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8150 DVE OptionOperations Manual

PN # 9100-0254-00May, 2000

Table of ContentsIntroduction

Standard Features .................................1-1

About This Manual.................................1-3Scope of Manual....................................1-3How to Use This Manual .........................1-4Manual Conventions ............................1-5

Overview of Terms Used .......................1-6

Control Panel DVE Buttons ...................1-8Channel Select Buttons ........................1-8DVE/Miscellaneous Buttons ..................1-8DVE-Related Menu Buttons ................1-12

Video and Key Signal Paths ...............1-13Channel Configuration Overview......1-13Signal Flow Details ................................1-15

Getting StartedRebooting the 8150 with Internal DVE 2-1

Internal DVE Input/Output Routing .....2-2Manual Routing To/From the DVE........2-2Input Blanking Width Adjustments........2-4Automatic Routing To/From the DVE...2-6

Channel Configuration.......................2-12

The Numbering System ......................2-15

The Menu Display ...............................2-18Setting DVE Parameters to Default ....2-19

8150 DVE Operations Table of Contents

9100-0254-00 - June 96 Table of Contents i

Changing Parameter Motion Path Types............................................. 2-20

DVE Snapshots and Timelines............ 2-22

TransformsOverview................................................ 3-1

3D Transform Interaction Examples .... 3-4Rotate Hierarchy.................................... 3-6

2D Parameter Overview .................... 3-102D Adjust/PreTrans ............................... 3-102D Adjust/PostTrans.............................. 3-11Aspect and Skew Perspective ........... 3-12

Axis Cursors ......................................... 3-14

Parameter Hierarchy Detail ............... 3-17Pre 2D Parameters ............................... 3-182D Parameters...................................... 3-213D Parameters – Local Source ........... 3-233D Parameters – Local Target ............ 3-243D Parameters – Global Source and Target .................................................... 3-26Post 2D Parameters.............................. 3-27

DVE MenusIntroduction ........................................... 4-1

The DVE Channel/Global Menu ........ 4-2The Transform Submenu........................ 4-3The Blanking Submenu (Global Menu Only) ........................... 4-14The Source Image Submenu ............. 4-17The Input Submenu ............................. 4-24The Output Submenu ......................... 4-29

Table of Contents 8150 DVE Operations

ii Table of Contents 9100-0254-00 - June 96

The Warp Submenu .............................4-34The Light Source Submenu .................4-51Light Source Submenu Controls .........4-68

Building and Running EffectsOverview ................................................5-1

Snapshot Keyframes ..............................5-1Timeline Effects .......................................5-2Assigning the DVE its Own Timeline(s)..5-2

Creating Effects .....................................5-4The Undo Buffer ......................................5-4Modify and Modify – Trim ......................5-5

Quick Keyframe Buttons ......................5-7

TimeFrame Editing Commands ..........5-9

The DVE Misc Menu ............................5-27The Save – Recall Submenu ...............5-29The User Effects Submenu ..................5-32

Motion ControlOverview ................................................6-1

Motion Path Types .................................6-3Jump (JP).................................................6-3Linear (LN) ...............................................6-3Smooth-Linear (SL)..................................6-4Tension–Continuity–Bias 1 and 2...........6-5Smoothed Motion (SM)........................6-15

8150 DVE Operations Table of Contents

9100-0254-00 - June 96 Table of Contents iii

Table of Contents 8150 DVE Operations

iv Table of Contents 9100-0254-00 - June 96

Section 1

IntroductionStandard Features

The DVE option for the 8150 is a single board that plugs into the8150 chassis. The DVE video processing is frame-based andprovides 10-bit resolution throughout. It offers the mostadvanced feature set ever seen in real-time effects processing,including the following:

SuperShadow – a full bandwidth drop shadow withindependent manipulation controls.

SurfaceFX, which combines the powerful texture and lightsourcing tools with the advanced UltraWarp capabilities.You can use any input to the 8150’s routing matrix, includingvideo and key inputs and the SuperMatte generator, as thesource for a texture.

Four independent input freeze buffers (two for video, two fortextures).

UltraWarp advanced warp capabilities.

Effect Transitions, which let you transition between switchersources with DVE effects such as pushes, flips, and tumbles.When you select an Effect transition, the 8150 automaticallyloads a preset DVE effect, so you don’t have to programkeyframes each time you use an Effect transition.

One of the features that makes the DVE option unique is itsflexible channel configuration.

8150 DVE Operations Standard Features

9100-0254-00 - MAY 96 Introduction 1-1

The DVE board has two channels: one main channel, which is afull bandwidth 4:2:2 video channel; and a "twin" channel, whichis also a full-bandwidth 4:2:2 video channel, that you can use it asa 4:0:0 key or shadow channel as well. This lets the DVE operatein three modes:

Video+Video (Vid+Vid) provides two fully independent 4:2:2video channels, which both output full-raster key signals.

Video+Key (Vid+Key) provides a 4:2:2 video channel and anindependent 4:0:0 key channel.

Video/Key+Shadow (Vid/Key+S) provides a 4:2:2:4video/key combination, plus an independent 4:0:0 shadowchannel.

TimeFrame Effects editing is a powerful way to create, store,recall, edit, and run complex effects with frame accuracy anddigital repeatability. With the standard 8MB of battery backedmemory, you can store 100 Timeline effects on-line. You can runTimeline effects manually from the Control Panel, by GPI trigger,or by RS-422 serial remote control from a variety of editcontrollers.

Each DVE channel, as well as the Global control, can be on its own8150 timeline. This lets you build different effects on differentchannels, then offset their start times and the global effectindependently.

Transform controls include 2D and 3D positioning and rotation,size, aspect, skew, and perspective. There are five differentmotion path types that you can assign to parameters on akeyframe-by-keyframe basis.

Corner Pinning lets you pick up and paste any corner of an imageto create shapes that are not a standard four-sided object withright-angle corners. UltraWarp offers non-linear shapes to distortand otherwise manipulate the image.

Standard Features 8150 DVE Operations

1-2 Introduction 9100-0254-00 - MAY 96

The light source feature is a 3D modeler that lets you addhighlights and/or shadows to either or both channels. Textureswork with the light source feature: the DVE modifies the lightsource based on the texture signal, making true shading andhighlights possible throughout a transformation. Textures alsowork with warps to let you create, for example, textured spheres.You can use any direct source in the 8150, live or still, as the sourcefor the texture.

About This Manual

Scope of Manual

This manual has tabbed sections to help you find the informationyou need quickly. Each section includes a diagram of the menu(s)covered, a list of all the related controls with a brief descriptionof their functions, and wherever possible, tutorials with examplesthat illustrate concepts or functions. The tabbed sections coverfunctional topics, as described below.

Section 1 – IntroductionThis section is an overview of the DVE option. It also discussesthe information in this manual, and methods for getting the mostout of it. A description of the video and key signal paths appearsat the end of this section.

Section 2 – Getting StartedThe Getting Started section contains an overview of the screennumbering system. There are also step-by-step instructions forselecting sources, configuring channels, and building, saving,and recalling a simple effect in this section.

8150 DVE Operations About This Manual


Section 3 – TransformsThis section describes how the DVE handles image manipulation,including how parameters interact with each other. It alsoincludes a discussion of target, source, and global spaces, andtheir interaction.

Section 4 – DVE MenusThis section covers the menus, submenus, and controls thatcontain all operating parameters for the 8150’s internaltwin-channel DVE option, as well as step-by-step proceduresdemonstrating how to use certain features.

Section 5 – Building and Running EffectsSection 5 explains creating, editing, and running effects,including creating two-keyframe effects for use as Effectstransitions. It also covers timelines, their control buttons andmenus, as well as using the TimeFrame Effects Editor andQuick Keyframe buttons. See Section 10 – Timelines in the 8150Switcher Operations Manual for details on saving and recallingswitcher effects.

Section 6 – Motion ControlThere are five motion path types that you can assign toparameters which define how the DVE interpolates betweendifferent settings in different keyframes. This section discussesthe different path types, and how to assign them to parameters.

How to Use This Manual

This manual is designed for easy reference. Everything you needfor any function appears in its own tabbed section: button andcontrol descriptions, plus tutorials that take you step-by-stepthrough the function. Because each section focuses on a specificarea, you may need to use more than one section for morecomplex operations.

About This Manual 8150 DVE Operations


This manual assumes that you have a properly installed andconfigured system, and some basic knowledge of the purpose ofa digital effects system in a production environment. See the 8150Technical Guide, P/N 9100-0212, for a detailed description ofsetup procedures.

If you are not familiar with the terminology used, see the glossaryof terms in Appendix A of the 8150 Switcher Operations Manual,P/N 9100-0204.

Manual Conventions

In this manual, all Control Panel keys are called buttons to avoidconfusion with the video keying process.

Keycap labels appear in bold capital letters: the DVE button, theRUN→ button. Menu names are capitalized: the Warp menu, theInput menu. Softkey labels are in bold upper and lower caseitalicized letters: the Locate softkey. Softknob labels appear inbold upper and lower case letters: the H Loc softknob.

A sequence of button presses appears with long dashes (–)separating the buttons: MODIFY – ALL – ENTER. Holding onebutton down and pressing another appears with a plus (+). Forexample, holding CLEAR and pressing the DVE button appearsas CLEAR + DVE.

Depending on your input and channel configurations, a channelcan process a video signal, a key signal, or a drop shadow. Thismanual uses the word image generically to indicate the channel’ssource (video, key, or shadow).

8150 DVE Operations About This Manual


Overview of Terms UsedThe 8150 DVE’s unique features call for a new way of thinkingabout DVEs. To avoid confusion about the terms used whendiscussing the 8150 DVE option, please see the discussion below.The glossary at the end of the 8150 Switcher Operations Manualalso defines terms used with the 8150 DVE, and DVEs in general.

Channel

The term "channel" has historically been used to describe eitherthe video or key processing path, inputs, or outputs (forexample, the video channel, or the key channel output). MostDVE systems process luminance and chrominance in the videopath and only luminance in the key path. Usually, the term"two channel" system or effect refers to the number of videoimages involved. The key channel processing is taken forgranted.

The 8150 DVE has the unique ability to process either a keysignal or a video signal with the twin (second) channel,allowing you three possible combinations:

two raster-shaped video channels, including theirinternally-derived raster-shaped key outputsone video channel and one key channel, for use withirregularly-shaped key and fill signalsone video/key channel combination that allows thetwin channel to manipulate an independent dropshadow

In this manual, the term "channel" can refer to a video path, akey path, or a shadow path, and, unless specifically noted, theyare interchangeable. The DVE board has a main video channel(A) that processes video only, and a twin channel (B) that canprocess video, key, or shadow.

Overview of Terms Used 8150 DVE Operations


Multichannel

"Multichannel" systems in the past always referred to the videochannels only, implying the presence of a key channel for eachvideo channel. Thus, a "two-channel" system had two videopaths and two key paths. The 8150 DVE is multichannel onlyin Vid+Vid mode; in Vid+Key or Vid/Key+S modes, it wouldbe considered a single channel system with one video channeland its companion key channel.

The 8150 DVE option has twin processor channels: the videochannel (A) and the twin channel (B). You can use these channelsin three different modes:

A = Video, B = VideoThe DVE independently processes two full bandwidth 4:2:2video signals for both the A and B channels. All transform,warp, and lighting effects are adjustable separately andindependently on each video channel. The DVE internallygenerates the key signals associated with each channel, whichare full-raster "white" with adjustable opacity and edgesoftness.

A = Video, B = KeyThe DVE independently processes one full-bandwidth 4:2:2video signal for the A channel and one full-bandwidth 4:0:0(luminance only) key signal for the B channel. All transformsare available to the key signal independently from the video.The B (key) channel also has clip, gain, and horizontal phasecontrols.

A= Video & Key, B = ShadowThe DVE processes a video and key input as a single 4:2:2:4signal for the A channel, and derives a full-bandwidth dropshadow from the key input for the B channel. Both channelshave clip, gain, and horizontal phase controls for the key andshadow signals.

8150 DVE Operations Overview of Terms Used


Control Panel DVE ButtonsWith the DVE option installed in your 8150 system, severalControl Panel buttons become active. This section is an overviewof DVE specific buttons. See the 8150 Switcher OperationsManual for information on other Control Panel buttons.

Channel Select Buttons

The Channel Select buttons are the green oblong buttons belowthe joystick. The left button selects channel A, the middle buttonselects channel B, and the right button selects the global channel.Press a channel button to select that channel for control. Labelsabove each button read CHAN A, CHAN B, and GLOBAL, toindicate which channels are currently selected.

The DVE menu title indicates the currently selected channel(Chan A, Chan B, Chan A/B, or Global); changes you make in theDVE menus affect only the selected channel(s). To select bothchannel A and channel B for control, press their buttons at thesame time. You cannot select the individual channels at the sametime as the global controls. Some menu controls change, or arenot available, when the global controls are active.

DVE/Miscellaneous Buttons

This group of buttons let you:

enable graphic overlays

lock the joystick to the current menu controls

freeze the DVE channel input(s)

save and recall switcher snapshot keyframes

acquire control of a chassis when configured with multipleControl Panels

Control Panel DVE Buttons 8150 DVE Operations


Press the CURSOR button to enable cursors and channelidentifications on the 8150 preview output. The cursor shows thecenter of rotation for the image, and there are separate cursors forsource and target space. The cursors for the A channel are red; forthe B channel they are blue; and for the Global controls they arewhite for easy identification.

Use JOYSTICK LOCK to dedicate the joystick to the currentmenu control. This is handy if you want to continue using thejoystick for positioning, for example, while using the softknobsin the Warp menu.

PATH PREVIEW is not currently implemented.

8100

SHOWSTATUS

SAVEKEYFRAME

DVEFREEZE

CURSOR

RECALLKEYFRAME ACQUIRE

FIELD

PATHPREVIEW

JOYSTICKLOCK

The DVE/Miscellaneous Buttons

8150 DVE Operations Control Panel DVE Buttons


Pressing the DVE FREEZE button grabs and freezes the videoinput (but not the texture input) to the currently selected DVEchannel(s). It overrides any freezes that are programmed as partof a timeline effect. The FIELD button allows you to freeze a singlefield or a full frame for the active channel(s). Toggle the FIELDbutton on (lighting the button LED) to select a freeze of field 1 orfield 2. Toggle the button off (turning the LED off) to select a fullframe freeze. You can change the field/frame status of the freezeeven after you have frozen it; however, toggling the FIELD buttonchanges the field/frame status of both channels, whether they areactive or not. Pressing DVE FREEZE when the Global control isactive does not change the freeze status of either channel.

Use the SAVE KEYFRAME and RECALL KEYFRAME buttonswith the numeric keypad to store and recall 25 switcher Snapshoteffect registers. You can be in any menu when you save or recalla Snapshot effect register. See Section 10 – Timelines in the 8150Switcher Operations Manual for more details on Snapshot effects.

The ACQUIRE button selects the active Control Panel. With asingle Control Panel, the ACQUIRE button LED lightsautomatically when you power up or reboot the Control Panel.Double pressing this button turns off the LED and disablescontrol of the Main Chassis from the Control Panel. A single pressof ACQUIRE re-establishes control.

When more than one Control Panel is connected to a MainChassis, only one Control Panel can be active, or acquired, at atime. The active Control Panel has a lit ACQUIRE button. Tochange to another Control Panel, double press ACQUIRE on theactive Control Panel to turn the LED off. This disables controlfrom this Control Panel and makes control available to any otherpanel. Press ACQUIRE on the Control Panel that you want to use.The LED lights, and the new Control Panel is now acquired andready for use.



When a multiple Control Panel 8150 system is first powered up,no Control Panel is acquired. Press the ACQUIRE button once toacquire a panel. One the system is running, it remembers whichControl Panel is acquired, so a Control Panel or Main Chassisreset does not clear the current acquired status of any panel.

DVE-Related Menu Buttons

Press the DVE menu button to access the controls fortransforming the currently selected DVE channel(s). TheEFFECTS TRANS button accesses the menus used to build, save,and recall effects transitions, as well as to access 30pre-programmed two-keyframe effects for use as transitions. Theother buttons in this group access menus for switcher functions.See 8150 Switcher Operations Manual for information on menus.

8100

WIPE KEY

MISC DVE EFFECTSTRANS

TIME

COLOR

FRAME

CRCTR

STORE

BORDERS EFFECT

PERSONLINE DSK ALITY

ENG UNDOMENU

The 8150 Menu Buttons

8150 DVE Operations Control Panel DVE Buttons


When Auto Menus (in the Personality User Keys & Miscsubmenu) is turned On, selecting an Effect transition (by pressingthe EFFECT transition button, lighting it red) automaticallyrecalls the DVE Misc menu, performing the same function aspressing the EFFECTS TRANS menu button. Similarly, pressingany of the oblong DVE Channel Select buttons recalls the DVEChannel menu for the selected channel(s).



Video and Key Signal PathsUnderstanding the video and key signal flow will help you betterunderstand how the DVE option works. This discussion outlinesyour options for channel configurations, and includes DVE blockdiagrams that show the system video and key signal paths inmore detail.

Channel Configuration Overview

The 8150 DVE option has one channel dedicated for video (A) anda twin channel (B). The main video transformation path (A) is afull-bandwidth video channel. B is also a full-bandwidth videochannel, but it can process key signals (luminance only) as well.This gives the internal DVE three modes of operation.

