Tektronix Profile Pro Series, Profile Pro II, Profile Pro III User Manual

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User Manual

Profile PRO Series Version 1.1

Printed in USA

Tektronix, Inc. P.O. Box 1000 Wilsonville, OR 97070-1000 USA

(800) 547-8949 (USA and Canada) (503) 627-2221 http://www.tekronix.com

Printed in the United States of America or the United Kingdom. All rights reserved. This document may not be copied, in whole or in part, or otherwise reproduced, except as specifically permitted under U.S. copyright law, without the prior written consent of Tektronix, Inc., P.O. Box 1000, Wilsonville, Oregon 97070-1000.

TEKTRONIX, TEK, and Profile are registered trademarks of Tektronix, Inc. Windows NT is a registered trademark of Microsoft. Other trade names used in this document are trademarks or registered

trademarks of the manufacturers or vendors of the associated products.

Tektronix License Agreement

Profile system software contains intellectual property of Tektronix, Inc., i.e., software programs that are licensed for use by the end user consumer. The terms of the license are contained on the package containing the backup disks, or a copy may be obtained from your local licensed Tektronix dealer.

Revison Status

Rev Date Description

April 1999 Original issue. Part number 071-0579-00.

Preface

About this Manual. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Related Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Terminology and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Chapter 1 Introducing the Profile PRO Series

A Profile PRO System Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Video Disk Subsystem. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Video Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Video and Audio Interface Boards. . . . . . . . . . . . . . . . . . . . . . . . . . 23

Profile Software Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

What to Read First . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Starting Your Profile PRO Disk Recorder. . . . . . . . . . . . . . . . . . . . . . . 27

Starting and Closing Profile Applications . . . . . . . . . . . . . . . . . . . . . . . 28

Starting an Application. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Viewing Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Closing an Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Profile Configuration Manager . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Media Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Transcode Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

VdrPanel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Profile Disk Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Tool Box Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

List Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

TimeDelay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

QuickStart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Profile Utilities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Chapter 2 Using the Profile Configuration Manager

Saving a Configuration File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Loading a Configuration File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Setting Master Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Setting the System Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

E to E Timed Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Auto Timing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Setting the Reference Genlock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Changing LTC Input and Output Names . . . . . . . . . . . . . . . . . . . . . . . 48

Setting MPEG Input Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Profile PRO Series 3

Contents

Video Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Analog Composite Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Analog Composite Video Input Advanced Control . . . . . . . . . . . . . 53

Analog Composite Video Input Time Base Correction . . . . . . . . . . 57

Analog Composite Video Input Vertical Interval . . . . . . . . . . . . . . . 58

Analog Component Video Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Serial Digital Component Video Input . . . . . . . . . . . . . . . . . . . . . . . 62

Serial Digital Component Video Input Advanced. . . . . . . . . . . . . . . 64

Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Analog Composite Video Output. . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Analog Composite Video Output Vertical Interval . . . . . . . . . . . . . . 68

Analog Composite Monitor Output . . . . . . . . . . . . . . . . . . . . . . . . . 69

Analog Composite Monitor Output Burn-in Timecode. . . . . . . . . . . 71

Serial Digital Component Video Output. . . . . . . . . . . . . . . . . . . . . . 72

Serial Digital Component Video Output Advanced . . . . . . . . . . . . . 74

Profile Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Analog Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Digital Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Analog Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Digital Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Audio Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Input and Output Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Input Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Output Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Input Clocking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Audio Configuration Monitor Channels Tab. . . . . . . . . . . . . . . . . . . 91

System Audio Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Setting Up Fibre Channel Networking . . . . . . . . . . . . . . . . . . . . . . . . . 93

Chapter 3 Using Media Manager

Starting and Exiting the Media Manager . . . . . . . . . . . . . . . . . . . . . . . 98

Starting Other Applications from the Tools Menu . . . . . . . . . . . . . 100

Viewing and Hiding the Toolbar and Status Bar . . . . . . . . . . . . . . 101

Viewing Help and Software Version Information. . . . . . . . . . . . . . 101

Connecting to a Remote Machine. . . . . . . . . . . . . . . . . . . . . . . . . 102

Viewing the Media Hierarchy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Copying Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Using Paste Special . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Moving Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Duplicating Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

4 Profile PRO Series

Creating, Renaming and Deleting Bins . . . . . . . . . . . . . . . . . . . . . 112

Renaming Clips and Masters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Deleting Clips and Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Emptying the Recycle Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Viewing Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Finding Clips and Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Using the Transcode Utility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Using a Library System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Archiving a Bin or Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Restoring a Bin or Clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Renaming an Archived Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Deleting an Archived Clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Importing a Cartridge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Exporting a Cartridge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Updating and Inventorying Cartridges . . . . . . . . . . . . . . . . . . . . . . 136

Inventorying the Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Formatting Cartridges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Viewing Library, Cartridge and Archived Clip Properties. . . . . . . . 142

Viewing Tape Transport Status . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Viewing the Transfer Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Chapter 4 Using VdrPanel

Selecting a Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Selecting a Communications Port . . . . . . . . . . . . . . . . . . . . . . . . . 155

Selecting Clip Length (BVW Only). . . . . . . . . . . . . . . . . . . . . . . . . 156

Configuring a Controller. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Setting Compression Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Selecting Vertical Blanking Interval Storage Lines . . . . . . . . . . . . 163

Setting up BVW [insert edit] Emulation . . . . . . . . . . . . . . . . . . . . . 164

Setting Louth Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Selecting Video Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Setting Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Selecting How to Display Timecode on a Panel . . . . . . . . . . . . . . 169

Setting Timecode Crosspoints. . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Setting Drop-Frame Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Panel Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Opening a Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Making a Panel Active . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Arranging Panels and Icons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Viewing Record Capacity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Viewing an Audio Monitor for a Panel . . . . . . . . . . . . . . . . . . . . . . 181

Contents

Profile PRO Series 5

Contents

Using Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Defining a New Clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Name Clips First. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Record Clips First. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Loading and Playing a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Renaming a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Setting Clip Protection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Striping a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Setting Long or Short Clip Names. . . . . . . . . . . . . . . . . . . . . . . . . 188

Ejecting All Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Deleting a Clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Clip Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Saving a Group of Clips in a Clip List . . . . . . . . . . . . . . . . . . . . . . 190

Playing a Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Editing a Clip List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Setting In and Out Marks in Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Setting Marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Removing Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Trimming Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Setting Field Dominance for Marks . . . . . . . . . . . . . . . . . . . . . . . . 194

Chapter 5 Using the Profile Disk Utility

Creating a File System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Setting a Disk Label . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Formatting a Disk Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Loading Microcode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Relocating and Testing Bad Blocks . . . . . . . . . . . . . . . . . . . . . . . . . . 200

The Detail Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Chapter 6 Using Profile Utilities

Viewing Profile Logs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Log Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Profile Protocol Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Using the Profile Protocol Resources Utility . . . . . . . . . . . . . . . . . 209

Manually Editing a Configuration File . . . . . . . . . . . . . . . . . . . . . . 213

Resource Lines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Crosspoint lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Sample Configuration Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Basic Configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Assigning a Second JPEG Codec . . . . . . . . . . . . . . . . . . . . . . 221

Assigning an MPEG encoder . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Assigning an MPEG Decoder. . . . . . . . . . . . . . . . . . . . . . . . . . 226

6 Profile PRO Series

PortServer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

PDR Access Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Updating Firmware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Chapter 7 Using the Tool Box Editor

Starting and Exiting the Tool Box Editor. . . . . . . . . . . . . . . . . . . . . . . 232

Configuring Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Project Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Connecting to a Remote Profile Machine. . . . . . . . . . . . . . . . . . . . . . 236

Selecting a Current Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Opening a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Creating a New Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Record Time Remaining . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Renaming Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Viewing Media Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Deleting Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Emptying the Recycle Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

The Capture Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Capturing a New Clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Loop Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Playing a Clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Trimming a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Creating a Subclip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

User Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Event and Frame Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Shuttle Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Creating Subclips on the Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

The Edit Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Creating a New Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Adding Media to a Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Playing a Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Using the Audio Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Tool Box Editor Keyboard Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . 257

Chapter 8 Using the List Manager

List Manager Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Starting List Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Viewing Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Closing List Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Configuring Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Connecting to a Remote Profile Machine. . . . . . . . . . . . . . . . . . . . . . 264

Contents

Profile PRO Series 7

Contents

Building a Playback List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Adding Media for Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Changing Event Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Optional Columns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Settings Unique to Transfer Events . . . . . . . . . . . . . . . . . . . . . 270

Settings Unique to Archive Events . . . . . . . . . . . . . . . . . . . . . . 270

Monitoring a List as it Runs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Validating a List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Scheduling a New Play Event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Scheduling Recording Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Scheduling Rules and Constraints . . . . . . . . . . . . . . . . . . . . . . . . 274

Using a Live Feed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Scheduling a Transfer Event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Scheduling an Archive Event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Editing Event Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Changing the Order of Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Inserting Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Removing Events From a List . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Using the Edit Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Creating a New List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Saving a List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Reusing a List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Closing a List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Exporting a List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

List File ASCII Text Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Importing a List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Deleting an Entire List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Overriding Events in a List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Taking an Event. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Stopping an Event. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Customizing Your List Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Using the Event Log. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Chapter 9 Using the Resource Manager

Configuring Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Assigning Profile Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Configuring Video Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Field and Frame Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Configuring Audio Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Audio Window Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Configuring Timecode Resources. . . . . . . . . . . . . . . . . . . . . . . . . 308

Choosing Timecode Codecs. . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Timecode Generator Settings. . . . . . . . . . . . . . . . . . . . . . . . . . 312

Resolving Resource Conflicts . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

8 Profile PRO Series

Chapter 10 Using TimeDelay

Getting Started with TimeDelay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Working With the TimeDelay Project. . . . . . . . . . . . . . . . . . . . . . . 319

Saving a TimeDelay Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Opening an Existing Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Launching a Project at Start-up. . . . . . . . . . . . . . . . . . . . . . . . . 320

Copying Project Files Between Machines . . . . . . . . . . . . . . . . . . . 320

Connecting to a Remote Profile Unit . . . . . . . . . . . . . . . . . . . . . . . 321

Changing the Remote Connection . . . . . . . . . . . . . . . . . . . . . . 322

Adding Names to the Network Host List . . . . . . . . . . . . . . . . . . 322

Removing Names from the Network Host List . . . . . . . . . . . . . 323

Avoiding a Connection Change. . . . . . . . . . . . . . . . . . . . . . . . . 323

Configuring Channels with Resource Manager . . . . . . . . . . . . . . . 324

Adding a Playback Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Deleting a Playback Channel . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Changing a Panel’s Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Modifying a Channel’s Configuration . . . . . . . . . . . . . . . . . . . . 326

Handling Resource Allocation Errors . . . . . . . . . . . . . . . . . . . . 327

Starting the TimeDelay Process. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Manually Starting the TimeDelay Process. . . . . . . . . . . . . . . . . . . 328

Automatically Starting the TimeDelay Process . . . . . . . . . . . . . . . 329

Working with the Record Buffer. . . . . . . . . . . . . . . . . . . . . . . . . . . 330

Setting the Record Buffer Size . . . . . . . . . . . . . . . . . . . . . . . . . 330

Changing the Record Buffer’s Location . . . . . . . . . . . . . . . . . . 330

Saving the Record Buffer’ Contents as a Profile Movie . . . . . . 331

Working with the Playback Panel. . . . . . . . . . . . . . . . . . . . . . . . . . 332

Setting a Playout Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Starting a Playback Channel Immediately . . . . . . . . . . . . . . . . 332

Modifying a Playout Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Pausing Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Working with Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Crash Recovery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Setting Audio Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Using the Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

The Record Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

The Playback Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Config . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Glossary

