanced capabilities. It is also possible to combine these wipes to create extremely complicated wipe transition shapes, and generally this is used only by advanced operators. Utility bus video signals can also be used to generate a custom pattern for a wipe transition or other purposes.

Wipe pattern generator circuitry can be used for purposes that do not involve transitions. Each Zodiak 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. 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-

Zodiak User Manual 43

Section 2 — Concepts

Fade to Black

Transition Rate

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 transition elements involved in the picture were not selected.

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

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

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

Flip Flop Background Buses

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

For example, if a transition begins with source 1 on Background A and goes to source 2 on Background B, as soon at the transition to source 2 completes, source 2 will be taken to the Background A bus (without disturbing the output of that 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. The mode you select for each preview monitor depends on the number of monitors available and the individual requirements of the facility.

44 Zodiak User Manual

Current and Next Stack

Zodiak 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.

Zodiak 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 Zodiak 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.

Transitions

Key Priority and Transitions

The four keyers on a Zodiak M/E can be assigned priorities. This determines the layering of the keys. The highest priority key appears on top, while keyers with lower priority may be partially or fully hidden behind those with higher key priorities. The backgrounds always have the lowest priority. Changes in key priority can be included as a part of a transition. Like any other transition, the current stack will transition to the key priority of the next stack. For example, suppose the current stack has Keys 1, 2, and 3 in that key priority order over Background A, and the next stack speciﬁes key priority order 3, 2, 1. A mix transition will occur between the 1, 2, 3 composite order to the 3, 2, 1 composite order. All three keys will remain fully keyed over the background, and will mix to their new key priority order.

Zodiak User Manual 45

Section 2 — Concepts

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.

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 Zodiak system supports the following types of keys:

• Linear Key (ﬁxed and adjustable)

• Luminance Key

•Preset Pattern

•Chroma Key

The Zodiak 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

46 Zodiak User Manual

Keying

it with green matte video. This creates a green logo inserted into the background (Figure 15). Because luminance values of the key cut signal are used to cut the hole in the background this is called a luminance key.

Figure 15. Matte Fill Luminance Keying Example

Background

Shaping Video

LOGO

Key Cut

Key Fill

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

In the matte key example above, the key ﬁll signal was a full raster color that did not match the shape of the key cut signal. This key ﬁll signal is accurately called non-shaped video, but may also be referred to as unshaped video since both signal types are processed identically during keying.

LOGO

Background with Matte Key Inserted

0618_00_32_r1

Some external devices (e.g., character generators) provide a key cut signal and an already processed companion key ﬁll signal. A key ﬁll signal that correctly matches the key cut signal is called shaped video. During keying, properly shaped key ﬁll video can be summed with a background signal (with a hole cut) and achieve the desired result. When the shaping is performed by the source device, the Zodiak system can use a standard clip and gain setting deﬁned during system conﬁguration to create the key cut control signal, and so relieve the operator of having to adjust clip and gain manually.

If a key ﬁll does not match the hole in the background (like in the matte key example above), the key ﬁll needs to be shaped by the switcher. By multiplying the key ﬁll signal with the key control signal the unwanted areas of the ﬁll can be made black, shaping the video to match the hole before it is

Zodiak User Manual 47

Section 2 — Concepts

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

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

Video on page 58 for more information.

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

Key Control Signal Adjustment

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

The Zodiak 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.

48 Zodiak User Manual

Video

Retained

Mix of

Background

and Fill Video

Video

Removed

Clip and Gain

The Clip and Gain operation selects a threshold of the selected key cut video that will be used to cut the hole in the background video. Clip controls the threshold, and Gain controls the softness of the key edges and any translucent areas. High portions of the key cut signal speciﬁes what video is retained, and low portions determine what video is removed. Intermediate levels specify a soft blend of the background and ﬁll video (Figure 16).

Figure 16. Key Clip, Gain, and Key Control Signal

Gain

Clip

Key Cut

Signal

Key Control

Signal

Key Control

Signal

Inverted

(Hole Cutter)

Keying

Background Video

Removd

Background Video

Retained

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Clip

Clip and Gain control is appropriate for high gain keys (see below), to easily adjust where the relatively hard transition from background to ﬁll occurs. In this mode, changing the Clip control moves the threshold up and down without affecting Gain, which is adjusted separately with its own Gain control.

High Gain, Low Gain, and Unity Gain

A high gain key has a narrow range, creating harder key edges. A low gain key has a wider range, creating softer key edges. Linear keys typically use minimal gain (also called unity gain) to completely preserve the soft edges of the keys (Figure 17). Note that the Zodiak system also supports keys that go below unity gain.

Figure 17. Keying Gain Values

Gain

Clip

High Gain Low Gain

Unit

Gain

Zodiak User Manual 49

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Section 2 — Concepts

Clip Hi and Clip Lo

On the Zodiak system, Gain has a percentage value. A Gain value of 50% requires a luminance change of 50% of the distance between black and white to produce a keying signal ranging from transparent to opaque. A gain value of 100% (unity gain) uses the entire range between black and white for this transparent to opaque transition. A gain value of 0% produces the hard key edges (a high gain key).

The Zodiak system also supports a Clip Hi and Clip Lo mechanism. With Clip Hi and Clip Lo, two thresholds are established. The upper threshold speciﬁes at what point video will be completely removed from the background, and the lower threshold determines at what point background video will be retained completely intact (Figure 18).

Figure 18. Key Hi, Clip Lo vs. Clip and Gain

Clip Hi

Clip Lo

Key Cut

Signal

Clip

Gain

0618_00_29

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

Clip Hi = Clip + Gain/2 Clip Lo = Clip – Gain/2

Clip Hi and Lo control is more appropriate for low gain keys, to allow independent control of the two thresholds. For example, when adjusting a linear key the operator wants to control where the ﬁll becomes opaque (Clip Hi) and where the ﬁll becomes transparent (Clip Low). In Clip Hi/Lo mode adjusting the point of opacity does not change the point of transparency, and vice versa.

Clip, Gain, Clip Hi and Clip Low adjustments always interact. Changing one always results in changes to two other values. Changing Clip Hi or Clip Low changes both Clip and Gain, not just Gain.

50 Zodiak User Manual

S-Shaped Key Signals

On the Zodiak 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 19).

Figure 19. S-Shaped Luminance Key Control Signal

Keying

Key Control Signal

S-shaping is generally not applied to linear keys because the external device usually applies an S-shaping function when it generates the key cut and key ﬁll signals. S-shaping should not be applied twice.

Additional Keying Controls

The following additional controls are available for keying.

Key Invert

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

Masking

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

S-Shaped

Key Control Signal

0618_00_33_r1

With the Zodiak 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.