Video+Video Vid+Vid mode uses both Channels A and B as video channels.They have independent control of all keyframe parametersincluding motion paths, warps, light sources, and textures. TheDVE processor internally generates the key signals associatedwith each channel. The key signals are full-image "white" withadjustable opacity and edge softness.

The Video+Video Mode

8150 DVE Operations Video and Key Signal Paths


Video+Key Vid+Key mode uses Channel A for video and Channel B for key.Channel A is visible only where Channel B appears. The 8150automatically selects this mode when using the internal DVE fora Keyer 1, Keyer 2, or DSK Effects Loop.

Video/Key+Shadow Vid/Key+S mode uses Channel A for video and key and ChannelB for a full-bandwidth drop shadow derived from the key input.You can manipulate the shadow with the B channelindependently of the video/key (A) channel, with all keyframeparameters, including motion paths, Warps, Light Source, andTextures.

The Video+Key Mode

The Video/Key+Shadow Mode

Video and Key Signal Paths 8150 DVE Operations


Signal Flow Details

As previously discussed, you can configure the DVE in threemodes: Video+Video, Video+Key, and Video/Key+Shadow.This discussion includes a more detailed drawing for each mode.

Video+Video Mode In the Vid+Vid mode, the DVE functions as two identical videochannels. It applies the texture input to the light source generator,then combines that output with the video input.

There are two transform controllers: one dedicated to the A input,the other to the B input. Each transform controller generates anedge key signal that defines the transformed raster edges.

The transformed outputs are then combined for single video andkey outputs, which are sent to the 8150 crosspoint matrix. Thecombining process uses either a fixed priority (A over B or B overA) or a Z-based priority, where the position of each image in 3Dspace determines its priority.

Internal DVE in Video+Video Mode



The graphics output superimposes the axis grids for the A and Bchannels.

Video+Key Mode The Vid+Key mode differs from the Vid+Vid mode in that theDVE processes the B input as the key signal, with additional clip,gain, and horizontal phase adjustments. Note that the"chrominance" part of the B circuitry is not used since key signalsare luminance only.

The DVE’s key output is a transformed version of the B channelinput, and not the raster-based signal seen in Vid+Vid mode. Thekey (B) channel is the "hole cutter" for the video (A) channel, butthe two are independent, meaning that it is possible to positionthe key channel so that the video channel is not visible.

Internal DVE in Video+Key Mode



Video/Key+Shadow Mode The Vid/Key+S mode is similar to the Vid+Key mode, except thatthe "chrominance" part of the B circuitry is used to create andprocess a full-bandwidth shadow signal.

The transforms for the A channel also control the main key path.The B channel transforms control the shadow signal, allowingcompletely independent control of the shadow.

The DVE key output is a combination of the A channel key andthe B channel shadow.

Internal DVE in Video/Key+Shadow Mode



Section 2

Getting StartedThis section outlines the basic steps for working with the 8150internal DVE option. You may also find it helpful to work throughthe examples in this section to quickly familiarize yourself withthe new menus and some basic operations.

This section covers only 8150 operations related to the internalDVE option. For information on basic switcher operations, see the8150 Switcher Operations Manual Section 2 – Getting Started.

Rebooting the 8150 with Internal DVEWhen the 8150 has the internal DVE Option installed, thesoftware takes a few seconds longer to load after power-up or areboot, typically about 12 seconds. This is indicated by the factthat the Keyer 1 menu appears in the display after about fiveseconds, but the crosspoint buttons do not light for another six toseven seconds. The 8150 is not operational until the lamps lightin the crosspoint buttons. When they light, the 8150 is ready foruser input.

If the internal DVE Option is not installed, the 8150 normallyboots in about five seconds. The Control Panel, if powered downor reset separately, boots in about seven seconds.

8150 DVE Operations Rebooting the 8150 with Internal DVE

9100-0254-00 - MAY 96 Getting Started 2-1

Internal DVE Input and Output Routing

Manual Routing To/From the Internal DVE

Viewing the Internal DVE OutputsWhen the internal DVE is installed, its combined video andcombined key outputs appear as internal sources in the 8150, justlike black, the SuperMatte generator, or the Framestore outputs.By default, the DVE video output appears as crosspoint 16 (pressand hold SHIFT and press the third crosspoint button from theright), while the DVE key output, by default, is not assigned to acrosspoint button. However, you can assign either source to anycrosspoint button, or you can de-assign either or both from anycrosspoint button, depending on your individual needs.

You can also manually route the DVE Video or DVE Key outputsto the Preview output or any Aux output by selecting them withthe Source pushknob in the Pvw Bus Ctrl & Misc or Aux Busessubmenus respectively.

See the 8150 Switcher Operations Manual Section 12 – Personalityfor information on assigning sources to crosspoint buttons, andSection 7 – Miscellaneous Functions for information on routingsources to the Preview and Aux outputs.

Selecting Sources for the Internal DVE InputsYou can manually feed the DVE video inputs with any source inthe 8150, except for DSK Preview. To manually select a source forthe DVE inputs, press the DVE menu button, followed by theInput submenu softkey. Press the left-hand Source (Input) softkeyto access the Front Source and Back Source controls. FrontSource selects the source that is routed to the DVE input when itis displaying its "front" side, i.e., rotated less than 90 degreeshorizontally or vertically from its normal position.

Internal DVE Input and Output Routing 8150 DVE Operations

2-2 Getting Started 9100-0254-00 - MAY 96

Back Source selects the source that is routed to the DVE inputwhen it is displaying its "back" side, i.e, it is rotated more than 90degrees horizontally or vertically from its normal position.

You can select a source for the DVE inputs in any of three ways:

If the source is assigned to one of the crosspoint buttons, youcan press and hold the appropriate crosspoint button on thebottom bus row (either Background B or Preset) and press theFront Source or Back Source pushknob to select that source.

If you know the 8150’s internal crosspoint number for thatsource, you can type the number at the numeric keypad andpress the Front Source or Back Source pushknob to select thatsource. For a list of the internal crosspoint numbers, see Section4 – DVE Menus.

You can turn the Front Source or Back Source pushknobs tofind the name of the desired source.

Since there are a pair of processing channels in the DVE, there areindividual front and back inputs for both the A and B channels.The display at the top of the menu indicates which channel youare controlling: DVE Chnl A, DVE Chnl B, or DVE Chnl A/B forboth simultaneously. When in Vid+Vid mode, you normallyroute video to both the A and B channels; however, when inVid+Key or Vid/Key+S modes, you normally route video to theA channel and a key signal to the B channel.

Other controls in the Input submenu are:

Flip Picture, which allows you to invert the horizontal and/orvertical orientation of the front and/or back source images ifneeded.

8150 DVE Operations Internal DVE Input and Output Routing


Strobe, which allows you to freeze or strobe the input sourceimage, and adjust the duration of the strobe period. If youfreeze the input, the same frozen source image appears on boththe front and back sides; if you strobe the input, the same sourceimage appears on both sides until the next strobe occurs, atwhich time the new source image appears on both sides untilthe next strobe occurs, etc.

Motion Detect, which allows you to set the sensitivity of theinput motion detection; the default setting is 9. If there is a lotof motion in the input video, you should set Mode to a numberbetween 8 and 14, or, in extreme cases, to Field; if there is littlemotion in the input video, you can set Mode to a numberbetween 1 and 7; if the input video is a still image, you can setMode to Frame. As a rule of thumb, the Mode number shouldbe as low as possible without incurring any inter-field motionartifacts. See Section 4 – DVE Menus for more information onthis setting.

To route texture sources to the DVE’s texture inputs, press theDVE menu button, followed by the Light Source softkey. Pressingthe Texture softkey brings up the Source pushknob, with whichyou can select the texture source in the same manner as you didthe video source. To view the texture, both the Light Source andTexture functions must be turned on. See Section 4 – DVE Menusfor more information on using this feature.



Input Blanking Width Adjustments

The 8150 Internal DVE expects its input video to conform tominimum horizontal and vertical blanking widths. If the videorouted to the DVE has blanking that is wider than normal, blacklines appear on the horizontal or vertical edges of the image whenit is at reduced size. To compensate for this, the DVE has twomodes of input blanking width compensation.

To access these input blanking controls, press the Global ChannelSelect button below the joystick, lighting the GLOBAL label. Pressthe Blanking softkey to access the selections, which are Off, Crop,and Stretch.

NOTE: These settings are not keyframableattributes; they are engineering setups that do notchange from one keyframe to the next, nor from onesnapshot or effect to another.

Crop mode masks off the edges of the image, making the wideblanking invisible without stretching or otherwise distorting theimage, but changing the 4:3 aspect ratio of the key signal. Thereare separate controls for horizontal and vertical blanking; thesecontrols apply to any and all sources selected as DVE inputs, bothfront and back.

Stretch mode removes wide blanking by stretching the imagehorizontally or vertically until the black edges are not visible,maintaining the 4:3 aspect ratio of the key signal but distortingthe image slightly. There are separate controls for horizontal andvertical blanking for both the front side and back side of the DVE;however, these controls apply to any source selected for theseinputs.



The advantage to Crop mode is that the aspect ratio of the videodoes not change, so that you can transition from a direct sourceto that same source through the DVE at full size with no visibledifference between the two. The disadvantage to Crop mode isthat, if the DVE is keyed at full size over a background, theextreme edges of that background may be visible behind the DVE.

The advantage to Stretch mode is that the key signal retains itsfull 4:3 size, so that if the DVE is keyed at full size over abackground, the background remains unseen. The disadvantageto Stretch mode is that the aspect ratio of the video changes, sothat a transition from a direct source to that source through theDVE at full size would be visible as a difference in height or widthbetween the two.

Automatic Routing To/From the Internal DVE

Normally, when feeding the DVE inputs with sources from the8150’s internal crosspoint matrix, you must manually select theDVE video output on one of the bus rows in order to view anduse the DVE as a source.

However, there are two modes in the 8150 that use the internalDVE, but do not require you to manually select the DVE outputon any bus row; in fact, doing so would place the DVE signal pathinto a feedback loop, which is normally undesirable. Similarly,the DVE inputs are automatically fed with the correct sourceswhen in these modes. The two modes are the Effect Transitionsand Effects Looping.



Effect TransitionsThe 8150 switcher can execute transitions between sources as amix, a wipe, or NAM (non additive mix). The addition of theinternal DVE option allows the 8150 to transition between sourcesas a two-keyframe DVE effect. Pressing the EFFECT transitionbutton enables the use of the internal DVE as a backgroundtransition from one source to another, or to transition one or morekeyers on or off.

To see this in action, select a source on the Background A bus anda different source on the Background B bus. Do not select the DVEvideo output on either bus, as this creates a feedback loop. Pressthe BKND button, followed by the EFFECT transition button,which lights both buttons red. Move the fader bar to see thetransition take place; the default transition is a "squeeze" of theBackground A source to zero size, revealing the Background Bsource beneath it. You can also press AUTO TRAN to execute thetransition automatically.

To select other DVE effects for the transition, press the EFFECTSTRANS menu button to access a list of 51 two-keyframe effects.Registers 20 through 50 in this list are pre-built effects that youcan select and recall for use as an Effect transition. Registers 0through 19 are available for you to create, save, and recall yourown two-keyframe effects for use as Effect transitions. See Section5 – Building and Running Effects for more information on thecreation of your own Effect transitions.

Think of a transition as changing between "from" and "to" states,with "from" being the state before the transition, and "to" beingthe state after the transition. When you select an Effect transition,the "from" state is routed through the DVE, which then executesits move, revealing the "to" state behind or underneath the DVE.



To execute an Effect transition of the M/E Background buses orthe Program and Preset buses, the 8150 automatically routes thesource selected on Background A or Program through the Achannel of the DVE, using the DVE key signal as a "wipe" patternto place the DVE over the Background B or Preset source. At thestart of the transition, the DVE A channel is normally at full 1:1size and position, and the B channel is hidden behind the Achannel and set to zero opacity.

As you move the fader bar, the DVE effect progresses, until, atthe end of the fader bar travel, the effect finishes, with the DVEnormally ending up off-screen. At the same time, the busesflip-flop, as in any transition, placing the "to" source that was onBackground B (or Preset) onto Background A (or Program), andplacing the "from" source that was on Background A (or Program)onto Background B (or Preset). At the same time, the newBackground A (or Program) source is routed through the DVE inpreparation for the next Effect transition. This method is totallyautomatic and does not require you to route any source to theDVE manually.



Note: When you press EFFECT to select an Effecttransition, the selected "from" bus is automaticallyrouted through the DVE for the transition. Since theDVE has a one-frame processing delay, the video onthe selected bus becomes delayed by one frame atthat point, which may be visible as a small jump ifthe "from" video contains motion. At the end of thetransition, the "to" bus flip flops with the "from" busand is routed to the DVE, where it is now delayedby one frame, again visible as a jump if the videocontains motion.Additionally, when you select a transition typeother than EFFECT, it removes the one-frame delayfrom the path, which again may be visible as a smalljump. This one-frame delay is inherent in the DVEarchitecture and cannot be changed.

The 8150 always executes an Effect transition as a full raster DVEmove in Vid+Vid mode, no matter which bus is selected as theactive transition. (See the discussion on Channel Configurationlater in this section for an explanation of Vid+Vid and the othermodes.) This means that, even if you select only a keyer (KEY 1,KEY 2, or DSK) for an Effect transition, the background overwhich it is keyed still appears in the DVE move as the "from" state,which is the current background before the keyer hastransitioned. As the DVE move progresses, it reveals the "to" state,which is the current background after the keyer has transitioned.

Similarly, if only BKND or PGM PST is selected for an Effecttransition, and any of the keyers are turned on, the keyer(s)appear in the DVE move in the "from" state, which is the currentbackground with the keyers composited over it.



Note that the keyers do not transition on or off unless you haveselected them as part of the transition. In this case, as the DVEmove progresses, it reveals the "to" state, which is the newbackground with the keyer(s) composited over it. This is also truewhen executing an Effect transition of the Program/Preset busesif the DSK is turned on.

In situations where multiple buses are selected for an Effecttransition, the "from"state again appears inside the DVE, whilethe "to" state appears behind or underneath the DVE, with theselected buses appropriately transitioned.

Executing an Effect transition of the M/E keyer priority is notpossible under any circumstances, and is locked out.

Using an Effect Transition with Ultamix (Split Transition)As described earlier, the DVE key output is used as a "wipe"pattern to place the DVE video, which contains the "from" source,over the "to" source. Since the normal wipe path is used for thisfunction, you cannot simultaneously use a wipe transition withan Effect transition. The wipe pattern generators are still availablefor use as external key masks, however.

As discussed in the 8150 Switcher Operations Manual, if youexecute a split transition using a wipe and a mix simultaneouslyin a transition that includes the M/E Background buses or theProgram/Preset buses, the background buses must transition asa wipe.

Similarly, if the Background buses or Program/Preset buses areinvolved in a split transition using an Effect transition and a mixsimultaneously, these buses must transition as an Effect, and anykeyer(s) included must transition as a mix.



Effects LoopingThe other mode of operation in which you do not directly selectthe DVE output on any bus is called an Effects Loop. This moderoutes the processed fill and key signals from one of the threekeyers (Keyer 1, Keyer 2, or the DSK) to the DVE, whichtransforms them, and then routes the transformed fill and keyback to the same keyer from which they were routed. Because therouting of the processed fill and key is automatic, you should notselect the DVE crosspoint on any bus row; again, if you did, itwould create a feedback loop by routing the DVE output back toits own input.

Unlike the Effect transitions, Effects Looping does not force theDVE to be a full-raster source; in fact, this mode forces the DVEinto V+K mode, using the A channel to transform the fill and theB channel to transform the key. You can manually select V/K+Smode to add a drop shadow to the key if you wish.

To see Effects Looping in action, set up a key on Keyer 1. (See the8150 Switcher Operations Manual Section 4 – Keying for moreinformation on setting up a basic key.) To perform an EffectsLoop, press the MISC menu button followed by the Aux Busessubmenu softkey. Press the Effects Loop Inputs softkey, whichbrings up controls for the Effects Looping choices. Make sure thatDve Select is set to Internal. (Ext 1 and Ext 2 are for externalDVEs; these selections are covered in the 8150 SwitcherOperations Manual Section 7 – Miscellaneous Functions.)

Using the Loop Select pushknob, select M/E Key 1, and press thePress to Assign pushknob to enter that selection. The displayabove the pushknob now reads DVE I–M/E Key 1, and a smalldisplay above the keypad register also reads "DVE I–M/E Key 1"in all menus to remind you that an Effects Loop is active. (The "I"indicates the "Internal" DVE.)



NOTE: If the Press to Assign pushknob displayremains at DVE Loop Off, and the Loop Selectdisplay automatically changes to Off, select atransition type other than EFFECT, such as MIX,WIPE, or NAM. The DVE is not available for EffectsLooping if it is already being used for an Effecttransition, either with the M/E buses or thePGM/PST buses.

You should now see Keyer 1 routed through the internal DVE,which you can use to reposition, resize, rotate, and otherwisemanipulate the key. Furthermore, note that, while the EffectsLoop is active, selecting other key sources on Keyer 1 routes themthrough the DVE as well.

To turn off the Effects Loop, turn Loop Select to Off and pressthe Press to Assign pushknob or hold down the Clear button andpush the Effects Loop Input Softkey. Its display and the displayabove the keypad buffer change to DVE Loop Off.

You can perform an Effects Loop for any of the three keyers.Additionally, you can perform an Effects Loop (M/E Bgnd) thatsends a composite of the M/E Background buses with Keyer 1layered over them to the internal DVE, which re-enters on Keyer2. At this point, you can use the Keyer 2 fill bus to select thebackground over which the DVE is keyed. However, you can onlyperform one Effects Loop at a time, since there is only one EffectsLoop return path in the 8150’s internal crosspoint matrix.