Contents

Index

Profile PRO Series 9

Contents

Figures

1 The PRO II/PRO III block diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

2 PDR Application shortcuts on the Windows NT 4.0 desktop. . . . . . . . . . . . . . . . . . . .28

3 Profile Configuration Manager window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

4 Save As dialog box for saving a configuration file. . . . . . . . . . . . . . . . . . . . . . . . . . . .37

5 Open dialog box for loading a configuration file . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

6 Master Timecode dialog box, genlock settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

7 System Timing dialog box, zero-timed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

8 System Timing dialog box, E to E timed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

9 Reference Genlock dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

10 LTC Inputs & Outputs dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

11 MPEG Input Timing dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

12 Analog Composite Video Input dialog box, Main tab (A). . . . . . . . . . . . . . . . . . . . . . .50

13 Analog Composite Video Input dialog box, Main tab (B). . . . . . . . . . . . . . . . . . . . . . .51

14 Analog Composite Video Input dialog box, Advanced Control tab (A) . . . . . . . . . . . .53

15 Analog Composite Video Input dialog box, Advanced Control tab (B) . . . . . . . . . . . .54

16 Analog Composite Video Input dialog box, Time Base Correction tab . . . . . . . . . . . .57

17 Analog Composite Video Input dialog box, Vertical Interval tab . . . . . . . . . . . . . . . . .58

18 Component Analog Video Input dialog box (CAV) . . . . . . . . . . . . . . . . . . . . . . . . . . .60

19 Serial Digital Component Video Input dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

20 Serial Digital Component Video Input, Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

21 Analog Composite Video Output dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

22 Analog Composite Video Input Vertical Interval tab . . . . . . . . . . . . . . . . . . . . . . . . . .68

23 Analog Composite Monitor Output dialog box, Main tab. . . . . . . . . . . . . . . . . . . . . . .69

24 Analog Composite Monitor Output dialog box, Burn-in Timecode tab . . . . . . . . . . . .71

25 Serial Digital Component Video Output dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . .72

26 Serial Digital Video Output dialog box, Advanced tab. . . . . . . . . . . . . . . . . . . . . . . . .74

27 Analog Audio Input dialog box, Main tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

28 Analog Audio Input dialog box, Line Level tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

29 Digital Audio Input dialog box, Main tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

30 Digital Audio Input dialog box, Status tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

31 Digital Audio Input dialog box, Sample Rate Converter tab . . . . . . . . . . . . . . . . . . . .80

32 Analog Audio Output dialog box, Main tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81

33 Analog Audio Output dialog box, Line Mode tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . .82

34 Analog Audio Outputs dialog box, Line Level tab . . . . . . . . . . . . . . . . . . . . . . . . . . . .83

35 Digital Audio Output dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84

36 Audio Configuration dialog box, Input Mapping tab. . . . . . . . . . . . . . . . . . . . . . . . . . .85

37 Audio Configuration dialog box, Output Mapping tab . . . . . . . . . . . . . . . . . . . . . . . . .86

38 Audio Configuration dialog box, Input Clocking tab. . . . . . . . . . . . . . . . . . . . . . . . . . .90

39 Audio Configuration dialog box, Monitor Channels tab . . . . . . . . . . . . . . . . . . . . . . . .91

40 System Audio Configuration dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93

41 Fibre Channel Network Configuration dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . .94

42 Media Manager window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

43 Add/Remove Machine dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

10 Profile PRO Series

44 Add Network Host dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

45 The Media Manager tree pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

46 The Paste Special dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

47 Confirm Copy dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

48 Recycle Bin properties dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115

49 Properties dialog box for volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

50 Properties dialog box for clips or masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117

51 The transcode history page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119

52 Find dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120

53 Transcode Utility window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122

54 JPEG Custom Video Quality Settings dialog box . . . . . . . . . . . . . . . . . . . . . . . . . .124

55 MPEG Custom Video Quality Settings dialog box . . . . . . . . . . . . . . . . . . . . . . . . . .125

56 Transcode Utility dialog box, Convert tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

57 The Transcode Description dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127

58 Transcode Utility dialog box, Preview tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

59 Import Cartridge dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133

60 Export Cartridge dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134

61 Confirm Update dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

62 Confirm Inventory dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137

63 Confirm Inventory dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138

64 Format Cartridge dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139

65 Format Cartridge dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140

66 Properties dialog box for the library. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142

67 Properties dialog box for a cartridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143

68 Properties dialog box for an archived clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144

69 Tape Transport Status dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145

70 Add Tape Transport dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147

71 Transfer Monitor dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149

72 VdrPanel window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

73 Controller Setup dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154

74 Comm Port dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155

75 Set Clip Marks dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156

76 Profile Options dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158

77 Profile Options dialog box (BVW [insert-edit] only) . . . . . . . . . . . . . . . . . . . . . . . . . .159

78 Edit Compression Presets dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163

79 Vertical Blanking Interval Storage dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164

80 Video Crosspoint dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .168

81 Timecode Setup dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169

82 Timecode Crosspoint dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171

83 Panel dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173

84 Open Panel dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179

85 Message box showing record capacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180

86 Audio Monitor dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181

87 New Clip dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183

Contents

Profile PRO Series 11

Contents

88 Load Clip dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185

89 Rename Video Clip dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186

90 Set Clip Protection dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187

91 Stripe Timecode dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188

92 Delete Clip dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189

93 Save Group of Clips dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .190

94 Load Group of Clips dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .191

95 Edit Clip List dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192

96 Field Dominance dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .194

97 Profile Disk Utility window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195

98 Set Label dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197

99 Format Disk(s) dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198

100 Microcode Filename to Load dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199

101 Detail Log dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201

102 WinTail window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204

103 Log set selection screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206

104 Size selection screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207

105 Log tool complete screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208

106 The main Profile Protocol Resources window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .210

107 Setting JPEG compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211

108 Setting MPEG compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212

109 PortServer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .226

110 Services dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .228

111 Update Firmware window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230

112 Tool Box Editor window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .232

113 Hardware Communication message box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .233

114 Remote Machine dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .236

115 Current bin display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238

116 Properties dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .240

117 Capture timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .242

118 Timecode entry window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244

119 E to E button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244

120 Record buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244

121 Clip Name text box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245

122 Transport controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245

123 Record Buffer dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .246

124 Create and User Mark buttons, plus event and frame controls . . . . . . . . . . . . . . . . .248

125 Edit timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251

126 Trim handles on the edit timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .252

127 Audio controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .255

128 List Manager window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .261

129 Hardware Communication Monitor message box . . . . . . . . . . . . . . . . . . . . . . . . . . .262

130 Remote Machine dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .264

131 A basic playback list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .266

12 Profile PRO Series

132 Play event properties dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267

133 Creating a play event. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .272

134 Creating a record event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273

135 New Switch Event dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275

136 New Transfer Event dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .276

137 New Transfer Event dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277

138 New List dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .280

139 Font dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286

140 Color dialog box, with custom color controls shown . . . . . . . . . . . . . . . . . . . . . . . . .287

141 Columns dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288

142 An example of a log file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .290

143 Resource Manager dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .291

144 Choosing a channel type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294

145 Add Track dialog box for video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295

146 Custom Video Quality Settings dialog box, JPEG . . . . . . . . . . . . . . . . . . . . . . . . . .296

147 Custom Video Quality Settings dialog box, MPEG . . . . . . . . . . . . . . . . . . . . . . . . . .297

148 MPEG video track settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299

149 JPEG video track settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .300

150 MPEG encoder and decoder check boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .301

151 JPEG codec check boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .302

152 Field/Frame Setup controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .304

153 Audio inputs and outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .305

154 Add Track dialog box for audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .306

155 Audio Window Size list box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .307

156 Timecode Input and Output check boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .308

157 Add Track dialog box for timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309

158 Timecode Codec check boxes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .311

159 Timecode generator controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312

160 Tool Tip showing an external user. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314

161 Tool Tip showing an internal user . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314

162 “In use” Tool Tip message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314

163 “<Error>” Tool Tip message. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .315

164 TimeDelay window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .318

165 The Remote Connection dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .321

166 The Add Network Host dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .322

167 The Resource Manager dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325

168 Warning dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327

169 The Auto Start dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .329

170 TimeDelay Buffer Location dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .330

171 The Select Timecode Source… dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .334

172 The audio level controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .336

173 Two-column display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .340

Contents

Profile PRO Series 13

Contents

Tables

1 Profile PRO II and PRO III features compared . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

2 Digital audio input channel indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

3 Board representation key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

4 Configuration example, two video input clocking sources. . . . . . . . . . . . . . . . . . . . . 89

5 Configuration example, four video input clocking sources . . . . . . . . . . . . . . . . . . . . 90

6 JPEG video quality (compression) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

7 MPEG Video quality (compression) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

8 Factory set values for JPEG compression presets . . . . . . . . . . . . . . . . . . . . . . . . . 160

9 Factory set values for MPEG compression presets . . . . . . . . . . . . . . . . . . . . . . . . 161

10 VdrPanel shortcut keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

11 Microcode update files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

12 MPEG Encoder Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

13 Audio Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

14 Timecode Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

15 Tool Box Editor Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

16 Event status indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

17 Channel types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

18 JPEG Video Quality Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

19 MPEG Video Quality Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

14 Profile PRO Series

Preface

About this Manual

The Profile PRO® Series User Manual supports Profile PRO system software

1.1 for the Profile PRO Series video disk recorders as well as other Profile models. As a result, some of the features and functions described in this manual are not applicable to the Profile PRO Series.

Profile PRO video disk recorders use digital technology to store and produce broadcast-quality JPEG and MPEG video and CD-quality audio. This manual documents the standard and optional software applications that run on the Profile platform:

• The Profile Configuration Manager configures your hardware for input and output of video and audio, genlock, and system timing.

• The Media Manager manages clips and masters on disk and in a cartridge library system.

• The Transcode Utility converts media between different video compression formats, such as from JPEG to MPEG.

• VdrPanel lets you capture and use JPEG and MPEG video and audio clips.

• The Profile Disk Utility lets you manage the Profile systems media disk drives.

• The optional Tool Box Editor records media and performs simple, cuts-only edits. It also allows you to create a sequence of clips called a master.

• The optional List Manager allows you to set up simple station automation.

• TheResourceManager allocatesvideo,audio, andtimecoderesources forthe Tool Box Editor, the List Manager, and Time Delay.

• TimeDelay, also optional, allows you to delay a video feed by a specific amount of time.

• Other Profile utilities include Profile Log (via WinTail), ProLink, and PortServer, among others.

NOTE: This manual assumes that you are familiar with basic Microsoft Windows operation.

Profile PRO Series 15

Preface

Terminology and Conventions

Button (graphical) Buttons shown in bold (OK, for example) that you click

with the mouse pointer.

Button (mouse) The two or three buttons on the top of the mouse.

Terminology and Conventions

Choosing Choosing menu items,

means choose the Exit menu item under the File menu.) Commands Commands ( Clicking Pressing and releasing the mouse button without moving

the pointer.

Ctrl key Hold Ctrl down while pressing other keys in a sequence.

Double-clicking Pressing and releasing the left mouse button twice without

moving the pointer. Dragging Pressing and holding the mouse button while moving the

pointer. Moving Changing the location of the pointer on the screen by

moving the mouse. Pointer An arrow or other graphic on the screen indicating the

current cursor position for selecting or clicking. Pointing Positioning the pointer on an object on the display by

moving the mouse. Right-click Pressing and holding the right mouse button.

Shift key Hold Shift down while pressing other keys in a sequence.

a:\setup, for example) are shown in bold.

File | Exit, for example. (File | Exit

Profile PRO Series 17

Preface

18 Profile PRO Series

Chapter

Introducing the Profile PRO Series

TheProfilePRO Series VideoDisk Recorders storebroadcast-quality video and CD-quality audio on computer disk drives rather than on video tape, allowing almost instantaccessto any timecode location of yourvideo and audio material. Table 1 on page 20 compares the capabilities of the PRO II, which used motion JPEG compression, and the PRO III, which uses MPEG compression.

A Profile PRO disk recorder is more than just a one-for-one replacement of a VTR: it can have up to two record and two playback video channels. Clips are available on all channels at once, so you can play a clip on more than one channel at the same time, without making a copy of it. Since each channel is independent of the others, each playback can start at a different time and at a different place in the clip.

You can even start play a clip while it’s still being recorded. Just start capturing the clip on one channel, wait about five seconds, and then play the clip back on another channel. This kindofcontrolmakesthe Profile system an ideal solution if you want to go to air with a clip before you are finished recording it.

The Profile PRO Series disk recorders support these optional products:

• Video Mix/Effects board

• PDX208 Profile Disk Expansion Units

• PAC208 and PAC216 Analog/Digital Audio Interface chassis

• XLR216 and BNC216 Digital Audio Interface chassis

• PRS255 Profile RAID Storage System

• PLS20 Profile Library Systems

• PRC100 Profile Control Panel unit

• LVS100 Live Controller

• CD-ROM Drive

• Profile Tool Box Editor software

• Profile Tool Box List Manager software

• Profile TimeDelay application software

Profile PRO Series 19

Chapter 1 Introducing the Profile PRO Series

NOTE: Profile PRO Series System Software version 1.1 supports the PRO II and PRO III. In addition, version 1.1 runs on Microsoft Windows® NT™ 4.0.