Zodiak User Manual 51

Section 2 — Concepts

Opacity

Key Positioning

Key Size

The opacity of a key can be adjusted. When opacity is reduced below 100% some background video is allowed to show through areas where it is normally excluded. Key opacity is an adjustment to the overall intensity of the key, and is separate from Clip and Gain controls. Note that a common mistake is to set opacity to zero and forget that adjustment was made, which can cause confusion later when that key is selected but not visible.

Key positioning allows slight adjustment of the horizontal position of the key cut signal relative to the key ﬁll signal. This is useful if the timing of the two signals at the switcher inputs are not matched properly. This is generally only a problem if the cut or ﬁll follow analog paths from source to switcher or if the source has video/key timing adjustments which have been set to compensate for other delays within the facility.

Coring

Show Key

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

Coring 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.

Linear Key

A linear key typically uses separate key cut and key ﬁll input signals that are intended to be used for linear keying. The key cut and key ﬁll are usually anti-aliased (soft edged) shaped signals created by a character generator or graphics system. There may also be translucent areas intended to allow some background to show through the key (watermarks). The level

52 Zodiak User Manual

Keying

of the key cut signal determines where and how deeply the hole will be cut into the background. The intended soft edge and translucency of the key can then be faithfully reproduced (Figure 20).

Figure 20. Linear Keying

LOGO

Background Video

LOGO

Key Cut Key Control

Clip Gain

LOGO

(typically unchanged)

LOGO

Key Fill

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

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

Key Hole in Background

Invert

LOGO

Completed

Linear Key

618_00_61

Fixed and Adjustable Linear Keys

The Zodiak system supports both ﬁxed and adjustable linear keys. A ﬁxed linear key uses clip and gain values deﬁned in system conﬁguration to create the key cut signal. Typically these values are Clip 50% and unity Gain (equivalent to Clip Hi 100%, Clip Lo 0%). Once ﬁxed linear key values are deﬁned, these sources can be used easily without the operator having to set up the key every time it is used.

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

Zodiak User Manual 53

Section 2 — Concepts

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 21).

Figure 21. Luminance Keying (Self Key)

Background Video

Key Source

(video only)

Key Hole in Background

Invert

Clip

Gain

Key Control

Completed

Luminance Key

Key Fill

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

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54 Zodiak User Manual

Chroma Key

Keying

A chroma key is a key that detects color (rather than luminance) in a video image and replaces it with a new background. For example, a reporter may be in a studio sitting in front of a backdrop with a blue or green backing color, and the new background can be a mountain scene. The completed chroma key consists the mountain scene replacing the backing color, creating the illusion that the reporter is sitting in front of the mountain (Figure 22).

Figure 22. Chroma Key (Additive or Multiplicative)

Background Video

Chroma Key Source

(video only)

Backing Colors Selected Key Control

Chroma Key

Primary

Suppression

Chroma Key Fill

Backing Color Suppressed

Invert

Clip

Gain

Chroma Key Fill

Backing Color Removed

Multiplicative Chroma Key

Key Hole in Background

Invert

Completed

Chroma Key

Secondary

Suppression

Additive Chroma Key

The terms foreground and background are often a source of confusion when used for chroma keys. Foreground refers to the people or objects in a chroma key scene that are in front of the colored backdrop. Background refers to the scene that will replace the backing color (same as a linear or luminance key) in the ﬁnal picture. Background does not refer to the backdrop of the foreground scene.

Zodiak User Manual 55

0618_00_63

Section 2 — Concepts

Primary and Secondary Color Suppression

Chroma keys are performed by suppressing the backing color in the foreground scene, cutting a hole in the background, and then combining the two processed signals. When conditions are ideal, complete suppression of the backing color is possible and the hole cut in the background will match the suppressed foreground, permitting these two signals to be added successfully. This is called an additive chroma key (used when the Zodiak system Foreground Reshaping feature is off). When conditions do not permit adequate backing color suppression, the foreground with its backing color suppressed can be multiplied by the keying signal to prevent contaminating areas of the background outside the keyed area. This is called a multiplicative chroma key (used when the Zodiak 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.

As described above, chroma key primary color suppression replaces the old backing color with black before replacing it with the new background video. It usually has a very low selectivity and therefore suppresses a wide range of colors. The goal is to suppress as much of the backing color as possible without affecting foreground regions.

Secondary suppression is essentially a second chroma keyer that can be used to deal with areas where the backing color passes through some translucent portion of the foreground object, like smoke or liquid. This also includes hair since ﬁne detail often mixes with the backing color. The goal of secondary suppression is to restore the natural color of the foreground object. In general, medium to high selectivity values will be used.

Primary and secondary suppression adjustments are used to select the hue to be replaced and for adjusting the luminance and chrominance levels in the areas of the picture where suppression is applied.

Flare Suppression

Flare suppression can be used to compensate for backing color reﬂected onto foreground objects, or for lens ﬂare (backing color reﬂections within the camera lens). In these cases, the foreground object will take on a slight greenish or bluish tint. Flare suppression subtracts a slight amount of the primary suppression color from the foreground.

Chroma Key Shadow Generator

The Zodiak system has a shadow generator that can be used to include shadows that fall on the backing area of the scene in the background. Shadow offset, range, and density controls are also available that offer control over the placement and appearance of the added shadow.

56 Zodiak User Manual

Preset Pattern

Keying

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

Figure 23. Preset Pattern

Background

Pattern Key Cut

Split Key

Background with Preset Pattern Inserted

Key Fill

0618_00_71_r1

A split key uses an alternative key cut signal for keying. On the Zodiak system, a key split is performed by selecting the desired key ﬁll signal, then selecting an alternative signal to be used as the key cut (Figure 24).

Figure 24. Split Key

123 45

Video Only Key Video Key Video Key VideoVideo Only

21 3 4 5

Split Key, Alternative Key Cut Signal Selected

Key Fill Bus

Key Cut Bus

0618_00_36

Zodiak User Manual 57

Section 2 — Concepts

Properly and Improperly Shaped Video

Note that if the key ﬁll video has been shaped by an external device, this previously shaped video will not match the different key cut signal selected for the split key. Split keys normally treat the ﬁll as unshaped since by definition a split key uses a ﬁll that is not related to the cut. The Zodiak system gives the operator the ability to override this assumption for use when a cut and ﬁll are brought into the switcher from two separate sources, such as a pair of DDRs producing related video and key signals.

The following illustrations show the results of using correctly and incorrectly shaped video. In these examples, the video ﬁll comes from a DPM that provides both a key signal and a ﬁll video signal (a linear key). The DPM’s key signal, ﬁll video that has been set as a shaped output, and ﬁll video set as unshaped is shown in Figure 25.

Figure 25. Video and Key Signals from DPM

DPM Key Signal DPM Shaped Key Fill DPM Unshaped Key Fill

58 Zodiak User Manual

Keying

When the shaping is conﬁgured properly (using either shaped or unshaped key ﬁll) the desired output is the result (Figure 26).