For more information on Effects Looping, see the 8150 SwitcherOperations Manual Section 7 – Miscellaneous Functions.



Channel ConfigurationAs described in Section 1 – Introduction, the 8150 internal DVEarchitecture is known as "twin channel," and can operate in threemodes:

Vid+Vid – two independent 4:2:2 video channels, each withfull-raster key signals.

Vid+Key – one 4:2:2 video channel and an independent 4:0:0key channel.

Vid/Key+S – also called SuperShadow; one 4:2:2:4 video/keychannel and an independent 4:0:0 shadow channel.

Note that the A channel is always Video by definition; the Bchannel can be Video, Key, or Shadow. The default configurationfor the twin channels is Vid + Vid on power-up or reboot. To selecta different configuration, press the DVE menu button and theOutput submenu softkey. Toggle the Channel Mode softkey toselect one of the three configurations, Vid+Vid, Vid+Key, orVid/Key+S.

NOTE: When using the internal DVE for an Effectstransition, the Channel mode is forced to Vid+Vidand cannot be changed until you select anothertransition type (MIX, WIPE, or NAM). Similarly,when using the internal DVE for Effects Looping,the Channel mode is forced to Vid+Key; althoughyou can manually change this to Vid/Key+S ifnecessary. However, Vid+Vid mode is locked outuntil you turn the Effects Loop off.

8150 DVE Operations Channel Configuration


If you select Vid+Key or Vid/Key+S modes, controls for Clip,Gain, Key Phase, and Softness appear at the bottom of the menu.These controls allow you to adjust the internal DVE’s keyer, notthe 8150 keyer. Note that these adjustments are totallyindependent of all the 8150 keyer adjustments; if you use theinternal DVE as a fill and key source (which is a typical usage),these adjustments are "upstream" of those in the 8150 keyer.Normally, if the composite key needs adjustment, you shouldadjust it with the DVE keyer controls and not with the 8150 keyercontrols, which should remain at default unless the DVE controlscannot produce the desired key. The DVE keyer controls aredescribed below.

Clip adjusts the luminance level of the key signal that "cuts thehole" for the fill, much like the 8150 keyers’ Low Clipadjustment. This adjustment has no effect on the key or shadowif its Key Source is set to White. The default Clip value is 50.

Gain adjusts the sharpness of the slope of the key edge, muchlike the 8150 keyers’ Low Gain adjustment. This adjustment hasno effect on the key or shadow if its Key Source is set to White.The default Gain value is 100, but use 114 for a true linear key.

Key Phase adjusts the horizontal position of the key signal (keytiming) relative to the fill signal, much like the 8150 keyer’s HPosition adjustment. It is best to set this adjustment with bothDVE channels at their default size and position, since any sizeor position offset of either channel may make it appear that thekey timing is incorrect.

Softness performs the same function as the Crop/Soft control inthe Source Image submenu, except that it softens all four edgesof the key signal simultaneously and cannot be madeasymmetrical.

Channel Configuration 8150 DVE Operations


Additional parameters in Vid+Key and Vid/Key+S modes are:

Key Source, which accesses Key Select and Shadow Selectcontrols that allow you to select a full white raster-shaped keyor drop shadow, or an irregularly shaped key or drop shadow,including a polarity-inverted version of that key or dropshadow.

Shadow, which allows you to apply any color to the dropshadow when in Vid/Key+S mode, including adjusting thedrop shadow opacity.

The following parameters are active in all three keyer modes:

Opacity, which allows you to independently adjust thetransparency of each DVE channel, except in Vid+Key mode,in which you can only adjust the A channel transparency.

Combiner Priority determines either a Fixed priority for thetwo channels, with one channel always "over" or "in front of"the other, including a Crossfade adjustment to mix or fade thatpriority; or a Z Key priority, which determines the priority ofone channel over the other depending on the Z position of eachchannel in 3D space, including a Z Softness adjustment to varythe softness of the line of intersection between the two planes.Additionally, there are A Offset and B Offset controls in thismode so that you can artificially change the Z priority of eitherchannel without actually moving the image in 3D space.

8150 DVE Operations Channel Configuration


The Numbering System The 8150 internal DVE option uses a numbering system derivedfrom the normal television aspect ratio of 4:3 – four unitshorizontally by three units vertically. Dividing both sides of thisratio by four yields 1:3/4, or 1:0.75. The internal DVE uses thisratio as its numbering system. It indicates that the horizontalwidth of the screen, or the H axis, is equal to one screen unit; thevertical height of the screen, or V axis, is equal to three quarters,or 0.75, screen units. There is plenty of room for moving the imagein all 3D spaces (see Section 3 – Transforms for a discussion oflocal and Global Source and Target space); all planes have H andV dimensions of plus and minus 100 screen units, for a total "size"of 200 times the height and width of the screen.

The third dimension, Z, is perpendicular to the H and Vdimensions on each plane: it runs straight into and out of theplane at right angles to the horizontal and vertical directions. Thisvalue indicates depth, or distance from the plane.

The Axis of each plane is defined as a point at which all threerotational axes (H, V, and Z) intersect. The default location of theAxis is at the exact center of the plane, where H, V and Z Locatevalues are 0.0000, although you can move it if needed. A point tothe left of the center of the plane has a negative H value; the leftscreen edge has an H value of -0.5000. A point to the right of thecenter of the plane has a positive H value; the right screen edgehas an H value of +0.5000. This gives a total width of 1.000.

Similar coordinates apply to the vertical dimension. A pointabove the center of the plane has a positive V value; the top screenedge has a V value of +0.3750. A point below the center of theplane has a negative V value; the bottom screen edge has a V valueof -0.3750. The vertical range from screen edge to screen edgegives a total screen height of 0.7500.

The Numbering System 8150 DVE Operations


The H and V position numbers may represent locations on theplane beyond the limits of the screen, rendering the source imageinvisible. However, the numbers always give you the exactlocation of the center of the plane, even if the source image is notvisible in the video output.

In two dimensional (2D) transforms, the Z value representssource image size (with 2D PreTrans) or Global Target plane size(with 2D PostTrans) only; it does not move the source image orplane in the Z (depth) direction. A value of 1.0000 produces a fullsize source image or Global Target plane. A value of 0.5000indicates that the horizontal and vertical dimensions of the imageare reduced to one half of full size, and the image area is onequarter of full size (1/2H x 1/2V = 1/4).

In three dimensional (3D) transforms, the Z value represents theposition of the current plane in 3D space relative to the next"downstream" plane. (See Section 3 – Transforms for an in-depthdiscussion of the 3D planes and spaces.)

Assuming that all "downstream" planes are at their defaultpositions, at a value of 0.0000, the current plane’s Z positioncoincides with the next downstream plane; it is "sitting" on thatplane. At values above 0.0000, the current plane is "behind" thedownstream plane, further away from the viewer. At negativevalues, the current plane is "in front of" the downstream plane,closer to the viewer. At Z values equal to or less than (morenegative than) –1.6667, the current plane (and the source imageon it) disappears; it has moved past the eye point and is actually"behind" the viewer.

8150 DVE Operations The Numbering System


However, moving any of the "downstream" planes in 3D spacealso affects the position of the source image relative to the viewer.A rule of thumb is:

If all four of the 3D Locate Z parameters (Source, Target, GlobalSource, and Global Target) add up to –1.6666 or higher (morepositive), the source image is "in front of" the viewer’s eye pointand may be visible on screen (if its aggregate H and V positionsare also within range).

If the four 3D Locate Z parameters add up to –1.6667 or lower(more negative), the source image is "behind" the viewer’s eyepoint and is not visible on screen (no matter what its aggregateH and V positions).

Moving the Axis position for any plane moves the rotationalcenter of that plane relative to the source image. You can:

move the entire plane, including its Axis and the source image,by using the 3D Locate controls, or

move the Axis only, leaving the source image alone, by usingthe Axis Position controls, or

move the source image only, leaving the Axis alone, by usingthe 2D Adjust/PreTrans controls.

The Numbering System 8150 DVE Operations


The Menu Display The menus for the internal DVE option follow the sameconventions as all other 8150 menus. The DVE menu buttonrecalls the DVE menu for the active DVE channel(s), and theEFFECTS TRANS menu button recalls the DVE Misc menu.

Along the right side of the menu display are the six softkeys thatrecall the submenus, while along the left side of the menu displayare the six softkeys that recall the individual parameter controls.The four pushknobs along the bottom of the menu display are thevalue entry controls for most toggles and number parameters.

Menu HeaderSubmenu

Submenu

Submenu

Submenu

Submenu

Submenu

Knob 1 Label Knob 2 Label Knob 3 Label Knob 4 Label

Knob Label 3

Value Value Value Value Value

Func label

FunctionFunction

Function

Func label

FunctionFunction

FunctionFunction

Func label

FunctionFunction

FunctionFunction

Func label

FunctionFunction

FunctionFunction

Func label

FunctionFunction

FunctionFunction

Func label

FunctionFunction

FunctionFunction

Keypad

{number}

Function

SubmenuSoftkeys

Submenu Controls Submenu Labels

Parameter/FlagSoftkeys

KeypadBuffer

Pushknobs

1 2 3 4

The 8150 Menu Screen and Controls

8150 DVE Operations


See the 8150 Switcher Operations Manual Section 1 – Introductionfor more detailed information on the menu display, includingselecting parameters and entering values.

Setting DVE Parameters to Default

As with all other 8150 functions, you can use the CLEAR buttonin the numeric keypad to set a parameter to its default value. Youcan also use CLEAR to set all controls under a single softkey, oran entire menu, to default.

To set a single setting to its default, press CLEAR to bring themessage <Clear> to the keypad buffer. (Note that if there is anentry in the keypad buffer, pressing CLEAR once only erases thatentry, requiring another press of CLEAR to enter the message.)With <Clear> in the keypad buffer, press a pushknob to reset itsparameter to its default value. You can also press and holdCLEAR and press more than one pushknob to reset more thanone parameter.

To reset all parameters accessed by a single softkey to their defaultvalues, press and hold CLEAR and press the softkey. Forexample, in the Transform submenu, press and hold CLEAR andpress the Rotate softkey to reset all its parameters (Source H, V,and Z, and Target H, V, and Z) to default.

To reset all parameters in a submenu to their default values, pressand hold CLEAR and press the submenu softkey. For example,to reset all Transform submenu parameters to their defaultvalues, press and hold CLEAR and press the Transform softkey.This resets all 3D Locate, Rotate, Axis Position, 2D Adjust,Aspect, and Skew Perspective settings to default.

The Menu Display 8150 DVE Operations


Finally, to reset all DVE channel parameters back to their defaultvalues, press and hold CLEAR and press the Channel Selectbutton for that channel. The three oblong Channel Select buttonsare beneath the joystick, with labels for CHAN A, CHAN B, andGLOBAL. To reset all Channel A, Channel B, and Globalparameters, press and hold CLEAR and press each ChannelSelect button in turn.

Changing Parameter Motion Path Types

The same Motion Path types available for 8150 switcherparameters are also available for the internal DVE parameters.(See the 8150 Switcher Operations Manual Section 10 – Timelinesfor a complete description of all Motion Path types and how toassign them.) However, since a large portion of the DVEparameters are true motion parameters, you may want to be ableto change the path types of multiple parameters with oneoperation.

To do this, press the PATH button in the numeric keypad. Thisbrings up a display in the keypad buffer that toggles through allthe available motion path types. Press the PATH button until thedesired path type is highlighted. As described in the 8150Switcher Operations Manual Section 10 – Timelines, you can nowpress a pushknob to select the highlighted path type for thatparameter.

However, similar to clearing parameters to their defaults, you canset multiple parameters to one path type by selecting the pathtype with the PATH button, and, before releasing the PATHbutton, pressing the appropriate pushknobs, softkeys, submenusoftkeys, or Channel Select buttons to assign the selected pathtype to all parameters associated with that button.

8150 DVE Operations The Menu Display


Note that, since some parameters by definition cannot havecertain path types assigned to them, those parameters retain theircurrent settings.

The available path types are listed below in lowest to highest level"priority" order. See Section 6 – Motion Control for more detailedinformation on each path type.

JP Jump; no interpolation from one keyframe to the next. Allparameters can accept this path type.

LN Linear; simple interpolation from one keyframe to the next,with no acceleration or deceleration. All parameters that usenumerical values can accept this path type.

SL Smooth Linear; interpolation from one keyframe to the next,plus acceleration when leaving a keyframe position anddeceleration when approaching a keyframe position. Allparameters that use numerical values can accept this path type.

T1 TCB (Tension, Continuity, Bias) preset 1; appliesacceleration, deceleration, and splining (curving) to the motionpath of each keyframe by "looking back" to the previouskeyframe and "looking ahead" to the next keyframe. Only truemotion parameters can accept this path type.

T2 TCB preset 2; same as T1. T2 is another set of TCB presetvalues that you can apply to some parameters while,simultaneously, others have T1 applied with different TCBvalues. Only true motion parameters can accept this path type.

The Menu Display 8150 DVE Operations


SM Smoothed Motion; the locations of all keyframes in theeffect determine the acceleration, deceleration, and splining ofthe path to make the motion as smooth as possible over theentire effect. Only true motion parameters can accept this pathtype.

DVE Snapshots and TimelinesAfter selecting sources and configuring the channels, you can trysaving and recalling simple snapshots and timeline effects thatinclude the internal DVE. These examples do not attempt toinclude every DVE parameter; the intent is to give you a basicunderstanding of the snapshot and timeline effect creationprocess.

Since the internal DVE is fully integrated into both the 8150’ssnapshot keyframes and timeline effects, you can create, save, andrecall a single snapshot of all DVE and switcher parameters, orcreate, save, and recall a complete timeline effect consisting ofDVE moves in conjunction with other switcher effects.

Save a snapshot keyframe of the DVE as follows:

STEP 1: On the Background A bus, press the crosspoint buttonto which the internal DVE Video output is assigned.By default, it is assigned to the third shifted crosspointbutton from the right.

STEP 2: Locate the three oblong Channel Select buttonsbeneath the joystick. Press the left and center buttonssimultaneously to light up the CHAN A and CHAN Blabels. This accesses control of both DVE channels.

8150 DVE Operations DVE Snapshots and Timelines


STEP 3: Press the DVE menu button, followed by the Inputsoftkey. (If Auto Menus is On in the Personality UserKeys & Misc submenu, the DVE menu is alreadypresent because pressing the Channel Select buttonsautomatically accessed that menu.) Press theInput/Source softkey and select input sources for boththe A and B channels with the appropriate softknobs.Since the DVE video output is on the Background Abus, you should see the source that you select for theA channel only, since the B channel is currently"behind" or "underneath" the A channel.

STEP 4: Press the Transform softkey, followed by the 3DLocate softkey. Use the joystick to reposition the imageto one corner of the screen.

STEP 5: Press the Channel B select button (under the joystick)by itself to highlight only the CHAN B label. Again,using the joystick, move the B channel image out fromunderneath the A channel and reposition itsomewhere else on screen.

STEP 6: Press the KEY 1 button and select the DVE Videocrosspoint on the Keyer 1 fill bus (the top bus row).Press and hold the CLEAR button and press the KEYmenu button to set all Keyer 1 parameters to default.

STEP 7: Press the KEY menu button by itself to access theKeyer 1 menu. Press the Sources/User Keyer softkey toaccess that submenu. Make sure that the Key CutSource pushknob has DVE Key selected as the keysource for the DVE.

DVE Snapshots and Timelines 8150 DVE Operations


STEP 8: Press the CUT button to turn Keyer 1 on. Select theSuperMatte generator (or any other source) on theBackground A bus. You should now see the DVEkeyed over the SuperMatte generator, or whateversource you selected on the Background A bus.

STEP 9: To save this setup as a snapshot keyframe, type anumber between 0 and 24 (inclusive) on the numerickeypad and press SAVE KEYFRAME. The currentsetup is now saved as that keyframe number.

STEP 10: To verify that the keyframe was saved correctly, selectblack on all buses. Press the DVE menu button andmove the joystick to reposition the DVE channels.Type the keyframe number that you used in theprevious step and press RECALL KEYFRAME. Theexact setup as saved should now reappear on screen.

You can use the above method to save up to 25 snapshotkeyframes, each with a different DVE and/or switcher setup. Youcan also save these snapshot keyframes to disk for later recall. Seethe 8150 Switcher Operations Manual Section 10 – Timelines formore information on saving and recalling disk files.



To take the effect creation process a step further, you can build asimple moving DVE effect as part of a switcher timeline effect asfollows:

STEP 1: Follow Steps 1 through 8 in the previous procedure.

STEP 2: Press the TIMELINE menu button, followed by theAssign Timelines softkey. Verify that all 12 parametersets are included in the list under Timeline 1. If someare missing or assigned to other Timelines, then usethe joystick to place the black box cursor in theTimeline 1 list. Use the Parameter Select control toselect the missing parameter set(s) and press the Addsoftkey to reinstate the missing parameter set(s) ontimeline 1.

STEP 3: Make sure that the the TIMELINE 1 button LED (inthe DELEGATION button area) is lit. If not, press ittwice quickly to light it.

STEP 4: Press the INSERT NEXT button in the QUICKKEYFRAMES button area. This creates the firstkeyframe of the timeline effect using the currentswitcher and DVE setup.

