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Revised – May 9, 2014
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3Play
™
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TABLE OF CONTENT S
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 .......................................................................................... 7
2.4 Startup Screen ................................................................................................................... 8
2.5 Replay Desktop ................................................................................................................. 9
2.6 Features .......................................................................................................................... 11
2.6.1 Physical ................................................................................................................... 11
2.6.2 Multi-Tier Failsafe ................................................................................................... 11
2.6.3 Input, Output & Capture ......................................................................................... 12
2.6.4 Monitoring .............................................................................................................. 13
2.6.5 Video Processing ..................................................................................................... 14
2.6.6 Recording ................................................................................................................ 14
2.6.7 Bookmarks .............................................................................................................. 15
2.6.8 The CLIP LIST ........................................................................................................... 15
2.6.9 The PLAY LIST .......................................................................................................... 17
2.6.10 Program Transitions ................................................................................................ 17
2.6.11 Text, Tags and More ............................................................................................... 18
2.6.12 Publish ..................................................................................................................... 19
2.6.13 Macros .................................................................................................................... 19
3 Setting Up ......................................................................................................................... 21
3.1 Command and Control .................................................................................................... 21
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3.2 Activating & Authorizing Windows™ .............................................................................. 22
3.3 Registration ..................................................................................................................... 23
3.3.1 Online Registration ................................................................................................. 24
3.3.2 Registering by Telephone ....................................................................................... 24
3.4 Input Connections ........................................................................................................... 25
3.4.1 Connect A/V Sources .............................................................................................. 25
3.4.2 Genlock Connection ................................................................................................ 26
3.4.3 Timecode Connection ............................................................................................. 27
3.5 Output Connections ........................................................................................................ 27
3.5.1 A/V Output .............................................................................................................. 27
3.5.2 HD and SD ............................................................................................................... 28
3.5.3 Connecting Devices ................................................................................................. 28
3.5.4 Supplemental Video Outputs .................................................................................. 29
3.6 Starting a Session ............................................................................................................ 30
3.6.1 The Home Page ....................................................................................................... 31
3.6.2 The Session Page ..................................................................................................... 33
3.6.3 The Replay Desktop ................................................................................................ 33
3.7 Configure Video Outputs ................................................................................................. 34
3.7.1 SD Analog Configuration ......................................................................................... 34
3.7.2 Display Ports ........................................................................................................... 35
3.7.3 Aux (3Play 4800) ..................................................................................................... 35
3.7.4 Multiview ................................................................................................................ 35
3.8 Configure Genlock ........................................................................................................... 36
3.9 Configure Video Input ..................................................................................................... 36
3.10 Configure Audio .............................................................................................................. 38
3.11 Networking ..................................................................................................................... 39
4 Live Production Walkthrough............................................................................................ 41
4.1 Creating a Session ........................................................................................................... 41
4.2 The Replay Desktop ......................................................................................................... 43
4.3 Channel and Source Delegates ........................................................................................ 44
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4.4 Record ............................................................................................................................. 44
4.5 Marking Events ............................................................................................................... 45
4.5.1 Two –Button Marking ............................................................................................. 45
4.5.2 One–Button Marking .............................................................................................. 47
4.6 LIST Navigation ............................................................................................................... 47
4.7 Memos and Tagging ....................................................................................................... 49
4.7.1 Tagging Clips ........................................................................................................... 51
4.8 SEARCH and GO TO ......................................................................................................... 53
4.9 Trimming Events ............................................................................................................. 55
4.10 Managing Events ............................................................................................................ 55
4.11 Preparing a PLAY LIST ..................................................................................................... 56
4.11.1 Adding Clips ............................................................................................................ 56
4.11.2 Editing and Playback ............................................................................................... 56
4.11.3 Speed Control ......................................................................................................... 57
4.12 Rendering a PLAY LIST ..................................................................................................... 57
PART II (Reference) ................................................................................................................... 59
5 The Startup Screen ............................................................................................................ 61
5.1 Introduction to Sessions .................................................................................................. 62
5.2 The Home Page ............................................................................................................... 63
5.2.1 New (Session) .......................................................................................................... 64
5.2.2 Open (Session) ........................................................................................................ 67
5.2.3 Shutdown ................................................................................................................ 69
5.2.4 Utilities .................................................................................................................... 69
5.2.5 Help ......................................................................................................................... 72
5.2.6 Add-Ons .................................................................................................................. 72
5.3 The Session Page ............................................................................................................. 72
5.3.1 File Management .................................................................................................... 73
6 The Replay Desktop .......................................................................................................... 79
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6.1 Overview ......................................................................................................................... 79
6.2 A Few Hints ..................................................................................................................... 81
6.3 Customizing the Replay Desktop ..................................................................................... 82
6.3.1 Rename ................................................................................................................... 82
6.3.2 Dual Displays and Monitoring ................................................................................. 82
6.4 Dashboard Tools ............................................................................................................. 83
6.4.1 Status Messages ...................................................................................................... 83
6.4.2 Menus (File, Options, Macros, Workspaces, and Help) .......................................... 84
6.5 Grab & Record ................................................................................................................. 88
7 I/O Configuration .............................................................................................................. 89
7.1 Output Configuration ...................................................................................................... 89
7.1.1 Channel A and B ...................................................................................................... 89
7.1.2 Aux Channel (3Play 4800) ....................................................................................... 92
7.1.3 Genlock & Failsafe ................................................................................................... 92
7.1.4 Multiview ................................................................................................................ 96
7.2 Input Configuration ......................................................................................................... 96
7.2.1 Input Settings .......................................................................................................... 96
7.2.2 Color Balance ........................................................................................................ 101
7.3 Router Configuration .................................................................................................... 104
7.4 Timecode Configuration ................................................................................................ 105
7.4.1 Production Time Display ....................................................................................... 105
7.4.2 Time ...................................................................................................................... 106
8 The Control Surface......................................................................................................... 109
8.1 Dual Channel Replay ..................................................................................................... 109
8.1.1 Channel Delegates ................................................................................................ 110
8.2 Transitions (TAKE | AUTO) ............................................................................................ 111
8.3 Source Delegates ........................................................................................................... 112
8.3.1 CLIP LIST ................................................................................................................ 113