Figure 26. Correctly Shaped DPM Key Example

When the DPM provides a shaped video output but the key is processed as though it were unshaped, the shaped video does not completely ﬁll the key hole in the background so a dark halo appears around the key (Figure 27).

Figure 27. Incorrect Key with Dark Halo

Zodiak User Manual 59

Section 2 — Concepts

In this case the shaped input is incorrectly shaped again, sometimes called a double-multiply (Figure 28).

Figure 28. Incorrect Keying with Shaped Input

Background Key Hole in Background

Correct Key

Invert

Key Control

Shaping Circuit On

Shaped Key Fill

When the DPM provides an unshaped video output but the key is processed as though it were shaped, excessive luminance occurs where the key ﬁll video and key hole edges overlap, producing a white halo around the key (Figure 29).

Figure 29. Incorrect Key With White Halo

Doubly-Shaped

Video

Incorrect Key

with Dark Halo

0618_00_34

60 Zodiak User Manual

E-MEM (Effects Memory)

In this case the unshaped video fails to be shaped at all (Figure 30)

Figure 30. Incorrect Keying with Unshaped Key Fill

Background Key Hole in Background

Key Control

Unshaped

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

E-MEM (Effects Memory)

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

Key Fill

Invert

Shaping Circuit Off

Unshaped

Video

Correct Key

Incorrect Key

with White Halo

0618_00_35

Work Buffer

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

Zodiak User Manual 61

Section 2 — Concepts

Keyframe

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

•On/off settings, including source selections, and

• Parameter settings (variable adjustments).

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

Note that this effect could be learned as a 30 frame effect dissolve (described later in this section), which also has a time value.

Effect Register, Work Buffer, and Current Effect

For clarity, the following description uses single keyframe effects. Multiple keyframe effects are discussed later (see page 64).

The Zodiak system has 100 E-MEM registers (numbered 0 - 99) able to store operational settings for immediate recall. Effect register data must be applied to the work buffer before these settings can affect the system. When an effect register is recalled, keyframe data is loaded into the work buffer, and that register number becomes the current effect (Figure 31). The current effect is an important concept, as it deﬁnes a relationship between the effect registers and the work buffer. Only a current effect can be run or edited.

Figure 31. Work Buffer and Current Effect

Work

Buffer

Effect 1

Settings

Effect 1

Keyframe

Effect 1

Recalled

Effect

Registers

012 99

Current

Effect

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62 Zodiak User Manual

E-MEM (Effects Memory)

The work buffer actually holds a copy of some of the effect register information. When an operator changes a control setting manually, the work buffer settings change but the effect register data itself remains unaltered (Figure 32).

Figure 32. Work Buffer Operational Change

Effect

Registers

Work

Buffer

012 99

Settings

Modified

Effect 1

Keyframe

(no change)

Current

Effect

Operational

Change,

Effect Register

Unaffected

0618_00_38_r1

When an effect is learned, the current operational settings in the work buffer are loaded into the speciﬁed effect register, overwriting any information that was in that register. If a register different from the current effect is learned, the information is loaded into it and that register becomes the current effect. In this case the original effect register will not be altered, and can be instantly recalled to return the system to its earlier state. (Figure 33).

Figure 33. Learn Operation Changes Effect Register

Effect

Registers

Work

Buffer

Effect 1

Keyframe

(no change)

012 99

Effect 2

Settings

Effect 2

Keyframe

Current

Effect

Effect 2 Learned,

Effect Register

Replaced with

Work Buffer Data

0618_00_39

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

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Section 2 — Concepts

Banks and Registers

Multiple Keyframes and Timelines

The Zodiak E-MEM and Master E-MEM control panels are optimized for rapid recall of effects during live production. The Zodiak system’s 100 effect registers can be thought of as being organized into banks (numbered 0 to 9), with each bank containing ten registers (also numbered 0 to 9). For example, register 46 means bank 4, register 6. This organization is for user convenience, to allow immediate single button effect recall from ten different registers, and for clearing, copying, and saving to and from disk banks of registers with a single operation.

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

Effect

Registers

When a multiple keyframe effect is recalled from an E-MEM register, only its ﬁrst keyframe is loaded into the Work Buffer (Figure 34). This is exactly the same as the recall of a single keyframe effect.

Figure 34. Keyframe Effect

Work

Buffer

012

Effect 1

KF 1

Interpolator

KF 1 2 3

Current

Effect

Effect 1

Recalled

Timeline with

Keyframes

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64 Zodiak User Manual

E-MEM (Effects Memory)

The only difference between a single and multiple keyframe effect is a multiple keyframe effect can be run after it has been recalled. Running an effect changes the state of the system from keyframe to keyframe. During the effect run the values between the keyframes are usually interpolated (Figure 35).

Figure 35. Keyframe Effect Run

Effect

Registers

Work

Buffer

012

Effect 1

KF 1 - 2

Interpolated

Interpolator

KF 1 2 3

Current

Effect

Current Effect

Run Between

KF 1 and KF 2

0618_02_45_r1

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

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

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

Zodiak User Manual 65

Section 2 — Concepts

Effect Dissolve

Effect dissolve produces a smooth transition from the current state of the work buffer to the state deﬁned in a recalled register. Effect dissolve ﬁrst takes to the source and other button settings speciﬁed as a starting point in the effect register. The parameter settings in the work buffer then smoothly change so they match the settings of the recalled effect register. Effect dissolve can also simultaneously perform a transition to the speciﬁed ending sources at a speciﬁed duration.

An interpolator is used to smoothly change the parameters settings involved in an effect dissolve. Before performing an effect dissolve, source and other button settings in the work buffer should be compatible with those in the effect dissolve register. This prevents an abrupt change when the new button settings are taken, and so permits smooth transitions between sources. One way this can be accomplished is by using two different, but complimentary, effect registers.

For example, if register 2 contains compatible button settings, it can be recalled into the work buffer. If an effect dissolve is then performed to register 3, the transition occurs and the parameters from register 2 in the work buffer are interpolated to those of register 3. Register 3 becomes the new current effect (Figure 36).

Figure 36. Effect Dissolve

Effect

Registers

Work

Buffer

Copy Of Work

Buffer Before

Effect Dissolve

Effect 2

Keyframe

0123

Previous Current

Effect

Effect 2

Settings

Interpolated To

Effect 3

Interpolator

Effect 3

Keyframe

New Current

Effect

Dissolve

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

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66 Zodiak User Manual

Effect Sequence

Effect sequence allows the operator to chain a set of speciﬁed effect registers together. Recalling the ﬁrst register can initiate a sequential recall of all the registers in the sequence. As each register is recalled, its settings will be applied to the work buffer and the appearance of the system’s output signals will change if they are affected. Delays can be programmed that determine when the next register in the sequence will be recalled. Effect dissolves can also occur as each register is recalled, though this is not required (Figure 37).

