Revised – January 9, 2018
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3Play™
TABL E OF CONTENTS
Table of Contents .............................................................................................................................. i
PART I (Getting Started) .....................................................................................................................1
1 About This Manual ......................................................................................................................3
2 Introduction ................................................................................................................................5
2.1 Overview ......................................................................................................................................... 5
2.2 Recording, Marking and Events ...................................................................................................... 6
2.2.1 What is an Event? .................................................................................................................... 6
2.3 NewTek 3Play Control Surface ........................................................................................................ 6
2.4 Startup Screen ................................................................................................................................ 7
2.5 Replay Desktop ............................................................................................................................... 8
2.6 Features .......................................................................................................................................... 9
2.6.1 Physical .................................................................................................................................. 10
2.6.2 Multi-Tier Failsafe ................................................................................................................. 10
2.6.3 Input, Output & Capture ....................................................................................................... 10
2.6.4 Monitoring ............................................................................................................................ 11
2.6.5 Video Processing ................................................................................................................... 12
2.6.6 Recording .............................................................................................................................. 12
2.6.7 Bookmarks ............................................................................................................................. 13
2.6.8 The CLIP LIST .......................................................................................................................... 13
2.6.9 The PLAY LIST ........................................................................................................................ 14
2.6.10 Program Transitions .............................................................................................................. 14
2.6.11 Text, Tags and More .............................................................................................................. 15
2.6.12 Publish ................................................................................................................................... 16
2.6.13 Macros ................................................................................................................................... 16
3 Setting Up ................................................................................................................................. 17
3.1 Command and Control .................................................................................................................. 17
3.2 Registration .................................................................................................................................. 18
3.2.1 Online Registration ................................................................................................................ 18
3.2.2 Registering by Telephone ...................................................................................................... 19
3.3 Input Connections ......................................................................................................................... 19
3.3.1 Connect A/V Sources ............................................................................................................. 19
3.3.2 Genlock Connection ............................................................................................................... 20
3.3.3 Timecode Connection ........................................................................................................... 20
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3.4 Output Connections ...................................................................................................................... 20
3.4.1 A/V Output ............................................................................................................................ 20
3.4.2 Connecting Devices ............................................................................................................... 21
3.5 Starting a Session ......................................................................................................................... 21
3.5.1 The Home Page ..................................................................................................................... 22
3.5.2 The Session Page ................................................................................................................... 23
3.5.3 The Replay Desktop ............................................................................................................... 24
3.6 Configure Video Outputs .............................................................................................................. 24
3.6.1 Aux ......................................................................................................................................... 25
3.6.2 Multiview .............................................................................................................................. 25
3.7 Configure Genlock & Failsafe........................................................................................................ 25
3.8 Configure Video Input ................................................................................................................... 26
3.9 Configure Audio ............................................................................................................................ 27
3.10 Networking ............................................................................................................................... 27
4 Live Production Walkthrough .................................................................................................... 29
4.1 Creating a Session......................................................................................................................... 29
4.2 The Replay Desktop ...................................................................................................................... 31
4.3 Channel and Source Delegates ..................................................................................................... 31
4.4 Record ........................................................................................................................................... 32
4.5 Marking Events ............................................................................................................................. 33
4.5.1 Two –Button Marking ........................................................................................................... 33
4.5.2 One–Button Marking ............................................................................................................. 33
4.6 LIST Navigation ............................................................................................................................. 34
4.7 Memos and Tagging ..................................................................................................................... 35
4.7.1 Tagging Clips .......................................................................................................................... 37
4.8 SEARCH and GO TO ....................................................................................................................... 39
4.9 Trimming Events ........................................................................................................................... 40
4.10 Managing Events ...................................................................................................................... 41
4.11 Preparing a PLAY LIST ............................................................................................................... 41
4.11.1 Adding Clips ........................................................................................................................... 41
4.11.2 Editing and Playback ............................................................................................................. 41
4.11.3 Speed Control ........................................................................................................................ 42
4.12 Rendering a PLAY LIST ............................................................................................................... 42
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PART II (Reference) .......................................................................................................................... 43
5 The Startup Screen .................................................................................................................... 45
5.1 Introduction to Sessions................................................................................................................ 45
5.2 The Home Page ............................................................................................................................. 46
5.2.1 New (Session) ........................................................................................................................ 47
5.2.2 Open (Session)....................................................................................................................... 50
5.2.3 Shutdown .............................................................................................................................. 51
5.2.4 Utilities .................................................................................................................................. 51
5.2.5 Help ....................................................................................................................................... 53
5.2.6 Add-Ons ................................................................................................................................. 53
5.3 The Session Page .......................................................................................................................... 53
5.3.1 File Management .................................................................................................................. 54
6 The Replay Desktop ................................................................................................................... 57
6.1 Overview ....................................................................................................................................... 57
6.2 A Few Hints ................................................................................................................................... 58
6.3 Customizing the Replay Desktop .................................................................................................. 59
6.3.1 Rename ................................................................................................................................. 59
6.3.2 Multiple Displays and Monitoring ......................................................................................... 60
6.4 Dashboard Tools ........................................................................................................................... 60
6.4.1 Status Messages .................................................................................................................... 61
6.4.2 Menus (File, Options, Macros, and Workspaces) ................................................................. 61
6.5 Grab & Record .............................................................................................................................. 63
7 I/O Configuration ...................................................................................................................... 65
7.1 Output Configuration ................................................................................................................... 65
7.1.1 Channel A and B .................................................................................................................... 65
7.1.2 Genlock & Failsafe ................................................................................................................. 66
7.1.3 Multiview .............................................................................................................................. 69
7.2 Input Configuration ...................................................................................................................... 69
7.2.1 Input Settings ........................................................................................................................ 70
7.2.2 Color Balance ........................................................................................................................ 72
7.3 Timecode Configuration ............................................................................................................... 74
7.3.1 Production Time Display ....................................................................................................... 75
7.3.2 Time ....................................................................................................................................... 75
8 The Control Surface ................................................................................................................... 77
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8.1 Dual Channel Replay ..................................................................................................................... 77
8.1.1 Channel Delegates ................................................................................................................. 78
8.2 Transitions (TAKE | AUTO) ............................................................................................................ 79
8.3 Source Delegates .......................................................................................................................... 79
8.3.1 CLIP LIST ................................................................................................................................ 80
8.3.2 PLAY LIST ............................................................................................................................... 80
8.3.3 LIVE ........................................................................................................................................ 80
8.4 Independent States ....................................................................................................................... 81
8.4.1 LINK ....................................................................................................................................... 81
8.5 RECORD......................................................................................................................................... 82
8.6 Transport ...................................................................................................................................... 82
8.6.1 Previous ................................................................................................................................. 82
8.6.2 Stop ....................................................................................................................................... 82
8.6.3 Play ........................................................................................................................................ 83
8.6.4 Next ....................................................................................................................................... 83
8.6.5 FAST JOG ............................................................................................................................... 83
8.6.6 Jog Wheel .............................................................................................................................. 83
8.7 Play Speed (T-Bar Section) ............................................................................................................ 84
8.7.1 Illumination ........................................................................................................................... 84
8.8 List Selection tools ........................................................................................................................ 84
8.9 SHIFT ............................................................................................................................................. 85
8.10 SET | IN/OUT ............................................................................................................................. 85
8.10.1 SET | IN .................................................................................................................................. 85
8.10.2 SET | OUT .............................................................................................................................. 86
8.11 ANGLE ....................................................................................................................................... 86
8.12 BOOK MARK .............................................................................................................................. 87
8.13 UTILITY Buttons ......................................................................................................................... 87
8.13.1 CUT/COPY and PASTE ............................................................................................................ 87
8.13.2 PUBLISH ................................................................................................................................. 88
8.13.3 Add to PLAY LIST .................................................................................................................... 88
8.14 TAG, GO TO and SEARCH .......................................................................................................... 88
8.15 The Number Pad ....................................................................................................................... 89
8.15.1 ESC & ENTER .......................................................................................................................... 89
9 Monitoring ................................................................................................................................ 91
9.1 Overlay Options ............................................................................................................................ 91
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9.2 Input Monitors .............................................................................................................................. 92
9.2.1 Titlebar Features ................................................................................................................... 92
9.3 Channel Monitors (A, B) ................................................................................................................ 93
9.3.1 Channel Info .......................................................................................................................... 94
10 Recording and Storage ........................................................................................................... 95
10.1 Record Configuration ................................................................................................................ 95
10.2 Storage Volumes ....................................................................................................................... 95
10.3 Recording and the Desktop ....................................................................................................... 96
10.3.1 Record On/Off ....................................................................................................................... 96
10.4 Grab .......................................................................................................................................... 97
11 The CLIP LIST .......................................................................................................................... 99
11.1 Titlebar Tools ............................................................................................................................ 99
11.1.1 Tabs ....................................................................................................................................... 99
11.1.2 Tab Menu ............................................................................................................................ 100
11.1.3 Event Menu ......................................................................................................................... 100
11.1.4 Search Results ..................................................................................................................... 100
11.1.5 Add Media ........................................................................................................................... 100
11.2 Media Asset Management systems ........................................................................................ 104
11.3 CLIP LIST Table Features.......................................................................................................... 104
11.3.1 Event ID ............................................................................................................................... 105
11.3.2 In/Out Points, Duration (and Trimming) ............................................................................. 105
11.3.3 Memo Fields ........................................................................................................................ 106
11.3.4 Managing Events ................................................................................................................. 106
11.4 Playing Clips ............................................................................................................................ 107
11.5 Selection, Channels, & Display ................................................................................................ 107
11.5.1 Play Indicator ....................................................................................................................... 107
11.6 Add to PLAY LIST ..................................................................................................................... 108
12 The PLAY LIST....................................................................................................................... 109
12.1 Titlebar Tools .......................................................................................................................... 109
12.1.1 Tabs ..................................................................................................................................... 109
12.1.2 Tab Menu ............................................................................................................................ 109
12.1.3 Add Media & Export to Clip List .......................................................................................... 110
12.1.4 Music Tools.......................................................................................................................... 110
12.2 The PLAY LIST Table ................................................................................................................ 111
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12.3 PLAY LIST Preparation ............................................................................................................. 112
12.3.1 Clip Selection ....................................................................................................................... 112
12.3.2 Changing a Clip .................................................................................................................... 113
12.3.3 Memo .................................................................................................................................. 113
12.3.4 Audio 1, 2 – 3, 4 ................................................................................................................... 113
12.3.5 In and Out Points (Trimming Clips) ..................................................................................... 114
12.3.6 Speed ................................................................................................................................... 114
12.3.7 Transition ............................................................................................................................ 114
12.4 Clip Context Menu ................................................................................................................... 115
12.5 Playback .................................................................................................................................. 115
12.6 PLAY LIST EDLs ........................................................................................................................ 116
13 TAGS, SEARCH, & More ........................................................................................................ 117
13.1 Overview ................................................................................................................................. 117
13.1.1 Tagging Workflow ............................................................................................................... 117
13.2 The TAGS Button ..................................................................................................................... 118
13.3 The TAGS Pane ........................................................................................................................ 118
13.3.1 Titlebar Tools ....................................................................................................................... 119
13.3.2 A Tagging Example .............................................................................................................. 120
13.3.3 SKIP ...................................................................................................................................... 122
13.3.4 Input Hinting ....................................................................................................................... 122
13.4 SEARCH.................................................................................................................................... 123
13.4.1 Dataview Entries ................................................................................................................. 123
13.4.2 Finding Matches .................................................................................................................. 124
13.4.3 GO TO .................................................................................................................................. 126
13.4.4 Search Results Tab .............................................................................................................. 126
13.5 Import Tags ............................................................................................................................. 127
13.5.1 CSV Example ........................................................................................................................ 128
14 Transitions ........................................................................................................................... 131
14.1 PLAY LIST Transitions .............................................................................................................. 131
14.2 Program-Preview Transitions .................................................................................................. 131
14.2.1 ‘Program Out’ ...................................................................................................................... 132
14.2.2 ‘Preview Out’ ....................................................................................................................... 132
14.2.3 AUTO Workflow .................................................................................................................. 132
14.3 Transition Effects .................................................................................................................... 132
14.3.1 Effect Settings ..................................................................................................................... 134
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15 DSKs (Overlays) .................................................................................................................... 137
15.1 Overview ................................................................................................................................. 137
15.1.1 Overlay Output A or B ......................................................................................................... 137
15.1.2 Overlay Graphics and Telestration ...................................................................................... 138
15.1.3 Officiating and Overlays ...................................................................................................... 138
15.2 Source Options ........................................................................................................................ 138
15.2.1 Cameras ............................................................................................................................... 139
15.2.2 Clip List Preview .................................................................................................................. 139
15.2.3 Buffers ................................................................................................................................. 139
15.2.4 NDI® Sources ....................................................................................................................... 141
15.3 Configuration .......................................................................................................................... 147
15.3.1 Position ................................................................................................................................ 148
15.3.2 Edges ................................................................................................................................... 148
16 Export Media ....................................................................................................................... 149
16.1 Overview ................................................................................................................................. 149
16.2 The Export Media Panel .......................................................................................................... 149
16.2.1 Social Media Sites ................................................................................................................ 151
16.2.2 Transcode ............................................................................................................................ 151
16.2.3 Watermarking ..................................................................................................................... 151
17 Macros and Automation ...................................................................................................... 153
17.1 System Macros ........................................................................................................................ 153
17.2 Session Macros........................................................................................................................ 154
17.3 Recording Macros ................................................................................................................... 154
17.3.1 Macro Playback Speed ........................................................................................................ 155
17.3.2 Managing Macros ................................................................................................................ 155
17.4 Shortcuts and Triggers ............................................................................................................ 156
17.4.1 Conflicted Shortcuts ............................................................................................................ 157
17.5 MIDI Controllers ...................................................................................................................... 158
17.6 NDI Connections ...................................................................................................................... 158
17.6.1 Example – Controlling 3Play ................................................................................................ 159
17.6.2 Remote Commands ............................................................................................................. 160
17.7 AMP Control ............................................................................................................................ 162
17.7.1 Configuring AMP ................................................................................................................. 163
17.7.2 AMP Shortcuts ..................................................................................................................... 163
17.8 GPI Controllers ........................................................................................................................ 164
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17.8.1 Configuration....................................................................................................................... 164
17.8.2 Listening for GPI Triggers .................................................................................................... 164
17.8.3 Sending GPI Commands ...................................................................................................... 165
17.9 Editing Macros ........................................................................................................................ 165
17.10 Automation and Integration ................................................................................................... 166
PART III (Appendices) ..................................................................................................................... 167
Appendix A How Do I … ? .......................................................................................................... 169
A.1 Connections ................................................................................................................................ 170
A.1.1 Connect cameras? ............................................................................................................... 170
A.1.2 Color correct mismatched cameras? .................................................................................. 171
A.1.3 Connect monitors? .............................................................................................................. 171
A.1.4 Improve the quality of Multiview output? .......................................................................... 172
A.1.5 Connect the Genlock Reference Signal? ............................................................................. 172
A.1.6 Connect the 3Play Control Surface?.................................................................................... 172
A.1.7 Connect An External Hard Drive? ........................................................................................ 173
A.1.8 Connect to a Network? ....................................................................................................... 173
A.1.9 Enable Termination for Video Inputs? ................................................................................ 173
A.2 Sessions ....................................................................................................................................... 173
A.2.1 What is a session? ............................................................................................................... 173
A.2.2 Delete a Session (and its Content)? .................................................................................... 173
A.2.3 Rename a Session ................................................................................................................ 173
A.2.4 Manage Selected Content inside a Session? ....................................................................... 174
A.3 Events and Recording ................................................................................................................. 174
A.3.1 Start recording? ................................................................................................................... 174
A.3.2 End recording? .................................................................................................................... 174
A.3.3 Mark an Event? ................................................................................................................... 174
A.3.4 Play a Clip? .......................................................................................................................... 175
A.3.5 Prepare a highlight reel? ..................................................................................................... 175
A.3.6 Select a different Play List clip for the same time period? ................................................. 176
A.4 Files ............................................................................................................................................. 176
A.4.1 Manage Files? ...................................................................................................................... 176
A.4.2 Import Media Files? ............................................................................................................ 176
A.4.3 Prepare clips for the PLAY LIST Using Apple® Final Cut Pro? .............................................. 176
A.4.4 Export files to an External Drive? ........................................................................................ 177
A.4.5 Import/Export Files Larger Than 4 Gigabytes? .................................................................... 177
A.4.6 Avoid the error “… copy this file without its properties?” .................................................. 177
A.5 Software, Maintenance and Updates ......................................................................................... 177
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A.5.1 Improve Performance? ....................................................................................................... 177
A.5.2 Resolve Serious Instability or Dropped frames? ................................................................. 178
A.5.3 Update NewTek 3Play software? ........................................................................................ 178
A.5.4 Install Virus Protection? ...................................................................................................... 178
A.5.5 Install My Favorite Software (or Codec)? ............................................................................ 178
A.5.6 Restore the System to Original ‘As-Shipped’ Condition? .................................................... 179
A.6 Registration And Tech Support ................................................................................................... 180
A.6.1 Register the NewTek 3Play system? ................................................................................... 180
A.6.2 Contact Technical Support? ................................................................................................ 180
A.6.3 Find Hardware/Firmware Revision Numbers? .................................................................... 181
A.7 Miscellaneous ............................................................................................................................. 181
A.7.1 Set up remote desktop control of 3Play? ........................................................................... 181
A.7.2 Deal With Clips or images That Seem Blurry? ..................................................................... 181
A.7.3 Access Windows™? ............................................................................................................. 181
A.7.4 Return to the Startup Screen from the Windows™ Desktop .............................................. 181
A.8 More Questions and Answers ..................................................................................................... 181
A.8.1 Why are my clip duration and Countdown times different? .............................................. 181
Appendix B Keystroke Shortcuts ................................................................................................ 183
B.1 Tables and Navigation ................................................................................................................ 183
B.2 Edit Lists/Text ............................................................................................................................. 183
B.3 Marking ...................................................................................................................................... 184
B.4 Searching .................................................................................................................................... 184
B.5 Control ........................................................................................................................................ 184
Appendix C Reliability Testing ................................................................................................... 185
Index ............................................................................................................................................. 187
Credits ........................................................................................................................................... 191
ix
PART I (GETTING STARTED)
Introducing NewTek 3Play 3P1™ – connections and registration, a top-level overview of primary features,
and a hands-on tour to get you started.
