Revised – Feb. 28, 2013
Trademarks: NewTek, TriCaster, TriCaster XD, TCXD850, TCXD850 EXTREME, TriCaster TCXD850 EXTREME, TriCaster 850
EXTREME, TriCaster EXTREME, TriCaster 850, TCXD450, TCXD450 EXTREME, TriCaster TCXD450 EXTREME, TriCaster 450
EXTREME, TriCaster 450, TCXD40, TriCaster TCXD40, TriCaster 40. IsoCorder, TCXD300, TriCaster PRO, TriCaster STUDIO,
TriCaster BROADCAST, TriCaster DUO, iVGA, SpeedEDIT, 3PLAY, 3PLAY 820, 3PXD820, LiveText, DataLink, LiveSet,
LiveMatte, TimeWarp, VT, V[T5], Video Toaster, Toaster, 3D Arsenal, Aura, LightWave, LightWave 3D and LightWave
CORE are trademarks of NEWTEK. All other brand names, product names, or trademarks belong to their respective
holders.
TA BLE OF CONT ENTS
Table of Contents ....................................................................................................................... i
PART I (Getting Started).............................................................................................................. 1
1 About This Manual .............................................................................................................. 3
2 Introduction ........................................................................................................................ 5
2.1 Overview ........................................................................................................................... 5
2.2 Startup Screen ................................................................................................................... 6
2.3 Live Desktop ...................................................................................................................... 6
2.4 Features ............................................................................................................................ 7
2.4.1 Physical ..................................................................................................................... 7
2.4.2 A/V Input and Output ............................................................................................... 8
2.4.3 Monitoring ................................................................................................................ 9
2.4.4 Video Processing ....................................................................................................... 9
2.4.5 The Switcher ............................................................................................................. 9
2.4.6 Video Layers and Transitions .................................................................................. 10
2.4.7 Record and Stream ................................................................................................. 11
2.4.8 Import Media .......................................................................................................... 12
2.4.9 Audio Mixer............................................................................................................. 12
2.4.10 Integrated Media Players ........................................................................................ 12
2.4.11 Keying, Virtual Sets and Virtual Inputs .................................................................... 13
2.4.12 Graphics .................................................................................................................. 14
2.4.13 Edit .......................................................................................................................... 14
2.4.14 Optional Control Surfaces ....................................................................................... 15
3 Setting Up ......................................................................................................................... 17
3.1 Command and Control .................................................................................................... 17
3.2 Activating & Authorizing Windows™ .............................................................................. 18
3.3 TriCaster™ License and Registration ............................................................................... 19
3.3.1 Online Registration ................................................................................................. 20
i
3.3.2 Registering by Telephone ....................................................................................... 20
3.4 Input Connections ........................................................................................................... 21
3.4.1 Connect A/V Sources .............................................................................................. 21
3.5 Genlock Connection ........................................................................................................ 22
3.5.1 A/V Output .............................................................................................................. 22
3.5.2 HD and SD ............................................................................................................... 23
3.5.3 Connecting Devices ................................................................................................. 23
3.5.4 Multiview ................................................................................................................ 24
3.6 Tally Lights ...................................................................................................................... 25
3.6.1 External Connections .............................................................................................. 25
3.7 Starting a Session ............................................................................................................ 26
3.8 Configure Video Output .................................................................................................. 28
3.8.1 SD Analog Configuration ......................................................................................... 29
3.9 Configure Aux Video Output ........................................................................................... 30
3.10 Configure Multiview Output ........................................................................................... 31
3.11 Configure Video Input ..................................................................................................... 31
3.12 Configure Audio .............................................................................................................. 32
3.13 Configure Genlock ........................................................................................................... 35
3.14 Networking ..................................................................................................................... 36
4 Live Production Walkthrough............................................................................................ 37
4.1 Creating a Session ........................................................................................................... 37
4.2 Importing Content ........................................................................................................... 38
4.2.1 TriCaster™ ............................................................................................................... 38
4.3 Monitoring ...................................................................................................................... 39
4.3.1 Program and Preview .............................................................................................. 39
4.3.2 All Monitors ............................................................................................................ 40
4.3.3 External and Internal Monitors ............................................................................... 41
4.3.4 Scopes ..................................................................................................................... 41
ii
4.4 Audio Mixer ..................................................................................................................... 42
4.4.1 Mute, Mono and Balance ....................................................................................... 42
4.4.2 Pan .......................................................................................................................... 45
4.4.3 Talk .......................................................................................................................... 46
4.4.4 Follow ...................................................................................................................... 46
4.5 Network Sources ............................................................................................................. 47
4.5.1 iVGA Clients............................................................................................................. 47
4.5.2 Apple AirPlay ........................................................................................................... 48
4.5.3 LiveText™ ................................................................................................................ 49
4.6 Live Switching.................................................................................................................. 49
4.6.1 Switcher Rows ......................................................................................................... 49
4.6.2 Transitions ............................................................................................................... 53
4.7 Record and Grab ............................................................................................................. 58
4.7.1 Record ..................................................................................................................... 58
4.7.2 Grab ........................................................................................................................ 60
4.8 Media Players ................................................................................................................. 60
4.8.1 DDR 1 and 2 ............................................................................................................ 60
4.8.2 Still & Title ............................................................................................................... 65
4.9 LiveMatte ........................................................................................................................ 69
4.10 Virtual Inputs................................................................................................................... 72
4.10.1 Composing Inputs A and B ...................................................................................... 73
4.10.2 Adding an Upstream Overlay .................................................................................. 75
4.10.3 LiveSet™ .................................................................................................................. 76
4.11 Streaming ........................................................................................................................ 80
4.11.1 Streaming Configuration ......................................................................................... 80
4.11.2 Simple Pull Streaming ............................................................................................. 81
4.11.3 Push and Flash Streaming ....................................................................................... 82
4.11.4 Capturing the Stream .............................................................................................. 82
PART II (Reference) ................................................................................................................... 85
5 The Startup Screen ............................................................................................................ 87
iii
5.1 Introduction to Sessions .................................................................................................. 88
5.2 The Home Page ............................................................................................................... 89
5.2.1 New (Session) .......................................................................................................... 90
5.2.2 Open (Session) ........................................................................................................ 92
5.2.3 Shutdown ................................................................................................................ 94
5.2.4 Utilities .................................................................................................................... 95
5.2.5 Help ......................................................................................................................... 97
5.2.6 Add-Ons .................................................................................................................. 98
5.3 The Session Page ............................................................................................................. 98
5.3.1 Live .......................................................................................................................... 98
5.3.2 Graphics .................................................................................................................. 99
5.3.3 Edit ........................................................................................................................ 100
5.3.4 Manage ................................................................................................................. 101
6 Live Desktop: Overview .................................................................................................. 105
6.1 Display Requirements ................................................................................................... 105
6.2 Overview ....................................................................................................................... 106
6.3 A Few Hints ................................................................................................................... 106
6.4 Customizing the Live Desktop ....................................................................................... 107
6.4.1 Desktop Options Menu ......................................................................................... 107
6.4.2 Dual Displays and Monitoring ............................................................................... 108
6.5 Titlebar Tips .................................................................................................................. 109
6.5.1 Status Bar .............................................................................................................. 109
6.5.2 Eject ...................................................................................................................... 110
7 I/O Configuration ............................................................................................................ 111
7.1 Output Configuration .................................................................................................... 111
7.1.1 Output Controls .................................................................................................... 112
7.1.2 Proc Amp ............................................................................................................... 113
7.1.3 SD Analog Connections ......................................................................................... 115
7.1.4 Aux Output ............................................................................................................ 116
7.1.5 Genlock ................................................................................................................. 119
iv
7.1.6 Center Frequency .................................................................................................. 121
7.2 Input Configuration ....................................................................................................... 121
7.2.1 Connection Type ................................................................................................... 122
7.2.2 Proc Amp ............................................................................................................... 125
7.2.3 LiveMatte & Crop .................................................................................................. 125
8 Switcher, Transitions and Overlay ................................................................................... 127
8.1 Switcher Rows ............................................................................................................... 127
8.1.1 Utility (and Delegate) ............................................................................................ 128
8.1.2 Program and Preview ............................................................................................ 129
8.2 Video Layers .................................................................................................................. 129
8.3 Transitions..................................................................................................................... 131
8.3.1 Local Controls ........................................................................................................ 132
8.3.2 Main Controls........................................................................................................ 137
8.3.3 T-Bar ...................................................................................................................... 139
9 Desktop Monitors ........................................................................................................... 141
9.1 Program amd Preview .................................................................................................. 141
9.1.1 Configuration Indicators ....................................................................................... 142
9.2 Look Ahead Preview ...................................................................................................... 142
9.3 All Monitors Tab ............................................................................................................ 144
9.3.1 Contextual Tools ................................................................................................... 144
9.3.2 Interactive Control ................................................................................................ 146
9.4 Preview Scopes Tab ....................................................................................................... 147
10 Media Players (DDRs, Still, Title and Audio) ................................................................ 149
10.1 Specialized Media Players ............................................................................................. 149
10.2 Shared Features ............................................................................................................ 150
10.2.1 Playlists ................................................................................................................. 150
10.2.2 Media Browser ...................................................................................................... 153
10.2.3 Player Controls ...................................................................................................... 156
10.2.4 Preset Bin .............................................................................................................. 158
v
10.2.5 Speed .................................................................................................................... 159
10.3 Editing Title Pages ......................................................................................................... 159
11 LiveMatte & Crop ........................................................................................................ 163
11.1 Chromakeying ............................................................................................................... 164
11.2 Matte ............................................................................................................................ 165
11.2.1 Color ...................................................................................................................... 165
11.2.2 Tolerance .............................................................................................................. 166
11.2.3 Smoothness........................................................................................................... 166
11.3 Spill Suppression............................................................................................................ 166
11.4 Crop ............................................................................................................................... 167
11.5 Compositing .................................................................................................................. 168
11.6 Fine Tuning .................................................................................................................... 168
11.7 Practical Staging for LiveMatte ..................................................................................... 169
11.7.1 Lighting .................................................................................................................. 169
11.7.2 Connection Considerations ................................................................................... 169
12 Virtual Inputs .............................................................................................................. 171
12.1 Primary Video Sources .................................................................................................. 172
12.2 Position ......................................................................................................................... 172
12.3 Overlay .......................................................................................................................... 174
12.4 LiveSet ........................................................................................................................... 175
12.4.1 LiveSet Selection ................................................................................................... 175
12.4.2 Video Sources ....................................................................................................... 176
12.4.3 Zoom Presets ........................................................................................................ 177
12.4.4 Zoom T-Bar ............................................................................................................ 178
12.4.5 Input Position ........................................................................................................ 178
12.4.6 Animate Zoom....................................................................................................... 179
13 Audio .......................................................................................................................... 181
vi
13.1 External Sources ............................................................................................................ 182
13.1.1 Mute...................................................................................................................... 182
13.1.2 Connection Type ................................................................................................... 183
13.1.3 Microphone Controls ............................................................................................ 184
13.1.4 More Audio Controls ............................................................................................. 185
13.2 Internal Audio ............................................................................................................... 188
13.2.1 Media Players ........................................................................................................ 188
13.2.2 Output Controls .................................................................................................... 189
13.3 Preset Bin ...................................................................................................................... 190
14 Network Sources ......................................................................................................... 191
14.1 iVGA .............................................................................................................................. 191