STEP 5: Press both the Channel Select buttons simultaneouslyto light both the CHAN A and CHAN B labels abovethe buttons.

STEP 6: Press the DVE menu button to recall that menu. Pressthe Transform softkey, followed by the Rotate softkey.Use the joystick to rotate both DVE channels, using H,V, Z, or any combination.

STEP 7: Press INSERT NEXT again. This creates a secondkeyframe with the new switcher and DVE setup.



STEP 8: Press and hold CLEAR and press the Transformsoftkey. This sets all Transform submenu parametersfor both channels to their defaults, bringing bothchannels full-screen with A over B.

STEP 9: Press INSERT NEXT again. This creates a thirdkeyframe with the new switcher and DVE setup.

STEP 10: Press the START button in the TIMEFRAMEEFFECTS EDITOR button area. This cues the timelineeffect that you have just created to its first (start)keyframe.

STEP 11: Press the RUN button in the TIMELINE button areanext to the fader bar. You should see the DVE channelsrotate and return to full size over a two-second period.This duration is due to the fact that the defaultkeyframe duration is one second, and that the finalkeyframe in any effect, by definition, has no duration.

You can now name and save this timeline effect in one of the8150’s Timeline Effect Registers. There are a total of 100 TimelineEffect Registers available for effect saving and recall. See the 8150Switcher Operations Manual Section 10 – Timelines for moreinformation on saving and recalling Timeline effects, as well assaving and recalling Timeline disk files.



Section 3

TransformsOverview

The 8150 DVE option is a three-dimensional digital effects systemused to manipulate images to give the appearance of motion inthree-dimensional (3D) space. To achieve this, the DVE can rotatethe image, and as it rotates, maintain optically correct perspective.The processing preserves the geometric precision of 3D space onthe two-dimensional (2D) plane of a television screen. The videobeing manipulated is called the source image.

NOTE: Depending on your input and channelconfigurations, a channel can process a video signal,a key signal, or a drop shadow. This section uses theword image generically to indicate the channel’ssource (video, key, or shadow).

There are four separate sets of 3D controls. It helps to visualizethis by thinking of each set as applying to a 2D plane. The controlsmove the plane in 3D space. The four 3D control sets are asfollows, in order of processing:

The local Source plane—moves in local Source space andcontains the source image and any 2D pre-transformmodifications.

The local Target plane—moves in local Target space andcontains the entire local Source plane.

The Global Source plane—moves in Global Source space andcontains the entire local Target plane.

8150 DVE Operations Overview

9100-0254-00 - MAY 96 Transforms 3-1

The Global Target plane—moves in Global Target space andcontains the entire Global Source plane.

When building effects and manipulating planes, start with theLocal Target space first so that you always have a true sourceplane to work with. Later, you can use the other planes to createcomplex movement.

Each plane has a horizontal (or H) axis, a vertical (or V) axis, anda perpendicular (or Z) axis around which the plane can rotate.The intersection of these axes is a single point called the axis point,or simply "axis." You can view the axis point by pressing theCURSOR button on the 8150 Control Panel. This turns on cursors

in the Preview output that indicatethe current location of the axes forthe selected channel(s). See thediscussion later in this section formore details on the axis cursors.

Using a plane’s Locate control toposition it in its space also moves

the axis position to maintain its relationship to the plane. Rotatingthe plane does not change the directions in which its Locatecontrols work, but it does change the Locate directions of all"upstream" planes. The discussions later in this section detail howthis works.

Overview 8150 DVE Operations

3-2 Transforms 9100-0254-00 - MAY 96

Each set of 3D controls are identical in operation and power; theonly thing that differentiates them is the order in which they areallowed to transform the image. The names of the 3D transformsets could have just as easily been "First," "Second," "Third," and"Fourth." However, the two Global 3D transforms (Third andFourth) are special in that they apply to both DVE channels andcannot be separated. Additionally, the Global controls can existon their own timeline, with their own keyframes, for the purposesof effect creation.

There are also two-dimensional PreTrans and PostTranscontrols. The PreTrans controls change the H and V position andthe size of the source image on the local Source plane withoutmoving the Source plane in 3D space. The PostTrans controlschange the H and V position and the size of the entire transformedimage (the Global Target plane) on the screen, without movingthe Global Target plane in 3D space, by moving the apparentposition of the viewer relative to the Global Target plane.

Transform Groups


9100-0254-00 - MAY 96 Transforms 3-3

3D Transform Interaction ExamplesFor the following examples, activate only channel A. It is helpfulto use the 2D Adjust/PostTrans Zoom control to reduce the imageon the monitor and let you see more of the of 3D spaces. A Zoomvalue of 0.3000 works well.

NOTE: Throughout this discussion, the term "local"indicates the 3D controls for each channel (A and B)to distinguish them from the Global 3D controls. Ifneither the word "local" nor "Global" appears, youmay assume that the local 3D controls for theindividual channel are those under discussion.

Use the local 3D Locate/Source V control to move the image up alittle. This moves the local source plane (and its axes of rotation)independent of the other three planes (and their axes of rotation).To show this, use Rotate/Source Z to spin the image. It spinsaround its own center. Now use local Rotate/Target Z to spin theimage. The local Target plane now spins on its center, which nolonger matches the center of the image because you have movedit with Source Locate.

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In the above example, it would make no difference whether youused a Target Z Rotate, a Global Source Z Rotate, or a GlobalTarget Z Rotate for the second rotation; the results would appearthe same, since they are all "downstream" of the local Sourcespace.

Here is another example: Press CLEAR + 3D Locate (press andhold the CLEAR button while pressing the 3D Locate softkey) tore-center the image. Now use 3D Locate/Target V to move theimage toward the top of the screen (instead of 3D Locate/SourceV, used before). When you rotate the image, there is no apparentdifference, whether you use Source Z Rotate or Target Z Rotate;they both spin the image about its own center, because by movingthe Target plane you have also moved the Source plane.However, both Global Z Rotates spin about the center of thescreen, since you have not moved the Global planes.

Here is another example of plane interaction: start with a centeredimage (all locate values set to 0.0000). Set local Rotate/Source Zto 0.1250 (45 degrees). Now use 3D Locate/Source H to move theimage left and right. The image moves along a horizontal linestraight across the screen. Using any other Locate H controls givesthe same results. As mentioned earlier, rotating a plane does notaffect its own Locate directions.

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Set the Rotate/Source Z back to 0.0000, and set Rotate/Target Zto 0.1250. The local Target H Locate and both Global H Locatesstill move the image straight across the screen. Using local 3DLocate/Source H, however, moves the image diagonally, showingthat the local Source plane’s Locate directions have indeedrotated.

The above example shows that rotating a plane does not affect itsown Locate direction, but does affect the Locate directions of all"upstream" planes. Rotating the local Source plane affects onlythe 2D Adjust/PreTrans directions, which are discussed later.Rotating the local Target plane affects the only plane "upstream"of it, which is the local Source plane (including 2DAdjust/PreTrans). Since the Global Source and Target planes are"downstream" of the local Target plane, they are not affected byanything you do with the Target plane.

Rotate Hierarchy

The previous examples showed that there is a hierarchy, orpriority, of 3D controls. Using functions further down in thehierarchy affects the controls that come before them.


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Furthermore, in the case of the Rotate function, you must take thishierarchy into account even within a single set of 3D controls. Thishierarchy is explained in greater detail later in this section.

For this example, tilt the image back vertically usingRotate/Source V, put the horizontal axis on the left image edgeusing Axis Position/Source H, and horizontally rotate the image(as if opening the cover of a book) using Rotate/Source H. Notethat this does not open like a book as you might expect. It failsbecause this example has not taken into account the Rotate controlhierarchy: first Z, then V, finally H.

When you rotate a plane around its Z (perpendicular) axis, noneof the plane’s three rotational axes are affected. However, whenyou rotate a plane vertically (around its H axis), you also rotatethe Z axis vertically, but the H and V axes remain unaffected.Finally, when you rotate a plane horizontally (around its V axis),you rotate both the Z and H axes horizontally as well, still leavingthe V axis unaffected. This is graphically shown in the Previewoutput when the cursors are turned on; you can see that a Z Rotatedoes not move the axis cursor at all; a V Rotate tilts the Z axis only;and an H Rotate pivots both the Z and H axes. Note that the Vaxis remains vertical at all times.

Rotate Hierarchy Within the 3D Transforms


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Returning to the "book cover" example, but this time usingRotate/Target V to lay back the top of the image, results in thecorrect book cover effect. (Note that using Rotate/Target H toopen the cover in this case would fail exactly as it did when usingSource H and V Rotates in the previous case.) The reason for thisis that the Rotate parameter for each 3D space is using its owninternal hierarchy: first Z Rotate, then V Rotate, and finally HRotate.

In the first "book cover" example, the problem was that the SourceH Rotate was pivoting around the still-vertical V axis.


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Performing the V Rotate in Target space, which is "downstream"of Source space, tilts the Source V axis back so that the Source HRotate functions as expected. This is an example of why more thanone 3D space is necessary in a DVE system.

You can also use Source and Target Z Rotates in combination tospin the image about opposing corners. This effect looks betterwith a square image, so instead of using 2D Adjust/PostTransZoom to reduce the image, press Aspect and enter 0.5000 in boththe Aspect H and Aspect V controls. Start with an image that hasno Rotates or Locates, and set local Rotate/Target Z to 0.1250 (45degrees). Set Rotate/Target H and V to 0.0000. Applying a SourceV Rotate shows that the Source plane’s axes are Z-rotated: theimage rotates on H and V axes that are diagonal to the screen.

Now enter –0.1250 (45 degrees in the opposite direction) in localRotate/Source Z. This reorients the image to straight up anddown, but Source H and V axes are still diagonal to the image,causing it to rotate around its corners. Again, this is because theTarget Z Rotate occurs "downstream," rotating the Source planeand all three of its rotational axes.


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2D Parameter OverviewThere are two main sets of 2D position and size controls: PreTransis "upstream" of all 3D transforms, and PostTrans is"downstream" of all 3D transforms, including Globals.Additionally, Aspect and Skew are 2D controls that are upstreamof the 3D transforms. Perspective is a 3D control that actsdownstream of all 3D transforms.

2D Adjust/PreTrans

The 2D Adjust/PreTrans controls move the image on the localSource plane without moving the plane itself. It is important tonote this for two reasons. First, PreTrans moves the image off theaxes of rotation of all four 3D transforms (since the image moves,but each plane’s axes do not); and second, Source plane rotationsdirectly affect the path that the image takes when moved withPreTrans.

For the following examples, it is helpful to use 2DAdjust/PostTrans Zoom to reduce the image on the monitor andlet you see more of the 3D spaces. A Zoom value of 0.3000 workswell.

With PreTrans H and V set to 0.0000, any Source Rotates (and allother Rotates, for that matter) spin the image on axes that intersectat the center of the image. Use the PreTrans H control to movethe image left so that it touches the edge of the screen. Now trythe H and Z Rotates. They both act around the axes’ intersection,which has not moved. This shows that the 3D transforms act ontheir planes and not the image directly, while the 2D PreTranscontrol acts on the image itself and not the planes.

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Now apply Source H and Z Rotates of about 45 degrees (values= 0.125). Using the PreTrans H control causes the image to slidealong the rotated Source plane.

Using the 2D Adjust/PreTrans Z control changes the image sizewithout moving it in 3D space. (Conversely, using 3D Locate Zdoes not resize the image; it appears larger or smaller because itmoves closer or further away in 3D space.) With 2DAdjust/PreTrans Size at its default (1.0000), if you place theSource axis on the left edge of the image, then change its size withPreTrans Size, the Source axis is no longer on the image edge,because the edge has moved away from the axis point.

2D Adjust/PostTrans

The 2D Adjust/PostTrans controls let you position and resize thecombined output of all the 3D transforms. These controls actuallymove the "vanishing point" for the entire image. 2DAdjust/PostTrans is useful for offsetting or sizing a solid or othermultiple-faced object that you created with the 3D controls. ThePostTrans Zoom control appears to change the image’s sizebecause it acts like a camera zoom. Zooming out (making theimage smaller) widens the field of view; zooming in reduces it.In other words, the image you are looking at is not moved in 3Dspace; the viewer’s apparent location is moved. As opposed to the

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PreTrans controls, the PostTrans controls affect all the 3D Locate,Rotate, and Axis functions identically and uniformly, as if theywere all part of the same image.

NOTE: Because the 2D Adjust/Post Trans control isseparate for each DVE channel, it is possible to moveall 3D spaces for one channel differently from theother channel, resulting in "vanishing points" forthe two channels that may not coincide. Use cautionwhen adusting PostTrans for one channel only.

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Aspect and Skew Perspective

The Aspect and Skew Perspective softkeys recall 2D pretransformcontrols that, like 2D PreTrans, act on the source image itself, notthe Source plane. Aspect H and V change the horizontal andvertical dimensions of the image independent of each other,allowing you to change the aspect ratio of the source image. TheAspect Size control is the same as the 2D PreTrans Size control;in fact, when you adjust one, the same values appear for the other.

The Skew H and V controls allow you to change the angles of the90-degree corners of the image, either horizontally, vertically, orboth. This is also referred to as italicizing.

The Perspective control is actually a 3D parameter that affects allRotate adjustments in all 3D spaces. The default Perspectivevalue of 0.3000 imparts a realistic looking "vanishing point" to all3D spaces. Setting Perspective lower than 0.3000 pushes thevanishing point farther away from the viewer than normal,making any perspective due to rotation more subtle. WithPerspective set to 0.0000, the vanishing point is infinitely faraway; practically speaking, there is no longer a "vanishing point"to show that the plane is rotated, and it looks like a 2D display nomatter where its rotation is set.

Similarly, setting Perspective to a value above 0.3000 brings thevanishing point closer to the viewer than normal, exaggeratingthe perspective for any rotation applied to all planes. Take carenot to adjust Perspective accidentally while working with Skew,especially if you require realistic-looking perspective androtation.

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Axis Cursors Pressing the CURSOR button to light its LED enables on-screengraphics to help you keep track of the channels and the locationsof their axes of rotation. These cursors and ID labels appear onlyin the 8150 Preview output. The channel ID labels (1A and 1B)appear in the corners of the channel’s image, as shown in thediagram below; there is no Global ID label. There are three axiscursors each for 1A and 1B, and two axis cursors for the Globalcontrols. With all Transform parameters at default, the cursorsare superimposed over each other, since all axis points areinitially located in the same place in all 3D spaces.

The plain "L"-shaped cursor always shows the location of theexact center of the original source image. When you move thesource image on the Source plane with 2D Adjust/PreTrans, thiscursor follows to indicate that the center of the source image is nolonger at the center of the Source plane. This cursor does not existfor the Global controls.

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The "L"-shaped cursor with the "+" superimposed on it shows thelocation of the center of rotation of the Source plane. When youmove the Source plane with the 3D Locate/Source controls, thiscursor moves to show that the Source plane is moving. You canalso move the center of rotation of the plane without moving theplane itself, by adjusting Axis Position/Source; in this case, thecursor moves, but the plane does not move.

The "L"-shaped cursor with the "X" superimposed on it shows thelocation of the center of rotation of the Target plane. When youmove the Target plane with the 3D Locate/Target controls, thiscursor moves to show that the Target plane is moving. You canalso move the center of rotation of the plane without moving theplane itself, by adjusting Axis Position/Target; in this case, thecursor moves, but the plane does not move.

The cursors each have a third "leg", to indicate the orientation ofthe Z axis, which is not visible initially. Rotating the plane eitherhorizontally or vertically rotates the Z axis, thus bringing thecursor Z "leg" into view.

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The cursors and channel IDs only appear for the currently activechannel(s). Since this can mean as many as 6 cursors on the screenat once, each channel has its own color for identification:

Channel 1A: red

Channel 1B: blue

Global: white (no ID)

Note that, when the CURSOR button LED is lit, the DVE cursorsremain in the Preview output even if the DVE video is not presentin the output. To remove them, press the CURSOR button,extinguishing its LED.

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Parameter Hierarchy DetailAny digital video effects system has many parameters (numericvalues) and flags (toggles) that alter the input video image. the8150’s optional internal DVE offers many advanced features to letyou create unique effects. They offer a wide range of possibilities,but the array of controls can be confusing to the beginner. It isimportant that you understand the image processing path andhow the controls interact before you can expect to master the 8150DVE.

This section describes the hierarchy of the system parameters. Thekey to building effects is to design them beginning with the most"upstream" parameters. Note that, although you can alterparameters at any point in the hierarchy at any time, changing aparameter in the middle of the hierarchy reorients all upstreamparameters, and can also interact with parameters downstreamfrom it. Although in most effects this is not important, you mustconsider it when building complex 3D tracking moves.

The following lists the parameters and flags, in "upstream" to"downstream" order. The submenu and softkey which containseach parameter appears in parentheses.

When reading the following discussions, it may be helpful tothink of the 8150 DVE as multiple 2D and 3D DVEs that areconnected input-to-output, as the processing flow is analogous tothis way of thinking. The following discussions indicate thepoints in the signal flow these imaginary multiple DVEs appear.

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Pre 2D Parameters

These functions modify the source image without actuallymoving it; they occur "upstream" of the pre-transform 2Dcontrols. In the multiple DVE analogy, these parameters are at theinput of an imaginary 2D DVE.

The Source Image The source image is, by default, a full-sizeimage with no modifications. Its defaultlocation is the center of the Source plane unlessyou move it with the Transform submenu 2DPreTrans controls. The source image can be

any video or key source available in the 8150.