Figure 37. Effects Sequence

E-MEM (Effects Memory)

Effect

Registers

Work

Buffer

Effect 0

Keyframe

0123

Effect 0

Settings

Interpolated To

Effect 1

Keyframe

Midway Throgh Effect Sequence

2- 0 - 1 - 3

With Effect

Dissolve

Start End

Effect 2

Keyframe

031

Effect 3

Keyframe

Current

Effect

0618_00_43_r2

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

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

E-MEM Levels

The E-MEM system is divided into functional areas, called levels. Each effect level corresponds to a speciﬁc set of system operational controls, or to an individual interface to an external device. Effect levels are used to allow the operator to store and recall settings for speciﬁc system control areas without disturbing settings for other control areas. For example, on a 2-M/E Zodiak system each M/E has its own level. Each level also has its own set of effect registers. The settings for M/E 1 can be recalled without changing the settings for M/E 2, or PGM PST. The work buffer is actually divided into sections that correspond to each effect level.

Zodiak User Manual 67

Section 2 — Concepts

The earlier E-MEM discussion was simpliﬁed to explain basic concepts. Actually, register learn and recall operations and work buffer modiﬁcations apply to each level of an effect, though multiple levels of an effect can be changed simultaneously. Settings for each level’s E-MEM register is applied to the corresponding level of the work buffer (Figure 38).

Figure 38. E-MEM Levels

Work

Level 1 Effect 1 Settings

Level 2 Effect 1 Settings

Level 3 Effect 1 Settings

Recalling

Multiple

E-MEM

Levels

Effect

Levels

Buffer

Current

Effect

Registers

Current

Effect

Current

Effect

0618_00_41_r1

If only one effect level is selected for a recall, the resulting change is only applied to its level in the work buffer. The other levels of the work buffer remain unaltered. Note that this makes is possible to have current effects from different registers, also called a skewed effect (Figure 39).

Figure 39. Single Level Recall

Work

Level 1 Effect 1 Settings

Level 2 Effect 1 Settings

Level 3 Effect 2 Settings

Recalling

Multiple

E-MEM

Levels

Effect

Levels

Buffer

Current

Effect

Registers

Current

Effect

Current

Effect

0618_00_42_r1

68 Zodiak User Manual

Master Timeline and Multiple Level Keyframe Effects

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

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

Figure 40 shows an effect with its time cursor located on master timeline

keyframe 3.

E-MEM (Effects Memory)

Figure 40. Keyframe Effect and Master Timeline

Work

Effect

Levels

Registers

Effect

Buffer

Interpolator

Master TL

Level 1 1 2 3 4

Level 2 1 2 3

Level 3 1 2 3

Level 1 Effect 1 KF 3

Level 2 Effect 1 KF 2

Level 3 Effect 1 KF 2-3 Int.

1 2 3 4

Current Effects

Multiple Level

Keyframe Effect

Run To

Master Timeline

Keyframe 3

299

0618_02_46_r1

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

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Section 2 — Concepts

Number and Types of E-MEM Levels

The Zodiak system supports a large number of E-MEM levels because of the many different sets of operating controls available. E-MEM levels for the following functional areas exist.

• Each M/E primary partition

• Each Background Matte Generator

• Each Aux Bus

• Each External Digital Effects System

• Each DDR, VTR, Character Generator, and Graphics System

• Each GPI output

• Each Zodiak Still Store output

• Each PBus 2 address

• Each MIDI device (in development)

•R-MEM (in development)

The actual number of levels in a particular system will vary, depending on the Zodiak conﬁguration settings and the number of external devices.

Enable Groups

During system conﬁguration (Suite Preference) E-MEM levels are assigned to 8 Enable control panel buttons, which are then used to control when their assigned levels are active, or enabled. More than one level can be assigned to each Enable button. The group of levels enabled by a single button is called an enable group. This mechanism allows the control grouping to be changed to meet different applications, and permits control of multiple related levels with a single button.

Auto Recall and Effect Levels

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

70 Zodiak User Manual

300 Mode E-MEM Operation

The proceeding discussion explained the Normal E-MEM operating mode. 300 Mode is an alternative Master E-MEM method of operation that mimics the behavior of the Grass Valley Group Model 300 switcher. In this mode, Master E-MEM Learn operations store the register numbers of the individual M/Es, allowing the recall of different combinations of M/E registers with a single button press (Figure 41).

Figure 41. E-MEM 300 Mode Diagram

300 Mode

Operation

Effect

Levels

Master E-MEM

1 3 1

Current

M/E 1 = 1 M/E 2 = 3 M/E 3 = 2

Effect

Work Buffer

M/E 1 Register 1 Data

M/E 2 Register 3 Data

1 3 3

E-MEM (Effects Memory)

2 3 1

23 13 13

M/E 1

M/E 2

Effect

Registers

Effect

8126_07_01_r0

Zodiak User Manual 71

Section 2 — Concepts

Default Keyframe

An important E-MEM concept is the Default Keyframe. A Default Keyframe is a standard collection of effect settings. When the work buffer is cleared, the initial settings it receives will be those deﬁned as the Default Keyframe. The Default Keyframe does not alter effect registers and does not change current source selections or panel delegations, which should only be changed directly by the operator (Figure 42).

Figure 42. Default Keyframe

Suite Preferences

Keyframe

Settings

Factory Default

Settings

Defined by User

Default Default

Keyframe Keyframe

Work

Buffer

Source Memory

Effect

Keyframe

Effect

Registers

Current

Effect Register

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

Source memory is a Zodiak system feature that retains the last settings of keying and video processing parameters used for each source on each bus. Source memory permits the operator to hot cut from one key to another and retain the settings for each source. Source memory keying settings include Clip, Gain, Mask, and many other parameters used for various keying functions. Video processing (proc amp) settings include Luminance, Chrominance, DC Offset, etc. The source memory feature can be turned on and off by the operator.

72 Zodiak User Manual

Work Buffer, E-MEM, and Source Memory

When source memory is on, it tracks the work buffer’s source selection for each bus. Whenever a new source is selected on a bus, the last settings used by that new source are loaded into the work buffer from source memory. Source memory settings are automatically updated when corresponding values in the work buffer are changed. For example, suppose Source 1 has a clip level of 50%, and Source 2 has a clip level of 70%. Selecting Source 1 applies its last used source memory setting to the work buffer (50%). Adjusting its Clip level to 40% in the work buffer also modiﬁes the corresponding source memory of Source 1. Selecting Source 2 recalls its last used source memory settings (70%), not those used by Source 1. Selecting Source 1 again applies its modiﬁed setting of 40%, not its earlier setting or the setting used by Source 2 (Figure 43).

