MRM LFP Quick Start Manual

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LFP

CONTROLLER

Quick Start Guide

Document version: LFP-QSG-20160421 MSA-21 v6.14

Part number: MRMC-1168-02

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LFP Quick Start Guide

Document version: LFP-QSG-20160421 MSA-21 v6.14 Part number: MRMC-1168-02

No part of this publication may be reproduced, transmitted, or translated by any means — graphical, electronic, or mechanical — including photocopying, recording, taping, or storage in an information retrieval system, without the express written permission of Mark Roberts Motion Control.

Although every care has been taken to ensure that the information in this document is accurate and up to date, Mark Roberts Motion Control continuously strives to improve their products and may make changes to the hardware, firmware, and software described in this document. Mark Roberts Motion Control therefore cannot be held responsible for any error or omission in this document.

All product names mentioned herein are the trademarks or registered trademarks of their respective owners.

Contact information

Mark Roberts Motion Control Ltd.

Unit 3, South East Studios Blindley Heath Surrey RH7 6JP United Kingdom

Telephone: +44 (0) 1342 838000

E-mail: info@mrmoco.com (sales and general enquiries)

support@mrmoco.com (customer support)

Web: www.mrmoco.com

www.mrmocorentals.com

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LFP Quick Start Guide

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Contents........................................................................iii

Chapter 1 Quick start ..................................................................... 1

Safety........................................................................................ 1

Overview .................................................................................1

Connecting the cables ...........................................................3

Powering up and loading the head ......................................4

Turning off the LFP and head..................................... 6

The LFP controls ................................................................... 6

Setting the control directions ............................................... 8

Zeroing the axes ...................................................................10

Zeroing the axes manually.........................................11

Zeroing the axes by homing......................................12

Setting the soft limits...........................................................13

Session summary ................................................................15

Chapter 2 Using Broadcast mode to record and re-use static

camera positions .......................................................... 16

About Broadcast mode........................................................16

Recording a preset................................................................16

Using a preset........................................................................17

Modifying a preset ............................................................... 17

Chapter 3 Using Film mode to record and play back camera

movements................................................................... 19

About Film mode.................................................................19

Using the Emergency Stop button..................................... 20

Specifying the camera settings ...........................................20

Creating a move by defining start and end points...........23

Creating a move by live recording.....................................25

Playing back a move - simple method .............................. 26

Playing back a move - advanced method..........................28

Summary of playback events..............................................30

Using time-lapse playback ..................................................31

Modifying a move................................................................33

Assigning moves to the Preset buttons..............................35

Playing a move with a Preset button ........................ 35

Deleting a move....................................................................36

iii

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LFP Quick Start Guide

Chapter 4 Speed controls.............................................................. 37

Appendix 1 Menu reference ............................................................ 40

Broadcast mode.................................................................... 42

Film mode ............................................................................44

Appendix 2 Troubleshooting .......................................................... 53

Typical symptoms, causes, and actions ............................. 53

Working with Local Area Networks .................................. 56

Introduction to LAN addresses ................................ 56

Managing LAN addresses with the LFP .................58

Managing LAN addresses with Flair........................ 61

Zeroing lens axes with external Lens Control Motors ....64

Axes directions............................................................64

Zeroing a lens ring with a hard stop.........................66

Setting up a lens axis for manual zeroing....... 66

Setting up a lens axis for automatic

homing................................................................ 66

Zeroing a lens ring with a slip clutch .......................67

Using a FIZ pot ........................................................... 68

Calibrating the FIZ pot.....................................68

Appendix 3 Back panel and accessories .......................................... 70

Panel summary..................................................................... 70

Connector pin-out information.........................................73

Camera trigger out .....................................................73

Auto-focus and bloop trigger out............................. 73

Camera sync in............................................................74

Data In connector....................................................... 74

Data Out connector.................................................... 75

Serial A connector ......................................................75

Serial B connector....................................................... 76

Auxiliary connectors for Focus and Zoom .............76

Pan Bars connector.....................................................77

Power In connector ...................................................78

Power Out connector .................................................78

Appendix 4 Specifications ............................................................... 79

Index of menu options................................................. 80

Index ............................................................................ 82

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LFP Quick Start Guide

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Chapter 1 Quick start

Safety

• Do not use around flammable gas. All electrical equipment can generate sparks that can ignite flammable gas.

• Heads have powerful motors that can pinch, so take care not to get your hands trapped in the head or cabling.

• Keep the equipment dry. The system has not been made weatherproof. Do not use with wet hands.

• Keep cables tidy. Use cable ties to keep them out of harm’s way. If you have a head with slip rings then make use of them; avoid running any cables between the base and the rotating head or camera.

Overview

Thank you for using the Large Format Panel (LFP) camera head controller from Mark Roberts Motion Control (MRMC). You can use the LFP as a standalone controller attached to an MRMC camera head. The LFP is a robust controller designed for day-in, day-out use in professional studio and Outside Broadcast environments.

The two-handed controls on the LFP controller give you precise, ergonomic, real-time control of the camera direction (pan, tilt, and roll), position (if on a rail) and camera functions (focus, zoom, and iris). You can also plug additional controls into the LFP such as focus and zoom lens controls, and pan bars.

The controller includes the following features:

• Record and Playback of static camera positions - You can store up to eight static head “preset” positions (including lens settings) and go to any preset position at the touch of a button.

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LFP Quick Start Guide

• Record and Playback of moves, including camera synchronization - You can create, store, play back, and modify up to 174 axis-minutes of head movements, including lens control movements.

• A-B moves – To define start and end points and automatically create a smooth move between them.

• Time-lapse Playback – to record a move at normal speed and play it back slowly in stop-frame or slow motion mode.

• Back-Pan – You can set up the pan axis to automatically compensate for rotation axis movement to keep the camera on target.

• Soft-limits – to limit the movement ranges of the axes

• Velocity limits – to ensure axes do not trip

• Acceleration limits – to give smooth movement

• Lens axis control – to give absolute position control when

required

• Standard axis control – to give relative position control when required

• Control scaling – to allow fine adjustment or a fast response

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24V 5A

ETHERNET

POWER IN

3-hole plug, 24 Volts DC

Put the BOOT MODE switch to Up position. Attach the power cables last.

Example head: AFC

The head and controller both use the same type of power supply brick.

See also Back panel and accessories on page 70.

Connecting the cables

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Hint

It is recommended that you do not use the POWER OUT socket on the LFP to power the head if you are using an Ethernet connection to the head. If you do so then powering up the LFP will simultaneously power up the head, and in this instance powering up two Ethernet devices at the same time on the same network can cause communication problems between them.

Powering up and loading the head

There is no power switch on the LFP; the power is on whenever the 24-volt power supply is attached and live. Similarly, there is normally no power switch on MRMC camera heads; the power is on whenever the head has a 24-volt power supply that is live.

1. Attach the power cables to the head and the LFP after you have attached all the other cables. Make sure the relevant indicators light up; for example, the power indicator LEDs on all 24Volt power supply bricks ( ), and the power indicator LED on the head ( ).

Hint

If you are using an Ethernet connection between the controller and the head it is recommended that you power up the head first and the controller last, as powering up two devices simultaneously on the same network can cause communication problems.

If you are using a Serial connection to the head you must power up the controller first and the head last.

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Hint

Do not touch the Joystick control when the controller is starting up. Within the first second of start-up, the controller uses the centre (resting) position of the Joystick as the zero calibration point, and any Joystick movement or offset during this time will result in the head moving later when no one is touching the Joystick.

When the LFP has power, its screen displays a prompt similar to the following:

The last line of the prompt tells you which operating system will be loaded into the head - in this example

QUAD ETHER II. Each LFP is

configured at the factory for a specific head, and contains the operating system for that head.

If this prompt does not appear then check that the position of the BOOT MODE switch on the LFP is in the Normal (Up) position for stand-along operation, then remove and re-attach the power cables.

2. Press the SELECT knob to load the operating system into the head. This is called “loading the head”.

If the load is successful, the screen on the LFP displays a message similar to the following, and you will be able to move the head with the joystick:

ETHERNET MODE CAM FPS: 0.00

If you get a message similar to any of the following, see Troubleshooting on page 53:

HEAD DID NOT LOAD HEAD NOT LOADED LOAD FAIL FAILED TO LOAD HEAD

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LFP Quick Start Guide

Focus

Camera head direction and position joystick

Wide angle zoom

Telephoto zoom

Playback speedHead movement speed

Screen for messages and menus

SELECT menu controls: Rotate to scroll, press to set, BACK to return.

RECORD or PLAY preset positions when in Broadcast mode

Eight PRESETS for recording and playing back static camera positions when in Broadcast mode, and playing back moves when in Film mode.

Turning off the LFP and head

As there is no power switch on the LFP or head, to turn these off you simply remove the power cable. All MRMC controllers and heads have robust electronics that are designed to withstand the rigours of connection and disconnection to live power cables.

You can leave the other cables plugged in if you want.

The LFP controls

On the LFP the rotation of the joystick is typically assigned to Roll or lens focus, if such a facility is available.

Note that the physical effects of most controls are adjustable in the menu, in terms of the limit (range) of motion, direction, speed, damping

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LFP Quick Start Guide

(smoothing of jerkiness in the controls), input exponential and scale (sensitivity).

The LFP has two main modes of operation:

• Broadcast mode, in which you can store and recall static

camera positions. This is described in Chapter 2.

• Film mode, in which you can store and recall dynamic camera

movements. This is described in Chapter 3.

To change modes you use the menu option

CHANGE MODE.

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LFP Quick Start Guide

Setting the control directions

In the LFP you need to specify the directions of the focus, zoom and joystick controls for your particular head, lens gearing attachments, and preference. For example, some people prefer the camera to point upward when the joystick is pulled back, while others prefer the opposite logic whereby pushing forward (“up”) on the joystick targets the camera upward in the scene. To set the control directions you use the procedure below.

1. On the LFP, use the SELECT knob (rotate and press) to choose the menu sequence:

SET DIRECTION (if you are in Broadcast mode)

or...

GENERAL SETUP > SET DIRECTION (if you are in Film mode)

2. Set each sub-option to

FWD (forward) or REV (reverse) as you prefer.

Test each control after you set it.

Menu option Description

JOY HORIZ JOY VERT JOY ROTATE

FOCUS CON

ZOOM CON

Joystick controls - three directions

Focus control.

Zoom control. Make sure the T on the LFP zoom control zooms in, and the W zooms out.

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Menu option Description

FOCUS AUX

Auxiliary focus control plugged into the LFP.

ZOOM AUX

Auxiliary zoom control plugged into the LFP.

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Hint

If you are using a lens with external Lens Control Motors (LCMs), you need to make sure that the LFP controls move the focus, zoom, and iris rings in the correct direction, before you zero the axes. Refer to Zeroing lens axes with external Lens Control Motors on page 64.

Zeroing the axes

At the beginning of each session, right after loading the head, you need to zero the axes. This defines a base position at which all head positions and lens settings are set to zero (0) in the LFP. All limits, lens controls, preset positions, and moves that are stored in the LFP are measured relative to this base position. The zero points themselves are not stored in the head or lens when the power is off, so you need to define them at the start of each session, by zeroing the axes.

You can zero the axes in two ways, depending on how you want to calibrate the head direction:

• Zero the axes manually - you use the controls to point the

camera in the direction that you want to use as the zero position for the head axes. See Zeroing the axes manually on page 11.