8.3.2 PLAY LIST ............................................................................................................... 113
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8.3.3 LIVE ....................................................................................................................... 113
8.4 Independent States ....................................................................................................... 114
8.4.1 LINK ....................................................................................................................... 114
8.5 RECORD ......................................................................................................................... 115
8.6 Transport ....................................................................................................................... 115
8.6.1 Previous ................................................................................................................ 115
8.6.2 Stop ....................................................................................................................... 116
8.6.3 Play ........................................................................................................................ 116
8.6.4 Next ....................................................................................................................... 116
8.6.5 FAST JOG ............................................................................................................... 117
8.6.6 Jog Wheel .............................................................................................................. 117
8.7 Play Speed (T-Bar Section) ............................................................................................ 117
8.7.1 Illumination ........................................................................................................... 118
8.8 List Selection tools ......................................................................................................... 118
8.9 SHIFT ............................................................................................................................. 118
8.10 SET | IN/OUT ................................................................................................................. 119
8.10.1 SET | IN ................................................................................................................. 119
8.10.2 SET | OUT .............................................................................................................. 119
8.11 ANGLE ........................................................................................................................... 120
8.12 BOOK MARK .................................................................................................................. 121
8.13 UTILITY Buttons ............................................................................................................. 121
8.13.1 CUT/COPY and PASTE............................................................................................ 122
8.13.2 PUBLISH ................................................................................................................. 122
8.13.3 Add to PLAY LIST ................................................................................................... 122
8.14 TAG, GO TO and SEARCH .............................................................................................. 122
8.15 The Number Pad ........................................................................................................... 123
8.15.1 ESC & ENTER ......................................................................................................... 124
9 Monitoring ...................................................................................................................... 125
9.1 Overlay Options ............................................................................................................ 125
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9.2 Input Monitors .............................................................................................................. 126
9.2.1 Titlebar Features ................................................................................................... 126
9.3 Channel Monitors (A, B) ................................................................................................ 127
9.3.1 Channel Info .......................................................................................................... 128
10 Recording and Storage ................................................................................................ 131
10.1 Record Configuration .................................................................................................... 131
10.2 Storage Volumes ........................................................................................................... 132
10.3 Recording and the Desktop ........................................................................................... 132
10.3.1 Record On/Off ....................................................................................................... 133
10.4 Grab .............................................................................................................................. 134
11 The CLIP LIST ............................................................................................................... 137
11.1 Titlebar Tools ................................................................................................................ 137
11.1.1 Tabs ....................................................................................................................... 137
11.1.2 Tab Menu .............................................................................................................. 138
11.1.3 Event Menu ........................................................................................................... 138
11.1.4 Search Results ....................................................................................................... 139
11.1.5 Add Media ............................................................................................................. 139
11.2 Media Asset Management systems .............................................................................. 143
11.3 CLIP LIST Table Features ................................................................................................ 144
11.3.1 Event ID ................................................................................................................. 144
11.3.2 In/Out Points, Duration (and Trimming) ............................................................... 145
11.3.3 Memo Fields.......................................................................................................... 146
11.3.4 Managing Events ................................................................................................... 147
11.4 Playing Clips .................................................................................................................. 147
11.5 Selection, Channels, & Display ...................................................................................... 147
11.5.1 Play Indicator ........................................................................................................ 148
11.6 Add to PLAY LIST ........................................................................................................... 148
12 The PLAY LIST .............................................................................................................. 149
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12.1 Titlebar Tools ................................................................................................................ 149
12.1.1 Tabs ....................................................................................................................... 149
12.1.2 Tab Menu .............................................................................................................. 150
12.1.3 Add Media & Export to Clip List ............................................................................ 150
12.1.4 Music Tools ........................................................................................................... 150
12.2 The PLAY LIST Table....................................................................................................... 152
12.3 PLAY LIST Preparation ................................................................................................... 153
12.3.1 Clip Selection ......................................................................................................... 153
12.3.2 Changing a Clip ...................................................................................................... 154
12.3.3 Memo .................................................................................................................... 154
12.3.4 Audio 1, 2 – 3, 4 .................................................................................................... 154
12.3.5 In and Out Points (Trimming Clips) ....................................................................... 155
12.3.6 Speed .................................................................................................................... 155
12.3.7 Transition .............................................................................................................. 156
12.4 Clip Context Menu ......................................................................................................... 157
12.5 Playback ........................................................................................................................ 157
12.6 PLAY LIST EDLs............................................................................................................... 158
13 TAGS, SEARCH, & More ............................................................................................... 159
13.1 Overview ....................................................................................................................... 159
13.1.1 Tagging Workflow ................................................................................................. 160
13.2 The TAGS Button ........................................................................................................... 160
13.3 The TAGS Pane .............................................................................................................. 161
13.3.1 Titlebar Tools ........................................................................................................ 161
13.3.2 A Tagging Example ................................................................................................ 163
13.3.3 SKIP ....................................................................................................................... 165
13.3.4 Input Hinting ......................................................................................................... 165
13.4 SEARCH.......................................................................................................................... 166
13.4.1 Dataview Entries ................................................................................................... 166
13.4.2 Finding Matches .................................................................................................... 167
13.4.3 GO TO .................................................................................................................... 169
13.4.4 Search Results Tab ................................................................................................ 170
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13.5 Import Tags ................................................................................................................... 171
13.5.1 CSV Example ......................................................................................................... 172
14 Transitions .................................................................................................................. 173
14.1 PLAY LIST Transitions .................................................................................................... 173
14.2 Program-Preview Transitions ........................................................................................ 174
14.2.1 ‘Program Out’........................................................................................................ 174
14.2.2 ‘Preview Out’ ........................................................................................................ 174
14.2.3 AUTO Workflow .................................................................................................... 174
14.3 Transition Effects .......................................................................................................... 175
14.3.1 Effect Settings ....................................................................................................... 177
15 DSKs (Overlays) ........................................................................................................... 179
15.1 Overview ....................................................................................................................... 179
15.1.1 Overlay output A or B ........................................................................................... 180
15.1.2 Overlay graphics and logos ................................................................................... 180
15.1.3 Officiating and overlays ........................................................................................ 180
15.2 Source Options .............................................................................................................. 181
