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Revised – Mar. 28, 2013
Trademarks: NewTek, TriCaster, TriCaster XD, TCXD850, TCXD850 Extreme, TriCaster TCXD850 Extreme, TriCaster 850
Extreme, TriCaster Extreme, TriCaster 850, TCXD450, TCXD450 Extreme, TriCaster TCXD450 Extreme, TriCaster 450
Extreme, TriCaster Extreme, TriCaster 450, IsoCorder, TCXD300, TriCaster PRO, TriCaster STUDIO, TriCaster BROADCAST,
TriCaster DUO, iVGA, SpeedEDIT, 3PLAY, 3PLAY 820, 3PLAY 425, 3PXD820, 3PXD425, LiveText, DataLink, LiveSet,
LiveMatte, TimeWarp, VT, V[T5], Video Toaster, Toaster, 3D Arsenal, Aura, LightWave, LightWave 3D and LightWave
CORE are trademarks of NEWTEK. All other brand names, product names, or trademarks belong to their respective
holders.
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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 ................................................................................................................. 8
2.6 Features ............................................................................................................................ 9
2.6.1 Physical ..................................................................................................................... 9
2.6.2 Input, Output & Capture ......................................................................................... 10
2.6.3 Monitoring .............................................................................................................. 11
2.6.4 Video Processing ..................................................................................................... 12
2.6.5 Recording ................................................................................................................ 12
2.6.6 The Clips List ........................................................................................................... 13
2.6.7 The Play list ............................................................................................................. 13
2.6.8 The Dashboard ........................................................................................................ 14
3 Setting Up ......................................................................................................................... 15
3.1 Command and Control .................................................................................................... 15
3.2 Activating & Authorizing Windows™ .............................................................................. 16
3.3 License and Registration ................................................................................................. 17
3.3.1 Online Registration ................................................................................................. 18
3.3.2 Registering by Telephone ....................................................................................... 18
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3.4 Input Connections ........................................................................................................... 19
3.4.1 Connect A/V Sources .............................................................................................. 19
3.4.2 Genlock Connection ................................................................................................ 20
3.4.3 Timecode Connection ............................................................................................. 21
3.5 Output Connections ........................................................................................................ 22
3.5.1 A/V Output .............................................................................................................. 22
3.5.2 HD and SD ............................................................................................................... 23
3.5.3 Connecting Devices ................................................................................................. 23
3.5.4 Supplemental Video Outputs .................................................................................. 24
3.5.5 Tally Lights............................................................................................................... 25
3.6 Starting a Session ............................................................................................................ 26
3.7 Configure Video Output .................................................................................................. 28
3.7.1 SD Analog Configuration ......................................................................................... 29
3.8 Configure Multiview Output ........................................................................................... 30
3.9 Configure Genlock ........................................................................................................... 30
3.10 Configure Video Input ..................................................................................................... 31
3.11 Configure Audio .............................................................................................................. 33
3.12 Networking ..................................................................................................................... 34
4 Live Production Walkthrough............................................................................................ 37
4.1 Creating a Session ........................................................................................................... 37
4.2 The Replay Desktop ......................................................................................................... 39
4.3 Output and Control Modes ............................................................................................. 40
4.4 Record and Speed............................................................................................................ 40
4.5 Marking Events ............................................................................................................... 41
4.5.1 Two –Button Marking ............................................................................................. 41
4.5.2 One–Button Marking .............................................................................................. 43
4.6 Clips List Navigation ........................................................................................................ 43
4.7 Adding a Memo ............................................................................................................... 43
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4.8 Trimming Events ............................................................................................................. 44
4.9 Managing Events ............................................................................................................ 45
4.10 Preparing a Play List........................................................................................................ 45
4.10.1 Adding Clips ............................................................................................................ 45
4.10.2 Editing and Playback ............................................................................................... 46
4.10.3 Speed Control ......................................................................................................... 47
4.11 Rendering a Play List ....................................................................................................... 47
PART II (Reference) ................................................................................................................... 49
5 The Startup Screen ............................................................................................................ 51
5.1 Introduction to Sessions .................................................................................................. 52
5.2 The Home Page ............................................................................................................... 53
5.2.1 New (Session) .......................................................................................................... 54
5.2.2 Open (Session) ........................................................................................................ 56
5.2.3 Shutdown ................................................................................................................ 57
5.2.4 Utilities .................................................................................................................... 58
5.2.5 Help ......................................................................................................................... 60
5.3 The Session Page ............................................................................................................. 61
5.3.1 Asset Management ................................................................................................. 62
6 Replay Desktop Overview ................................................................................................. 69
6.1 Display Requirements ..................................................................................................... 69
6.2 Overview ......................................................................................................................... 69
6.3 A Few Hints ..................................................................................................................... 70
6.4 Customizing the Replay Desktop ..................................................................................... 71
6.4.1 Rename ................................................................................................................... 71
6.4.2 Dual Displays and Monitoring ................................................................................. 72
6.4.3 The Dashboard ........................................................................................................ 72
6.5 Titlebar Tips .................................................................................................................... 72
6.5.1 Status Bar ................................................................................................................ 73
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7 I/O Configuration .............................................................................................................. 75
7.1 Output Configuration ...................................................................................................... 75
7.1.1 Output A and B........................................................................................................ 76
7.1.2 Aux/Multiview......................................................................................................... 79
7.1.3 Genlock ................................................................................................................... 81
7.1.4 Center Frequency .................................................................................................... 83
7.2 Input Configuration ......................................................................................................... 83
7.2.1 Connection Type ..................................................................................................... 84
7.2.2 Name ....................................................................................................................... 87
7.2.3 Proc Amp ................................................................................................................. 87
7.2.4 Audio Settings ......................................................................................................... 88
7.2.5 Timecode Configuration ......................................................................................... 89
8 Control Surface ................................................................................................................. 91
8.1 Overview ......................................................................................................................... 91
8.2 Qualifier Buttons ............................................................................................................. 92
8.3 Record ............................................................................................................................. 92
8.4 Output Modes (A, B, A+B) ............................................................................................... 92
8.5 Control Modes ................................................................................................................. 93
8.5.1 Clips Mode .............................................................................................................. 93
8.5.2 PLAY LIST Mode ....................................................................................................... 94
8.5.3 Live .......................................................................................................................... 94
8.6 Page and Bank (P1-P4) .................................................................................................... 95
8.7 Transport ......................................................................................................................... 95
8.7.1 Previous .................................................................................................................. 96
8.7.2 Next ......................................................................................................................... 96
8.7.3 Stop ......................................................................................................................... 96
8.7.4 Play .......................................................................................................................... 96
8.7.5 Fast Jog .................................................................................................................... 96
8.7.6 Jog Wheel ................................................................................................................ 96
8.8 Play Speed (T-bar section) ............................................................................................... 97
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8.9 IN/OUT (Marking) ........................................................................................................... 97
8.9.1 In ............................................................................................................................. 97
8.9.2 Out .......................................................................................................................... 98
8.10 UTILITY Buttons ............................................................................................................... 99
8.10.1 Esc ........................................................................................................................... 99
8.10.2 Remove ................................................................................................................... 99
8.10.3 Edit .......................................................................................................................... 99
8.10.4 Add to Play List ...................................................................................................... 100
9 Desktop Monitors ........................................................................................................... 101
9.1 Input Monitors .............................................................................................................. 101
9.1.1 Titlebar Features ................................................................................................... 102
9.1.2 Interactive Control ................................................................................................ 103
9.2 Output A and B .............................................................................................................. 103
9.2.1 Heads-Up Display .................................................................................................. 104
10 Record and Marking .................................................................................................... 107
10.1 Record Configuration – New Session ............................................................................ 107
10.2 Recording and the Desktop ........................................................................................... 108
10.2.1 Clips List ................................................................................................................ 109
10.2.2 Recorded Cameras ................................................................................................ 109
10.2.3 Record On/Off ....................................................................................................... 110
10.3 Marking Events ............................................................................................................. 111
11 Output & Control Modes ............................................................................................. 113