Figure 43. Source Memory and Work Buffer

Source Memory

Source

Memory

Last Keyer and Video Processing Settings:

- Every Source on every Bus

- Key Fill

- Key Cut

- Every Key Cut Mode

Factory

Default

Source

Memory

Default

Source Memory

New Source

Selected

Change In

Work Buffer

Work

Buffer

Original or

Modified

Current Effect

Settings

Effect

Keyframe

Current

Effect Register

0618_00_59

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

Zodiak User Manual 73

Section 2 — Concepts

Source Memory Organization

Bus 1

S 1

Bus 2

S 1

Bus 3

S 1

Bus n

Each source on each Zodiak bus has its own source memory. Source memory parameters for each source are organized into groups to allow some settings to be remembered and applied independently to meet different requirements (Figure 44).

Figure 44. Source Memory Organization

S 2

S 3

S 2

S 3

S 4

S n

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

Key Fill

Proc Amp settings

Key Cut Source ID #

Key Cut

General Settings (includes Mode)

Linear Key Settings

Lum Key Settings

Chroma Key Settings

Preset Pattern Settings

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

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

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

Key Fill

Proc Amp settings

Key Cut Source ID #

Key Cut

General Settings (includes Mode)

Linear Key Settings

Lum Key Settings

Chroma Key Settings

Preset Pattern Settings

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74 Zodiak User Manual

Source Memory

key memory settings for that key mode will be applied to the key cut signal. This organizational structure allows source memory to retain different settings for the same source, and it also accommodates split keys.

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

Different source memory settings are retained for the different key modes. These different settings can be applied to the same source on the same bus, as needed. For example, a camera source on M/E 1 Key 1 can be setup for both a chroma key and a preset pattern. The operator can choose the key type for that source as the session requires. Choosing a chroma key will recall its latest chroma key source memory settings, which can then be altered without changing the preset pattern source memory settings. Choosing preset pattern on that same source and bus later in the session will recall its unaltered source memory settings.

When a key split is performed a different key cut signal is selected for use. On a Zodiak system with source memory on, that new key cut source’s key mode and keyer settings will be used for the split key (Figure 45). This is different from the Grass Valley 4000 switcher, which associated its source memory only with the key ﬁll signal.

Figure 45. Source Memory and Split Key

S 1Bus 1

S 2 S 3 S 4

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

Key Fill

Proc Amp settings

Key Cut Source ID #

Key Cut

General Settings (includes Mode)

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

Linear Key Settings

Lum Key Settings

Chroma Key Settings

Key Fill

Proc Amp settings

Key Cut Source ID #

Key Cut

General Settings (includes Mode)

Linear Key Settings

Lum Key Settings

Chroma Key Settings

Preset Pattern Settings

Zodiak User Manual 75

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Section 2 — Concepts

Default Source Memory and Factory Default Source Memory

Default source memory settings can be set for every Zodiak source, and these defaults can be restored by an operator when desired (Figure 43). The defaults for a source are not bus speciﬁc. The same default values for a source are used on every Zodiak bus. Default source memory is a Suite Preference.

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

3-D Digital Effects Concepts

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

Translation and Transformation

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 (Figure 46).

Figure 46. Picture Translation

X Axis Translate Y Axis Translate Z Axis Translate

Transformation includes translation, and also includes these other functions:

Size — Enlargement and reduction of the picture area while it remains in the

same plane in 3-D space. This is different from picture translation in the Z axis, where the picture retains its original size, but appears smaller when moved away, and larger when moved closer.

0865_10

(moved farther away)

76 Zodiak User Manual

3-D Digital Effects Concepts

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

sions (Figure 47). Rotate is limited to ± one half revolution, and will always take the shortest path to the new position. Rotate uses Quaternian math to calculate the move with increased accuracy. Multiple rotations are performed with the Spin function.

Figure 47. Rotate

0865_12_r1

X Rotate

(Around Y Axis)

Y Rotate

(Around X Axis)

Z Axis Rotate

Spin — Supports multiple rotations about the reference axis in the X, Y, and

Z directions. Spin supports fractional values, and is similar to Rotate when the move is less than ±. one half revolution. Spin uses Euler math to calculate the move, which is not quite as precise as Quaternian, but permits multiple rotations. Spin applies transform values in Z, X, Y order, so editing effects in this axis order provides the best control of the effect.

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

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

Figure 48. 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 48). Z axis changes affect both X and Y dimensions, and is the same as Size.

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

(Figure 48).

Zodiak User Manual 77

Section 2 — Concepts

Axis Location

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

The axis location of the channel determines the center point of translations, spins, and rotations for that channel. You can move the axis to a new location to change the behavior of that channel. The axis location can be within or outside the screen area (Figure 49).

Figure 49. Frame of Reference Axis Locations

Z Axis Rotation at Different Axis Locations

Axis At

Center of Picture

Source and Target Space

The Zodiak Transform Engine uses source and target space frames of reference.

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

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

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

Axis Off

Center of Picture

Axis Off Screen

0865_08

The simplest example for source and target space concerns a channel that has been rotated while the global channel remains unchanged (Figure 50).

78 Zodiak User Manual

Figure 50. 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 differently, depending on whether source or target space is being used (Figure 51).

Figure 51. 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 (Figure 52 and Figure 53). Note that the target translate of the channel is the same as a source translate of the global channel.

Zodiak User Manual 79

Section 2 — Concepts

Figure 52. Channel Translate with Global Rotated

0865_05

Global Channel

Logical Channel Source Translate

Figure 53. Global Channel Translate with Global Rotated

Global Channel

Global Channel Source Translate

Post Transform Space

Post transform (Post Xform) is a special transform function that only affects size and location operations. It does not change the perspective of the image (Figure 54). 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.

Along X-Axis

Global Channel

Logical Channel Target Translate

Along X-Axis

Global Channel

Camera Channel

Global Channel Target Translate

Along X-Axis

0865_06

Figure 54. Post Transform Translation

0865_09

X Axis Translation

with Locate 3-D

X Axis Translation

with Post Xform

80 Zodiak User Manual

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

The Zodiak system uses a “Near” and “Far” convention to ease system operation. Near is always the side of the picture that is visible (facing toward the viewer), and Far is the hidden side of the picture (facing away from the viewer). The current Near side can be either the front side or the back side of the picture, depending on orientation. For example, to change the source on the visible image, just change the Near side. To change the source on the hidden side, change the Far side. You don’t need to know whether the image being changed is actually the front or back side.

3-D Digital Effects Concepts

Transform Numbering Systems

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

Screen Coordinates

The Zodiak Transform Engine accommodates two different aspect ratios, 4 x 3 and 16 x 9, selectable via the Video Standards menu. In 4 x 3 mode, the screen is six units high and eight units wide. In 16 x 9 mode, the screen is 18 units high and 32 units wide. The numbering system begins in the center of the screen, and has the standard horizontal X axis and the vertical Y axis (Figure 55). For simplicity, examples in this manual use the 4 x 3 aspect ratio.