14.1.1 iVGA for OS X™ ...................................................................................................... 192
14.1.2 IVGA PRO™ (WINDOWS) ....................................................................................... 193
14.2 AirPlay™ ........................................................................................................................ 199
14.3 LiveText ......................................................................................................................... 200
15 Streaming .................................................................................................................... 201
15.1 Overview ....................................................................................................................... 202
15.1.1 Compact View ....................................................................................................... 202
15.2 Web Browser ................................................................................................................. 203
15.3 Connection Options ....................................................................................................... 204
15.3.1 Browser Based ...................................................................................................... 205
15.3.2 Adobe Flash™ ........................................................................................................ 206
15.3.3 Windows Media Pull ............................................................................................. 208
15.3.4 Windows Media Push ........................................................................................... 209
15.4 Audio Headroom ........................................................................................................... 210
15.5 Capturing the Stream .................................................................................................... 211
15.6 Streaming Strategies ..................................................................................................... 211
15.6.1 On Demand or Live? .............................................................................................. 211
15.6.2 Streaming Protocols .............................................................................................. 214
vii
15.6.3 Streaming Media Providers ................................................................................... 216
15.6.4 Other Resources.................................................................................................... 217
15.7 Production and Capture Considerations ....................................................................... 217
15.8 Diagnostics and Troubleshooting .................................................................................. 218
15.8.1 Testing your stream .............................................................................................. 218
16 Record and Grab ......................................................................................................... 227
16.1 Record ........................................................................................................................... 227
16.1.1 Record Configuration ............................................................................................ 227
16.2 Grab .............................................................................................................................. 231
17 SpeedEDIT and LiveText .............................................................................................. 233
17.1 SpeedEDIT ..................................................................................................................... 233
17.1.1 Sessions, Projects and Display .............................................................................. 233
17.1.2 Filebin Quicktabs ................................................................................................... 234
17.1.3 IEEE1394 I/O Output ............................................................................................. 234
17.1.4 SpeedEDIT Desktop ............................................................................................... 235
17.2 LiveText ......................................................................................................................... 235
17.2.1 Sessions, Projects and Display .............................................................................. 235
17.2.2 Files/Filebin ........................................................................................................... 236
17.2.3 Naming Stand-in Images ....................................................................................... 237
PART III (Appendices) ............................................................................................................. 239
How Do I … ?........................................................................................................................... 241
A.1 Connections ................................................................................................................... 244
A.1.1 Connect cameras? ................................................................................................. 244
A.1.2 Color correct mismatched cameras? .................................................................... 244
A.1.3 Connect monitors? ................................................................................................ 245
A.1.4 Connect a supported external control surface? ................................................... 247
A.1.5 Connect An External Hard Drive?.......................................................................... 248
A.1.6 Eject A Hard Drive? ............................................................................................... 248
A.1.7 Connect tally lights? .............................................................................................. 248
viii
A.1.8 Connect to a Network? ......................................................................................... 248
A.1.9 Connect to an AirPlay™ Source? ........................................................................... 248
A.1.10 Resolve iVGA PRO Quirks ...................................................................................... 251
A.2 Sessions ......................................................................................................................... 252
A.2.1 Start an SD Session? .............................................................................................. 252
A.2.2 Start an HD Session? ............................................................................................. 253
A.2.3 Work on a Stored Session? ................................................................................... 253
A.2.4 Backup a Session? ................................................................................................. 253
A.2.5 Restore a Session? ................................................................................................ 254
A.2.6 Delete a Session (and its Content)? ...................................................................... 254
A.2.7 Manage Selected Content inside a Session? ......................................................... 254
A.2.8 Rename a Session?................................................................................................ 255
A.2.9 Duplicate a session? .............................................................................................. 255
A.3 Live Production .............................................................................................................. 255
A.3.1 Make Custom Transitions and LiveSets? ............................................................... 255
A.3.2 Restore the Default LiveSet? ................................................................................. 255
A.3.3 Initiate Streaming? ................................................................................................ 256
A.3.4 Find my Captured Stream file? ............................................................................. 256
A.3.5 Record my Program? ............................................................................................ 256
A.3.6 Find my Recorded Program File? .......................................................................... 257
A.3.7 Change Playback Speed for Clips in the DDR (Media Player)? .............................. 257
A.3.8 Deal With DDR (Media Player) Clips That Seem Blurry? ....................................... 257
A.3.9 Get Stubborn Clips to Play in the DDR? ................................................................ 257
A.3.10 Change Colors for an Entire Title Playlist at Once? ............................................... 260
A.3.11 Get Live Title Pages (.cgxml) to Respect All LiveText Font Attributes? ................. 260
A.3.12 Prepare a Matched Group of Virtual Inputs? ........................................................ 260
A.3.13 Improve the Quality of Multiview Output? .......................................................... 261
A.3.14 View Media Player Time Data on Multiview Out when Set to ‘All Sources’? ....... 261
A.4 Files ............................................................................................................................... 262
A.4.1 Manage Files? ....................................................................................................... 262
A.4.2 Change the Recording Quality? ............................................................................ 262
A.4.3 Import Media Files? .............................................................................................. 262
A.4.4 Prepare Clips with Embedded Alpha Channel? ..................................................... 263
A.4.5 Prepare clips for TriCaster Playback Using Apple® Final Cut Pro? ........................ 263
ix
A.4.6 Add an External File Location to the File Browser? .............................................. 264
A.4.7 Remove a Location From the File Browser? ......................................................... 264
A.4.8 Export files to an External Drive? .......................................................................... 264
A.4.9 Export files from TriCaster For Use in Apple® Final Cut Pro? ................................ 265
A.4.10 Import/Export Files Larger Than 4 Gigabytes?...................................................... 265
A.4.11 Avoid the Error “…copy this file without its properties?” ..................................... 266
A.4.12 Free up Space by Deleting the Demo Clips? ......................................................... 266
A.5 Software, Maintenance and Updates ........................................................................... 266
A.5.1 Improve Performance? ......................................................................................... 266
A.5.2 Resolve Serious Instability or Dropped frames? ................................................... 267
A.5.3 Update TriCaster? ................................................................................................. 267
A.5.4 Update the Flash™ and/or Windows Media Encoder? ......................................... 267
A.5.5 Install Virus Protection? ........................................................................................ 267
A.5.6 Install My Favorite Software (or Codec)? ............................................................. 268
A.5.7 Restore TriCaster to Original ‘As-Shipped’ Condition? ......................................... 269
A.6 Registration And Tech Support ..................................................................................... 269
A.6.1 Register TriCaster? ................................................................................................ 269
A.6.2 Contact Technical Support? .................................................................................. 270
A.6.3 Find TriCaster’s Hardware/Firmware Revision Numbers? .................................... 270
A.7 Miscellaneous ............................................................................................................... 271
A.7.1 Access Windows™? ............................................................................................... 271
A.7.2 Return to TriCaster from the Windows™ Desktop ................................................ 271
A.7.3 Add A Custom Streaming Profile to the Configure Stream Connection Panel? .... 271
A.8 More Questions and Answers ....................................................................................... 274
A.8.1 Can I do anything to improve latency/audio sync? ............................................... 274
A.8.2 Why Do Some Thumbnail Icons Look Wrong? ...................................................... 275
Performance Considerations .................................................................................................. 277
A.9 Testing, One Two … ....................................................................................................... 277
A.10 iVGA and Performance .................................................................................................. 277
A.11 IMAG and Latency ......................................................................................................... 278
A.11.1 Relativity and the Speed of Light .......................................................................... 278
A.11.2 Latency and Your Audience................................................................................... 279
x
A.11.3 Latency and Your TriCaster ................................................................................... 279
A.11.4 Other Sources of Latency ...................................................................................... 280
Performance Considerations .................................................................................................. 283
A.12 Testing, One Two … ....................................................................................................... 283
A.13 iVGA and Performance .................................................................................................. 283
A.14 IMAG and Latency ......................................................................................................... 284
A.14.1 Relativity and the Speed of Light .......................................................................... 284
A.14.2 Latency and Your Audience................................................................................... 285
A.14.3 Latency and Your TriCaster ................................................................................... 285
A.14.4 Other Sources of Latency ...................................................................................... 286
Video Calibration .................................................................................................................... 289
A.15 What (And Where) to Calibrate? .................................................................................. 290
A.16 Calibrating Video Sources ............................................................................................. 290
A.16.1 Setting Black and White ........................................................................................ 291
A.16.2 Adjusting Color ...................................................................................................... 292
A.16.3 Color Metrics ......................................................................................................... 293
A.17 Calibrating Your Monitors ............................................................................................. 295
A.17.1 Computer Monitor ................................................................................................ 296
A.17.2 Program Output Monitor ...................................................................................... 296
A.17.3 Setting Black and White ........................................................................................ 297
A.17.4 Color Adjustments ................................................................................................ 299
Keystroke Shortcuts................................................................................................................ 301
A.18 Switcher… ...................................................................................................................... 301
A.19 T-Bar.............................................................................................................................. 302
A.20 Virtual Inputs................................................................................................................. 302
A.21 Record and Grab ........................................................................................................... 302
A.22 Tabs ............................................................................................................................... 302
A.23 DDR ............................................................................................................................... 303
xi
A.24 Stills ............................................................................................................................... 303
A.25 Titles .............................................................................................................................. 303
A.26 Multiview ...................................................................................................................... 304
A.27 General .......................................................................................................................... 304
A.27.1 Selection and Navigation ...................................................................................... 304
A.27.2 Misc. ...................................................................................................................... 304
Reliability Testing ................................................................................................................... 305
Index ...................................................................................................................................... 307
Credits .................................................................................................................................... 311
xii
PART I (GETTING STARTED)
Introducing TriCaster™ – connections and registration, a top-level overview of primary features,
and a hands-on tour to get you started.
Page | 1
Hate reading manuals? If so, you are part of the majority
(estimates are that between 60 and 97% of the human race
concur). Most prefer to jump right in, maybe asking a friend for
occasional help (and who can blame them)?
This manual attempts to tell you what you need to know in a
friendly, concise way, while also providing a deeper reference
section you can turn to when you really need specifics.
1 A BOUT THIS MANUA L
Even if you hate reading, please take a moment to peruse at least this section, which explains the
manual structure. You may find you can escape with a minimum of reading. (Or, if you are a
devout reader, you can be the hero others turn to for expert advice.)
Part I – Getting Started: introduction to TriCaster; connecting devices (cameras, monitors,
etc.) and registration, ending with the Live Production Walkthrough – a brisk jog through
fundamentals, about 50 pages (if you’re a quick study, this may provide all you need).
Part II – Reference: chapters in this section cover every arcane detail related to using
TriCaster (for those who need it, and those who just like to know everything).
Part III – Appendices: leads off with a handy section titled “How do I …?“, a helpful question
and answer section with its own brief index. When you have a specific need, you may well
find a quick answer here, along with cross references to more detailed information when
appropriate. Appendix D lists all shortcut keys. Part III is also home to a comprehensive
keyword index.
Page | 3
Thank you for purchasing this NewTek™ product. Your TriCaster™
belongs to a large family of video systems and software with a
remarkable heritage. A bona fide video pioneer, NewTek is
justifiably proud of its record of innovation, ongoing commitment
to design excellence, and superb product support.
This chapter provides a quick tour of the major components of your
new TriCaster system.
2 I NTROD UCTIO N
2.1 OVE RVIEW
Traditionally, producing live high definition television has been very costly, requiring very
expensive equipment and a large crew. TriCaster™ changed all that. In one compact system, you
can have a complete set of tools to create, broadcast, web stream and project your production.
TriCaster even includes NewTek’s revolutionary LiveSet™ system to provide you with network
quality virtual sets for ‘bigger than life’ production capabilities.
TriCaster™ thus sets a new benchmark for “portable live production”. Simply put, it is the most
complete, reliable and efficient system available for live production and web streaming. Its
capabilities are equally well suited to broadcast center control room installation or remote
production location, and it requires just one person to operate. No matter what your live
broadcast ambitions are, a TriCaster™ can help you fulfill them.
With TriCaster™ you can produce and distribute live video programs from diverse sources and
materials in both Standard and High Definition. Use multiple cameras, recorded digital video,
PowerPoint™ presentations on networked laptops, live web pages, digital photos and graphics,
and much more.
TriCaster™ also supports Apple’s AirPlay™ protocol, allowing compatible off-the-shelf mobile
video devices (such as iPhone™ and iPad™) to stream content wirelessly to TriCaster™. Your
presentations can simultaneously be displayed by video projectors, television monitors,
broadcast by traditional means, and streamed in high quality on the Internet.
Page | 5
2.2 STA RTUP SCREE N
When you power up TriCaster™ the Startup Screen appears. This is your command center for
initiating most other operations.
Figure 1
The Home Page of the Startup Screen allows you to define and open sessions, each of which can
be customized for various productions or other purposes. Later, when you re-open a session, all
of its assets and settings are remembered.
After creating a session (or opening an existing one), you are taken to the Session Page. Here you
can launch the Live Desktop (for live production), or perhaps choose to Edit, prepare Graphics
(title pages), Manage content, or even create custom transitions.
2.3 LIV E DESK TOP
TriCaster’s live production features are all available from its unique Live Desktop, which in many
ways mimics familiar production equipment. However, the Live Desktop provides far more
functionality than that of similar single-purpose devices, all in one place.
The various features, controls and modules comprising TriCaster’s Live Desktop are arranged in
three horizontal bands, as seen in Figure 2.
Page | 6
Monitoring
Live Control
Tabbed Modules
Figure 2
The uppermost area is devoted to monitoring.
The Switcher section is centrally located, and is also home to the Transition and Overlay
controls.
The bottom-most section of the Live Desktop holds side-by-side tabbed panels featuring
media players (DDR, Still and Title), Virtual Input setup, and the Audio Mixer.
2.4 FEA TURES
Here’s a brief overview of just some of TriCaster’s key features:
2.4 .1 PHY SICAL
Highly portable case ensures robust, reliable and quiet performance in fixed or mobile
installations.
Page | 7
Massive storage capacity – the internal drive holds approximately 20 hours of recorded
1080i video footage.
All audio and video, monitoring and network connectors are easily accessible on the
front panel.
Audio and video connectors are industry standard (XLR, ¼” phono or BNC as
appropriate), ensuring broad compatibility and secure, locked connections. Headphone
output uses a standard 1/4” stereo phone jack.
Multiple software failsafe systems continually monitor and safeguard the live
performance. Any recoverable software error conditions are quickly and unobtrusively
dealt with.