11.1 Output Modes ............................................................................................................... 113
11.2 Control Modes ............................................................................................................... 114
11.2.1 Control and A+B Mode.......................................................................................... 116
12 The Clips List ............................................................................................................... 117
12.1 Titlebar Features ........................................................................................................... 117
12.1.1 Bank & Page .......................................................................................................... 117
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12.1.2 Add Media ............................................................................................................. 118
12.1.3 Filter ...................................................................................................................... 122
12.1.4 Show/Hide Columns .............................................................................................. 122
12.1.5 Clip Configuration ................................................................................................. 123
12.2 Clips List Table Features ................................................................................................ 124
12.2.1 In/Out Points, Duration (and Trimming) ............................................................... 125
12.2.2 Memo Fields.......................................................................................................... 125
12.2.3 Managing Events ................................................................................................... 126
12.3 Clip Transport ................................................................................................................ 127
12.3.1 Play Speed ............................................................................................................. 127
12.4 Selection & Display ........................................................................................................ 128
12.4.1 Play Indicator ........................................................................................................ 128
12.5 Add to Play List .............................................................................................................. 128
13 The Play List ................................................................................................................ 131
13.1 Titlebar features ............................................................................................................ 131
13.1.1 Play List Pages ....................................................................................................... 131
13.1.2 Export Play List ...................................................................................................... 132
13.1.3 Music Tools ........................................................................................................... 132
13.2 The Play List Table ......................................................................................................... 134
13.3 Play List Preparation ..................................................................................................... 135
13.3.1 Clip Selection ......................................................................................................... 135
13.3.2 Changing a Clip ...................................................................................................... 136
13.3.3 Memo Field ........................................................................................................... 136
13.3.4 Audio 1, 2 – 3, 4 .................................................................................................... 136
13.3.5 In and Out Points (Trimming Clips) ....................................................................... 137
13.3.6 Speed .................................................................................................................... 137
13.3.7 Crossfade .............................................................................................................. 137
13.4 Clip Context Menu ......................................................................................................... 138
13.5 Playback ........................................................................................................................ 138
13.6 Play List EDLs ................................................................................................................. 139
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14 The Dashboard ............................................................................................................ 141
14.1 Displaying the Dashboard ............................................................................................. 141
14.2 Speed Presets ................................................................................................................ 141
14.3 Output Mode ................................................................................................................. 142
14.4 Live Mode ...................................................................................................................... 142
14.5 Mark In/Out .................................................................................................................. 143
14.6 Transport Buttons ......................................................................................................... 143
14.7 Play List Loop ................................................................................................................ 144
PART III (Appendices) ............................................................................................................. 145
A How Do I … ? ................................................................................................................... 147
A.1 Connections ................................................................................................................... 149
A.1.1 Connect cameras? ................................................................................................. 149
A.1.2 Color correct mismatched cameras? .................................................................... 149
A.1.3 Connect monitors? ................................................................................................ 150
A.1.4 Improve the Quality of Multiview Output? .......................................................... 151
A.1.5 Connect the Genlock Reference Signal? ............................................................... 152
A.1.6 Connect the 3Play™control surface? .................................................................... 152
A.1.7 Insert/Remove a Drive From a Removable Drive Bay ........................................... 152
A.1.8 Connect An External Hard Drive?.......................................................................... 154
A.1.9 Eject A Hard Drive? ............................................................................................... 154
A.1.10 Connect to a Network? ......................................................................................... 154
A.1.11 Enable Termination for Video Inputs? .................................................................. 154
A.2 Sessions ......................................................................................................................... 155
A.2.1 Delete a Session (and its Content)? ...................................................................... 155
A.2.2 Rename a Session ................................................................................................. 155
A.2.3 Manage Selected Content inside a Session? ......................................................... 155
A.3 Events and Recording .................................................................................................... 156
A.3.1 Start recording? .................................................................................................... 156
A.3.2 End recording? ...................................................................................................... 156
A.3.3 Mark an Event? ..................................................................................................... 156
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A.3.4 Cancel an Incomplete Marking Operation? .......................................................... 157
A.3.5 Play a Clip? ............................................................................................................ 157
A.3.6 Play a clip in Slow Motion? ................................................................................... 157
A.3.7 Prepare a highlight reel? ....................................................................................... 158
A.3.8 Select a different playlist clip for the same time period? ..................................... 158
A.4 Files ............................................................................................................................... 158
A.4.1 Manage Files? ....................................................................................................... 158
A.4.2 Import Media Files? .............................................................................................. 159
A.4.3 Prepare clips for the Play List Using Apple® Final Cut Pro? .................................. 159
A.4.4 Add an External File Location to the Media Browser? .......................................... 160
A.4.5 Remove a Location From the File Browser? ......................................................... 160
A.4.6 Export files to an External Drive? .......................................................................... 160
A.4.7 Export files for use in Apple® Final Cut Pro? ......................................................... 161
A.4.8 Import/Export Files Larger Than 4 Gigabytes?...................................................... 161
A.4.9 Avoid the error “… copy this file without its properties?” .................................... 162
A.5 Software, Maintenance and Updates ........................................................................... 162
A.5.1 Improve Performance? ......................................................................................... 162
A.5.2 Resolve Serious Instability or Dropped frames? ................................................... 162
A.5.3 Update NewTek 3Play™ software? ....................................................................... 162
A.5.4 Install Virus Protection? ........................................................................................ 163
A.5.5 Install My Favorite Software (or Codec)? ............................................................. 163
A.5.6 Restore the system to Original ‘As-Shipped’ Condition? ...................................... 164
A.6 Registration And Tech Support ..................................................................................... 165
A.6.1 Register the NewTek 3Play™system ? .................................................................. 165
A.6.2 Contact Technical Support? .................................................................................. 165
A.6.3 Find Hardware/Firmware Revision Numbers? ...................................................... 165
A.7 Miscellaneous ............................................................................................................... 165
A.7.1 Set up remote desktop control of 3Play? ............................................................. 165
A.7.2 Deal With Clips or images That Seem Blurry? ....................................................... 165
A.7.3 Access Windows™? ............................................................................................... 166
A.7.4 Return to the Startup Screen from the Windows™ Desktop ................................ 166
A.8 More Questions and Answers ....................................................................................... 166
A.8.1 Why is my power supply beeping? ....................................................................... 166
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A.8.2 Why are my clip duration and Countdown times different? ................................ 167
B Keystroke Shortcuts ........................................................................................................ 169
C Reliability Testing ............................................................................................................ 171
Index ...................................................................................................................................... 173
Credits .................................................................................................................................... 177
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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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Hate reading manuals? If so, you are part of the majority.
Estimates are that between 60 and 97% of the human race concur.
Most prefer to jump right in, maybe asking a friend for occasional
help – and who can blame them?
This manual attempts to tell you what you need to know in a
friendly, concise way, while also providing a deeper reference
section you can turn to when you really need specifics.
1 ABOU T THIS MANUAL
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™ – connecting devices
(cameras, monitors, etc.) and registration, ending up with the Live Production
Walkthrough – a brisk jog through fundamentals, about 10 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.
3PLAY™ MODEL NOTES This User Guide discusses two 3Play™ models, 3Play™ 820 and 425. In most
respects, operations and interface are very similar, and a single description will suffice. There are
some relatively minor exceptions, however. Wherever these are discussed in the text, they will
be flagged in the same manner as this paragraph.
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Thank you for purchasing NewTek 3Play™. 3Play™ is a member of
the NewTek family of video production systems and software, and
bears 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™.
Figure 1
Figure 2
2 INTR ODUCTIO N
2.1 OV ERVIEW
NewTek 3Play™ is a multi-channel high definition video device supporting simultaneous
recording, display and instant replay of multiple audio and video sources (up to eight of each for
3Play™ 820, and four in the case of 3Play™ 425). Its output possibilities include professional
hardware connections capable of conveying two fully independent video streams to external
video systems such as live broadcast switching equipment, and of course file export.
Output at any time 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 – playback of a ‘bookmarked’ time segment of captured (or imported) media
IV. List – playback of a prepared playlist that may include clips or other imported media and
transitions.
Hint: It’s important to realize that Delayed, Clip or List playback do not interrupt continuous
capture of configured live sources.
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Delayed, Clip and List (Play List) video streams can also be played back at variable speeds. The
standard (NTSC) 3PLAY™ supports NTSC video in HD1080i, 720p, and SD formats. Multi-standard
3Play™ systems support the equivalent formats for NTSC, NTSC-J and PAL video broadcast
standards.
2.2 RE CORDING, M ARKING AND EVENTS
Recording is intrinsic to NewTek 3Play™, and is configured for each incoming a/v source to be
captured prior when creating live production session. When Record is enabled in the live Replay
Desktop, configured sources are continuously captured and stored. Typically, each stream might
represent a different camera angle. (Other sources supplied to non-recorded inputs can be
viewed but will not be captured; thus they are not available for later replay.)
Note: When timecode for a session being recorded reaches 24:00:00.00, a new recording is
automatically started. A few frames are lost in this process. Use the ‘Subtract 12 hours; feature
in Timecode Configuration to avoid problems when necessary – see Section 7.2.5.
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 Clips List module on the Replay Desktop as a single row of clips
identified by an Event ID number shown in the left-most column, along with related data.
Events can be thought of as timed segments of the recorded video. These are created when you
mark In and Out Points as a live production progresses. The (in and out) timecode values are
rather like digital bookmarks, in that they identify a specific portion of the recorded footage.
Newly-marked events are successively added to the Clips List for convenient recall.