Front/Back (Input submenu Input)These controls select the video input source for the front and backsides of the source image. Think of the source image as atwo-sided photograph; as you rotate the image horizontally orvertically, you can view one side or the other, but not both at thesame time. The 8150 automatically switches the input sourcewhen the plane is rotated exactly edge-on, so that it appears thatthere are two different images present per channel, when in factthere is only one at any given instant.

Freeze (Input submenu Strobe)You can freeze the input video by setting flags to freeze a field ofvideo or a frame, or by pressing the DVE FREEZE button belowthe joystick. Because a freeze is downstream of the inputfront/back switch, selecting a freeze causes the current frozenvideo to appear on both sides of the plane. This freeze does notaffect the texture input.

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Invert (Input submenu Flip Picture) You can invert the input video for the front orback side horizontally, vertically, or both,selecting different inversion settings for thefront and back sides if necessary. Note that theback side of the image is normally inverted

horizontally, as if you were viewing it "through" the back of theSource plane. If the back source contains text, for instance, youcan orient it correctly by setting Back Invert to H.

Border (Source Image submenu Border) The Source plane, upon which source image isplaced, contains a matte color, which is theborder color. This matte color is not visibleuntil you uncrop the image to reveal an"outside" border in the Vid+Vid mode, or you

can create an "inside" border by using the Border function to coverthe source image from its outside edges in any mode (Vid+Vid,Vid+Key, or Vid/Key+S). Additionally, in Vid+Key mode,repositioning the B (key) channel outside the A (video) channelreveals the matte color if the border is not at zero size and softness.

Light Source and Textures (Light Source submenu) It is at this point in the processing flow that theSurfaceFX light source and textures arecombined with the source image. You canselect any direct source in the 8150 (forexample, external inputs, framestore outputs,

and the SuperMatte generator) as a texture source. You can alsofreeze and crop this source independent of the input video, aswell as adjust the clip (limiting the highest and lowest "bumps")and gain (amplitude) of the texture.


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Note that although the highlights, lowlights, and textures areapplied to the source image at this point, if the Setup Enable LightReference mode is set to Screen (the default), the position androtation of the imaginary light source which generates thesefeatures is independent of all the subsequent 3D spaces, and onlymoves with the Light Source Position and Rotation controls orthe 2D Adjust/PostTrans controls, described later.

When the Setup Enable Light Reference mode is set to Image, theposition and rotation of the light source always moves with thesource image itself, whether you move the image with 2DAdust/PreTrans or any other "downstream" control. However, ifthe Warp feature is also turned on, the position and rotation ofthe light source moves not with the 2D Adjust/PreTrans controls,but with Rotate/Source (and all "downstream" controls).

Mosaic (Source Image submenu Mosaic Multipic) The Mosaic feature changes the pixel size whileinversely changing the number of pixels in theimage, creating a blocky pixellated look, i.e.,the larger the pixel size, the fewer there are inthe entire image. You can vary the horizontal

and vertical block size independently.

Multipic (Source Image submenu Mosaic Multipic) The Multipic feature makes multiple copies ofthe original source image and places them atregular intervals all over the Source plane. Youcan independently adjust the horizontal andvertical distance between the multiple image

centers. The border color (see Border above) fills the gaps betweenthe multiple images if the distance between images is larger thanone screen unit. You must uncrop the image (see Crop below) inorder to see the effects of this feature.


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Crop (Source Image submenu Crop) Cropping changes the size of the key signal,masking or revealing various portions of theSource plane. The default crop size iscoincident with the dimensions of thefull-raster source image. You can crop the

image from the outside edge inward to mask the outer portions,or you can uncrop the image from the outside edge outward toreveal the border color (see Border above) or the Multipic feature(see Multipic above) independently for both channels in Vid+Vidmode. In Vid+Key and Vid/Key+S modes, cropping the Achannel crops video, key, and drop shadow simultaneously,while the B channel crop function is disabled. Note that if thesource image has an inside border applied to it, cropping theimage "pushes" the border along with it, so that the inside bordermaintains its original offset from the "new" picture edge.

2D Parameters

These functions manipulate only the two-dimensional imagewithout affecting the Source plane, except for Warp, whichdistorts the Source plane without moving it in 3D space. The 2Dcursor, when enabled, shows the center of the source image at alltimes for these parameters. In the multiple DVE analogy, thisstage is the actual transformations taking place in the imaginary2D DVE.

Skew (Transform submenu Skew Perspective) This control distorts the image by modifyingthe corner angles, also known as italicizing. Anormal image has 90 degree corners, with askew value of 0.0000. A horizontal skew keepsthe horizontal edges parallel, while a vertical

skew keeps the vertical edges parallel.


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(Perspective is a 3D control that takes place further "downstream"and is discussed later; take care not to change this parameteraccidentally when adusting Skew.)

PreTrans (Transform submenu 2D Adjust/PreTrans) These controls adjust the size and position ofthe source image on the Source plane withoutmoving the Source plane itself. Repositioningthe source image with PreTrans moves it awayfrom the Source plane axis, i.e., center of

rotation. (PostTrans is a 2D control that takes place much further"downstream" and is discussed later.)

As noted in the Light Source discussions, the position of the lightsource moves with 2D Adjust/PreTrans and all "downstream"parameters only when its Light Reference is set to Image.

Aspect (Transform submenu Aspect) This lets you individually control thehorizontal and vertical size of the sourceimage, changing its aspect ratio from thestandard 4:3, reproportioning the imagearound its own center point. The Aspect Size

parameter is the same as the PreTrans Size parameter; in fact,adjusting one control changes the other.

Warp (Warp submenu) Warp shapes are nonlinear 2D transformationsthat are applied to portions of the Source plane.A Warp shape can bend, curve, fold, segment,or otherwise distort the Source plane, alsoaffecting the source image if its location on the

Source plane coincides with that of the Warp shape.


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Since some Warp shapes interact with the Light Source feature,turning Warp on and off has some effect when using a LightSource whose Light Reference mode is set to Image. When theWarp feature is turned off, the position and rotation of the lightsource follows 2D Adjust/PreTrans and all "downstream"parameters; however, when Warp is turned on, the light sourceposition and rotation follows Rotate/Source and all parameters"downstream" from that point.

When the Light Reference mode is set to Screen (the default), theWarp on/off status does not affect the light source position androtation.

3D Parameters – Local Source

These functions manipulate the local Source plane inthree-dimensional Source space. The Source cursor, whenenabled, shows the intersection of the Source H, V, and Z Axes atall times for these parameters. In the multple DVE analogy, theoutput of the 2D DVE is fed to the input of a 3D DVE at this point.

Rotate (Transform submenu Rotate/Source) The Rotate controls rotate the source plane,which contains the source image, around its Z,V, and H axes. As shown in the examplesearlier in this section, all the Rotation controls,including Rotate/Source, have their own

internal hierarchy: Z first, then V, and finally H. What this meansis that a Source Z rotation affects only the Source plane, and doesnot rotate its axes; a Source V rotation affects the Source plane andits Z axis; and a Source H rotation affects the Source plane andboth its Z and H axes. The V axis remains vertical; you cannotchange it with any Source Rotate controls.


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When the plane rotates past an edge-on point, the selected backvideo source becomes visible on the Source plane. Also, note thatwhen you rotate the plane, you rotate the plane’s entireleft/right/top/bottom orientation as well. For example, if yourotate the plane horizontally 180 degrees, then move the imagewith 2D Adjust/PreTrans, a left position entry apparently movesthe image right, because you are viewing the plane from "behind."

Axis (Transform submenu Axis Position/Source) This control moves the intersection of the axesof rotation (referred to as the Axis) of theSource plane. By default, the three axes (H, V,and Z) intersect at the center of the Sourceplane. You can change the horizontal and

vertical position to move the pivot point on the Source plane. Theaxis is normally located on the plane surface, but you can moveit in front of or behind the plane using the Z parameter, allowingthe plane to rotate in space around the axis in an "orbit" or "roll."

Locate (Transform submenu 3D Locate/Source) This control moves the Source planehorizontally, vertically, and perpendicularly(depth-wise) in Source space, regardless ofwhere the Source axis is oriented. Moving theplane away from you in space always moves

the image toward the center of screen, or "vanishing point."Conversely, if you move the plane toward you, the imagedisappears at the "eye point," beyond which the image is "behind"the viewer and is invisible.


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3D Parameters – Local Target

These functions manipulate the local Target plane inthree-dimensional Target space. The Target cursor, whenenabled, shows the intersection of the Target H, V, and Z Axes atall times for these parameters. Local Source space, describedabove, is completely contained in local Target space, and ismanipulated by the Target plane.

Another set of 3D controls above and beyond the Source controlsis necessary because of the internal Rotate parameter hierarchy(Z, then V, then H) described earlier. An identical set of rotationsin Target space allows you to rotate the Source plane’s Rotate axesand Locate directions while still retaining any 3D manipulationsthat you may have made in Source space. In the multiple DVEanalogy, the output of the imaginary Source 3D DVE is input toanother imaginary 3D DVE which performs the Target functions.

Rotate (Transform submenu Rotate/Target) The Rotate controls rotate the Target plane,which contains 3D Source space, around its Z,V, and H axes. As shown in the examplesearlier in this section, all the Rotation controls,including Rotate/Target, has its own internalhierarchy: Z first, then V, and finally H. What

this means is that a Target Z rotation affects only the Target plane(as well as all of Source space), and does not rotate its axes; aTarget V rotation affects the Target plane and its Z axis; and aTarget H rotation affects the Target plane and both its Z and Haxes. The V axis remains vertical; you cannot change it with anyTarget Rotate controls.


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Axis (Transform submenu Axis Position/Target) This control moves the intersection of the axesof rotation (referred to as the Axis) of the Targetplane. By default, the three axes (H, V, and Z)intersect at the center of the Target plane. Youcan change the horizontal and vertical positionto move the pivot point on the Target plane.

The axis is normally located on the plane surface, but you canmove it in front of or behind the plane using the Z parameter,allowing the plane to rotate in space around the axis in an "orbit"or "roll."

Locate (Transform submenu 3D Locate/Target) This control moves the Target planehorizontally, vertically, and perpendicularly(depth-wise) in Target space, regardless ofwhere the Target axis is oriented. Moving theplane away from you in space always movesthe image toward the center of screen, or

"vanishing point." Conversely, if you move the plane toward you,the image disappears at the "eye point," beyond which the imageis "behind" the viewer and is invisible.

3D Parameters – Global Source and Target

The Global Source and Global Target controls are two more setsof 3D parameters that are downstream from, yet operate muchlike, their "local" counterparts. In the analogy of multiple DVEs,the output of the Target 3D DVE feeds the input of another 3DDVE which manipulates the Global Source functions, and theninput from this to another that performs Global Target functions.In both cases, the numbering systems are identical to the local 3Dparameters.


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The main difference in the Global parameters is that these controlsaffect both local channels identically; there is no way to separatelymanipulate one channel or the other with Global controls. Fordetails on the 3D Global functions, see the previous discussionson Target Rotate, Target Axis, and Target Locate, which areidentical to, but "upstream" of, the 3D Global functions. Thesecontrols appear when the Global label below the joystick is lit.

The primary function of Globals is to move and rotate solids, suchas cubes and slabs, or to manipulate multiple channels identically,but you can also use these controls with single channel effects.The Auto Cube and Auto Key functions, which automaticallycreate the "face pairs" for solids, work only with Global transformparameters.

Post 2D Parameters

Global Target is the final 3D space. After all 3D manipulationshave been performed, the 2D PostTrans functions move not the3D spaces, but move the point of view of the viewer. In themultiple DVE analogy, the output of the Global Target 3D DVEis fed to the input of another 2D DVE, which moves the entirecomposite of upstream 3D and 2D DVEs.

Perspective (Transform submenu SkewPerspective) It is at this point in the hierarchy that theillusion of perspective is applied to all the 3Dspaces. To generate a natural lookingperspective when any plane is rotated, the 8150DVE uses a value of 0.3000, placing thetheoretical "vanishing point" at a distance

comparable to that in the real world.


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A value lower than 0.3000 moves the vanishing point furtheraway, reducing the apparent perspective, until, at a value of0.0000, the vanishing point is infinitely far away, and allperspective is gone, effectively making all movementtwo-dimensional. Similarly, a value above 0.3000 moves thevanishing point closer to the viewer, exaggerating the perspectivedue to the rotation of any plane.

Light Source Position and Rotation (Light Sourcesubmenu Position, Rotation)

As discussed previously, the effects of theLight Source feature are applied to the sourceimage before the 2D PreTrans parameters.However, when the Setup Enable LightReference mode is set to Screen (the default),

the position and rotation of the imaginary light source whichproduces those effects are independent of all previous 3Dcontrols, so that the light source for each channel appears to befixed in space as all the local and Global planes move in theirspace. When you change the Light Source position or rotation, itaffects all 3D spaces equally.

When the Setup Enable Light Reference mode is set to Image, theposition and rotation of the light source always moves with thesource image itself, whether you move the image with 2DAdust/PreTrans or any other control. However, if the Warpfeature is also turned on, the position and rotation of the lightsource moves not with the 2D Adjust/PreTrans controls, but withRotate/Source (and all "downstream" controls).


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PostTrans (Transform submenu 2D Adjust/PostTrans) 2D Adjust/PostTrans H, V, and Zoom are atthe final level of control in the system. The Hand V parameters move the "vanishing point"for all 3D spaces, effectively moving theviewer, not the planes. The Zoom parameterresizes the spaces, making this control like a

camera zoom, which allows the viewer to to see more or less ofthe entire Global 3D space. Since this parameter can be differentfor the two channels, you can move the "vanishing point" for onechannel differently than the other. However, you shouldnormally use this control for both channels simultaneously.

As noted in the Light Source discussions, the position of the lightsource remains fixed when its Light Reference mode is set toScreen; it moves only with 2D Adjust/PostTrans.


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Section 4

DVE MenusIntroduction

This section contains discussions on all operational parameterscontained in the DVE Chan A, DVE Chan B, and DVE Globalmenus, which you can access by pressing the DVE menu button.Where appropriate, the descriptions reference similar functionsin the Abekas A53-D, A51+, or A57 DVEs for the sake ofcomparison.

The DVE Channel/Global menus contain all operational controlsfor the 8150’s internal twin-channel DVE. For information oncreating, saving, and recalling DVE effects, either independentlyas Effect transitions, or as a part of an 8150 switcher effect, seeSection 5 – Building and Running Effects.

8150 DVE Operations Introduction

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The DVE Channel/Global Menu

Press the DVE menu button to access the DVE Channel/Globalmenu. This menu contains all transform controls for both DVEchannels as well as the Global transform controls.

If Auto Menu is turned On (Personality User Keys & Miscsubmenu), some version of this menu appears when you pressone of the oblong Channel Select buttons below the joystick.

Above the buttons are labels that light to indicate which channelis active: CHAN A, CHAN B, both, or GLOBAL. You cannot selectGLOBAL simultaneously with either CHAN A or CHAN B.

Keypad

SourceTarget 3D Locate

Rotate

AxisPosition

Source

2DAdjust

Aspect

SkewPers-

pective

Transform

SourceImage

Input

Output

H

SM0.0000

V

SM0.0000

Warp

LightSource

TL 1 KF 0/0

Target

SourceTarget

PreTransPostTrans

Adjust

Adjust

Z

SM0.0000

DVE Loop Off

The DVE Channel/Global Menu

The DVE Channel/Global Menu 8150 DVE Operations

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The Transform Submenu

Press the Transform softkey to access controls for locating androtating the local and Global Source and Target planes in 3Dspace, and positioning their axes of rotation. Also use thissubmenu to reposition, resize, skew, and change the aspect ratioof the input source image.

The menu title at the top of the display indicates which DVEchannel you are controlling: Chan A, Chan B, Chan A/B (both),or Global. You cannot control Global simultaneously with anyother channel.

See Section 3 – Transforms for in-depth information on thefunction of each transformation type, and examples of how theyinteract with each other.

The Transform submenu is similar to the Function 1 menu in theA53-D, A51+, and A57.

3D Locate Press the 3D Locate softkey to toggle between Source and Target,and access H, V, and Z Locate controls for the selected 3D space.If the A, B, or both channels are active, the Source and Target

selections refer to localSource and local Targetspace. If Global control isactive, the Source and Targetselections refer to GlobalSource and Global Targetspace.

The 3D Locate parametersuse values in Screen Units.The source image sizedefaults to 1.0000 ScreenUnits horizontally by 0.7500

The H and V Locate Parameters

8150 DVE Operations The DVE Channel/Global Menu

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Screen Units vertically. Avalue of 0.0000 indicates thatthe center of the active plane(Source, Target, GlobalSource, or Global Target) is atthe center of the screen.Similarly, the Z parameter isin Screen Units also,indicating how "close" orhow "far away" from thescreen the active plane is.Positive Z values indicate

that the plane is located "behind" the screen, while negative Zvalues indicate that the plane is located "in front of" the screen.

Local Source space is the most "upstream" of the four 3D spacesin which the 8150 DVE operates. It contains the Source plane,upon which the input source image exists. Local Target spacecontains the Target plane, upon which all Source space exists.Similarly, Global Source space contains the Global Source plane,upon which all (local) Target space exists. Finally, Global Targetspace contains the Global Target plane, upon which all of GlobalSource space exists.