• Zero the axes by homing - the LFP automatically moves the

head to its “home” position, and uses that position as the zero position. The “home” position is the head’s centre of motion, as determined by the limit sensors built into the head hardware. You can only use this method if your head has a homing facility and your LFP is in Film mode. See Zeroing the axes by homing on page 12.

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Zeroing the axes manually

1. If you have a serial lens with internal motors for the focus, zoom, and iris then you can skip this step.

If you have a lens with external motors, set the focus to infinity (∞),

zoom to wide-angle (zoomed out all the way), and iris/aperture to wide open. Do this either with the LFP controls or by moving the

gears by hand. Also see Zeroing lens axes with external Lens Control Motors on page 64.

2. Use the controls to point the camera head in the direction that you want to use as the zero position for the head axes. (If the head is on rails, also use the controls to move to the zero rail position that you want to use).

Hint

Some methods for finding a useful zero position are, in order of increasing accuracy and repeatability:

• Use the controls to point the camera straight ahead.

• Use the controls to point the camera at a small object in

the field of view that is easy to find again in subsequent sessions, such as the corner of a ceiling or desk.

• Zoom in on the object and centre it in the field of view (but remember to zoom all the way out again after adjusting the direction so that your zoom axis will be correctly zeroed.)

• If you are in Film mode you can use

LIMIT INPUTS to display information that tells you when

DIAGNOSE AXES >

an axis crosses its home position as you move the controls. See page 52.

3. In the LFP menu, choose one of the following options:

DIRECT ZERO ALL (in Broadcast mode; this option is only available

if the Engineering menu option set to

ZEROING.)

HOME AXIS > ZEROING METHOD is

or...

HOME AXES > DIRECT ZERO ALL (in Film mode).

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The LFP axes settings are now zeroed. Any stored limits, presets, and moves are now operational.

Zeroing the axes by homing

Hint

If your head is in an underslung configuration (hanging upside-down from its mount) then it is recommended that you use the manual method for zeroing the axes (see page 11) instead of the automatic homing method. Depending on the direction settings of the Tilt and Pan axes in the controller, the automatic homing method might pan or tilt the camera into a home orientation that is 180° from your working target orientation, which can be potentially awkward or risky for the attached cables and equipment.

You can only use this method if your head has a homing facility.

1. In the LFP menu, choose one of the following options:

HOME ALL AXES (if you are in Broadcast mode; this option is only

available if the Engineering menu option

METHOD is set to HOMING.)

HOME AXIS > ZEROING

or...

HOME AXES > ALL AXES (if you are in Film mode)

2. The menu panel on the LFP prompts you to move the lens controls (focus, zoom, and iris as applicable) to their zero points:

IF USING LCMs FOCUS ON INFINITY, OPEN THE IRIS, ZOOM OUT, AND PRESS SELECT

You can skip this step if you have a serial lens with internal motors for the focus, zoom, and iris, or if all of your external Lens Control Motors (LCMs) have homing enabled (that is, if the Engineering menu option

HARD-LIMIT).

HOME AXES > SET HOME AXIS TYPE is set to

If you have any external Lens Control Motors that have homing disabled (Engineering menu option

TYPE set to DIRECT) then you need to manually set the focus to

HOME AXES > SET HOME AXIS

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infinity (∞), zoom to wide-angle (zoomed out all the way), and iris/aperture to wide open, as relevant for that axis. Do this either

with the LFP controls or by moving the gears by hand. Also see Zeroing lens axes with external Lens Control Motors on page 64.

3. Press SELECT.

The head moves its axes to their home positions and all LFP axes settings are zeroed. Any stored limits, presets, and moves are now operational.

Setting the soft limits

In order to prevent damage to cables and other equipment, you can set limits to the range of physical travel of the head movement and lens controls. This is especially important if you have a head without slip rings, where cabling can get wrapped around the head, or if you have a lens with external lens control motors where you need to limit the travel of the lens axes.

Before the limits can be set or applied you need to zero the axes as described in page 10.

Hint

The soft limits apply to any live motions that you perform with the LFP controls, and to any existing positions and moves that you have recorded previously. If you tighten the limits or zero the axes in a different place, any existing position or move that now extends outside a limit will be restrained; it will only go as far as the limit allows.

If an axis is outside its soft limit then you will only be able to move the axis towards the nearest soft limit.

1. Choose one of the following menu options:

SET SOFT LIMITS (in Broadcast mode)

or...

GENERAL SETUP > SET SOFT LIMITS (in Film mode:).

2. The menu shows the current soft limits. For example:

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PAN SL: ENABLED MAX: 203923 MIN: -202148 TILT SL: ENABLED MAX: 80365 MIN: -90008 FOCUS SL: ENABLED MAX: 187614 MIN: 0 ZOOM SL: ENABLED MAX: 149113 MIN: 0 IRIS SL: ENABLED MAX: 65522 MIN: 0

The numbers in the menu options refer to physical positions of the head or lens axes, relative to the zero point that was set earlier.

3. Set the

MAX and MIN limits that you want. For example to set the pan

limits:

3.1 Make sure the

3.2 Scroll to the

The

PAN MAX number in the menu now shows the current pan

position of the head (for example

PAN SL option is set to ENABLED.

PAN MAX option and press SELECT.

31896), which is updated

continuously as you pan the head.

3.3 Use the joystick to pan the head so that the

PAN MAX number

in the menu goes toward higher numbers (more positive numbers). Stop where you want this end of the physical pan limit of the head to be.

3.4 Press

3.5 Scroll to the

SELECT. You have now set the pan maximum limit.

PAN MIN option and press SELECT.

3.6 Use the joystick to pan the head in the other direction, so that

the

PAN MIN number in the menu goes toward lower numbers

(or more negative numbers). Stop where you want this end of the physical pan limit of the head to be.

3.7 Press

SELECT. You have now set the pan minimum limit.

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4. Repeat step 3 for the head tilt and position (if on a rail), and for the lens controls (focus, zoom, and iris as applicable).

Hint

You can turn off the limits for one or more axes. For example if you have an Ulti-head or AFC head with slip rings and you want to make use of the 360 degree pan capability, set

PAN SL to DISABLED.

For the lens controls you only set the

MAX limit, as the MIN limit will

have already been set to zero when you zeroed the axes.

For all axes,

MAX must be greater (more positive) than MIN. If this is

not possible for a particular axis (for example, if focussing closer puts that axis into negative values) then it means that the axis values are increasing in the wrong direction for that axis, on your particular rig. To fix this problem see Zeroing lens axes with external Lens Control Motors on page 64.

Session summary

After you have initially set up the system for your particular camera lens and preferences, subsequent sessions take less time to set up, especially if you have not disconnected control cables or moved sites. For subsequent sessions at the same site you typically need to do the following at the start of every session.

1. Attach the power cables to the head and LFP.

2. Load the head (page 4).

3. Zero the axes (page 10).

If you have moved sites you will need to connect the control cables before the power cables, and then set new soft limits after you have zeroed the axes (page 13).

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Once in Broadcast mode you record, use, and modify presets by using the RECORD, PLAY, and PRESETS buttons. No menu is required.

LFP Quick Start GuideLFPQuick Start Guide

Chapter 2 Using Broadcast mode to record

and re-use static camera positions

About Broadcast mode

In Broadcast mode you can record the current head direction and position (if on rails), and lens focus, zoom, and iris settings as a single “preset”, and then return to that preset later at the touch of a button.

You can record up to eight presets, and the LFP remembers them even if you power off, and even if you change modes and then come back to Broadcast mode. To go into Broadcast mode:

♦ In the LFP menu choose

CHANGE MODE > BROADCAST MODE.

Recording a preset

1. In Broadcast mode, press the RECORD button.

The panel shows that you are now in Record mode:

SHOTBOX RECORD.

2. If you haven’t done so already, use the LFP controls to go to the head direction and position, and lens focus, zoom, and iris settings that you want to record.

3. Press one of the eight white PRESETS buttons.

The current settings are stored to that PRESETS button.

4. Repeat steps 2 and 3 to record additional presets if you want, using a different PRESETS button for each position.

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As long as you stay in Record mode (panel showing

SHOTBOX RECORD),

pressing one of the white PRESETS buttons will store the current settings to that button, overwriting the previous settings for that button.

Using a preset

1. In Broadcast mode, press the PLAY button.

The panel shows that you are now in Playback mode:

SHOTBOX PLAYBACK.

2. Press one of the white PRESETS buttons.

The head and lens go to the settings that are stored under that button.

3. Repeat step 2 to go to any other presets that you want.

As long as you stay in Playback mode (panel showing

PLAYBACK

), pressing one of the white PRESETS buttons will go to that

combination of head position and lens settings.

Hint

You do not need to wait until the head finishes going to a preset position in order to go to another one. For example, if you press the wrong PRESETS button by mistake during a broadcast you can rectify it by immediately pressing the correct one. Pressing any PRESETS button in Playback mode instantly aborts any current action and goes to the new preset selection.

SHOTBOX

To immediately stop the head and abort the current action without going to another preset, press the BACK button.

Modifying a preset

1. Press PLAY then the PRESETS button for the position you want to modify.

2. When the head arrives at the preset position, use the Joystick and lens controls to fine-tune the settings the way you want.

3. Press RECORD then press the same PRESETS button again.

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The new fine-tuned settings overwrite the previous settings for that button.

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Once in Film mode you record, play, and modify moves by using the menu.

You can also assign existing moves to the PRESETS buttons, and then play the moves with the buttons. See page 35.

LFP Quick Start GuideLFPQuick Start Guide

Chapter 3 Using Film mode to record and

play back camera movements

About Film mode

In Film mode you can record the movements of the head and changes to the lens focus, zoom, and iris settings as a single “move”, a n d t h e n p l a y that move again later.

In addition to recording live moves, you can define a move by defining its start and end points (including lens settings and other parameters), and the LFP can generate the move by interpolating between the points.

There is no practical limit on the number of moves you can store, although there is a total time limit of 174 axis minutes. For example, if you record the movements of 4 axes simultaneously, the total time storage capacity is about 43 minutes.

The LFP remembers the stored moves even if you power off, and even if you change modes and then come back to Film mode. To go into Film mode:

♦ In the LFP menu choose

CHANGE MODE > FILM MODE.

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Using the Emergency Stop button

Some variants of the LFP are supplied with an E STOP (Emergency Stop) button.

♦ Pressing the E STOP button once stops all playback

immediately, disables all controls on the LFP, and makes the head hold its current position.

♦ Pressing the E STOP button again also cuts power to the head (to

stop a runaway head), so will cause the head to droop if it is in a position that is affected by gravity.

The following message is displayed:

E-STOP DROPPED

PRESS BACK AND E-STOP TO RE-ENABLE

To recover from an Emergency stop:

♦ Press the E STOP and BACK buttons simultaneously and release,

then press the BACK button again by itself.

After you recover from a single-press E-Stop your axes retain their zero setting so you do not need to re-zero them.

After you recover from a double-press E-Stop your axes encoders will have lost position so you will need to re-zero them.

Specifying the camera settings

Before recording and playing back moves, you need to specify how the LFP will trigger the video camera to start and stop recording, along with other camera parameters. To do this:

♦ In Film mode, choose menu option

options suitable for your camera.

The following is a summary of the important options:

•

FPS - Frames Per Second at which the camera is running.

•

LPF - Lines Per Frame. The number of encoder lines (servo

motor) or steps (Stepper motor) that are required when the camera motor rotates in order to expose 1 frame.