Remember, an event is not merely a clip. Think of it as a bookmarked section of the recordings
from each (captured) source. Each event entry denotes a synchronized time ‘slice’ of 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 one particular camera to one of the system
outputs (Output A or Output B).
Hint: Two different clips from one or more events can be displayed simultaneously using the two
outputs.
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Events bear another similarity to literal bookmarks. A bookmark is only a convenient reference
to the printed material on the book’s pages – it does not comprise the actual text. Adding or
removing (or moving) a bookmark does not remove literal pages from a book.
Likewise, NewTek 3Play™ normally captures a complete, uninterrupted record of your
production. Just like physical bookmarks, the events listed in the Clips List are pointers to this
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 NE WTEK 3PLAY™ CONTRO L SURFACE
A dedicated NewTek 3Play™ external control surface (Figure 3) provides primary operational
control – see Chapter 8. (Text editing and other supplementary control is supported using the
keyboard.)
Figure 3
Note: If the control surface is not available for any reason, its core functions can be accessed from
the compact Dashboard shown at the bottom of the Replay Desktop, or by keyboard shortcuts.
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2.4 ST ARTUP S CRE EN
When you power up your NewTek 3Play™ system, the Startup Screen appears. This is your
command center for initiating most other operations.
Figure 4
The Home page of the Startup Screen allows you to define and open sessions, essentially custom
presets for individual productions or other purposes. Later, when you re-open a session, all of its
assets and settings are remembered.
After creating a session (or opening an existing one), you are taken to the 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.
2.5 RE PLAY 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 three horizontal
bands, as seen in Figure 5 (depicting the 3Play™ 820 Replay Desktop).
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Monitoring
Clips List
Play List
Dashboard
Figure 5
The uppermost area is devoted to monitoring. The spreadsheet-like Clips List is centrally located,
beneath the monitoring section. Below this you will see the Play list, which allows you to create
and control more complex sequences (such as highlight reels). A slender Dashboard can
optionally be shown at the very bottom of the Replay Desktop.
2.6 FE ATU RES
Here’s a brief overview of just some of 3Play’s key features:
2.6.1 PHYSICAL
3PLAY™ 820
Rugged 4U rack-mount case with redundant power supplies ensures robust and reliable
performance in fixed or mobile installations.
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Massive storage capacity – each (of up to four) 2TB hot-swappable drive holds
approximately 50 hrs of 1080i (or 155 hours of SD video).
3PLAY™ 425
Sturdy yet compact 2U rack-mount case
40 hours of storage capacity (1080i) (combined internal drive and 1TB removable drive.
2.6.2 INPUT, OUTPUT & C APTURE
Figure 6 – 3Play™ 820
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 (headphone output uses a standard
1/4” stereo phone jack, and an HDMI port supplies an added output option).
Professional BNC video connectors provide increased durability and reliability for
camera connections.
Supply external audio via analog, AES/EBU (AES3) or SDI Embedded audio.
Balanced XLR audio connectors.
Multiple simultaneous SDI and analog output connections.
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Figure 7 – 3Play™ 425
Record up to either four or eight sources (audio and video), freely choosing between SDI
and analog HD (or SD) cameras.
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 output from 3Play™ to a network connected TriCaster™.
3PLAY™ 820
Supplemental Aux (Auxiliary) Video output to a projection system or secondary monitor
at session resolutions up to 1920x1080.
2.6.3 MONITORIN G
Figure 8
The Replay Desktop includes two large output monitors, labeled Output A and B, with associated
controls. Tabs above the monitor group at left allow you to freely toggle between viewing:
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Recorded Cameras – onscreen monitors for all sources that are configured for recording
(Figure 8, showing 3Play™ 820).
Cameras 1-4 – The first four live video sources supplied to 3Play’s video inputs.
3PLAY™ 820
Cameras 1-6 – The first six live video sources supplied to 3Play’s video inputs only.
Cameras 1-8 – All eight live video sources supplied to 3Play’s video inputs.
2.6.4 VIDEO PROCESSING
Proc Amps allow you to adjust the video signal to preserve pristine image and color fidelity
through the entire pipeline to final output.
Separate controls are provided for Brightness, Contrast, Hue and Saturation for every
video source, along with White Balance and U and V Offset.
Likewise, individual Proc Amp controls are provided for Output A and Output B.
2.6.5 RECORD ING
Apart from live throughput, virtually all replay output features depends on recorded data.
Figure 9
The Record button is located just below the Output A monitor on the Replay Desktop.
Useful information about the recording and remaining space is displayed nearby.
Recording can also be enabled from the NewTek 3Play™ control surface.
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2.6.6 THE CL IPS LIST
Figure 10
Segments of recorded data are ‘bookmarked’ as individual events by setting in and out points.
Events and their constituent clips, representing the different recorded sources (or ‘angles’)
appear in the Clips List (see Section 2.2.1).
Figure 11
Events can be rearranged and trimmed in the Clips List. Memo fields for each clip allow you to
enter comments that can be used to quickly locate specific clips for playback or inclusion in
playlists.
The Clips List offers four banks of four pages each to help you manage your recorded content. In
addition, the Clips List supports the import of other media clips (and still images) for use when
preparing playlists for various purposes.
2.6.7 THE PL AY LIST
Figure 12
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Individual clips from events appearing in the Clips List can be added to the Play List pane below.
Figure 13
The Play List plays all entries in sequence, with optional transitions between clips. Like the Clips
List, the Play List pane offers four banks of four pages each, supports clip re-ordering, comments,
trimming, and numerous other features.
2.6.8 THE DA SHB OAR D
The Dashboard replicates major features normally accessed using the NewTek 3Play™ control
surface. It is located at the bottom of the Replay Desktop, just below the Play List, and can serve
at least two useful purposes.
Figure 14
The Dashboard can be displayed on demand or full-time. Perhaps you’ll find you use it only
between live events, when you might not want to connect the control surface while working with
recorded data. Or you may prefer to have it in view at all times so that you can see the state of
various controls with just a quick flick of the eye to the bottom of the screen.
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This chapter explains how to properly connect power, external
control devices, monitors and audio visual sources to your NewTek
3Play™ system.
It also reviews registration for warranty purposes and technical
support. After completing this short section, you’ll be all set to
continue into the Walkthrough chapter that follows it.
3 SETT ING UP
To begin, let’s review ‘what came in the box’:
3Play™ and 3Play™ CS (control surface)
3PLAY™ 820 Package of three (3) 2TB hard drives
3PLAY™ 425 One 1TB hard drive for the removable drive bay
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 A ND CONTROL
1. Connect an external computer monitor to the Interface DVI port on 3Play’s backplate
(use an adapter if necessary).
3PLAY™ 425 Use the DVI connectors nearest to the Video In group for the interface monitor. DVI
connectors located at left below the power supply are normally capped and should not be used.
Note: The user interface for NewTek 3Play™ requires a minimum screen resolution of 1440x900.
2. Connect the mouse and keyboard to USB ports on 3Play™.
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‘Modified sine wave’ UPS devices are
popular due to low manufacturing costs.
However, such units should generally be
viewed as being of low quality and possibly
inadequate to fully protect the system from
For a modest added cost, consider a "pure
sine wave" UPS. These units can be relied
on to supply very clean power, eliminating
potential problems, and are recommended
3. Connect the A/C power cord(s)
from the three-prong connection(s)
on 3Play’s backplate to an external
power receptacle (see Hint below).
4. Turn on the computer monitor.
5. Press the Power switch located on
3Play’s faceplate.
A word about UPS devices:
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.
abnormal power events..
for applications demanding high reliability.
3.2 AC TIVATING & AUT HORIZING W INDO WS™
(Your dealer may have performed this operation for you as part of his pre-delivery service.)
When you see the ‘Welcome to Windows’ screen:
1. Click Next at lower right.
2. Choose your time zone.
3. Accept the license agreement.
4. Enter your 25-digit key (on some models, the sticker is on the bottom of the case).
5. Decline automatic updates (by clicking “not right now”).
6. Give 3Play™ a distinct computer name for networking.
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Figure 15
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 3.12 for more on network connections.)
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.
3.3 LI CENSE A ND REGISTR A TION
On launch, 3Play™ presents an End User
License Agreement dialog. After you accept
this, the Registration dialog shown in Figure
15 is presented. It provides the unique
Product ID you need to register your
system.
If necessary, enter the unique Serial
Number and Product ID for your system.
TriCaster’s video output will show a
watermark until the system is registered
and unlocked (by entering the registration
code.
Hint: If the Serial number doesn’t appear automatically, and can’t find it on your unit, you can
obtain it from the registration webpage mentioned in the next section, or by calling Customer
Support Desk (open seven days a week).
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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 RE GISTRAT ION
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 where you will find further directions.
Hint: More information on connecting to a network can be found in Section 3.12.
Otherwise, you can visit the registration webpage from another system that does have Internet
access.