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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 AB OUT T HIS MAN UAL
Even if you hate reading, please take a moment to peruse at least this section, which explains the manual’s
organization. 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 NewTek 3Play 3P1 – connecting devices (cameras,
monitors, etc.) and registration, ending up with the Live Production Walkthrough – a brisk jog
through fundamentals, about 16 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 3Play (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 B lists shortcut keys. Part III is also home to a comprehensive keyword index.
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Thank you for purchasing this NewTek 3Play®. This system is a member of
the NewTek family of live video production systems and software, and
enjoys a proud heritage. A bona fide video pioneer, NewTek is justifiably
proud of its record of innovation, ongoing commitment to excellence and
superb product support.
This chapter provides a quick tour of the major components of your
NewTek 3Play system.
2 IN TRODUCTION
2.1 OVERVIEW
NewTek 3Play® is a multi-channel high
definition video device supporting
simultaneous recording, display and
smooth slow motion replay of as many as
eight audio and video sources .
3Play’s outputs include both traditional
HD-SDI and industry leading NDI™
(Network Device Interface) IP output for two fully independent video channels (designated Channels A
and B) to external video systems.
Alternatively, the two primary outputs support a ‘video switcher style’ program-preview workflow,
complete with transitions, and even overlays. Too, 3Play supports selectively publishing data to internal
and external file storage, ftp and social media platforms on the fly.
Realtime A/V output at a given moment may consist of any combination of the following:
I. Live video – direct pass-through of an input source
II. Delayed video – output running somewhat behind live input
III. CLIP LIST – playback of a timed segments of captured (or imported) media
IV. PLAY LIST – playback of a prepared playlist that may include clips or other imported media and
transitions.
Hint: Outputting Live, Delayed, CLIP or Play List sources does not interrupt capture of live sources.
Delayed, CLIP LIST and PLAY LIST video streams can also be played back at variable speeds. 3PLAY 3P1
provides output in popular up to 1080/p60, along with 720p and SD video formats.
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2.2 RE CORDING , MAR KING AND EVENTS
Recording is intrinsic to NewTek 3Play. Pressing REC on the Control Surface (or clicking the Record button
in the titlebar on the Replay Desktop) activates continuous capture of all configured sources.
Typically, each recorded stream comprises output from a different camera angle. (Input sources not
configured for recording can be viewed as reference and output live, but are not available for replay.)
Note: When timecode for a session being recorded reaches 24:00:00.00, a new recording is automatically
started. A few frames are lost in this process. Use the ‘Subtract 12 hours; feature in Timecode
Configuration to avoid problems when necessary – see Section 7.3.
2.2.1 WHAT IS AN EVE NT?
The 3Play operator uses the supplied external Control Surface to mark events. Each event entry appears
in the CLIP LIST module on the Replay Desktop as a single row of clips, and is identified in the left-most
column of the row by an Event ID number.
Events can be thought of as timed segments of the recorded video, created by setting In and Out points
as a live production progresses. Newly-marked events are successively added to the CLIP LIST for
convenient recall. The (In and Out) timecode values for an event are digital pointers identifying the first
and last frames of a specific portion of the recorded footage.
Thus an event is not merely a clip. Think of it as a synchronized ‘time slice’ across all recorded video
streams (or ‘angles’, if you like). You can recall and display any clip from an event instantly. This involves
sending the stream from a specific camera to one of the system outputs.
Tip: Two different clips from one or more events can be displayed simultaneously using the two outputs.
3Play normally captures a complete, uninterrupted record of your production. The events listed in the
CLIP LIST simply isolate segments in this vast volume of stored information. Add and remove events freely
with no fear of losing recorded material. You can even add, remove or reorganize events during recording,
or long after your session ends.
2.3 NEWTEK 3PLAY CONT ROL S URFACE
A dedicated NewTek 3Play external Control Surface (Figure 1) provides primary operational control – see
Chapter 8. (Text editing and other supplementary control is supported using the keyboard.)
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Figure 1
Note: If the Control Surface is not available for any reason, its core functions can be accessed using
keyboard shortcuts.
2.4 STARTUP SCREEN
The Startup Screen appears when you power up your NewTek 3Play. This area offers initial configuration
options along with system management tools.
Figure 2
The Home page of the Startup Screen (Figure 2 allows you to define and open sessions, essentially custom
presets for individual productions or other purposes. If you re-open a session on some later occasion, all
of its assets and settings are remembered.
After creating a session (or opening an existing one), you are taken to the Sessions page. Here you can
launch the Replay Desktop, or perhaps choose to Import Media for your session.
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Monitoring & Control
Clip List
Play
Titlebar
Tags
2.5 RE PLAY DESKTOP
3Play’s live production features are all available from its unique Replay Desktop. The various features,
controls and modules on the Replay Desktop are essentially laid out in horizontal bands, as seen below.
Figure 3
The uppermost area is the Dashboard, which displays important session information, and
provides quick access to key features, including Record, Grab, and various menus.
Just below the titlebar are desktop monitors showing 3Play’s video input and output streams. This
region of the Replay Desktop also provides some very special features just below the primary
output monitors as follows:
Figure 4
List
o A Channel Info pane immediately beneath each output monitor lists important data about
the video source displayed on that channel (Figure 4).
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Figure 5
o Some very important features occupy prime visual real estate in small panes just beneath
the Channel Info displays.
A large, high-visibility field at left in this zone is referred to as the FastClip toolbar (Figure 5).
o Selecting a data field in the CLIP LIST or PLAY LIST snaps its content (whether a Memo
entry, Event ID, or time value) into the dataview window in this pane. This value can then
be modified by keyboard or Control Surface operations.
o Dataview content can also be used as criteria for the nearby Go To and Search features
(and corresponding Control Surface buttons).
Figure 6
o Also beneath the monitors are and Transport (Play, Stop, etc.) and Transition controls
(Figure 6).
The spreadsheet-like CLIP LIST is centrally located (Figure 3). Its multiple tabs (including the Search
results tab) and columns help you identify, locate, manage and replay the huge amount of audiovisual data 3Play captures.
Just below is the PLAY LIST (Figure 3). Here you can create and control more complex sequences
such as highlight reels. These can include imported graphic, animation and video elements, as
well as music and full color Animation Store transitions.
Hint: The optional Single Pane mode combines the CLIP LIST and PLAY LIST tabs in one pane capable of
displaying many more events at once (see Section 6.4.2).
The Tags pane at the very bottom of the Replay Desktop (Figure 3) makes entering values and
comments splendidly quick and convenient.
2.6 FEATURES
Here’s a brief overview of just some of 3Play’s key features:
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2.6.1 PHYSICA L
Rugged 2RU or 3RU rack-mount case ensures robust and reliable performance in fixed or mobile
installations.
The 3RU model 3Play 3P1 also provides redundant power supplies.
Massive storage capacity (e.g., a 3TB drive holds approximately 75 hours of 1080i).
2.6.2 MULTI -TIER F AILSA FE
3Play’s ‘Always on Air’ features provide multi-tiered redundant failsafe mechanisms in both hardware and
software. To name just a few:
Multiple software failsafe systems continually monitor and safeguard the live performance. Any
recoverable software error conditions are quickly and unobtrusively dealt with.
When enabled, video pass-through (see Section 7.1.2) ensures that as long there is AC power,
audio and video from the highest numbered input is routed to Output 1 in a case of catastrophic
software condition.
Comprehensive integrated system restore feature. Operators can quickly and easily restore to
factory defaults, or create a custom restore image on another drive and either restore from that
drive or use the backup drive to boot from if a complete hard drive failure ever occurs.
2.6.3 INPUT, OUTPUT & CAPTURE
All audio and video, monitoring and network connectors are easily accessible from the rear for
convenient installation in industry standard 19” rack-mount configurations. (Note, some 3Play
Mini connections are front mounted).
Most audio and video connectors are industry standard (XLR or BNC as appropriate), ensuring
broad compatibility and secure, locked connections. (Mini connectors vary).
Supply external audio via analog, SDI Embedded or NDI™ IP connection.
Balanced XLR and ¼” (6.35mm) audio connectors where supplied.
Multiple simultaneous SDI and analog output connections.
2RU – record up to four live video sources to internal or external media.
3RU
o Record from four video sources to redundant media
o Or record up to eight sources (without redundancy).
Capture and play back 16:9 and 4:3 formats in both HD and SD sessions.
Output HD sessions as SD (4:3 or 16:9) and HD simultaneously from HD sessions.
Play list module supports inserting pre-recorded video, sound and imagery into your live
productions.
Send both primary outputs (A and B) across your network to any NewTek or other production
system, software or device supporting NDI, leaving the SDI outputs free for other purposes.
Page | 10
Use one SDI output for program output, another as preview, and switch sources with colorful
Animation Store transitions.
Display highlight reels with colorful transitions, bumpers and audio bed using either output
channel.
Send supplemental video output to projection systems or secondary monitors at session
resolutions up to 1920x1080/p60.
2.6.4 MONITOR ING
Figure 7
By default, the Replay Desktop includes two large output monitors at right, labeled A and B. The area at
left shows input monitors as appropriate for the number of sources you have configured for recording.
For example, four input monitor viewports are displayed when operating in 4 channel mode.
Tip: The display configuration for 3Play’s secondary Multiview output is governed by controls found in
the Output Configuration panel.
CHANNEL INFO AND CONTROLS
The region of the Replay Desktop just below the primary output monitors also provides some very special
features. First, data pertinent to the current video source for each output is displayed in a Channel Info
area immediately below (Figure 8) the corresponding viewport.
Figure 8
Tip: Normally, the selected Channel Delegate button on the Control Surface determines which channel –
A or B – CS operations are currently governing. Note that you can also delegate a channel using the
mouse, by clicking the Channel Info area beneath either the A or B monitor.
A control group located beneath the output monitors hosts Transition, Transport (Play, Stop, etc.) and
DSK (Downstream Key, or ‘overlay’) controls.
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FASTCLIP TOOLS
Figure 9
You’ll find additional and very important features occupying prime visual real estate just beneath the
monitor area (Figure 5). A large, high-visibility window at left in this zone is referred to as the FastClip
dataview.
Selecting a data field in the CLIP LIST or PLAY LIST snaps its content (whether a Memo entry, Event ID, or
time value) into the dataview. This value can then be modified by keyboard or Control Surface operations.
Keyboard and Control Surface entries can also be used as criteria for the nearby Go To and Search features
(and corresponding Control Surface buttons).
MULTIVIEW
3Play’s Multiview output commonly serves supplemental control room monitoring needs. External
Multiview Workspaces offer many alternatives, including numerous multi-bridge layouts, overlays and
Event Clocks. The Multiview layout output is configured using the Workspaces menu in the Dashboard at
the top of the Desktop (see Section 6.4.2 for a more thorough discussion).
2.6.5 VIDEO P ROCES SING
Input Proc Amps allow you to adjust the video signal to harmonize color balance for all sources.
Separate controls are provided for Brightness, Contrast, Hue and Saturation for each video source,
along with White Balance and U and V Offset.
2.6.6 RECORDING
Apart from live throughput, virtually all replay output features depends on recorded data.
Figure 10
The Record button is located in the titlebar above the output monitors.
Valuable information about the recording and remaining space is displayed nearby.
Recording can also be enabled from the NewTek 3Play Control Surface.
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2.6.7 BOOKMAR KS
3Play’s timecode bookmark system is almost too easy to use. There are a maximum of ten bookmarks.
Simply press BOOK MARK on the CS to set bookmarks in your footage (REC must be enabled). Press SHIFT
+ BOOK MARK repeatedly to jump sequentially back through the markers you’ve set (3Play will switch to
Delayed playback mode).