Note that rotating the plane does not change the direction ofmovement for that plane when using 3D Locate; the plane stillmoves horizontally, vertically, or directly perpendicular to thescreen, regardless of the orientation of its axes of rotation.However, rotating a "downstream" plane changes the directionof all "upstream" planes when you move them with their own 3DLocate controls.

The Z Locate Parameter


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3D Locate/Source is similar to the Locate function in the A53-D,A51+, and A57. 3D Locate/Target has no counterpart in theseunits, but you can think of it as another Locate controldownstream of the first Locate control. Likewise, in the DVEGlobal Transform submenu, 3D Locate/Source is similar to theGlobal Locate function in the A53-D, A51+, and A57. The Global3D Locate/Target has no counterpart in these units, but you canthink of it as another Global Locate control downstream of thefirst Global Locate control.

Rotate Press the Rotate softkey to toggle between Source and Target, andaccess H, V, and Z controls for the selected 3D space. If the A, B,or both channels are active, the Source and Target selections referto local Source and local Target space. If Global control is active,the Source and Target selections refer to Global Source and GlobalTarget space.

The Rotate values are not in Screen Units; they indicate apercentage of a full rotation. For example, a Rotate value of 1.0000is a full 360 degree rotation in a clockwise direction; a value of0.5000 is a 180 degree clockwise rotation; and a value of 0.2500 isa 90 degree clockwise rotation. Values greater than 1.0000 indicatemore than one full clockwise rotation, and negative valuesindicate rotation in a counterclockwise direction.

As explained in Section 3 – Transforms, rotating a plane in 3Dspace affects the current plane and all planes "upstream" of thecurrent plane. Additionally, the Z, V, and H parameters affect thecurrent plane’s rotational axes as shown on the following page.


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Z rotates the planearound its Z(perpendicular) axis, butdoes not rotate any axis.

V rotates the plane and itsZ axis vertically around itsH (horizontal) axis, butdoes not rotate the V or Haxes.

H rotates the plane andits Z and H axeshorizontally around itsV (vertical) axis, butdoes not rotate the Vaxis. To rotate the V axisof the current plane, youmust use the Rotatecontrol of the next"downstream" plane.

The Z Rotate Parameter

The V Rotate Parameter

The H Rotate Parameter


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Note that rotating the axes of rotation for the current plane doesnot change the direction of movement for that plane when using3D Locate; the plane still moves horizontally, vertically, ordepthwise regardless of the orientation of its axes of rotation.However, rotating a "downstream" plane does change thedirection of all "upstream" planes when moved with 3D Locate.See 3D Locate above.

Rotate is similar to the Rotate function in the A53-D, A51+, andA57.

Axis Position Press the Axis Position softkey to toggle between Source andTarget, and access H, V, and Z controls for the selected 3D space.If the A, B, or both channels are active, the Source and Targetselections refer to local Source and local Target space. If Globalcontrol is active, the Source and Target selections refer to GlobalSource and Global Target space.

The Axis Position controlsmove only the intersectionof the axes of rotation forthe current plane, not theplane itself, nor the imagelocated on the plane. TheAxis Position values are inScreen Units.

Pressing the CURSORbutton makes the Axispoint(s) for all activechannels visible in the 8150’s Preview output.

The Axis Position Parameters


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The Source Axis contains a small "+" at the center of its cursor,while the Target Axis contains a small "x" at the center of itscursor. (A third Axis cursor appears if you move the source imagewith 2D Adjust PreTrans.)

Axis Position is similar to the Axis function in the A53-D, A51+,and A57.


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2D AdjustThis softkey does not appear in the DVE Global menu. Press 2DAdjust to toggle between PreTrans and PostTrans. Both arestrictly two-dimensional controls that change only horizontalposition, vertical position, and size. Their values indicate ScreenUnits. However, the 2D Z (Size or Zoom) value does not indicatedistance from the screen; it indicates the amount of change thathas been applied to the size of the image.

PreTrans is "upstream" ofall 3D controls, moving orresizing only the inputsource image withoutaffecting the Source planeupon which it exists.

PostTrans is "downstream"of all 3D controls, moving or"zooming" all 3D spacesequally, essentially movingthe "vanishing point" for all3D rotation and perspective.

The 2D PreTrans Parameters

The 2D PostTrans Parameters


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PreTrans is similar to the Source function in the A53-D, A51+, andA57, while PostTrans is similar to the Target function in thoseunits.

AspectThis softkey does not appear in the DVE Global menu. PressAspect to modify the aspect ratio of the input source image fromits normal 4:3 default.

The Aspect H control changes the horizontal dimension, theAspect V control changes the vertical dimension, and the Sizecontrol changes both dimensions proportionally; this is the samecontrol as the 2D Adjust/PreTrans Z control.

Aspect is similar to the Aspect control in the A53-D, A51+, andA57.

The Horizontal Aspect Ratio Parameter

The Vertical Aspect Ratio Parameter


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Skew PerspectiveThis softkey does not appear in the DVE Global menu. Press SkewPerspective to modify the corners of the input source image fromtheir normal 90-degree angles, as well as to change the coefficientthat the 8150 DVE uses to calculate perspective for 3D rotationand movement.

Skew H tilts the vertical edges of the image while maintainingthe horizontal edges, while Skew V tilts the horizontal edges ofthe image while maintaining the vertical edges.

Perspective is a coefficient that determines the distance to the"vanishing point" toward which all 3D spaces conform. Reducingthe Perspective value below its default of 0.3000 moves theapparent "vanishing point" further away from the viewer,reducing the illusion of perspective; in fact, a value of 0.0000moves the "vanishing point" infinitely far from the viewer,making all 3D transforms appear to be two-dimensional.

The H and V Skew Parameters

The Perspective Parameter


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Increasing the Perspective value above 0.3000 exaggerates theillusion of perspective by moving the "vanishing point" closer tothe viewer.

Skew Perspective is similar to the Skew Perspective control in theA53-D, A51+, and A57.

NOTE: Take care not to accidentally adjust thePerspective value when changing Skew. APerspective value other than 0.3000 can produceunnatural-looking rotation and perspective effects .


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Keyer Mode This softkey appears only in the DVE Global menu. Press KeyerMode to toggle between Shaped and Unshaped modes. Shapedmode (the default) shapes the DVE output video using theinternal DVE’s own keyer. Select this mode mainly when usingthe DVE output as a direct source; if used as a key source in thismode, make sure the 8150 keyer is set to Matte mode. Unshapedmode does not shape the DVE output video. Select this modewhen using the DVE output as a key source; if used as a directsource in this mode, the fill edges may appear harsh. Keyer Modeis a keyframable attribute, meaning that you can change thismode from keyframe to keyframe or from effect to effect.

Shaped mode is similar to turning the Background ON in theA53-D and A51+, and to Keyed mode in the A57, while Unshapedmode is similar to turning the Background OFF in the A53-D andA51+, and to Unkeyed mode in the A57.

Keypad


Rotate

AxisPosition

Source

KeyerMode

Transform

H

SM0.0000

V

SM0.0000

TL 1 KF 0/0

Target

SourceTarget

ShapedUnshaped

Z

SM0.0000

DVE Loop Off

Blanking

The Global Transform Submenu


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See the 8150 Switcher Operations Manual Section 4 – Keying formore information on Shaped and Unshaped keying modes.

The Blanking Submenu (Global Menu Only)

This submenu appears only in the DVE Global menu. It containscontrols that compensate for wide blanking on input sources.

These controls are not keyframable; they are engineeringadjustments, and cannot change from keyframe to keyframe orfrom effect to effect.

Keypad

OffCrop Blanking

Transform

H

0.0000

V

0.0000

TL 1 KF 0/0DVE Loop Off

Blanking

Stretch

The Blanking Submenu


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BlankingPress the Blanking softkey to toggle between Off, Crop, andStretch. The Off setting disables input blanking compensation.

The 8150 DVE transforms the full active picture, expecting inputhorizontal and vertical blanking to be the standard widths.However, some sources may contain blanking widths that arewider than the standard widths. This wide blanking is visible asblack horizontal or vertical edges when the image size is reduced.The DVE has two methods of compensating for these unwantededges.

The Crop method masks off the edges of the image, making thewide blanking invisible without stretching or otherwisedistorting the image, but changing the 4:3 aspect ratio of the keysignal. There are separate controls for horizontal and verticalblanking; these controls apply to any and all sources selected asDVE inputs, both front and back.

The Stretch method removes wide blanking by stretching theimage horizontally or vertically until the black edges are notvisible, maintaining the 4:3 aspect ratio of the key signal butdistorting the image slightly. There are separate controls forhorizontal and vertical blanking for both the front side and backside of the DVE; however, these controls apply to any sourceselected for these inputs.

The Crop method’s advantage is that the aspect ratio of the videodoes not change. You can transition from a direct source to thatsame source through the DVE at full size with no visibledifference between the two. The Crop mode’s disadvantage isthat, if the DVE is keyed at full size over a background, theextreme edges of that background may be visible behind the DVE.


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The Stretch method’s advantage is that the key signal retains itsfull 4:3 size. If the DVE is keyed at full size over a background,the background remains unseen. The disadvantage to Stretchmode is that, in a transition from a direct source to that sourcethrough the DVE at full size, the width or height differencebetween the two images is visible.


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The Source Image Submenu

Press the Source Image softkey to access controls for cropping,bordering, and blurring the input source image, as well asaccessing the Mosaic, Multipicture, and Corner Pinning features.

The Source Image submenu is similar to the Function 2 menu inthe A53-D, A51+, and A57.

Keypad

EdgeSoft Crop

Border

BorderMatte

Width

CornerPinning

MosaicMulti Pic

Blur

Transform

SourceImage

Input

Output

Left

SM-0.5000

Top

SM0.3750

Warp

LightSource

TL 1 KF 0/0

Soft

Adjust

Adjust

OffMosaic

Multi Pic

CROPALL

JPAdjust

SwitchEdges

JPLeft & Top

DVE Loop Off

OffOn



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Crop Press the Crop softkey to toggle between Edge and Soft. The Cropfunction masks the input source image from its outer edgesinward, or unmasks the input source image from its outer edgesoutward. In either case, the Crop function is accomplished bychanging the size of the key signal.

The values associated withthe Crop function areexpressed in Screen Units (asused with the 2D and 3DTransform parameters). Thedefault Crop values coincidewith the extreme edges of thefull size image, with 0.0000located at the exact center ofthe source image.

With Edge selected, you cancrop each side of the source image independently using the Leftand Top or Right and Bottom controls (turn the Switch Edgescontrol to access each pair), or crop all four sides simultaneouslywith Crop All or with the joystick Z axis.

If you move the Crop edges outward in Vid+Vid mode, youexpose the Border, which surrounds the source image. You alsomust move the Crop edges outward in order to see the MultiPicfeature, described later in this section.

With Soft selected, you can soften each crop edge independentlyor simultaneously as described above.

Crop is similar to the Crop function in the A53-D, A51+, and A57.

Crop Parameter Values


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BorderPress the Border softkey to toggle between Width and Soft. TheBorder function applies a matte color to the input source image,extending inward from the outer edges of the image as the borderwidth increases. The Border surrounds the source image, and ifif you move the Crop edges outward in Vid+Vid mode youexpose the Border. Additionally, the Border fills the gaps betweenMultiPics when that feature is turned on.

With Width selected, you can apply a different Border width toeach side of the source image independently using the Left andTop or Right and Bottom controls (turn the Switch Edges controlto access each pair), or change the width of all four sidessimultaneously with Width All or with the joystick Z axis. Thevalues for Border edges are in Screen Units, just like Crop values.

Keypad

EdgeSoft Crop

Border

BorderMatte

Width

CornerPinning

MosaicMulti Pic

Blur

Transform

SourceImage

Input

Output

Left

SM-0.5000

Top

SM0.3750

Warp

LightSource

TL 1 KF 0/0

Soft

Adjust

Adjust

OffMosaic

Multi Pic

CROPALL

JPAdjust

SwitchEdges

JPLeft & Top

DVE Loop Off

OffOn



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With Soft selected, you can soften all inner edges of the Bordersimultaneously with Softness All or the joystick Z axis.

Border is similar to the Border function in the A53-D, A51+, andA57.

Border Matte Press the Border Matte softkey to access controls for changing theBorder color and opacity. There are Luma, Sat, and Hue controlsfor adjusting the Border color, and an Opacity control forapplying transparency to the border. The Border is fully opaquewhen Opacity is at 100.00, and completely invisible whenOpacity is at 0.00.

Border Matte is similar to the Border control in the A53-D, A51+,and A57.

Corner PinningPress the Corner Pinning softkey to access controls to move onecorner of the source image independently of the other corners.Use the Switch Corners control to select the corner that you wantto adjust (Top Left, Top Rt, Bot Left, or Bot Rt) and use the H Posand V Pos controls or the joystick to reposition the selectedcorner.

The Corner Pinning feature uses four parameters interactively toproduce the end result: 3D Locate/Target, Rotate/Target, Aspect,and Skew. If you adjust Corner Pinning and then view the valuesfor these four parameters, you see that they have changed.Furthermore, if you create an effect that changes Corner Pinningpositions significantly from one keyframe to the next, these fourparameters can interact with each other in an unpredictablefashion, making the image "wobble" or otherwise moveunpredictably between keyframes.


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For this reason, the C Motion control allows the DVE to directlyinterpolate from one Corner Pinned position to the next withoutthe "wobbling" effects that you would normally see. Leave CMotion turned On for linear Corner Pinning movement, or turnC Motion Off when you want nonlinear movement.

Corner Pinning is similar to the Corner Pinning feature in theA51+ and the A57, and to the Corner Pinning function enabledby the A53-D SPORT (Special Programs On Remote Terminal) PCinterface.

Mosaic MultiPic Press the Mosaic MultiPic softkey to toggle between Off, Mosaic,and MultiPic to access controls for modifying the pixel resolutionof the source image and to create multiple live copies of the sourceimage.

Keypad

EdgeSoft Crop

Border

BorderMatte

Width

CornerPinning

MosaicMulti Pic

Blur

Transform

SourceImage

Input

Output

Left

SM-0.5000

Top

SM0.3750

Warp

LightSource

TL 1 KF 0/0

Soft

Adjust

Adjust

OffMosaic

Multi Pic

CROPALL

JPAdjust

SwitchEdges

JPLeft & Top

DVE Loop Off

OffOn



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When Mosaic is selected, you can reduce the horizontal andvertical pixel resolution of the source image with the H Size, VSize, or Both controls, or the joystick.

A full resolution video image contains 720 pixels horizontally and486 lines vertically (in 525) or 576 lines vertically (in 625). Mosaicmode selects a reduced number of pixels and/or lines in theimage and duplicates them horizontally and/or vertically,replacing the original pixels and/or lines, thereby reducing theresolution of the image.

When MultiPic is selected, it creates multiple live copies of theinput source image and places them at regular intervals on theSource plane surrounding the original source image. To be ableto view this feature in Vid+Vid mode, you must "uncrop" theimage by moving the Crop (see description earlier in this section)outward from the edges of the source image. In Vid+Key andVid/Key+S modes you do not need to uncrop the image to seethe multiples.

When first enabled, the edges of the multiple images join eachother to make an unbroken plane of multiples. Increasing the HMult and/or V Mult values above 1.0000 with the Both controlor the joystick, moves the image centers apart, revealing theBorder color in between. Reducing these values below 1.0000,crops the image edges so that the image centers move closertogether.


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The H Mult and V Mult values show the distance from imagecenter to image center as a multiple of the original imagedimensions. For example, a value of 2.0000 moves the imagecenters apart by twice the width or height of the original image;a value of 0.5000 moves the image centers apart by one half of thewidth or height of the original image.

If you need to know the location of the original source image,press the CURSOR button to turn on the channel cursors in thePreview output. The original source image always has the plainL-shaped cursor at its center.

Mosaic is similar to the Mosaic feature in the A57 (the A53-D andA51+ have no comparable function), while MultiPic is similar toMultipic mode in the A53-D, A51+, and A57.

BlurPress the Blur softkey to toggle this function On and Off. The Blurfunction applies extra filtering to the input video to give it asoftened look. You can blur the source image horizontally orvertically with H Blur or V Blur respectively, or blur it in bothdirections at once with Blur All or the joystick Z axis.

Blur is similar to the Blur function in the A53-D, A51+, and A57.


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The Input Submenu

Press the Input softkey to access controls for selecting DVEchannel inputs, source image inversion, freezing and strobing,and motion detection.

The Input submenu is similar to portions of the Edit and Timemenus in the A53-D and to portions of the Input and Time menusin the A51+ and A57.

Keypad

SourceInput

FlipPicture

Strobe

Adjust

MotionDetect

Transform

SourceImage

Input

Output

FrontSource

JPinput1

BackSource

JPinput1

Warp

LightSource

TL 1 KF 0/0

Pass ThruStrobe

Adjust

DVE Loop Off

The Input Submenu


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Input SourcePress the Input Source softkey to access controls that select thevideo inputs for the DVE channels. Front Source selects thesource when the DVE is showing its "front" side, and Back Sourceselects the source when the DVE is showing its "back" side.

The Front and Back selections for the A channel appear only wheneither the DVE Chan A or DVE Chan A/B menu is present, andthe Front and Back selections for the B channel appear only whenthe DVE Chan B menu is present. When the DVE is in Vid+Vidmode, the B channel inputs select its video source, while inVid+Key or Vid/Key+ S modes, the B channel inputs select itskey source.