Table 1. Profile PRO II and PRO III features compared

Feature PRO II PRO III Compression

Video I/O Video Channels Codecs Audio Channels Audio Format

Processor Protocols Control

System Software

User Interface Input Cables Manuals

Storage Interface Internal Storage

JPEG; Up to 24 Mb/s MPEG-2; 4-15 Mb/s; 4:2:0 sampling Analog and Digital Analog and Digital 2 I/O 1 in / 2 out 2 bi-directional 1 encoder/ 2 decoders 4 channels per video channel 4 channels per video channel Embedded (AES/EBU and Analog

optional) 233 MHz Pentium CPU 233 MHz Pentium CPU Profile, BVW, Louth, Odetics Profile, BVW, Louth, Odetics RS-422 (4 ports)

Ethernet 10/100 BaseT PRO Series System Software

Windows NT 4.0 VDR Panel VDR Panel Keyboard, Mouse Keyboard, Mouse Power, Ethernet Power, Ethernet Profile User Manual

PRO Series Startup Manual Release Notes

Ultra-SCSI Ultra-SCSI Standard (3) 18-GB Internal Drives

Total of 48 GB JPEG @ 24 Mb/s: 4 hours

Optional up to (8) 18-GB Internal Drives Total of 128 GB JPEG @ 24 Mb/s: 10.5 hours

Embedded (AES/EBU and Analog optional)

RS-422 (4 ports) Ethernet 10/100 BaseT

PRO Series System Software Windows NT 4.0

Profile User Manual PRO Series Startup Manual Release Notes

Standard (3) 18-GB Internal Drives Total of 48 GB MPEG @ 8 Mb/s: 10.2 hours

Optional up to (8) 18-GB Internal Drives Total of 128 GB MPEG @ 8 Mb/s: 27.3 hours

20 Profile PRO Series

A Profile PRO System Overview

The Profile PRO Series are multichannel digital video disk recorders. The PRO II supports two play/record channels (codecs) of continuously variable motion JPEG video compression. The PRO III supports MPEG 4:2:0 video compression, with one record channel (encoder) and two playback channels (decoders). Each channel can play back one video and up to 4 audio signals, each capable of using different video formats. In other words, one PRO Series unit can replace the functionality of up to two VTRs, with the added benefit of random access to video and audio data stored on disk.

The Profile PRO system has an EISA motherboard with an internal digital video routing system. There are sixteen EISA slots and one ISA slot used for interface cards and routing audio data. The PRO III also uses a PCI bus for routing data between the master enhanced disk recorder (EDR) board and MPEG board.

A video routerchipset is integrated on the mother board. It routesvideosignals between the video disk system, video mix effects cards, and video I/O cards. The video router is a 32 x 32 crosspoint matrix capable of full bandwidth 4:2:2 CCIR 601 8-bit digital video. The video router allows real-time transfer of video throughout the system without impacting overall system performance. The video router also makes possible simultaneous record and playback on separate channels.

A block diagram showing the hardware layout of the PRO Series is shown in Figure 1 on page 24.

A Profile PRO System Overview

Video Disk Subsystem

In the video disk subsystem, video data is compressed and written to an array of disks, and then read from these disks and decompressed. This video data is read from and written to the video router in 8-bit, parallel component digital video format. The video disk subsystem has enhanced disk recorder boards, with an Intel i960 real-time processor and a SCSI-2 interface to the disks.

The video disk subsystem uses a master enhanced disk recorder (EDR) board. The master board has an Intel i960 real-time processor that controls compression on the two-channel JPEG codec or the MPEG encoder and decoder board, which is connected to the master via a PCI interconnect board. The processor also controls the data flows on the master board’s two SCSI-2 channels. The bidirectional JPEG codec channels allow channels to be configured for recording or playback.

Profile PRO Series 21

Chapter 1 Introducing the Profile PRO Series

Video Compression

The i960 on the master board is used to control data flow and compression coefficient loading of the JPEG codecs or, if present, MPEG encoders and decoders. The amount of JPEG video compression varies according to the settingofthe compression coefficient;the amount ofMPEG video compression varies according to the bit rate. Higher compression ratios or bit rates store more video, but the result is lower quality video. On the other hand, lower compression ratios or bit rates result in higher quality video and less storage capacity. Audio, however, is not compressed.

Since the video compression ratio can be varied to change the video quality given available storage time, the amount of storage depends on your choice of compression ratio. A quick rule of thumb is that five minutes of JPEG video—plus four channels of audio and two channels of timecode—is roughly equal to one gigabyte of disk storage at 50,000 bytes per field in the 525 standard video format. For example, a PDX218 Disk Expansion unit expands storage up to twelve hours and using multiple PRS255 RAID Storage Systems can bringit up to approximately 96hours.For video stored in theMPEG format at an average 12 Mbps, you can just about double these capacities.

MPEG usesmotionprediction to increase efficiency—essentially, it useslower data rates because it does not duplicate video that does not change from frame to frame. MPEG accomplishes this through both backward and forward prediction. To do this, it uses GOPs, consisting of I-frames, P frames and B frames.

An I-frame (also knownasanI-pictureor Intra-picture) is analogous to a single motion JPEG frame, where all data required to display a frame is stored in one picture. A P picture (also called a predictive picture) uses a motion vector to predict what will happen in the next frame and contains only the changed data, rather than passing along another complex frame of video. In addition, a B picture (known also as a bidirectional picture) relies on data from both backward and forward motion vectors to determine how a future frame will be composed.Ingeneral, the longer theGOP, the more efficientyour MPEG video stream will be.

In addition to video compression, the disk recorder boards also integrate the digital audio data coming from the EISA bus, with up to four channels of audio per channel of video. These recorder boards communicate with the SCSI-2 interface using a Direct Memory Access (DMA) interface. The Profile PRO

22 Profile PRO Series

Series also supports the audio signal processing board (ASPB). This board is capable of delivering 16 channels of analog, embedded digital, or AES/EBU digital audio.

Video and Audio Interface Boards

Video and audio interface boards receive incoming and send outgoing video and audiodata. These boards are responsiblefor converting the video andaudio to internal formats used by the video server.

The Profile PRO Series comes with the Audio Signal Processing board (ASPB). This audio architecture accepts and simultaneously processes sixteen audio inputs and outputs. Internally, all audio is processed with a selectable resolution of 16 or 20 bits, then stored as 16-bit audio. Inputs may be individually clocked in groups of four, and any clock group may be referenced to the system reference (house black) or any one of four video inputs. Output clocking is synchronous to system reference. Sample rate conversion is available for all inputs (30 to 50kHz), providing uniform storage at 48kHz.

You can configure the PRO Series tooperatewithanalog,AES/EBU digital, or embedded (SMPTE 272M Level A) audio, depending on which options are installed in yoursystem.Allthree audio formats are supported without external conversion equipment. Analog audio is only available with an optional PAC208or PAC216Analog/Digital Interface chassis. You can specify the use of XLR or BNC connectors for AES/EBU audio with an optional XLR216 or BNC216 Digital Interface chassis. You can choose an audio format for each videochannel.For example, youcould enable analogaudioon one channel,and embedded audio or AES/EBU on the other.

Two video boards allow the PRO series to be used with the composite analog and serialdigitalcomponent video formats, both ofwhichare standard formats. Both boards accept 525 or 625 (NTSC or PAL) video standards.

The analog composite input and output board offers two input and output channels per board.

A serial digital component board provides two channels of both input and output, plus embedded audio when used with an ASPB. You can also enable dithering, auto-timing, and automate VITC detection. The board also has error detection and handling.

Video and Audio Interface Boards

Profile PRO Series 23

Chapter 1 Introducing the Profile PRO Series

The standard reference genlock board allows you to time your PRO Series video disk recorder tootherdevicesina broadcast facility. You can lock a PRO Series unit to a PAL or NTSC reference signal (house black). The genlock board also lets you have LTC inputs and outputs, withoneinputandoneoutput possible for each channel.

Notes:

Indicates optional board MPEG Encoder/Decoder is

available only in the PRO III. JPEG CODECs is available

only in the PRO II.

Figure 1. The PRO II/PRO III block diagram

Networking

• RS-422 port

• Ethernet LAN I/O

MPEG

4:2:0*

Encoder/ Decoder

SCSI Devices

PCI Bus

0579-1

Applications Processor Subsystem

•

Intel Pentium Processor

EISA Bus

Enhanced Master Recorder

• Intel i960 real-time processor

• 2 JPEG CODECs

• Ultra SCSI-2

32 x 32 CCIR 601

Video Router and Clocks

Digital

Audio I/O

Video I/O

• Analog Composite

• SDI w/Embed. Audio

Analog

Audio I/O

(External Chassis)

Mix

Effects

Genlock

Board

Ref.

Clocks

24 Profile PRO Series

Profile Software Development

The Profile Software Development Kit (SDK) provides an application programming interface (API) for libraries of Profile functions. We recommend that you call these functions via Microsoft Visual C++ 5.0; however, it is possible to use other languages that permit calls to C declared functions (contact your Tektronix representative for more information). Software developers can use the API to control the Profile from third-party hardware devices, for example. The API consists of seven libraries:

• The TekCfg library provides an interface to the Profile configuration.

• The TekPdr library furnishes calls that inventory and manage movies in

Common Movie Format (CMF), an internal file format standard for video, audio, and timecode.

• The TekRem library makes it possible for a remote Windows NT system to

control a Profile disk recorder over an Ethernet LAN.

• The TekVdr library provides an interface for playing and recording video

and audio clips.

• The TekVfs librarysupportslow-levelaccess to individual media files in the

media file system.

Profile Software Development

• The TekVme library controls the optional video mix effects board. Four RS-422 serial ports come standard on a disk recorder. A disk recorder can

issue serial commands or receive them from an external device via RS-422 communication lines. The Profile Protocol associates each API call with a specific number that can be sent over an RS-422 line. The ProLink application monitors Profile Protocol calls over an RS-422 link, allowing you to use compatible hardware devices, such as the PRC100 Control Panel, to issue commands to a Profile unit.

Windows applications are also available to control the Profile system. Your disk recorder comes with several standard and optional applications. See “Starting and Closing Profile Applications” on page 28 for more information.

NOTE: Louth and Odetics RS-422 protocols are also supported, although there is not a one-to-one correspondence between these protocols and the Profile API. Louth and Odetics protocols do not allow you full access to the functionality of the Profile system.

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Chapter 1 Introducing the Profile PRO Series

What to Read First

The orderinwhich you should read thechaptersof this manual depends onhow you want to set up your Profile PRO system.

• Before using your Profile PRO unit, you must first configure your video and audio boards. Refer to Chapter 2, “Using the Profile Configuration Manager.”

• Once you have configured your video and audio boards, and, if necessary rebuilt your file system, you are ready to capture and replay video and audio clips. Refer to Chapter 4, “Using VdrPanel.”

• To read Profile logs, access your Profile PRO system from a remote PC, or attach a PRC100 Profile Control Panel; refer to Chapter 6, “Using Profile Utilities.”

• To learn how to manage media on disk, see Chapter 3, “Using Media Manager.”

• If want to use optional software applications, see Chapter 7, “Using the Tool Box Editor,” Chapter 8, “Using the List Manager,” or Chapter 10, “Using TimeDelay.” To allocate resources for Tool Box Editor, List Manager, and TimeDelay, see Chapter 9, “Using the Resource Manager.”

26 Profile PRO Series

Starting Your Profile PRO Disk Recorder

Once the unit is properly installed, you are ready to log in. For instructions on how to install and power-on a Profile PRO disk recorder, see the installation manual that came with the unit.

To log in automatically:

Power up the Profile PRO disk recorder, and the start up routine begins. During normal start up, you are logged in automatically and the Quick Start application opens. You can hold down the interrupt the automatic log in process.

NOTE: Ifyoustoptheautomatic log in, or if it fails, the WindowsNT log in dialog box appears. When logging in, remember that this dialog box is case-sensitive.

To manually log in:

Shift key during start up to

1. At the Windows NT 4.0 log in window, enter the username: (However, you must log in as administrator when installing software, performing Windows NT administration, starting a service, or setting an Ethernet IP address.)

2. Use the Tab key to advance to the password field.

3. The password appears as asterisks (*) for password security. For the password, enter:

4. Use the Tab key to advance to the From field.

5. If your domain name or local computer name is not displayed in the box, click in the box to access a list of choices. Select your domain or local computer name from the list.

6. Click

OK or press Enter.

NOTE: If a log in error message appears, and all the information is correct, try deleting the password and clicking

profile

OK.

profile

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Chapter 1 Introducing the Profile PRO Series

Starting and Closing Profile Applications

After logging into your Profile PRO system, you see shortcut icons for the Profile applications on the Windows NT 4.0 desktop.

Figure 2. PDR Application shortcuts on the Windows NT 4.0 desktop

28 Profile PRO Series

Starting an Application

To start a Profile application—VdrPanel in these examples—using Windows NT 4.0:

• Double-click the shortcut icon on the Windows NT desktop.

Or:

Starting an Application

• Choose

Or:

• Choose

Start | VdrPanel.

Start | Programs | PDR Applications | VdrPanel.

Viewing Help

To view the Help for an application:

• Choose

Or:

• Click the

To view version information (for VdrPanel in this example):

• Choose

Help | Help Topics.

Help button in a dialog box or a toolbar, if available.

Help | About VdrPanel.

Closing an Application

To close Profile applications:

• Choose

File | Quit, File | Exit or click the Close button.