2.6.8 THE CLIP LIST
Figure 11
Synchronized segments of the recorded data from all cameras are identified as individual events by setting
in and out points. Each marked event occupies one row in the spreadsheet-like CLIP LIST. Events can be
rearranged and re-trimmed in the CLIP LIST.
The different sources (or ‘angles’) available for each event (see Section 2.2.1) are presented as labeled
columns (Figure 12).
Figure 12
Small clip monitors above each column (Figure 13) make it easy to follow the action and select the angle
offering the best view of events.
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Figure 15
Figure 13
The ‘angle’ columns beneath are actually Memo columns, and allow you to enter comments, tags, and
other metadata that, with the Search feature, can help you quickly locate specific views for playback,
inclusion in playlists, etc.
The CLIP LIST offers an unlimited number of tabbed pages to help you manage your recorded content. In
addition, the CLIP LIST supports the import of media clips as well as still images for various purposes (the
PLAY LIST also supports imported files).
2.6.9 THE PLAY L IST
Figure 14
Individual clips from events appearing in the CLIP LIST can be added to the PLAY LIST pane below (as can
other items imported using the Add Media button).
The PLAY LIST plays all entries in sequence from top to bottom, with optional transitions between clips.
Like the CLIP LIST, the PLAY LIST pane offers multiple tabbed pages, supports clip re-ordering, comments,
trimming, and numerous other features.
2.6.10 PROGR AM TR ANSITIO NS
We mentioned Transitions earlier (under
Monitoring), but 3Play’s powerful transition system
merits a heading of its own.
Page | 14
Figure 16
3Play output can employ spectacular high-end transitions,
including Animation Store effects that include full color
embedded overlays, in several ways.
PLAY LIST compositions, such as highlight reels, support
transitions between clips, each with adjustable timing and
even accompanying transitional audio effects. Unlike many
replay systems, 3Play does not tie up two different outputs
to do this.
Further, 3Play even supports a ‘program-preview’, or ‘video switcher’ style workflow. The latter approach
allows you use 3Play’s powerful effects system to transition between the sources displayed on Outputs A
and B (see Chapter 14, Transitions).
In this (program-preview) scenario, Channel B stands in for the traditional program output, while Channel
A serves as preview. This enables some unique production possibilities – such as an Auto between two
PLAY LIST compositions during playback – something often only possible when system architecture
includes a downstream switcher.
2.6.11 TEXT, TAGS AND MORE
Figure 17
A Tags bar is situated at the bottom of the Replay Desktop (Figure 17). Dragging this divider bar upward
reveals tabbed panes containing rows of numbered cells. Text ‘tags’ (e.g., player names, notable play
types, adjectives, etc.) entered into these cells can be quickly inserted into Memo fields for selected clips,
and can even be used as Search criteria.
Figure 18
The Tags module inserts its output into the easily legible Text Box, discussed earlier (Figure 9), just like
other textual input. (All text input is displayed in this box, whether it originates from the number pad on
the Control Surface, or from the keyboard.)
Tip: When the TAG button on the Control Surface is lit, number pad entries are automatically translated
to the corresponding tag entries. For example, in Figure 18, the Tags pane lists player names. Typing
“01” on the pad sends “Jones” to the Text Box. Pressing Enter then pushes this entry into the Memo field
for the selected clip(s).
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2.6.12 PUBLI SH
Though a relative newcomer, social media has carved an important niche for itself in the realms of video
production and broadcasting. 3Play can publish both still images and trimmed, commented clips from
CLIP LIST or PLAY LIST pages to popular public sites, along with traditional production storage. Media can
even be published while events are still underway, while live capture continues uninterrupted.
2.6.13 MACRO S
Record simple or complex combinations of operations as macros, then assign these to internal and
external trigger events to be executed at will. 3Play’s Macro Configuration panel provides numerous
management features, such as folders, rename, clone, and hotkey and control panel assignment, as well
as Import and Export (share macros with other 3Play users). Macros can be flexibly stored as part of a
session or as part of the global macro configuration available in all sessions. You can also open macros in
the integrated editor and tweak them to perfection.
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This chapter explains how to properly connect power, external control
devices, monitors and audio visual sources to your NewTek 3Play® 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 SETTING UP
To begin, let’s review ‘what came in the box’:
3Play 3P1™ and Control Surface
A/C power cable(s) and 6’ USB cable
NewTek mouse and keyboard
Registration reminder card
BNC removal tool
3.1 CO MMAND AND CO NTROL
1. Connect an external computer monitor to one of the monitor connection ports (HDMI, Display,
or DVI) on 3Play’s backplate (use an adapter if necessary).
Note: The user interface requires a minimum screen resolution of 1600 x 1050.
2. Connect the mouse and keyboard to USB ports on 3Play.
3. Connect the power cord(s) from the A/C connection(s) on 3Play’s backplate to an external power
receptacle (see Tip below).
4. Turn on the computer monitor.
5. Press the Power switch located behind 3Play’s hinged faceplate.
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‘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, you can obtain a
"pure sine wave" UPS. These units can be
relied on to supply very clean power,
eliminating potential problems, and we
highly recommend them for use in
environments where reliability is absolutely
critical.
Figure 19
At this point, the blue ring around the power button
illuminates. (If this does not happen, check your
connections and retry).
Though not a requirement, we do strongly recommend
that you connect 3Play 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
3Play’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.
3.2 RE GISTRAT ION
On launch, 3Play will display an End User License
Agreement dialog. If you accept this agreement, the
Registration dialog shown in Figure 19 provides the
unique Product ID you need to register your system.
If necessary, enter the unique Serial Number and Product ID for your system.
3.2.1 ONLINE REGIS TRATION
Note that 3Play’s video output will show a watermark until the
system is registered and unlocked using the registration code.
Tip: Serial number stickers are affixed inside the system’s
hinged front panel. If you cannot locate the serial number, call
NewTek’s Customer Support Desk (open seven days a week).
You can register and obtain your registration code either by
telephone, or online (directly from 3Play or from another
system connected to the Internet) as described next.
If you have connected your 3Play to the Internet, simply click the button under Step 3 in the registration
dialog. This will take you to NewTek’s website, where you will find further directions.
Page | 18
Tip: More information on connecting to a network can be found in Section 3.10.
Otherwise, you can visit the registration webpage from another system with Internet access. In either
case, after registering on the website, transfer the registration code provided into the field at Step 4 of
the Registration dialog.
Tip: It’s a very good idea to record the Registration Code. This could come in very handy if you ever need
to restore the 3Play software to its as-shipped state when you don’t have convenient access to the
Internet.
3.2.2 REGISTE RING BY TE LEP HONE
NewTek’s Customer Support desk can also handle registration requests by telephone, if that is more
convenient (when opportunity permits, you should still visit the website as discussed above, in order 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:
o (US) 1-800-862-7837
o (Outside US) +1-210-370-8452
Fax: 210-370-8001
Email: cs@newtek.com
3.3 INPUT CON NECTI ONS
3.3.1 CONNECT A/V SOURCES
External audio and video sources are connected to the appropriate inputs on 3Play’s backplate.
Figure 20 - 2RU Model
Page | 19
Analog audio inputs: 1-4
Analog audio outputs: A, B, and *Phones jack
SDI Video Inputs 1-4 and Genlock input.
SDI Video Outputs 1-4 and Tally connector
Note: The Phones output signal follows Aux, the active control channel delegate – A or B.
As desired, connect any local SDI video sources to one of the BNC connectors in the SDI IN section. We
will discuss NDI® (Network Device Interface) a/v source connections later.
Note that SDI video sources with embedded audio do not necessarily require separate audio connections.
3.3.2 GENLOCK CONN ECTIO N
The Genlock input on 3Play’s backplate is 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 gear.
If your equipment allows you to do so, you should genlock 3Play and all cameras you configure as sources
for it (see your camera manual for details). To do so, supply the reference signal from the ‘house sync
generator’ to 3Play’s Genlock input connector.
3.3.3 TIMECOD E C ONNECTI ON
3Play supports external linear timecode (LTC). Connect the cable from your timecode generator to analog
Audio In 3 or one of the motherboard audio input connectors. External timecode is enabled and
configured in the Replay Desktop (see Section 7.3).
3.4 OU TPUT CONNECT IONS
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 3Play session.
3.4.1 A/V OUT PUT
3Play provides multiple video and audio output connection options, and very flexible ways to display of
your live and recorded video streams. In addition, the A and B channel outputs, ‘clean’ versions of these
(i.e., without overlays), and all connected video sources are available on your network as NDI outputs.
Beyond this, the graphics card outputs supports Multiview options in addition to the connection displaying
the user interface (the number of ports provided for this purpose varies by model).
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Notes: Multiview options and layouts are found in the Workspaces menu (located in the Dashboard). For
best results, configure the Multiview Output to the native resolution of the external display (monitor or
projector) connected to it.
3.4.2 CONNECT ING D EVICE S
As mentioned earlier, the VIDEO OUT section on 3Play’s backplate provides four BNC connectors. These
represent:
1. Channel A (labeled 1 in the VIDEO OUT group)
2. Channel B (labeled 2 in the VIDEO OUT group)
3. Clean Output A.
4. Clean Output B.
The output connectors provide either SD or HD video output, according to the format specified for the
current session.
1. Connect downstream video devices to the SDI output connectors in the VIDEO OUT section.
2. Connect 3Play’s audio outputs:
a. Analog audio – Connect external audio devices to the connectors in the AUDIO OUT
section.
b. Digital audio – A separate digital audio connection is not necessary for SDI output with
embedded audio. Digital audio is also carried over the network output along with NDI
video outputs.
3.5 STARTING A SES SION
If 3Play is not already running, power it up now to reveal the Startup Screen. (If 3Play is running, and is in
the Replay Desktop or another area of the interface, you may need to use the File menu Exit item, 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 screens – the Home page and Session page. Among other
things, the Home page is where you choose basic 3Play session settings (see Section 5.1 for a discussion
of sessions).
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3.5.1 THE HOM E P AGE
Figure 21
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 Session Name is shown at the top of the right-hand pane when New is selected on the icon
ring (Figure 21). Click in this field to modify the default name 3Play supplies using the keyboard. (The
default name is the current date.)
RECORD MODE (4RU 3PLAY)
Figure 22
For the 4RU 3Play 3P1 model only, continue with session creation by selecting a Record Mode (see Section
5.2.1 for an explanation of these options). Then assign drives to pairs of cameras you intend to recording
controls in the Storage Volumes control group below.
STORAGE VOLUMES AND SESSION VOLUME
Qualified 3Play storage volumes or volumes connected to 3Play are listed at right for each input pair. Use
the drop-down menus in the Primary column assign to hard drives to different input pairs. For Redundant
recording mode, continue to assign drives in the Backup column.
Page | 22
The hard drives assigned here can be thought of as comprising a ‘drive set’ for the session. The Session
Volume menu allows you to designate the primary member of the session drive set (see Section 5.2.1 for
more detail).
Figure 23
Tip: The Storage Volume configuration tools are designed to encourage you to record no more than two
live inputs to any single volume.
VIDEO STANDARD AND RESOLUTION
For multi-standard models only, set the Video Standard as appropriate for your locale. For the moment,
let’s choose 1080i for Output Resolution (even if the cameras you plan to connect are SD 4:3), then click
the Create Session link below.
Note: 3Play supports a variety of optional session configurations for live production. You can choose
between several HD (High Definition) and SD (Standard Definition) formats. SD options include 4:3 and
16:9 (widescreen) image aspect formats. Multi-standard models permit you to select between video
standards for your locale – NSTC, or PAL.
Also please note that certain output selections – 1080/25p, 1080/29.97p, and 1080/23.98p – are actually
transmitted in PsF (progressive segmented frame) format, for compatibility with a wider number of
popular monitors.
3.5.2 THE SES SION PAGE
Clicking Create Session on the Home page will advance you to the Session page. Since our intention at this
stage is simply to configure our connections (done in 3Play’s Replay Desktop), go ahead and click Start
Session. This launches the Replay Desktop, which is the ‘live production area’ where you will spend most
of your time while working with 3Play.
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3.5.3 THE REPLAY DESKTO P
Figure 24
Initially, as you have yet to configure input devices or add content, the Replay Desktop will look a bit
barren (Figure 24). We had a brief glimpse at the Replay Desktop back in section 2.5 (and we’ll examine
it more closely in Chapter 4, Live Production Walkthrough), but after a quick look around let’s continue to
configure your input and output connections.
3.6 CO NFIGURE VIDEO O UTPUT S
3Play provides complete video input monitoring right on the Replay Desktop. This allows you to operate
without even connecting downstream video monitors or devices if you wish.
Often, however, you will likely connect external devices to the VIDEO OUT connectors on 3Play’s backplate
(see Section 3.4). Connect to SDI connections as appropriate, or you might connect across your network
to downstream NDI-enabled systems or software.
Figure 25
Move your mouse pointer over the Output Configuration button, identified by gear icons (as shown in
Figure 25) located at right below each output monitor (A or B). Click here to open Output Configuration.
Page | 24
Figure 26
The tabs in this panel are labeled Output A, B, and
Genlock & Failsafe. (See Section 7.1 for more
detail on the Output Configuration panel.)
3.6.1 AUX
3Play 3P1 has an additional output, not shown in
the Output configuration panel. The Aux output
displays the video source designated by the
Channel Delegate active on the Control Surface at
the moment.
3.6.2 MULTIVI EW
Multiview options and layouts are found in the
Workspaces menu (located in the Dashboard).
For best results, configure the Multiview Output to the native resolution of the external display(s)
connected to it. See Section 6.4.2 for details of the Workspaces menu.
3.7 CONF IGURE GENL OCK & FAILSAFE
1. Click the Genlock & Failsafe tab in the Output Configuration panel.
2. The default Reference Type in the Genlock settings group 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
3. With the aid of downstream Waveform and Vector Scopes, adjust 3Play’s Horizontal and Vertical
Position and Phase settings.
Page | 25
Again, ideally the cameras themselves as well as 3Play should be genlocked. If cameras are not genlocked
to the same reference signal as 3Play, a TBC (Time Base Correction) operation is automatically applied.
Time base correction may drop or insert frames as necessary to maintain sync, a less desirable approach.
Note: For a deeper explanation of genlocking, please see Section 7.1.2.
3.8 CO NFIGURE VIDE O INP UT
Let’s continue by configuring the video sources you connected earlier (Section 3.3):
1. With the Replay Desktop open, roll your mouse into the footer below any input monitor.
2. Notice that a Configure button (gear icon) appears at right below the input monitor as you do so.
Figure 28
3. Click the Configuration button (gear) for Camera 1 to open a settings panel (Figure 28).
4. Click the Input Settings tab.
5. Click the Connection Type menu to reveal a listing of various options.
6. The Format menu will usually auto-detect the correct setting, but you can make a manual
selection here for the video source you plan to connect to this input if auto-detect is unsuccessful.