15.2.1 Cameras ................................................................................................................ 182
15.2.2 Clip List Preview .................................................................................................... 182
15.2.3 Buffers ................................................................................................................... 182
15.2.4 Network Input ....................................................................................................... 184
15.3 Configuration ................................................................................................................ 187
15.3.1 Position ................................................................................................................. 187
15.3.2 Edges ..................................................................................................................... 188
16 Publish ........................................................................................................................ 189
16.1 Overview ....................................................................................................................... 189
16.2 Account Configuration .................................................................................................. 190
16.2.1 Social Media Sites ................................................................................................. 190
16.2.2 File Copy and FTP .................................................................................................. 191
16.2.3 Compression ......................................................................................................... 191
16.2.4 Watermarking ....................................................................................................... 191
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16.3 The Publish Queue......................................................................................................... 192
16.3.1 Set Publish Destinations........................................................................................ 192
16.3.2 Publishing Clips and Stills ...................................................................................... 193
16.3.3 Share Publish Queue ............................................................................................. 194
17 Macros and Automation ............................................................................................. 197
17.1 System Macros .............................................................................................................. 198
17.2 Session Macros .............................................................................................................. 199
17.3 Recording Macros ......................................................................................................... 199
17.3.1 Macro Playback Speed .......................................................................................... 199
17.3.2 Managing Macros ................................................................................................. 200
17.4 Shortcuts and Triggers .................................................................................................. 200
17.4.1 Conflicted Shortcuts .............................................................................................. 201
17.5 MIDI Controllers ............................................................................................................ 203
17.6 AirSend™ Control .......................................................................................................... 204
17.6.1 Example – Controlling 3Play ................................................................................. 204
17.6.2 Default AirSend Commands .................................................................................. 205
17.7 AMP Control .................................................................................................................. 208
17.7.1 Configuring AMP ................................................................................................... 208
17.7.2 AMP Shortcuts ...................................................................................................... 208
17.8 GPI Controllers .............................................................................................................. 209
17.8.1 Configuration ........................................................................................................ 209
17.8.2 Listening for GPI Triggers ...................................................................................... 210
17.8.3 Sending GPI Commands ........................................................................................ 210
17.9 Editing Macros .............................................................................................................. 211
PART III (Appendices) ............................................................................................................. 213
A How Do I … ? ................................................................................................................... 215
A.1 Connections ................................................................................................................... 217
A.1.1 Connect cameras? ................................................................................................. 217
A.1.2 Color correct mismatched cameras? .................................................................... 217
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A.1.3 Connect monitors? ................................................................................................ 218
A.1.4 Improve the Quality of Multiview Output? .......................................................... 219
A.1.5 Connect the Genlock Reference Signal? ............................................................... 219
A.1.6 Connect the 3Play Control Surface? ..................................................................... 220
A.1.7 Insert/Remove a Drive From a Removable Drive Bay ........................................... 220
A.1.8 Connect An External Hard Drive?.......................................................................... 222
A.1.9 Eject A Hard Drive? ............................................................................................... 222
A.1.10 Connect to a Network? ......................................................................................... 222
A.1.11 Enable Termination for Video Inputs? .................................................................. 222
A.2 Sessions ......................................................................................................................... 222
A.2.1 Delete a Session (and its Content)? ...................................................................... 223
A.2.2 Rename a Session ................................................................................................. 223
A.2.3 Manage Selected Content inside a Session? ......................................................... 223
A.3 Events and Recording .................................................................................................... 223
A.3.1 Start recording? .................................................................................................... 223
A.3.2 End recording? ...................................................................................................... 224
A.3.3 Mark an Event? ..................................................................................................... 224
A.3.4 Play a Clip? ............................................................................................................ 225
A.3.5 Prepare a highlight reel? ....................................................................................... 225
A.3.6 Select a different Play List clip for the same time period? ................................... 225
A.4 Files ............................................................................................................................... 226
A.4.1 Manage Files? ....................................................................................................... 226
A.4.2 Import Media Files? .............................................................................................. 226
A.4.3 Prepare clips for the PLAY LIST Using Apple® Final Cut Pro? ................................ 226
A.4.4 Add an External File Location to the Media Browser? .......................................... 227
A.4.5 Remove a Location From the File Browser? ......................................................... 227
A.4.6 Export files to an External Drive? .......................................................................... 228
A.4.7 Import/Export Files Larger Than 4 Gigabytes?...................................................... 228
A.4.8 Avoid the error “… copy this file without its properties?” .................................... 228
A.5 Software, Maintenance and Updates ........................................................................... 228
A.5.1 Improve Performance? ......................................................................................... 228
A.5.2 Resolve Serious Instability or Dropped frames? ................................................... 229
A.5.3 Update NewTek 3Play software? .......................................................................... 229
A.5.4 Install Virus Protection? ........................................................................................ 229
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A.5.5 Install My Favorite Software (or Codec)? ............................................................. 230
A.5.6 Restore the System to Original ‘As-Shipped’ Condition? ...................................... 230
A.6 Registration And Tech Support ..................................................................................... 232
A.6.1 Register the NewTek 3Play system? ..................................................................... 232
A.6.2 Contact Technical Support? .................................................................................. 232
A.6.3 Find Hardware/Firmware Revision Numbers? ...................................................... 232
A.7 Miscellaneous ............................................................................................................... 233
A.7.1 Set up remote desktop control of 3Play? ............................................................. 233
A.7.2 Deal With Clips or images That Seem Blurry? ....................................................... 233
A.7.3 Access Windows™? ............................................................................................... 233
A.7.4 Return to the Startup Screen from the Windows™ Desktop ................................ 233
A.8 More Questions and Answers ....................................................................................... 234
A.8.1 Why is my power supply beeping? ....................................................................... 234
A.8.2 Why are my clip duration and Countdown times different? ................................ 234
B Keystroke Shortcuts ........................................................................................................ 235
B.1 Tables and Navigation .................................................................................................. 235
B.2 Edit Lists/Text ................................................................................................................ 235
B.3 Marking ......................................................................................................................... 235
B.4 Searching ...................................................................................................................... 236
B.5 Control .......................................................................................................................... 236
C Reliability Testing ............................................................................................................ 237
Index ...................................................................................................................................... 239
Credits .................................................................................................................................... 243
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PART I (GETTING STARTED)
Introducing NewTek 3Play™ – connections and registration, a top-level overview of primary
features, and a hands-on tour to get you started.
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1 ABOUT THIS MANUAL
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.
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 4800 and 440 – 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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2 INTRODUCTION
Thank you for purchasing 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.
2.1 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 professional
quality connections capable of distributing
two fully independent video channels
(designated Channels A and B) to external
video systems, such as live broadcast
switching equipment.
Alternatively, these 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.
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Tip: It’s important to realize that sending Live, Delayed, CLIP LIST or Play List sources to output
does not interrupt ongoing capture of live sources.
Delayed, CLIP LIST and PLAY LIST video streams can also be played back at variable speeds. The
standard (NTSC) 3PLAY provides output in popular 1080, 720p, and conventional SD video
formats. Multi-standard 3Play™ systems support the equivalent formats for NTSC, NTSC-J and
PAL video broadcast standards.