In either case, after registering on the website, enter the resulting registration code into the field
provided at Step 4 of the dialog.
Hint: It’s a very good idea to record the login name and password you choose when creating your
website profile and keep them in a safe place. Jot down registration code too; it could come in
very handy if you ever need to restore the 3Play™ software to its as-shipped state when you don’t
have access to the Internet.
3.3.2 REGISTERI NG BY T ELEP HONE
NewTek’s Customer Care center can also handle registration requests by telephone, if that is
more convenient (when opportunity permits, you should still visit the website as discussed above
to gain access to software updates).
Please have your Product ID (from the Registration dialog mentioned earlier) handy when you
call. The phone numbers for Customer Service follow:
Telephone: (US) 1-800-862-7837
(Outside US) +1-210-370-8000
Fax: 210-370-8001
Note: For Technical Support contact information, please see Section A.6.2.
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3.4 INPUT CONNEC TIONS
3.4.1 CONNECT A /V SOUR CES
External audio and video sources are connected to the appropriate inputs on 3Play’s backplate.
Figure 16 – 3Play™ 820
Figure 17 – 3Play™ 425
1. Connect video sources to the appropriate connectors in the VIDEO IN section (Figure
16), whether SDI, Component, Y/C (S-Video) or Composite (may require RCA to BNC
adapter).
a. SDI – Attach the SDI source connectors to BNC connectors marked SDI in the
Video In group.
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Hint: If your equipment supports SDI, this is your best quality I/O option.
b. Component – Attach the appropriate BNC connectors from your sources to all
three analog BNC connectors (labeled Y, Pb and Pr) in each 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 3.11.
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 C ONNECTI ON
The Genlock input on 3Play’s backplate is for connection of a ‘house sync’ or reference signal
(often a ‘black burst’ signal intended specifically for this purpose).
Many studios use this method to synchronize equipment in the video chain. Genlocking is
commonplace in higher-end production environments, and genlock connections are usually
found on professional gear.
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Figure 18 – 3Play™ 820
Figure 19 – 3Play™ 425
3PLAY™ 820
Connect the cable from your timecode generator to
one of the connectors in the Audio Input 7 group.
Figure 20
3PLAY™ 425
Connect the cable from your timecode generator to
one of the connectors in the Audio Input 3 group
OR, connect it to either the blue or red 1/8” audio
inputs (Figure 21).
Figure 21
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 ONN ECTION
3Play™ supports external linear timecode (LTC).
External timecode is enabled and configured in the Replay Desktop (see Section 7.2.5).
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Figure 22 – 3Play™ 820
Figure 23 – 3Play™ 425
3.5 OU TPUT 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.
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Transmit another output or multi-bridge monitoring layout to a secondary monitor (or
projector) via the Multiview port.
An additional output is provided via an HDMI port. This output tracks the active 3Play
Output Mode (A or B).
3.5.2 HD AND SD
As mentioned earlier, the Video Output section on 3Play’s backplate provides vertical columns of
four BNC connectors. These represent:
Output A (Row 1)
Output B (Row 2)
HDMI – This output tracks the active 3Play Output Mode (A or B)
3PLAY™ 820 Aux (Row 3) – carries the same signal as either Output A or Output B,
depending on 3Play’s current Output Mode (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 CONNECTIN G 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.
Hint: If your equipment supports SDI connections, this is your best quality option.
a. Component – Attach your device to the second, third and fourth BNC
connectors (Y, Pb and Pr) in the VIDEO OUT connector groups.
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b. 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).
c. 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 Output A sound, while 2a etc. are assigned to Output B. These two
output sections are configured and controlled separately in the Replay Desktop.
3PLAY™ 820 Aux (Row 3) – carries the same audio as either Output A or Output
B, depending on 3Play’s current Output Mode.
b. 3PLAY™ 820 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.)
Hint: 3Play’s SDI and analog output sections can be used simultaneously. For example, you could
use the Component output to view your program on a local analog video monitor at the same
time as you use the HD-SDI connection to supply broadcast equipment.
3.5.4 SUPPLE MENTAL VID EO 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.
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HDMI
A labeled HDMI connector on 3Play’s backplate tracks the active 3Play™ Output Mode (A or B).
Simply connect a suitable device to the HDMI connector on the backplane.
NETWORK OUTPUT
Figure 24
3Play’s Output A and Output B are available as Switcher sources to a network connected
TriCaster™. There is nothing to configure on 3Play™. Provided the two units are on the same
network (not different subnets), they will appear in the source selector menu for TriCaster’s Net
1 and Net 2 inputs as “3Play(A)” and “3Play(B),” where “3Play” is the network name for the
system. Conveniently, the output includes embedded audio, freeing up multiple TriCaster a/v
inputs for other purposes.
MULTIVIEW
3Play’s Multiview output is variously supplied by a DVI connector (3Play™ 820), or HDMI
connector (3Play™ 425) located near the interface DVI connector. Again, connect a suitable
external monitor or device. The new device should be recognized and enabled by the system
automatically. This output offers a variety of optional monitoring layouts that can be selected at
any time in the Replay Desktop.
Note: For best results, it is important to configure Multiview Output to the native resolution of
the external display (monitor or projector) connected.
3.5.5 TALLY LIGHTS
You may notice that 3Play’s backplate connections include a DB-15 port labeled Tally. This is
intended for future expansion. At the present time, the connector is not active.
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3.6 ST ART ING A S ESSION
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 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 the 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).
THE HOME PAGE
Figure 25
When no previously created sessions exist, the icon ring dominating the Home page defaults to
New, inviting you to create a new session.
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Figure 26
A link labeled Enter Session Name is shown at the
top of the right-hand pane when New is selected on
the icon ring. Click in this area to modify the name
using the keyboard if you like. (The default name is
the current date.)
Note: 3Play™ supports a variety of optional session
configurations for live production. You can choose
either HD (High Definition) or SD (Standard
Definition) operating modes. SD options include
both 4:3 and 16:9 (widescreen) image aspects.
Multi-standard models permit you to select from
three video standards according to your locale –
NSTC, NTSC-J (Japan) or PAL.
Continue with session creation by assigning drives to
cameras you intend to record.
Qualified storage volumes connected to 3Play™ or
mounted in its removable drive bay(s) are listed in
the Drives column of the Record Configuration
section (Figure 26). Use the drop-down menus under Inputs to assign sources to hard drive.
(Notice that the panel layout encourages you to record just two sources to a given drive.)
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.
For multi-standard models only, set the Video Standard as appropriate for your locale. For the
moment, let’s choose 1080i for Resolution (even if the cameras you plan to connect are SD 4:3),
then click the Create Session link below.
THE SESSION PAGE
Clicking Create Session will display the Session page.
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Figure 27
THE REPLAY DESKTOP
Since our intention at this stage is simply to
configure our connections (done in 3Play’s Replay
Desktop), go ahead and click Start Session on the
icon ring.
This will launch the Replay Desktop, which is likely
where you will spend most of your time working
with 3Play™.
Figure 28
Initially, as you have yet to configure input devices or add content, the Replay Desktop will look a
bit barren (Figure 28).
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 NFI GURE VIDEO OUTP UT
3Play™ provides complete video input monitoring right on the Replay Desktop. This allows you to
operate it without even connecting downstream video monitors or devices.
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Figure 29 – 3Play™ 820
Additionally, however, you will likely also
connect external devices to the VIDEO OUT
connectors on 3Play’s backplate (see Section
3.5). High definition devices will be connected to
either SDI or Component connections, while
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 30
1. Move your mouse pointer over the Output Configuration button, identified by a gear
icon as shown in Figure 30, and found at upper-right on the Replay Desktop just below
the Close button. Click here to open Output Configuration.
The first two tabs in this panel are labeled Output A and Output B. Located at the top of both of
these tabs is a menu allowing you to select the Analog Output Type for the associated output
channel, A or B (see Figure 29).
For SD sessions, Component or Composite + Y/C Analog Output Type alternatives are available.
For HD sessions, Component is the only valid option, so the menu is locked.
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Figure 31
Selecting Composite + Y/C sends composite video output to the second BNC connector for the
corresponding output row (labeled Y), and Y/C to the third and fourth connectors, which are
labeled Pb and Pr, respectively.
You’ll notice output Proc Amp (color) controls below in each output tab as well, along with
individual output Audio level sliders.
The third tab is labeled Aux/Multiview (3Play™ 820) or simply Multiview (3Play™ 425).
3.8 CO NFI GURE MULTIV IEW OUT PUT
We’ll just discuss the Multiview control group
here (see Section 7.1.2 for a more thorough
examination). The Multiview output commonly
serves supplemental control room monitoring
needs, though other possibilities exist, too.
The Screen Layout options determine what the
Multiview output displays. Use VGA Output
Resolution to select a suitable resolution for the
device attached to the Multiview connector (if
any).
Make appropriate selections for your environment in this panel, and then click Close.