2.4 .2 A/V INPU T AND OUTPU T
Live switch between up to three SDI and analog HD (or SD) cameras.
Professional BNC video connectors provide increased durability and reliability for
camera connections.
Input and mix 16:9 and 4:3 formats.
Freely mix SD and HD sources in both HD and SD sessions.
Output HD sessions as SD (4:3 or 16:9) and HD simultaneously from HD sessions.
Multiple Media Player modules allow you to insert pre-recorded video, music, sounds
and imagery into your live presentations.
Select Microsoft Windows™ or Apple Macintosh™ computers on the same network ™ as
Switcher inputs for your live productions using NewTek's iVGA client.
Or assign the Network input on the Switcher to receive live or recorded content directly
from your compatible Apple iOS™ device using AirPlay™.
Mix internal and external audio sources.
Supply external audio via analog or SDI Embedded audio.
Send Aux (Auxiliary) video output to a projection system or secondary monitor at
resolutions up to 1920x1080.
Broadcast your Program to the Internet.
Page | 8
2.4 .3 MON ITORING
Figure 3
TriCaster’s Live Desktop includes large Program output and Look Ahead Preview monitors with
associated controls. Also, freely toggle between viewing:
All Monitors - onscreen monitors for all sources plus FX (Figure 3).
Preview Scopes – Waveform and Vectorscope monitors and full color source monitor.
Secondary Multiview monitor output options including:
o All sources plus Preview, Program and clock
o Waveform, Vectorscope and video monitor
o More …
2.4 .4 VID EO PR OCESS ING
Proc Amps for every source preserve pristine image and color fidelity through the entire
pipeline to final output.
Separate control over the Brightness, Contrast, Hue and Saturation for every video
source, along with White Balance and U and V Offset.
Individual Proc Amp controls for Program and Multiview outputs.
2.4 .5 THE SWIT CHER
TriCaster’s Switcher layout is consistent for all models, but the number of inputs available varies.
TriCaster™ 300 provides a 13-channel switcher.
Page | 9
Figure 5
Figure 4
The three-row (Utility, Program, and Preview) Switcher allows you to freely hot-punch between
external sources (Cameras or Network), internal sources (Media Players) and Virtual Inputs, or
Take/Transition between Preview and Program sources.
Use Utility row selections to delegate video and
graphics sources to various internal video busses,
including the two primary DSK (Overlay) channels
and the FX bus (used as a secondary source for
virtual sets or for other purposes).
2.4 .6 VID EO LA YERS AND TR ANSIT IONS
The Transition section of TriCaster’s Live Desktop provides powerful tools for arranging and
displaying the numerous video and graphic layers contributing to TriCaster’s ultimate program
output.
Figure 6
Display of one or more user-delegated video layers, including FTB (Fade to Black) is
controlled by the main T-bar, supplemented by one-click Take or Auto buttons.
Page | 10
Local Transition controls for BKGD (Background) and DSK layers provide flexible and
independent configuration and control of these layers and their transitions. Select
different transition effects for each layer, and adjust Transition Speed (variable and
presets), Reverse and Ping Pong options.
DSK CHANNELS
Figure 7
TriCaster’s DSK layers support dual-channel downstream keyed (or alpha) overlays. Assign any
Switcher source to either channel. DSK channels can be displayed in tandem or independently,
or swapped – again, with independent custom transitions.
You might use Media Players to overlay title pages, including scrolls, crawls and lower-thirds – or
delegate a Camera input or Network source as an overlay (using the Switcher’s Utility row).
Independent Position and Scale controls for each DSK channel permit you (for example) to
configure two live sources as ‘Picture in Picture’ elements using the DSK channels, freely
switching them on and off (with or without individual custom effects), with or without changing
the BKGD (Background) video layer using the Program and Preview rows on the Switcher.
2.4 .7 REC ORD A ND ST REAM
Record your live-switched production at full resolution to a multi-platform compatible
format
Choose how far below 0dB FS (the maximum digital level) to set nominal level; record
files with headroom levels of up to 20dB.
Store approximately 20 hours of 1080i video (or 155 hours of SD video).
Page | 11
Simultaneous output for broadcast, projector and live web stream to in-house and
remote audiences.
Use either Windows Media™ or Flash Media™ streaming.
Archive your Internet stream.
Connecting to content delivery networks is a snap using the Configure Stream
Connection panel.
2.4 .8 IMP ORT ME DIA
Clicking the Import Media link in Startup opens a dedicated Import Media module in Startup,
providing a convenient one-stop approach to managing productions assets.
Batch import media files for use in TriCaster’s Media Players.
Imported files are automatically categorized and sent to the correct locations, making
them easy to find and use during live productions.
Optionally transcode selected to high quality and TriCaster-friendly file formats,
ensuring smooth playback.
2.4 .9 AUD IO MI XER
TriCaster™ provides extensive multi-channel audio control and management in its dedicated
Audio Mixer panel.
Adjust individual audio sources (internal and external) and introduce them into your
program manually or automatically.
Control output levels for program, headphones, auxiliary output and stream separately.
Convenient mixer presets allow single-click access to prepared setups.
Audio follow video options.
2.4 .10 INTEG RATED MEDIA PLAYERS
TriCaster’s numerous specialized Media Players and title system serve up graphics, titles, video
clips and audio files quickly and easily during your live productions.
Add a/v clips, sound files or still image files to Media Player playlists.
Trim and re-order playlist entries.
Page | 12
Store playlists as presets for easy recall.
Flexible playback controls include variable Speed and Loop options.
Figure 8
Media Players have volume and related elaborate controls in the mixer, along with
convenient per clip audio level adjustments right in the playlist (when appropriate).
Start and stop playback manually or automatically based on Switcher activity.
Use two Media Players to create automated ‘slide-shows’, complete with transitions.
Assign titles, graphics or a/v clips to multiple DSK or Overlay channels.
Edit title pages live, even while ‘on air’.
2.4 .11 K EYING, VI RTUAL SETS AND VIR TUAL INPUT S
Use LiveMatte™ realtime keying technology for green/blue screen effects.
Apply independent LiveMatte settings to all video sources.
Virtual Inputs (Figure 9) permit M/E (Mix/Effect) style compositions of two primary
switcher sources, with convenient Scale and Position controls.
Page | 13
Figure 9
Achieve the look of a sophisticated studio setting in a very small space with NewTek’s
astonishing LiveSet™ virtual set technology.
Zoom in/out on LiveSets during your live productions right from the Live Desktop.
Virtual Inputs also sport an integrated overlay channel selected from any Switcher
source with its own position controls.
Convenient presets allow single-click access to pre-configured Virtual Input setups.
2.4 .12 GRAPHICS
Also part of TriCaster’s integrated software suite is LiveText™, NewTek’s professional titling and
graphics application. LiveText allows you to create your own custom title pages and motion
graphics, including scrolls and crawls.
2.4 .13 EDIT
The full version of NewTek’s popular and versatile non-linear video editing program SpeedEDIT™
is included as well. SpeedEDIT provides powerful, professional tools to let you prepare movies
for insertion into your live productions, or perform broadcast quality post production work on
recorded programs.
Edit, import and export in full HD resolution.
Realtime external hardware project preview in HD or SD.
Page | 14
Import and export file format support includes MPEG2 and QuickTime for versatility in
program delivery.
In summary, TriCaster™ gives you the combined power of both a network control room and a
complete post-production facility in one simple to use broadcast appliance. Let’s jump in now.
First, we’ll get you connected. Following that, we’ll begin to explore TriCaster’s most important
features.
2.4 .14 OPTIONAL CONTRO L SURFACES
Figure 10
Several models of optional TriCaster™ control surface are offered, including models designed for
primary control and others for specific purposes such as instant replay.
Control surfaces make many operations even more convenient. Once you get your hands on one
you’ll never want to let go, and there’s sure to be one or more that would be an ideal companion
to your system.
Page | 15
This chapter explains how to properly connect power, external
control devices, monitors and audio visual sources to your NewTek
TriCaster™ system.
It also reviews registration for warranty purposes and technical
support. After completing this short section, you’ll be all set to
continue into the Walkthrough chapter that follows it.
3 SETTIN G UP
To begin, let’s review ‘what came in the box’:
NewTek TriCaster™
Keys to front panel of case
Four attachable rubber feet (for desktop use)
A/C power cable(s)
BNC removal tool (to assist with cable connection and removal)
DVI to VGA adapter
NewTek mouse and keyboard
Quick Start Guide
NewTek 3PLAY™ brochure
Getting Started Training DVD
NewTek iVGA™ CD
NewTek TriCaster™ registration reminder card
New product letter
3.1 COM M AND AND CONTRO L
1. Connect an external computer monitor to a DVI port (uncapped) on TriCasters
backplate.
Note: TriCaster’s user interface requires a minimum screen resolution of 1440x900.
2. Connect the mouse and keyboard to USB ports on TriCaster™.
3. Connect the A/C power cord from the three-prong connections on TriCaster’s backplate
to an external power receptacle (see Hint below).
4. Turn on the computer monitor.
Page | 17
‘Modified sine wave’ UPS devices are
popular due to low manufacturing costs.
However, such units should generally be
viewed as being of low quality and possibly
inadequate to fully protect the system from
For a modest added cost, consider a "pure
sine wave" UPS. These units can be relied
on to supply very clean power, eliminating
potential problems, and are recommended
5. Press the Power switch located on
TriCaster’s faceplate.
At this point, the blue Power LED will
illuminate, and the adjacent hard drive
activity light should flicker as the device
boots up. (If this does not happen, check
your connections and retry).
Though not a requirement, we do strongly
recommend that you connect TriCaster™
using an uninterruptable power supply
(UPS), as for any ‘mission critical’ system.
Likewise, consider A/C “power conditioning”,
especially in situations where local power is
unreliable or ‘noisy’.
Surge protection is especially important in
some locales. Power conditioners can reduce
wear on TriCaster’s power supplies and other
electronics, and provide a further measure of
protection from surges, spikes, lightning and high voltage.
A word about UPS devices:
abnormal power events..
for applications demanding high reliability.
3.2 ACT IVATING & A UTHOR IZING WIND OWS™
(Your dealer may have performed this operation for you as part of his pre-delivery service.)
When you see the Welcome to Windows screen:
1. Click Next at lower right.
2. Choose your time zone.
3. Accept the license agreement.
4. Enter your 25-digit key (on some models, the sticker is on the bottom of the case).
5. Decline automatic updates (by clicking “not right now”).
6. Give TriCaster™ a distinct computer name for networking.
Page | 18
You can authorize your Windows installation by network or by telephone. Assuming you have an
Internet connection available, and have connected TriCaster™ to it with an Ethernet cable, the
Internet is the fastest method of activation. (See Section 3.14 and Chapter 14 for more on
network connections.)
1. Click ‘Obtain IP and DNS automatically’.
2. Agree to activate Windows. This activation is permanent, and you won’t see these
screens again. (Registration with Microsoft is optional).
3. Assign a name to the administrator account. You may type your name, company, or
perhaps simply “TriCaster”.
4. Click Finish, and you system will re-start.
After restarting and accepting NewTek’s User Agreement, the interface will load automatically.
3.3 TRICASTE R™ LIC ENSE A ND RE GIST RA TION
On launch, TriCaster™ presents an End User
License Agreement dialog. After you accept this,
the Registration dialog shown in Figure 11 is
presented.
If necessary, enter the unique TriCaster™ Serial
Number and Product ID for your system.
TriCaster’s video output will show a watermark
until the system is registered and unlocked (by
entering the registration code).
Figure 11
Hint: If the Serial number doesn’t appear automatically, and can’t find it on your unit, you can
obtain it from the registration webpage mentioned in the next section, or by calling Customer
Support Desk (open seven days a week).
Page | 19
You can register and obtain your registration code either by telephone, or online (directly from
TriCaster™ or from another system connected to the Internet) as described next.
3.3 .1 ONL INE REGIST RATIO N
If you have connected your TriCaster™ to the Internet, simply click the button under Step 2 in the
registration dialog. This will take you to the Registration page (http://register.newtek.com) in
the Customer Care section of NewTek’s website where you will find further directions.
Hint: More information on connecting TriCaster™ to a network can be found in Section 3.14 and
Chapter 14.
Otherwise, you can visit the registration webpage from another system with Internet access. In
either case, after registering on the website, enter the resulting registration code into the field
provided at Step 4 of the dialog.
Hint: It’s a very good idea to record the login name and password you choose when creating your
website profile and keep them in a safe place. Jot down registration code too; it could come in
very handy if you ever need to restore the TriCaster™ software to its as-shipped state when you
don’t have access to the Internet.
Check your personal area of the site from time to time afterward; among other things, you’ll be
able to download any free software updates that are made available going forward.
3.3 .2 REG ISTERING B Y TEL EP HONE
NewTek’s Customer Care center can also handle registration requests by telephone, if that is
more convenient (when opportunity permits, you should still visit the website as discussed above
to gain access to software updates).