CAMERA SETUP and specify the

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• The

ENABLE setting controls how the LFP triggers the camera

when you play back a move. Possible settings are:

–

MOMENTARY - This option only applies to

controllers that have a separate CAMERA trigger button, such as the MSA-20 Handwheels, Joystick Controller, and Mini MSA. The camera is not triggered during playback, and you take manual control of the camera trigger instead. The controller generates a continuous high camera trigger signal when you depress and hold the CAMERA trigger button, and stops when you release the button, whether or not playback is in progress.

–

TIME-LAPSE - used only for time-lapse playback. A

camera trigger pulse is generated at the start of each frame (see page 31).

–

PULSE - At the start of playback the controller sends a

brief signal to turn on the camera. During playback no further camera trigger signal is sent; the camera keeps running. At the end of playback the controller sends a brief camera trigger signal to turn off the camera.

–

CONTINUOUS - At the start of playback the controller

starts sending a continuous high signal to turn on the camera. During playback the controller keeps sending the continuous high signal and the camera keeps running. At the end of playback the controller stops the signal, to turn off the camera.

Hint

For

MOMENTARY, PULSE, and CONTINUOUS settings, if a

bloop light is connected to the system (see page 73) the light will flash at the start of move playback.

For

TIME-LAPSE mode it is assumed that you won’t have a

bloop light, but you might have an auto-focus cable attached to the same output pins (see page 73). An auto-focus signal is generated whenever the camera trigger signal is generated.

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• The

CAM SYNC setting specifies where the controller should

look to find the synchronisation (“sync”) signal. This signal is used to control how the movement of the head is synchronised to the camera frames so that repeat passes match, frame for frame. This signal usually comes from the camera, but can also come from a separate “genlock” sync generator, and is used to synchronise the movement of the head with the video frames so that multi-pass shots match, frame-for-frame.

–

INTERNAL - (Not operational in this version.)

–

MSA GPI 1 - the controller expects the sync signal to

come in through the General Purpose Input connector. This does not apply to the LFP.

–

MSA VIDEO - (Not operational in this version.)

–

HEAD - the controller expects the sync signal to come in

via the head, through one of the following connectors:

Trigger In (pin 3) on the TRIGGER connector, on an AFC head that has the optional BCST70 panel or on any head with a Quad-box or Octo-box (SFH-30 head or SFH-50).

GPI1 In (pin 10, Trigger In 1) on the CAM ACC (Camera Accessory) connector on any head with an Ulti-box (SFH-50 head or Ulti-head).

–

DISABLED - no synchronisation. Record and playback

starts without waiting for a sync pulse from the camera.

If you specify

MSA GPI 1 or HEAD, recording or

playback of a move will not begin until the controller detects an incoming sync signal through the specified connection. That is, you must start the camera manually to initiate recording or execution of the move.

•

SYNC TIMEOUT - The number of seconds that the controller

will wait to receive a sync pulse at the start of the move. If no sync pulse is received in this time then the move will not start and the message

CAM SYNC FAILED is displayed.

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LFP Quick Start Guide

Hint

All synchronization sources are rising-edge triggered. For information on how the sync facility interacts with playback, camera triggering, and bloop light triggering, see Summary of playback events on page 30.

Creating a move by defining start and end points

1. In Film mode, choose menu option REC-PLAY AXES > A->B

WAYPOINT MOVE > SET POSITIONS > POS A:STORE CURRNT?.

2. Move the head to the starting point of the move, and set the lens controls the way you want.

3. Press SELECT.

The starting point is now stored:

POS A:STORED

4. Scroll to

POS B: NOT STORED and press SELECT.

5. Move the head to the end point of the move, and set the lens controls the way you want.

6. Press SELECT.

The end point is now stored:

POS B:STORED

7. Press BACK, then use option

SECONDS, to set amount of time that you want the move to take, in

SET MOVE DURATION > MOVE

seconds.

8. Press BACK then use option

SET A->B FAIRINGS > UP FAIRING

to set the acceleration for the start of the move. For example, a value of 25% means that the head will use the first 25% of the movement to accelerate from 0 to the move’s full speed.

9. Use the option

DOWN FAIRING to set the deceleration for the end of

the move. For example, a value of 25% means that the head will use the last 25% of the move to slow from the move’s full speed to 0.

10. Press BACK then use option

GENERATE A->B MOVE (pressing

SELECT again if prompted) to create the move.

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LFP Quick Start Guide

The move is automatically assigned a move number for identification and stored in the LFP. For example:

A->B MOVE GENERATED PROGRESS: 100% MOVE #8

11. Press BACK then test the move by using the following sequence:

11.1

RUN GENERATED MOVE > PLAYBACK SAME SPEED.

11.2 When the panel displays

READY TO GOTO, press SELECT to go

to the start position of the move. (When moving to the start position, the panel displays

11.3 When the panel displays

PERFORMING GOTO.)

READY TO SHOOT, press SELECT to

begin playing the move. (When playing a move, the panel displays

SHOOTING.)

Hint

If the LFP is set to wait for a sync signal (

SYNC, see page 22) then the controller displays the message AWAITING CAM SYNC and playback of the move will not start

CAMERA SETUP > CAM

until a sync pulse is received from the specified sync source. If you are using a sync source from the camera you must also start the camera to start playback.

The message received within the time that you specified in

SYNC TIMEOUT.

CAM SYNC FAILED appears if no sync signal is

CAMERA SETUP >

If necessary, you can stop a move at any time by using the BACK button.

To modify the move, see Modifying a move on page 33.

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LFP Quick Start Guide

Creating a move by live recording

1. In Film mode, choose menu option REC-PLAY AXES > RECORD.

2. Use

SELECT REC AXES to select which axes you want to include in

the recording. Each axis can have one of the following values:

•

LEARN - (not operational in the LFP.)

•

LIVE - This axis will not be recorded, although you can still

move it with the controls during both recording and playback.

•

RECORD - This axis will be recorded. (The default setting)

•

IGNORE - This axis will not be recorded. During playback this

axis will hold its position and you will not be able to move it with the controls.

If an axis is

UNASSIGNED then there is no control mapped to it; it

will not be recorded as you will not be able to move it with the controls.

3. Press BACK, then choose menu option

The panel shows

NOT RECORDING, along with the ID number of the

RECORD.

move about to be recorded, and the recording time left. For example:

MOVE #1 TIME LEFT: 00:43:26

4. Move the head and lens controls to the start positions of the move.

5. Press SELECT to start the recording.

Hint

If the LFP is set to wait for a sync signal (

SETUP > CAM SYNC, see page 22) then the controller

displays the message

AWAITING CAM SYNC and

CAMERA

recording will not start until a sync pulse is received from the specified sync source. If you are using a sync source from the camera you must start the camera to start recording.

The message received within the time that you specified in

SYNC TIMEOUT.

CAM SYNC FAILED appears if no sync signal is

CAMERA SETUP >

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MOVE 5 00:00:10 MOVE 6 00:00:10 MOVE 7 00:00:10< MOVE 8 00:00:10

Selection indicator

6. Move the controls to make the motion that you want to record.

The

TIME LEFT amount decreases as you record.

7. When you have finished the move, press SELECT which stops recording and saves the move.

The panel shows

NOT RECORDING, along with the ID number of the

next move to be recorded, if you choose to do so.

8. If you want to record another move, repeat steps 4 to 7. Otherwise press BACK twice then

PLAYBACK > PLAYBACK SAME SPEED to play

the move.

If you press the BACK button while recording a move, the recording is aborted. You are returned to the

REC-PLAY AXES menu and the move is

not stored.

Playing back a move - simple method

Hint

In the context of the LFP and this manual, the term “Playback” refers only to the move that is being played by the LFP. The camera itself is either broadcasting or recording pictures or video, while the LFP is “playing back” its move.

1. In Film mode, choose menu option REC-PLAY AXES > PLAYBACK >

SELECT PLAY MOVE.

2. Use the SELECT knob to choose which move you want to play. For example, move #7:

3. Press BACK then

4. When the panel displays the start position of the move. (When moving to the start position, the panel displays

PLAYBACK SAME SPEED.

READY TO GOTO, press SELECT to go to

PERFORMING GOTO.)

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5. When the panel displays

READY TO SHOOT, press SELECT to begin

playing the move. (When playing a move, the panel displays

SHOOTING.)

Hint

If the LFP is set to wait for a sync signal (

SETUP > CAM SYNC, see page 22) then the controller

displays the message

AWAITING CAM SYNC and

CAMERA

playback of the move will not start until a sync pulse is received from the specified sync source. If you are using a sync source from the camera you must start the camera to start playback.

The message received within the time that you specified in

SYNC TIMEOUT.

CAM SYNC FAILED appears if no sync signal is

CAMERA SETUP >

If necessary, you can stop a move at any time by using the BACK button.

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MOVE 5 00:00:10 MOVE 6 00:00:10 MOVE 7 00:00:10< MOVE 8 00:00:10

Selection indicator

Playing back a move - advanced method

1. In Film mode, choose menu option REC-PLAY AXES > PLAYBACK >

SELECT PLAY MOVE.

2. Use the SELECT knob to choose which move you want to play. For example, move #7:

3. Press BACK then

•

REPEATS: the number of times you want the move to be

played back. A setting of

PLAY OPTIONS to specify the options you want:

INFINITE will replay the move

continuously until you press BACK to stop it.

•

REC.SPEED: the speed of the camera (frames per second) used

when the move was recorded. This number affects the playback speed, which is also related to the number of frames per second that is specified in the menu option

SETUP > FPS. For example, for a move originally defined as a

10-second move:

REC-PLAY AXES >

PLAYBACK >

PLAY OPTIONS >

REC.SPEED

CAMERA SETUP >

FPS

25 25 10

10 25 4

25 10 25

10 10 10

10 5 20

CAMERA

Actual playback time (seconds)

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LFP Quick Start Guide

Hint

You can think of the

REC.SPEED (first column) as the original

number of frames per second that the move was designed for when recording the move, and the

FPS (second column) as the

number of frames per second that the camera is actually using when the move is played back. If these are different, the LFP will automatically adjust the speed of the playback a proportionate amount so that the overall move still contains the same number of frames, taken at exactly the same head positions and lens settings.

4. Press BACK then

5. When the panel displays

PLAYBACK ANY SPEED.

READY TO GOTO, press SELECT to go to

the start position of the move. (When moving to the start, the panel displays

6. When the panel displays

PERFORMING GOTO.)

READY TO SHOOT, press SELECT to begin

playing the move. (When playing a move, the panel displays

SHOOTING.)

Hint

If the LFP is set to wait for a sync signal (

SETUP > CAM SYNC, see page 22) then the controller

displays the message

AWAITING CAM SYNC and

CAMERA

playback of the move will not start until a sync pulse is received from the specified sync source. If you are using a sync source from the camera you must start the camera to start playback.

The message received within the time that you specified in

SYNC TIMEOUT.

CAM SYNC FAILED appears if no sync signal is

CAMERA SETUP >

If necessary, you can stop a move at any time by using the BACK button.

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LFP Quick Start Guide

Summary of playback events

If camera sync is disabled (page 22), the sequence of events when you try to play a move is as follows:

READY TO GOTO

2. SELECT

PERFORMING GOTO

READY TO SHOOT

5. SELECT

SHOOTING (Controller simultaneously starts the move, sends a

camera trigger signal, and sends a bloop trigger signal.)

If camera sync is enabled (page 22), the sequence of events when you try to play a move is as follows:

READY TO GOTO

2. SELECT

PERFORMING GOTO

READY TO SHOOT

5. SELECT

AWAITING CAM SYNC

7. Controller automatically sends a camera trigger signal

8. Camera starts

9. Controller receives sync signal from the camera or other sync generator

10.