At this point you should be able to view the (configured) sources on their respective monitors. Before
closing the Configuration panel, let’s continue to configure the related audio source.
Page | 26
3.9 CO NFIGURE AUDI O
The Audio control group in the lower part of the Configuration panel has Input Type and Gain control
features for the external audio source in the same input group as the current video input.
Figure 29
The upper menu permits you to choose a different audio input to be captured with the video clip for this
camera. You can also disable audio for this input using the switch provided. Input Type options are
displayed as appropriate for the Source selected above.
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 48 kHz.
The Gain slider defaults to 0dB on first launch. After adding audio sources, slowly adjust the slider to
achieve an appropriate signal level (use the VU meters in the titlebar above the monitor as an aid.)
Tip: Most numeric controls in on the Replay Desktop can be reset to their defaults using Shift + doubleclick on the control knob.
3.10 N ETWOR KING
Here is the basic procedure involved in connecting to a network:
1. Connect a suitable cable from one of the ETHERNET port on 3Play’s backplate to your external
network.
2. (If necessary) – close the Replay 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.
Page | 27
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 3Play.
Page | 28
This chapter provides a quick hands-on tour of the major components and
functions of your NewTek 3Play®. In a very short time, these basics will be
second nature to you.
More detailed reference material on all aspects of 3Play follows in Part II
(Reference).
4 LI VE PROD UCTION W ALKTH ROUGH
Having made the essential external connections in the previous section, let’s start your first 3Play®
session, and skim through some important fundamentals:
Session configuration and launch
Monitoring and related features
Recording and marking events
Playing clips
Working with metadata
Creating a highlight reel.
4.1 CR EATING A SES SION
We ran through the basics of starting new sessions and configuring devices back in sections 3.5 through
3.7. (If you need to review this information, go ahead and do so now. We’ll look at these items individually
again later in Part II (Reference), too.)
Figure 30
1. On the Startup > Home page, click the New Session link at left (Figure 30), and configure a new
1080i session. Name it “Practice Session” (without quotation marks).
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Figure 31 – 3RU model shown
Note: For the 3RU model 3Play 3P1, we recommend the “Redundant (4 Channel)” Record Mode for most
purposes.
2. As part of the session setup process, assign different camera pairs to individual drives, under
Storage Volumes.
3. The Startup > Session page will appear when you click the Create Session link at right.
Figure 32
(Glance around this screen, which provides some useful session asset management tools, but we’re going
to press on to other features right now.)
4. To move on, click Start Session (Figure 32) to launch the Replay Desktop.
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Figure 34
6. We discussed configuring input and
output connections and devices for new
sessions back in sections:
3.3 (Input Connections)
3.6 (Configure Video Outputs)
3.6.2 (Multiview)
3.9 (Configure Audio).
Review these points if necessary, and set
up your connections (we’re assuming at
least 3 cameras are connected as we
continue).
4.2 THE REP LAY D ESKTOP
Figure 33
5. At this point, you should see the (unpopulated) Replay Desktop – see Figure 33.
4.3 CHAN NEL AND SO URCE DELEGATES
7. Press A on the Control Surface to set the current Channel Delegate.
Note: See Section 8.1 (Dual Channel Replay) for details of 3Play’s A and B channels.
8. Press LIVE to set the Source Delegate – see Section 8.3.
9. Hold down the ANGLE button, push 3 on the number pad, and release the ANGLE button to
delegate the live source from 3Play’s input 3 to Channel A.
Page | 31
10. Push B on the Control Surface to change the Channel Delegate to B.
11. Press LIVE again, to set the Source Delegate for Channel B – note that outputs have independent
Source Delegates.
12. Hold down ANGLE again and push 1 to delegate input 1 to Channel B.
4.4 RECORD
13. Watching Channel B, push the STOP button on the Control Surface. Hmmm, that didn’t seem to
work. Let’s try something else.
14. Pull the T-Bar to about the middle of its stroke. Still watching Channel B? See anything happen?
No. Nothing happened. Why did playback ignore our Control Surface operations and continue at
normal speed?
This is because we did not first enable recording. Stopping (or jogging) the Speed of a LIVE source
would automatically kick playback into Delayed playback - if it could. However, this requires 3Play
to be recording.
Let’s try all of those steps again, after enabling recording. Remember that Speed (for Channel B) is still set
to around 5o% (Channel A is still be at the default speed, 100%)
15. Press the red REC (Record) button on the Control Surface, to enable capture.
Notice that the Record button on the Replay Desktop lights up, and a nearby time counter starts keeping
track of the total video recorded in the current session.
Also, a new ‘single-frame’ duration event row was added to the CLIP LIST, with memo entries indicating
that recording was started (this even is referred to as a “record event”).
Note: Recording is also initiated automatically if you press either IN or OUT. To end recording, hold
SHIFT down while pressing REC.
16. Press STOP – note that video playback on Channel B is arrested (Channel A is unaffected, and
continues playing).
17. Press PLAY. Playback on Channel B resumes in Delayed playback mode, at 1/2 normal speed.
Tip: In this state, the Channel Info pane below the monitor for Channel B a “DELAYED” label. The
timecode field will fall progressively further and further behind Live, thanks to the slow motion playback
speed. The Channel Info pane also shows the active Speed value as a percentage.
Page | 32
Figure 35
18. Press the T-Bar to the top (100%) setting. Notice that the ‘behind live’ time display locks, since
output (though Delayed, not LIVE) is no longer falling further behind.
4.5 MA RKING E VENTS
With recording enabled, continuous capture of inputs configured for recording when creating the session
(in Startup) is taking place. (Notice that the CLIP LIST shows an event row in its tabular pane that tells you
when recording commenced.)
4.5.1 TWO – BUTTON MARKI NG
19. Push the IN button, which is how you set an In Point for a new event. Note that when you do this,
a new event row is added to the CLIP LIST.
This new event can be referred to as an ‘incomplete’ event, because it has an In Point but no Out Point.
20. Keep an eye on the In Point column for this incomplete event, and push IN again. Notice that the
In Point updates when you do this.
21. Complete the current event in the CLIP LIST by pressing the OUT button on the Control Surface.
Note that the event now has both an In Point and an Out Point, and the (calculated) Duration for the event
is also now shown.
22. Roll the mouse pointer over the
Dashboard and click the Options menu
that appears. Select the menu item
labeled One Button Marking. This lets you change
the default duration value for this handy feature.
(The default setting is fine for our current purposes,
but we wanted you to note this useful item.)
Tip: Below the One Button Marking menu, notice the Out
Point Padding setting. The default setting is ‘Infinite’ …
possibly just a bit optimistic (unless you have exceptional longevity and a bottomless
hard drive), but handy nonetheless when you want playback to continue past the end
point of clips you play, rather than stop when the Out Point is reached.
4.5.2 ONE–BUT TON M ARKIN G
23. Finish marking any incomplete event, if necessary, by pressing OUT.
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24. Wait for a few more seconds to elapse, and then press OUT only – without pressing IN first.
25. Repeat this step several times, allowing a few moments to pass between repetitions.
Notice that – even though you haven’t pressed IN first – new ‘complete’ events have been added to the
CLIP LIST. As expected, the duration for each of these new events is four seconds. The Out Point was set
when you pressed OUT, and a suitable In Point is assigned as required.
4.6 LI ST NAVIGATIO N
26. Press the | (Previous) button on the Control Surface.
Nothing happens. This is because you are still in LIVE mode.
27. Press the CLIP LIST Source Delegate button. A bright border is added to the CLIP LIST module, and
the background of the Channel Info pane under the (B) monitor changes from green (representing
LIVE) to blue (CLIP LIST).
28. Now that the CLIP LIST is delegated to Channel B, press the | (Previous) button again. You’ll see
that the view on the current output updates to show the prior event (the row above in the CLIP
LIST), and the blue highlight in the CLIP LIST moves to the Memo column of a clip in that event
row.
29. Press | (Next) to return to the original event.
30. Let’s try something slightly different. Find (or create, using IN/OUT) a clip that is at least 15
seconds long. Keep an eye on the output monitor as you perform the next steps.
31. Press (PLAY) to initiate playback, wait just one second– then press | (Previous).
Did you notice what happened?
Playback of the current clips was interrupted
The playhead jumped back to the same angle of the previous event row
Playback resumed from the first frame of that prior event
Let’s repeat this now, but with one slight change:
32. Perform steps 31 and 32 again, but this wait five seconds or so before pressing the | (Previous)
button.
This produced a different outcome:
Playback of the current clip was interrupted
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The playhead jumped back to the first frame of the current clip
Playback resumed
Tip: Simply tapping the | (Previous) button during play in this manner provides a very useful ‘Let’s see
that again’ function.
Keep an eye on the CLIP LIST for this next bit:
33. Press STOP. Try out the left, right and up down arrow keys. The thing to notice here is that the
video shown on the corresponding channel’s output monitor updates immediately as you
navigate around in the CLIPS LIST (or PLAY LIST, for that matter).
Let’s vary the above in one respect:
34. Navigate to a clip, and press PLAY.
35. Now try using the arrow keys to move around in the list.
Tip: If currently delegated source is LIVE, use of the arrow keys normally returns you to either the CLIP
LIST or PLAY LIST, whichever you used last. However, if you marked a clip since switching to Live
passthrough, control always goes back to the CLIP LIST selection when you use the arrow keys, providing
another way to quickly return to the most recent clip.
Notice that the blue selection highlight moves from cell to cell as it did before, but the red ‘play indicator’
remains on the currently row in the Event ID column at left. The clip shown on output does not update as
a result of selection operations during playback.
This is a deliberate design feature, allowing you to perform commenting and other clip management
chores without interrupting playback.
Note: You can even use the keyboard or mouse to edit PLAY LIST entries without interrupting a CLIP LIST
angle playback, and vice versa. However, changing source delegates using the CLIP LIST or PLAY LIST
buttons on the Control Surface updates the source on output immediately – whether playback was
underway at the time or not.
4.7 ME MOS A ND TAGG ING
36. Delegate the CLIP LIST, if necessary.
37. Observe that some rows probably contain “record events” (see Section 4.4) from prior
experimentation. Navigate to an event with no Memo field entries, and select a Memo cell.
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The dataview displays cached textual
data. Think of it as a simple ‘box’. You
put ‘stuff’ in the box. Afterward, you ‘do
What makes this ‘box’ special is that
there are so many ways to quickly and
easily put ‘stuff’ into it; and so very
many different and useful ‘things’ you
For full details, please see Sections
and Chapter 13.
38. Use the keyboard to type “touchdown” (without quotes). Observe that your text entries appear
immediately in the FastClip dataview (Section 2.6.4), but are not immediately added to the
selected Memo cell (Section 2.6.8).
39. Press the ENTER key on the Control Surface (or keyboard). Note that this pushes your input
(touchdown) into the currently highlighted Memo field.
Let’s do this again, with a twist:
40. With the same Memo entry selected, type “field goal”. Your new entry will replace the previous
content of the dataview, but to this point, the
existing Memo (“touchdown”) is not modified.
The FastClip dataview:
41. This time, hold down SHIFT before pushing the
ENTER button on the Control Surface (or
keyboard).
The use of SHIFT with ENTER produced a different result.
Rather than merely replacing the current Memo entry with
the new value from the dataview into the only, it pushed
“field goal” into all Memo cells for the current event row.
The SHIFT plus ENTER combination supports one other very
useful outcome, too:
42. Hold down SHIFT, and use the Arrow keys to multi-
select several Memo cells (whether in the same
event rows or not).
43. Type “foul” into the dataview, then hold SHIFT
down and punch ENTER. Note that all selected
cells are updated.
Let’s try one more trick while we’re at it (you’ll discover
many more as you come to fully appreciate the FastClip workflow).
44. Select a single Memo cell that already has content. The value from the Memo is automatically
snapped into the dataview.
things’ with the box contents.
can do with its content afterward.
2.6.4, 8.14, 8.15, 11.3.1, 11.3.2, 11.3.3
Figure 36
45. Now, punch ENTER (Control Surface or keyboard), then look at what happened in the dataview.
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In this case, rather than merely updating the Memo field with its own existing value, pressing ENTER did
something special in this case. The text entry cursor in the dataview automatically jumped exactly one
space to the right of the current Memo field value (Figure 36). This is the perfect place for it to go when
you want to quickly append something to the existing entry – say, a player name, or other metadata.
46. To finish up, type “smith”, and then punch ENTER to update the selected Memo.
Tip: You can set the dataview to this ‘ready to append’ state by punching either ENTER, on the Control
surface or mouse, or by pressing F2 on the keyboard.
Of course, thoughtful use of Memo cell entries (along with SEARCH, discussed shortly) make it easy to find
specific clips for playback, PLAY LIST preparation, Publishing, or other clip management purposes.
4.7.1 TAGGING CLIPS
Let’s see how 3PLAY’s TAGS module makes Memo cell entries even faster.
Figure 37
“Tags” are predefined text entries, prepared in tabs of the TAGS module, located across the bottom of
Replay Desktop.
47. If it’s not already displayed, hold down SHIFT while pushing TAGS on the Control Surface.
Tip: SHIFT + TAGS toggles the minimize/restore control of the TAGS pane. See Chapter 13 for full details
on the TAGS pane. Section 13.3 discusses other ways to display or hide it.
CONFIGURING TAGS
By default, the TAGS pane in new sessions has 3 tabs, labeled as shown in Figure 37. Assuming you have
not already configured some tags, the tabbed tables in the TAGS pane will be empty, but for one item –
the first cell in all TAGS tabs contains the entry “SKIP”, and is locked.
Let’s add a just a few sample tags to work with.
48. Click the Edit Tags button, and click the tab labeled TEAM.
Tip: Navigate TAGS pane tabs using the Control Surface by holding down SHIFT when pressing either of
the TAB buttons.
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49. Click cell just to the right of the SKIP entry. Type “home” (without quotes) on the keyboard
50. Press ENTER – the cursor will automatically advance to the next cell and await further input.
51. Type “visitors”.
At this point, the entries in your first TAGS tab should resemble Figure 37. Let’s add some entries to the
other default tab, and then stop to review what we’ve accomplished.
52. Press SHIFT plus the TAB RIGHT button to show the next TAGS tab (named PLAYER by default).
53. Enter “Baker” into the first empty cell (at row:column coordinates 0:2), and “Smith” into the cell
at coordinates 0:3.
54. Continue adding text values to the PLAYER tab cells until first two rows are full.
55. Press SHIFT + TAB RIGHT again, advancing to the third tab. Add “touchdown” to the 0:1 cell, and
“foul” to the cell at 0:2.
56. Add more values to this tab if you like, and then turn off the Edit Tags button.
USING TAGS
Having prepared some tags, let’s try this feature out.
57. Use SHIFT + TAB as required to select the first TAGS pane tab (TEAM).
58. Make sure the Auto Advance button (at right in the TAGS pane titlebar) is turned on.
59. Enable the TAGS button on the Control Surface, delegating the number pad to tag mode.
60. Activate recording.
61. Push OUT on the Control Surface to add a new event to the CLIP LIST.
Tip: In our example, all entries in the first TAGS pane tab are on its top row. Thus we don’t to enter a row
number to identify a tag cell. That’s why the bright green background appears behind the column
numbers in this case. This green ‘hint’ informs us which digit(s) to enter next to specify a tag – in this
case, just the column number.