Please have your Product ID (from the Registration dialog mentioned earlier) handy when you
call. The phone numbers for Customer Service follow:
Telephone: (US) 1-800-862-7837
(Outside US) +1-210-370-8000
Fax: 210-370-8001
Page | 20
Note: For Technical Support contact information, please see Section A.6.2.
3.4 INP UT CO NNECT IONS
3.4 .1 CONNECT A/V S OURCE S
External audio and video sources are connected to the appropriate inputs on TriCaster’s
backplate.
Figure 12
1. Connect video sources to the appropriate connectors in the VIDEO IN section, whether
SDI, Component, Y/C (S-Video) or Composite (may require RCA to BNC adapter).
a. SDI – Attach SDI source connectors to left-most BNC connectors in the rows of
the Video In group (marked SDI).
Hint: If your equipment supports SDI, this is your best quality I/O option.
b. Component – Attach the appropriate BNC connectors from your sources to all
three analog BNC connectors (labeled Y, Pb and Pr) in each row in the Video In
group.
c. Y/C – If your S-Video equipment and cabling has the usual 4-pin mini-DIN
connectors, you will need an S-Video to dual BNC adapter. To connect Y/C
sources, attach the Y (luma) connector of your source to the second analog
Page | 21
BNC connector (labeled Pb). Attach the source’s C (chroma) connector to the
third connector (labeled Pr).
d. Composite – Attach the composite source’s connector (may require an RCA to
BNC adapter) to the second connector (labeled Y).
Note: The video broadcast standard (such as NTSC, NTSC-J or PAL) of all video sources connected
for a given session must be the same.
2. To input analog audio along with the video, connect the external audio sources to the
XLR or ¼” connectors in the Audio In group box. (We’ll discuss audio Connection Type
options a bit later, in Section 3.12.)
Note: SDI video sources with embedded audio do not need a separate analog audio connection.
3.5 GEN LOCK CONNE CTION
The BNC connector in the Genlock In section of TriCaster’s faceplate for connection of a ‘house
sync’ or reference signal (often a ‘black burst’ signal intended specifically for this purpose). Many
studios use this method to synchronize equipment in the video chain.
Genlocking is commonplace in higher-end production environments, and genlock connections
are usually found on professional video devices. If your equipment allows you to do so, you
should genlock all cameras supplying TriCaster™, and TriCaster™ itself.
To genlock TriCaster™, supply the reference signal from the ‘house sync generator’ to TriCaster’s
Genlock In connector. Next we’ll discuss the audio and video output connectors along with
relevant settings. We’ll start with video output, not only so you can view your results, but
because some aspects are best considered before even beginning a TriCaster™ session.
3.5 .1 A/V OUTP UT
TriCaster™ provides separate video and audio output connector groups, and very flexible options
for display of your live and recorded video streams. Here are some of the possibilities:
Simultaneously send output to standard and/or high definition devices from HD sessions.
Simultaneously send program output to both analog and digital devices.
Page | 22
Send program output or other layouts to a secondary monitor or projector using Multiview.
Stream program output to the Internet via a suitable network connection.
3.5 .2 HD AND SD
As mentioned above, TriCaster supports simultaneous output of both SD (Standard Definition)
and HD (High Definition) video. Flexible video output is conveniently presented on TriCaster’s
faceplate. The Video Output section provides three rows of BNC connectors which offer the
following connection possibilities for live production:
Row 1 and 2 output format is determined by the session (see Section 5.1)
o When the session is SD (4:3 or 16:9), output is SD (4:3 or 16:9).
o When the session is HD, output is HD.
Row 3 is referred to as Aux (Auxiliary), and always outputs video in SD format. If the
session is 16:9, output from Row 3 is also 16:9, and output will likewise match SD 4:3
sessions.
3.5 .3 CONNECT I NG D E VICE S
Figure 13
1. Connect downstream video devices to the appropriate output connectors in the VIDEO OUT
section, whether SDI, Component, Y/C (BNC) or Composite. Please note that the latter two
formats may require RCA (cinch plug) or S-video (4 pin mini-DIN) to BNC adapters, and also
that both of these connection options support output at SD resolution only.
a. SDI – Attach SDI connectors to the left-most column of BNC connectors in the
VIDEO OUT group.
Hint: If your equipment supports SDI, this is your best quality option.
Page | 23
b. Component – Attach your device to the second, third and fourth BNC connectors (Y,
Pb and Pr).
c. Y/C – If your S-Video equipment and cabling has the usual 4-pin mini-DIN
connectors, you will need an ‘S-Video to dual BNC’ adapter. Attach the Y (luma)
connector of your device to the second analog BNC connector row (labeled Pb at far
left in the VIDEO IN group). Attach the C (chroma) connector to the third analog
connector (labeled Pr).
d. Composite – Attach the device’s connector to the first (top) analog connector,
labeled Y.
2. Connect TriCaster’s audio outputs:
a. Analog audio – Connect external audio devices to the connectors in the AUDIO
OUT section. Note that there are two pairs of two connectors each; Connectors
1a and 1b provide Program (Master) output, while 2a and 2b are designated
AUX (Auxiliary Output). These two output sections are configured and
controlled separately in the Live Desktop.
b. Digital audio – A separate digital audio connection is not necessary for SDI
output with embedded audio.
Hint: TriCaster’s SDI and analog output sections can be used simultaneously. For example, you
could use the Composite output to view your program on a local composite monitor at the same
time as you use the SDI connection to supply broadcast equipment.
3.5 .4 MUL TIVIE W
A secondary monitor (or projection device) can be connected to TriCaster and used for a variety
of purpose ranging from program output for IMAG (Image Magnification) installations or local
monitoring for the convenience of the operator.
Note: TriCaster’s physical monitoring port types can vary. Depending on the type of connection
your external device supports, you may need an adapter to connect it. Also, it is important to
configure Multiview output to the native resolution of the external display (monitor or projector)
for best results.
Page | 24
Figure 14
Simply connect the secondary device to the unused video output connector (DVI or VGA) on
TriCaster’s backplane before powering up. The new device should be recognized and enabled by
the system automatically, and you can configure it using settings in TriCaster’s Live Desktop
(after creating a session).
3.6 TAL L Y LIG HTS
TriCaster’s Tally Light support includes Program and Preview row selections (and both). The
current Program row selection is indicated by a red LED. The Preview row selection is indicated
by a green LED. When an input is selected for both Program and Preview, the tally light will be
amber. For Virtual Inputs, the LED will light up when the source assigned to Input A is selected
(on Program or Preview).
3.6 .1 EXT ERNAL CONNECTIO NS
TriCaster provides 1.8” (3.5mm) female jacks next to each of the
LEDs on its faceplate. These are located just left of the SDI
connectors (under the column heading, Tally).
The jacks accept a standard 1.8” (3.5mm) male TRS plug. The
‘TRS’ designation refers to "tip", "ring" and "sleeve", describing
the 3 contacts on the 3 plug (Figure 14).
The tip and ring contacts supply a ‘logic low’ signal when the corresponding tally light is
not lit, and ‘logic high’ when it is.
An external LED may be directly driven by connecting it across either the tip and sleeve,
or the ring and sleeve. The LED anode should be connected to the tip or ring, and its
cathode to the sleeve.
The tip-sleeve contact state is controlled by the Program row selection, corresponding
to the red Tally Light on TriCaster’s faceplate.
The ring-sleeve contact state is controlled by the Preview row selection, corresponding
to a green Tally Light on TriCaster’s faceplate.
Page | 25
When an input is selected on both Program and Preview, the faceplate Tally Light will
glow amber.
Note: To prevent damage to TriCaster’s components when making external connections to the
tally light jacks, care should be taken that connection to the sleeve is always at ground potential.
3.7 STA RTING A SE S SION
Power up TriCaster now to reveal the Startup Screen (if TriCaster™ is already running, and is in
the Live Desktop or another part of the interface, you may need to click the small [x] button at
upper-right to exit, or click the Back arrow at upper-left in the Session Page to return to the
Home Page.)
The Startup Screen consists of two similar pages – Home and Session. Among other things, the
Home Page is where you choose basic TriCaster™ session settings (see Section 5.1 for a
discussion of sessions).
THE HOME PAGE
Figure 15
Page | 26
When no previously created sessions exist, the icon ring dominating the Home Page defaults to
New, inviting you to create a new session. A link labeled Enter Session Name is shown at the top
of the right-hand pane when New is selected on the icon ring. Click in this area to modify the
name using the keyboard if you like. (The default name is the current date.)
Note: TriCaster™ supports a variety of optional session configurations for live production. You
can choose either HD (High Definition) or SD (Standard Definition) operating modes.
SD options include both 4:3 and 16:9 (widescreen) image aspects. TriCaster™ Multi-standard
models permit you to select from different video standards according to your locale, choosing
between NSTC, NTSC-J (Japan) or PAL.
Continue with session creation by designating the Video Standard used in your locale (Multistandard models only). For the moment, let’s choose 1080i for Resolution (even if the cameras
you plan to connect are SD 4:3), then click the Start Session link below.
By default, new sessions are created on TriCaster’s D: (Media) drive (see Section 5.2.1 for a
discussion of session Volume options).
THE SESSION PAGE
Clicking Start Session will take you to the Session Page. As our intention is to configure our
connections (done in TriCaster’s Live Desktop), click Live on the icon ring.
Figure 16
Simply click the link labeled Start Live Production to launch the Live Desktop, which is likely where
you will spend most of your time working with TriCaster™.
Page | 27
THE LIVE DESKTOP
Initially, as you have yet to configure input devices or add content, the Live Desktop will look a bit
barren (Figure 17).
Figure 17
Take a quick look around, but then let’s continue to configure your devices. (We had a brief
glimpse at the Live Desktop back in section 2.3, but we’ll examine it more closely in Chapter 4,
Live Production – coming up soon.)
3.8 CON FIGUR E VIDE O OUTPU T
TriCaster™ provides complete video input monitoring right on the Live Desktop. This allows you
to operate it without even connecting downstream video monitors or devices. You might do just
that in the case of productions intended primarily for live streaming.
In other cases, however, you will likely connect external monitors to the VIDEO OUT connectors
on TriCaster’s front. High definition video monitors should be connected to either SDI or
Component connections.
Page | 28
3.8 .1 SD ANAL OG CO N FIGU R ATION
For standard definition monitoring, however, several types of analog connections are currently in
popular use. These include Composite, Y/C (also known as S-Video) and – at the upper end of the
analog quality range – Component.
To connect an analog standard definition monitor for use in live production*, you must specify
the connection type in the Output Configuration panel.
*Note: Analog connections for SpeedEDIT™ and LiveText™ output are pre-defined, and cannot be
user-modified. Please see Chapter 17 for details.
Figure 18
1. Move your mouse pointer over the large Program Output monitor on the Live Desktop.
2. Click the Configure button (gear) that appears above its top-right corner (Figure 18) to
open the Output Configuration panel.
The first tab in this panel is labeled Output. Optional settings for SD Analog Connections are
located in the central part of the panel ().
Page | 29
Figure 19
These settings provide optional
configurations for the first output
connection, designated as Output 1 (a.k.a.
Program out).
Note that the video format for Row 1
output and Row 2 invariably conforms to
the format you chose for the session (e.g.,
1080i). The only suitable analog
connection type for HD is component, so
the SD Analog Connection options are
ghosted in HD sessions.
By contrast, SD sessions do support
several optional connection types.
Choose between Component connection
or Composite + Y/C in this case.
Figure 20
Selecting Composite + Y/C sends
composite video output to the second
BNC connector in an output row (Y), and
Y/C to the third and fourth connectors (Pb
and Pr, respectively).
Figure 21
The Aux video output allows you
to choose a different format and
Connection Type for this output if
you wish.
3.9 CON FIGUR E AUX VIDE O OUTPUT
Page | 30
Figure 22
3.1 0 CONF IGURE MULTI VIEW OU TPUT
The next tab in the Output Configuration panel is
Multiview. Settings in this tab determine what is
displayed on TriCaster’s secondary DVI output,
and the resolution of that display. You might use
this output for subsidiary monitoring purposes, or
perhaps to supply a projection system.
The Screen Layout drop-down menu provides
numerous optional displays, including Program,
Preview or FX monitors, an All Sources (monitors
for all Switcher sources, plus a clock) option, and
many more.
Set the VGA Output Resolution to the native resolution of the external device, and test the
different display options to find a suitable setting.
3.1 1 CONF IGURE VIDEO INP U T
Let’s continue by configuring the video sources you connected earlier (Section 3.4):
1. Click the All Monitors tab at upper-left on the Live Desktop.
2. Move your mouse back and forth over the input monitors. Notice that a Configure
button (gear icon) appears above the top-right corner of each input monitors as you do
so.
3. Click the Configuration button to open a tabbed settings panel for Camera 1 (Figure 23).
4. Click the Connection Type button to reveal a drop-down menu listing a variety of
connection types. Select the correct format, such as 720p (Component), or 1080i (SDI),
etc., for the video source you plan to connect to this input.