2.2 RECORDING, MARKING AND EVENTS
Recording is intrinsic to NewTek 3Play, and is configured for specific a/v sources when creating
your live production session (see Section 5.1, Introduction to Sessions). 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 will comprise the output from a different camera angle. (Up to
the limit of sources supported for the session type, Standard or Redundant, input sources not
configured for recording can be viewed as reference and output live – but are not available for
replay purposes.)
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 EVENT?
The operator uses the supplied NewTek 3Play 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
identified in the left-most column of the row by an Event ID number and followed by related
data.
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 effectively digital
pointers that identify the first and last frames of a specific portion of the recorded footage.
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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 CONTROL SURFACE
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.)
Figure 1
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Note: If the Control Surface is not available for any reason, its core functions can be accessed
using keyboard shortcuts.
2.4 ST ARTUP 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 (3Play 4800 shown)
The Home page of the Startup Screen 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, or
Export Media from an earlier one.
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2.5 REPLAY DESKTO P
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 in Figure 3.
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:
Monitoring & Control
CLIP LIST
PLAY LIST
Tags
Titlebar
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Figure 4
o A Channel Info pane immediately beneath each output monitor lists important
data about the video source displayed on that channel (Figure 4).
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).
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.
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 audio-visual data 3Play captures.
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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 FE ATURES
Here’s a brief overview of just some of 3Play’s key features:
2.6.1 PHYSICAL
Rugged rack-mount case ensures robust and reliable performance in fixed or mobile
installations.
3Play 4800 (only) also provides redundant power supplies.
Massive storage capacity – e.g., a 2TB hot-swappable drive holds approximately 50
hours of 1080i (or 155 hours of SD video).
2.6.2 MULTI-TIER FAILSAFE
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 last input are routed to Output 1 in a case of
catastrophic software condition.
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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.
Audio and video connectors are industry standard (XLR or BNC as appropriate), ensuring
broad compatibility and secure, locked connections.
Supply external audio via analog, AES/EBU (AES3) or SDI Embedded audio.
Balanced XLR audio connectors.
Multiple simultaneous SDI and analog output connections.
3Play 440 – record up to four live video sources to internal, removable or external
media.
3Play 4800
o Record from four video sources to removable redundant media, freely choosing
between SDI and analog HD (or SD) cameras.
o Or record up to eight sources without redundant recording.
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) from 3Play to a NewTek TriCaster across your
network, leaving the video outputs free for other purposes.
Use one output for program output, the other as preview, and switch sources with
colorful Animation Store transitions.
Display highlight reels with colorful transitions, bumpers and audio bed using either
output channel.
Supplemental Aux (Auxiliary) Video output to a projection system or secondary monitor
at session resolutions up to 1920x1080.
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2.6.4 MONITORING
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, in Redundant (4 Channel) mode operation, four input monitor
viewports are displayed.
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.
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A control group located beneath the output monitors hosts Transition, Transport (Play, Stop,
etc.) and DSK (Downstream Key, or ‘overlay’) controls.
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 PROCESSING
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 RECORD ING
Apart from live throughput, virtually all replay output features depends on recorded data.
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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.
2.6.7 BOOKMARKS
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).
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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.
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).
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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 PROGRAM TRANSITIONS
We mentioned Transitions earlier (under Monitoring),
but 3Play’s powerful transition system merits a
heading of its own.
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.
Figure 15
Figure 16
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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 PUBLISH
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 MACROS
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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3 SETT ING UP
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.
To begin, let’s review ‘what came in the box’:
3Play™ and Control Surface
Storage Media
o 3Play 4800 – Package of four 2TB hard drives
o 3Play 440 – Package of two 3TB hard drives
A/C power cable(s) and 6’ USB cable
NewTek mouse and keyboard
3Play Quick Start Guide
Registration reminder card
BNC removal tool
DVI to VGA adapter
Keys to front panel of rack mount case (2)
Attachable rubber feet for desktop use (4)
NewTek TriCaster™ brochure and 3Play Welcome letter
3.1 CO MMAND AND CONTROL
1. Connect an external computer monitor to the Interface port 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 A/C power cord(s) from the three-prong 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 on 3Play’s faceplate.
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A word about UPS devices:
‘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 abnormal power
events.
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.
At this point, the blue Power LED will
illuminate, and the adjacent hard drive
activity light should flicker as the device
boots up. (If this does not happen, check
your connections and retry).
Though not a requirement, we do
strongly recommend that you connect
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.
3.2 ACTIVATING & AUT HORIZING WINDOWS™
Note: This operation may have been performed for you as part of pre-delivery preparation.
When you see the ‘Welcome to Windows’ screen:
1. Click Next at lower right.
2. Choose your time zone.
3. Accept the license agreement.
4. Enter your 25-digit key (from the sticker inside 3Play’s left front door).
5. Decline automatic updates (by clicking “not right now”).
6. Give 3Play a distinct computer name for networking.
You can authorize your Windows installation by network or by telephone. Assuming you have an
Internet connection available, and have connected 3Play to it with an Ethernet cable, the
Internet is the fastest method of activation. (See Section 3.11 for more on network connections.)
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7. Click ‘Obtain IP and DNS automatically’.
8. Agree to activate Windows. This activation is permanent, and you won’t see these
screens again. (Registration with Microsoft is optional).
9. Assign a name to the administrator account. You may type your name, company, or
perhaps simply “3Play”.
10. Click Finish, and the system will re-start.
After restarting and accepting NewTek’s User Agreement, the interface will load automatically.
Tip: This might be a great time to review the matter of creating a custom backup drive. See
Section A.5.6 for instructions.
3.3 REGISTRATION
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.
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 left front door of 3Play 440, or the drop-down
front panel of 3Play 4800. For a previously registered system, you can also obtain it from the
registration webpage mentioned in the next section. If you cannot locate the serial number, call
NewTek’s Customer Support Desk (open seven days a week).
Figure 19
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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.
3.3.1 ONLINE REGIST RATION
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 the Registration webpage (http://register.newtek.com)
in the Customer Care section of NewTek’s website. There you will find further directions.
Tip: More information on connecting to a network can be found in Section 3.11.
Otherwise, you can visit the registration webpage from another system that does have Internet
access. In either case, after registering on the website, transfer the resulting registration code
into the field provided at Step 4 of the dialog.
Tip: It’s a very good idea to record the login name and password you choose when creating your
website profile and keep them in a safe place.
We recommend that you also jot down the Registration Code, too. 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.