62. Press the number “1” on the Control Surface number pad (don’t press ENTER just yet).
Observe, first, that the text value “home” has been added to the FastClip dataview. This is the value from
the 0:1 cell in the TAGS pane. Also, notice that the TAGS pane’s Auto Advance feature automatically
presented the next tab (PLAYER), and awaits further input.
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Let’s add some more metadata to complete our Memo entry for this clip.
63. Enter “03” using the number pad – again, do not press ENTER.
64. Now enter “02”, using the number pad.
The dataview should now show the value “home smith foul”. By entering just 5 digits, we have formed a
little metadata ‘sentence’. (Of course your working TAGS entries could be more or less complex, and
diverse.)
65. Push ENTER to complete the tagging operation. (Remember that SHIFT + ENTER would have
pushed the value shown in the dataview window to all angles for the current event.)
Tip: Tagging works whether the TAGS pane is displayed or hidden. Often-used tag numbers quickly
become second nature, and of course it can be useful to match tag coordinates with player numbers. You
will soon be writing “Memoires of a Replay Artist” using nothing but tags.
4.8 SEARCH AND GO TO
Let’s experiment briefly with SEARCH and GO TO.
66. Tag or otherwise add comments to the Memo cells for a few different clips in different events.
Use different entries for some clips, but matching entries for others. In one or two cases, add
67. Navigate to a Memo field – its current value is snapped into the dataview.
68. Push SEARCH.
The current dataview value serves as criteria for the search. Immediately, all events which have at least
one clip with a matching Memo entry are displayed in the Search Results tab.
Tip: Search looks for matches for each element (‘word’) in the search criteria. If any single element is
located in a Memo cell for a clip, the entire event - all angles - is displayed in Search Results. See Chapter
13 for full details.
A broad search criteria value can be useful at times, but may produce more results than you wish. For
example:
69. Add Memo fields for clips in different events with the following entries:
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a. home smith tackle
b. visitor smith foul
c. smithers
70. Search for “smith” (without quotes). All three events with the entries above in their Memo cells
will appear in Search Results.
71. TAB back to the original CLIPS LIST tab, and use the keyboard to replace the current dataview
value with “smith foul” – but this time, do include quotation marks as shown.
This time you will get a single match in Search Results. SEARCH treats text enclosed in quotes (single or
double) as one search element. Note that the search algorithm is very literal; in the example above, “foul
smith” would not have produced a single match.
Let’s try one more thing (again, much more on these topics can be found in Chapter 13).
72. Perform a search (your choice!) that produces a number of matches.
Now, in a real working session, you might have many tabs full of marked and commented clips. A quick,
broad search will often produce numerous matches. Your eye quickly picks out that special one you are
interested in, but you’d like to find its actual CLIPS LIST location, for other management operations.
73. Navigate to the event row you’re after in Search Results, then punch GO TO.
That one event is immediately highlighted in its original CLIP LIST tab, ready for further manipulation.
Tip: GO TO normally takes CLIP ID numbers as input. Alternatively, with a timecode entry in the
dataview, push SHIFT + GO TO. This engages Delayed playback mode, and jumps the playhead
immediately to the specified timecode.
4.9 TR IMMING EVENTS
74. Use the Arrow keys to navigate the CLIP LIST selection highlight into the In Point for an event.
Normally, jogging through clips with the JOG wheel is bounded by the In Point and of the selected event.
What if you want to move outside those limits to re-trim a clip?
75. Hold down SHIFT while jogging. This lets you move into ‘uncharted territory’. Watch the current
timecode value in the Channel Info pane as you do so.
76. With SHIFT still depressed, press IN to update the set In Point for the event.
Tip: The same method allows you to edit the Out Point. Alternatively, you can drag left or right with the
mouse over a numeric field, or use direct text entry to modify the value in the dataview and then press
ENTER to complete the update.
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4.10 M ANAGI NG EVEN TS
77. With the mouse, drag either the Event ID column entry or the Memo field for any clip in an event
up or down and release it, to re-order the events in the CLIP LIST.
78. Test the use of COPY, SHIFT + COPY (PASTE) and PUBLISH to remove events or PLAY LIST clips, or
move them between tabbed panes.
Tip: You can also use standard shortcut keys (Ctrl + x, Ctrl + c, and Ctrl + v) to manage clips, or right-click
Event ID or Memo fields to show a menu with Cut, Copy, Paste, Audio Level and Add to Publish Queue
options.
4.11 P REPAR ING A PLAY LIST
4.11.1 ADDING CLIPS
79. Select the Memo field for a clip in the CLIP LIST, and then press ADD TO PLAY LIST on the Control
Surface. (A single clip is added to the PLAY LIST.)
80. Select the CLIP ID cell for an event instead of a Memo, and press ADD TO PLAY LIST. (Clips from all
camera angles for the event are added to the PLAY LIST.)
81. Hold down SHIFT, and use the arrow keys to multi-select several clips by highlighting their Memo
fields. Press ADD TO PLAY LIST. (All selected are added to the PLAY LIST.)
82. Using the mouse, drag the Event ID field for an event row onto the PLAY LIST pane. (Clips from all
camera angles for the event are added to the PLAY LIST in order.)
4.11.2 EDITI NG AND PLAYB ACK
83. Use the controls in the Audio columns of the PLAY LIST to adjust audio levels for the clips.
84. Click a cell in the Transition column, and choose a different transition from the palette that pops
up.
Tip: To select a transition that isn’t currently shown in the palette, roll over one if the nine icons, and click
the + sign button that appears to see the Media Browser, which will let pick another transition to replace
the current palette entry.
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85. Roll the Jog Wheel to move through the PLAY LIST sequence, and watch the output monitor. As
play moves from the Out Point of one clip to the In Point of the next, note that the red ‘currently
playing’ highlight in the Clip ID column at left tracks the current playback position.
86. Click the Music Track switch in the PLAY LIST titlebar, and then select Browse from the nearby
drop-down menu to select a music file.
87. Click the gear button to the right of the music menu to access the music volume control, and press
Play, and notice that playback commences from the current position.
4.11.3 SPEED CONTROL
You can set Speed independently for each clip in the PLAY LIST, in similar fashion to setting audio levels.
But you can also make interactive speed adjustments even during playback.
88. Press Play, and then adjust the T-Bar while watching the output monitor, and the speed
percentage readout in Channel info.
T-Bar and the setting for each PLAY LIST clip in its Speed column combine to produce the actual playback
rate. For example, if the clip’s Speed in the PLAY LIST table is 50%, and the T-Bar is also at 50%, the actual
playback rate will be 25%. Note that the Channel info display only reflects the current T-Bar position.
Tip: Note that although the maximum Speed you can set using presets or the T-Bar is 200%, but the PLAY
LIST control let you set Speed all the way up to 400%.
4.12 R ENDER ING A PLAY LIST
89. Click the Export to CLIP LIST button in the PLAY LIST titlebar.
Selecting this item ultimately melts the entire PLAY LIST project down to a new clip and adds it to the CLIP
LIST.
Note: Rendered PLAY LISTs, like other CLIP LIST entries, can be exported (to various popular file formats
or as-is) using the Export feature in the Replay Desktop’s Dashboard – see Chapter 16.
90. As we’ve reached the end of our introductory walkthrough, press SHIFT + REC to stop recording.
91. Then select Exit in the File menu to return to the Session page in Startup.
92. Press the large ‘arrow icon’ at upper left to return to the Home page, then click the Shutdown icon
93. Select Shutdown 3Play to power the unit down.
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PART II (REFERENCE)
A thorough examination of the various aspects of your NewTek 3Play 3P1™; every button, menu item,
feature and control is considered in this section so you can take full advantage of your system.
Page | 43
The Startup Screen is the gateway to your NewTek 3Play® functionality, and
also home to session management and system maintenance features.
Icons on the ring at left in the Startup Screen provide access to numerous
functions. We’ll discuss each of these in the pages that follow, but first – a
review of the concept of sessions.
5 THE STARTUP SC REEN
The Startup Screen appears whenever you launch NewTek 3Play®. From here, you create, configure,
manage and launch 3Play sessions by making selections from the icon ring.
Figure 38
Your intention may be to participate in a live production, or perform asset management functions within
an existing session. In either case, let’s consider a fundamental concept – the session. What is a session,
and why are sessions both important and valuable to you?
5.1 INTRODUCT ION T O SESSIO NS
Whenever you work with your 3Play system, you provide certain information about the production
environment:
What broadcast standard is used in your locale? Is it PAL, common in Europe among other places,
or perhaps NTSC, standard throughout North American regions?
Are your cameras or other live sources HD, SD or a mixture of both?
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How are cameras connected (are you using component or SDI connections, or a combination of
several types)?
As you continue, you may make other adjustments relevant to your current production requirements:
You might calibrate your cameras individually using the Proc Amp settings in the Input Configuration
panels.
Perhaps you will also use Display Proc Amps to adjust output color characteristics.
What are your output device connection preferences? For example, will you send video from
Channel A to a local reference monitor using component cabling, or perhaps another connection
type? Will you connect a downstream switcher to Channel B using HD-SDI? What external audio
connections and adjustments are required?
You might create PLAY LIST pages of clips and other content, along with pages full of recorded events
in the CLIP LIST.
The list of adjustments, activities and assets involved in a specific production goes on, but the main point
to grasp here is that the session entails of all of the above, collectively. Assuming you do not deliberately
delete the session, all of your media and all of your settings are ready for immediate recall.
When you re-open an existing session, it’s just as if you were continuing an earlier event. Thus, if you
return to the same venue another day under basically similar conditions, you can opt to simply re-open
your prior session and be virtually ready to go. (Professional wisdom, of course, calls for testing everything
before actually beginning the event.) Naturally, you can store multiple sessions and load any session
freely. This greatly simplifies business models that involve regular trips to several venues, a number of
similar consecutive events, or different users with their own specific needs.
5.2 THE HOME PAGE
Figure 39
Having discussed sessions, let’s go on to consider how you create them, and choose which one to work
on when you have several to choose from. This and a few other top level functions are found in the 3Play’s
Home page.
Page | 46
Figure 42
Figure 40
Figure 41
This is the first thing you encounter on launching 3Play.
Figure 40 shows the Home page menu.
When you click a link in the menu (such as New or
Open), the right-hand pane of the Home page updates
to provide options related to your selection.
For example, the first thing you will generally do is
create a session. (In anticipation of this action, the New
link is automatically pre-selected on launch.) This
results in the corresponding session options pane being
displayed, as shown in Figure 40.
5.2.1 NE W (SE SSION )
As just mentioned, clicking New populates the pane at
right with related options. Principally, for each session
you must designate (by selecting switches) your local
video standard – select NTSC, or PAL) and session format
– e.g., 1080/60p, or perhaps 1080/60i, etc.
SESSION NAME
You will see a name entry field above the session options
in the pane at right. Click in this name field to provide a
suitable name using your keyboard.
TEMPLATE
The Template drop-down menu lists all existing sessions
currently available on the system.
If you select one of the entries, the new session will
retain all custom settings of the source session, but
will not include its CLIP LIST or PLAY LIST media
content.
Page | 47
RECORD MODE
Figure 43
For 3RU models, two optional session modes offer either Redundant (4-channel) recording or Standard (8
Channel) working modes. Generally, hard drives can capture input from two live sources), while keeping
up with concurrent playback demands.
REDUNDANT (4-CHANNEL)
In this mode, data for each input channel is mirrored to a second drive, providing failsafe storage and
convenient sharing options for your critical footage. This limits capture to four sources (one pair of
sources on each pair of drives, as it were).
Tip: The duplicate copies provide redundant data security, and also permit you to offload a complete
record of the production for archival or post-production purposes while still having a working session on
3Play (the Session Volume must be mounted in this case).
STANDARD (8 CHANNEL)
Standard mode stores just a single copy of your recorded data, freeing up storage volumes to be assigned
to more cameras.
STORAGE VOLUMES
Figure 44
Beneath this you will notice a control group labeled Storage Volumes. In this section, you will assign one
or more storage devices to be used for replay clips you will record, and other assets associated with the
session.
Tip: The titlebar of the Home page has an Eject button to allow you to disconnect and remove storage
media.
Page | 48
Suitable hard drives added to a removable drive bay or otherwise connected are listed in the Drives
column. 3Play attempts to make an appropriate initial guess at how best to distribute the drives it detects,
but you can manually select drives as well.
Note: In Standard (8 Channel) session mode, the Backup column in this area is not used.
Again, it is recommended that no more than two sources be assigned to a single volume in either the
Primary or Backup drive assignment columns. If too few drives are mounted, it will not be possible to
assign drives to all camera pairs.
Note: In some cases (i.e., very fast volumes) you can sidestep the restriction above (volume labels are
orange if more than one input pair is assigned). However, menu rows for inputs are enabled according
to the number of drives detected. Even with the world’s fastest, biggest storage volume connected,
another qualified drive must be detected before you can configure the second camera pair (3, 4), and so
on – even though you don’t plan to use the extra drive(s).
Use the drop-down menus under Inputs to assign drives for recording camera pairs listed in the same row.
SESSION VOLUME
Figure 45
You could think of the Session Volume as storing all of the ‘non-a/v data’ required by a session, including
input settings, metadata, etc. Normally, the actual a/v files will be located on multiple drives, but the
Session Volume you choose in this menu can be considered the ‘master’, and must be mounted to open
(or re-open) a session.
VIDEO STANDARD AND RESOLUTION
The format of video output by 3Play varies according to the session type. The session settings also affect
capture. For example, if your session format is SD 4:3, this is the format normally captured by the Record
function, even when the input Connection Type might be HD to accommodate a specific camera; the
converse is also true. The frame is scaled and cropped as required to properly match the session setting,
regardless of input type.
Page | 49
Figure 46
3Play also provides Video Standard options, allowing you to choose between NTSC or PAL for your session,
according to your local regional requirements. The Resolution radio button groups allow you to further
configure the recording and output format for the new session.
Note: See Section 7.1 for more information on Video Output configurations.
Having made your selections, you would normally click the Create Session button at lower right (then
Create Session to launch the Replay Desktop); but first, let’s explore the features of the Home page a bit
more.
5.2.2 OPEN (SESSIO N)
If there are existing sessions on any currently mounted drive(s), the Home Page menu will default to the
Open link (Figure 47).
Figure 47
When Open is selected, the Sessions List appears at right. This pane shows all sessions stored on currently
mounted drives. The Session Name and video format for each is listed separately under a header named
for the storage volume they are located on (Figure 48).
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Figure 49
Figure 48
Note: Media configured as Read-only is not shown for the New or Open (session) features, since they
cannot be used for sessions. However, Read-only media can be used for import purposes.