SHOOTING (Controller simultaneously starts the move and sends a

bloop trigger signal.

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LFP Quick Start Guide

MOVE 5 00:00:10 MOVE 6 00:00:10 MOVE 7 00:00:10< MOVE 8 00:00:10

Selection indicator

Using time-lapse playback

When you play back a move on the LFP using the time-lapse facility, the head and lens perform the same motions as during normal playback, but the LFP sends a camera trigger pulse to take a frame (single exposure) at regular time intervals along the way. The resulting camera exposures can then be played back later as a video which gives the illusion of compressed time, where slow events occur quickly on the screen.

The controller also sends an auto-focus trigger pulse when it sends a camera trigger pulse. For technical details, see Camera trigger out on page 73 and Auto-focus and bloop trigger out on page 73.

1. In Film mode, choose menu option

2. Change the

ENABLE option to TIME-LAPSE. This sends a trigger to

CAMERA SETUP.

the camera at the start of each frame during time-lapse playback.

3. Press BACK then

PLAY MOVE

REC-PLAY AXES > TIME LAPSE > SELECT TL

4. Use the SELECT knob to choose which move you want to play. For example, move #7:

5. Press BACK then

•

FRAMES: the total number of exposures you want the camera

TL OPTIONS to specify the options you want:

to take during the move.

•

FRAME TIME: the number of seconds between exposures.

(

FRAMES × FRAME TIME = total time to execute the move.) The

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LFP Quick Start Guide

10 10 10 10

Time

Start (Trigger)

Tr ig g e r

Tr ig g e r Tr ig g e r

Tr ig ge r

Countdown

40 30 20 10 0

following example uses

FRAMES: 4, FRAME TIME: 10, giving

a total playback time of 40 seconds.

Note that because the controller takes frames at both the start and end of the move, it actually takes a total of frames, so 5 total frames in the above This makes it easy to calculate the total time as

FRAME TIME.

•

TYPE: One of:

–

SLOW-MOTION - the head and lens settings don’t stop

FRAMES: 4 example.

FRAMES+1

FRAMES ×

during the exposures. The move is played as one continuous motion, and the camera is triggered at the correct points along the way.

–

STOP-FRAME - the head and lens axes stop just before

triggering each exposure. The head and lens axes essentially perform a go-to at each frame, then stop and hold position while the frame is exposed. If you choose this option, the LFP also calculates and displays a

FRAME value. The FRAME TIME that you specify above

must be larger than this value so that the axes have enough time to accelerate, move, decelerate, and stop between exposures.

MIN

In the above example, the slow motion and stop-frame playback would each take 40 seconds of total running time. The stop-frame would execute the move in four distinct motions, each of which would come to a stop just as the trigger point is reached.

6. Press BACK then

TL PLAYBACK.

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LFP Quick Start Guide

MOVE 5 00:00:10 MOVE 6 00:00:10 MOVE 7 00:00:10< MOVE 8 00:00:10

Selection indicator

7. When the panel displays

READY TO GOTO, press SELECT to go to

the start position of the move. (When moving to the start, the panel displays

8. When the panel displays

PERFORMING GOTO.)

READY TO SHOOT, press SELECT to begin

playing the move. (When playing a move, the panel displays

SHOOTING.)

If necessary, you can stop a move at any time by using the BACK button.

Modifying a move

To modify a move you play it back in a special way, replacing one or more of the axes with live controls. The original move remains unchanged in the LFP and the modified move is stored as a complete new move. You typically use this facility to manually correct a lens setting, such as focus.

1. In Film mode, choose menu option

SELECT PLAY MOVE.

2. Use the SELECT knob to choose which move you want to modify. For example, move #7:

REC-PLAY AXES > MODIFY >

3. Press BACK then

4. Choose which axis you want to modify by changing its setting to

MODIFY. For example:

FOCUS: MODIFY

Make sure that any recorded axis motions that you want to keep are set to

If any axes are using can keep the original status or change it to the new recording. Once an axis is included in the recording you cannot modify its status back to

5. Press BACK then

SELECT MOD AXES.

PLAY.

LIVE or IGNORE status in the move then you

MODIFY to include it in

LIVE or IGNORE.

RECORD MOD.

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LFP Quick Start Guide

6. When the panel displays

READY TO GOTO, press SELECT to go to

the start position of the move. (When moving to the start, the panel displays

PERFORMING GOTO.)

The panel also displays the ID number of the move that you are modifying, the ID number of the modified move that will be created, and the total time of the move. For example:

PLAY #7, REC #9 TIME LEFT: 00:00:06

7. When the panel displays

READY TO SHOOT, press SELECT to begin

playing the move. (When playing a move, the panel displays

SHOOTING.)

Hint

If the LFP is set to wait for a sync signal (

SETUP > CAM SYNC, see page 22) then the controller

displays the message

AWAITING CAM SYNC and

CAMERA

playback of the move will not start until a sync pulse is received from the specified sync source. If you are using a sync source from the camera you must start the camera to start playback.

The message received within the time that you specified in

SYNC TIMEOUT.

CAM SYNC FAILED appears if no sync signal is

CAMERA SETUP >

8. As the move plays, use the live controls to move the selected axis the way you want. Concentrate only on that axis; the others will be insensitive to the controls.

When the move finishes it is automatically stored with your modification and you can immediately create another modified move, in case your previous modification wasn’t quite perfect.

READY TO GOTO PLAY #9, MOD #10 TIME LEFT: 00:00:06

9. If you want to do another take, press SELECT and repeat steps 7 to 8. Otherwise press BACK twice then

SPEED to check the final modified move.

PLAYBACK > PLAYBACK SAME

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LFP Quick Start Guide

Assigning moves to the Preset buttons

If you assign an existing move to one of the eight white PRESETS buttons you can play the move by pressing the button. This is equivalent to using the menu option

SPEED.

REC-PLAY AXES > PLAYBACK > PLAYBACK SAME

1. In Film mode, choose menu option

PRESETS&MOVES.

REC-PLAY AXES > PAIR

2. Use the menu to pair up any of the first eight listed Presets with an existing move that you have created. In this example Preset buttons 1 and 2 will trigger moves 7 and 6:

PRESET P1: MOVE 7 PRESET P2: MOVE 6 PRESET P3:- PRESET P4:-

3. When you have assigned all the moves you want, press BACK to return to the top-level menu.

Playing a move with a Preset button

1. In Film mode, press one of the eight white PRESETS buttons that you have assigned to a move.

The head immediately goes to the start of the move.

2. Press SELECT to start the move.

Hint

If the LFP is set to wait for a sync signal (

SYNC, see page 22) then the controller displays the message AWAITING CAM SYNC and playback of the move will not start

until a sync pulse is received from the specified sync source. If you are using a sync source from the camera you must start the camera to start playback.

CAMERA SETUP > CAM

The message

CAM SYNC FAILED appears if no sync signal is

received within the time that you specified in

SYNC TIMEOUT.

CAMERA SETUP >

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LFP Quick Start Guide

MOVE 5 00:00:10 MOVE 6 00:00:10< MOVE 7 00:00:10< MOVE 8 00:00:10

Selection indicators

After the move finishes you can press SELECT to return to the start of the move for another replay, or press another PRESETS button.

Deleting a move

1. In Film mode, choose menu option REC-PLAY AXES > DELETE >

DELETE MOVES.

2. In the panel, select all the moves that you want to delete:

3. Scroll to the

HOLD SEL HERE 2 DEL option at the top of the list

and press SELECT.

The moves are deleted, and system memory is rearranged to provide the maximum amount of free space for recording more moves. If a large amount of memory has been used up then the delete process may take some time to complete (worst case is 1minute 22 seconds).

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LFP Quick Start GuideLFPQuick Start Guide

Chapter 4 Speed controls

The following is a summary of the controls that have an effect on the speed of the rig.

• SPEED knob on the LFP.

This controls the general speed of the head movement when using manual controls. It has no effect on playback speed, and no effect on the lens controls (focus, zoom, or iris).

• Scaling of controls

SET INPUT SCALE % in Broadcast mode, or GENERAL SETUP > SET INPUT SCALE % in Film mode.

The amount of scaling to be applied to each control, entered as a percentage of the maximum that the control is capable of.

• Scaling of axes

GENERAL SETUP > SET SCALES in Film mode.

The amount of scaling to be applied to the axes. To automatically calculate the scale so the axis range matches the range of a FIZ pot controller, see page 68.

• Damping

SET DAMPING % in Broadcast mode, or GENERAL SETUP > SET DAMPING % in Film mode

The amount of smoothing to be applied to the controls, in order to filter out sudden movements and twitches.

• Maximum acceleration

SET MAX ACCEL % in Broadcast mode, or GENERAL SETUP > SET MAX ACCEL % in Film mode.

The maximum allowed acceleration of the axes, as a percentage of the maximum possible acceleration.

• Input exponential

SET INPUT EXP in Broadcast mode, or GENERAL SETUP > SET INPUT EXP in Film mode.

The sensitivity gradient of the controls; that is, the relationship between the amount that you move the control (such as the joystick) and the resulting speed of the motion:

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LFP Quick Start Guide

Input controller movement

Output speed

- (Off)

Off (no exponential) = linear gradient. The resulting speed is directly proportional to how far you move the control.

High exponential. The speed is extra slow in the lower half of the controller movement range, but increases dramatically in the upper half.

• Zoom Related Speed

SET ZRS > ZRS SCALE in Broadcast mode, or GENERAL SETUP > SET ZRS > ZRS SCALE in Film mode.

When you are zoomed in, the head automatically slows down by an amount proportional to the zoom setting. You can adjust this by using the menu option. The higher the number, the greater the slowing effect. You can also specify:

–

SET ZRS > ZRS MASTER - Choose which axis to use as

the reference axis. You usually choose

–

SET ZRS > (Controls) - Choose which controls you want

to slow down, by changing whichever controls have been assigned to Pan and Tilt, such as

1 and PB 2).

JOY HORIZ and JOY VERT., or the Pan Bars (PB

• Feathering

GENERAL SETUP > SET FEATHERING in Film mode.

The maximum deceleration an axis is allowed to have as it approaches a soft limit. The lower the feathering value, the sooner the axis starts to slow down as it approaches its soft

ZOOM.

OFF to ON. You usually choose

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LFP Quick Start Guide

limit. The higher the value, the closer the axis gets to the soft limit before it starts slowing down to come to a stop.

• Goto speed

SET GOTO SPEED % in Broadcast mode, or GENERAL SETUP > SET GOTO SPEED % in Film mode.

The speed of the head when going to a preset position (in Broadcast mode), or when going to the start of a move (in Film mode). You set this as a percentage of the maximum axis speed.

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LFP Quick Start Guide

LFP Quick Start GuideLFPQuick Start Guide

Appendix 1 Menu reference

The collection of menu options that are available on your controller depends on which menu mode you are in: Broadcast, Film, or Engineering. To change modes, use the menu option controller remembers the current mode when you switch it off between sessions. The options are summarised in the following sections:

• Broadcast mode on page 42

• Film mode on page 44

This Appendix describes the menu options in version MSA-21 6.14 of the LFP firmware. The firmware version number is displayed on the screen when you first power up the controller in Normal mode or Flair mode.

Caution

When you go into Engineering mode you are prompted for a four-digit password (available from Mark Roberts support), as applying the wrong settings here can stop the system from working. You should only use Engineering mode if you are an experienced user and have requirements that cannot be satisfied by using options in the other two modes. Make a note of any changes that you make so you can revert to the previous value if the system stops working. Engineering mode is beyond the scope of this Quick Start Guide. If you need this information please refer to the more comprehensive User Guide for your controller.