Any source in the 8150 internal crosspoint matrix is available asa source for the internal DVE. If the source is assigned to acrosspoint button, you can press and hold that button on theBackground B or Preset bus row and press the pushknob to assignthat source to the DVE input. You also can turn the pushknob todial in the source name, or you can type the internal sourcenumber (listed in the table on the next page) on the numerickeypad and press the pushknob to select the source.

NOTE: The internal DVE retimes its output to matchthe timing of its most delayed input source. If youroute an M/E or DSK source to any DVE input, theDVE will be incorrectly timed when selected on anM/E bus. Furthermore, if you route DSK Preview toany DVE input, the DVE will be incorrectly timedwhen selected on any bus.


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Src No. Source Name Src No. Source Name

1 black 17 input 162 input 1 18 SuperMatte3 input 2 19 Framestore 14 input 3 20 Framestore 25 input 4 21 DVE Video6 input 5 22 DVE Key7 input 6 23 M/E Key Send8 input 7 24 DSK Preview9 input 8 25 DSK Vid Send10 input 9 26 DSK Key Send11 input 10 27 Key Monitor12 input 11 28 Wipe Pattern13 input 12 29 M/E Vid Send14 input 13 30 M/E Program15 input 14 31 M/E Preview16 input 15

Sources in 8150 Crosspoint Matrix

When using the internal DVE for an Effect Transition or an EffectsLoop, the 8150 automatically selects the necessary input sources.When you exit these modes, the source that had been assignedprior to the transition or loop reappears.

Input Source is similar to the Front and Back source selections inthe A53-D, A51+, and A57.

Flip PicturePress the Flip Picture softkey to access controls for inverting thehorizontal and/or vertical orientation of the input source image.The Front Invert and Back Invert controls toggle between Off,H, V, and Both.


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Note that, even though Back Invert is set to Off, the DVE "back"video is inverted horizontally to give the impression that you areviewing the source from "behind." To remove this inversion, setBack Invert to H.

Flip Picture is similar to the Front and Back invert controls in theA53-D, A51+, and A57.

StrobePress the Strobe softkey to toggle between Pass Thru and Strobe.Pass Thru mode is the default, providing live video to the DVEinput. In Strobe mode, the input framestore grabs a freeze of theinput video and holds it for the duration selected with the StrobePeriod control, after which it grabs a new freeze and holds it,repeating the cycle. Strobe Period displays duration in secondsand frames with an asterisk (*) indicating "plus one field."

To enter a Strobe Period value from the numeric keypad, typethe number and press the pushknob. Note that, as in all othernumeric entries, the 8150 interprets a number as a frame count,converting it to seconds and frames when necessary. If you wantto enter a "seconds and frames" value directly, type the "seconds"value, then the decimal point (*) button, then the "frames" value,and press the pushknob. To enter a "field" value, press the decimalpoint (*) button again after typing the "frames" value.

Motion DetectPress the Motion Detect softkey to independently orsimultaneously adjust the sensitivity of each channel’s motiondetection circuitry. The 8150’s internal DVE uses frame-basedprocessing to "look at" an entire frame of video whentransforming it (not just a single field). Since, in moving images,it is possible for movement to occur from one field to the next inthe same frame, the DVE must be able to detect this movement sothat motion artifacts do not appear in the transformed image.


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The Mode adjustment allows you to select a threshold for motiondetection. When set to Frame, this effectively turns motiondetection off; the DVE expects no motion from one field to thenext, and uses the full frame to interpolate the transformed image.If there is any motion in the image in this mode, it creates motionartifacts, visible as horizontal jitter in the image as it moves. UseFrame only for still images and graphics.

Similarly, when set to Field, this also turns motion detection off;however, in this case the DVE expects the entire image to bemoving and uses only one field at a time to interpolate thetransformed image. If there is little or no motion in the image, theresolution of the transformed image suffers because it wasinterpolated using only half of the original picture information.

However, the 8150 DVE can also detect motion adaptively,meaning that it breaks the image down into smaller portions and"looks" for motion in each individual portion. If it "sees" motionfrom one field to the next in those smaller portions, it performsfield-based interpolations for just those portions that moved. If itdoes not "see" any motion from one field to the next in thosesmaller portions, it performs frame-based interpolations for justthose portions that did not move. You can set a threshold for the8150 motion detection, telling it how sensitive it should be tointer-field motion.

There are 14 intermediate steps between Frame and Field to allowyou to select the best compromise between full-frameinterpolation and single-field interpolation. The default value is9, which is typically an all-around useful value. The lower theMode value, the less motion it expects in the image, and the resultis that the transformed image has better resolution. The higherthe Mode value, the more motion it expects in the image, and theresult is that inter-field motion artifacts are eliminated from thetransformed image.


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Motion Detect is similar to the Video Interpolate control in theA57. Since the A53-D and A51+ are field-based devices, they haveno similar function.

The Output Submenu

Press the Output softkey to access controls for selecting theChannel mode, adjusting key source, clip, gain, and phase, as wellas drop shadow color and opacity, and DVE channel priority.

The Output submenu is similar to portions of the Key Channel,Drop Shadow, and Combiner menus in the A53-D, A51+, andA57.

Keypad

Vid+VidVid+Key

Vid/Key+SChannel

Mode

KeySource

Adjust

Shadow

Opacity

CombinerPriority

Transform

SourceImage

Input

Output

Warp

LightSource

TL 1 KF 0/0

Adjust

FixedZ Key

DVE Loop Off

Adjust

The Output Submenu


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Channel ModePress the Channel Mode softkey to select one of the threeoperating modes for the DVE: Vid+Vid, Vid+Key, or Vid/Key+S.

Vid+Vid mode – allows both the A and B channels toindependently transform full 4:2:2 video images, creatingimage-sized key signals for each channel

Vid+Key mode – uses the 4:2:2 A channel for video, and turnsthe B channel into a full bandwidth 4:0:0 key channel, allowingyou to transform a fill signal and its related key signal eitheridentically or independently

Vid/Key+S mode – creates a 4:2:2:4 video and key combinationfor the A channel, and an independent full bandwidth 4:0:0drop shadow for the B channel

(See Channel modes, see Section 1 – Introduction.)

When either Vid+Key or Vid/Key+S modes are selected, controlsfor Clip, Gain, Key Phase, and Softness appear. Clip and Gainare similar to the Low Clip and Low Gain controls in the 8150Keyers; respectively, they adjust the level at which the key signal"cuts the hole" (Clip) and the sharpness of the key edges (Gain).Key Phase adjusts the horizontal position of the key signalrelative to the video (fill) signal, much like a key timingadjustment. Softness performs the same function as Crop/Soft (inthe Source Image submenu), except that you do not have controlover the softness of each edge independently; all edges softensimultaneously with this Softness control. Also note that thesoftness is applied to the edges of the full 4:3 raster of the keychannel, not the edges of an irregularly-shaped key signal.

Channel Mode does not have any direct correlation to the A53-D,A51+, or A57, since they operate with dedicated video and keychannels, but some of the above controls are similar to thosefound in the Key Channel, Drop Shadow, and Attributes menusin those units.


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Key SourcePress Key Source to access controls for selecting the type of keyand/or drop shadow signal when using Vid+Key andVid/Key+S modes. The Key Select and Shadow Selectpushknobs allow you to select:

White – a full-raster 4:3 key signal

Video – the selected input for the B channel

Inv Video – the selected B channel input with inverted polarity(white becomes black and black becomes white)

The White selection is handy for creating a full-raster dropshadow for a full-raster video image. The Video and Inv Videoselections are present to create irregularly-shaped keys and dropshadows. Note that the Clip and Gain adjustments (accessed withthe Channel Mode softkey, described earlier) control the clip andgain of both the main key and the drop shadow if Video or InvVideo is selected. The selections for the main key (Key Select)and drop shadow (Shadow Select) are independent of each other.

Key Source is similar to the Key Input selections in the A53-D,A51+, and A57.

ShadowPress the Shadow softkey to access controls for applying a colorand/or transparency to the drop shadow when in Vid/Key+Smode. Use the Lum, Sat, and Hue controls to adjust the dropshadow color, and use the Opacity control to apply a full rangeof transparency to the drop shadow. This Opacity control is thesame as the B Opacity control described below; adjusting eitherone changes both.


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OpacityPress the Opacity softkey to access controls for making eachchannel transparent. A Opacity controls the transparency of theA channel, while B Opacity controls the transparency of the Bchannel. You can adjust either channel smoothly from completelyopaque to completely transparent.

Note that these opacity controls actually fade the key signal forthe appropriate channel. In Vid+Vid mode, each channel has itsown key signal (full-raster) and hence its own opacity control.Likewise, in Vid/Key+S mode, the A channel has its own keysignal, and the B channel is its own key signal for the drop shadowfill color, and again each has its own opacity. However, inVid+Key mode, the B channel is the key signal for the A channel,so A Opacity actually fades the A channel key signal, which inthis case is the B channel, while B Opacity has no effect in thismode because it does not have its "own" key signal.


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Combiner PriorityPress Combiner Priority to access controls for selecting andadjusting the priority type for the two DVE channels. Toggling toFixed priority places one channel "over" or "in front of" the otherchannel at all times, no matter what their relative locations in Zspace are at the time. The A channel defaults to the "top" or "front"layer. The Crossfade control changes the priority by mixing from"A over B" priority (at a value of 0) to "B over A" priority (at avalue of 100). Values in between show a mix of the two channelswhere they overlap.

Toggling to Z Key priority uses the aggregate Z Locate value ofeach channel to determine which one should be "on top" or "infront," allowing the priority to change automatically as thechannels move in 3D space. The Z Softness control sets thesharpness of the edge that appears when the two channelsintersect.

Additionally, the A Offset and B Offset controls allow you toassign an artificial Z-Locate value to one or both channels withoutactually moving the channels in 3D space. Like the 3D Z-Locatevalues, a positive offset value places the channel further "back" or"below" its normal Z position, while a negative offset value placesthe channel further "in front" or "above" its normal Z position.


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The Warp Submenu

Press the Warp softkey to access controls for selecting, modifying,and adjusting UltraWarpTM shapes for each channel.

This submenu contains a central display with three maininformation areas: the CATEGORIES box, the PATTERNS box,and the SETTINGS box. The CATEGORIES box shows the 14Warp pattern categories and highlights the selected category. ThePATTERNS box shows the patterns associated with the selectedcategory and highlights the selected pattern. The SETTINGS boxshows the individual values for each parameter associated withthe selected pattern.

The Warp submenu is similar to the Warp menus in the A53-D,A51+, and A57.

Keypad

OffOn Select

Pattern

AdjustWarp

SelectBank

Adjust

AutoCube/Key

Transform

SourceImage

Input

Output

CategoriesSelect

Scroll

PatternsSelect

Scroll

Warp

LightSource

TL 1 KF 0/0

Adjust

OffCubeKey

Cube/Key

DVE Loop Off

Pattern #

JP1

CATEGORIES

SETTINGS - Bank A

spread : 1 : 0.2000

range : 2 : 0.2500

axis : 3 : 0.0000

position : 4 : 0.0000

PATTERNS

BasicTwistLinearCircularBurstPage TurnQuad Page *Sphere *ConcentricRippleCylinder *Fancy *Split

WaveBarrelCylinderSphereBowtie

The Warp Submenu


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Select PatternPress Select Pattern to toggle the Warp feature On or Off, andalso to access the UltraWarp pattern selection controls.

The Categories Select pushknob scrolls through the 14 categoriesof UltraWarp patterns available; these categories contain Warppatterns that have similar features or use similar modificationparameters. Any category name that has an asterisk (*) next to itis designed to interact with Light Source and Textures in theSurfaceFX feature.

The UltraWarp pattern categories are listed below. Manycategories contain "front" and "back" versions of the same pattern.These two versions are intended for use with both DVE channels,one channel using the "front" version (normally the B channel)and one channel using the "back" version (usually the A channel)simultaneously. When all Warp parameters are the same for bothchannels, the "front" and "back" versions line up to create thecomplete pattern. This allows you to have one source on the frontside and another source on the back side of the complete pattern,which is not possible with a single channel Warp pattern. The"front" or "back" version of a pattern by itself is only one half ofthe complete pattern; however, if the pattern name does notspecify "front" or "back," the pattern is complete for one channel.

Basic – contains the Wave, Barrel, Circle, Cylinder, Sphere, andBowtie patterns. These are the same as the A53-D, A51+, andA57 Warp patterns of the same name, with the exception ofSphere, which is a SuperWarp pattern found only in the A51+and A57.

Twist – contains the Helix and Twist patterns, with front-only,back-only, and both-side versions of each. These are the sameas the A53-D, A51+, and A57 Warp patterns of the same name.


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Linear – contains the Linear Ripple, Linear Zigzag, and PaperFold patterns. These are the same as the A53-D, A51+, and A57Warp patterns of the same name.

Circular – contains the Circular Ripple, Zigzag Circular Ripple,Square Pulse Circular Ripple, Decayed Circular Ripple, andRectified Circular Ripple patterns. These are the same as theA51+ and A57 SuperWarp patterns of the same name.

Burst – contains the Lace, Interlace, Split, Shred, Pipe Organ,Burst, Half Burst, Flare, and Half Flare patterns. These are thesame as A53-D, A51+, and A57 Warp patterns (same names).

Page Turn – contains the Roll and Flap patterns, withfront-only, back-only, and both-side versions of each. Thesepatterns interact with the Light Source function, as indicatedby the asterisk(*) next to the category name in the display.These are similar to the A53-D, A51+, and A57 Warp patternsof the same name (except the two-sided page turn, which is aSuperWarp pattern in the A51+ and A57 only), with theaddition of Light Source interaction.

Quad Page – contains the Quad Roll and Quad Flap patterns,with front-only, back-only, and both-side versions of each.These patterns interact with the Light Source function, asindicated by the asterisk(*) next to the category name in thedisplay. The A53-D, A51+, and A57 do not have theseUltraWarp patterns.

Sphere – contains front and back versions of both theTransparent Sphere and Opaque Sphere patterns. Thesepatterns interact with the Light Source function, as indicatedby the asterisk(*) next to the category name in the display.These are the similar to the A51+ and A57 SuperWarp patterncalled Sphere, with the addition of Light Source interaction,plus the ability to show the true spherical shape of the patternby exposing the surrounding border color in the OpaqueSphere patterns.


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Concentric – contains the Swirl, Rings, and Multiringspatterns. The A53-D, A51+, and A57 do not have theseUltraWarp patterns.

Ripple – contains the Circular Ripple and Linear Ripplepatterns. These patterns interact with the Light Sourcefunction, as indicated by the asterisk(*) next to the categoryname in the display. These patterns are different from thesimilarly-named patterns in the Circular category; they areintended to interact with Light Source, and are not as useful ifLight Source is not turned on. The A53-D, A51+, and A57 donot have these UltraWarp patterns.

Cylinder – contains the Vertical and Horizontal Cylinderpatterns. These patterns interact with the Light Sourcefunction, as indicated by the asterisk(*) next to the categoryname in the display. The A53-D, A51+, and A57 do not havethese UltraWarp patterns.

Fancy – contains front and back versions of the Cylinder, thePage Turn, and the Page Roll patterns. These patterns interactwith the Light Source function, as indicated by the asterisk(*)next to the category name in the display, and furthermore areintended as twin-channel patterns, i.e., the A channel has the"back" pattern applied to it while, simultaneously, the Bchannel has the "front" pattern applied to it, normally inVid+Vid mode. The A53-D, A51+, and A57 do not have theseUltraWarp patterns.

Split – contains the Mirrors and Quad Split patterns. TheA53-D, A51+, and A57 do not have these UltraWarp patterns.

Lens – contains the Meltdown and Lens patterns. The A53-D,A51+, and A57 do not have these UltraWarp patterns.


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Adjust Warp Press Adjust Warp to access controls for modifying the selectedWarp pattern. Because different Warp patterns use differentparameters, the controls that appear change as you selectdifferent Warp patterns. A list of the parameters and the patternsto which they apply appear below in alphabetical order.

Note that, for each pattern selected, all parameters for that patternappear in the SETTINGS box; however, only three parameters canbe actively assigned to the pushknob controls at any given time.These active parameters are highlighted in the SETTINGS box.Turn the Switch Groups control to change to another group ofparameters, highlighting them and activating their pushknobcontrols.

Keypad

OffOn Select

Pattern

AdjustWarp

SelectBank

Adjust

AutoCube/Key

Transform

SourceImage

Input

Output

CategoriesSelect

Scroll

PatternsSelect

Scroll

Warp

LightSource

TL 1 KF 0/0

Adjust

OffCubeKey

Cube/Key

DVE Loop Off

Pattern #

JP1

CATEGORIES

SETTINGS - Bank A

spread : 1 : 0.2000

range : 2 : 0.2500

axis : 3 : 0.0000

position : 4 : 0.0000

PATTERNS



The Warp Submenu


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To have two sets of parameters active at once, you can select oneparameter group with Switch Groups, then press the JOYSTICKLOCK button to "tie" those controls to the joystick. Now you canuse Switch Groups to select another parameter group, which youcan adjust with the pushknobs while adjusting the first groupwith the joystick.

Alignment – is similar to Axis (see below) in that it Z-rotatesthe major axis of the pattern; however, it also serves to alignthe front and back versions of the selected pattern when usedwith both channels at once. It appears only for patterns in theFancy category.

Amplitude – sets the "gain" of the nonlinearity applied to theimage. In general, the effect of the Warp pattern on the imageis not visible if the Amplitude value is 0.0000. It appears forpatterns in the Linear, Circular, and Ripple categories.