Page | 31
Figure 23
5. Close the Configuration panel for now (note that you can click the Close button or
simply ‘click outside’ the panel to close it).
6. Continue to configure all connected external video sources in the same manner.
We’ll look at the other options and settings in the Configuration panel later (see Section 7.2), but
at this point you should be able to view the video inputs you have configured on their respective
monitors.
3.1 2 CONF IGURE AUDIO
Click the Audio Mixer tab in the lower third of the Live Desktop to reveal audio set up and control
features.
Page | 32
Figure 24
The tab houses individual control panels providing control for:
Inputs 1-3 - the three rows of external audio inputs on TriCaster’s faceplate.
DDR, Stills – internal audio sources (the DDR and Stills modules can both play sound
files).
Aux –auxiliary output to the AUX section of TriCaster’s faceplate.
Stream – network streaming audio.
Master – primary program output through the PGM output connectors.
Figure 25
There is a Connection Type selector drop-down at the top of the control panels for Inputs 1-3.
Clicking it opens the list of connection types.
The Connection Type options for Input 1 are slightly different, including two Mic options (with
and without phantom power). This is because the faceplate provides two combination
XLR/Phone connectors in the analog portion of the row labeled Input 1, while Inputs 2 and 3 each
contain four phone jacks instead.
Page | 33
After connecting audio sources to the input connectors (see also Section 3.4.1), the first thing to
do is set the correct Connection Type using the drop-down menu.
Select Mic for professional grade microphones or other low impedance connections, Mic +
Phantom for condenser microphones requiring supplementary power, Line for higher impedance
device connections (such as a CD player, computer audio output or VCR), and AES/EBU* or SDI
Embedded* as required to connect a digital audio source.
Note: Analog levels conform to SMPTE RP-155. The maximum input/output level is +24 dBu,
nominal input level +4 dBu (-20dBFS), and the sample rate is 96 kHz.
The Gain sliders next to the VU meters for Inputs 1-3 default to their lowest setting on first
launch. After adding audio sources, slowly bring these sliders up to pass their signals through the
system.
Figure 26
Hint: As for most numeric controls in TriCaster, Shift + double-click control knobs to reset them to
their default (0dB for Gain sliders).
Some variation exists as respects the signal levels of low impedance sources. For Mic (and Mic +
Phantom) connection types, the Trim controls (Figure 26) provide a preliminary adjustment to
allow you to match the input level. Use Trim to bring the levels for microphone and similar
sources into a useful range on the VU meter.
Note: In digital audio systems, signal levels that exceed allowable values are ‘clipped’ (uniformly
assigned the maximum level value), inevitably entailing audible issues. TriCaster will clip at +6dB
and above. To be safe, keep signals at or below 0dB, using the 6dB above only as headroom for
occasional peaks. Use Trim and Gain judiciously to ensure strong signal levels without overmodulation, and never exceed +6dB.
Page | 34
3.1 3 CONF IGURE GENLO CK
1. If the Live Desktop isn’t already open, launch a TriCaster session from Startup.
2. Access the Output Configuration panel by clicking the Configure button (gear icon) that
appears at upper-right when you move the mouse over the main Program Output
monitor on the Live Desktop.
3. Click the Genlock tab in the Output Configuration panel (Figure 27).
4. The default Reference Type in the Genlock settings is SD (Bi-level), as this is currently the
most common reference signal type. However, if you supply an HD reference signal to
the Genlock input, you may want to change the setting to HD (Tri-level).
Figure 27
5. With the aid of downstream Waveform and Vector Scopes, adjust TriCaster’s Horizontal
and Vertical Position and Phase settings in the Genlock section of the I/O Configuration
panel.
Ideally both the cameras and the TriCaster™ should be genlocked. If they are not genlocked to
the same reference signal as the TriCaster™ output, a TBC (Time Base Correction) operation is
automatically applied. Time Base Correction may drop or insert occasional frames as necessary
to maintain sync, hence is a less desirable approach.
Note: For a deeper discussion of genlocking, please see Section 7.1.5.
Page | 35
3.1 4 NETWORKING
TriCaster™ is capable of displaying screens from networked computers running NewTek’s iVGA™
client software, output from other supported applications (such as NewTek’s own LiveText™), or
media streamed via from Apple Airplay™ to a connected network.
Connecting TriCaster™ to a local area network (LAN) may require additional steps beyond those
mentioned back when we discussed Microsoft Windows ™ activation (Section 3.2). Here is the
basic procedure involved in joining a workgroup:
1. Connect a suitable cable from the network port on TriCaster’s backplate to your external
network.
2. (If necessary) – close the Live Desktop; click the Back arrow to return to the Home Page.
3. Click Shutdown, then select Exit to Windows at right to access the operating system’s
own desktop.
4. Right-click on the My Computer icon, and select Properties.
5. Scroll down in the right hand pane of the System panel that opens to find the Computer
name, domain and workgroups settings area.
6. Click the Change Settings link at right.
7. Click the Computer Name tab of the System Properties panel that opens.
8. Click the Change button, and enter the name of your local workgroup, as provided by
your system administrator.
9. Close the OK button.
10. Close the System control panel.
11. At this point, the network connection should be functional. If further help connecting is
required, please consult your system administrator.
The next section (Chapter 4, Live Production Walkthrough) will guide you through your first
experience using TriCaster™.
Page | 36
This chapter provides a quick hands-on tour of the major
components and functions of your NewTek TriCaster™. In a very
short time, these basics will be second nature to you.
More detailed reference material on all aspects of TriCaster™
follows in Part II (Reference).
4 LIVE P RODUC TION WAL KTHRO UGH
Having made the essential external connections in the previous section, let’s start your first
TriCaster™ session, and skim through some important fundamentals:
Startup and Import
Monitoring and related features.
Audio mixing (and the Follow feature).
Network sources.
Switching between video sources, and using transitions.
Program Output and Recording.
Playing stored clips using the DDR (‘Digital Disk Recorder’).
Adding (and editing) title pages and graphics.
Using LiveMatte to create a simple chromakey effect.
Virtual Inputs.
Creating a LiveSet (virtual set) shot.
Streaming to the Internet.
4.1 CRE ATING A SE S SION
We ran through the basics of starting new sessions and configuring input and output devices in
sections 3.7 through 0. If you need to review this information, go ahead and do so now. (We’ll
look at them individually again later in Part II (Reference), too.)
1. In the initial Startup Screen, create a new 1080i session - name it “Practice Session”.
Page | 37
2. The Session Page will appear when you click Start Session.
3. Click Manage on the icon ring (Figure 28).
Figure 28
4.2 IMP O RTING CON TENT
Let’s import a few files that we’ll use later in our walkthrough. The process varies slightly
depending on your TriCaster™ model:
4.2 .1 TRI CAST ER™
4. Click the Import Media button at lower-right.
Figure 29
5. Click Add in the Import Media panel (Figure 29) to open a system File Explorer.
6. Navigate to C:\TriCaster\Documentation\Walkthrough Content.
7. Press Ctrl + a (to multi-select everything in the folder shown in the File Explorer) – then
click Open, adding these files to the file pane of the Import Media panel (Figure 29).
Page | 38
Figure 30
TriCaster’s ‘Look Ahead’ Preview monitor
reflects the outcome of the upcoming
switching operation.
The Program monitor displays what
you are sending to downstream
devices and your audience.
8. Click Import (different media types are automatically sorted into their respective
destination folders on import). We’ll use these files later.
Hint: Although you might well never even notice, a two minute initialization period begins after
you start (or re-start) TriCaster™. This ‘warm-up’ period allows the system to stabilize, ensuring
consistent performance of various components (for example, video clips playing in the DDR before
the end of initialization could skip some frames). See Section 6.5.1 for more information.
We are ready now to commence our tour of the Live Desktop, beginning with further
consideration of monitoring features and options.
4.3 MONITORI NG
4.3 .1 PRO GRAM AND P R EVIE W
Inevitably, you’ll be paying a lot of attention to the main Program and Preview monitors (Figure
30), occupying the right half of the upper (monitoring) section in the Live Desktop by default.
Page | 39
Situated beneath these principal monitors are Stream, Record and Grab buttons, their respective
Configuration buttons, and time/counter fields (we’ll look at those features later). A convenient
master volume knob appears here, too (notice the VU meter monitor overlays in Figure 30).
Hint: Move your mouse over Program Output, then click the Configure button (gear) that appears
above it to open a tabbed panel containing Proc Amp, Multiview and Genlock settings.
4.3 .2 ALL MONI TORS
Click the All Monitors tab at upper left to view dedicated monitors for all camera inputs, along
with an array of other sources. These include monitors showing the current playlist items in the
two DDRs, Graphics module, and Network sources – such as an iVGA input from another
computer on the network, a title overlay from a networked LiveText™ workstation, or Apple
Airplay™ stream.
Figure 31
The header of the monitor for the video layer source currently selected on the Program row is
highlighted in red. The monitor titlebar for the Preview row selection has a green tint, while the
titlebar for the FX source monitor is blue. Note that many of these onscreen monitors are
interactive:
1. Click a (source) monitor once to select that source on the Switcher’s Preview row.
Page | 40
Figure 32
2. Click the monitor with the green highlight again to perform a simple Take, swapping the
Program and Preview row selections. Looked at another way, what you have done is
swap the BKGD (Background) video layer sources – without changing the display status
of any other video layers.
3. Double-click any source monitor to send it immediately to Program output.
And, as discussed back in Section 3.11, these monitors display
a Configuration button allowing input type selection and
more, including Proc Amp (see Section 7.2.2) and LiveMatte
controls (see Section 4.9), and indicators depicting the on/off
status of these features.
Further, some onscreen monitors provide other contextual
controls and displays including things like Play or Stop
(Freeze), current position (timecode) in a clip, and Network
source selection (see Section 9.3.1).
4.3 .3 EXT ERNAL AND INTER N AL MONITOR S
These two tabs offer other monitor layouts that you may find useful, especially when used in
concert with complementary Multiview monitor layouts.
4.3 .4 SCOPES
Figure 33
Page | 41
In this configuration, the tabbed monitoring area in the Live Desktop displays Waveform and
Vectorscope displays (along with a full color source video pane), invaluable for calibrating your
video sources.
1. Click the Preview Scopes monitor tab.
2. Move your mouse pointer over the vertical divider separating the Scopes pane from the
main Preview monitor at right – click and drag the divider as far as it will go to the right.
3. Drag the horizontal divider separating the monitoring section from the Switcher area
below downward until you’ve got nice big scopes to work with (Figure 33).
4. Move the mouse onto the video monitor at left, and click the Configure button (gear) at
right in its titlebar to display the Configuration panel for the video source (i.e., the
current Preview row selection.)
Feel free to experiment with the controls, but before leaving, restore the monitoring panes to
their default size as follows:
5. Move the mouse above one of the Desktop dividers you previously dragged, and
double-click it. Then repeat this process for the other divider, too.
4.4 AUD IO MIXER
Having previously connected and configured your audio inputs, let’s explore a few of the
standard features in TriCaster’s two Audio Mixer tabs.
Hint: You will need to have speakers connected to (at least) the first two connectors (channel 1
and 2) in the PGM row of TriCaster’s Audio Out section (even better, if you have them handy,
connect a pair of stereo headphones and put them on).
4.4 .1 MUT E, MO NO AND BAL ANCE
1. Click the Sound tab (at right below the Switcher area of the Live Desktop).
2. Click the Add button in the Sound pane.
Page | 42
3. Click the Practice Session entry under the heading Audio in the Location list at left (this
Location entry was created automatically when we imported files back in Section 4.2,
Importing Content).
Figure 34
4. Find the icon named “3tone_quad.WAV” in the file pane. This is a four channel audio
file, with a mid-range tone on channel 1, a higher tone on channel 2, while both
channels 3 and 4 both carry a lower tone.
5. Select the icon for this file, and click OK to add this sound file to the DDR 1 playlist.
6. Turn on both Single and Loop for the DDR, then turn Follow off for DDR 1.
Figure 35
7. To avoid confusion later, click the External Audio tab and Mute any inputs that currently
show live audio on their respective VU meters (by clicking the speaker icons in the
titlebar of each control group so they show a red stroke through them) – see Figure 35.
Page | 43
Figure 36
8. Click the Internal Audio tab, and make sure audio for the Sound player is not muted.
9. Set the Sound player Gain slider to 0dB (you can do this quickly by holding down the
keyboard Shift key while double-clicking the Gain knob).
10. Click the Sound tab, and then click the sound player’s Play button.
If you have stereo speakers or headphones connected, you should now hear two distinct tones –
a mid-range tone from the left speaker (connected to Output CH1) and a higher pitched tone
from the right speaker (connected to Output CH2).
Hint: If you happen to have a ‘surround sound’ speaker setup with front and rear speakers, you
will also hear another even lower tone coming from the rear speakers.