CHANGE MODE. The

The names of the controls, as they appear in the menu, can vary depending on which specific controller model you’ve got and how it has been configured for accessories. For example, the LFP is typically set up for the following controls:

JOY HORIZ (Joystick Horizontal) JOY VERT (Joystick Vertical) JOY ROTATE (Joystick Rotate) FOCUS CON (Focus Control) ZOOM CON (Zoom Control) FOCUS AUX (Focus Auxiliary control) ZOOM AUX (Zoom Auxiliary control) PB 1 (Pan Bars 1)

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LFP Quick Start Guide

PB 2 (Pan Bars 2) PB 3 (Pan Bars 3) PB 4 (Pan Bars 4)

The menu listings in this section abbreviate the above list as “(Controls)” instead of repeating the entire list each time.

The names of the axes, as they appear in the menu, can vary in how they are assigned to the controls, depending on how the controller has been configured for your particular head, requirements, and preferences. The axes are typically:

PAN TILT ROLL FOCUS ZOOM IRIS (Aperture)

The menu listings in this section abbreviate the above list as “(Axes)” instead of repeating the entire list each time.

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Broadcast mode

Menu sequence

(Broadcast mode)

DIRECT ZERO ALL

HOME ALL AXES SET SOFT

LIMITS

SET DIRECTION

SET INPUT EXP >

SET ZRS > ZRS MASTER

(Axes)

MAX MIN

(Controls) Set the direction in which the

(Controls) The sensitivity gradient of the

ZRS SCALE

(Controls) ON/

OFF

SET INPUT SCALE %

(Controls) The amount of scaling to be

Description and possible settings

Zero all axes at their current position or their home position. See page 10.

ENABLE

or DISABLE the limits of travel for each axis, and specify those limits. The

MAX

value must be larger (or more positive) than the

MIN value.

See page 13.

controls operate. See page 8.

FWD - Forward

OFF - Disable the control.

REV - Reverse

controls. See page 37.

- (Off) LOW MED HIGH

Specify the parameters for the Zoom-Related Speed facility, whereby the head axes (usually Pan and Tilt) automatically slow down a proportionate amount when you are zoomed in. See page 38.

applied to the controls. See page 37.

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Menu sequence

(Broadcast mode)

SET DAMPING % >

SET MAX ACCEL %

SET GOTO SPEED %

INPUT VALUES >

AXIS POSITIONS

AUTO ENABLE >

CHANGE MODE > BROADCAST

(Controls) The amount of smoothing to be

(Axes) The maximum allowed

(Axes) The speed of the axes, as a

(Controls) The current values of the

(Axes) The current values of the axes,

(Axes) Automatically restart an axis if it

MODE FILM MODE ENGINEERING

MODE

Description and possible settings

applied to the controls, to filter out sudden jerks and twitches. See page 37.

acceleration and deceleration. See page 37.

percentage of maximum speed, when going to a preset position (in Broadcast mode), or when going to the start of a move (in Film mode). See page 39.

controls, updated continuously as you move the controls.

updated continuously as you move the axes.

trips out, for example from overheating, over-current, or loss of position.

Change the operating mode. Engineering mode requires you to enter a four-digit password.

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Film mode

CAMERA SETUP

Menu sequence

(Film mode)

FPS

LPF

ENABLE

CAM SYNC

SYNC TIMEOUT

Description and possible settings

Camera speed, in Frames Per Second. See page 20.

Lines Per Frame for the servo or stepper motors. See page 20.

The type of signal used to trigger the camera during playback. See page 21.

MOMENTARY TIME-LAPSE PULSE CONTINUOUS

The connection to be used for the incoming sync signal, used to synchronise the movement of the head with the camera. See page 22.

INTERNAL MSA GPI 1 MSA VIDEO HEAD DISABLED

The number of seconds to wait for the synchronisation signal to start a move.

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LFP Quick Start Guide

GENERAL SETUP

Menu sequence

(Film mode)

SET SOFT LIMITS

SET SCALES

SET DIRECTION

SET FEATHERING

SET INPUT SCALE %

SET MAX ACCEL %

Description and possible settings

(Axes)

MAX MIN

ENABLE

or DISABLE the limits of travel for each axis, and specify those limits. The

MAX value

must be larger (or more positive) than the

MIN

value. See page 13.

>(Axes) SCL

The amount of scaling to be applied to the axes. See page 37.

(Controls) The direction in which

the controls operate. See page 8.

FWD - Forward

OFF - Disabled.

REV - Reverse

(Axes) The maximum

deceleration an axis can have as it approaches a soft limit. See page 39.

(Controls) The amount of scaling to

be applied to the controls. See page 37.

(Axes) The maximum allowed

acceleration and deceleration. See page 37.

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LFP Quick Start Guide

GENERAL SETUP >

(continued)

Menu sequence

(Film mode)

SET GOTO SPEED %

SET DAMPING %

SET INPUT EXP

SET ZRS >

Description and possible settings

(Axes) The speed of the axes, as

a percentage of top speed, when going to a preset position (in Broadcast mode), or when going to the start of a move (in Film mode). See page 39.

(Controls) The amount of

smoothing to be applied to the controls, to filter out sudden jerks and twitches. See page 37.

(Controls) The sensitivity

(exponential) gradient of the controls. See page 37.

- (Off) LOW MED HIGH

ZRS MASTER Specify the parameters

ZRS SCALE

(Controls)

ON/OFF

for the Zoom-Related Speed facility, whereby the head axes (usually pan and tilt) automatically slow down a proportionate amount when you are zoomed in. See page 38.

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LFP Quick Start Guide

GENERAL SETUP >

(continued)

Menu sequence

(Film mode)

SET BACK-PAN

SET AXIS HOME SPEED

SET HOMING POWER

Description and possible settings

PAN AXIS BP AXIS BP SCALE

Link two axes so that when one rotates, the other compensates to keep the camera on target. For example with a head mounted on a crane, assign the crane’s axis to the the head’s

PAN AXIS. Rotating the

BP AXIS, and

PAN axis to the

crane would automatically pan the head to keep the camera on target.

The link is one-way; you can still move the Pan axis with the controls but this has no effect on the Rotate axis.

BP SCALE prompts you

to move the axes to different positions and then automatically calculates the scaling required to keep the camera on target.

(Axes) The speed used when

homing the axes, as a percentage of top speed.

(Axes) The amount of motor

power to be used when homing the axes, as a percentage of maximum power.

ROTATE

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LFP Quick Start Guide

HOME AXES

Menu sequence

(Film mode)

ALL AXES

SELECT AXIS

DIRECT ZERO

DIRECT ZERO ALL

Description and possible settings

Zero the axes

(Axes)

automatically, all at once or one at a time, using the homing facility if your head has it. See page 12.

(Axes) Zero the axes manually,

at their current position. The menu displays the status as each axis is zeroed. See page 11.

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LFP Quick Start Guide

RECPLAY AXES

A->B WAYPOINT MOVE

Menu sequence

(Film mode)

SET POSITIONS

SET MOVE DURATION

SET A->B FAIRINGS

GENERATE A->B MOVE RUN

GENERATED MOVE

POS A

POS B MOVE

SECONDS

UP FAIRING

DOWN FAIRING

SELECT PLAY MOVE

PLAY OPTIONS

PLAYBACK SAME SPEED

PLAYBACK ANY SPEED

SET PLAYBACK TRIGGE

Description and possible settings

Create a move by defining its start and end points. See page 23.

Test the move that you created. See page 24.

This only applies to the MSA-20

Handwheels. Trigger the s t a r t of playback (and subsequent replays) by using an external input device plugged into the GPIO 2 connector. See page 50.

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RECPLAY AXES >

(contin ued)

Menu sequence

(Film mode)

RECORD > SELECT

REC AXES

RECORD

PLAYBACK > SELECT PLAY MOVE

PLAY OPTIONS

PLAYBACK SAME SPEED PLAYBACK ANY SPEED

SET PLAYBACK TRIGGE

(Axes) Select which axes

REPEATS

REC. SPEED

INPUT:

TRIG1 =

GPI1 (pin 3)

TRIG2 =

GPI2 (pin 4)

TRIG3 =

GPI3 (pin 5)

TRIG4 =

GPI4 (pin 6)

MODIFY > SELECT PLAY MOVE

SELECT MOD AXES

RECORD MOD

(Axes)

Description and possible settings

you want to include in the recording. See page 25.

Record a move. See page 25.

Play back a move. See page 26.

Play back a move with extra options. See page 28.

This only applies to the MSA-20 Handwheels. Trigger the s t a r t of playback (and subsequent replays) by using an external input device plugged into the GPIO 2 connector. You can still use the SELECT button to trigger playback if you want.

Create a new move that is partially based on an existing move. See page 33.

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RECPLAY AXES >

(contin ued)

Menu sequence

(Film mode)

TIMELAPSE

PAIR PRESETS&MOVES

DELETE > DELETE MOVES

SELECT TL PLAY MOVE

TL OPTIONS

TL PLAYBACK

DELETE ALL MOVES

Description and possible settings

Run a move as

FRAMES

FRAME TIME

TYPE

normal but trigger the camera at regular time intervals during playback, instead of just once at the start of the move. See page 31.

Assign recorded moves to the PRESETS buttons. In Film mode you can then play a move by pressing the relevant PRESETS button. (In Broadcast mode the PRESETS buttons still invoke static camera positions). See page 35.

Delete one or more moves. See page 36.

Delete all stored moves.

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DIAGNOSE AXES

CHANGE MODE

Menu sequence

(Film mode)

INPUT VALUES

AXIS POSITIONS

LIMIT INPUTS

BROADCAST MODE

FILM MODE ENGINEERING MODE

Description and possible settings

(Controls) The current values being

output by the controls, updated continuously as you use the controls.

(Axes) The current values of the

axes, updated continuously as you move the axes.

(Axes)

LIMIT

Three digits that indicate the state of the hard limit and datum (home position) switches on an axis, updated as you move the controls. The first digit is the limit status:

1 (one, open) when

an axis reaches either one of its hard limit switches, and

0 (zero, closed) otherwise.

The second digit is the datum status. For a head with homing fins it is (closed) on one side of the home position and on the other side. For a head with a magnetic homing switch it is at the home position and (closed) on either side of it. The third digit is not currently used.

Change the operating mode. Engineering mode prompts you for a four-digit password.

1 (open)

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LFP Quick Start GuideLFPQuick Start Guide

Appendix 2 Trou ble sho oti ng

Typical symptoms, causes, and actions

Symptoms or message Cause and/or action

HEAD DID NOT LOAD The LFP failed to load the operating system

HEAD NOT LOADED

LOAD FAIL

FAILED TO LOAD HEAD

FAILED TO INITIALIZE ETHERNET

into the head.

Check that all cables are connected, and all devices have power.

If you have connected more than one head, connected the MRMC system to another local network, or moved the controller and head between networks, check that correct LAN addresses have been entered in the controller. See Wor k ing w ith Local Area Net w o r k s on page

56.

Check the order in which the devices are powering up. If you are using an Ethernet connection to the head, avoid powering the head from the power output socket on the controller in order to avoid powering up the two devices simultaneously (which can cause problems on small isolated Ethernet networks). Use an independent power source for each, and power up the head first. If you are using a Serial connection to the head, power up the controller first.

Controls move in the wrong direction

Data corruption can also cause a failure to load the head. Use a shorter cable to improve the communication, and ensure the cable is not running near any high current devices.