CONTEXT MENU
Right-click a session name to open a context menu with two items listed in it: Rename and Delete. The
Delete function should be used thoughtfully, as it cannot be undone. All content stored in the named
session’s folders on currently mounted drives will be deleted. This will include clips, images and audio
files associated with the session.
Note: Content that is not local to the session but which was used in it is not deleted. For example, you
may have added still images to your PLAY LIST directly from a USB thumb-drive, doing so without
actually importing the files into the session. Those external files will not be deleted.
OPENING A SESSION
Simply click the desired session name with the mouse to open it immediately). Selecting a session takes
you away from the Home page to the Session page. Let’s look at the other Home page features briefly
before we go on to open a session, though.
5.2.3 SHUTDOW N
This menu selection provides Restart 3Play,
Shutdown 3Play, and Exit to Windows links in
the right-hand pane. Click a selection to
perform the named action in the usual manner.
(In the case of the Exit to Windows function,
return to the 3Play environment later by
double-clicking the 3Play desktop icon.)
5.2.4 UTILITI ES
Selecting Utilities from the Home Page menu presents a list of functions at right that have to do with the
3Play system.
Page | 51
Figure 51
Figure 50
REGISTER 3PLAY
Registration is required to remove the watermark from
output, in part to encourage you to register early.
Doing so will serve to identify the unit to NewTek as
yours in case of theft, and will also allow you to check for
software updates that may have been recently released.
(The steps in the Registration process were outlined back
in Section 3.2, so we won’t repeat them here.)
UPDATE 3PLAY
Periodically, NewTek may provide software updates for your 3Play. Updates can enhance performance,
security or even add useful new features. If the system is connected to the internet, clicking Update 3Play
will walk you through the process of checking for new software patches provided by NewTek. This way
you can be sure the very latest version of the software for your system is installed.
Tip: If you wish, you can download updates to another computer connected to the Internet, then transfer
the downloaded files to 3Play using a network connection or perhaps a USB thumb-drive.
DEFRAGMENT ALL DRIVES
Over the course of time, storage volumes devoted to audio
and video storage can become fragmented. Eventually, this
can degrade playback performance. Defragmenting corrects
this condition.
You could think of your hard drive as being like a shelf in your
library. As time goes along, the shelf fills with books (data).
Some are large while others are small, just as 3Play session
content may be larger or smaller.
To make room for new additions, you decide to remove books
you have finished with from the shelf.
You remove a book here, another there, opening up gaps between the remaining books. This makes some
shelf space available, but does so in the form of gaps separated by the remaining books. Sadly, when you
obtain another large book, it may be too big to fit in any one of the gaps.
A foolish librarian might tear the new book into sections just big enough to fit into the open spaces on the
shelf. This is would obviously be unwise. When you wish to refer to the book later you will lose a lot of
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Figure 52
time locating and assembling its sections before you can read it. How much better it would be to slide the
remaining books closer together, combining all the free space first. Unfortunately, computers are ‘foolish
librarians’. They tend to want to fill in all the gaps in their storage areas, even if it means literally shredding
your ‘book’ (in reality large video files from your sessions) into tiny fragments.
Defragmenting the storage volume has the same effect as sliding the books together, resulting in less and
larger gaps. The end result is that 3Play doesn’t have to frantically search in many different places to
assemble the video data you have recorded. This process (defragmentation) can take considerable time,
so it’s not something you want to begin just before an important event.
BACKUP OR RESTORE SYSTEM
A complete system restore function is available in the event of an unforeseen problem. This does not
merely restore the operating system, or other data files. Rather, it restores the system to an ‘as-shipped’
software state. Please refer to Section A.5.6 in Appendix A for full details and usage notes.
5.2.5 HELP
Click the 3Play User Guide link to open the manual.
Click the License Agreement link to review the 3Play end user license.
Click About 3Play to list version information, credits and acknowledgments.
5.2.6 ADD-ONS
The included Animation Store Creator add-on application permits you to create your own custom
Animation Store transitions (see Chapter 14).
5.3 THE SESSION PA GE
Opening a session from the Home page (whether using Open or New) takes
you to the Session Page (, providing a new set of options as links at right.
The name of the current session is shown in the top-left corner of the screen
(Figure 52). The session is displayed in the form “Home/session name”.
If you wish to leave the current session and return to the Home page, you
can click the large Back Arrow displayed beneath the session name, or the
word “Home” in the session name label.
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5.3.1 FILE MANAGEM ENT
Figure 53
At times you may find it useful to be able to quickly access the various files associated with the current
session. The links at right on the Session page under the heading Browse provide access to default session
folders. Clicking one of these links (or selecting it with the up/down arrow keys and pressing Enter) opens
a system file explorer.
You can use the familiar features and shortcut keystrokes in these windows (Cut, Copy, Paste, Rename,
Delete and so-on) to manage session assets.
Tip: Of course, you can open several of these folders simultaneously, and navigate these file windows to
other locations as well. For example, you might copy files from one session into a folder for another.
Several other important features are found here, including Import Media as discussed next.
IMPORT MEDIA
Clicking the Import Media link opens a custom import panel offering batch import of files for use in 3Play’s
CLIP LIST and PLAY LIST. It even allows you to transcode files to appropriate high quality 3Play-friendly file
formats at the same time if you wish.
Import Media’s quick processing makes this the fastest and most convenient way to prepare production
assets for a session. Click Add to open a standard system file window, and select (or multi-select) items to
build a list in the Import Media file pane.
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Figure 55
Figure 54
Some highly compressed video files may not
be well suited to live playback. Enable
switches in the Transcode column for files
you wish to convert to a friendlier format on
import. Files can be re-ordered by dragging
their entries up or down with the mouse, or
removed from the list by highlighting them
and clicking Remove.
Once the batch import list is prepared, click
Import to complete the operation.
Files are processed quickly, and are automatically added to
Import folders properly located according to type for easy
access in different modules as required during live
production.
Note: Sections 11.1.5, A.4.2 and A.4.3 discuss other aspects of importing media files.
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The Replay Desktop serves as your production control center. It provides
control over input and output configuration, recording, clip marking, PLAY
LIST preparation and playback, and much more.
This chapter provides a top-level view of the Replay Desktop, with more
detailed information following in subsequent chapters.
1 – Dashboard
2 – Monitoring
3 – Toolbar
3 – CLIP LIST
4 – PLAY LIST
5 - TAGS
6 THE REP LAY D ESKTOP
The Replay Desktop is launched by creating (or opening) a session in the Startup Screen, then clicking the
large Start Session button.
6.1 OVERVIEW
The Replay Desktop requires a minimum screen resolution of 1600 x 1050.
Figure 56
The Replay Desktop provides visual feedback for operations, including monitoring features, clip marking,
and so on. By default, it is divided into six horizontal bands (Figure 56).
These are listed the table presented next, in order from top to bottom.
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•Menus (settings and options), quick access to Grab, Record, and timecode are shown when
the mouse pointer is moved over this area of the screen.
1 - Dashboard
• Input Monitors - monitor all active inputs for the session
• Output Monitors - large full-time monitors for Output A and B, with Channel Info displays
• (Configurable Multiview display on secondary monitor)
2 - Monitoring
• FastClip toolbar - displays clip /event data and text input, includes Search tools
• Transitions, Overlays and Transport - playback, program-preview transitions and DSKs
3 - Toolbar
• Speadsheet style event management; lists marked events as rows with In Point, Out Point
and Duration
• Trim, re-order and organize events in renamable tabs
• Add unique comments for individual clips (angles)
• Select and play clips
• Integral clip monitors show all angles of the current event row simultaenously
• Search results tab
4 - CLIP LIST
•Add clips and other content to create highlights reels, complete with optional transitions
and music
•Export play lists, including transitions and sounds, as rendered clips
5 - PLAY LIST
• Powerful tagging system; quickly add pre-defined tags to the FastClip dataview for
commenting, Search and more
6 - TAGS
6.2 A FEW HINTS
You will find various types of user controls in the Replay Desktop. Some examples are shown in the table
below. Several convenience features are associated with these controls.
As you would expect, all slider controls (whether their motion is vertical or horizontal) can be set
to a new value by holding down the left mouse button and dragging in the direction of the control
orientation.
Hold down the keyboard Shift key and double-click most controls to reset the associated value to
its factory default.
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Control Type
Type
Examples
Usage
Numeric field
In Point, Out
Point, Duration,
Crossfade, etc.
Drag in line with the control
orientation to raise or lower
the current value. Or select
and type, and then press
Enter. (Esc to cancel
changes.)
Numeric
slider
Audio Gain, Proc
Amp controls,
etc.
Drag in line with the control’s
orientation to raise or lower
the current value.
Or select and type, and then
press Enter. (Esc to cancel
changes.)
Text field
(dialog)
Input and
Output
Configuration
panels
Click the field to activate it,
and then type.
Text field (list)
CLIP LIST –
Memo
Select field and type, and
then press Enter. (Esc to
cancel changes.)
Tip: To make very fine adjustments to slider values, hold down the Ctrl key on your keyboard while
dragging with the mouse (this increases accuracy by a factor of 10.)
6.3 CUSTOMIZI NG TH E R EPLAY DESK TOP
The Replay Desktop offers several convenient provisions for tweaking the user interface to suit your
particular needs.
6.3.1 RENAME
As charming as descriptive names like Camera 1, Camera 2 and so on are, we must admit that it’s possible
you might wish to change these default labels to something localized.
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Figure 57
To do so, click the Configuration button (gear icon) at right in the monitor titlebar for a given input. The
Input Configuration panels have editable Name text fields for each source.
6.3.2 MULTIPLE D ISPLA YS AN D MONITORING
The Replay Desktop monitor tabs and Multiview options can be flexibly combined to show what you want
to see, where you want to see it.
Monitor connected to 3Play’s backplane video ports are detected by the operating system, and become
available for configuration the Workspaces menu accessed on the Dashboard at the top of the Desktop.
For example, if you position the mouse pointer over the horizontal CLIP LIST drag bar, the mouse pointer
becomes a double-headed arrow. Click and hold the mouse button, and drag the bar all the way to the
top of the screen.
This provides a useful full-screen CLIP LIST and PLAY LIST view, while still being able to monitor input and
output on another Multiview display. Likewise, you can drag the horizontal divider between the CLIP LIST
and PLAY LIST to re-size them to taste. (Feel free to revert to the standard view if you prefer.)
6.4 DA SHBOARD TOOLS
Figure 58
The Replay Desktop DASHBOARD (Figure 58) provides useful data. Info displayed when the mouse pointer
is rolled over this area includes:
File, Options, Macros, and Workspaces menus, and …
Status messages (Section 6.4.1)
Figure 59
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Figure 60
Time Recorded and Left on Disk (estimate of room available at current recording rates on the
‘most full’ session volume)
Grab tool and configuration controls
Record (toggle) and time elapsed since the current recording began
Time (from external timecode input or system clock)and Timecode Configuration
Web (globe) button: view the internal webpage system
6.4.1 STATUS MESSAGES
An information display is conveniently located at left above
the input monitors. From time to time this bar displays
information pertaining to operations or system status,
including any cautionary indications. For example, a brief
initialization is required following a system start (or restart) for video playback to stabilize. During this
warm-up period, an initialization countdown is displayed in the Status Bar.
Note: Status messages disappear on their own after a little while, but you can manually dismiss them by
clicking the square icon shown to the left of the text message.
6.4.2 MENUS ( FILE, OPTI ONS, MAC ROS, AN D WOR KSPAC ES)
Figure 61
The Replay Desktop DASHBOARD has important menu options at left, discussed individually next.
FILE
Share Publish Queue – Open the Publish Queue panel to manage content you wish to upload
(share) or copy to other locations (see Chapter 15 for full details on 3Play’s Publish features).
Set Publish Destinations – Pre-configure targets for media assets added to the Publish Queue,
whether automatically as a result of settings for the Grab feature, or manually from the CLIP LIST
or PLAY LIST (see Chapter 15 for full details on 3Play’s Publish features).
Share Media Folders on Network – Each session has unique folders for its media assets.
This is where the Import Media places session content; these folders are easily located from the
Add Media browser in the Replay Desktop. You can enable or disable access to the media folders
related to the active session across the network using this menu item.
Eject – Dismount one of the storage volumes in 3Play’s hot-swap drive bays (or another external
volume) preparatory to disconnection or removal.
Exit – Leave the Replay Desktop and return to the Session screen.
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Figure 62
OPTIONS
One Button Marking – Section 8.10.1 discusses methods you will use to mark (define the in and
out points for) CLIP LIST events. The “one button marking” method requires only that you press
the OUT button; an In point is set automatically at a pre-defined earlier time. This menu items
lets you choose the offset used for the automatic In point.
Still Image Duration – Choose the default duration applied to still images added to the CLIP or
PLAY LIST.
Out Point Padding – This menu item optionally allows play to continue past the actual Out point
for CLIP LIST events from a minimum period of five seconds to ‘infinite’ (i.e., until the recorded
file ends or you press STOP).
CLIP LIST Previews – This option (not available in 3Play Mini) toggles the display of Clip Monitors
in the area below the CLIPS LIST tabs. Small previews show all recorded angles for the currently
active CLIP LIST event row.
Failsafe Camera Configuration – If you have enabled A/V Passthrough (see Section 7.1.2) you can
use this menu item to access setup controls for (video) Input 8 when the session is in Redundant
(4 Channel Mode).
Tally from TriCaster – When a downstream TriCaster is receiving 3Play’s network output via one
of its own Network Inputs, enable this option to shown red and green on-air tally borders around
3Play viewports (requires TriCaster Advanced Edition).
Single Pane View – This powerful option can have a dramatic impact on your replay workflow:
o Enable Single Pane View to collapse the CLIPS LIST and PLAY LIST panes into one ‘super’
module showing CLIPS LIST tabs at left, and PLAY LIST tabs at right.
o Drag items from a PLAY LIST onto PLAY LIST or CLIP LIST tabs to copy them to the target.
MACROS
3Play’s extensive Macros system provides a wealth of powerful capabilities. Macros and related tools are
discussed in detail in Chapter 17.
WORKSPACES
3Play supports multiple multiview monitor
displays (the number varies by model).
Multiview 1 is the Replay Desktop.
Optional layouts for additional Multiview
screens are added to the Workspaces menu as
supplemental display devices are detected.
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Figure 64
Figure 63
The layouts for all Multiview monitors is governed by Workspace presets. Roll the mouse over the
Dashboard to reveal the Workspaces menu, and click it. Then select a preset for either any Multiview
using this menu as shown (Figure 62).
Viewports also have further custom options, such as the display of VU meter overlays. See Section 9.1,
Overlay Options for details.
Note: Changing Multiview output options can cause frames to be dropped, so modifications during live
production are discouraged.
DISPLAY SETTINGS
Another item in the Workspaces menu is Display Color Settings. Select this to open a control panel with
multiple tabs, one for each detected display. The Monitor Resolution menu lets you configure the external
display device. Select the native resolution of the
device for best results.
The tabs provide Proc Amp controls for the
connected display devices.
These controls directly control graphics the
characteristics of output to each display, and
provide a great deal of convenience especially for
remote displays that would otherwise be difficult
or impossible to access.