11. The VU meter for Sound in the Internal Audio tab will show matching levels for all four
input channels.
12. Next, drag the Balance slider all the way to the left. As you do so, observe that the level
shown for channel 2 and channel 4 are gradually reduced. At
the extreme left position, these two channels are completely
silent. Only the mid-range tone (on channel 1) is heard (in a
stereo environment), and only from the left speaker at that.
Moving the slider to the right (of center) has the opposite
effect, reducing channels 1 and 3 – doing so without any effect
on the other 2 channels. At the extreme right position, only the
mid-range tone from the DDR file is audible (and only from the
right speaker).
The lesson here is that unlike either Mono or Pan, considered shortly,
Balance does not ‘move’ audio from one channel to another. You
cannot use Balance to ‘blend’ channel 1 with channel 2, for example.
Rather, Balance regulates the levels for one pair of channels (1 and 3, or 2 and 4) at a time, and
does not affect the other pair in doing so.
Let’s consider the effect of the Mono switch next:
Page | 44
Figure 37
A Pan slider is provided for both channels of External Audio
sources (when Mic is selected). Sliding the Pan knob left or
right actually moves (or ‘pans’) the audio from its original
channel onto its neighbor.
For example, when the Pan knob for Mic 2 is at the
extreme right, all of the sound from that source is sent to
output channel 2. Moving the slider leftward places an
increasing amount of the sound from Mic 2 on output
channel 1.
When the slider reaches the extreme left position, the sound from Mic 2 is now entirely sent to
output channel 1.
Pan
13. Center the Balance control once again, so that you hear the mid-tone exclusively from
the left speaker, and higher tone from the right only.
14. Click the Mono switch. Notice that now a blend of the (channel 1) mid-range tone and
(channel 2) higher tone issue from both speakers.
15. To confirm that for yourself, slide the Balance knob to the extreme left. Although sound
is now issuing only from the left speaker, you can hear both tones.
16. Click Stop in the Sound player.
Note: the Mono switch has no effect on channels 3 and 4. These two channels are never blended
with channels 1 and 2 on output.
4.4 .2 PAN
The Pan control looks much like the Balance slider, but has special abilities. Like Talk, Pan is only
available when the one of the two Mic input Types is chosen.
Hint: In their default center position, the two Pan controls have exactly the same effect as clicking
Mono. Actually, this is why a Mono is not needed in this case.
Pan thus provides precise control over where the audio from either Mic input is heard – whether
exclusively on output channel 1, 2, or whether differing levels from either source is sent to both
outputs.
Page | 45
4.4 .3 TA LK
Talk is an abbreviation of “Talk Over”. The Talk feature is only shown for inputs when they are
set to Mic.
17. Start the Sound player playing the audio tone file again.
18. With Input 1 set to Mic 1, 2, enable its Talk switch, watching the Sound player’s VU
meter as you do so.
Enabling it causes the level for all other audio sources to drop off by 20dB, allowing Mic 1 and 2
to dominate output. This is very useful for public address announcements, which is its principal
purpose.
4.4 .4 FOL LOW
Figure 38
19. Connect cameras to both Video In rows 1 and 2.
20. Connect two (audibly different) active audio sources to Audio In rows 1 and 2.
21. Enable the Follow switch in the Audio Mixer for both Input 1 and Input 2.
22. Select the button for video Input 1 on the Switcher’s Program row.
23. Select the button for video Input 2 on the Switcher’s Preview row.
24. Click the Audio Mixer tab.
25. Click the Switcher’s Take button
Page | 46
Notice that when the video source assigned to Input 1 is on output, you hear its associated audio
input. When you perform a Take placing Input 2 on output, the audio source connected to row 2
in the Audio In section is heard.
When Follow is enabled for an audio source, its sound is automatically sent to output whenever
the associated video source is displayed on output. In this case, the levels shown in the VU meter
for that audio source are drawn in color. When you switch away from that video source, the VU
meter still shows its audio level, but the graph is drawn in grayscale (providing confirmation that
audio is present, but indicating that it is not going live to Program out).
Hint: Follow even works when the associated video source is displayed on Output as an Overlay or
Virtual Input source.
4.5 NET WORK SOURC ES
Perhaps you’d like to be able to add Microsoft PowerPoint® output, web pages, Skype™ video
calls, application displays, titles and graphics from NewTek’s LiveText™ or other exotic content to
your productions. TriCaster™ supports all such displays from computers on the same network as
Network (1 and 2) sources on the Switcher, via the supplied iVGA™ client application (not
required for LiveText).
4.5 .1 IVGA CL IENTS
1. For a Microsoft Windows® client, copy the iVGA program from the TriCaster Extras
folder (inside C:\TriCaster) to the sending computer.
For OS X client systems, copy the file iVGA.dmg.zip from the same folder to the Mac.
Unzip it by double-clicking it; mount the disk image (.dmg file) in the same manner, then
drag the iVGA program icon into Applications. (See Section 14.1 for more detail).
2. Connect TriCaster™ to the client computer via the local network.
3. Double-click the iVGA icon on the second computer.
Page | 47
After agreeing to the NewTek license (and a moment or two for the network connection to be
established) the name of the remote computer is added (along with “Black” and any other
networked systems with iVGA running on them) to the iVGA client list.
Note: Gigabit networking is highly recommended, and should be considered mandatory f or HD
sessions and motion graphics.
Figure 39
When TriCaster™ recognizes qualified network sources, it adds them to a drop-down menu for
quick selection (Figure 39).
4. Move your mouse pointer over a Network monitor in the All Monitors tabbed view.
5. Click the triangular menu button above the monitor to select a networked source (or
change the current selection) from the menu that appears.
Hint: iVGA places a red-green-blue status icon on the client system. For a Windows-based system,
the icon is in the task tray; on Macintosh systems, it is shown in the dock. This indicates this
computer’s display is ready to send to TriCaster™. The icon is animated when the iVGA source is
selected as the active Network source in TriCaster™.
4.5 .2 APP LE AI RPLAY
See Section 14.2 for details on using devices and applications supporting Apple AirPlay™ as
network sources for TriCaster™.
Page | 48
4.5 .3 LIVETEXT ™
NewTek’s (optional) standalone LiveText™ application offers features that are very similar to
TriCaster’s integrated LiveText (see Chapter 17), but installs separately on a compatible Microsoft
Windows® computer.
A (networked) LiveText workstation effectively constitutes a dedicated CG and title solution for
TriCaster™ presentations. (This is a wonderful addition for those times when you could really use
another pair of hands.) When running on the network connected computer, LiveText is listed in
the Network selection drop-down menus (just as an iVGA source would be).
When you select LiveText (and click the Live button in LiveText), the current title page is available
via the Network buttons on TriCaster’s Switcher or in its DSK channels. For more information on
installing and using this great tool, please refer to the Chapter 17.
4.6 LIV E SWITCHING
Back in Section 3.4, you connected cameras to inputs on TriCaster’s backplate and configured
them. If you haven’t already done so, let’s explore basic Switcher operations.
4.6 .1 SWITCHE R ROW S
The Switcher features 3 rows of labeled buttons. From top to bottom, the three rows are labeled
Utility, Program and Preview. Each button on a Switcher row represents one of the many and
varied video sources available. The first button group at left on any row represents Cameras,
while others represent other special sources (discussed soon).
Figure 40
Page | 49
Figure 41
Three of the four primary
video layers – BKGD, DSK 1,
Clicking a button in any row selects the active source for that row. Utility row selections serve
various special purposes that we’ll come to a bit later. Your Program and Preview row selections
determine the content of the BKGD (Background) video layer.
VIDEO LAYERS
TriCaster™ video output often consists of multiple sources of imagery, added together layer on
layer to form a composite. The Switcher and Transition controls allow you to manage these
video layers to show the viewer just what you want him to see.
and DSK 2.
The BKGD (Background) video layer constitutes the base of the video composition ultimately sent
to Program Output. Based on your Switcher operations, as many as three other primary video
layers may be superimposed above the BKGD layer on output:
The DSK 1 and DSK 2 video layers are most commonly used to apply graphics or titles to
the BKGD layer (DSK stands for ‘Down Stream Keyer’).
FTB (Fade to Black) constitutes a final video layer prior to output – one that can obscure
all others when called upon to do so. (FTB is less commonly used, and unlike the other
primary video layers, has no local transition controls - Figure 41).
As stated in the previous section, the Program and Preview row selections determine the content
of the BKGD (Background) video layer.
Page | 50
Figure 42
The Preview row selection is normally cued up for the next Take (cut) or Transition operation.
Either operation, once completed, results in the original Program and Preview row selections
exchanging places. (Of course during a transition, portions of both the Program and Preview row
selections can be seen in varying amounts.)
The BKGD layer composition can include other content as well, as we’ll see later in Sections 4.9
(LiveMatte) and 4.10 (Virtual Inputs).
Hint: By default, selecting a tabbed module (DDR1, Still, etc.) on the Preview row automatically
shows the corresponding control panel in the tabbed panes below. Click the Desktop Options
button (gear), at extreme right just above the tabbed panes, to enable or disable this behavior.
CONFIGURING CAMERAS
Let’s try out some of these concepts, shall we?
(If you previously configured some cameras, feel
free to skip ahead to the next sub-heading – The
Utility Row).
1. First, confirm that the Connection Type
selected for your video sources is
correct.
a. Move your mouse over an Input
monitor (All Monitors view).
b. Open the Configuration panel for
that video source by clicking the
Configure button (gear) that
appears in the monitor’s titlebar.
c. Choose a Connection Type setting
that is appropriate for the
camera.
d. Close the Configuration panel.
2. Repeat the steps above for all connected cameras.
Page | 51
3. Click the Switcher button labeled ‘1’ on the Program row to send Camera 1 to
TriCaster’s BKGD layer (the button turns red, denoting its selected state).
(For experimental purposes, feel free to use internal sources such as Media Players
rather than live cameras if you like – see Section 4.8).
4. Click to select Camera 2 on the Preview row (the button will light up in green).
5. Note that the titlebars of the corresponding source monitors (All Monitor view) are now
also tinted red and green, respectively.
THE UTILITY ROW
Let’s take a moment to discuss the Utility row now. The steps we take here will come into play a
bit further on in our exploration.
Figure 43
Notice that a group of controls labeled Utility Delegate is provided to the right of the Utility row,
as shown in Figure 43). The group contains buttons labeled FX, DSK 1 and DSK 2. The selection
you make here govern the Utility row buttons.
Figure 44
Page | 52
Main Layer Controls
Local Layer Controls
Figure 45
1. Click the Title tab, and Add a title to the playlist; choose one that does not cover the
entire screen.
2. Add a different title to the Still player playlist.
3. Click the button labeled DSK 1 in the Utility Delegate group (this delegates the Utility
row to control the DSK 1 source).
4. Click the Title button in the Utility row – note that the label above the DSK 1 delegate
button updates when you do so.
5. Click the DSK 2 button in the Utility Delegate group, and use the Utility row to assign Still
as the current source for DSK 2.
4.6 .2 TRANSIT IONS
Now we’re ready now to try out the features in the Transition section, to the right of the
Switcher rows.
As shown in Figure 45, the Transition section is organized into two groups – the main layer
controls at left, with local layer controls at right. The latter group is divided vertically into
individual sections for the BKGD, DSK 1 and DSK 2 video layers.
Page | 53
Controls for each layer are stacked in order of their appearance from ‘bottom to top’ on Program
output – first BKGD, then the other two layers in order. (FTB, the final video layer, has no
optional settings; thus it does not appear in this area.)
LOCAL CONTROLS
Let’s begin our exploration of switching with local controls and the BKGD (Background) layer.
Figure 46
1. Select Camera 1 on the Switcher’s Program row.
2. Select Camera 2 on the Preview row.
3. Click the All Monitors tab, and notice that the red and green highlighted titlebars
conform to the selections you just made.
4. Click the local Take button for the BKGD layer (Figure 46).
a. Camera 1 is removed from Program Out.
b. Camera 2 (previously the Preview row selection) moves to Program output.
c. The Camera 2 button is now lit up on the Program row.
d. The Camera 1 button is lit up on the Preview row.
e. The red and green monitor titlebars have been swapped.
5. Now click the local Auto button for the BKGD layer. The Program and Preview row
selections swap again, but this time, rather than a simple (and instant) Cut, the change
employs the currently selected transition – by default, a Fade.
6. The icon for the current Transition for the BKGD layer has a gold border in the Transition
Bin at right. Click a different icon to select a different transition, and click Auto again.
7. To replace the current transition in the Transition Bin with a different one, follow these
steps:
Page | 54
a. Click a transition ‘slot’ other than Fade (the left-mot icon), and then click the
configuration (gear) button at extreme right.
b. Click the drop-down menu in the configuration panel, select Browse, and
choose a new transition from the many supplied with TriCaster™ (Figure 47).
Figure 47
8. To change the duration of the transition, click the drop-down menu next to the local
Auto button. (The time for the transition is shown as seconds and frames.)