Change the working direction of the controls to your preference (page 8).

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Symptoms or message Cause and/or action

Limits are being ignored or causing the head to oscillate when

The axes have not been zeroed. You must do this at the beginning of each session just after you load the head (page 10).

reached.

The PRESETS buttons do not work (Broadcast mode).

Can’t set limits, or the head oscillates when you set a limit.

When you set soft limits (page 13) you must set the

MAX limit to the higher (or more positive)

axis value, and set the

MIN limit to the lower

(or more negative) value.

After zeroing the axes (page 10), all the lens axes (focus, zoom, and iris) should have a value of zero (0) and for these axes you should only change the

MAX values. If you can only

move the focus, zoom, or iris axis into negative values then it means you are using a lens with external motors, and that the axis value is increasing in the wrong direction on your particular rig. To cater for this, see Zeroing lens axes with external Lens Control Motors on page

64.

The head moves too slowly or too quickly when zoomed in.

The Zoom Related Speed (ZRS) feature automatically slows the live pan and tilt controls to cater for the narrow field of view when zoomed in. You can adjust the amount of slowing in the

SET ZRS menu options (page

38).

The head moves more slowly when zoomed out.

You are using a lens with external motors, and the zoom axis value is increasing in the wrong direction on your particular rig. To cater for this, see Zeroing lens axes with external Lens Control Motors on page 64.

MIN

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Symptoms or message Cause and/or action

Move playback fails to start.

AWAITIING CAM SYNC

CAM SYNC FAILED

The option using a setting other than

CAMERA SETUP > CAM SYNC is

DISABLED and the

controller has not yet received a sync signal from the camera (or external genlock system) to trigger the start of the move recording or playback.

Start the camera running.

Check the cable and connector that the sync signal is going through, and make sure the connection used is one of those specified in the

CAMERA SETUP > CAM SYNC option (see page

22).

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Worki ng w it h L oca l Area Ne twor ks

If you are using an Ethernet connection between the LFP and the head, they communicate with each other through an Ethernet Local Area Network (LAN). The LFP and head are devices on the network. Under certain circumstances you might need to change the LAN settings of the devices so that the devices not only work together, but do so when connected to another network. For example:

• If you install the LFP as part of a multi-component system.

• If you connect your MRMC equipment to a LAN.

• If you move the equipment between networks.

• If you have customised the LAN settings in a head for one of

the above reasons and then sent the head back to MRMC for servicing. The service might change the LAN settings back to the factory defaults, and you will need to customise them again when you get the head back.

Introduction to LAN addresses

Each device on an Ethernet network has a suite of three addresses:

• Internet Protocol (IP) address. This is the specific address within the LAN.

• Subnet (SN) address. This defines the size (address range) of the local area network, and should normally be set to the value shown in the next table.

• Gateway (GW) address. This is the address of the device used when talking between local area networks. This should normally be set to the value shown in the next table, and you would only change it if you needed to communicate with a head that is not on the same LAN as the controller.

Together, these addresses indicate the device’s identity and location on the network. Each address is usually written as a group of four numbers separated by periods. The factory default values used in MRMC equipment are shown in the next table:

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LFP Head

IP address 192.168.1.235 192.168.1.236

SN address 255.255.255.0 255.255.255.0

GW address 192.168.1.1 192.168.1.1

On a given local network, the last group of numbers in the IP address must be unique for each device. All other numbers and addresses must be identical.

The LAN addresses of the LFP and head are static. That is, they will stay the same unless you explicitly change them.

Hint

Most local networks use the SN and GW values shown in the above table, so under ordinary circumstances you will only need to be concerned with IP addresses. The rest of this section therefore concentrates on IP addresses, but you might also need to inspect or change the SN and GW addresses, depending on the structure of the network that you are using to access the head.

Although a simple LFP setup has only two devices on the network (the LFP and the head) there are potentially three IP addresses involved:

1. The IP address of the LFP itself. This is stored in the LFP. You don’t ordinarily need to change this unless you are connecting it to a local network that requires different settings.

2. The IP address that the LFP looks for when it tries to find and load the head on the network. This is stored in the LFP. This must match the next IP address...

3. The actual IP address of the head. This is stored in the head. This is usually the IP address shown in the above table unless it has been changed, or unless you specified a different address when you ordered the head. In any case, the factory-set IP address of a head is ordinarily printed on a sticker on the head.

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You can use the LFP to inspect and edit all of the above stored IP addresses using the procedure given in the next section, Managing LAN addresses with the LFP.

If you want, you can also use Flair Motion Control Software to inspect and edit the actual IP address of a head with an unknown history. Details are in Managing LAN addresses with Flair on page 61.

Managing LAN addresses with the LFP

1. Connect the LFP and head to each other with the Ethernet cable.

2. Make sure the LFP and head have power. The menu panel on the LFP displays a prompt similar to the following:

3. Press the SELECT knob to load the head.

• If the head fails to load, you can use the remaining procedure

to find the actual IP address of the head and then specify that IP address as the one that the LFP looks for when trying to load the head.

• If the head loads successfully, you can use the remaining

procedure to change the actual IP address of the head.

You can also use the remaining procedure to inspect and edit the IP address of the LFP itself, regardless of whether the head loaded or not.

4. Use the SELECT knob again to choose the following menu sequence:

CHANGE MODE > ENGINEERING MODE

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5. Enter the PIN (given to you by MRMC support) to access the Engineering menu.

Caution

Engineering mode is for advanced users, as applying the wrong settings here can stop the system from working. Apply the settings carefully, and make a note of the changes so you can revert to the previous settings if the system stops working.

6. Choose one of the following menu sequences:

To view or change the IP address of the LFP itself, choose:

GENERAL SETUP > LAN SETUP > SET MSA IP ADDRESS

Otherwise choose...

GENERAL SETUP > LAN SETUP > SET HEAD IP ADDRESS

7. The LAN addresses of the selected device are displayed. For example:

IP:192.168.1.236 GW:192.168.1.1 SN:255.255.255.0

You can edit the addresses here as required. In most cases you will only need to change the IP address.

If you are looking at the MSA IP address (that is, the IP address of the LFP) then you can inspect or edit it here to make sure the IP address is unique on the network.

If you are looking at the Head IP address then the displayed value is the IP address that the controller is looking for when it tries to load the head.

• If the head loaded successfully then when you edit the IP

address here, this will also change the actual IP address of the head.

• If the head did not load successfully then you can enter the

actual IP address of the head here so the controller can find it the next time you try to load the head.

If you don’t know the actual IP address of the head then you can find and register it as follows:

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7.1 Press BACK, then

The panel displays:

FIND HEAD.

PRESS SLCT TO FIND

7.2 Press SELECT to begin the search.

The panel displays

Searching... and then the actual IP

address that it found for the head. For example:

IP:192.168.1.236

(If the panel displays

No head found then the actual SN and/

or GW values stored in the head are different from those on the controller and the controller will not be able to find out the IP address. Contact Mark Roberts Motion Control for advice.)

7.3 Make a note of the IP address that the controller found for the

head.

7.4 Press BACK then

SET HEAD IP ADDRESS.

7.5 Enter the IP address that the controller found for the head.

7.6 You can check that the controller can communicate with the

head on the new IP address by pressing BACK then

HEAD and SELECT. The panel shows a blinking PING! response

PING

when it successfully tests the connection.

8. After you have inspected and/or edited the IP addresses, press BACK to return to the top of the Engineering menu.

9. Return to Broadcast mode or Film mode:

CHANGE MODE > BROADCAST MODE

or...

CHANGE MODE > FILM MODE

10. Unplug the LFP power cable, then plug it back in.

11. Press SELECT to load the head when prompted.

When the head has been loaded successfully you can use the LFP to control the head, lens, and camera.

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Power LED

Managing LAN addresses with Flair

The factory-set IP address of a head is printed on a sticker on the head.

If the IP address of a head has been changed to an unknown value so you can’t load the head from the LFP, you can find out the head’s IP address either by using the Windows PC that has Flair Motion Control Software installed on it and using Flair to interrogate the head on the network.

The procedure below tells you how to use Flair to find the IP address of a head, and if necessary change it. You can also use Flair to change the IP, SN, and GW addresses of the head if necessary.

1. Find a PC that has Flair Motion Control Software installed on it, or install Flair on your own PC.

2. Attach the head to the PC with an Ethernet cable. You can use the same Ethernet cable that was connecting the head to the LFP.

3. Make sure the head has power, by checking that the power indicator LED on the head lights up.

4. Start Flair on the PC.

5. If you get any error messages, click on OK to close them.

FIND facility in the or by connecting the head to a

6. When you get a message about network failure, click on the Network Setup button in the message:

or...

If the Flair installation already has a valid head connection on a network then you might not get the network failure message. In this case, start the Network Setup facility manually by choosing the Setups > Network Setup menu option in Flair.

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The Network Setup window, Connection tab, lists the Nodes (head connections) that Flair is looking for, as defined in the NetworkDirect.ini file. Any changes that you make and Save in the Network Setup window are saved in the NetworkDirect.ini file. You can also edit this file by using the menu option Help > View Network .ini File. If Flair cannot find the head on the network at the IP address shown then the node’s status is Not connected.

7. In the Network Setup window click on Find, then on OK in the pop-up to confirm:

8. An Information pop-up displays information about the heads that Flair has found on the network:

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Make a note of the head’s IP address that is displayed in the pop-up; for example 192.168.1.236.

9. To change the IP address stored in the head you can use either the LFP or Flair. If you want to use Flair to change the head’s IP address, or to inspect or change the SN or GW addresses, follow the sub-steps below:

9.1 Enter the head’s existing IP address (as shown in the

Information pop-up) into the Network Setup window and click on Save.

9.2 Click on Load to reset and load the head.

Once Flair is connected to the head, any LAN address changes that you make and Save in the Network Setup window will also affect the LAN addresses stored in the head.

9.3 To change the IP address of the head, enter the new IP address

into the Network Setup window now and click on Save.

The Status temporarily changes to Not connected as Flair changes the IP address in the head, then to Connected as Flair reconnects with the head at its new IP address.

9.4 To inspect or change the SN or GW address of the head, click

on Find again. A pop-up shows the head’s three current LAN addresses, and the Subnet Mask (SN) and Default Gateway (GW) fields in the Network Setup window become editable. Enter the new SN and GW addresses that you want to use and click on Save.

10. Close the Network Setup window by clicking on Exit.

11. You are now done with the PC:

11.1 Close Flair by choosing the File > Quit menu option.

11.2 Disconnect the Ethernet cable from the PC, and re-attach it to

the LFP, so the head and LFP are now connected.

11.3 Tell the LFP which IP address to look for by following the

procedures in Managing LAN addresses with the LFP on page

58.

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Lens Control Motors (LCMs)

Zeroing lens axes with external Lens Control Motors

Axes directions

If you are using a lens with external LCMs, you need to make sure that when you move the lens controls (focus, zoom, and iris), the axis values (as displayed on the LFP) increase in the correct direction. To check this:

1. Choose menu option:

AXIS POSITIONS (in Broadcast mode)

or...

DIAGNOSE AXES > AXIS POSITIONS (in Film mode)

2. Inspect the values for the

FOCUS, ZOOM, and IRIS displayed in the

panel, as applicable to your setup. The values are updated as you move the controls:

•

FOCUS axis values must increase (or become more positive) as

you focus near, and decrease as you focus toward infinity (∞).

•

ZOOM axis values must increase (or become more positive)

when you zoom in (toward the telephoto end) and decrease when you zoom out (toward the wide angle end).