3.9 CO NFI GURE GE NLOCK
1. Click the Genlock tab in the Output Configuration panel.
2. The default Reference Type in the Genlock settings is SD (Bi-level), as this is currently the
most common reference signal type. However, if you supply an HD reference signal to
the Genlock input, you may want to change the setting to HD (Tri-level).
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Figure 32
3. With the aid of downstream Waveform and Vector Scopes, adjust 3Play’s Horizontal and
Vertical Position and Phase settings.
Again, ideally both the cameras and 3Play™ should be genlocked. If cameras are not genlocked
to the same reference signal as the 3Play, a TBC (Time Base Correction) operation is
automatically applied. Time Base Correction may drop or insert frames as necessary to maintain
sync, hence it is a less desirable approach.
Note: For a deeper explanation of genlocking, please see Section 7.1.3.
3.10 CON FIG URE VID EO INPUT
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 titlebar of any input monitor.
2. Notice that a Configure button (gear icon) is highlighted at right in the titlebar of the
input monitor as you do so.
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Figure 33
3. Click the Configuration button for Camera 1 to open a settings panel (Figure 33).
4. Click the Connection Type menu to reveal a listing of various connection types. Select
the correct format, such as 720p (Component), or 1080i (SDI), etc., for the video source
you plan to connect to this input.
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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3.11 CON FIG URE AUD IO
The Audio Configuration 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 34
The upper menu permits you to choose a different audio input to be captured with the video clip
for this camera. 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 (3Play™ 820 only) 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 96 kHz.
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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.)
Hint: Most numeric controls in on the Replay Desktop can be reset to their defaults using Shift +
double-click on the control knob.
3.12 NET WORKING
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.
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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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Page 51
This chapter provides a quick hands-on tour of the major
components and functions of your NewTek 3Play™. In a very short
time, these basics will be second nature to you.
More detailed reference material on all aspects of 3Play™ follows in
Part II (Reference).
4 LIVE PR ODUCTION WALKTH ROUGH
Having made the essential external connections in the previous section, let’s start your first
3Play™ session, and skim through some important fundamentals:
Startup and Import
Monitoring and related features
Recording and marking events
Playing clips
Using metadata
Creating a highlight reel.
4.1 CR EATING A S ESSION
We ran through the basics of starting new sessions and configuring devices back in sections 3.6
through 3.9. 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 35
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1. On the Startup > Home page, click the New button on the icon ring, and configure a new
1080i session. Name it “Practice Session” (without quotation marks).
Figure 36
2. As part of the session setup process, assign different camera inputs to the individual
drives, using the controls in the Drives and Inputs columns under Record Configuration.
3. The Startup > Session page will appear when you click the Create Session link at right.
Figure 37
(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. In similar fashion, click Start Session (Figure 37) to leave Startup and launch the Replay
Desktop.
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4.2 TH E REPLAY DE SKT OP
Figure 38
5. At this point, you should see the blank Replay Desktop (Figure 38).
Figure 39
6. We discussed configuring input and output connections and devices for new sessions
back in sections 3.4 (Input Connections), 3.7 (Configure Video Output), 3.8 (Configure
Multiview Output), and 3.11 (Configure Audio). Review these points if necessary, and
set up your connections; we’re assuming at least 3 cameras are connected below.
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By now, you should see live video from the configured connections on the input monitors.
4.3 OU TPUT AND CONTROL M ODES
7. Press A on the control surface to designate the Output Mode
8. Press LIVE to set the Control Mode – see sections 8.4 and 8.5 for explanations of these
modes.
9. Push the P3 button to send the live source from input 3 to the current output (A).
10. Push B on the control surface to update the current Output Mode.
11. Press LIVE again, to set the Control Mode for output B – note that outputs have
independent Control Modes.
12. Push the P2 button to send the live source from input 1 to the current output (B).
4.4 RE CORD AND SPEED
13. Watching Output B, push the Stop button on the control surface.
14. Push the 25% Speed preset button, then press Play, still watching Output B.
Well, that was unimpressive. Playback ignored our control surface operations, and continued at
full normal speed. Why? This is because we have not yet enabled recording. Stopping or
changing the Speed of a LIVE source would automatically kick playback into Delayed mode - if it
could. However, this requires 3Play™ to be recording.
Let’s try that again, enabling recording first. Remember that Speed (for Output B) is still set to
25% (if you checked, Output A would 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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16. Notice that the Record button on the Replay Desktop beside the Record button (just
beneath Output A) lights up, and a nearby time counter starts keeping track of the total
amount of video recorded in the current session.
Note: Recording is automatically initiated if you simply press IN. To end recording, hold
ALT down while pressing REC.
17. Press Stop – note that video playback on Output B is arrested (Output A is unaffected
and continues playing).
18. Push the 25% Speed preset button, then press Play. Playback on Output B resumes in
Delayed mode, at 1/4 normal speed.
Hint: In this state, the HUD (Heads Up Display) overlaid on Output B shows a new time
field, with a negative value. This shows how far behind live the current frame is. As you
watch it, the negative offset will continue to grow, because playing at 25% will mean the
output is falling progressively further and further behind live. The HUD also shows the TBar Speed value – which is 25% just at the moment.
19. Press the 100% Speed preset button. Notice that the HUD’s ‘behind live’ time display
locks, since output (though Delayed, not LIVE) is no longer falling further behind the live
input.
4.5 MA RKING EVENTS
With recording enabled, continuous capture of inputs configured for capture when creating the
session (in Startup) is taking place. (Notice that the Clips List shows an event row in its tabular
pane that tells you when recording commenced.)
4.5.1 TWO –B UTTON M ARKING
20. Push the IN button, which is how you would set an In Point for an event. Note that
when you do this, a new event row is added to the Clips 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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21. 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.
22. Complete the current event in the Clips 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 40
23. Click the small button at the extreme right end of the Clips List header. This opens the
Clip Configuration dialog.
24. Notice the One Button Marking menu, which lets you change the default duration value
for this handy feature.
Hint: Just below the One Button Marking menu, notice the Out Point Padding switch and
associated numeric control. Enter a duration in the numeric field and enable the switch
if you want playback to continue past the end point of clips you play, rather than stop
immediately when the Out Point is reached.
25. Click the Close button to dismiss the Clip Configuration dialog.
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4.5.2 ONE–BU TTON MARKI NG
26. Finish marking any incomplete event, if necessary, by pressing OUT.
27. Wait for a few more seconds to elapse, and then press OUT only – without pressing IN
first.
28. Repeat this step a few 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 Clips List. By default, 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 CL IPS LIS T NAVIGATIO N
29. Hold down ALT, and press the | (Next) button.
Nothing happens. This is because you are still in LIVE mode.
30. Press the CLIP LIST control mode button. A bright border is added to the Clips List
module, and the HUD for Output B also updates (to CLIPS). Both of these are indicate
that Output B is now in Clips control mode.
31. Hold down ALT, and press the | (Next) button again. You’ll see that the view on the
current output updates to show the second camera angle, and the gold highlight in the
Clips List moves to the Memo column for the second clip in the event row.
32. Hold ALT down again, and press | (Previous) to return to the first camera angle. (Press
Previous or Next without ALT to move up or down in the Clips List.
4.7 AD DING A MEM O
33. Press F2 (or alternatively, the Enter key) on the keyboard. Note that this places the
currently highlight Memo field into text edit mode.
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34. Type “touchdown” into the Memo field for the current clip (typically comments on the
nature of the action captured).
35. Press Next or Previous to move to another event, then use ALT + Next to move to the
Memo field for a different camera angle. (Note that moving the highlight to another
field concludes text edit mode.)
36. Press F2 again, enter the text “penalty” into the Memo field, and press Enter.
37. Press F3 - the cursor jumps into the Filter text field in the Clips List titlebar.
38. Start to type the word “penalty” – notice that even before your are done typing, the
Clips List view is ‘filtered’ to show only events with matching criteria in their memo
fields.
Hint: Of course judicious use of Memo entries and the Clips List Filter make it easy to find
events for Play List construction or other organizational purposes.
39. Press Backspace on the keyboard a few times to clear the Filter criteria, resulting in the
Clips List once again displaying all existing events.
4.8 T RIMMING EVENTS
40. Using ALT + Previous, move the Clips List highlight into the In Point for an event.
41. Hold down the EDIT button on the control surface, and rotate the large Jog Wheel,
watching the In Point value change as you do so.
Hint: The same method allows you to edit the Out Point or Duration values. Alternative,
you can either simply drag left or right with the mouse over a numeric field, or press either
Enter or F2 to use direct text entry mode to modify the value in a highlighted numeric field.
42. Here’s yet another method to change the timing of a marked event:
a. Display a clip for the event on the output monitor
b. Rotate the Jog Wheel until you find a frame that would make a good In Point
c. Then press ALT + IN to update the current In Point.