3.3.2 REGISTERING BY TELEP 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
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3.4 INPUT CONNECTIONS
3.4.1 CONNECT A/V SOURCES
External audio and video sources are connected to the appropriate inputs on 3Play’s backplate.
External audio and video sources are connected to the appropriate inputs on
TriCaster’s backplate.
FI GURE 20 – 3PLAY 4 800
FI GURE 21 – 3PLAY 440
1. Connect video sources to the appropriate connectors in the VIDEO IN section, whether
SDI, Component, Y/C (S-Video) or Composite (may require RCA to BNC adapter).
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a. SDI – Attach the SDI source connectors to BNC connectors marked SDI in the
Video In group.
Tip: If your equipment supports SDI, this is your best quality I/O option.
b. Component – Attach the appropriate BNC connectors from your sources to all
three analog BNC connectors (labeled Y, Pb and Pr) in each column in the Video
In group.
c. Y/C – If your S-Video equipment and cabling has the usual 4-pin mini-DIN
connectors, you will need an S-Video to dual BNC adapter. To connect Y/C
sources, attach the Y (luma) connector of your source to the second analog
BNC connector (labeled Pb). Attach the source’s C (chroma) connector to the
bottom connector (labeled Pr).
d. Composite - Attach the composite source’s connector (may require an RCA to
BNC adapter) to the second connector (labeled Y).
Note: The video broadcast standard (such as NTSC, NTSC-J or PAL) of all video sources connected
for a given session must be the same.
2. To input analog audio along with the video, connect the external audio sources to the
XLR or ¼” connectors in the Audio In group box. Two connectors, labeled “a” and “b”,
are provided for each input group.
We’ll discuss audio Connection Type options a bit later, in Section 3.10.
Digital Audio Note: To connect AES/EBU (a.k.a., AES3) audio source, use the BNC connectors in
the Digital Audio (AES) section. SDI video sources with embedded audio do not need a separate
audio connection.
3.4.2 GENLOCK CONNECTION
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
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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.
3.4.3 TIMECO DE C ONNECTION
3Play supports external linear timecode (LTC). Connect the cable from your timecode generator
to one of the connectors in the Audio Input 7 group for 3Play 4800 or, for 3Play 440, either Input
3 or one of the 3.5mm audio input jacks (line or mic level) on the back of the system. External
timecode is enabled and configured in the Replay Desktop (see Section 7.3).
3.5 OUTPUT CONNECTIONS
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.
3.5.1 A/V OU TPUT
3Play provides several video and audio output connector groups, and very flexible options for
display of your live and recorded video streams. Here are some of the possibilities:
Simultaneously send two indpendent outputs to extneral devices.
Send 3Play audio and video output to a network-connected TriCaster ™.
Simultaneously send output to both analog and digital devices.
Transmit another output or multi-bridge monitoring layout to a secondary monitor (or
projector) via the Multiview port.
Another output option is provided via an HDMI port. This output tracks the active 3Play
Channel Delegate (A or B).
Finally, two Display ports provide Channel A and B video to two further computer style
monitors.
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3.5.2 HD AND SD
As mentioned earlier, the VIDEO OUT section on 3Play’s backplate provides vertical columns of
four BNC connectors. These represent:
Channel A (labeled 1 in the VIDEO OUT group)
Channel B (labeled 2 in the VIDEO OUT group)
3Play 4800 only – Aux (labeled 3 in the VIDEO OUT group); carries the same signal as
either Channel A or Channel B, depending on 3Play’s current Channel Delegate (see
Section 7.1.2).
The output connectors provide either SD or HD video output, according to the format specified
for the current session, using any of several different device connection types as discussed next.
3.5.3 CONNECTING DEVICES
1. Connect downstream video devices to the appropriate output connectors in the VIDEO
OUT section, whether SDI, Component, Y/C (BNC) or Composite.
Please note that the latter two formats may require RCA (cinch plug) or S-video (4 pin
mini-DIN) to BNC adapters, and also that both of these connection options support
output at SD resolution only.
a. SDI – Attach SDI connectors to the uppermost row of BNC connectors in the
VIDEO OUT connector groups.
Tip: If your equipment supports SDI connections, this is your best quality option.
b. Component – Attach your device to the second, third and fourth BNC
connectors (Y, Pb and Pr) in the VIDEO OUT connector groups.
c. Y/C – If your S-Video equipment and cabling has the usual 4-pin mini-DIN
connectors, you will need an ‘S-Video to dual BNC’ adapter. Attach the Y
(luma) connector of your device to the second analog BNC connector row
(labeled Pb). Attach the C (chroma) connector to the third analog connector
(labeled Pr).
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d. Composite - Attach the device’s connector to the first (top) analog connector.
2. Connect 3Play’s audio outputs:
a. Analog audio – Connect external audio devices to the connectors in the AUDIO
OUT section.
Note that there are two rows of connectors: Connectors numbered 1a and soon provide Channel A sound, while 2a etc., are assigned to Channel B. These
two output sections are configured and controlled separately in the Replay
Desktop.
3Play 4800 only – Aux (Row 3) carries the same audio as either Channel A or
Channel B, depending on 3Play’s current Channel Delegate selection.
b. Digital audio – Use the two BNC connectors identified as 1ab and 1cd in the
AES section (below the analog audio outputs) section to connect downstream
AES/EBU (AES3) audio devices. (A separate digital audio connection is not
necessary for SDI output with embedded audio.)
Tip: The SDI and analog output connectors in any video output row can be used simultaneously.
For example, for Output A, you could use the Component output connectors to supply your
program to a local video monitor at the same time as you use the HD-SDI connection to supply
broadcast equipment.
3.5.4 SUPPLEMENTAL VIDEO O UTPUTS
Additional dedicated video outputs make it possible to connect other devices to 3Play for a
variety of purposes, including program output for IMAG (Image Magnification) installations or
flexible monitoring for the convenience of the operator.
HDMI
A labeled HDMI connector on 3Play’s backplate tracks the active 3Play Channel Delegate (A or B).
Simply connect a suitable device to the HDMI connector on the backplane.
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DISPLAY PORTS
3Play’s rear panel provides additional ports referred to as Display ports (these are labeled as
such on 3Play 4800’s backplane). For 3Play 440, there may be a number Display port connector
types. You can use any two (and only two) of those available.