6.5 GR AB & RECORD
We’ve discussed Record configuration back in Section 5.2.1,
and will do so again in Chapter 10.
The Grab feature is a very convenient tool, especially for use
in connection with use of the Export features (Chapter 16)
to upload imagery to popular social media sites, or for
immediate display on output. See Section 10.4 for more
information on Grab.
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NewTek 3Play® provides extensive control over your video signal at both
input and output stages. In addition to basic format connection options for
both audio and video inputs, each video source has its own realtime Proc
Amp.
Other important options include support for supplemental Multiview
monitors, external timecode support, and genlock configuration.
Figure 65
7 I/O CON FIGURATION
It is very useful to be able to configure each source and also 3Play’s many outputs independently. Source
configuration options ensure that you can match camera inputs to each other, that their signals fall within
legal ranges, and mix and match different types of camera. And display Proc Amp settings allow you to
make adjustments as appropriate to your specific needs.
Let’s begin with a consideration of Output Configuration tools.
7.1 OU TPUT CONFIGU RATIO N
To open the Output Configuration panel, double-click either
output monitor. Alternatively, roll the mouse pointer over
the Configure button that appears beneath the lower-right
corner of either monitor and click it – see Figure 65.
7.1.1 CHANNEL A AN D B
Figure 66
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The Output Configuration panel (Figure 66) has several tabbed panes. The first two are labeled Output A
and B, and contain controls discussed momentarily. The Genlock & Failsafe tab is home to important
video timing calibration controls. We’ll review it shortly, as well.)
The video format sent to 3Play’s video outputs (SDI or NDI) always matches the session format, which you
choose in the Startup screen when first creating the session.
Note: On 3Play’s rear panel, the VIDEO OUT group connectors labeled 1-4 carry channels A, B, and two
instances of Aux respectively.
NAME
The Name field is editable, allowing you to assign a custom name to each output. The name you supply
will appear in the Channel Info pane (Section 2.5) in the Desktop monitoring section and Multiview display.
AUDIO VOLUME
The Audio Volume slider in the Output Configuration panel lets you independently modulate the raw
source sound level before passing it to the corresponding audio output.
Note: You’ll recall that the audio and video connectors for Channel A are labeled “1” in the output
connector groups on 3Play’s backplane, while Channel B connectors are identified by the number “2”.
ENABLE REVERSE KEY
We’ll discuss this feature in the context of 3Play’s DSK (Downstream Keyer) features in Chapter 15.
7.1.2 GENLOCK & FAILSAF E
The Genlock feature allows 3Play to ‘lock’ its video output to timing derived from an external reference
signal (house sync, such as ‘black burst’) supplied to its genlock input connector.
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Figure 68
Figure 67
This allows 3Play output to be synchronized to other external equipment that is locked to the same
reference. Genlocking is not an absolute requirement in most cases, but is recommended whenever you
have the capability.
Tip: “Genlock” refers to “generator locking”. Professional video devices often provide a “genlock input”,
which allows an external reference signal (often referred to as ‘house sync’) to control its video timing.
The output of video devices connected in this manner is synchronized to the reference signal, and they
are referred to as ‘genlocked’.
The 3Play system accepts input from multiple video sources. Miniscule local timing differences between
these may result in tiny delays during downstream switching operations.
Serving the same reference signal to i) the system’s Genlock input and ii) other video devices in the chain
is the best approach, and ensures a match between 3Play system output and any downstream video
devices required to handle both it and any other (genlocked) sources.
VERTICAL POSITION, HORIZONTAL POSITION AND PHASE
Locking all devices to house sync is important, but this alone does not
actually ensure a perfect downstream match.
Consider an army marching along: each step the soldiers take occurs at
precisely the same moment, so we could say their timing is
synchronized.
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Even so, problems result if one soldier leads with the left foot while others are on the right. Or perhaps
everyone is evenly spaced and perfectly aligned but for one misfit who ‘tailgates’ the soldier ahead of him
and keeps stepping on his heels.
This is essentially why the Genlock tab provides several settings. The Horizontal and Vertical Position
settings pin the image in the proper space in the frame, and in doing so could be likened to making sure
each marching soldier is in position relative to his fellows (as viewed from above).
The Phase setting ensures proper color alignment, corresponding to making sure everyone is on the left
or right foot at the same time.
Thus, the Vert Position, Horiz Position and Phase settings allow you to tweak synchronization to arrive at
an optimum match between devices. (Typically, these settings are fine-tuned with the aid of downstream
vectorscope and waveform monitors.) A discussion of these adjustments goes beyond the scope of this
manual, but a quick online search for the keywords “genlock” and “adjust” turns up a number of excellent
references.
REFERENCE TYPE
The ‘bi-level’ reference signal long used for standard definition television is often used for genlocking both
SD and HD installations. However, if you are supplying an HD reference signal to the Genlock input (and
your other equipment), select the HD (Tri-level) switch in the Reference Type area of the Genlock tab.
Note: Reference Type options do not appear for SD sessions.
CENTER FREQUENCY
Figure 69
This setting is applied when a Genlock reference signal is not in use. To adjust the setting, supply color
bars to an input, pass that through to a video output, and then to a downstream vectorscope. The
vectorscope display is completely stable when Center Frequency is properly adjusted.
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Figure 71
FAILSAFE
Figure 70
3Play’s multi-tiered ‘Always on Air’ hardware and software failsafe systems (see Section 2.6.2) provide
confidence that short of a complete power failure the show will go on.
In some settings, however, more elaborate hardware failsafe systems may be in use. Typically, such
systems take over broadcast duties whenever the output signal fails. In this case or for other reasons,
3Play’s failsafe video passthrough mechanism (which ensures that video output continues even in
catastrophic circumstances) may be redundant, or even prevent the external system from engaging.
For this reason and others, the Failsafe section in Output Configuration has a switch that lets you to disable
the A/V passthrough when necessary. By default, A/V Passthrough is off.
Tip: Only use fail-safe when a stable video source is connected to the highest number SDI video connector
on 3Play’s backplane.
7.1.3 MULTIVI EW
Multiview options, layouts and Display Settings are available from the Workspaces menu (located in the
Dashboard). For best results, configure the Multiview output to the native resolution of the external
display (monitor or projector) connected to it. See Section 6.4.2 for details of the Workspaces menu.
7.2 INPUT CON FIGUR ATION
The Configure button (gear) in the label area below each input
monitor brightens when you roll the mouse pointer over it.
Clicking it opens the Configuration panel for that source.
Alternatively, simply double-click an input monitor to open the corresponding Input Configuration panel.
The upper portion of this panel is devoted to video-related settings, while the lower part holds audio
controls.
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7.2.1 INPUT S ETTINGS
VIDEO SOURCE AND FORMAT
Figure 72
The Input Settings tab in the Input Configuration panel features a Connection Type menu at the top. The
available sources listing leads off with Local options, representing the hardware SDI input connections on
3Play’s backplane. After this you will see any available NDI® (Network Device Interface) sources on your
network listed.
Format options offered below the Source selector include auto-detection options suitable for most
sources, and manual options that vary with the session video standard, PAL or NTSC.
Hint: Changing from one video standard to another requires opening a new session. All connected
cameras must conform to the video standard of the current session.
The Format options provided in an NTSC session are as follows:
1080/59.94p
1080/59.94i
1080/29.97p
1080/29.97PsF
1080/23.98p
1080/23.98 Telecine
720/59.94p
720/29.97p
720/24p
480i (16:9)
480i (4:3)
The Format options provided in a PAL session are as follows:
1080/50p
1080/50i
1080/25p
1080/25PsF
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720/50p
720/25p
576i (16:9)
576i (4:3)
NAME
The Name field (next to Connection Type) is editable, allowing you to enter a custom name for each input.
The name supplied will appear elsewhere in the user interface, including in the HUD (Heads-Up Display).
AUDIO SETTINGS
Figure 73
Section 3.9 detailed Input Configuration panel controls devoted to Audio setup. Just to review briefly, the
Format menu provides options suited to the type of source selected above.
The neighboring Gain slider adds a range of adjustment beyond the basic level established by the Input
Type selection, permitting you to benchmark individual sources. The Mute switch, when enabled,
prevents this particular audio source from being heard at all in captured files or on output.
VU METERS
The audio VU meters (VU stands for Volume Unit) beside each video input monitor serve several purposes.
At the simplest level, as you record audio with your video (or pass it through to output), the input meters
assure you that audio is arriving at the audio inputs.
Likewise, the output VU meters provide confidence that you are supplying audio to the outputs. More
importantly, you can monitor audio levels to be sure you are not overdriving the system, which would
result in clipping of the signal.
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7.2.2 COLOR BALANCE
AUTO COLOR
Figure 74
Lighting conditions can change dramatically during many live events, especially those held outdoors.
Adding to this problem, production usually involves multiple cameras and, all too often, these may not
have uniform color characteristics.
Ensuring consistent color when switching from one angle to another, avoiding unwelcome brightness or
color shifts as evening falls or when a cloud obscures the sun briefly can be troublesome, and expensive.
To help you overcome these problems, 3Play’s Input Configuration panel provides Auto Color, a unique
feature capable of dynamically adapting the color characteristics of your video sources as lighting
conditions vary. For many productions, simply enabling the Auto Color switch is all it takes to produce a
show that looks amazingly consistent.
MULTICAM
By default, each camera with Auto Color enabled is processed uniquely – without reference to other
sources. Often, though, even greater consistency can be achieved by treating sources in similar
illumination environments as a group. Enable Multicam for several cameras causes Auto Color to evaluate
and adjust these cameras in unison. You might, for example, enable Multicam for court-side cameras in
an interior sports venue, while treating exterior or studio feeds individually.
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LISTEN ONLY
The Listen Only switch allows you to include a source in the Multicam group without adding its own feed
to the group evaluation. Thus a camera trained on Fenway Park’s giant ‘Green Monster’ left-field wall can
be automatically corrected without disproportionately biasing the group evaluation and consequent Auto
Color correction. Alternatively, one might enable Multicam for a number of sources, turning Listen Only
on for all but one camera – effectively making that camera the color reference all other cameras in the
group will follow.
Note: The Proc Amps, discussed next, are downstream of the new Auto Color system. This allows you to
can Proc Amps settings to apply further manual color adjustments to your individual sources, whether for
fine tuning or to achieve a specific “look”.
PROC AMP
Proc Amp adjustments can be toggled on and off using the Proc Amp switch at upper left, or reset by
clicking the Restore Defaults button.
Figure 75
. Each Proc Amp has numeric slider controls for:
Brightness: Adjustment range from -50 to +50 IRE (the default being 0). As reference, the full
luminance range of a video signal can be thought of as ‘100 IRE units’ (named for the Institute of
Radio Engineers) – ignoring minor regional variations.
Contrast – Adjustment range from 25 - 400% (default 100%).
Hue – Adjustment range from -180° to +180°. Adjusts the master color of the video signal from
the attached source, swinging the entire image through the color wheel’s spectrum.
Saturation – Adjustment range from 0-500%. Zero saturation results in a ‘black and white’ picture;
increased saturation results in richer colors. High saturation values can exaggerate the color
portion of the signal.
(You should be aware that over-saturated colors are considered illegal for broadcast transmission,
and may result in display problems on some devices.)
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Note: Proc Amps are very useful. However, keep in mind that, whenever possible, it is best to perform
color adjustments at the source or target device.
For example, it is preferable to calibrate a camera's colors at the camera, before sending the signal to
the 3Play system. Doing so will yield higher color precision. Similarly, it’s often better to adjust output
color using controls on down-stream monitors. (The Display Proc Amps can never completely
compensate for a badly calibrated monitor.)
The Proc Amps are especially useful for occasions when no external options are available. (Some cameras
lack built-in color controls. At other times the physical placement of a device can make access
inconvenient).
WHITE BALANCE
To automatically white balance a source, click and hold the mouse button over the Color (eyedropper)
button, and then slide the pointer on the monitor for the corresponding source. Release the mouse
button over a part of the image that should be white.
ADVANCED COLOR GROUP
Figure 76
Expand the Advanced control group to access more elaborate color controls for individual color channels.
7.3 TIMECODE CONFI GURAT ION
NewTek 3Play can supply timecode from its internal system clock, or can refer to an external LTC (Linear
Timecode) source supplied to 3Play inputs (see Section 3.3.3). This timecode is embedded in video files
captured during the session. A Configuration button (gear) beside the Timecode display in the Replay
Desktop Dashboard opens the Timecode Configuration panel.
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Figure 77
Figure 78
7.3.1 PRODUCTION T IME DISP LAY
The control group labeled Production Time Display allows you to
enter time values that are specific to the current event. When the
Start switch is lit, the time you set in the numeric field at right is
used to supply the Production Start time display in Multiview
screen layouts that include clocks).
This provides a convenient warning as the time for your event
nears. In similar fashion, enabling the End switch and entering an
appropriate time displays a countdown to the end of the event
(shown once the Start time is surpassed) when clocks are displayed
on Multiview.
Tip: You can modify time values by clicking them and typing, or by
dragging the mouse point over them. You can ignore timecode
punctuation when entering numbers by typing the digits using 24
hour notation (for example, to enter 5:00.00 AM, press “5”, then
Enter. To set the time to 3:30 PM, type “1530” and press Enter.)
7.3.2 TIME
The Timecode control group menu allows you to select between
timecode sources as follows:
Tip: If the LTC source fails, the system automatically reverts to
Internal (System Clock) after a moment or two (an error flash
message is displayed in the Status Bar – see Section 6.4.1).
Another switch in the Time group allows you to optionally Subtract 12
Hours from the actual timecode. This lets you avoid confusion that
might arise later when sequencing files based on timecode that ‘wraps
around’ past midnight.
(Otherwise, for example, a video frame recorded one minute before midnight would be assigned the
timecode 23:59:59.00, while frames recorded one minute or more later would have timecode ≥
01:00:00.00 – seemingly a lower, i.e., earlier, timecode value.)
Note: 3Play assumes the external LTC signal matches session frame rate and timecode format. For
example, NTSC 29.97 and 59.97 sessions result in drop-frame timecode internally (all others are NDF).
Similarly, in a 24fps session LTC is treated as 24fps.
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During operation, your principal contact with the NewTek 3Play® system
will normally be though the use of the Control Surface. Using its buttons
and other controls, you can perform the great majority of necessary
functions.
This chapter describes the features of the Control Surface. Further
references to the Control Surface are made in context In subsequent
chapters, as well.
8 THE CON TROL SURFACE
The NewTek 3Play® Control Surface is purpose-
designed to provide responsive and comfortable
control over all commonly used production
functions of the system, without unnecessary
complexity. Its apparent simplicity is no
accident, and makes using your NewTek 3Play
straight forward, powerful, and trouble free.
In the sections that follow, we’ll review the
controls in each group on the Control Surface.
First, we should familiarize ourselves with an important concept related to 3Play’s primary output
channels, designated A and B.
Hint: NewTek’s optional LivePanel™ system includes a virtual Control Surface along with macro-driven UI
creation tools, all delivered via your network to a web browser.