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d. Rotate the Jog Wheel again to locate a suitable Out Point, and press ALT + OUT.
4.9 MA NAG ING EVE NTS
43. With the mouse, drag either the Event ID column entry or the Memo field for any clip in
an event up or down to re-order the events in the Clips List.
44. Right-click in the same locations (Event ID or Memo field) to show a context menu with
Cut, Copy, Paste and Audio Level options. Alternatively, you can use the standard
shortcut key methods (Ctrl + x, Ctrl + c, and Ctrl + v).
45. Multi-select several events, using either SHIFT with control surface Previous and Next, or
mouse selection with keyboard Shift or Ctrl.
46. Copy the selected events (into the copy buffer) using the context menu or Ctrl + c.
47. Press P2 to display the second page of the current Clips List bank (each bank has four
pages for your use).
48. Press (keyboard) Ctrl + v to paste the copied events into page two of the Clips List.
4.10 PRE PARING A P LAY LIST
49. Press P1 to return to Page 1 in the Clips List.
4.10.1 AD DING CL IPS
50. Use Previous and Next (with or without ALT as necessary) to highlight the Memo field for
a clip, and then press Add to Play List on the control surface..
51. Repeat these steps until several clips appear in the Play List table.
Let’s try a different method of adding clips to the Play List pane:
52. Hold down Shift on the keyboard, and use the left and right arrow keys to multi-select
several clips (by highlighting their Memo fields). Press Add to Play List.
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Let’s use yet another approach to add the clips for all recorded camera angles of a single marked
Clips List event to the Play List in consecutive order?
53. Using the mouse, drag the Event ID field for the event of interest onto the Play List
pane. Clips from all camera angles for the event are added to the Play List in order.
54. Let’s clear out the current Play List before continuing:
a. Press the PLAY LIST control mode button on the control surface.
b. Press keyboard Ctrl + A (select all).
c. Press control surface REMOVE, or keyboard Del.
55. Hold down Ctrl on the keyboard, and use the mouse to click two Event ID fields that are
not next to each other in the Clips List (or if you prefer, several non-neighboring Memo
fields).
56. Drag the highlighted fields onto the Play List pane.
4.10.2 ED ITING AND PLAYBAC K
57. Use the controls in the Audio columns of the Play List to adjust audio levels for the clips,
and if you wish, adjust the Crossfade timing as well.
58. 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.
59. Press Play (or keyboard Spacebar), and notice that playback commences from the
current position.
60. Press Stop, then Previous. The play position is reset to the first frame of the first clip in
the Play List.
61. Push Fast Jog (to enable it) and use the Jog wheel to advance through the clips until the
red play indicator is 3 or 4 clips from the beginning of the playlist again.
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62. With playback stopped, press Stop once. The play position is again reset to the first
frame of the first clip in the Play List. (Had playback been underway, pressing Stop twice
in succession would have accomplished the same thing.)
Hint: Note that the Play List (like the Clips List) has four banks of four pages each. In
addition, Play List pages can be individually labeled using the Name field in the Play List
header.
4.10.3 SP EED CON TROL
You can set Speed independently for each clip in the Play List, in similar fashion to adjusting the
Audio levels. But you can also make interactive Speed adjustments even during playback when
necessary.
63. Press Play, and then slowly move the T-Bar towards you while watching the output
monitor.
You’ll observe that that the T-Bar (and Speed preset) settings are applied to the setting
established for each Play List clip in its own individual Speed column. For example, if the clip’s
Speed in the Play List table is set to 50%, and the T-Bar is also at 50%, the actual playback rate
will be 25%.
Hint: Note that although the maximum Speed you can set using presets or the T-Bar is 100%, but
the Play List control let you set Speed all the way up to 400%.
4.11 REN DERING A PLAY LIST
64. Click the Export Play List button in the Play List titlebar.
Selecting this menu item adds a new clip to the Clips List (and shows the file path to the resulting
clip in a dialog while doing so). The exported clip is an exact duplicate of the complete Play List,
in one file.
Note: Rendered Play Lists, like other Clips 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.
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65. As we’ve reached the end of our introductory walkthrough, press ALT + REC to stop
recording.
66. Then click the Exit button at the right hand end of the Replay Desktop titlebar. This takes
you back to the Session page in Startup.
67. Press the large ‘arrow icon’ at upper left to return to the Home page, then click the
Shutdown icon
68. 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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The Startup Screen is the gateway to your NewTek 3Play™
functionality, and also home to session management and system
maintenance features.
Icons in the left-hand pane of the Startup Screen provide access to
various functions. We’ll discuss each of these in the pages that
follow, beginning with a review of the concept of sessions.
5 THE STARTUP SCREEN
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 41
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 INTRO DUCTION TO SESS IONS
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 output Proc Amps to adjust output display characteristics.
What are your output device connection preferences? For example, will you send video
from Output A to a local reference monitor using component cabling, or perhaps
another connection type? Will you connect a downstream switcher to Output 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 Clips 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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Figure 43
5.2 TH E HOME PAGE
Figure 42
This primary screen is the first thing you
encounter on launching the system. Figure
42 shows the icon ring that dominates it.
Having discussed sessions, let’s go on
to consider how you create sessions,
and choose which one to work on.
This and a few other top level
functions are found in the 3Play’s
Home page.
When you click an icon on the ring (such as
New or Open), that item advances to the
front-most position.
Hint: Alternatively, you can use the
keyboard’s arrow keys to cycle through the
icons on the ring.
When you choose an icon from the ring, the
right-hand pane of the Home page updates to
provide more options related to your choice.
For example, the first thing you will generally
do is create a session. In anticipation of that,
the New icon is pre-selected automatically
whenever no existing sessions are detected.
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This results in the corresponding session options pane being displayed, as shown in Figure 43
(Multi-standard model options shown).
5.2.1 NE W (S ESS ION)
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.
RECORD CONFIGURATION
Figure 44
Beneath the Session name you entered, you will notice a control group labeled Record
Configuration. In this section, you assign one or more storage devices to the session for replay
clips you will record and other assets associated with the session.
Hint: 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. Use the drop-down menus under Inputs to assign inputs for recording to the hard
drive listed in the same row. (See also Section 10.1, Record Configuration – New Session.)
Note: External drives, while suitable for backup and restoration operations, are not recommended
for recording applications. To ensure adequate data throughput for capture, the Inputs layout
lets you to assign two inputs to any single storage volume. Regarding hard drive specifications for
use in 3Play’s removable drive bays, see Section A.1.7.
VIDEO STANDARD AND RESOLUTION
Figure 45
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 captured by
the Record function, even when the input Connection Type might be HD, to match 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.
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Having made your selections, you would normally click the Create Session button at lower right
(then Start 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 46).
Figure 46
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 47).
Figure 47
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.
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CONTEXT MENU
Right-click a session name to open a context menu with two items listed in it: Rename and
Delete. The Delete function should be used thoughtfully, as it cannot be undone.
All content stored in the named session’s folders on currently mounted drives will be deleted.
This will include clips, images and audio files associated with the session.
Note: Content that is not local to the session but which was used in it is not deleted. For example,
you may have added still images to your Play List directly from a USB thumb-drive, doing so
without actually importing the files into the session. Those external files will not be deleted.
OPENING A SESSION
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 last-named function, you can return to the 3Play™ environment later by double-clicking the
desktop icon named 3Play™.)
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5.2.4 UTILIT IES
Figure 48
Selecting Utilities on the Home Page icon ring (Figure 48) presents a list of functions at right that
have to do with the 3Play™ system (Figure 49).
Figure 49
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.)
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Figure 50
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.
Hint: 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.
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.
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Figure 51
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.
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.
RESTORE TO FACTORY DEFAULTS
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
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5.3 TH E SESSI ON PAGE
Figure 52
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.
Figure 53
The name of the current session is shown in the top-left corner of the screen. The session is
displayed in the form “Home/session name”. If you wish to leave the current session and return
to the Home page, you can click the large Back Arrow displayed beneath the session name, or the
word “Home” in the session name label.
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5.3.1 ASSET MAN AGEMENT
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.
Hint: 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 Clips 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 56
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.
Hint: Sections 12.1.2, A.4.2 and A.4.3 discuss other aspects of importing media files.
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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 these exports to be converted to (on a per file basis), and designating where
to send them.
Figure 58
Click the Add button at upper left to open a custom Media Browser (Figure 58). Use this pane to
locate and select (or multi-select) video clips for export, choosing from the Clips List entries for
the current session (see Section 12.1.2 for browser details). Multi-clip selections are supported.
Hint: The Export Media panel can be resized by dragging its edges or corners with the mouse.
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Figure 59
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.
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.)
Hint: 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.
Hint: It is possible to selected mapped network locations (with a drive letter assigned) as the
Destination, saving time later.
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.