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Chapter 1 Introducing the Profile PRO Series

NOTE: Ifyoudon’tconfiguresystem resources with QuickStart, you must use Configuration Manager to configure resources before using your PRO Series video disk recorder.

Profile Configuration Manager

The Profile Configuration Manager is a graphical user interfacefor configuringreference genlock, system timing,videoand audioinputs andoutputs. Formore information, refer to Chapter 2, “Using the Profile Configuration Manager.”

Media Manager

The Media Manager allows you to manage clips and masters on disk. Refer to Chapter 3, “Using Media Manager.”

30 Profile PRO Series

Transcode Utility

The Transcode Utility, which is started from Media Manager, can change the video quality of a clip. Refer also to Chapter 3, “Using Media Manager.”

VdrPanel

VdrPanel enables you to capture and trim video and audio clips and then play them back. For more information, refer to Chapter 4, “Using VdrPanel.”

Profile Disk Utility

As shipped from the factory, Profile media disks come preformatted and with a file system already created. Profile DiskUtilityallows you to create new file systems, reformat disks, and change disk labels. To find out more about how to use this utility, refer to Chapter 5, “Using the Profile Disk Utility.”

Closing an Application

Tool Box Editor

The optional Tool Box Editor lets you create new media by logging and capturing video and audio clips while also providing an inexpensive, cutsonly editing system. Refer to Chapter 7, “Using the Tool Box Editor.”

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Chapter 1 Introducing the Profile PRO Series

List Manager

The optional List Manager allows you to set up simple station automation. You can record incoming video at predetermined times, send incoming video directly to an output, or combine all of these functions toincreasethe automation level of you operations. Refer to Chapter 8, “Using the List Manager.”

TimeDelay

TimeDelay allows you to delay incoming video by an amount of time you specify. For more information, see Chapter 10, “Using TimeDelay.”

32 Profile PRO Series

QuickStart

Profile PRO Series system software includes the QuickStart configuration tool. QuickStart runs at system start-up and provides a single graphical user interface for configuring and starting VdrPanel and Prolink (Profile Protocol utility) to control the PRO Series Video Disk Recorder. Refer to “Starting Your Profile PRO Series System” in the Profile PRO Series Installation Manual for more information about QuickStart.

Profile Utilities

• Profile Logs allow you to view Profile system logs with the graphical log viewer, WinTail. This log viewer allows you to see the end of a log file. To learn more about how to view Profile logs, see Chapter 6, “Using Profile Utilities.”

• ProLink monitors Profile Protocol calls over RS-422 communication lines, allowing you to use a controller such as the PRC100 Control Panel to communicate with a Profile system. For more information on Profile Protocol, see the documentation that accompanies the Profile Software Development Kit.

• PortSever allows you to control a Profile unit remotely using Ethernet communications. For example, you can run PortServer on a remote Profile system so that you can control it over a LAN from another Profile or PC. PortServer is generally used in conjunction with Fibre Channel operations.

• PDRAccessControlis a WindowsNT service that preventsone application from crashing another application by mistake. Though largely transparent to users,theservice preventsapplications fromaccidentallyreloading the video processor while in use, essentially providing a controlled gateway to the processor.

Profile Utilities

• Update Firmware reprograms components on boards in your Profile PRO Series disk recorder, such as the Master Enhanced Disk Recorder (EDR) board. Updating the firmware in the selected components of these boards ensures that software and hardware will function together as expected.

• Profile Protocol Resources is a graphical interface that helps you create configuration files for devices that use Profile Protocol, such as the PRC100 Control Panel, to communicate with the disk recorder over an RS-422 connection that is managed by ProLink. How you create configuration files with Profile Protocol Resources is explained in Chapter 6, “Using Profile Utilities.”

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Chapter 1 Introducing the Profile PRO Series

34 Profile PRO Series

Chapter

Using the Profile Configuration Manager

The Profile Configuration Manager provides an easy-to-use interface that

streamlines the set up of reference genlock, video and audio inputs and outputs, system timing, and timecode for your Profile video disk recorder. The configuration tree allows you to open the specific configuration dialog boxes that control the settings. A graphic representation of the Profile rear panel at the bottom of the Configuration Manager window shows which boards are installed. The Configuration Manager window appears in Figure 3.

Toolbar

Configuration tree

Profile rear panel representation

Figure 3. Profile Configuration Manager window

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Chapter 2 Using the Profile Configuration Manager

To select an item from the configuration tree:

• The configuration treeappearson the left side of the window. Clickingonan entry, such as expanded list of choices, such as if you click on collapses the list of choices.

• A single click opens the specific dialog box, closing a previously opened box, if necessary. A double-click opens the specific dialog box but does not close any other open dialog boxes. To close all open dialog boxes at once, choose

Video Input, expands the list of choices. Clicking on an

Window | Close All.

Video Input a second time,

All changesina dialog box take placeimmediately.The

Undo buttonwillundo

changes from the time a dialog box was opened in the current tab of the dialog box. The

Undo button is dimmed if there is nothing to undo. The Help button

opens context-sensitive help related to the current dialog box. By default, the toolbar and status bar are shown in the Configuration Manager

window. To hide the toolbar or status bar:

• Choose

View | Toolbar or View | Status Bar.

To view information about installed boards:

• Choose

Help | Installed Boards Information.

36 Profile PRO Series

Saving a Configuration File

It ispossible to preserve aconfigurationfor later use. Youcan save your current overall configuration in a file and then load it later. Configuration files have a

.cfg extension. To save your current configuration in a file:

Saving a Configuration File

1. Choose (Figure 4).

2. Enter a file name in the File Name box—new.cfg in this example.

3. Press Enter or click

File |Save Current Configuration. TheSaveAs dialog boxappears

Figure 4. Save As dialog box for saving a configuration file

Save. The current configuration is saved.

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Chapter 2 Using the Profile Configuration Manager

Loading a Configuration File

To load a configuration file that has been saved previously:

1. Choose (Figure 5).

2. A message box warns you that if you load a configuration file, all open windows are closed. Click

3. Double-click a file name in the tree or type the name of the file in the File Name box—new.cfg in this example.

4. Press Enter or click

File | Load Configuration File. The Open dialog box appears

Figure 5. Open dialog box for loading a configuration file

Yes to continue.

Open. The file is loaded as the current configuration.

38 Profile PRO Series

Setting Master Timecode

From the Master VITC Setting dialog box, you can conveniently view and change VITC settings for genlock and all available inputs and outputs. To set the master timecode (VITC) settings:

Setting Master Timecode

1. Choose the toolbar. The Master VITC Setting dialog box appears (Figure 6).

Option |Master Timecode or clicktheMaster Timecode button on

Figure 6. Master Timecode dialog box, genlock settings

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Chapter 2 Using the Profile Configuration Manager

2. The VITC Present status indicator should be on (green) if VITC is present. If VITC Present is not on, use one of the following options:

• Manual VITC detection (four-channel LTC version of the reference genlock board):

- Verify Automatic VITC detect is not selected. If it is, click to toggle it.

- Set VITC Reader Line1 to the expected location of the first Reader Line

and VITC Reader Line2 to the second expected Reader Line. If you only have one VITC line, enter the same value on both Reader lines.

- Check VITC Present. If it is still not on, use a waveform monitor to check

the genlock signal to make sure that VITC exists on these lines.

• Automatic VITC detection only:

- Verify Automatic VITC detect is selected. If it is not, click to toggle it.

The Search Lines are automatically established for NTSC/525 and PAL/625.

- Check VITC Present. If it is still not on, check the genlock signal to make

sure that VITC exists and is within the expected range.

3. For each video input that should have VITC, select it from the list:

• For automatic VITC detection on analog composite and serial digital component signals:

- Verify Automatic VITC detect is selected. If it is not, click to toggle it.

- Set VITC Reader Line1 to the beginning of the search line. The minimum

line number is 6 in PAL and 10 in NTSC.

- Check for VITC Present.

• For manual VITC detection on analog composite and serial digital component signals:

- Verify Automatic VITC detect is not selected. If it is, click to toggle it.

- Set VITC Reader Line1 and VITC Reader Line2 to the lines where VITC

is located. If you only have one VITC line, enter the same value on both Reader lines.

- Check VITC Present. If it is still not on, double check your line numbers

and try again.

40 Profile PRO Series

Setting Master Timecode

4. For each video output that should have VITC, select it from the list:

• For analog composite on preexisting PDR100 and PDR200 units:

- Verify VITC Generator Enable is checked. If not, click to toggle it.

- Click on Vert. Interval to open the Vertical Interval Line Programming dialog box.

- Select the desired VITC linesbychecking in the VITC Enable column for the line. There is not a limit on the number of VITC lines.

- Click

Close to close the Vertical Interval Line Programming dialog box.

• For serial digital component:

- From the Serial Digital ComponentVideoOutput dialog box, set the lines where you want VITC in VITC Generator Line1 and VITC Generator Line2.

- Verify VITC Generator Enable is checked. If not, click to toggle it.

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Chapter 2 Using the Profile Configuration Manager

Setting the System Timing

A new, factory-default PDR200 or PDR300 is configured so that:

• All outputs are zero-timed to the external reference (house black).

• Each input can lock to and record any stable video input, whether or not the source is genlocked to an external reference.

NOTE: Serial digital inputs (525 lines) on a PDR100 must be timed manually.

To adjust system timing:

1. Choose toolbar. The System Timing dialog box appears (see Figure 7 which shows an example of how the dialog box looks when the outputs are zero-timed by default).

- The red line represents the external reference, and the yellow line

- A hashed box represents a timing window or, in other words, the range of

- The external reference, represented at the top of the dialog box, shows a

2. Click anybutton to the leftof the internal reference(genlock) or video output signal name and the timing edit box appears in the bottom left of the System Timing dialog box (see Figure 8 which shows the dialog box when the outputs are E to E timed).

3. In the timing edit box, you can adjust the number of fields (genlock only) or lines, and also tune these settings with course or fine adjustments. You can enter a number directly or click an arrow to adjust a setting.Theadjustments and ranges available vary, depending on the type of output you have.

4. Click

Default to return to the default settings.

Option | System Timing or click the System Timing button on the

represents system timing (genlock) relative to the external reference.

lines within which the timing is adjusted.

range from –16 to +16 lines. You can scroll past this range by dragging the pointer on this line in either direction with the mouse.

Close to accept the settings, Undo to return to the previous settings,

42 Profile PRO Series

Setting the System Timing

You can also make system and output timing adjustments using the configuration dialog boxes for genlock and video outputs. To access those dialog boxes, select

Genlock or Video Output from the configuration tree.

Figure 7. System Timing dialog box, zero-timed

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Chapter 2 Using the Profile Configuration Manager

E to E Timed Outputs

In some applications, you may want to precisely switch an output from a live video feedto playback of recordedmaterial.Since the live inputwillbe delayed 16 linesas it passes through theProfileunit, you must set acorresponding delay on the playback. The E to E Timed Output option sets a 16-line delay on all the system outputs, allowing a zero-timed input to be exactly timed with a play to air signal. To set all your Profile unit outputs for E to E operations:

1. Choose

Option | System Timing or click the System Timing button on the

toolbar. The System Timing dialog box appears.

2. Click

3. Click

E to E Timed Output. Close.

NOTE: You must restart all other Profile applications to allow the new system timing setting to take effect.

44 Profile PRO Series

Figure 8. System Timing dialog box, E to E timed

Auto Timing

Auto-timing mode automatically times the video input signal to the internal reference (system timing) provided the video input is synchronous and timed within the auto-timing window. If auto-timing is enabled and the signal is able to be timed into the system, the Auto Timed indicator at the top of the video input dialog box is turned on.

If you want to use the disk recorder as a switcher and/or have the output video correctly timed when in E to E mode, the input video must be locked to the reference and properly timed to thediskrecorder.Toaid in the timing setup, all video inputshave auto-timing circuits which time theinput video to the internal timing reference as long as the input video is within the auto-timing sync window: ±2 lines for the latest boards (from -0.5 to +3.5), and ±1 lines for all others.

The auto-timing circuit is always trying to lock to the signal. If you try to auto time a signal outside of the window, the video signal appears to be broken-up as itcannotbe timed into the system.Ifthe input drifts out ofrange,it is retimed as soon as it drops back into range. The disk recorder can use untimed signals if auto-timing is not enabled, but they are not timed correctly and may cause jumping and skipping when switching between playout and E to E mode.

Auto Timing

NOTE: If you select auto-timing for an input signal and it cannot auto time with the genlock reference signal, the input signal is not recorded accurately. If you must record an input that cannot lock, disable auto timing and then record. There may be problems if you are operating in E to E mode, but the clip plays back correctly timed.

If auto-timing is enabled, and the signal is able to be timed into the system, the Auto Timed indicator is turned on. Also, for serial digital component input, Line 1 can still be adjusted, but Line 2 is always equal to Line 1 + 14.