9. Now click the local Auto button for the DSK 1 layer. Since Graphics is assigned to DSK 1,
the currently selected item in that Media Player transitions in to appear above the BKGD
layer.
MAIN CONTROLS
Having seen how local Transition controls work, let’s move on to their main counterparts.
Figure 48
Page | 55
10. In the main Transition control group (Figure 48), click the BKGD button above the T-Bar.
This delegates the controls below to affect the Background video layer – only.
11. Click the button labeled Auto below the T-Bar (again, the main Auto button, not to be
confused with the local Auto buttons at right).
12. Click a different transition icon in the BKGD Transition Bin, and click the Auto button
again. (TriCaster™ supplies a wealth of transitions to suit every need).
13. Select a slower transition speed for the BKGD layer using the drop-down as before, and
click Auto again to test the new transition rate.
Note that local configuration settings for the BKGD layer do affect transitions performed using
the main controls:
Hint: Manually control the progress of a transition by grabbing the T-bar with the left mouse
button and dragging it downward.
14. Earlier, we displayed DSK 1, using its local Take button. The BKGD transitions we’ve
made did not affect it, so it should still be displayed (if you removed it from view while
experimenting, please restore it before continuing).
Figure 49
15. With the BKGD delegate button lit up, press Ctrl on your keyboard, and keep it pressed
while you click the buttons for both DSK 1 and DSK 2 – then release it.
Page | 56
Your Transition Delegate buttons should resemble Figure 49, with three delegates multi-selected.
Note also that the Take button for DSK 1 is illuminated in Figure 49, and the progress gauge
beneath the Delegate button likewise shows that DSK 1 is fully displayed.
LOOK AHEAD PREVIEW
Back in Section 4.3.4 we promised to spend some time on the Look Ahead Preview monitor, and
the time has finally arrived for us to do so together.
Figure 50
1. Cast your eyes over the Preview and Program monitors; consider what you see there,
and how it relates to the Transition Delegate controls:
a. The Program monitor shows DSK 1, currently assigned to Title, over the current
BKGD layer. The latter, at the moment, is the Program row selection.
b. The Preview monitor shows DSK 2, assigned to Still, overlaid on the current
Preview row selection.
The Look Ahead Preview monitor (or simply, Preview) is showing us the composition that will
result if a Take or Transition operation is performed – a look into the future, if you will.
Page | 57
2. Hold down Ctrl on the keyboard again, and click the BKGD Delegate button (de-selecting
it).
Note that, after de-selecting the BKGD delegate button, the Preview monitor no longer shows the
Switcher’s Preview row selection. Why is that? At this moment, only the DSK 1 and DSK 2
buttons remain lit – thus only those two video layers will be affected by a main Take or Auto
operation. The result will be as follows:
DSK 1, currently seen on Program out, will be removed from view
DSK 2 will be overlaid above Program instead.
The BKGD layer will not change in this case. Hence Preview correctly depicts the
outcome of a Take or Auto, just as we’ve mentioned.
The Look Ahead Preview allows you to switch with real confidence; the Transition Delegate
features provide flexible and convenient video layer management, and thus enhanced control
over your ultimate Program output composition.
4.7 REC ORD AND GRAB
Figure 51
Located immediately beneath the Program monitor are Record, Stream and Grab buttons (along
with their respective Configure buttons). We’ll discuss streaming further on, but let’s consider
Record and Grab here.
4.7 .1 RECORD
Figure 52
1. Click the Configuration button (gear) next to Record (Figure 52).
Page | 58
2. The Record Configuration panel opens (Figure 53).
3. Click in the Base Name field, and enter a unique name for the captured file(s).
Hint: TriCaster™ stores recordings at (drivename):\Media\Clips\sessionname\Capture (where
“drivename” and “sessionname” are appropriate entries for your system and session).
Figure 53
The default Encoding options and Destination will work just fine for our current purposes, so let’s
continue:
4. If necessary, select PGM as the Source to be recorded.
5. You could optionally enable the Add to DDR Playlist switch to automatically add newly
recorded clips to the DDR playlist – but let’s not do that yet.
6. Click Close.
7. Make sure you have an active source playing on Program output.
8. Press the Record button (Figure 52) – it will illuminate, and the neighboring timecode
field will begin keeping track of the duration of your recording.
9. After a little while, press Record again to stop recording.
Page | 59
This configuration will record everything that is displayed on Program Output in this manner,
letting you capture your entire live production for posterity if you like; it also provides a way for
you to capture clips for playback (from TriCaster’s DDRs) during your live events.
4.7 .2 GRAB
Figure 54
The Grab feature is similar to Record, just described - except of course that it grabs a fresh still
image from Program Output each time you click the Grab button.
Also, in place of an option to add the captured file(s) to a DDR, you may enable an Add to Still
Playlist switch, with the result that every time you click Grab a new image is added to the Still
Media Player.
4.8 MEDI A PLAYERS
4.8 .1 DDR 1 AND 2
TriCaster’s DDR (Digital Disk Recorder) is a powerful media player, and can greatly enhance your
live productions. The DDR has three siblings that we’ll discuss later – the Still and Title players,
and the Sound player.)
1. Show the DDR module by clicking its tab beneath the Switcher.
Page | 60
Figure 55
ADDING FILES
Figure 56
2. Click the Add button in the DDR (Figure 56) to open a Media Browser.
3. Click the name for your current TriCaster™ session (Practice Session, if you’ve been
following along) beneath the Clips header in the left-hand column of the Media Browser.
4. The file pane at right displays icons for recordings made in the session. It should list the
file you recorded earlier (in Section 4.7.1) under a group header labeled Capture – click
the icon to select it, and then click OK.
Page | 61
5. You may wish to add several more files to experiment with (the DDR also supports most
popular audio file formats).
Hint: See also the Section 10.2.1 regarding per clip audio levels.
TRANSPORT CONTROLS
Figure 57
6. Click the newly added icon in the playlist, and press the Play button in the player’s
footer (Figure 57).
a. The video clip you recorded should play on the DDR onscreen monitor (All
Monitors view).
b. Click DDR on the Switcher’s Program row, it will appear on Program Output.
7. Click the Stop button.
Notice that if you move the mouse pointer over the Speed slider, it changes to a doubleheaded arrow, indicating you can drag the slider to a new value if you wish.
8. Instead, try this: simply click inside the Speed slider (engaging direct edit mode), type
“50” and press Enter to change the Speed to 50%.
9. Click Play again, and observe that playback is now in slow motion.
10. Adjust Speed again – notice that you can even modify Speed during playback.
11. Click Stop.
Page | 62
TRIMMING AND SCRUBBING
Let’s spend a moment learning how to trim a clip in the DDR. To do this you will use tools in the
Scrub Bar immediately beneath the playlist pane (Figure 58).
Figure 58
Drag the Scrub Bar’s square blue knob left or right to change the current play position. Trimming
is accomplished by dragging the start and end points for the clip using the blue ] and [ bracket
controls at either end. (The mouse pointer changes to a double-headed arrow when you move it
over a trim control.)
12. Click the first (top-left) clip in the playlist, highlighting it.
13. Drag the trim controls to shorten the clip’s runtime to 10 seconds (watching the
Duration display to the right of the Scrub Bar helps when trimming).
14. Record a few more clips, if you haven’t already done so, and add several to the playlist
(either automatically or by using the Add button).
SINGLE AND AUTOPLAY
15. Click the Single switch (Figure 59).
Figure 59
Page | 63
16. Double-click the first clip in the DDR playlist to play it (double-clicking is another way to
engage Play). With Single mode engaged, playback automatically stops at the end of the
current clip.
17. Select Camera 1 on the Switcher’s Preview row (the DDR is already selected on the
Program row).
18. Enable the Autoplay switch for the DDR.
19. Play the first clip in the playlist again. This time, just as the clip approaches its end, the
Switcher automatically performs a transition (the sources on Program and Preview are
automatically swapped), leaving Camera 1 on Program output.
20. After a few moments, click either Take or Transition in the Switcher’s Transition section.
Notice that a transition is performed (returning the DDR from Preview to Program) and, more
importantly, the next item in the playlist begins to play automatically -- right on time. When it
ends, another automatic transition occurs, restoring Camera 1 to Program output.
Let’s try Autoplay without Single mode:
21. Click Stop (if necessary).
22. Uncheck Single, leaving Autoplay engaged.
23. With the DDR selected on Program, and Camera 1 on Preview, highlight a fairly long clip
(say, a minute or more).
24. Click Play.
25. After a few seconds, perform a Take and watch what happens:
a. Naturally, the DDR and Camera 1 are swapped on the Switcher.
b. DDR playback is stopped at the current frame of the current clip.
26. Perform another Take
a. As expected, the DDR is restored to Program output.
Page | 64
Figure 60
b. Playback re-commences at the next frame of the current clip; The DDR did not
automatically jump ahead to the next clip this time.
You may find Single mode your usual choice, but it can be useful to turn it off (as just described)
at other times. Perhaps a live speaker is presenting a long clip, but wants to be free to interrupt
it with live commentary at any time. Turning Single off (with Autoplay on) works perfectly in this
scenario. The TriCaster™ operator can click Take or Transition freely, confident that DDR
playback will resume at precisely the right frame when he does so again.
PRESETS
Let’s consider one more powerful feature common to TriCaster’s media
players – the Presets Bin. These bins run vertically down the outer edges of
all Media Player (and Audio Mixer) modules, providing instant access to
custom playlists and configurations.
Normally hidden, the preset bins fly out when you move the mouse pointer
to the edge of the screen.
Presets store other information about the current state of the module, too,
including playback position, selection status, and so on. In many ways,
presets act like tabs that reveal even more media players.
27. Click a different preset icon, and use the Add button to populate it.
28. Switch back and forth between presets, noting as you do how various attributes are
retained.
29. Try copying and pasting playlist icons between two presets (right-click on an icon to
access the context menu containing Cut, Copy and Paste).
30. Notice that if a clip is playing, a Stop action occurs when you change presets.
4.8 .2 STILL & T ITLE
TriCaster™ provides dedicated players for Still and Title. These are actually essentially the same,
identified by name mostly for convenience in use. Both are similar to the DDR, just discussed,
Page | 65
but for the fact that they do not offer clip playback. Each of these players, regardless of title, can
display TriCaster™ title pages and popular still image file formats.
Hint: The DDR can play all of the above media types as well as video clips and sound files.
EXPLORING AUTOPLAY AND SINGLE
The controls of the graphics players are identical to those of the DDR apart from the omission of
a playback Speed control (which would be superfluous and possibly confusing). Rather than
cover these again, let’s have a little fun:
1. Click any icon in the Title playlist, and press CTRL + a on the keyboard, to select all of the
playlist entries.
2. Press Delete on your keyboard, clearing out the entire playlist (this is a non-destructive
deletion, never fear).
3. Repeat the two steps above for Still.
4. Add some image files (a dozen or more) to Still (you can use some of the images from
the NewTek Content group under the Still location heading for this example).
5. Click on one the icons about halfway through the playlist, highlighting it.
6. Hold down the Shift key, and click the last icon in the playlist. This will multi-select all of
the files from the first one you clicked to the last one (the icons are given a lighter
outline to show their selection status).
7. Right-click anywhere in the playlist, and select Cut from the context menu.
8. Right-click in the playlist area of the Title Media Player, and select Paste.
Let’s pause to review. To this point, we've prepared two Media Players with similar playlists
consisting of a series of still images.
Hint: Still image files default to a fifteen second duration when added to a playlist.
Page | 66
Fine, but ‘what about the aforementioned fun’, you ask? Indeed, let us press on:
9. Turn Single and Autoplay on, and make sure Loop is off for both Media Players.
10. Select Still on the Switcher’s Program row.
11. Select Title on the Switcher’s Preview row.
12. Click the first entry in both playlists (to set the current position).
13. Press Play button for Still, lean back in your chair and watch the ‘hands-free’ slideshow.
Let’s consider what is happening:
When playback of the first Still playlist entry reaches its end:
o The Autoplay setting invokes an automatic BKGD layer transition to Title
o And stops Still playback
o Then, unseen on Program output, cues up its next playlist item.
Simultaneously, the Title player’s Autoplay setting initiates playback of its first playlist
entry.
When playback of that item is reached:
o The Autoplay function performs another transition, returning Still to the
Program row
o And stops Title playback
o Next, the Autoplay setting in Still automatically starts playing its next playlist
item.
o Then, unseen on Program output, the Title player cues up its next playlist entry.
The cycle repeats until all items play through or is interrupted by user actions.
TITLE
TriCaster™ title pages can actually be added to any of the Media Players (apart from the Sounds
player).
Page | 67
The Media Players can also display bitmap files exported from third-party graphics applications
(or overlay them using the DSKs when the files are either keyed or have an embedded alpha
channel) – all of which is quite handy. However, TriCaster’s native title pages have some distinct
advantages over a common still image. Let’s try them out:
1. Click Add, and use the Media Browser to select a few of the prepared title pages from
the NewTek location listed under Titles in the Location List at left.