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Figure 60
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
AVI
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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).
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.
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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)
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).
Hint: 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.
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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.
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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The Replay Desktop serves as the principal control center for your
production. It provides control over input and output configuration,
recording, clip marking, Play List preparation and playback, and so
on.
This chapter provides a top-level view of the Replay Desktop, with
more detailed information following in subsequent chapters.
1 – Monitoring
2 – Clips List
3 – Play List
5 - Dashboard
6 REPL AY DESKTOP OVERVI EW
The Replay Desktop is launched by creating (or opening) a session in the Startup Screen, then
clicking the large Start Session button.
6.1 DI SPLAY R EQUIREM ENT S
The Replay Desktop requires a minimum screen resolution of 1440 x 900.
Figure 61
6.2 OV ERVIEW
The Replay Desktop provides visual feedback for operations, including monitoring features, clip
marking, and so on. It is divided into four horizontal bands (Figure 61).
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• Input Monitors - monitor all inputs, or a sub-set
• Output Monitors - large full-time monitors of Output A and B, with optional information
overlay s(heads-up display)
• Configurable Multiview display on secondary monitor
1 - Monitoring
• Speadsheet style event management pane, listing user-marked events as rows with In
Point, Out Point and Duration
• Supports instant playback of marked clips
• Add unique comments for individual clips (camera angles)
• Filter the list by comment entries
• Clip management (trim, re-order and organize events into 'banks' and 'pages')
2 - Clips List
• Add clips and other content to create highlights reels, complete with optional
transitions and music
3 - Play List
• Auxiliary controls for output, playback, speed and marking supplement the control surface
4- Dashboard
From top to bottom, these are:
6.3 A FEW HINTS
You will find various types of user controls in the Replay Desktop. Some examples are shown in
the table below. Several convenience features are associated with these controls.
As you would expect, all slider controls (whether their motion is vertical or horizontal)
can be set to a new value by holding down the left mouse button and dragging in the
direction of the control orientation.
Hold down the keyboard Shift key and double-click most controls to reset the associated
value to its factory default.
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Control Type
Type
Examples
Usage
Numeric Field
In Point, Out
Point, Duration,
Crossfade
Drag in line with the control
orientation to raise or lower
the current value.
Double-click, or click and
either press Enter or F2 to
type a new value directly.
Numeric
Slider
Audio Gain, Proc
Amp controls,
etc.
Drag in line with the
control’s orientation to raise
or lower the current value.
Click to directly type in a new
value.
Text Field
Input and Output
Configuration
panels
Click the field to activate it,
and then type. (Keyboard
shortcut for Clips List Filter,
F3.)
Text Field,
Clips List and
Play List
Clip Comment
Navigate to or click the field,
and then press Enter (or F2)
to enable Text Entry mode,
and ESC to cancel.
Hint: 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.)
6.4 CU STOMIZING THE REPL AY D ESK TOP
The Replay Desktop offers several convenient provisions for tweaking the user interface to suit
your particular needs.
6.4.1 RENAME
As charming as descriptive names like Camera 1, Camera 2 and so on are, we must admit that it’s
possible you might wish to change these default labels to something localized.
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Figure 62
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.
6.4.2 DUAL D ISPLAYS 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.
For example, open the Output Configuration panel by clicking the Configuration button (gear
icon) at right in the titlebar – above Output B. Click the Multiview tab, and select All Inputs in the
Screen Layout menu. Then position the mouse pointer over the horizontal drag bar between the
monitors section of the Desktop and the Clips List. The mouse pointer becomes a double-headed
arrow. Click and hold the mouse button down, and then drag the pointer all the way to the top
of the screen.
This provides a useful full-screen Clips 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
between the Clips List and Play List to re-size them to taste.
6.4.3 THE DA SHB OAR D
The Dashboard can alternatively be locked in place, or pop up when you roll your mouse to the
bottom of the screen, using the padlock icon at left.
6.5 TI TLEBAR TIPS
Figure 63
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An information display section at right in the Replay Desktop titlebar (Figure 63) provides useful
data. Displayed info includes:
Session Name
Session format
Event Start/Event End (optional time display, counts down to corresponding times set in
the Timecode Configuration panel) – not illustrated.
Timecode (from external timecode input or system clock)
Timecode Configuration button (gear icon)
QR Code – scan with a suitable mobile device to download and read this manual on its
screen.
[x] – Exit button
6.5.1 STATUS BA R
An information display is conveniently located just above the twin output monitors. From time
to time this bar displays information pertaining to operations or system status, including any
cautionary indications.
Figure 64
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
(Figure 64) in the Status Bar.
Hint: 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.
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NewTek 3Play™ provides extensive control over your video signal at
both input and output stages. In addition to broad format an
connection options for audio and video inputs, each video source
has its own realtime Proc Amp. As well, independent Proc Amps
are provided for both outputs.
Other important options include Multiview support on a secondary
monitor, external timecode and genlock configuration.
7 I/O CONFIGU RATION
It is very useful to be able to configure each source and also the outputs independently. Source
configuration options ensure that you can match camera inputs to each other, and that their
signals fall within legal ranges, and even mix and match different types of camera (to a point).
Output Proc Amp settings allow you to make adjustments for special purposes.
Let’s begin with a consideration of Output Configuration tools.
7.1 OU TPUT CO NFI GURATIO N
Figure 65
Roll the mouse pointer over the Configure button (Figure 65) above the top-right corner of the
monitor for Output B, and click it to open the Output Configuration panel (Figure 66).
Output Configuration has four tabbed panes (Figure 66). Two tabs are labeled Output A and
Output B, and contain identical controls discussed momentarily.
The Aux/Multiview tab relates to optional secondary display(s) for monitoring purposes, while
the Genlock tab is home to important video timing calibration controls.
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7.1.1 OUTPUT A AND B
Figure 66
The video format for NewTek 3Play™ video Outputs A, B (and Aux on 3Play™ 820) is identical to
the session format. Digital video output is supplied to the SDI output connectors in the
corresponding format – HD for HD sessions, and SD for SD sessions.
ANALOG OUTPUT TYPE
Figure 67
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Connection Type
BNC 1 (SDI)
BNC 2 (Y)
BNC 3 (Pb)
BNC 4 (Pr)
Component
SDI Y Pb
Pr
Composite + Y/C
SDI
Composite
Y
C
For HD sessions, the only suitable Analog Output Type in popular use is Component, so options
are not provided in this case. The three analog connectors in the VIDEO OUT rows for a given
output on the system backplate are supplied with the (component) Y, Pr and Pb signals.For SD
sessions, however, you can choose between Component or Composite + Y/C.
This selection sends a composite video signal to the fist analog connector (labeled Y) in the
VIDEO OUT rows on the system backplate, and simultaneously sends a Y/C video signal to the
two connectors in the same output row labeled Pb and Pr, respectively.
The following table lists the signal types for each connector in the video output section:
NAME
Figure 68
The Name field (next to Analog Output Type) is editable, allowing you to enter a custom name
for each output. The name supplied will appear in the HUD (Heads-Up Display).
PROC AMP
Figure 69
Proc Amp adjustments can be toggled on and off using the Enable Proc Amp switch at upper left,
or reset by clicking the Restore Defaults button.
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Hint: When the Proc Amp is enabled for a specific source, a small yellow indicator is displayed in
the upper-right corner, just above the corresponding monitor in any of the three main monitor
tabs. (This indicator is itself also a toggle switch.)
Each Proc Amp has numeric slider controls for:
Brightness: Adjustment range from -50 to +50 IRE (the default being 0). As reference,
the full luminance range of a video signal can be thought of as ‘100 IRE units’ (named for
the Institute of Radio Engineers) – ignoring minor regional variations.
Contrast – Adjustment range from 25 - 400% (default 100%).
Hue – Adjustment range from -180° to +180°. Adjusts the master color of the video
signal from the attached source, swinging the entire image through the color wheel’s
spectrum.
Saturation – Adjustment range from 0-500%. Zero saturation results in a ‘black and
white’ picture; increased saturation results in richer colors. High saturation values can
exaggerate the color portion of the signal.
(You should be aware that over-saturated colors are considered illegal for broadcast
transmission, and may result in display problems on some devices. )
Note: The input and output Proc Amps are very useful. However, keep in mind that, whenever
possible, it is best to perform color adjustments at the source or target device.
For example, it is preferable to calibrate a camera's colors at the camera, before sending the
signal to the 3Play™ system. Doing so will yield higher color precision. Similarly, it’s often better
to adjust output color using controls on down-stream monitors. (The output Proc Amps can never
completely compensate for a badly calibrated monitor.)
The Proc amps are especially useful for occasions when no external options are available (many
cameras lack built-in color controls; at other times, the physical placement of a device can make
access inconvenient).
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WHITE BALANCE
A secondary group labeled White Balance adds U Offset and V Offset controls (Figure 70).