NETWORK OUTPUT
3Play’s Channel A and Channel B are also directly available to a network connected TriCaster™ as
Switcher sources. There is nothing to configure on 3Play. Provided the two units are on the same
network (not different subnets), the 3Play will appear in the source selector menus for
TriCaster’s Net 1 and Net 2 inputs as “3Play(A)” and “3Play(B),” where “3Play” is the network
name for the unit. Conveniently, the network outputs include embedded audio, freeing up
multiple TriCaster a/v inputs for other purposes.
MULTIVIEW
The Multiview output offers a variety of optional monitoring layouts that can be selected at any
time in the Replay Desktop.
Again, connect a suitable external monitor or device (unlike the Interface connection, the
Multiview port is DVI-D type, hence cannot supply older analog, VGA style displays). The new
device should be recognized and enabled by the system automatically.
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.
TALLY
You may notice that 3Play’s backplate connections include a DB-15 port labeled Tally. At the
present time, this connector is not in use.
3.6 ST ARTING A SESSION
If 3Play is not already running, power it up now to reveal the Startup Screen. (If 3Play is already
running, and is in the Replay Desktop or another area of the interface, you may need to click the
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small [x] button at upper-right to exit, or click the Back arrow at upper-left in the Session Page to
return to the Home Page.)
The Startup Screen consists of two similar 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).
3.6.1 THE HOME PAGE
Figure 22
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 22). Click in this field to modify the default name 3Play supplies using the
keyboard. (The default name is the current date.)
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RECORD MODE (3PLAY 4800)
Figure 23
For 3Play 4800 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.
STORAGE VOLUMES AND SESSION VOLUME
Qualified storage volumes connected to 3Play or mounted in its removable drive bay are listed in
the Drives column of the Storage Volumes control group. 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.
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 24
Tip: The Storage Volume configuration tools are designed to encourage you to record no more
than two live inputs to any single volume.
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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, NTSC-J (Japan) or PAL.
3.6.2 THE SE SSION P AGE
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.
3.6.3 THE REPLAY DESKTOP
Figure 25
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Initially, as you have yet to configure input devices or add content, the Replay Desktop will look a
bit barren (Figure 25). 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.
3.7 CO NFIGURE VIDEO OUTPUTS
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 3.5). Connect high definition devices to either SDI or Component
connections as appropriate. Other connection types are available for SD devices and sessions.
3.7.1 SD ANALOG CONFIGURAT ION
For standard definition monitoring, however, several types of analog connections are currently in
popular use. These include Composite, Y/C (also known as S-Video) and – at the upper end of the
analog quality range – Component. To connect an analog standard definition monitor for use in
live production, you must specify the connection type in the Output Configuration panel.
Figure 26
1. Move your mouse pointer over the Output Configuration button, identified by gear
icons as shown in Figure 26, located at right just below each output monitor (A or B).
Click here to open Output Configuration.
The tabs in this panel are labeled Output A, B, Aux/Multiview, and Genlock. The Output tabs have
menus allowing you to select the Analog Output Type for the associated output channel, A or B
(see also Sections 7.1.1 and 8.1).
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For SD sessions, Component or Composite
+ Y/C Analog Output Type alternatives are
available. For HD sessions the menu is
locked, since Component is the only valid
analog connection option.
Selecting the Composite + Y/C option
sends composite video output to the
second BNC connector in the
corresponding output row (labeled Y), and
Y/C to the third and fourth connectors, labeled Pb and Pr,
respectively.
3.7.2 DISPLAY PORTS
The Display ports described back in Section 3.5.4 are also configured in the Output A and B tabs
in the Output Configuration dialog. The menu in the Extra Display control group allows you to set
the resolution sent to connected monitors.
3.7.3 AUX (3PLAY 4 800)
3Play 4800 has an additional tab in the Output Configuration panel. The Aux pane provides
control over the third primary video output section on 3Play’s rear panel, referred to as the Aux
output. The video stream it displays is determined by the Channel Delegate active on the Control
Surface at the moment. Video from the delegated channel is also sent to Aux.
In the Aux control tab you will find a menu offering the same analog connection type options
discussed back in Section 3.7.1.
3.7.4 MULTIVIEW
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. See Section 6.4.2 for details of the Workspaces menu.
Figure 27
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3.8 CONFIGURE GENLOCK
1. Click the Genlock/Multiview 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 28
3. With the aid of downstream Waveform and Vector Scopes, adjust 3Play’s Horizontal and
Vertical Position and Phase settings.
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 7.1.3.
3.9 CO NFIGURE VIDEO INP U T
Let’s continue by configuring the video sources you connected earlier (Section 3.4):
1. With the Replay Desktop open, roll your mouse into the footer below any input monitor.
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2. Notice that a Configure button (gear icon) appears at right below the input monitor as
you do so.
Figure 29
3. Click the Configuration button (gear) for Camera 1 to open a settings panel (Figure 29).
4. Click the Input Settings tab.
5. Click the Connection Type menu to reveal a listing of various options.
6. Select the correct format, such as 720p (Component), or 1080i (SDI), etc., for the video
source you plan to connect to this input.
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.
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3.10 CONFIGURE AUDIO
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 30
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 include Mic (with and without phantom power), Line, AES/EBU, and SDI
Embedded. After connecting audio sources to the input connectors the first thing to do is select
the desired Input and correct Input Type using the drop-down menus:
• Select Mic for professional grade microphones or other low impedance connections
(use the Mic + Phantom option for condenser microphones requiring
supplementary power)
• Choose Line typically for consumer type device connections (such as a CD player,
computer audio output or VCR).
• Select AES/EBU or SDI Embedded to connect a digital audio source.
Note: Analog levels conform to SMPTE RP-155. The maximum input/output level is +24 dBu,
nominal input level +4 dBu (-20dBFS), and the sample rate is 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.)
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Tip: Most numeric controls in on the Replay Desktop can be reset to their defaults using Shift +
double-click on the control knob.
3.11 NETWORK ING
Connecting 3Play to a local area network (LAN) may require additional steps beyond those
mentioned back when we discussed Microsoft Windows™ activation (Section 3.2). Here is the
basic procedure involved in joining a workgroup:
1. Connect a suitable cable from the 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.
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.
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4 LIVE PRODUCTION WALKTHROUGH
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).
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 SESSION
We ran through the basics of starting new sessions and configuring devices back in sections 3.6
through 3.8. (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 31
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1. On the Startup > Home page, click the New button on the icon ring (Figure 31), and
configure a new 1080i session. Name it “Practice Session” (without quotation marks).
Figure 32 – 3Play 4800 shown
Note: For 3Play 4800, 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 33
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(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 33) to launch the Replay Desktop.