These coordinates can be used for monitor screen locations (channel target space with default global channel), or they can be applied to picture locations (channel source space).

Zodiak User Manual 81

Section 2 — Concepts

Figure 55. Screen Coordinates

+3Y

-3Y

+4X-4X

-16X

+9Y

-9Y

+16X

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 56).

Figure 56. Viewer Location in 3-D Space

Source

Target

-Z

+ 16.67 Screen Units

865

0865_02

Viewer

- 16.67 Screen Units

For perspective calculations the factory default viewpoint places the viewer -16.67 screen units from the monitor screen surface (4 x 3 aspect ratio). In this case, moving a full screen image 16.67 screen units back behind the screen makes the picture appear half its normal size to the viewer.

Size

Picture size is deﬁned relative to picture screen units. A size of 0.50 indicates a picture is one-half its full size.

Rotation

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.

82 Zodiak User Manual

3-D Digital Effects Concepts

Spin

Spins are measured in number of 360° rotations (up to 999). Fractional spin values are also supported. A single axis 0.50 spin is the same as a single axis

0.50 rotation. Spin values can be positive or negative, which determines the direction of spin.

Skew

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

Aspect

Aspect values are in percentage of the original size, with 1.0 = 100%, 0.5 = 50%, etc.

Perspective

Perspective supports values from 0-100, with 0.06 as the default.

Spin and Rotation Relationship

It is possible to use both Spin and Rotation at the same time in an effect. When both are used, the transforms are nested so that the values of one transform are applied after the previous transform values have been calculated. This nesting provides increased control of the effect dynamics. Source and Target space also affects the transform nesting order Figure 57.

Figure 57. Spin and Rotate Transform Nesting

Spin

Source

Rotate

Source

Rotate Target

Spin

Target

0618_04_138_r0

Zodiak User Manual 83

Section 2 — Concepts

Path Control

Paths

Keyframes specify parameter values at speciﬁc times in an effect. Most of the duration of an effect, however, occurs between these keyframes. The Zodiak system interpolates parameter values between keyframes (inbetweening). The trajectory, or path, a manipulated picture travels between keyframes is determined by how these inbetween values are interpolated. The Zodiak system offers you several path controls (Figure 58):

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

then change all at once for the next keyframe.

LINEAR — Applies a linear interpolation between keyframes; no acceleration

or deceleration is applied. Movement is mechanical with a constant velocity.

S-LINEAR — Applies a linear or straight line motion between keyframes,

with acceleration and deceleration applied at the beginning and end of each keyframe.At each S-Linear keyframe the motion is stopped for two ﬁelds.

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

are user adjustable with path modiﬁers (tension, continuity, and bias) described below.

Figure 58. 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

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84 Zodiak User Manual

3-D Digital Effects 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).

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 keyframe. The path through KF2 is parallel to an imaginary line drawn between KF1 and KF3 (Figure 59).

Figure 59. Path Vectors

KF1

Tension

Vector

Bias

Vector

–

KF2

–

Continuity

Vector

KF3

0721_06_46_r1

Zodiak User Manual 85

Section 2 — Concepts

Vector Values

Tension Control

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

In the example below, the keyframes comprise a right angle, so the TENSION control operates on a 45° line drawn through the keyframe. This line is referred to as the Tension Vector and is parallel to a line drawn between adjacent keyframes (Figure 60).

The

TENSION soft knob controls the length of the tension vector. The length

of the tension vector is inversely proportional to its parameter value. For example, at a Tension setting of 0 (zero), this imaginary line extends an equal distance into and out of the keyframe, and the path through the middle keyframe is curved. The unmodiﬁed KF2 is said to have a correction value of 0.0.

Figure 60. Tension Control Setting Zero

Tension

Vector

KF1 KF2

Tension = 0.0

KF3

0721_06_47_r0

86 Zodiak User Manual

3-D Digital Effects Concepts

In the example below, the TENSION control is increased to 1.0, so that the Tension vector is shortened to non-existence through KF2 (Figure 61). The path enters and leaves the middle keyframe in a straight line as it takes on an S-Linear motion; decelerating as it enters the middle keyframe and accelerating as it leaves.

Figure 61. Tension Control Setting 1.0

No Tension Vector

KF1

Tension = 1.0

KF2

KF3

0721_06_48_r0

In the example below, the TENSION control has been set to -1.0. This lengthens the Tension vector, causing the path through the middle keyframe to be longer and broader (Figure 62). The longer path will appear to make the image speed up through KF2 as it travels from KF1 to KF3.

Figure 62. Tension Control Setting -1.0

Tension

Vector

KF1

Tension = -1.0

KF2

KF3

0721_06_49_r0

Zodiak User Manual 87

Section 2 — Concepts

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 63). The unmodiﬁed path shown is identical to the unmodiﬁed path of the other controls.

Figure 63. Continuity Control Setting Zero

KF1 KF2

Continuity

Vector

–

Continuity = 0.0

KF3

0721_06_50_r0

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 63).

Figure 64. Continuity Control Setting 1.0

KF1

Continuity

Vector

Continuity = 1.0

KF2

–

KF3

0721_06_51_r0

88 Zodiak User Manual

3-D Digital Effects Concepts

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 65).

Figure 65. Continuity Control Setting -1.0

KF1

Bias Control

The BIAS control determines whether the path will be pulled towards the previous or the following keyframe. With extreme settings, all of the biasing will occur either before or after KF2. With bias set to 0 (zero), the curve through the keyframe is gentle as shown in Figure 66.

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

Figure 66. Bias Control Setting Zero

Continuity

Vector

Continuity = -1.0

KF2

–

KF3

0721_06_52_r0

Tension

Vector

Bias

KF1

KF2

Bias = 0.0

KF3

Vector

0721_06_53_r0

Zodiak User Manual 89

Section 2 — Concepts

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 67).

Figure 67. Bias Control Setting 1.0

Entry

KF1

KF2

Bias = 1.0

Bias

Tension

Vector

KF3

0721_06_54_r0

With the bias set to -1.0, the path is pulled towards the previous keyframe. Entry into and exit from the keyframe is a straight line to the following keyframe (Figure 68).

Figure 68. Bias Control Setting -1.0

Tension

Vector

KF1

Bias = -1.0

Exit Bias

KF2

KF3

0721_06_55_r0

90 Zodiak User Manual

3-D Digital Effects Concepts

Zodiak User Manual 91

Section 2 — Concepts

92 Zodiak User Manual

Control Surface Description

Introduction

A basic Zodiak system is equipped with a Main panel, a Menu panel, and removable media drives. These separate control panel components make up a Zodiak control surface. Interactions occur between the components of the control surface. For example, changing controls on the Main panel can change the status of soft buttons on the Menu panel, and vice versa. In this section the basic functions of the different parts of a Zodiak control surface will be discussed. Actual operational procedures and menu descriptions and are included elsewhere in this manual.