The U portion of the video signal carries blue and green color information. When you
adjust the U Offset, the change affects only the blue/yellow portion of the video signal.
o Rotate U Offset clockwise to shift the signal toward blue and counter-clockwise
to shift the signal toward yellow.
The V portion of the video signal carries the red and green color information. Adjusting
it affects only the red/green portion of the video signal.
o Rotate V Offset clockwise to shift the signal toward red and counter-clockwise
to shift the signal toward green.
Figure 70
To automatically white balance – click and hold the mouse button over the Color
(eyedropper) button, and then slide the pointer on the monitor for the corresponding
source. Release the mouse button over a part of the image that should be white.
7.1.2 MULTIV IEW
The next tabbed pane in the Output Configuration panel may show controls for two distinct
outputs – Aux output (3Play™ 820 only) is a supplemental video output with the same set of
video connectors as Output A and B; Multiview supports a ‘multi-bridge’ or supplemental
monitoring layout connected by a DVI cable.
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3PLAY™ 820
AUX OUTPUT
The third connector row in the VIDEO OUT group on 3Play’s backplate is AUX. As for the other
two outputs, there are no configuration options for AUX. For SD sessions, the Component or Y/C
+ Composite connection type options are available. The video stream displayed on AUX is
determined by the active Output Mode (A or B – see sections 8.4 and 11.1). That is, whatever is
on the output with control is also sent to Aux.
Figure 71
Figure 72 – 3Play™ 820
MULTIVIEW OUTPUT
The Multiview connection supports a secondary display monitor for the 3Play™ operator or other
control room display purposes. The Multiview control group offers Screen Layout and VGA
Output Resolution options, along with HUD (Heads Up Display) switches.
Hint: See Section 7.2.5 for details on the time shown in Multiview layouts with clocks.
Note: Changing Multiview output options can cause frames to be dropped briefly. Changing these
settings during live production is not recommended.
The Screen Layout menu offers a list including several displays as follows:
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Inputs 1 – 6: The first six inputs plus large Output A and Output B monitors and
clocks
Inputs 1 – 8: All inputs plus large Output A and Output B monitors and clocks
Recorded Cameras: Shows cameras that are configured to be captured only, with clocks
Inputs 1 – 4: The first four inputs plus large Output A and Output B monitors and clocks
3PLAY™ 820
Outputs: Large Output A and Output B monitors plus clocks
Hint: The layouts complement Replay Desktop monitor tab options, and can be used to provide
monitoring solutions when the primary monitor is entirely devoted to the Clips List and Play List.
The VGA Output Resolution menu provides a long list of popular and useful options to allow you
to configure Multiview output to conform to your downstream external device. Note that it is
important to select the native resolution of the external display device for best results.
SHOW INPUT/OUTPUT HUD
The Show Input HUD and Show Output HUD switches toggle the Heads-Up Displays on the
secondary Multiview output. See Section 9.2.1 for more on the Heads-Up Display.
7.1.3 GENLOCK
The Genlock feature allows the NewTek 3Play™ system to ‘lock’ its video output to a reference
video signal (house sync, such as ‘black burst’) supplied to its Genlock input connector. This
allows 3Play™ output to be synchronized to other external equipment that is locked to the same
reference. Genlocking is not an absolute requirement in most cases, but is recommended if you
have the capability.
Hint: “Genlock” refers to “generator locking”. Professional video devices often provide a “genlock
input”, which allows an external reference signal (often referred to as ‘house sync’) to control its
video timing. The output of video devices connected in this manner is synchronized to the
reference signal, and they are referred to as ‘genlocked’.
The 3Play™ system accepts input from multiple video sources. Miniscule local timing differences
between these may result in tiny delays during downstream switching operations. Serving the
same reference signal to i) the system’s Genlock input and ii) other video devices in the chain is
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the best approach, and ensures a match between 3Play™ system output and any downstream
video devices required to handle both it and any other (genlocked) sources.
VERTICAL POSITION, HORIZONTAL POSITION AND PHASE
Figure 73
Locking all devices to house sync is important, but this alone does not actually ensure a perfect
downstream match. Consider an army marching along: each step the soldiers take occurs at
precisely the same moment, so we could say their timing is synchronized.
Even so, problems result if one soldier leads with the left foot while everyone else is on the right.
Or perhaps everyone is evenly spaced and perfectly aligned but for one misfit who ‘tailgates’ the
soldier ahead of him and keeps stepping on his heels.
This is essentially why the Genlock tab provides several settings. The Horizontal and Vertical
Position settings pin the image in the proper space in the frame, and in doing so could be likened
to making sure each marching soldier is in position relative to his fellows (as viewed from above).
The Phase setting ensures proper color alignment, corresponding to making sure everyone is on
the left or right foot at the same time.
Thus, the Vert Position, Horiz Position and Phase settings allow you to tweak synchronization to
arrive at an optimum match between devices. (Typically, these settings are fine-tuned with the
aid of downstream vectorscope and waveform monitors.)
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A discussion of these adjustments goes beyond the scope of this manual, but a quick online
search for the keywords “genlock” and “adjust” turns up a number of excellent references.
REFERENCE TYPE
The ‘bi-level’ reference signal long used for standard definition television is often used for
genlocking both SD and HD installations. However, if you are supplying an HD reference signal to
the Genlock input (and your other equipment), select the HD (Tri-level) switch in the Reference
Type area of the Genlock tab.
Note: Reference Type options do not appear for SD sessions.
7.1.4 CENTER FR EQUENCY
This setting is applied when a Genlock reference signal is not in use. To adjust the setting, supply
color bars to an input, pass that through to a video output, and then to a downstream
vectorscope. The vectorscope display is completely stable when Center Frequency is properly
adjusted.
7.2 INPUT CONFIG URATION
The input preview monitors also have contextual tools that appear when you roll the mouse
pointer over them (Figure 74).
Figure 74
The Configure button (gear) in the titlebar for an input monitor brightens when you roll the
mouse pointer over it. Clicking it opens the Configuration panel for a specific source (Figure 75).
The upper portion of input configuration panels is devoted to video-related settings, while the
lower part has audio controls.
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• Analog source, high definition, interlaced
• 1080/60i or 11080/50i
• 1920x1080 pixels, 16:9 picture aspect
• Connected to 3Play by Y, Pr and Pb input connectors
1080i (Component)
Figure 75
7.2.1 CONNECTIO N TYPE
The Configuration panel for the Camera 1-8 inputs features a Connection Type menu at the top.
The available source type options vary depending on the format for the session.
Multi-standard systems provide PAL and NTSC-J options
according to session type, in addition to NTSC: The
Connection Type menu options for a PAL session list PAL
HD and SD format options.
Choosing NTSC as the session video standard results in a
Connection Type list with appropriate formats, and it is
similar for NTSC-J. Changing from one video standard to
another requires opening a new session.
Hint: All connected cameras must conform to the video standard of the current session.
The standard options are:
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• Digital source, standard definition, interlaced
• 1080/60i or 11080/50i
• 1920x1080 pixels, 16:9 picture aspect
• Connected to 3Play by SDI input connectors
• Optionally carries embedded audio
1080i (SDI)
• Digital source, standard definition, progressive scan
• 1920x1080 pixels, 16:9 picture aspect
• Connected to 3Play by SDI input connectors
• Optionally carries embedded audio
1080/30p (SDI), 1080/24p (SDI), 11080/25p (SDI)
• Analog source, high definition, progressive scan
• 1280x720 pixels, 16:9 picture aspect
• Connected to 3Play by Y, Pr and Pb input connectors
720/60p (Component), 1720/50p (Component)
• Digital source, high definition, progressive scan
• 1280x720 pixels, 16:9 picture aspect
• Connected to 3Play by SDI input connectors
• Optionally carries embedded audio
720/60p (SDI), 720/30p (SDI), 720/24p (SDI), 1720/50p (SDI), 1720/25p (SDI)
• NTSC analog format, standard definition, interlaced
• 720x480 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to 3Play by Y, Pr and Pb input connectors
480/30i (Component)
The standard definition options listed below are provided in both 4:3 and 16:9 versions:
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• NTSC digital format , standard definition, interlaced
• 720x480 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to 3Play by SDI input connectors
• Optionally carries embedded audio
480/30i (SDI)
• NTSC (S-Video) analog format , standard definition, interlaced
• 720x480 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to 3Play by Y and Pb input connectors
480/30i (Y/C)
• NTSC analog format , standard definition, interlaced
• 720x480 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to 3Play by Y input connector
480/30i (Composite)
• PAL analog format, Standard definition, interlaced
• 720x576 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to 3Play by Y, Pr and Pb input connectors
1
576/25i (Component)
• PAL digital format , standard definition, interlaced
• 720x576 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to 3Play by SDI input connectors
• Optionally carries embedded audio
1
576/25i (SDI )
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