4.2 THE REPLAY DESKTOP
Figure 34
5. At this point, you should see the blank Replay Desktop (Figure 34).
Figure 35
6. We discussed configuring input and output
connections and devices for new sessions back
in sections:
3.4 (Input Connections)
3.7 (Configure Video Outputs)
3.7.4 (Multiview)
3.10 (Configure Audio).
Review these points if necessary, and set up
your connections (we’re assuming at least 3
cameras are connected as we continue).
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4.3 CHANNEL AND SOURCE 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.
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.
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.
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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.
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 MARKING EVENTS
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 MARKING
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.
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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.
Figure 36
22. Click the Options menu at left in the Dashboard and slide down to 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 see where this useful item is.)
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.
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4.5.2 ONE–BU TTON MARKING
23. Finish marking any incomplete event, if necessary, by pressing OUT.
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 LIST NAVIGATION
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?
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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
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.
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The FastClip dataview:
The dataview displays cached textual data.
Think of it as a simple ‘box’. You put ‘stuff’
in the box. Afterward, you ‘do things’ with
the box contents.
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 can do with its
content afterward.
For full details, please see Sections 2.6.4
,
8.14, 8.15, 11.3.1, 11.3.2, 11.3.3
and
Chapter 13.
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 MEMOS AND TAGGING
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.
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.
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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.
Figure 37
45. Now, punch ENTER (Control Surface or keyboard), then look at what happened in the
dataview.
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 37). 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.
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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 C LIPS
Let’s see how 3PLAY’s TAGS module makes Memo cell entries even faster.
Figure 38
“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 38. 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.
49. Click cell just to the right of the SKIP entry. Type “home” (without quotes) on the
keyboard
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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 38. 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.
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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.
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 SE ARCH 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.
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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:
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.
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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 TRIMMING 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.
4.10 MANAGING EVENTS
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.
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4.11 PREPARING A PLAY LIST
4.11.1 ADDING CL IPS
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 EDITING AND PLAYBACK
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.
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.
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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.
88. 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.
89. 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 RENDERING A PL AY LIST
90. 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 Media feature in the Sessions page in Startup. See Section
5.3.1.
91. As we’ve reached the end of our introductory walkthrough, press SHIFT + REC to stop
recording.
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92. Then select Exit in the File menu to return to the Session page in Startup.
93. Press the large ‘arrow icon’ at upper left to return to the Home page, then click the
Shutdown icon
94. 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™; every button, menu item,
feature and control is considered in this section so you can take full advantage of your system.
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5 THE STARTUP SCREEN
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.
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 39
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?
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5.1 INTRODUCTION TO SESSIONS
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?
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.
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5.2 THE HOME PAGE
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.
Figure 40
This primary screen is the first thing you
normally encounter on launching the system.
Figure 40 shows the Home page icon ring.
When you click an icon on the ring (such as
New or Open), that item advances to the
front-most position.
Tip: Alternatively, you can use the keyboard’s
arrow keys to cycle through the icons on the
ring.
The right-hand pane of the Home page
updates to provide options related to your
selection on the icon ring.
For example, the first thing you will generally
do is create a session. (In anticipation of this
action, the New icon is automatically preselected on launch.)
Figure 41 – 3Play 4800 shown
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This results in the corresponding session options pane being displayed, as shown in Figure 41
(Multi-standard model options shown).
5.2.1 NEW (SESSION)
As just mentioned, clicking New on the icon ring populates the pane at right with related options.
Principally, for each session you must designate (by selecting switches) your local video standard
(Multi-standard model only – select NTSC, PAL or NTSC-J) and session format –1080i, 1080/24p,
1080/30p, 720p, 720/30p, 720/24p, 480/30i (16:9) or 480/30i (4:3). Multi-standard models offer
PAL format equivalents.
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.
RECORD MODE
Figure 43
Figure 42
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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.
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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.
Note: External USB drives, while suitable for backup and restoration operations, are not
recommended for recording applications. Please see Section A.1.7 regarding suitable hard drives
for use in 3Play’s removable drive bays. See also Section 10.2, Storage Volumes.
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.
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VIDEO STANDARD AND RESOLUTION
Figure 46
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.
Multi-standard 3Play units show the Video Standard option buttons, allowing you to choose
NTSC, NTSC-J 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 (SESSION)
If there are existing sessions on any currently mounted drive(s), the icon ring on the Home Page
will default to the Open icon (Figure 47).
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Figure 47
Selecting Open causes the Sessions List to appear 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).
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.
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OPENING A SESSION
Just as you were able to select an icon on the ring using the left and right arrow keys, you can
highlight a name in the Session List using the keyboard Up and Down arrows – then press the
Enter key to open the session (or simply click the 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 SHUTDOWN
This selection provides Restart 3Play, Shutdown 3Play, and Exit to Windows links in the righthand pane. Click a selection to perform the named action in the usual manner. (In the case of
the Exit to Windows function, you can return to the 3Play environment later by double-clicking
the 3Play desktop icon.)
5.2.4 UTILIT IES
Figure 49
Selecting Utilities on the Home Page icon ring (Figure 49) presents a list of functions at right that
have to do with the 3Play system (Figure 50).
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Figure 50
REGISTER 3PLAY
Registration is required to remove the watermark from output, in part to encourage you to
register early. Among other reasons, 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 3.3, 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 automatically access the appropriate webpage so you can
check for new software patches or other downloads provided by NewTek.
Use the login details you provided when registering 3Play to enter your personal product page,
click the “my downloads” link at the top of the page, and install any new updates. This way you
can be sure the very latest version of the software for your system is installed.
1. Click Update 3Play.
2. Login to the NewTek update webpage, locate the latest update and click on it.
3. At the dialog popup, choose Run.
4. Comply with any onscreen prompts that follow.
Tip: If you wish, you can instead access the same webpage from a second computer connected to
the internet, then transfer update files to 3Play using a network connection or perhaps a USB
thumb-drive.
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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 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.
Figure 51
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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
Figure 52
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.
Add-Ons – documentation for the included Animation Store Creator application.
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 PAGE
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 53). 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.
Figure 53
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5.3.1 FILE MANAGEMENT
Figure 54
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 and Export 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.
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Figure 55
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.
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.
Figure 56
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EXPORT MEDIA
Clicking the Export Media link opens a new panel - Figure 57.
Figure 57
The Export Media module allows you to create a list of video clips for export, even selecting a
new file format for individual exports to be converted to and designating where to send them.
Click the Add button at upper left to open a special Media Browser which shows clips you have
marked in the session, including their Memo field comments.