•

IRIS (aperture) axis values must increase (or become more

positive) when you close down the aperture (to, say, f/22) and decrease when you open up the aperture (to, say, f/2.8).

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If any of the axes increase in the wrong direction then this will cause problems with limits and stored positions and moves. You can fix the problem by following the remainder of this procedure.

3. Press BACK several times to return to the top of the menu tree, then choose

CHANGE MODE > ENGINEERING MODE.

4. Enter the PIN (given to you by MRMC support) to access the Engineering menu.

Caution

5. Choose menu option

DIRECTION.

6. Invert the relevant change. That is, change

GENERAL SETUP > AXES SETUP > SET

FOCUS, ZOOM, or IRIS setting that you need to

FWD to REV or vice versa for the rogue axis.

7. You now need to invert the input direction for the axis that you just changed, if you want to retain the same feel as before you inverted the axis numbering. To do this, press BACK several times to return to the top of the menu tree, then choose

SETUP > SET INPUT DIR.

8. Invert the relevant control for the you changed. That is, change

FWD to REV or vice versa for the

GENERAL SETUP > INPUT

FOCUS, ZOOM, or IRIS axis that

relevant control.

9. Press BACK several times to return to the top of the menu.

10. Exit Engineering mode:

CHANGE MODE > BROADCAST MODE or FILM MODE.

11. Re-zero the axes (including the lens axes) using the manual or automatic homing method described in Zeroing the axes on page 10. Note that inverting the axis direction will also change its homing direction and position.

The zero points, limits, and Zoom-Related Speed (ZRS) facility will now work correctly for your lens system.

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Zeroing a lens ring with a hard stop

For any lens ring that has a hard physical stop at the end of its range (for example zoom or iris) you have a choice of configuring the lens to be zeroed manually or homed automatically.

Setting up a lens axis for manual zeroing

1. Choose menu option CHANGE MODE > ENGINEERING MODE.

2. Enter the PIN (given to you by MRMC support) to access the Engineering menu.

Caution

3. Set the menu option

DIRECT.

HOME AXES > SET AXIS HOME TYPE to

This disables the homing facility for this axis and you will need to move it into the home position manually with the controls whenever you zero or home all axes in the future (page 10).

Setting up a lens axis for automatic homing

1. Choose menu option CHANGE MODE > ENGINEERING MODE.

2. Enter the PIN (given to you by MRMC support) to access the Engineering menu.

Caution

3. Set the menu option

HARD-LIMIT.

HOME AXES > SET AXIS HOME TYPE to

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4. Adjust the

HOME AXES > SET HOMING POWER value to a suitable

setting (usually 30% to 70%). The power needs to be high enough to move the lens ring but not so high that the motor jumps out of mesh when it reaches the hard limit of the lens ring.

With this setting, homing a lens axis (page 12) automatically moves the lens ring to find both ends of the hard physical limit, recording the encoder positions at each end. The homing facility then calculates the axis range, sets the lower end to zero, and uses the range information to set the soft limits of the axis.

When a lens axis is configured for automatic homing, you can still zero it manually if you want, by using the relevant

DIRECT ZERO option (page

11).

Zeroing a lens ring with a slip clutch

Some lens rings (usually focus) have no hard limit. That is, when you reach one end of travel, such as focussing on infinity, you can continue turning the ring and this will have no further effect as the ring slips against the internal focussing mechanism.

For lens rings that have no physical hard limit to their range of movement, no amount of fine-tuning of the homing power will be able to find the point at which the ring starts to slip, so you must use manual zeroing instead. To set up a lens axis with a slip clutch for manual zeroing:

1. Choose menu option

CHANGE MODE > ENGINEERING MODE.

2. Enter the PIN (given to you by MRMC support) to access the Engineering menu.

Caution

3. Set the menu option

DIRECT.

HOME AXES > SET AXIS HOME TYPE to

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Disable button

This disables the homing facility for this axis and you will need to move it into the home position manually with the controls when you zero or home all axes in the future (page 10).

Using a FIZ pot

If you plug a FIZ pot (Focus-Iris-Zoom) into your controller, you identify it in the menus by the name of the connector that you attached it to, for example menu option You can assign more than one control to an axis, and adjust the control directions independently of each other (page 8).

If your FIZ pot moves the axis in the wrong direction then you need to first make sure the associated lens axis moves in the correct direction relative to its axis values (page 64), then adjust the direction setting of the FIZ pot control for that axis (page 8).

A FIZ pot differs from the controls on your LFP, in that a FIZ pot has hard stops that limit its rotation range to about 355°. This has several consequences, described below.

You might reach the FIZ pot hard stop before you reach the soft limit of its assigned axis. If this happens you can do the following:

ZOOM AUX. You assign it to an axis by using the Engineering

GENERAL SETUP > INPUTS SETUP > SET CONTROLLER.

1. Press and hold the Disable button on the FIZ pot, which disables the FIZ pot output.

2. Rotate the FIZ pot back to centre (without affecting the axis).

3. Release the button and rotate the FIZ pot again in the original direction to continue moving the axis where you left off.

You can repeat this procedure as necessary until you get to the soft axis limit.

Calibrating the FIZ pot

To exploit the full ranges of both the FIZ pot and its assigned axis, you can map the FIZ pot range to the axis range. You do this as follows:

1. Choose menu option

CHANGE MODE > ENGINEERING MODE.

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2. Enter the PIN (given to you by MRMC support) to access the Engineering menu.

Caution

3. In the menu choose

RANGE.

GENERAL SETUP > INPUTS SETUP > SET POT

4. Scroll to the control that corresponds to your FIZ pot, for example

ZOOM AUX, and press SELECT.

The

LOWER value becomes editable.

5. Rotate the FIZ pot all the way counter-clockwise and press SELECT.

UPPER value becomes editable.

The

6. Rotate the FIZ pot all the way clockwise and press SELECT.

The display shows the calculated FIZ pot range. For example

9834.

7. Press BACK several times to return to the top menu level.

Hint

If the axis has a slip clutch that slips and misaligns the axis range with the FIZ pot range, you can re-align them by rotating the FIZ pot all the way clockwise then all the way counter-clockwise.

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ZOOM

FOCUS

PAN BAR S

1 2 3 4

8 91011 12

LFP Quick Start GuideLFPQuick Start Guide

Appendix 3 Back panel and accessories

Panel summary

1. BOOT MODE switch. The mode in which to start up. One of:

• Up position = Normal (stand-alone) mode, where the LFP

will be used as the main controller, communicating with the head through the ETHERNET or SERIAL A connector. This mode is also used when copying moves to and from a PC that is running MSA Archiver software (either MSA Ethernet Archiver software connecting via the Ethernet port or legacy MSA Archiver software connecting via the SERIAL B port).

• Centre position = Flair mode. The LFP only operates as a

slave mimic device and boots up from Flair Motion Control Software, either directly from a PC running Flair (over an Ethernet cable, ETHERNET connector), or indirectly from the Flair PC, via an RT-12 or RT-14 interface box (over a DataLink cable, DATA IN connector). A head can be added to the system by attaching it to an Ethernet hub. A head with DataLink capability can be added to the DataLink daisy-chain by attaching the head to the DATA OUT connector on the LFP.

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• Down position = Serial mode. This is only used to update the

firmware in the LFP through the SERIAL A connector.

2. VIDEO input connector for the synchronisation signal from the camera.

3. ETHERNET RJ45 connector, for connection to the head or larger multi-component system. Ethernet is the recommended connection method (as opposed to DataLink or Serial). This Ethernet port is rated at 100 Mbits/sec but can operate at lower speeds of 10 Mbits/ sec or less.

4. SERIAL A connector. Used for updating the firmware in the LFP, and for connecting to a head (such as an Ulti-head) using an RS-232 serial connection (as opposed to Ethernet or DataLink). For pin-out information see Serial A connector on page 75.

5. SERIAL B connector. Used for copying moves and settings to and from a PC that is running MSA Archiver software. The copying is controlled in both directions from the MSA Archiver software. However, this usage has largely been superseded by using MSA Ethernet Archiver software running over the Ethernet connection. For pin-out information see Serial B connector on page 76.

6. DATA IN DataLink In connector, used in combination with Flair boot mode (see above) to connect to an RT-12 or RT-14 interface box using a DataLink connection, as an alternative to an Ethernet connection. For pin-out information see Data In connector on page

74.

7. DATA OUT DataLink Out connector, used in combination with Flair boot mode (see above) to connect to a head using a DataLink connection (as opposed to Ethernet or Serial). For pin-out information see Data Out connector on page 75.

8, 9, 10. FOCUS, ZOOM, PA N BAR S connectors. You can use these

additional controllers in parallel with those on the LFP. For pin-out information see:

Auxiliary connectors for Focus and Zoom on page 76 Pan Bars connector on page 77

11. POWER IN connector. The LFP requires a 3-pin, 24 Volt DC power supply. For pin-out information see Power In connector on page 78.

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12. POWER OUT connector. For pin-out information see Power Out connector on page 78.

Hint

It is recommended that you do not use the POWER OUT socket to power the head if you are using an Ethernet connection to the head. If you do so then powering up the LFP will simultaneously power up the head, and in this instance powering up two Ethernet devices at the same time on the same network can cause communication problems between them.

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Connector pin-out information

Camera trigger out

When you play a move on the LFP, it outputs a camera trigger signal (Trigger 1) from the appropriate connector on the attached head. For example:

• Pin 2 of the TRIGGER connector on an AFC head, Quad-box

(on an SFH-30 or SFH-50 head), or Octo-box (on an SFH-50 head)

• Pin 14 of the CAM ACC connector on an Ulti-box (on an

SFH-50 head or Ulti-head)

To control the type of trigger signal produced, see the page 21.

ENABLE setting on

Auto-focus and bloop trigger out

The auto-focus and bloop trigger output signals from the controller share the same output connectors:

• Pin 13 of the CAM ACC connector on an Ulti-box (on an

SFH-50 head or Ulti-head)

• Pin 3 (Trigger 2 Out) of the TRIGGER connector on an AFC

head, Quad-box (on an SFH-30 or SFH-50 head), or Octo-box (on an SFH-50 head). Note that some TRIGGER connectors might be internally configured (with a jumper setting) so that Pin 3 is a Trigger In instead of a Trigger 2 Out. If you have such a system and you want to use a bloop light or auto-focus facility then you won’t be able to use Pin 3; you will have to use Pin 2 instead, by splitting camera Trigger 1 Out signal (TRIGGER Pin 2) and using one of the splits to trigger the bloop or auto-focus when the camera starts.

In Broadcast mode (see page 16) or time-lapse Film mode (see

TIME-LAPSE on page 21) it is assumed that you will want to use an

auto-focus trigger and not a bloop light. The controller generates an auto-focus signal through the above connectors whenever it generates a camera trigger signal.

In normal Film mode (see assumed that you will want to use a bloop light, and use some other

PULSE, or CONTINOUS on page 21) it is

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LFP Quick Start Guide

means to trigger the camera’s auto-focus. The controller generates a bloop light trigger pulse through the above connectors at the start of move playback.

The bloop trigger pulse is 40ms long, and the camera trigger pulse and bloop trigger pulse are sent at the same time; there is no delay. If the camera reaction is too slow and the recording misses the bloop then you can start the camera in advance manually and the bloop will trigger as usual when the move starts.

Camera sync in

For information on which pins you can use to input the camera sync signal into the controller, see page 22.