Many aspects of the behavior of Zodiak controls can be affected by the current system, suite, and user conﬁguration settings. All the possible variations in operating behavior will not be covered in this section. As you become familiar with how the Zodiak system operates, you will be able to customize the system’s behavior to meet special requirements.

Section 3

Remote Aux Bus panels are also available as an option. These panels are conﬁgured as a separate control surface.

Button Behavior

Control panel buttons can exhibit the following behaviors:

• Single press

•Alternate action

•Momentary action

• Interlocked group

•Double press

•DPOP and SPOP (Double and Single Press Open)

• and some other specialized actions.

Zodiak User Manual 93

Section 3 — Control Surface Description

Single Press

The most basic button behavior is a single press, where pushing the button activates the labeled function immediately. These buttons light while its action is being performed, and then go off, permitting the function to be activated again. The On some single press buttons, pressing the button again while the action is being performed (the button will be lit) halts the action. The button is an example of a single press button that can be halted.

Alternate Action

Some system functions have two states, and are turned on and off by a single alternate action button. Pressing the button when the function is off turns the function on, and vice versa. The panels is an example of an alternate action button.

Momentary Action

The momentary action button is one in which pressing and holding the button makes something happen and releasing the button stops the action. The

Show Key button in the Keyer subpanels is an example of a momentary

action button.

Cut button is an example of a basic single press button.

Auto Trans

Key Invert button in the Keyer sub-

Interlocked Group

Many system functions have more than two states. Pressing a button in an interlocked group sets the function to the state indicated by that button’s label.

Source selector buttons on a bus are an example of one type of interlocked group where selecting one button always turns off the previously selected button. Only one of the sources can be selected on a source selection bus at the same time. This is referred to as a radio button.

In some cases, more than one function can be selected simultaneously in an interlocked group. Holding down one button while pressing another button in the group will activate both functions. Pressing only one button in the group will turn off any other active functions in that group. If an individual button is pressed when off, it will go on, and if pressed when on it will stay on. The panel are an example of this type of interlocked group.

In some special cases, an additional state may be selected by pressing pairs of buttons in an interlocked group. For example, no button exists in the Keyer subpanels for an adjustable linear keys. Pressing simultaneously selects an adjustable linear key. Both button tallies will be lit in this state.

Key 1 - 4, Bkgd, and Key Prior buttons in the Transition sub-

Lin Key and Lum Key

94 Zodiak User Manual

Double Press

Button Tally

Introduction

Some buttons can be pressed twice rapidly to perform a different related function. For example, pressing the Edit subpanel can clear basic work buffer parameters, but pressing

Clear WkBfr twice can clear both the basic parameters and the source

memory parameters from the work buffer.

Double Press Open (DPOP) is a variation on double press where the alternate action displays a speciﬁc menu. See DPOP and SPOP Menu Delegation

on page 98 for more information.

The state of a panel button is indicated by the illumination of its internal tally LED. The following indicators exist:

•High tally

• Low tally

Clear WkBfr button once in the Effects

• Flashing

• Brief tally

•Off

Note that the button tally indicates the state of the function to which that button is currently delegated (see Delegation on page 96).

A high tally is used when the function associated with that button is active. For example, the source button currently selected on an M/E will be high tally when it is on-air.

A low tally is used when a third state exists for a button. For example, a source button selected on an M/E that is not on-air will be low tally. For other buttons, low tally can have different meanings. For example, low tally can indicate a function is available for use (the frame Edit subpanel), it could mean an E-MEM level is enabled but not delegated (Master E-MEM subpanel), or it could report that a function is selected but disabled (Transition subpanel).

Flashing tally is reserved for situations where the operator needs to be aware that some expected panel behavior has been changed (see Dialogs

and Prompting below).

Mod button in the Key-

Tallys will be off for buttons whose functions are off or not available. If a disabled button is pressed a warning notiﬁcation occurs (audible beep and/or message on the Menu panel).

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Section 3 — Control Surface Description

Dialogs and Prompting

Some operating procedures on the panel involve modifying button behavior until the procedure is completed or canceled. Prompting dialogs can be displayed to the operator during the procedure. One example is using the Master E-MEM key pad for numeric entry. The Master E-MEM number buttons normally recall registers with a single button press. When delegated for numeric entry (e.g. specifying an effect duration), a prompt message appears on the E-MEM readout. Pressing the keypad buttons under these conditions enters a numeric value, completed by pressing the

Enter button, instead of recalling a register.

A group of buttons ﬂashing is another type of prompt, indicating the user must select one of these buttons (see Transition Rates on page 113). Pressing a ﬂashing button in this case is a form of delegation, and does not change the state of the pressed button.

Knob Behavior

The Zodiak system control knobs rotate freely without limits. A tone sounds when the logical limit of a knob parameter has been reached.

Delegation

The knobs on the separate Menu panel can control different functions depending on the currently selected menu. These menu knobs are called soft knobs, as the functions they control vary from menu to menu. Legends on each menu indicate each knob’s parameters. Direct numeric entry is also available for these parameters via a pop up keypad displayed on the Menu panel touch screen.

Delegation permits a single group of buttons and knobs to control a large number of identical system functional areas, or objects. A Zodiak system actually has multiple keyers, wipe pattern generators, and matte generators, making dedicated controls for each object unfeasible. Delegation connects a group of controls, typically a subpanel, to a particular object. Delegation can greatly reduce confusion over which button to press or which knob to turn to control each object in the system.

Delegation on the Zodiak system provides exceptional ease of use and ﬂexibility. The delegation mechanism has intelligent customizable automatic delegation, and individual delegation button groups. Together, these capabilities can automatically satisfy almost all of a user’s delegation requirements, freeing the operator from manual delegation. Automatic delegation can be instantly disabled and enabled from the Main panel, and manual and momentary delegation remains available at any time.

96 Zodiak User Manual

The following areas of the Zodiak Main panel use delegation:

•Keyers subpanels

•Key bus source selection rows

• Joystick subpanel

• E-MEM numeric keypads in each M/E

•PVW/AUX bus source selection

•Menu panes

Automatic Subpanel Delegation

The Zodiak system is designed so that when an operator activates a particular object, one or more subpanels will automatically delegate to control the speciﬁc object involved. This allows the operator to quickly access the necessary controls without having to select them manually.

The subpanels that are auto delegated and the functions for initiating delegation are outlined in Table 1.