Use this pane to locate and select (or multi-select) video clips for export, choosing from the CLIP
LIST entries for the current session (see Section 11.1.5 for browser details). Multi-clip selections
are supported.
Tip: The Export Media panel can be resized by dragging its edges or corners with the mouse.
After selection, click OK to add the clips you chose to the Export Media file pane. The file pane is
much like a spreadsheet table, listing all files in the current export batch in its first column, then
the current settings for each file in other columns on the same row. A Status column shows the
current export status or progress for each file in the list.
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TOOLS
Note that the Export Media file list pane also supports multi-selection.
When a file (or group of files) is selected, you may use the Duplicate and
Remove buttons at right to either clone or delete entries in the list.
The Duplicate feature is very useful for cases when you wish to export a file
to multiple target file formats to be used for different purposes or in
different applications.
The Clip Handles control is a numeric slider that allows you to pad the
exported clips beyond the limits of their current in and out point
(presuming the recorded frames to support this feature exist). This is often
useful for post-production purposes (the value is in seconds.)
Tip: Once files have been added to the export list, you can multi-select using standard Shift-click
or Ctrl-click techniques, then apply options to all selected files in one operation.
TARGET, PRESET & DESTINATION
Having prepared the file list, click the triangle button in the Target column to open a drop-down
menu listing broad categories of export format presets you can choose. A similar Destination
button opens a system file browser to let you designate (or create) a location for file output.
Figure 59
Figure 58
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Each file to be exported can have its own Target, Preset and Destination settings. The export
presets shown vary, according to what is appropriate for a given session format. Available export
file formats are updated from time to time to include popular new formats. Here are some
examples, as they appear for an HD session (formats and details subject to change):
Application
o Adobe Premiere Pro® - high quality MPEG-2 Program Stream, full raster, 4:2:2
sub-sampling, variable bitrate (100 Mbps nominal).
o Apple Final Cur Pro® (.mov) – very high quality M-JPEG encoding, full raster,
4:2:2 sub-sampling, high compatibility.
o Grass Valley Edius® – high quality HD encoding, full raster, 4:2:0 sub-sampling,
high bitrate (up to 100 Mb/s).
o NewTek SpeedEDIT™ – high quality MPEG-2 Program Stream, full raster, 4:2:0
sub-sampling, variable bitrate (up to 100 Mb/s).
o Sony Vegas® – high quality MPEG-2 Program Stream, full raster, 4:2:0 sub-
sampling, variable bitrate (up to 100 Mb/s).
AVI
o DV/DVCPro (.avi) – moderate quality, SD only (NTSC 720x480, PAL 720x576),
25Mbit/s, 4:1:1 (NTSC) or 4:1:0 (PAL) sub-sampling, very broad compatibility.
o MJPEG (.avi) – moderate quality, SD or HD capable, 4:2:0 sub-sampling, broad
compatibility.
DVD
o (x) minutes (.mpg) – SD-only MPEG 2, quality presets up to 9MB/sec bitrate
(≈60 minutes) with 4:2:2 sub-sampling.
Flash/Flash 9
o A diverse collection of presets suitable for playback in newer or legacy Flash®
players.
Mobile Devices
o Presets suitable for use with Android™, iPad™, iPhone™ or iPod Touch™.
Quicktime
o Renderless Conversion – high quality ‘wrapped’ Quicktime file.
o DV/DVCPro (.mov) – moderate quality, SD only (NTSC 720x480, PAL 720x576),
25Mbit/s, 4:1:1 (NTSC) or 4:1:0 (PAL) sub-sampling, very broad compatibility.
o h.264 Highest Quality (.mov)
o h.264 Very Good (.mov)
o MJPEG (.mov)
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Same as Source – file copy (no re-rendering)
Video Server
o Leightronix NEXUS\Ultra NEXUS – SD (NTSC 720x480, PAL 720x576), high
quality, MPEG2 Program Stream, 9Mb/s variable bitrate, 4:2:2.
o TelVUE Princeton – SD (NTSC 720x480, PAL 720x576), high quality MPEG2
Program Stream, 9Mb/s variable bitrate, 4:2:2, NTSC 720x480 (PAL 720x576).
Tip: The time an export takes is affected by numerous factors – the number, duration and
resolution of the selected files, the speed of the device selected as target for the files, the
designated format, and so on.
It is generally unwise to commence a file export shortly before a live event, since you cannot
launch 3Play’s Replay Desktop during export. If necessary, you can cancel the current export
operation.
Next, use the Destination field drop-down to designate a target folder for exported files to be
sent. A progress gauge is shown during file processing. Click the Export button at the bottom of
the dialogue to begin batch export processing.
Tip: It is possible to selected mapped network locations (with a drive letter assigned) as the
Destination, saving time later.
FORMAT NOTES
When export presets that do not support HD are selected during an HD session, the clip is
automatically scaled to fit the selected file format. This is a convenience, but be sure to select a
preset suitable for your ultimate needs.
In a somewhat related matter, note that 3Play records files from external sources in their native
formats – which may or may not match the session format. For example, an SD camera recorded
by 3Play during an HD session is nevertheless recorded as SD. When exported, the recorded SD
clip will export as SD.
Finally, note that clips you imported into a session are simply exported as-is (that is, without
transcoding) if added to the file list in Export Media.
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6 THE REPLAY DESKTOP
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.
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.
1 – Dashboard
2 – Monitoring
3 – Toolbar
3 – CLIP LIST
4 – PLAY LIST
5 - TAGS
Figure 60
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 60).
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From top to bottom, these are:
•Menus (settings and options), quick access to Grab, Record, and timecode
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
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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.
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.)
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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 CU STOMIZING THE REPL AY DESKTOP
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.
Figure 61
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.
6.3.2 DUAL DISPLAYS AND 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.
With a suitable monitor connected to 3Play’s Multiview port – open the Workspaces menu in the
Dashboard at the top of the Desktop. Select Out/In/Clocks in the Multiview sub-menu. Then
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 the Multiview display. Likewise, you can drag the horizontal divider
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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 DASHBOARD TOOLS
Figure 62
The Replay Desktop DASHBOARD (Figure 62) provides useful data. Info displayed includes:
File, Options, Macros, Workspaces and Help menus
Status messages (Section 6.4.1)
Session Name and format
Figure 63
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
6.4.1 STATUS MESSAG ES
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.
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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, OPTIONS, MACROS, WORKSPACES, AND HEL P)
Figure 65
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 Audio, Clips and
Stills 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.
Figure 64
Figure 66
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