Data In connector

The Data In (DataLink In) connector is used to connect the LFP to an RT-12 or RT-14 interface box when the LFP is booted up in Flair mode and used only as a slave mimic device. For usage see page 71. Bit rate 10Mbps.

1. Watchdog–

2. In–

3. Out–

4. N/C

5. N/C

6. Watchdog+

7. In+

8. Out+

9. N/C

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LFP Quick Start Guide

Data Out connector

The Data Out (DataLink Out) connector is used to connect the LFP to a head when the LFP is booted up in Flair mode and used only as a slave mimic device. For usage see page 71. Bit rate 10Mbps.

1. Watchdog–

2. Out–

3. In–

4. N/C

5. N/C

6. Watchdog+

7. Out+

8. In+

9. N/C

Serial A connector

Serial A is an RS232 port used for updating the firmware in the LFP, and for connecting the LFP to an Ulti-Head or any other head that can use an RS-232 serial connection (as opposed to Ethernet or DataLink). The Baud rate is 76.8 kbps.

1. N/C

2. TX-A

3. RX-A

4. N/C

5. GND

6. N/C

7. N/C

8. N/C

9. N/C

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LFP Quick Start Guide

Serial B connector

Serial A is an RS232 port used for copying moves to and from a PC that is running MSA Archiver software. The copying is controlled in both directions from the MSA Archiver software. The Baud rate is 38.4kbps.

1. N/C

2. TX-B

3. RX-B

4. N/C

5. GND

6. N/C

7. N/C

8. N/C

9. N/C

10.

Auxiliary connectors for Focus and Zoom

The pin assignments for these connectors are identical.

1. A+

2. B+

3. N/C

4. N/C

5. +5V

6. A–

7. B–

8. N/C

9. GND

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LFP Quick Start Guide

Pan Bars connector

1. PB1A+

2. PB1B+

3. PB2A+

4. PB2B+

5. PB3A+

6. PB3B+

7. PB4A+

8. PB4B+

9. GPO6

10. GPO7

11. GPO8

12. GPO9

13. +12V

14. PB1A–

15. PB1B–

16. PB2A–

17. PB2B–

18. PB3A–

19. PB3B–

20. PB4A–

21. PB4B–

22. +5V

23. GND

24. GND

25. GND

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LFP Quick Start Guide

Power In connector

Power to supply the LFP and the power output connector. The LFP can run from 12-35 Volts DC.

1. GND

2. 24VIN

3. N/C

Power Out connector

1. GND

2. 24VOUT

3. N/C

Hint

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LFP Quick Start Guide

LFP Quick Start GuideLFPQuick Start Guide

Appendix 4 Specifications

Weight: 2.4 Kg

Power requirements: 24 Volts DC / 100-240 Volts AC

Temperature range: 0-45 °C (32-113 °F)

Humidity tolerance: 0% to 85% relative humidity, non-condensing

Dimensions: L × W × H = 273 × 442 × 106 mm

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LFP Quick Start Guide

Index of menu options

A->B WAYPOINT MOVE 23, 49 ALL AXES 12, 48 AUTO ENABLE 43 AXIS POSITIONS 43, 52 BP 47 BP AXIS 47 BP SCALE 47 BROADCAST MODE 16, 43, 52 CAM SYNC 22, 44, 55 CAMERA SETUP 20, 31, 44 CHANGE MODE 7, 16, 43, 52 DELETE 36, 51 DELETE ALL MOVES 51 DELETE MOVES 36, 51 DIAGNOSE AXES 52 DIRECT ZERO 48 DIRECT ZERO ALL 11, 42, 48 DOWN 49 DOWN FAIRING 23, 49 ENABLE 21, 31, 44 ENGINEERING MODE 43, 52, 58 E-STOP DROPPED 20 FILM MODE 43, 52 FIND HEAD 60 FPS 44 FRAME TIME 51 FRAMES 51 GENERAL SETUP 45 GENERATE A->B MOVE 49 HOME ALL AXES 12, 42 HOME AXES 48 INPUT 50 INPUT VALUES 43, 52 LAN SETUP 59 LIMIT INPUTS 11, 52 LPF 44 MODIFY 50 MOVE SECONDS 49 PAIR PRESETS&MOVES 35, 51 PAN AXIS 47 PING HEAD 60 PLAY OPTIONS 28, 49, 50 PLAYBACK 26, 26, 28, 50

PLAYBACK ANY SPEED 29, 49,

PLAYBACK SAME SPEED 24, 26,

26, 49, 50

POS A 49 POS B 49 REC. SPEED 50 RECORD 25, 50, 50 RECORD MOD 33, 50 REC-PLAY AXES 23, 25, 49 REPEATS 50 RUN GENERATED MOVE 24, 49 SELECT AXIS 48 SELECT MOD AXES 33, 50 SELECT PLAY MOVE 26, 28, 49,

50, 50

SELECT REC AXES 25, 50 SELECT TL PLAY MOVE 31, 51 SET A->B FAIRINGS 23, 49 SET AXIS HOME SPEED 47 SET BACK-PAN 47 SET DAMPING % 37, 43, 46 SET DIRECTION 8, 42, 45 SET FEATHERING 38, 45 SET GOTO SPEED % 39, 43, 46 SET HEAD IP ADDRESS 59 SET HOME AXIS TYPE 12 SET HOMING POWER 47 SET INPUT EXP 37, 42, 46 SET INPUT SCALE % 37, 42, 45 SET MAX ACCEL % 37, 43, 45 SET MOVE DURATION 23, 49 SET MSA IP ADDRESS 59 SET PLAYBACK TRIGGE 49, 50 SET POSITIONS 23, 49 SET SCALES 37, 45 SET SOFT LIMITS 13, 42, 45 SET ZRS 38, 42, 46, 54 SHOTBOX PLAYBACK 17 SHOTBOX RECORD 16 SYNC TIMEOUT 22, 44 TIME LAPSE 31 TIME-LAPSE 31, 51

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LFP Quick Start Guide

TL OPTIONS 51 TL PLAYBACK 32, 51 TYPE 32, 51 UP FAIRING 23, 49 ZEROING METHOD 11, 12 ZRS MASTER 42, 46 ZRS SCALE 38, 42, 46

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LFP Quick Start Guide

Index

See also: Index of menu options on page 80.

acceleration 37 auto-focus 21, 73 axes

directions 64 zeroing 10 zeroing on FIZ pots 68 zeroing on Lens Control

Motors 64

BACK button 6 bloop light 21, 73 BOOT MODE switch 3, 70 broadcast mode 16

menu options 42

cable connections 3

CAM ACC connector 73 CAMERA button 73

camera settings 20 camera sync 22

order of events 30 CHANGE MODE 19 connectors

cables 3

panel 70

pin-outs 73 controls 6

directions 8

damping 37 DATA IN connector 71

pin-outs 74 DATA OUT connector 71

pin-outs 75

DataLink In (DATA IN)

connector 71

pin-outs 74

DataLink Out (DATA OUT)

connector 71

pin-outs 75 deleting moves 36 dimensions 79 direction of controls 8 directions of axes 64

emergency stop (E-Stop) 20 E-STOP 20 Ethernet 56 ETHERNET connector 71 exponential input 37

feathering 38 FILM MODE 19 film mode 19, 19

menu options 44 FIZ pots, zeroing 68 Flair

network settings 61 FOCUS connector 71

pin-outs 76 FOCUS control 6

GENERATE A->B MOVE 23 go-to speed 38 GW address 57

head, loading 4 homing the axes 10, 12 humidity tolerance 79

input exponential 37

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LFP Quick Start Guide

IP address 57

Lens Control Motors, zeroing 64 limits, soft 13 loading the head 4

menu summary 40

broadcast mode 42 film mode 44

modifying

moves 33 preset camera

positions 17

moves

creating from end

points 23 deleting 36 modifying 33 playing, advanced 28 playing, simple 26 playing, time-lapse 31 recording 25 recording and using 19

network settings

controller 56 managing with Flair 61 managing with the

controller 58

options, menu 40

PAN B ARS connector 71

pin-outs 77

panel summary 70 pin-outs 73 PLAY button 6, 17

playing moves

advanced method 28 simple method 26 time-lapse 31

playing preset camera

positions 17

POWER IN connector 71

pin-outs 78

POWER OUT connector 72

Ethernet considerations 4

pin-outs 78 power requirements 79 powering down 6 powering up 4 preset camera positions 16

modifying 17

recording 16

using 17 preset moves 35 PRESETS buttons 6, 16, 19, 35,

51, 51, 51

quick start 1

RECORD button 6, 16 recording moves 25 recording preset camera

positions 16

safety 1 scaling

axes 37

controls 37 screen menu 40 screen options 40

SELECT knob 6 SERIAL A connector 71

pin-outs 75 SERIAL B connector 71

pin-outs 76 session summary 15 size 79

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LFP Quick Start Guide

SN address 57 soft limits 13 specifications 79 speed 37

go-to 38

zoom related 38 SPEED knob 37 static camera positions,

recording and using 16 switching off 6 switching on 4 sync, camera 22

order of events 30

temperature range 79 time-lapse playback 31 TRIGGER connector 73 trigger, auto-focus 73 trigger, bloop 73 trigger, camera 73 troubleshooting 53

Ethernet network 56

underslung head, zeroing

considerations 12

VIDEO connector 71

weight 79

zeroing axes 10

by homing 12 manually 11 on FIZ pots 68 on Lens Control

Motors 64

ZOOM connector 71

pin-outs 76 ZOOM control 6 zoom related speed (ZRS) 38

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LFP Quick Start Guide

Notes

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LFP Quick Start Guide

Notes

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LFP Quick Start Guide

Notes

Page 92

Mark Roberts Motion Control Ltd.

Unit 3, South East Studios, Blindley Heath, Surrey RH7 6JP

United Kingdom

Telephone: +44 (0) 1342 838000

info@mrmoco.com www.mrmoco.com

MRM LFP Quick Start Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Chapter 1 Quick start

Safety

Overview

Connecting the cables

Powering up and loading the head

Turning off the LFP and head

The LFP controls

Setting the control directions

Zeroing the axes

Zeroing the axes manually

Zeroing the axes by homing

Setting the soft limits

Session summary

About Broadcast mode

Recording a preset

Using a preset

Modifying a preset

About Film mode

Using the Emergency Stop button

Specifying the camera settings

Creating a move by defining start and end points

Creating a move by live recording

Playing back a move - simple method

Playing back a move - advanced method

Summary of playback events

Using time-lapse playback

Modifying a move

Assigning moves to the Preset buttons

Playing a move with a Preset button

Deleting a move

Chapter 4 Speed controls

Appendix 1 Menu reference

Broadcast mode

Film mode

Appendix 2 Trou ble sho oti ng

Typical symptoms, causes, and actions

Worki ng w it h L oca l Area Ne twor ks

Introduction to LAN addresses

Managing LAN addresses with the LFP

Managing LAN addresses with Flair

Zeroing lens axes with external Lens Control Motors

Axes directions

Zeroing a lens ring with a hard stop

Setting up a lens axis for manual zeroing

Setting up a lens axis for automatic homing

Zeroing a lens ring with a slip clutch

Using a FIZ pot

Calibrating the FIZ pot

Appendix 3 Back panel and accessories

Panel summary

Connector pin-out information

Camera trigger out

Auto-focus and bloop trigger out

Camera sync in

Data In connector

Data Out connector

Serial A connector

Serial B connector

Auxiliary connectors for Focus and Zoom

Pan Bars connector

Power In connector

Power Out connector

Appendix 4 Specifications

Index of menu options

Index