Introduction

Table 1. Subpanel Delegation

Subpanel Delegated Function Initiating Delegation

Keyer Subpanel

Key Bus Delegate Subpanel

Joystick Subpanel

Momentary Delegation

An operator may sometimes have subpanel controls delegated to a certain object, but need to make a quick change to a different object. For example, a Keyers subpanel delegated to Keyer 1 may be temporarily delegated to Keyer 3 to make a quick adjustment. This is done by holding down the Keyer 3 button for a preset period. If the user makes an adjustment to Keyer 3 within the time allowed, the timer will reset, otherwise, after a period of no activity applied to Keyer 3, the delegation will return to the original delegation, Keyer 1. A user preference sets the hold down delay.

Putting a key on-air with Selecting a keyer on Key Bus delegate subpanel (except for Util or Macro) Selecting a key as the next transition in a Transition subpanel Putting a key on-air with Key 1 – 4 Mix button in a Transition subpanel Delegating a keyer in the Keyers subpanel Selecting a key as the next transition in a Transition subpanel Selecting the Delegating a Keyer subpanel with an active preset pattern Delegating a Keyers subpanel to key layer with active Transform Engine Activating a Transform Engine Activating a wipe with an active border

Int DPM button on a Keyers subpanel

Key 1 – 4 Mix button in Transition subpanel

Zodiak User Manual 97

Section 3 — Control Surface Description

DPOP and SPOP Menu Delegation

DPOP stands for Double Press Open. This is a form of automatic delegation where a speciﬁc menu is displayed on the Menu panel when a panel button is pressed twice in rapid succession. A menu can contain controls that do not exist on the Main panel. DPOP makes these additional menu controls readily available. If further delegation exists within the menu, for example to a speciﬁc keyer, that delegation occurs as well. If the menu is already open, a single press performs the menu delegation (a second button press is not required).

SPOP stands for Single Press Open. SPOP buttons operate similar to DPOP, but only a single button press is required.

Active DPOP and SPOP buttons and their menus are listed in Table 2.

Table 2. DPOP and SPOP Buttons

DPOP Button Subpanel Menu Displayed

C1/C2 Wipe Joystick Wipe menu Chroma Key Keyers Keyer Chroma Key menu DSK 1 Key Bus Delegation Keyer Mode menu DSK 2 Key Bus Delegation Keyer Mode menu DSK 3 Key Bus Delegation Keyer Mode menu Force Mask Keyers Keyer Mask menu Int DPM Joystick Transforms menu Inhibit Mask Keyers Keyer Mask menu Key Prior Keyers Keyer Priority menu Locate 3D Joystick Transforms menu Locate Size Joystick Transforms menu Preset Pattern Keyers Wipe menu Spin Joystick Transforms menu Source Joystick Transforms menu Wipe Joystick Wipe menu

98 Zodiak User Manual

Keypad Delegation

Each E-MEM and Master E-MEM has a keypad that can recall effects with a single numeric button press (see Keypad Numeric Entry Buttons on

page 127 and Master E-MEM Keypad on page 133). These keypads are also

used to enter numeric values. Pressing a numeric preﬁx button delegates the keypad to numeric entry for that function.

The numeric preﬁx buttons and controlled numeric functions are listed in

Table 3.

Table 3. Automatic Keypad Delegation

Keypad Delegated

E-MEM keypads

Master E-MEM keypad

Function (Preﬁx)

Initiating Delegation

Trans Rate Time in seconds, frames, odd ﬁeld Eff Dis Time in seconds, frames, odd ﬁeld Register sequence pause Time in seconds, frames, odd ﬁeld Trans Rate Transition rate in seconds, frames, ﬁeld ↑ / Bank Bank number

Numeric Parameter Controlled

Introduction

Time Value Entry

Time values are input on the Zodiak Main Control Panel E-MEM and Master E-MEM subpanels in seconds, frames, odd ﬁeld format, using the

Undo/• button the separator (indicated below as “•”) and the Enter button to

complete the entry:

(seconds), •, (frames), •, (ﬁeld), Enter

The default time entry is in frames. For example, a time of 15 frames (one half second on 60 hz systems) can be input simply by pressing:

15, Enter

Entries in seconds can be entered by adding one separator. For example, a time of 1 second is input by pressing:

1, •, Enter

An odd ﬁeld is input by pressing 1 as the last entry. For example, a time of one second 15 frames and one ﬁeld is input by pressing:

1, •, 15, •, 1, Enter

After an odd ﬁeld has been entered, it is represented with an “f” in the E-MEM readout. For example, the completed time above appears as 1:15f. It is possible to enter values other than 1 as an odd ﬁeld. The system will calculate and display the correct number frames and a single odd ﬁeld.

Zodiak User Manual 99

Section 3 — Control Surface Description

To enter only ﬁelds, use two separators before the number. For example, a time of 30 ﬁelds (one half second on 60 hz systems) is entered by typing:

•, •, 30, Enter

You can actually enter any combination of seconds, frames and ﬁelds. The Zodiak system will do the conversion and display the result in seconds, frame, ﬁeld format.

Decimal values for other non-time parameters are also input on the Master E-MEM subpanel with the numeric keys, the and the entry, it can be input without typing in a value by pressing:

The Zodiak Menu panel also provides a touch activated keypad for entering values directly into menus, using similar procedures.

Enter button to complete the entry. If a default value exists for an

•, Enter

Undo/• button for the decimal,

100 Zodiak User Manual

GRASS VALLEY Zodiak Digital Production Switcher, Zodiak User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Preface

About This Manual

Standard Documentation Set

Other Documentation

System Overview

Introduction

Features

2.5-M/E System Standard Features

3-M/E System Standard Features

Zodiak System Options

External Interfaces Supported

System Components

Control Surface

Main Panel

Menu Panel

Panel Options

Remote Aux Panels

Video Processor Frame

Video Processor Power Supply

Video Processor Frame Options

Transform Engine Option

RGB Color Correction

Chroma Keyers

Zodiak Facility Example

Functional Overview

Video Signal Flow

System Control

Concepts

Introduction

Engineering Setups

Suite Preferences

User Preferences

Signal Routing

Inputs and Sources

Source to Button Mapping

Source Memory

Buses and Crosspoints

Shifted Sources

Mix/Effects (M/E)

Re-Entry

Alternate Buses and Delegation

Utility Buses

Effects Send

Outputs

M/E, Program and Preview Output Buses

Aux Buses

Resource Sharing and Point Of Use

Transitions

Full Additive Mix

Wipe

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

Keying

Matte Fill Key Example

Shaping Video

Key Control Signal Adjustment

Clip and Gain

Clip Hi and Clip Lo

S-Shaped Key Signals

Additional Keying Controls

Key Invert

Masking

Opacity

Key Positioning

Key Size

Coring

Show Key

Linear Key

Fixed and Adjustable Linear Keys