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Chapter 2 Using the Profile Configuration Manager

Setting the Reference Genlock

TheReferenceGenlock dialog boxsets the genlockparameters for VITCreader settings and internal reference timing. At the top of the dialog box, the status indicators display the current status of the genlock input: Locked to External Reference, Internal Clock Locked and VITC Present. A green light indicates that a particular status is on. These indicators cannot be edited.

To change the reference genlock settings:

1. Click ordouble-click Genlock dialog box appears (see Figure 9).

2. Click Automatic VITC Detect to havetheProfiledisk recorder use the range set inthe signal. If the VITC signal is found, the VITC Present indicator is turned on. Otherwise, when you do not use Automatic VITC Detect, the disk recorder expects to find theVITCsignalson VITC Reader Line 1 (default 10) or Line

2 (default 12).

From andTo lines to look fortheVITC (vertical interval timecode)

Genlockfromthe configurationtreeand the Reference

Figure 9. Reference Genlock dialog box

46 Profile PRO Series

Setting the Reference Genlock

3. Use the Field, Line, and Fine entries to adjust the internal timing relative to thereferenceinput. Changingthissetting affectsallsystem timing,including all output timing and the input synchronized timing window. Click to return to the default timing values (0,0,0).

NOTE: In order to properly time the disk recorder, the Internal Reference Timing should only be changed if the downstream timing requirements cannot be met using the video output Timing Adjustment (see “Video Output” on page 65). This should be done prior to setting individual output delay adjustments.

Default

4. Click

Undo to return all values in the dialog box as they were set at the time

the dialog box appeared.

5. Click Close to accept the changes.

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Chapter 2 Using the Profile Configuration Manager

Changing LTC Input and Output Names

The LTC (longitudinal timecode) inputs and outputs dialog box allows you to rename the LTC inputs and outputs.

To change an LTC name:

1. Click or double click Input & Output dialog box appears.

1. Select an LTC input or output name.

2. Position the edit cursor within the appropriate edit box.

3. Enter the new name or portion of a name.

4. The new name appears in the name list.

5. Click

Undo to return the name or names as they were at the time the dialog

box appeared.

LTC Input & Output intheconfigurationtree and LTC

Figure 10. LTC Inputs & Outputs dialog box

6. Click

48 Profile PRO Series

Close to accept the new LTC name or names.

Setting MPEG Input Timing

NOTE: This topic is not applicable to the Profile PRO Series.

If you have one or more MPEG board(s) installed that have decoders only (no encoders) and you are running in BVW [insert edit] mode (see “Setting up BVW [insert edit] Emulation” on page 164), you need to obtain a timing signal from a video I/O board to synchronize your output.

To select a timing input for the MPEG board:

Setting MPEG Input Timing

1. Click ordouble-click Timing Selection dialog box appears (see Figure 11).

2. In the Input Timing box, select the board from which you want to get the timing signal.

3. Click

Undo to return to original input timing source.

MPEGBoardfrom the configurationtreeand the Input

Figure 11. MPEG Input Timing dialog box

4. Click

Close.

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Chapter 2 Using the Profile Configuration Manager

Video Input

You may have analog composite, component analog (CAV), or serial digital component video inputsinstalledinyour Profile system. The steps to configure video inputs follow.

Analog Composite Video Input

The indicators at the top of the dialog box show the current status of the analog composite video input. The indicators are

Auto Timed (also Burst Present for earlier analog composite cards). A green

light indicates that a status is on. These are indicators and cannot be edited. To configure analog composite video input:

VITC Present, Input Locked, and

1. Select

Video Input from the configuration tree, and then click or double-

clickananalog composite inputfrom the list,suchas Composite-InA-J5. The Analog Composite Video Input dialog box appears (Figure 12 for current analog composite cards and Figure 13 for earlier cards).

Figure 12. Analog Composite Video Input dialog box, Main tab (A)

50 Profile PRO Series

Analog Composite Video Input

Figure 13. Analog Composite Video Input dialog box, Main tab (B)

2. If you prefer, enter a new name for the input signal in the Name box. For example, if the signal is a network feed, you could rename it to Network_Feed. The VITC name, the window title bar, and the configuration tree name change automatically as you enter the new name. Names can be up to30 characters, and can includespaces.To return a renamedsignalto the default, delete all the characters in the text field, and press Enter.

3. Select a video standard. Click either

pedestal, or PAL (PAL is available only with earlier cards). If you change

NTSC with pedestal, NTSC without

the standard, restart all tools thatusethischannel.The board can accept only one input at a time.

4. If you use

From and To lines to look for the VITC signals. If Automatic VITC Detect

Automatic VITC Detect, the Profile unit uses the range set in the

is not checked, the system expects to find the VITC signals on the VITC Reader Line 1 (default 10) or Line 2 (default 12). If the signal is found, the VITC Present status indicator is turned on.

NOTE: Input must be auto-timed to use automatic VITC detection.

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5. If you want videoinputauto timed, click Enable Auto-Timing. Auto-timing determines if the input is synchronized to the reference genlock signal. The disk recorder records time-base corrected video whether or not it is also locked to the reference. If auto-timing is enabled, and the signal was able to be timed into the system, the information on auto timing, see “Auto Timing” on page 45.

Auto Timed indicator is turned on. For more

6. Click

Enable Dithering if the incoming signal is 10-bit resolution. This

produces the best quality result. The LSB artifacts on 10-bit video feeds are reduced. There is no effect if the incoming signal is 8-bit.

7. Click

Vertical Blanking to enable vertical blanking. When enabled, for the

525 standard, lines 1 through 9 and 264 through 272 are blanked; for the 625 standard, lines 1 through 5, 311 through 317, 624, and 625 are blanked.

8. Adjust the input gain on the syncs to compensate for any losses in the input. You can adjust the gain manually or, with earlier cards, click AGC (Automatic Gain Control) which enables the internal quality monitoring circuit to automatically adjust the gain to keep the sync level constant. To adjust the gain manually, move the slider to the desired value. The range is from 71 to 141 percent (±3 dB) of the input signal. (For earlier cards, the range is from 45 to 142 percent (±3 dB) of the input signal for NTSC and 82 to142percent for PAL.)When you click

Default,theInput Gain Adjustment

resets to the default value (100 percent).

9. Click

10. Click

Undo to return the values in the dialog box to their original settings. Close to accept all inputs.

52 Profile PRO Series

Analog Composite Video Input Advanced Control

The Advanced Control tab allows you to select a decode mode, clamp speed, and other settings, depending on which analog composite card you have. To change advanced controls settings:

1. Click or double-click on the shows thedialogbox for the most recentanalogcomposite video cards while Figure 15 shows the dialog box for earlier cards).

Figure 14. Analog Composite Video Input dialog box, Advanced Control tab (A)

Advanced Control tab to view it (Figure 14

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Chapter 2 Using the Profile Configuration Manager

Figure 15. Analog Composite Video Input dialog box, Advanced Control tab (B)

2. Click a setting for decode mode. Decode mode determines how the chrominance and luminance information is separated for conversion for storage. There are three options for the current analog composite cards and four options for the earlier cards:

- Notch Filter. Decode mode separates the chrominance by using a notch

filter around the chrominance subcarrier. This leaves the high frequency luminance intertwined with the chrominance. A notch decoder readily determines horizontal lines are line-to-line luminance. Fine vertical lines can be more difficult.

Comb Filter. Decode mode tries to separate high frequency luminance

fromthechrominance using thesame notch filteras the notchdecoder,but also takes information from the next line. It uses this information to determine if high frequency is luminance or chrominance. A comb decoder readily determines finely spaced vertical lines are luminance. A lack of line-to-line phase alteration causes difficulty with fine horizontal lines.

54 Profile PRO Series

Analog Composite Video Input Advanced Control

- Spatial Adaptive. Decoding uses either the comb or notch decoder, on a

pixel by pixel basis, depending on which gives the best results. For horizontal lines, notch is used; for vertical lines, comb is used.

NOTE: Spatialadaptiveandtemporal/spatial adaptive decoding uses the high or low threshold setting.

Temporal/Spatial Adaptive. This is for earlier analog composite cards

only. Decoding uses both the next line and the same line in the alternate field in the calculations. This decoder uses all of the properties of the Spatial Adaptive decoder, plus it uses Temporal (interfield changes) information. The phase change (or lack of) from field to field helps determine whether high frequency should be decoded as chrominance or luminance. The threshold determines the amount of motion allowed between alternate fields to still have the Temporal decoder recognize the pixel. High allows more motion than Low.

3. For the currentanalog composite card, click

Enable ClampSpeedto enable

it. Clamp speed sets the reaction to changing DC levels of the input signal. Speed can be either slow or fast. The fast clamp speed is more reactive to small DC variations. The slow speed ignores short-term DC level changes but gradually changes the clamping level to track the input.

For clamp speed on earlier cards, click

Adaptive, Slow, Medium, or Fast

under the Clamp Speed group. Fast and Slow settings are the same for both the earlier and current cards, while

Medium is a compromise between Fast

and Slow. Adaptive uses the best clamp for the current video input. Clamp Speed also helps with white noise reduction. Adaptive is the best choice for white noise reduction. Do not use Adaptive for impulse noise, use Slow and the Impulse Noise Detection option from the Noise Reduction group.

NOTE: IfyousetAGC(audio gain control) to automatic on the main screen, clamp speed cannot be selected.

4. For current analog composite cards, the Vertical Interval controls set how vertical interval signals are handled. Move the Group Definition slider to set how many lines are in Groups 1 and 2. In Group 1, Notch and Pass are available while Blank and Pass are available in Group 2:

Notch applies notch filtering to the vertical interval video line. This

means that chrominance information and any luminance around the chroma subcarrier are removed.

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Chapter 2 Using the Profile Configuration Manager

- Pass indicates that the vertical video line is passed-through.

Blank indicated that line the group are blank.

5. Under Noise Reduction (earlier analog composite cards only), the controls enable and set various noise reduction methods:

- Click

Enable Luma and Chroma Reduction. This applies the Level and

Threshold settings to use a feedback noise reduction scheme on the decoded input signals after they have been separated into chrominance and luminance. The Level and Threshold sliders determine the amount of weight the feedback signal has in comparison to the input signal. The Threshold range takes into consideration the amount of motion in the picture. Use the sliders to adjust the ranges. Be sure Enable Luma and Chroma Reduction is checked for the reduction values to be applied.

- Click

Enable Quiet Line, if desired. This acts as a noise reference. If the

Quiet line is noise-free, the rest of the signal should also be noise-free. This allows the decoder to not mistake noise for motion. If the Quiet Line is enabled, the line values for Field 1 and Field 2 are used. Use the sliders to set the linevaluesforeach field. Click on

Default Lines to returntothe

default values.

Enable Impulse Noise Reduction automatically filters out noise spikes,

such as amplifier crackling.

NOTE: If reduction of impulse noise is selected, the disk recorder automatically switches the clamp speed to slow. It is recommended that you use the spatial adaptive decode option, although it does not automatically switch.

6. Click

Undo to return the values in the dialog box to their original settings.

7. Click

56 Profile PRO Series

Close to accept all inputs.

Analog Composite Video Input Time Base Correction

The Time Base Correction tab is available only on the newer analog composite cards. To select the settings:

1. Click the

Figure 16. Analog Composite Video Input dialog box, Time Base Correction tab

TBC Selection tab (see Figure 16).

2. When you select Time Base Correction, you can select either composite input or Super VHS (SVHS or S-video) input. There are two channels available for the most recent analog composite video input board. If Time Base Correction is selected in channel A, channel B is unselected, and vice versa.

3. Click

4. Click

Undo to return the values in the dialog box to their original settings. Close to accept all inputs.

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Analog Composite Video Input Vertical Interval

For earlier analog composite cards, the controls under the Vertical Interval tab sets how the vertical interval signals are handled. This tab is visible only if you have an older card in your Profile unit. For the most recent cards, the vertical interval settings are handled under the Advanced Control tab. There are different vertical interval line numbers in the dialog boxes, depending on your video standard—NTSC/525 or PAL/625. To change vertical interval settings:

1. Click or double-click on the

Figure 17. Analog Composite Video Input dialog box, Vertical Interval tab

Vertical Interval tab (see Figure 17).

58 Profile PRO Series

Analog Composite Video Input Vertical Interval

2. Move the sliders for each individual line to select Normal, Notch, Pass on

Y, or Delete.

Normal indicates the vertical interval video line is passed-through.

Notch applies notch filtering to the vertical interval video line

(chrominance information and any luminance around the chroma subcarrier are removed).

Pass On Y passes luminance information straight through. This is useful

for VITC and closed-caption or data filtering.

Delete removes the vertical interval video line and replaces it with black.

3. Click

4. Click

5. Click

Undo to return the values in the dialog box to their original settings. Default to return all values to their default values. Close to accept all inputs.

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Analog Component Video Input

NOTE: Analog Component Video isnotavailableintheProfilePRO Series.