8.1 DU AL CHAN NEL R EPLAY
In many ways, it would not be incorrect to think of your NewTek 3Play system as not just one, but two
conjoined ‘playout’ devices. The system features two fully independent audio/video busses and outputs,
referred to as Channel A and Channel B.
Figure 79
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The color in the Channel Info
area indicates the source
type sent to the channel:
blue for the CLIP LIST, gold
for PLAY LIST, and green for
Live (or Delayed sources.)
It also shows which channel
is delegated; normally, only
the delegated channel
displays a colored
background.
A thin white border marks
the delegated channel in
Link mode (since both panes
are colored - Figure 91).
Figure 80
Each output channel can function completely independently of
the other; either can be directed at any time to transmit any
available audio/video source, whether live or recorded.
Physically, these two channels are individually supplied to
connectors on the system’s backplate for output to downstream
devices. These comprise Output 1 (3Play’s Channel A output) and
2 (Channel B). During live production, both are represented on
the Replay Desktop by individual output monitors (Figure 79).
Tip: A third, special output is called Aux (for “Auxiliary”), and is
carried on Output 3 – more about Aux later.
8.1.1 CHANNEL DELEGATES
Transport (PLAY, STOP, etc.) and many other similar operations
normally affect just one channel. That selection is determined by
the active Channel Delegate button on the Control Surface.
Figure 81
Tip: You can also choose the currently delegated channel by clicking the mouse in The Channel Info area
beneath the output monitor for Channel A or B.
The active Channel Delegate determines the following matters:
What is shown in the CLIP and PLAY LIST panes on the Replay Desktop
This includes the selections shown in the CLIP and PLAY LIST tabs
The state of various Control Surface and user interface buttons and settings.
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As you would expect, pushing the Control
Surface button labeled A directs
operations to Channel A; Likewise,
pushing B assigns control operations to
Channel B.
Only one Channel Delegate can be selected at a time, and all operations and
input are directed to that channel and its source (certain controls can affect both
channels when LINK mode is on – see Section 8.4.1).
All of these attributes are stored independently for the two Channel Delegates. Switching from one
Channel Delegate to the other updates the Replay Desktop display when appropriate.
Note: Conveniently, supplementary a/v outputs referred to as AUX (Auxiliary) outputs automatically
update to show the display for your current Channel Delegate – A or B.
8.2 TR ANSITIO NS (T AKE | AU TO)
3Play’s powerful effects engine provides high end transitions (including powerful Animation Store effects,
with embedded overlays and sound) in several ways to suit varied requirements. You can even create your
own custom Animation Store transitions using the included Animation Store Creator add-on application.
Figure 82
These capabilities are so extensive that an entire chapter is devoted to them (see Chapter 14). For now,
we’ll just mention that the Control Surface’s Take and Auto buttons work just like their familiar namesakes
on a typical video switcher, permitting a ‘direct to display’ program/preview workflow in which Channel
B supplies program output, with Channel A serving as the preview bus.
Let’s consider 3Play’s Source Delegates next.
8.3 SOURCE DELEGAT ES
We’ve seen how the active Channel Delegate determines which output channel is controlled, but we’ve
yet to choose a specific audio/video source send to the channel (and control). That’s where the Source
Delegate comes into play.
Your NewTek 3Play can deliver audio/video output from one of three possible sources:
CLIP LIST – the currently selected clip (angle) in the CLIP LIST
PLAY LIST – output from the PLAY LIST
Live – the live (or Delayed) signal from one of the system inputs
As mentioned, 3Play’s dual channel design means that, at a given time, a/v data from one of the three
sources above is always assigned to Channel A, while Channel B could be carrying something else entirely.
Changing the source for the currently delegate channel simply requires pushing one of the Source
Delegate buttons.
Page | 79
Figure 83
Naturally only one Source Delegate can be active for a given channel at any time. Note that your Source
Delegate selection determines not only the source on the delegated channel, but also the source other
controls affect – whether LIVE (video from an input), the CLIPS LIST or PLAY LIST.
Tip: Another way to change the Source Delegate is to click the mouse in the CLIP LIST, PLAY LIST.
However, if you do this when video is playing on output, the Source Delegate does not update. (This is by
design, and allows you to enter comments or perform other management tasks without interrupting play
if you wish.)
8.3.1 CL IP LIST
While the CLIP LIST is delegated, Control Surface (along with corresponding keyboard and Desktop
transport control) operations are directed to the CLIP LIST.
A gold outline around the CLIP LIST confirms selection, and the item currently selected in the CLIP LIST is
automatically displayed on the delegated output (A or B).
8.3.2 PLAY LIST
While the PLAY LIST delegate button is active, Control Surface (along with corresponding keyboard and
Desktop transport control) operations are directed to the PLAY LIST. A blue border around the PLAY LIST
module signifies its delegated status and, again, the current selection is automatically displayed on the
delegated channel.
8.3.3 LIVE
Finally, while LIVE is delegated, as you would expect, you control a live source from the system inputs,
and it appears on the delegated channel (A or B).
In LIVE playback mode, transport operations (such as STOP, Jog or playback speed adjustments) can only
be performed when Record is enabled. (In such cases, output is actually no longer live, but Delayed. In
this case, no Source Delegate button is highlighted.)
Tip: When LIVE is delegated, select specific inputs by pressing number pad buttons on the Control
Surface while holding down the ANGLE button, or by using ANGLE + and buttons.
Page | 80
Figure 85
Figure 84
8.4 INDEPENDENT ST ATES
3Play stores the Control and Output Delegate states for Channel A and B independently, along with other
important parameters – including the current CLIP LIST or PLAY LIST selection state, playhead position,
and so on.
Consider an example:
• Channel A may be delegated to Clips, and playing a certain clip from the CLIP LIST
• Meanwhile, Channel B might display the same clip in slow motion, or something else
altogether – really any source, in any state of play.
When you newly select a Channel Delegate (A or B), the Replay Desktop display is refreshed to show the
current state for that channel if it is appropriate to do so.
This brings us back to the Link button. You may wonder what effect different controls will have in this
special ‘tandem mode’, and what will be displayed on the Replay Desktop when it’s in use.
8.4.1 LINK
Enabling LINK does not alter the current Channel Delegate. Rather, the LINK
button toggles a special ‘lock-step’ mode.
In broad terms, Link mode causes transport control operations (Play, Stop,
etc.) to occur in tandem. Other operations – such as changing clip selections
– are not linked.
For example, when A is lit along with LINK on the Control Surface or Replay Desktop:
The Replay Desktop displays Channel A’s operational state.
Pressing Stop or Play affects playback for CLIP LIST or PLAY LIST sources on both channels
simultaneously.
Selecting a different clip (or CLIP LIST /PLAY LIST page) affects the delegated channel only (in this
example, A).
Tip: The LINK button is behaves like the Caps Lock key on your keyboard, remaining active until you press
it again.
Just to repeat it in this context, the Channel Info pane under the currently delegated
channel output monitor is normally shaded to what source is assigned to it. When
LINK is enabled, both panes are shaded, but a white border (Figure 85) is added to
denote the delegated channel.
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The REC (Record) button activates capture of a/v data to file(s) on
assigned storage volumes on or off. (The specific sources that are
recorded are configured in Startup when creating the session; see Section
10.1, and also 10.3.1).
Note that simply pushing REC again does not disable recording. To
prevent accidental interruptions in capture of important events, you must
hold down SHIFT before pressing REC when you wish to stop recording.
Figure 86
Figure 87
8.5 RE CORD
Tip: As a helpful reminder, a special ‘record event’ row is added to the CLIP LIST whenever newly you
enable 3Play recording.
8.6 TR ANSPORT
Let’s circumvent the Play Speed control group momentarily in
favor of more fundamental playback controls. The familiar VCRstyle controls in the Transport group provide easy to use
transport through your media.
8.6.1 PREVIOU S
| Whenever the playhead is more than three seconds into a
clip, pressing the first button in this row takes you to the In
point.
Otherwise it selects the previous (CLIP LIST or PLAY LIST) clip (if
playback is underway, play resumes from this point).
Hint: When play is stopped, press SHIFT with PREVIOUS to jump to the first frame of a clip.
8.6.2 STOP
Press the STOP button to end playback (when it is underway). Press STOP again to jump to the first
frame of the current clip (or double-press Stop during play to do this).
Tip: With the PLAY LIST delegated, pressing STOP a third time jumps the ‘playhead’ to the In Point of the
first clip in the current playlist.
Page | 82
8.6.3 PLAY
Pushing PLAY initiates playback of the currently selected source – whether a clip in the CLIP LIST or PLAY
LIST, or a Delayed video source. Pressing PLAY when a clip has stopped its last frame replays it from the
beginning. When a newly delegated source is at 0% speed – whether due to pressing STOP or T-Bar use –
the initial T-bar position is ignored when you push PLAY; playback is initiated at 100%.
Tip: For Live video sources, all transport control operations are invalid when REC (Record) is disabled, and
will have no effect.
LOOP
Note that you can press SHIFT + (Play) to toggle the playback Loop setting (the loop control in the
playback control group beneath the monitor for output B lights to shows when loop is enabled).
8.6.4 NE XT
| The Next button makes its appearance at the opposite end of the same row in the Transport Control
group. Pressing Next takes you to the next clip in the CLIP LIST or PLAY LIST. If playback is underway, it
will continue from this point.
Hint: When play is stopped, press SHIFT with NEXT to jump to the last frame of a clip.
8.6.5 FAST JOG
The FAST JOG button is a toggle. Press it to turn the feature on, and press it again to disable it. When
enabled, the transport effect of the Jog Wheel (discussed next) is multiplied eight times so that you can
traverse the frames in your media more quickly.
8.6.6 JO G WHE EL
Rotate the Jog Wheel to navigate back and forth through the frames of the current a/v selection.
Tip: Inside Media Browser, you can scroll through the File Pane using the Jog Wheel.
Normally, Jog will stop when you reach the In or Out point for the current clip. To continue to scan outside
these boundaries, hold down SHIFT while jogging.
Page | 83
Figure 88
Figure 89
8.7 PL AY SP EED ( T-BAR SECT ION)
This group contains just two controls, an illuminated T-Bar,
and a button labeled +/-. Adjustments to T-Bar position
progressively modify playback speed, and can also
automatically engage playback when not already in progress.
Since, at a given moment, Channel A and B may well be set to
different playback speeds, the T-Bar position may not initially
reflect the correct speed when you change which channel is
delegated.
In this case, the speed applied updates as soon as you move the T-Bar to (or through) the current speed.
(When a newly delegated source is at 0% speed – whether due to pressing STOP or T-Bar use – the initial
T-bar position is ignored when you push PLAY and playback commences at 100% speed.)
In normal operating mode, the maximum T-Bar position corresponds to 100% playback speed, with 0% at
the opposite extreme of the lever’s travel. Pressing +/- engages a special T-Bar mode to extend the T-
Bar’s range. In this mode, the top and bottom of the lever stroke represent +200% and -200% respectively,
with 0% (playback stopped) in the middle.
8.7.1 ILLUMINATION
The T-Bar lighting serves two purposes. The light color denotes the delegated source it is controlling at
any moment – green for LIVE, blue for the CLIP LIST, and gold for the PLAY LIST. Normally, the light is
brightest at the top of the T-Bar’s stroke, representing 100% playback speed. At the opposite extreme of
T-Bar travel, the light is noticeably dimmed. In +/- operating mode, the light is dimmed at the mid-point,
representing 0% speed (playback stopped).
8.8 LI ST SELECTI ON TOOL S
This group contains 6 navigation buttons that variously permit you
to change the selection in the CLIPS LIST or PLAY LIST – whichever
is delegated at the moment. If LIVE is delegated, the button action
is directed to the last list accessed.
Note that changing selection during playback does not update what
is shown on output. (This allows you to perform various clip
management operations without interrupting your outgoing
program streams.)
Page | 84
Figure 90
Tip: Theandbuttons are somewhat similar to the Previous and Next buttons (see Section 8.6), but
only affect selection. They never change what is output during playback. Also, they allow navigation into
numeric fields (Previous and Next do not).
The two TAB buttons allow you to move forward or back between the different tabbed panes in your CLIP
LIST or PLAY List.
Note: See also Section 8.11, ANGLE.
8.9 SHIF T
SHIFT is a ‘qualifier’ button, and works much like its keyboard equivalent. When held down while
performing another Control Surface operation, it modifies the outcome. Typically SHIFT is used to support
multi-selection, as when used with the andbuttons. (It also has a special function when used with
the ANGLE button – see Section 8.11.)
8.10 S ET | IN/OUT
Marking events is, of course, the core business of NewTek 3Play.
These two simple buttons will see a lot of use. Their roles are not
complicated, but it would be good to review them anyway.
Note: Of course, marking events would be pointless without
recording, so pressing either IN or OUT automatically enables
Record when necessary.
8.10.1 SET | IN
Pressing the IN button adds a new event (row) to the CLIP LIST. The current timecode supplies the In Point
for the event.
SHIFT + IN
Holding down SHIFT while pressing IN performs the ‘shifted’ button operation, which is SET – as the button
label suggests. This updates the In Point for the selected event in the CLIP LIST, or, when the PLAY LIST is
displayed, the current clip.
Tip: Use SHIFT + Jog to move into areas before or after the current clip boundaries.
Page | 85
Figure 91
In the CLIP LIST, you can use the andnavigation buttons to change
cameras.
In either list, you can hold down the ANGLE button and press the
camera number you want to switch to on the Control Surface number
pad. (For the PLAY LIST, this actually updates the current item’s
source clip.
8.10.2 SET | OUT
Naturally, if you have pressed the IN button to create a new event, setting an In Point, you realize that
you can complete this operation by pressing the OUT button. In this case you set the event’s Out Point to
the current timecode value, and as a natural consequence, establish the Duration for the event.
Tip: If for some reason you choose to end recording when an event is incompletely marked – i.e., OUT
was not pressed – an Out Point is supplied automatically.
ONE BUTTON MARKING
You can also add new events to the CLIP LIST without ever pressing MARK IN. If no In Point has been set
(by pressing IN), pressing the OUT button will:
I. Create a new event.
II. Automatically assign both an In Point and an Out Point to it.
By default, the In Point for this event is set four seconds before the time when you pressed OUT. One
button marking thus permits you to easily create a series of events just by pressing the OUT button only
when you observe noteworthy occurrences.
Tip: The default duration for these events can be set to a custom value using One Button Marking menu
options found in the Options menu (see Section 6.4.2).
SHIFT + OUT
Again, just as for the IN button, press SHIFT in conjunction with OUT to update the Out Point for the
current CLIP LIST event or PLAY LIST clip, using the timecode from the currently displayed frame.
8.11 A NGLE
Tip: Changing angles this way does not normally move the playhead to the clip’s In point. This allows for
quick review of different viewpoints a specific moment in time. If you do wish to jump to the In Point of
the clip at the same time - hold down SHIFT along with ANGLE when pushing the number pad digit.
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