2. Click an icon to highlight it in the Media Player playlist
3. Display the title page on Program Output by selecting the correct Media Player on the
Switcher’s Program row.
4. Move the mouse over a different title page icon, and click the Configure button (gear)
that appears in its lower-right corner.
5. The Title Page Editor shown in Figure 61 will appear.
Figure 61
Page | 68
6. Move the mouse over the default text shown in the Title Page Editor’s preview pane,
and notice that a white bounding-box appears as you locate editable items.
7. Double-click inside the bounding-box for a line of text to open a text entry field; type
something different, then press Enter on the keyboard to accept the changes.
8. Notice that you were able to edit a page without disturbing the title already displayed
on Program Output - Click the Close button.
9. Repeat your text edit operation, but this time modify the title that is displayed on
Program Output – notice this time that the display updates immediately.
Figure 62
10. Try changing the Font, Size and other attributes for a line of text, using the tools in the
Title Page Editor’s titlebar (Figure 62).
11. Click the Close button.
4.9 LIV EMATT E
Let’s try something different now – using LiveMatte to create a typical ‘weather report’ shot.
(We’ll use a pre-recorded sample clip for this task, but of course if you happen to have a
greenscreen studio ready to use, just skip the first three steps below, and select the appropriate
Input button on the Switcher’s Program row - instead of the DDR).
Page | 69
Figure 63
1. Change the Switcher’s Program row selection to V1, and enable the BKGD delegate
button in the Transition section of the Switcher.
2. Remove any extraneous DSKs left from earlier operations from view, using the local
Take buttons in the Transition section of the Switcher.
Figure 64
3. Click the tab labeled V1 (Figure 64) below the Switcher to reveal the panel for Virtual
Input 1.
4. Make sure the current LiveSet selection (shown at upper-left just below the tab, is
Default > A over B (Figure 64).
Page | 70
Figure 65
5. Notice that the lower portion of the Virtual Input panel contains two source button rows
labeled Input A and Input B (Figure 65).
a. Select DDR in the button row labeled Input A.
b. Select the Still button in the Input B row.
6. Click the DDR tab, and Add the video clip named Kiki 1 Center.mpg from the Green
Screen group inside the Clips>NewTek location.
7. Click the Still tab, and add the image named texas_weathermap.png (from Practice
Session, under Still in the Location list).
8. If you are not already viewing All Monitors, click that tab at the top of TriCaster’s Live
Desktop.
9. Move your mouse pointer over the DDR monitor, and click the Configure button (gear)
that pops up at right in the titlebar above the monitor.
10. Click the LiveMatte tab in the Configuration panel that opens.
11. Click on the Pick Color button in the Background section of the panel, and keep the
mouse button depressed.
12. Drag the eye-dropper pointer over the green background in the DDR’s monitor, and then
release it (Figure 66). This establishes the primary key Color.
Page | 71
Figure 66
13. The default LiveMatte settings (Tolerance and Smoothness) are close enough for this
little demonstration, so you can close the Configuration panel now.
We’ll look at the details of LiveMatte in more depth in Part II (the Reference section), but already
your result (as viewed on Program output) should look very similar to Figure 63. TriCaster™
doesn’t stop here, though. Let's look a little more closely at TriCaster’s powerful Virtual Inputs.
4.1 0 VIRT UAL INPUTS
Virtual Input buttons sit innocuously on TriCaster’s Switcher rows just like other video inputs, but
in fact they possess very powerful features. They can be likened to the M/E (Mix/Effect) rows of
a traditional video switcher, in that they permit a composition to be prepared from multiple
sources. In addition to the two sources just considered (Inputs A and B), Virtual Inputs provide
an integrated Overlay channel, as well.
Page | 72
4.1 0.1 COMPOS ING INPUT S A AND B
When we ended the previous section, the simple ‘weather map’ setup (Figure 63) we created
was on Program Out. Again, remember that LiveMatte is already enabled for the greenscreen
shot from our previous exercise.
We can use a few of the unique features of Virtual Inputs to dress up our production. For
example, we might want to transpose the greenscreen talent shot to one side, placing it offcenter in the result.
Figure 67
1. Click the Position button just to the right of the Input A row to open the Position panel
(Figure 67) for Input A.
There are two sets of numeric sliders in the Position group in this panel: one with a four-pointed
arrow button above, and another identified by a magnifying glass button. Experiment with these
controls a bit to see how they work.
Hint: Shift + double-click a control to reset it to defaults.
You can drag the mouse over the top buttons in each group to freely adjust Position or Size on
multiple axes at once, or use the numeric sliders below to adjust just one property. As currently
configured, Program output displays the result of changes you make; of course, during a live
production you’d likely use Preview to set this up, instead.
Page | 73
Hint: When the Lock (padlock) button for the Size controls is lit, vertical and horizontal
adjustments are locked together – adjusting one affects both. When unlocked, the vertical and
horizontal scaling factors are independent.
Drag vertically over the ‘magnifying glass’ button to modify vertical scale, or drag laterally to
adjust the horizontal scale. Another way to constrain the action to one axis is to hold down the
Ctrl key before dragging.
2. Click Reset Positioning to restore default Position and Size.
3. Drag the horizontal (upper) Position mini-slider to the right, locating the foreground
(talent) shot as seen in Figure 68.
Figure 68
Without having moved the physical camera, we have changed the apparent position of our talent
relative to the virtual backdrop.
Page | 74
4.1 0.2 ADDING AN UPSTR EAM OVE RLAY
Figure 69
Just above the Input A row, you’ll see a control area labeled Overlay, with its own source row
along with other controls.
The Overlay feature in Virtual Input works very much like the two downstream DSK video layers
we used back in Sections 4.6.1 and 4.6.2, but is upstream of the Switcher. Thus content in this
overlay channel thus appears beneath anything you display in those two video layers on Program
Output.
4. Access the Title player, and Add the “Breaking News.CGXML” icon (imported back in
Section 4.2) from the Practice Sessions folder.
5. Edit the top line in the title to say “5 Day Forecast”, as shown in Figure 70.
6. Select Titles in the V1 tab’s Overlay row, and display the Virtual Input’s overlay channel
by clicking the Auto button in the Overlay Transition area of the VI tab).
Figure 70
Page | 75
As you can see, we have replicated on our earlier composition (which relied on the FX channel),
with additional benefits:
The title page can be displayed automatically or independently when you select V1 on
the Switcher, and both of the primary DSK video layers are left free for other uses.
Virtual Inputs allow you to offset (and even scale) the primary video source – of course
this works every bit as well with live camera streams.
As well, since the entire composition is now represented by a single button on the Switcher, it is
very easy to Take or Transition directly to it with a single click – and it is just as easy to transition
from one Virtual Input to another.
Of course, this is just one way to use the basic Virtual Input features. The creative possibilities
are endless. For example, Figure 71 shows Input A (with LiveMatte enabled) keyed over Input B,
with the Virtual Input’s integrated Overlay channel use to add a PiP (Picture in Picture) effect.
Figure 71
Again, note that this setup leaves both primary DSK channels available for other purposes, such
as adding two more live PiPs, graphics or a title composition.
4.1 0.3 L IVESET™
We’ve saved the best for last in connection with Virtual Inputs, however. This is also where we
gain access to TriCaster’s virtual set technology called LiveSet.
Page | 76
Hint: Actually, if you’ve been following along, you have already used a LiveSet – a very simple
composition named “A over B” (Figure 72), the default.
Figure 72
As its name implies, A over B simply produces a composite of the video source you select as Input
A displayed on top of Input B. In cases where LiveMatte is active for Input A, or if Input A has an
alpha channel (as might be the case, for example, for a 32bit image file), or for that matter, if
Input A is scaled down or repositioned – Input B will automatically show through transparent
areas in the composition (we can see that result in Figure 71).
The name of the current LiveSet is shown above the Zoom Preset thumbnail icons at the top of
the Virtual Input tab – in this case, we see “NewTek > Default > A over B”, identifying the specific
LiveSet, a member of the “Default” group in the “NewTek” folder - Figure 72.
Let’s try something more sophisticated now:
1. Click Take (or de-select the BKGD delegate) in the Transitions section of the Switcher, to
place V1 on Preview.
2. Add the file TriCaster Spin Logo (Long).avi from the NewTek > Logos group to DDR 2.
Enable the Single, and Autoplay switches for both DDR 1 and DDR 2.
3. Click the Configure (gear) button beside the current LiveSet name in the V1 tab to
display a Media Browser.
4. Select NewTek in the left-hand column under the heading LiveSets.
5. In the file pane at right, click the thumbnail icon named Center in the World Update
group, and then click OK at the bottom of the Media Browser.
Page | 77
6. Select Still as the source for Input B.
The Zoom Preset icons in the Virtual Input tab and the name above will update, showing that the
current LiveSet is now NewTek > World Update > Center.
Figure 73
Assuming that you still have LiveMatte enabled for the DDR, V1’s Input A selector set to DDR and
Input B set to Still, a little adjustment in the Positioner for Input A is all that it should take to
produce a result similar to Figure 73 on Preview.
Input A is the primary input for the LiveSet, while Input B serves as a secondary source – in this
case assigned to the virtual desk-front monitor.
7. Enable the BKGD delegate in the Switcher’s Transition control group, and click the main
Auto button. Both DDRs will begin running their currently selected clips simultaneously
thanks to Autoplay (of course normally your foreground shot would be supplied by a
camera, while Input B might rely on the DDR).
Page | 78
Figure 74
8. Now, click the second Zoom Preset icon (Figure 74).
Observe that the view on Program output (Figure 75) has now zoomed in by 33% - the value
shown in the adjustable zoom slider above Zoom Preset 2.
Figure 75
9. Enable the Animate Zoom switch, and click Zoom Preset 4.
The zoom gradually changes from the starting position to the level assigned to Preset 4 (100%).
The timing for the change is controlled by the nearby duration time controls.
Using the other Virtual Inputs along with convenient presets, you can easily mimic a very large
studio complex from a much smaller location.
Page | 79
4.1 1 STREAMING
Sending your output to the world (or the office) can be nearly as easy as connecting TriCaster™
to the Internet (or intranet), and pressing the Stream button (located right below the Program
output monitor).
Figure 76
Note: A few frames may be dropped on video output the first time you enable streaming for a
session as the encoder launches. (If you test your stream first, you’ll avoid this.)
4.1 1.1 STREAMING CONFI GURATIO N
Click the Configure button (gear) situated next to the Stream (on/off) button to open the
Configure Stream Connection panel, which lets you view and modify settings related to streaming
your production across a network connection (Figure 76).
Page | 80
4.1 1.2 SIMPLE PULL STREAMING
Figure 77
“Pull” streaming is arguably the simplest way to get your production online:
1. Click the New button.
The Choose Connection Type dialog switches allow you to select between Browser Based,
Windows Media Pull, Windows Media Push, and Adobe Flash streaming protocols.
Figure 78
2. Select Windows Media Pull, click OK, and then supply a name for this Connection preset.
Figure 79
Page | 81
3. The next thing to do is pick a resolution (and bitrate) from the Resolution menu.
4. Click the Test button.
In a few moments, TriCaster™ provides you with the IP (Internet Protocol) address of your
computer as viewed from the network. This information will be provided to you as a
‘punctuated’ numeric value in the Location display field.
Hint: If your TriCaster™ is connected to the network by a router or is behind a firewall, it may be
necessary to take further steps to provide external access. See Chapter 15 for a more elaborate
explanation.
5. Close the Configure Stream Connection panel now, and click the Stream button.
You’re streaming! You can provide clients (or streaming providers supporting Pull streaming) the
Location address. Entering this into the File menu of Windows Media Player™ (using the Open
URL window) will direct WMP to show the stream from your system on client computer
system(s) connected to the Internet (or intranet).
4.1 1.3 P USH AND F LASH STREAMING
Browser Based, Windows Media Push and Adobe Flash streaming are slightly more complex,
largely because they depend on external resources to distribute your stream to a wider viewing
audience. These may be provided in house by your organization, or you may take advantage of a
commercial (or ‘free’, advertising -sponsored) Content Delivery Network.
(Arrangements and requirements of various external streaming hosts are diverse, but TriCaster’s
Streaming Configuration panel adapts to provide the necessary input and information fields for
the various types.)
More detail on these matters, including connecting to a network and numerous useful tips on
streaming strategies is found in Chapter 15.
4.1 1.4 CAPTUR ING THE ST REAM
TriCaster can archive your live stream file as it is created. Enable the Archive File switch in the
Server control group, and supply a file name in the adjoining field. A folder is automatically
Page | 82
created (at D:\Media\Clips\sessionname\SavedStreams) to receive the captured stream file.
(Note, this option is not shown for Browser-based connections since archival service is commonly
offered by the CDN in that case.)
Note: Remember to turn off the Stream when your production concludes, or TriCaster™ will
continue writing the stream capture file.
Page | 83
Loading...