You can configure analog component video (CAV) input with the Analog Component Video Input dialog box. The current status indicators, shown at the top of the dialog box, are green light indicates that a particular status is on. These indicators cannot be edited.

To configure analog component video input:

Video Present, VITC Present, and Auto Timed. The

1. Select

Video Input from the configuration tree, and then click or double-

click an analog component input from the list, such as CAV-InA-J9. The Analog Component Video Input (CAV) dialog box (Figure 18).

Figure 18. Component Analog Video Input dialog box (CAV)

2. If youprefer,enter the new nameinthe Name box. Forexample,if the signal is a Betacam input, you could rename it to Betacam_1. The VITC name, window title bar name, and the configuration tree name automatically

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Analog Component Video Input

change as you enter the new name. Names can be up to 30 characters, and can include spaces. To return a renamed signal to the default, delete all the characters in the text field, and press Enter.

3. Under

625 Video Standard. If you change this standard, you must restart all tools

Overwritable Video Standard, click either 525 Video Standard or

that use thischannel.Thevideo input board can serve both standards, but the input can only accept one at a time.

4. Select a VITC reader setting. If you to use recorder uses the range set in the

From and To lines to look for the VITC

Automatic VITC Detect, the disk

signals. If Automatic VITC detect is not used, the disk recorder expects to find the VITC signals on the VITC Reader Line 1 (default 10) or Line 2 (default 40). If the signal is found, the

VITC Present indicator is turned on.

NOTE: Input must be auto timed to use automatic VITC detection.

5. To change

InputGainAdjustment, move thesliderto the desiredvalue. The

range is from 70 percent to 140 percent (3 dB) for the input signal for both 525 and 625. When you click on

Default, the Input Gain Adjustment resets

to the default value (100 percent).

6. If you want videoinputauto timed, click

Enable Auto-Timing. Auto-timing

determines if the input is synchronized to the reference genlock signal. The disk recorder records time-base corrected video whether or not it is also locked to the reference. If auto-timing is enabled, and the signal was able to be timed into the system, the

Auto Timed indicator is turned on. For more

information on auto timing, see “Auto Timing” on page 45.

7. Click

Enable Dithering if the incoming signal is 10-bit resolution. This will

produce the best quality result. The LSB artifacts on 10-bit video feeds are reduced. There is no effect if the incoming signal is 8-bit.

8. Click

Vertical Blanking to enable vertical blanking. When enabled, for the

525 standard, lines 1 through 9 and 264 through 272 are blanked; for the 625 standard, lines 1 through 5, 311 through 317, 624, and 625 are blanked.

9. Click an appropriate format under

10. Click

11. Click

Undo to return the values in the dialog box to their original settings. Close to accept all inputs.

Select Video Input Format.

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Serial Digital Component Video Input

You can configure serial digital component video input with the Serial Digital Component Video Input dialog box. The current status indicators, shown at the top of the dialog box, are green light indicates that a particular status is on. These indicators cannot be edited.

To configure serial digital component video input:

Video Present, VITC Present, and Auto Timed. The

1. Select

Video Input on the configuration tree, and then click or double-click

a digital component input from the list, such as SDI-InA-J13. The Serial Digital Component Video Input dialog box appears (Figure 19).

Figure 19. Serial Digital Component Video Input dialog box

2. If you prefer, enter the new signal name in the Name box. For example, if SDI-InA-J13 is a dedicated satellite feed, you could rename it to Satellite_1. The VITC name, window title bar name, and the configuration tree name automatically change as you enter the new name. Names can be up to 30 characters, and canincludespaces.To return a renamed signal to the default, delete all the characters in the text field, and press Enter.

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Serial Digital Component Video Input

3. Under Overwritable Video Standard, click either 525 Video Standard or

625 Video Standard. If you change this standard, you must restart all tools

that use thischannel.Thevideo input board can serve both standards, but the input can only accept one at a time.

4. Select a VITC reader setting. If you to use recorder uses the range set in the

From and To lines to look for the VITC

Automatic VITC Detect, the disk

signals. If Automatic VITC detect is not used, the disk recorder expects to find the VITC signals on the VITC Reader Line 1 (default 10) or Line 2 (default 12). If the signal is found, the

VITC Present indicator is turned on.

Line 1 and Line 2 cannot be more than 14 lines apart.

NOTE: Input must be auto timed to use automatic VITC detection.

5. If you want videoinputauto timed, click

Enable Auto-Timing. Auto-timing

Auto Timed indicator is turned on. For more

information on auto timing, see “Auto Timing” on page 45.

6. Click

Enable Dithering if the incoming signal is 10-bit resolution. This will

produce the best quality result. The LSB artifacts on 10-bit video feeds are reduced. There is no effect if the incoming signal is 8-bit.

7. Click

8. Click

Undo to return the values in the dialog box to their original settings. Close to accept all inputs.

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Serial Digital Component Video Input Advanced

The Advanced tab allows you to determine whether the EDH (Error Detection and Handling) packet is present, which audio groups (1–4) are present, and which errorsare present: Full Field(FF)CRC or Active Picture(AP)CRC, plus parity and checksum errors.

To reset EDH for serial digital video input:

1. Click the

Advanced tab to view the Serial Digital Component Video Input

Advanced settings.

Figure 20. Serial Digital Component Video Input, Advanced

2. Click Reset FF CRC to reset Full Field errors or Reset AP CRC to reset Active Picture errors.

3. Click

Undo to undo the resets.

4. Click

64 Profile PRO Series

Close to exit.

Video Output

You can configure either analog composite or serial digital component video output on your Profile system, depending on which boards are installed.

Analog Composite Video Output

To open the Analog Composite Video Output dialog box:

Video Output

1. Select an analog composite output from the list, such as Composite-OutA-J11. The Analog Composite Video Output dialog box appears (see Figure 21).

Video Output from the configuration tree and click or double-click

Figure 21. Analog Composite Video Output dialog box

2. Enter a new name in the Name box to change the signal name. For example, if this is a dedicated signal to a main switcher, rename it Switcher_1. The

VITC Name automatically tracks the signal name and cannot be edited.

Names can be up to 30 characters, and can include spaces. To return a renamed signal to the default, delete all the characters in the text field, and press Enter.

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3. Click VITC Generator Enable to place VITC on specified lines in the vertical interval, as specified under composite video input.

VITC Generator Settings in analog

4. Click

5. Under

NTSC with Pedestal to set the video output to NTSC with pedestal.

Timing Adjustment, you can adjust the timing of the output signal to

compensateforany additional delaysinyour system. Anychangesyou make in this group take place immediately. You can delay at the following levels, to get the exact amount of delay required:

- Vertical Line level (from –2 to +148 lines)

- Coarse Horizontal level (from –100 to +100 ms)

- Fine Horizontal level (from –100 to +100 ms) Use the

Line, Course,orFine boxes to set the timing adjustment amounts.

When the timing adjustments are done with a waveform monitor, you can visually move the signal so that it matches the reference. Click

Default to

reset the values to 0, which is the point where the output signal timing is aligned with the reference genlock signal.

6. Under

Procamp Adjustment, you can modify the output signal to

compensate for any irregularities in the signal path. All changes take place immediately.

Enable Procamp must be checked before anything in this group can be

adjusted. This enables you to setup the Procamp and then disable it without losing the setup.

Luminance (enabled) specifies only the luminance portion of the signal

is output. The signal is black and white.

Gaussian Chroma Filter determines the type of filter used on the

chrominance portion of the signal. If the Gaussian Chroma Filter is selected, the filter has a long slow roll-off to prevent ringing. If it is not selected, then a brickwall filter is used. Although this may introduce ringing into the signal, it maintains the integrity of the signal for multiple processing. Use the Gaussian Filter as a last step before transmission and if ringing suppression is required. Do not use this filter if you are doing multiple processes/passes on the signal or if the material is in component form.

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The Procamp controls are adjusted with either the slider bars or arrow buttons. The corresponding numeric values are displayed in the text boxes.

Video Gain raises or lowers the overall amplitude of the video signal. It

has a range of 50 to 200 percent of nominal.

Chroma Gain changes the amplitude of the chrominance portion of the

signal to change the color intensity. It has a range of 50 to 200 percent of nominal.

Black Level sets the voltage level of the reference black level. This is

expressed in mV in the PAL video standard and in IRE units in NTSC. The range inthePAL standard is –140 to 140 mV. The range intheNTSC standard is –20 to +20 IRE.

- Chroma Phase sets the colors by varying the phase of the chrominance subcarrier. The range is –45 to +45.

Luminance Black Clip Level is the point where the procamp clips the

luminance portion of any video that drops below this level. For PAL, the range is –150 mV to 0 mV and –20 IRE to 7.5 IRE (or 0 IRE if pedestal is not selected) in the NTSC standard.

- Luminance White Clip Level follows the same logic, only it clips any luminance above the set threshold. Its range in the PAL standard is 700 to

909.5 mV and 100 to 139.5 IRE in the NTSC standard.

Default Procamp resets the Procamp to the factory-defined levels.

7. Click

8. Click

Undo to return the values in the dialog box to their original settings. Close to accept the changes.

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Analog Composite Video Output Vertical Interval

The Vertical Interval tab brings up the analog composite video output vertical interval controls that determine how the vertical interval signals are handled:

1. Click the vertical interval line numbers change depending on the selected video standard (see Figure 22).

Vertical Interval tab to view the vertical interval controls. The

2. Click in the boxes for each line to enable Procamp (the settings are the same as the regular video), VITC (if VITC Generator Enable is selected), or to Pass Video through. All or none of the options can be selected for each line. The defaultbuttons for Procamp, VITC, andPassVideo reset these specified values back to the factory presets.

NOTE If the Pass Video box is not checked, the input video is replaced with black. Do not check Pass Video for VITC lines as Pass Video overrides VITC insertion.

3. Click

4. Click

68 Profile PRO Series

Undo to return the values in the dialog box to their original settings. Close to accept the changes.

Figure 22. Analog Composite Video Input Vertical Interval tab

Analog Composite Monitor Output

NOTE: This function is not available on the Profile PRO Series.

To open the Analog Composite Monitor Output dialog box:

Analog Composite Monitor Output

1. Select

Video Output from the configuration tree, and then click or double-

click a monitor output from the list, such as Monitor-Out-J12. The Analog Composite Monitor Output dialog box appears (see Figure 23).

Figure 23. Analog Composite Monitor Output dialog box, Main tab

2. Enter a new name in the Name box to change the signal name. For example, youcouldrename it to Monitor_1.Names can be upto30 characters, and can include spaces. To return a renamed signal to the default, delete all the characters in the text field, and press Enter.

3. Click Show Text to display text on an attached monitor. Displaying text on a monitor is good way to help identify where the output is coming from.

4. Under

Text Layout, you can select either a small or large font, a dim or

bright white character display, and a transparent or opaque background for the lettering. With the small font, you get twelve lines and twenty-four

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columns; with the large, you get six lines and thirteen columns.

5. To enter text, click in the text entry box and start typing where you want the text displayed on the monitor. Legal characters are: a-z A-Z 0-9 / ! ? + - = ( ) < > ‘ “ . , . Use _ (underbar) for transparent space.

6. To clear entire monitor, click

Clear Display. Click the button again to

display text once more. Under Windows NT 3.51, this button appears as a check box.

7. Click

8. Click

Undo to return the values in the dialog box to their original settings. Close to accept the changes.

70 Profile PRO Series

Analog Composite Monitor Output Burn-in Timecode

NOTE: This function is not available on the Profile PRO Series.

To display burn-in timecode:

1. Click the Burn-in Timecode tab to bring up the controls for displaying burnin timecode on the monitor (see Figure 24).

Figure 24. Analog Composite Monitor Output dialog box, Burn-in Timecode tab

2. To display timecode on an attached monitor, select Show/Hide Window.

3. To display a large timecode window, select

4. Under

Window Position, select the Start Row and Start Column for the

Large Window Size.

timecode with the sliders. This determines where the timecode is displayed on the monitor screen. The current row and column are displayed on the right.

5. You can display the timecode in one of four formats. Click on Black on

White, White on Black, Black on Background,orWhite on Background.

6. Click

7. Click

Undo to return the values in the dialog box to their original settings. Close to accept the changes.

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Serial Digital Component Video Output

To open the Serial Digital Component Video Output dialog box:

1. Select

Video Output from the configuration tree, and then click or double-

click a digital component output from the list, such as SDI-OutA-J5. The Serial Digital Component Video Output dialog box appears (see Figure 25).

Figure 25. Serial Digital Component Video Output dialog box

2. Enter a new name in the Name box to change the signal name. For example, if the signal named SDI-OutA-J13 is a dedicated signal to a main switcher, you could rename it to Switcher_1. The VITC name automatically tracks the signal name. Names can be up to 30 characters, and can include spaces. To return a renamed signal to the default, delete all the characters in the text field, and press Enter.

3. Under timecode) on specified lines and/or erase lines in the vertical interval.

- If VITC Generator Enable is selected, VITC is placed on the lines given

in VITC Generator Line 1 and 2. If you only want one line, use the same number for both.

72 Profile PRO Series

VITC Generator Setting, you can place VITC (vertical interval

Serial Digital Component Video Output

-IfVITC Erase Enable is selected, it removes any VITC that may have been recorded previously. Without enabling VITC erase, previous VITC may or may not be overwritten, so it is best toenableit.Therangeoflines is determined by the Start and End values.

4. Under Timing Adjustment you can set the timing of each output with respect to the reference genlock internal reference timing which, in turn, is set with respect to the external reference input (house black). With the reference genlock timing set to the factory default of 0, the outputs have an adjustment range of –2.5 lines to +148 lines of delay. The pixels and the

Line delay is in lines.

Fine delay is in

5. Click

6. Click

Undo to return the values in the dialog box to their original settings. Close to accept the changes.

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Serial Digital Component Video Output Advanced

To change error detection settings for serial digital video output:

1. Click the Advanced settings (see Figure 26).

Advanced tab to viewtheSerialDigitalComponent Video Output

2. Click Insert EDH Packets to insert Full Frame CRC and Active Picture CRC into the video stream.

3. Click

Blank Ancillary Data to insert ancillary data information into the

video stream.

4. Click

5. Click

74 Profile PRO Series

Undo to return the values in the dialog box to their original settings. Close to accept the changes.

Figure 26. Serial Digital Video Output dialog box, Advanced tab

Profile Audio

The audio architecture used in the PDR200, 300, and 400 (and updated PDR100’s) accepts and simultaneouly processes sixteen audio inputs and outputs at up to four simultaneous clock rates. Internally, all audio is processed in floating point at 48kHz with a selectable storage resolution of 16 or 20 bits. Inputs may be individually clocked in groups of four, and any clock group may be referenced to the system reference (house black) or any one of four video inputs. Output clocking is synchronous to system reference. Sample rate conversion is available for all inputs (30 to 50kHz), providing uniform storage at 48kHz.

The Profilesystemcan be configured to operatewithanalog, AES/EBU digital, or embedded (SMPTE 272M Level A) audio, depending on which options are installed in yoursystem.Allthree audio formats are supported without external conversion equipment. Analog audio is only available with an optional PAC208 or PAC216 Analog/Digital Interface chassis. You can expand the number of XLR or BNC connectors for AES/EBU audio with an optional XLR216orBNC216 Digital Interface chassis.You can choose an audio format for each video channel. For example, you could enable analog audio on one channel, embedded audio on another, and AES/EBU on the rest.

Profile Audio

NOTE: Do not turn off sample rate conversion or use AES/EBU as a reference unless you are certain that all inputs and outputs are synchronous.

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Analog Audio Input

In analog audio input, you can change audio channel names, check the channel overload status, or adjust line levels in decibels. Click or click

1. Expand

Help for context-sensitive Help. To configure analog audio input:

Audio Input, and then click one of the Analog Channels. The

Analog Audio Input dialog box appears (Figure 27). The channel numbers on the left refer to the physical input connectors on the audio input box. Ch. 01 refers to the first connector, and Ch. 02 refers to the second connector, and so forth.

Undo to cancel changes,

2. Click the Main tab, if it is not already visible.

3. Click in the box of the input channel whose name you want to change. A channel name can have up to 30 characters.

4. After you have changed the channel names, click

76 Profile PRO Series

Figure 27. Analog Audio Input dialog box, Main tab

Close or another tab.

Analog Audio Input

To trim the line level or view overload status:

1. In the Analog Audio Input dialog box, click the Line Level tab (Figure 28).

Figure 28. Analog Audio Input dialog box, Line Level tab

2. The line level range is –12 to +12 dB. If you trim the line level for an individual channel with the slider handle, the line level is incremented by 1 dB; clicking on either side of the slider handle increments the line level by

0.5 dB. The Level boxes show the current line level. If you enter a number directly into aLevelbox, the line level number is rounded tothenearest±0.5 dB.

3. To adjustthe trim for allchannels at once, usethe

Group Faderslider. While

the Group Fader moves all channels at once, it maintains the individual channel differences.

4. If a channel is overloaded, the Overload indicator is on. This means that the incoming audio is clipping.

5. After you have adjusted the line levels, click

Close or another tab.

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Digital Audio Input

In digital audio input, you can change channel names, check the status of channel errors, and change the setting of the sample rate converter.Click if you want to cancel any changes, or click Help for context-sensitive Help.

To configure digital audio input:

1. Expand Audio Input, and then click one of the Digital Channels to bring up the Digital Audio Input dialog box (Figure 29). The channel numbers on the left refer to the physical input connectors on the audio input box. Ch. 01 and

Ch. 02 refer to the channel pair on the first connector, and Ch. 03 and Ch. 04 refer to the pair on the second connector, and so forth.

Undo

2. Click the Main tab, if it is not already visible.

3. Click in the box of the input channel whose name you want to change. A channel name can have up to 30 characters.

4. After you have changed the channel name or names, click tab.

78 Profile PRO Series

Figure 29. Digital Audio Input dialog box, Main tab

Close or another

Digital Audio Input

To check the status of digital input channels:

1. In the Digital Audio Input dialog box, click the Status tab. Under Status Indicators, you see the error status of each channel. If a channel has an error, the indicator is on. See Table 2 for a description of each error indicator.

Figure 30. Digital Audio Input dialog box, Status tab

2. When you are done checking for errors, click Close or another tab.

Table 2. Digital audio input channel indicators

Indicator Description

Unlocked Error Receiver unlocked Validity Error AES receiver validity Parity Error Parity error CRC Error CRC subframe errors Emphasis Detected emphasis

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If you want to bypass the sample rate converter:

1. In the Digital Audio Input dialog box, click the Sample Rate Converter tab (Figure31).By default, thesamplerate converter isenabled. The sample rate converter affects all four channel inputs.

Figure 31. Digital Audio Input dialog box, Sample Rate Converter tab

2. Click Bypass Sample Rate Converter.

NOTE: Do not bypass sample rate conversion unless you are certain that all inputs and outputs are synchronous.

3. After you have disabled the sample rate converter, click tab.

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Close or another

Analog Audio Output

In analog audio output, you can change audio channel names, change line modes forXLRconnectors, or adjust individual orgroup line levels in decibels.

Undo if you want to cancel any changes, or click Help for context-

Click sensitive Help.

To configure analog audio output:

Analog Audio Output

1. Expand

Audio Output, and then click one of the Analog Channels to bring

up the Analog Audio Output dialog box. The channel numbers on the left refer tothephysical output connectors on theaudio output box. Ch. 01refers to the firstconnector,andCh. 02 refers to the second connector, and so forth.

Figure 32. Analog Audio Output dialog box, Main tab

2. Click the Main tab, if it is not already visible.

3. Click in the box of the output channel whose name you want to change. A channel name can have up to 30 characters.

4. After you have changed channel name(s), click

Close or another tab.

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To change line modes for the XLR connectors:

1. In the Analog Audio Output dialog box, click the Line Mode tab (Figure 33).

2. In the Line Mode box, you have three options: Balanced (default), unbalanced Pin 2 Low, or unbalanced Pin 3 Low. The illustrations of the XLR connectors to the left of the box give visual cues of the selected mode.

3. After choosing a line mode or modes, click

82 Profile PRO Series

Figure 33. Analog Audio Output dialog box, Line Mode tab

Close or another tab.

Analog Audio Output

To trim the line level:

1. In the Analog Audio Output dialog box, click the Line Level tab (Figure 34).

Figure 34. Analog Audio Outputs dialog box, Line Level tab

2. The line level range is–12to0 dB. If you trim the line level for an individual channel with the slider handle, the line level is incremented or decremented by 1 dB; clicking on either side of the slider handle changes the line level by

0.5 dB. The Level boxes show the current line level. If you enter a number directly into a Level box, the line level number is rounded to the nearest 0.5 dB.

3. To adjustthe trim for allchannelsat once, usethe

Group Fader moves all channels at once, it maintains the individual

the

Group Faderslider. While

channel differences.

4. To mute a channel, click the mute button next to the channel name.

5. After you have adjusted the line levels, click

Close or another tab.

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Digital Audio Output

You can change the names of the digital audio channels. Click Undo if you want to cancel any changes. Click audio output.

To change a channel name:

1. Expand Audio Output,andthen click one of the Digital Channels tobringup the Digital Audio Output dialog box (Figure 35). The channel numbers on the left refer to the physical output connectors on the audio output box. Ch.

01 and Ch.02referto the channel pair on the first connector, andCh.03and Ch. 04 refer to the pair on the second connector, and so forth.

Help for context-sensitive Help on digital

2. Click in the box of the output channel whose name you want to change. A channel name can have up to 30 characters.

3. After you have changed the channel name or names, click

84 Profile PRO Series

Figure 35. Digital Audio Output dialog box

Close.

Audio Configuration

The Audio Configuration dialog box shown in Figure 36 allows you to configure input and output channels, input clocking, audio quality and monitor channels.

Input and Output Mapping

The Input Mapping tab is used for mapping input sources to Profile channels, while the destinations. For example, you can map Profile Audio Chassis (PAC) input sources and serialdigitalaudio input sources. Figure 36 and Figure 37illustrate a sample configuration: a Profile unit with an audio signal processing board, a PAC 208 chassis (with A/D and D/A convertors and connectors for eight channels), and two serial digital cards providing eight analog audio channels, eight digital audio channels, and four video channels with 16 embedded audio channels each.

Output Mapping tab is used for mapping Profile channels to output

Audio Configuration

Figure 36. Audio Configuration dialog box, Input Mapping tab

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Figure 37. Audio Configuration dialog box, Output Mapping tab

The columns represent the sources to the sixteen channels on the input side and the destinations from the sixteen channels on the output side. The examples in Figure 36 and Figure 37 illustrate the system with a PAC 208 chassis allowing the selection of analog channels 1–8 and digital channels 9–16. A PAC 216 chassis, however, provides sixteen analog inputs and outputs or sixteen digital inputs and outputs. For the PAC 208, rows 9 through 16 of the analog channel column, and rows 1 through 8 of the AES/EBU channel column, are crosshatched to indicate that these channels are not selectable. In Figure 37, in the column labeled AES/EBU, rows 9–16 appear dimmed, indicating that this audio type is always mapped and cannot be unmapped. Attempting to remap this section results in an error message.

The number of columnsinthemapping grid depends on the number of possible input or output audio types that may be mapped to or from the disk recorder channels. The grid is used for selecting which of the possible input or output audio sources and destinations to map to the channels. Audio channels are mapped ingroupsof four channels only, andthefour audio channels are always mapped to consecutivediskchannels.For example, analog channels 1–4 (Input 01–Input 04) in the first column of Figure 36 are mapped to the first four disk

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Input and Output Mapping

recorderchannels(Ch. 01–Ch. 04),whiledigital channels 9–12(Input 09–Input

12)inFigure 37 aremapped to anotherfourdisk recorder channels(Ch.09– Ch.

12). In another example, channels 1–4 may be mapped to analog, channels 5–8

mapped to AES/EBU, and so forth. In addition, analog and AES/EBU audio types have anassignedone-to-one mapping to their respective channels, that is, input 1 always maps to channel 1, input 2 to channel 2, and so on.

Serial digital embedded audio contains sixteen audio channels grouped into four groups of four channels. Each group can be assigned to any group of four channels. For example, group 1 (Grp1) may be assigned to channels 1–4 (Ch1– Ch4), 5–8 (Ch5–Ch8), 9–12 (Ch9–Ch12), or 13–16 (Ch13–Ch16). However, a maximum of two of the four groups from a serial digital video source may be used simultaneously.

Input Mapping

The Input Mapping tab is used for mapping input channels to Profile disk channels. The channels must be mapped to an audio type (analog, SDI, or AES/EBU) at all times—there is no unmapped state for input mapping. However, channels may only be mapped to one audio type at a time. Analog and AES/EBU channels must always be mapped directly to the same physical channel numbers.

To map input channels:

1. Choose

Option | Audio Configuration Board 1 or 2 or click an ASPB

Configuration button. The Audio Configuration dialog box appears (Figure

36).

2. Click the Input Mapping tab.

3. Click on a button in a column. This displays a list containing analog, AES/EBU, or SDI audio groups. Unavailable audio groups appear dimmed.

4. Click on the group of channels you want. Any single group of AES/EBU channels may be mapped to any group of disk channels.

5. Click

OK to accept your changes or click another tab.

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Output Mapping

The Output Mapping tab is used for mapping Profile disk channels to output destinations. If analog or AES/EBU audio types are present, they are always mapped to their associated channels. These audio types cannot be unmapped. Channels may be mapped to multiple audio types, but of these only one can be a serial digital embedded or SDI audio type.

To map output channels:

1. Choose Configuration button. The Audio Configuration dialog box appears (Figure

37).

2. Click the Output Mapping tab.

3. Click on a button in a column. This displays a list containing analog, AES/EBU, or SDI audio groups. Unavailable audio groups appear dimmed.

4. Click on the group of channels you want. The audio channel may be mapped to any of the outputs in groups of four.

5. Click

OK to accept your changes or click another tab.

Input Clocking

The Input Clocking tab is used for assigning video input clocking sources to inputaudiochannels. The firstcolumnon the leftside of the dialogbox displays the disk recorder channel numbers. The last column shows the audio clock reference source selection (Figure 38).

You get one system reference by default from the Reference Genlock boards, and up to four video input references, depending on which video boards are installed in your Profile unit. Even if more than four video references are available, only the first four input clocking references are used. If you look at the bottom of the Configuration Manager window, you see a graphic representation of the installed boards. A key to the board representations is shown in Table 3.

Option | Audio Configuration Board 1 or 2 or click an ASPB

88 Profile PRO Series

Table 3. Board representation key

Input Clocking

Board Tag Board Type

Vid I/O SDI VA Serial digital component video 2 Vid I CAV Component analog video 1 Vid I Cmpst Analog composite video 1

No. of Video

References

The video references shown in the Input Clocking tab—Video Input 1–4 — correspond tothe actual video boardsinstalled,from left to right,as represented at the bottom of the Configuration Manager window.

For example, a system that does not use all four available clock references might be configured like this. In this specific example, shown in Table 4, you have one analog composite board and one component analog board. The panel in the tab shows System, Video Input 1, and Video Input 2.

Table 4. Configuration example, two video input clocking sources

Board Tag Board Type

Vid I CAV Component analog video 1 Video Input 1 Vid I Cmpst Analog composite video 1 Video Input 2

Board

Reference

Input Clock Reference

In thenextexample, a system that usesallfour available clock references might be configured with two serial digital component boards. In this specific example, shown in Table 5, the panel in the tab shows System, Video Input 1, Video Input 2, Video Input 3, and Video Input 4.

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Table 5. Configuration example, four video input clocking sources

Board Tag Board Type

Vid I/O SDI VA Serial digital component 1 and 2 Video Input 1,

Vid I/O SDI VA Serial digital component 1 and 2 Video Input 3,

Board

Reference

Input Clock Reference

Video Input 2

Video Input 4

90 Profile PRO Series

Figure 38. Audio Configuration dialog box, Input Clocking tab

Audio Configuration Monitor Channels Tab

To change the input clocking:

1. Choose Configuration button the Input Clocking tab, if it isn’t already displayed.

2. Click thebutton in the AudioClock Reference Source columnfor the desired channels and select one of up to five choices: System (default) or Video Input. (The number of video inputs depends on the number of available video channels.) Selecting one of the video inputs sets the group of four channels to use the selected input as their audio clocking source.

Option | Audio Configuration Board 1 or 2 or click an ASPB

. The Audio Configuration dialog box appears. Click

3. Click

OK to accept your changes or click another tab.

Audio Configuration Monitor Channels Tab

Under the MonitorChannelstab,you can select recording and playback quality and adjust monitor channels.

1. Choose Configuration button. The Audio Configuration dialog box appears (Figure

39).

Option | Audio Configuration Board 1 or 2 or click an ASPB

Figure 39. Audio Configuration dialog box, Monitor Channels tab

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2. Click the Monitor Channels tab.

3. Under Monitor Channels, the Channel Selection box allows you to select which channels you want to monitor. Click next to a channel pair to select them. You can now adjust line levels for the pair.

4. The line level range is –12 to +0 dB. If you trim the line level for an individual channel with the slider handle, the line level is incremented by 1 dB; clicking on either side of the slider handle increments the line level by

0.5 dB. The directly intoa dB.

Level boxes show the current line level. If you enter a number

Level box,theline level number is rounded tothenearest ±0.5

5. To adjustthe trim for allchannels at once, usethe

Group Fader moves all channels at once, it maintains the individual

the

Group Faderslider. While

channel differences.

NOTE: If the audio interface box is not present, the Monitor group will not appear. If your system is configured with an XLR 216 or BNC 216 digital-only chassis, channel selection is the only option available in the Monitor Channels group.

6. Click

OK to accept your changes or click another tab.

92 Profile PRO Series

System Audio Configuration

To set recording and playback quality, or audio scrubbing:

System Audio Configuration

1. Choose Configuration button. The System Audio Configuration dialog box appears (Figure 40).

2. By default, recording and playback are set to 16-bit quality. To change the audio quality, click the 20-bit button for either recording, playback or both. Audio is played back at its recorded resolution, even if the system is configured for 20-bit playback quality. If 16-bit quality is enabled, all audio will be played back at 16-bit, regardless of what quality it was recorded in.

3. Click

Disabled to turn it off. Disabled is the default.

Option | Audio Configuration or click the System Audio

Figure 40. System Audio Configuration dialog box

Enabled under Scrubbing to turn audio scrubbing on, and click

4. Click

5. Click

Undo to return the settings in the dialog box Close when finished.

Setting Up Fibre Channel Networking

NOTE: FibreChannel is not supported in the Profile PRO Series.

If you have a Fibre Channel board in your Profile unit and you are part of a Fibre Channel Profile network, you must configure the board with an IP (Internet Protocol) address and other optional settings. Configuration Manager allows you to do this with the Fibre Channel Networking command.

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To configure your Fibre Channel board:

1. Choose

Networking button on the toolbar. The Fibre Channel dialog box appears

Option | Fibre Channel Networking or click the Fibre Channel

(see Figure 41).

2. Click Autohosts administration forTCP/IP name lookup.Whenselected, the PDR Network Configuration Service ( administers the file c:\winnt\system32\drivers\etc\hosts.

3. Click

Use TCP Checksum. When selected, a checksum is used to aid in

error checking.

94 Profile PRO Series

Figure 41. Fibre Channel Network Configuration dialog box

fcncs.exe) automatically

Setting Up Fibre Channel Networking

4. Click EnableMulticast if theFibre Channel Multicastoption is installedand you want to enable it. This checkbox is dimmed if the option is not installed. Disabling the option even though it is installed can be done to avoid unintentional file transfersortheneed to manage the feature if it is not inuse.

5. Click Enable Switch to enable the Fibre Channel driver to communicate with FibreChannelswitches. This box should be checked ifyourProfile unit is directly connected to a Fibre Channel switch (fabric).

6. The

Hostname box shows the name of the Profile host with a unique Fibre

Channel identifier appended to it—in this case, _fc0.

7. Enter dotted decimal IP address in the box provided. Contact your network administrator for an appropriate address. The IP address must be different than the Ethernet address for the machine. Click Clear to erase an entry.

8. Enter a netmask in the box provided. A netmask can help speed routing of network traffic. Click

Clear to erase an entry. Based on the address you use

for a netmask, there is an implicit netmask, but you can override this with a larger mask. For example,

255.255.255.0

255.0.0.0

can be overridden by

255.255.0.0

9. Enter a dotted decimal gateway address in the box provided. This is if you have a Profile VideoGateway attached to your network. Click

Clear to erase

an entry.

10. Enter a hardware address in the box provided, in the range 1 to 120. A hardware address of 0 (zero) will allow the address to be automatically configured. Every Fibre Channel node (board) onyourProfilenetworkmust have a unique hardware address.

11. Click

OK.

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96 Profile PRO Series

Chapter

Using Media Manager

NOTE: The Profile PRO Series supports the PLS20 but not the PLS200 Library System, and does not support Fibre Channel networking.

The Profile Media Manager allows you to have access to digitally stored JPEG and MPEG media and provides tools for managing that media—such as explore, cut, copy, paste, and delete. Media may be stored locally on disk on your Profile unit, or itmaybeona disk expansion unit, RAID system, or library system attached to your Profile unit. You can also transfer media stored on any Profile system on your Profile network via a Fibre Channel connection.

Digital video and audio media may be stored in volumes. A volume is a disk set or file system on one of the following machines:

• PDR100 Professional Video Disk Recorder

• PDR200 or PDR300 Video File Server

• PRO II or PRO III Video Disk Recorder

• PRS200/A or PRS250 Profile RAID Storage system

• PDX103 Profile Disk Expansion Chassis

• PDX208 Profile Disk Expansion Chassis Video and audio clips can also be stored on digital tape cartridges in the PLS20

and PLS200 Profile Library Systems. With Media Manager, you view media in a tree structure. On disk, media may

consist of video and audio clips and masters. Clips and masters are organized into bins that are kept on a volume. A bin is a container for clips and masters, similar to a directory on a computer. A clip refers to segments or portions of a media file or a media file in its entirety. A master is an edited sequence of clips. On a cartridge in a library system, media also consists of clips and masters. Cartridges are divided into one or more partitions.

NOTE: Profile PRO Series system software version 1.1 supports Media Manager version 1.1.5.

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Chapter 3 Using Media Manager

Starting and Exiting the Media Manager

To start the Media Manager application with Windows NT:

• Double-click the Media Manager shortcut icon. Or:

• Choose The Media Mangerwindowappears (see Figure 42). The tree pane is ontheleft

andthecontents pane is ontheright. What appears inthe contents pane depends on what you select in the tree pane. For example, if you select the volume icon

INT: in the tree pane, the Recycledanddefaultbinsappearin the contents pane.

If you select a bin, the masters and clips in that bin appear in the contents pane. Masters and clips will only appear in the contents pane.

Start | PDR Applications | Media Manager.

98 Profile PRO Series

Figure 42. Media Manager window

Starting and Exiting the Media Manager

To exit the Media Manager, choose File | Exit. A message box is displayed, asking you to confirm that you really want to exit

the Media Manager application. Click on the

No button to cancel the quit command.

the Whenever you start the Media Manager, a Hardware Communication Monitor

is also started, if it is not already running. This program makes calls to the disk recorder and keeps track of the Profile host file (profile.hst) which lists Profile systems on the network. The Hardware Communication Monitor is normally invisible in its operation, but is essential to the operation of Media Manager. It appears in the Processes tab of the Windows NT Task Manager as VMHWCOM.EXE; ending this process will stop Media Manager as well.

Yes button to confirm the exit or

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Starting Other Applications from the Tools Menu

You can start other tools and applications from Media Manager’s Tools menu:

• Choose

Tools | Transfer Monitor to start the Transfer Monitor tool. See

“Viewing the Transfer Monitor” on page 148.

• Choose

Tools | Media Manager to start another instance of the Media

Manager.

• Choose

Tools | Tool Box Editor to start the optional Tool Box Editor, if

available. See Chapter 7, “Using the Tool Box Editor” on 231.

• Choose

Tools |ListManager to start theoptionalList Manager, if available.

See Chapter 8, “Using the List Manager” on 259.

• Choose

Tools | Transcode to start the Transcode Utility. This utility

converts media between different compression formats, such as from JPEG to MPEG. See “Using the Transcode Utility” on page 122.

When an application is started from the Media Manager, it initially connects to the machine that was selected in the Media Manager’s machine list box. If the application is not installed, an error occurs.

100 Profile PRO Series

Tektronix Profile Pro Series, Profile Pro II, Profile Pro III User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Preface

About this Manual

Related Documentation

Terminology and Conventions

Introducing the Profile PRO Series

A Profile PRO System Overview

Video Disk Subsystem

Video Compression

Video and Audio Interface Boards

Profile Software Development

What to Read First

Starting Your Profile PRO Disk Recorder

Starting and Closing Profile Applications

Starting an Application

Viewing Help

Closing an Application

Profile Utilities

Using the Profile Configuration Manager

Saving a Configuration File

Loading a Configuration File

Setting Master Timecode

Setting the System Timing

E to E Timed Outputs

Auto Timing

Setting the Reference Genlock

Changing LTC Input and Output Names

Setting MPEG Input Timing

Video Input

Analog Composite Video Input

Analog Composite Video Input Advanced Control

Analog Composite Video Input Time Base Correction

Analog Composite Video Input Vertical Interval

Analog Component Video Input

Serial Digital Component Video Input

Serial Digital Component Video Input Advanced

Video Output

Analog Composite Video Output

Analog Composite Video Output Vertical Interval

Analog Composite Monitor Output

Analog Composite Monitor Output Burn-in Timecode

Serial Digital Component Video Output

Serial Digital Component Video Output Advanced

Profile Audio

Analog Audio Input

Digital Audio Input

Analog Audio Output

Digital Audio Output

Audio Configuration

Input and Output Mapping

Input Clocking

Audio Configuration Monitor Channels Tab

System Audio Configuration

Setting Up Fibre Channel Networking

Using Media Manager

Starting and Exiting the Media Manager

Starting Other Applications from the Tools Menu