Axis – Z-rotates the warp pattern without rotating the imageitself. It appears for patterns in the Basic, Twist, Linear,Circular, Burst, Page Turn, and Quad Page categories, and alsofor the Ripple category Linear pattern and the Lens categoryMeltdown pattern.

Bottom Left/Bottom Right/Top Left/Top Right –independently adjust the position of each corner of the patternsin the Quad Page category only.

Frequency – adjusts the "wavelength" of the nonlinearityapplied to the image. It appears for patterns in the Linear andRipple categories.

H Frequency – adjusts only the horizontal "wavelength" of thenonlinearity applied to the image. It appears only for patternsin the Circular category.


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H Position – adjusts the horizontal position of the selectedWarp pattern. It appears for patterns in the Circular, QuadPage, Sphere, Concentric, and Split categories, as well as for theRipple category Circular pattern and the Lens category Lenspattern.

H Split – adjusts the width of the horizontal separationbetween quadrants for the Split category Quad Split patternonly.

Left/Right/Top/Bottom – change the aspect ratio of eachquadrant of the image for the Split category Mirrors patternonly. Positive values show the "original" or non-invertedimage, while negative values invert that half of the image togive the impression that it is a reflection of the original image.

Magnification – adjusts the amount of magnification insidethe Lens category Lens shape only. Magnification values above0.2000 increase the magnification effect inside the lens, whilevalues below 0.2000 actually reduce the size of the image insidethe "lens."

Phase – adjusts the positions of the "peaks" and "troughs" ofthe ripples relative to the image itself. It appears for patternsin the Circular and Ripple categories only.

Position – moves the selected Warp pattern along its majoraxis, which you can Z-rotate with the Axis or Rotationscontrols. It appears for patterns in the Basic, Twist, Linear,Burst, Page Turn, Cylinder, and Fancy categories, as well as forthe Ripple category Linear pattern and the Lens categoryMeltdown shape.

Pulse Width – adjusts the width of the square ripples in theCircular category Square Pulse pattern, and the width of therings in the Concentric category Multi-rings pattern.


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Radius – adjusts the distance from the center of circular orcurved Warp patterns to their outer edges. It appears forpatterns in the Page Turn, Quad Page, Sphere, Concentric,Cylinder, and Fancy categories.

Range – sets the "gain" of the nonlinearity applied to the image.In general, the effect of the Warp pattern on the image is notvisible if the Range value is 0.0000. It appears for patterns inthe Basic, Twist, and Burst categories, as well as for the Lenscategory Meltdown pattern.

Ring 1/2/3/4 – independently rotate each ring of the Concentriccategory Rings pattern only.

Rotate/Rotation/Rotations – Z-rotates the Warp patternwithout rotating the image itself. It appears either as Rotate,Rotation, or Rotations in the Concentric, Cylinder, and Fancycategories, as well as the Split category Quad Split pattern.

Keypad

OffOn Select

Pattern

AdjustWarp

SelectBank

Adjust

AutoCube/Key

Transform

SourceImage

Input

Output

CategoriesSelect

Scroll

PatternsSelect

Scroll

Warp

LightSource

TL 1 KF 0/0

Adjust

OffCubeKey

Cube/Key

DVE Loop Off

Pattern #

JP1

CATEGORIES

SETTINGS - Bank A

spread : 1 : 0.2000

range : 2 : 0.2500

axis : 3 : 0.0000

position : 4 : 0.0000

PATTERNS



The Warp Submenu


9100-0254-00 - MAY 96 DVE Menus 4-41

Size – sets the diameter of the magnifying lens in the Lenscategory Lens pattern only.

Spread – sets the width of the Warp pattern relative to theimage. It appears for patterns in the Basic, Twist, and Burstcategories, as well as for the Lens category Meltdown pattern.

Twist – Z-rotates all rings simultaneously in the Concentriccategory Multi-rings pattern only. The center does not rotateat all, but each successive ring rotates faster and farther thanthe ring "inside" it.

V Frequency – adjusts only the vertical "wavelength" of thenonlinearity applied to the image. It appears only for patternsin the Circular category.

V Position – adjusts the vertical position of the selected Warppattern. It appears for patterns in the Circular, Quad Page,Sphere, Concentric, and Split categories, and for the Ripplecategory Circular pattern and the Lens category Lens pattern.

V Split – adjusts the height of the vertical separation betweenquadrants for the Split category Quad Split pattern only.


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Select BankPress the Select Bank softkey to access controls for recallingfactory preset or user-selected values for each Warp shape.

Settings Bank – selects one of four Warp pattern parametermemories

Load Settings pushknob – allows you to load new settingsfrom another memory bank

Copy Settings – copies the current Warp pattern parametersto one of the two user memory banks.

OverviewThe 8150 DVE uses four separate memory banks for Warpparameters. Each bank contains a full set of parameters which canbe different from any other bank. Two banks, named Default andDefault Start, contain factory preset values which you cannotchange.

Default bank – contains values for each parameter of eachWarp pattern that readily display how that pattern affects theimage.

Default Start bank – contains values for each parameter thatyou would use when creating an effect that begins with theimage in its "un-Warped" condition (with the Warpnonlinearities removed).

Not all patterns can have their nonlinearities removed, and thesepatterns appear already active, even when you select them withthe Default Start bank active.

The A and B banks contain the same parameter values as theDefault bank when the system is first powered up or rebooted.However, any changes that you make to any Warp patternparameter are saved to whichever bank (A or B) is active at thetime, and remain in that bank for later recall unless the system isrebooted or powered down.


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This allows you to have two user-defined presets, plus two morefactory-defined presets, for all Warp patterns, which you caninstantly recall as needed.

Bank SelectionSelect the memory bank that you want to recall with the SettingsBank control. Now selecting any Warp pattern loads theparameters for that pattern from that bank into the workspace,displaying the Warp pattern with those parameters. Note that ifyou recall a Warp pattern from the Default or Default Start bank,you can modify that pattern, but those modifications are lost ifyou recall another Warp pattern, or even if you press the SelectPattern softkey. This is because the parameters from these banksare reloaded each time you activate the Select Pattern softkey,overwriting any changes that you may have made.

To avoid this overwriting process, first select A or B with theSettings Bank control. Now when you select a pattern, theparameters from the A or B bank are applied to that pattern, andthen any changes you make to the pattern are saved to that bank.You can then select other patterns and modify them, laterreturning to the first pattern, which still has the parameters thatyou had modified earlier.

Loading Parameters from a BankTo recall the factory presets for a pattern and modify them, selectDefault or Default Start with the Settings Bank control. Pressthe Load Settings pushknob to load the parameters from thatbank into the workspace, modifying the current pattern withthose new parameters. However, before making any changes tothe pattern, select A or B with Settings Bank. Now, anymodifications you make to the pattern are automatically saved tothat bank and are still there when you later recall that pattern withthat bank active.


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Similarly, to view the settings for a particular pattern from all fourbanks in turn, use Settings Bank to select the desired bank. PressLoad Settings to recall the parameters from the new bank into theworkspace. In this manner you can quickly view all four presetsfor any pattern. However, remember that any changes you maketo a pattern are automatically saved to bank A or B if either isselected, but not to the Default or Default Start banks if eitherof them is selected.

Copying Parameters to a BankIf you want to copy the current parameter settings to either bankA or bank B, turn the Copy Settings pushknob to select the bankto which you want to copy (A or B). Pressing the Copy Settingspushknob copies all parameters for the current Warp pattern intothat bank. A small black square appears briefly in the corner ofthe Select Bank label to indicate that the copying process iscomplete.

Auto Cube/KeyPress Auto Cube/Key to access controls you can use for creating"solid objects," (cubes, slabs, etc.). This softkey toggles throughfour selections: Off, Cube, Key, and Cube/Key. Select Off whennot creating cubes, slabs, or other "solid objects."

Cube – creates side pairs from one channel

Key – turns the key signal off when the "back" side of thechannel is showing

Cube/Key – combines the two previous modes

The following paragraphs provide an in-depth discussion andtutorial on the use of these modes.


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OverviewA cube or slab, by definition, has six sides, or three pairs of sidesthat are directly opposite each other (front and back, left and right,top and bottom). However, from a fixed point of view, amaximum of three sides of that object can be visible at once,meaning that one side from each pair is visible, but the other sidefrom each pair is invisible. Because of this fact, the 8150 DVE cancreate a "pair" of sides from a single channel by using that channelto display only the "visible" side. Furthermore, because the DVEhas two video channels in Vid+Vid mode, each channel can createits own pair of sides, thereby creating a four-sided object, of whichonly two sides are visible at once.

To create each pair of sides, the 8150 DVE uses the local Source(or Target) Locate and Rotate parameters to position each pairrelative to a common point in 3D space, which is the exact centerof the object. Since the object has a certain height, width, anddepth, the DVE can position the side pairs, using thesedimensions, by placing each pair at an equal but opposite distancefrom the center point. Since only one side of the pair is ever visible,if you rotate the object, the DVE can use one channel to displayboth sides by quickly relocating itself from one side of the objectto the other as one side becomes invisible and the other sidebecomes visible.

This is the function of the Cube setting; it relocates the image planein 3D space from one side of the object to the other as it is rotated.However, this relocation only occurs if the object is rotated inGlobal space (either Global Source or Global Locate); if the objectis rotated in (local) Source or Target, the Cube function does notoperate.


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TutorialYou can see the Auto Cube/Key functions in action by followingthis procedure.

STEP 1: Press and hold CLEAR and press all three ChannelSelect buttons (oblong buttons below the joystick) toreset all DVE parameters to default.

STEP 2: Key the internal DVE over a background, such as theSuperMatte generator. See the 8150 SwitcherOperations Manual Section 4 – Keying for moreinformation on setting up a key.

STEP 3: Press the center Channel Select button by itself,lighting the CHAN B label above it. If the DVE menuis not already present, press the DVE menu button,followed by the Transform softkey. Toggle the 2DAdjust softkey to highlight PostTrans, and set theZoom value to 0.0000. This reduces the B channel tozero size to avoid confusion later.

STEP 4: Press the left hand Channel Select button by itself,lighting the CHAN A label above it. Press the 3DLocate softkey to highlight Target, and enter a Z valueof –0.5000. This locates the channel A Target planeone-half screen unit "in front of" the screen, making itappear larger. You have now located the "front" faceof the object away from its center.

STEP 5: Press the right hand Channel Select button, lightingthe GLOBAL label above it and recalling the DVEGlobal menu. Select 3D Locate/Target and move theimage back in space so that you can see all of it.

STEP 6: Select Rotate/Target and slowly H-rotate the image.Note that it "orbits" horizontally about a fixed centerpoint in space; this is the "front" side of our "solid"object.


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STEP 7: Press the left hand Channel Select button, then pressthe Warp softkey. Press the Auto Cube/Key softkey totoggle it to Cube.

STEP 8: Now return to the Global menu (press the right-handChannel Select button) and perform the same H rotateas before. Observe that, as the image rotates to revealits "back" side, it suddenly jumps to the opposite sideof the "center" point, continuing to rotate as before, butnow showing its "back" side. This is the other half ofthe front/back pair. No matter how you rotate theimage, the Cube function maintains this "front/back"relationship.

However, simple relocation of the front/back side pair is notenough to realistically simulate a solid object, because, in the realworld, there are positions of the object wherein both sides areinvisible, such as when you view the object from the left or rightside. Note that, in the above example, the "inside" of the front andback sides are briefly visible before the repositioning switchoccurs. We need a way to "turn off" those sides when they shouldnot be visible. This is the purpose of the Key function.


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To see this in action, continue following these steps:

STEP 9: Rotate the image so that the "front" side is visible.Return to the A channel menu and toggle AutoCube/Key to Key.

STEP 10: Return to the Global menu and H-rotate the imageagain. You can now see that the image actuallydisappears as it rotates from front to back, and thenreappears as its front side rotates from back to front.This happens because Key mode is automaticallyturning off the DVE key signal as it rotates from frontto back, and then turning it on as it rotates from backto front. However, because Cube is turned off, the"back" side remains invisible.

STEP 11: Return to the A channel menu and toggle AutoCube/Key to Cube/Key. Note that, if the image waspositioned so that its "front" side was not visible, its"back" side suddenly appears.

STEP 12: Return once more to the Global menu and rotate theimage. Observe that the "front" and "back" sides nowappear and disappear as if they were part of a solidobject.

The above exercise shows that Cube/Key is the proper setting forcreating objects with an even number of opposing sides. Apossible use of Key mode by itself might be to create a solid objectcontaining faces that are not directly opposite each other, such asa pyramid, making the Cube mode undesirable. There is little orno practical use for Cube mode by itself.

To see how both channels interact, continue following theprocedure.


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STEP 13: To create another pair of sides with the second DVEchannel, press the middle Channel Select button torecall the Channel B menu. Press the Transformsoftkey, then press and hold CLEAR and press the 2DAdjust softkey to bring the B channel back to full size.It should be visible at the center of the A channel’s"orbit."

STEP 14: Press 3D Locate to highlight Target. Enter an H valueof 0.5000. This repositions the image one-half screenunit to its right.

STEP 15: Press the Rotate softkey to highlight Target. Enter anH value of 0.2500. This rotates the image horizontallyby one quarter turn. It should now be aligned with theA channel to form two sides of a slab.

STEP 16: Press the Warp softkey and toggle Auto Cube/Key toCube/Key.

STEP 17: Return to the Global menu and rotate the objecthorizontally. Observe that, as long as the top andbottom of the object are hidden, it looks like a solidobject.

This concludes the tutorial on Auto Cube/Key. Since the 8150 DVEdoes not support the Solid Builder feature (found in the A51+ andA57), a full description of the geometry involved in creating solidobjects is beyond the scope of this section.


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The Light Source Submenu

Press the Light Source softkey to access controls for using theLight Source and Texture functions, which are part of thestandard SurfaceFX feature in the 8150 DVE.

The Light Source menu is similar to, but much more extensivethan, the Light Source menu in the A51+ Combiner and the A57.

Light Source OverviewThe 8150 DVE’s Light Source modeling is a part of the standardSurfaceFX feature. It simulates the effect of a fixed light sourceshining on the image as it moves in 3D space. The light sourceitself is never visible, but it adds reflections and /or shadows tothe transformed image to enhance the illusion of athree-dimensional object moving in three-dimensional space.

Keypad

OffHi-LiteLo-LiteBoth

SetupEnable

Light

Position

Hi-Lite

Rotation

Texture

TextureMask

Transform

SourceImage

Input

Output

Use

JPPrimary

Model

JPSpecular

Warp

LightSource

TL 1 KF 0/0

Lo-Lite

SpotBar

Flood

SpotBar

Flood

OffOn

Invert

OffOn

Invert

LightReference

JPScreen

DVE Loop Off

Focus

SM0.3000



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In its default mode (Screen), the light source has its own locationin 3D space, which means that it does not move when youmanipulate the image with any 3D parameter. As the imagemoves, the reflections and shadows from the light source remainindependent to imply the position of the light source. The lightsource does, however, have its own positioning controls, so thatyou can either move the image in relation to the light source, ormove the light source in relation to the image.

You can select another mode (Image) in which the light sourceposition remains locked to that of the image, so that by movingthe image you also move the light source.

Since each channel has its own light source, you can position theA channel’s light source independently from the B channel’s lightsource. Furthermore, you can "borrow" the light source from onechannel to provide two light sources on one channel.

Positioning the Light SourceLike the Source and Target planes, you can locate the light sourcein three dimensions: H, V, and Z. The Light Source Positionparameters use the same Screen Unit values as the 3D Locateparameters for the image planes. Also similar is the fact that thelight source position for each channel defaults to H=0, V=0, Z=0,placing it at the exact center of the screen in all three dimensions.

It is important to note that the light source itself is never visible;it is only its reflected light and/or shadow that reveals its locationto the observer. To produce the effect of a real light source, the8150 DVE determines the location of the imaginary light sourcerelative to the image, and then determines how each pixel in theimage would appear, given a light source at that location.


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The DVE does this by measuring the angle at which a ray of lightfrom the light source strikes each pixel in the image and comparesit to the image "normal" for each pixel location. A "normal" in thiscontext is an imaginary line that intersects the plane of the imageat a right angle (perpendicular to the image plane). Each pixel inthe image must have its own "normal" because it is not always aflat plane; for example, when you apply a Warp pattern to it. Sothe DVE can compare the light source position to each pixel’s"normal" and thus determine how much light or shadow shouldfall on each pixel independently.

To visualize this, think of the light source as a single point of light,like a candle or light bulb. If the light source is close to the frontside of an image, the light rays are parallel to the "normals" of thepixels directly in front of it, so those pixels receive the maximumamount of light. However, the pixels further away from the lightsource receive light rays from it that are slanted compared tothose pixels’ "normals," so that they receive a lesser amount oflight. The DVE calculates the size of the angle between the pixel"normal" and the ray of light that strikes that pixel and determinesthe amount of light that falls on it; an angle of zero degrees (lightray and "normal" parallel to each other) produces the greatestamount of light, while an angle of 90 degrees (light ray and"normal" perpendicular to each other) produces no light at all. An


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angle of greater than 90 degrees (light ray "behind" the pixel)begins to create a shadow on that pixel, and at 180 degrees (lightray directly "behind" the pixel) the shadow is at its "darkest."

Highlights and Lowlights Each channel’s light source uses two components to create itseffect: a Highlight, which is light reflected by the image, and aLowlight, which is a shadow that is cast by the image. Asmentioned previously, when the angle between the pixel"normal" and the light ray is less than 90 degrees, a reflectionresults; this reflection is the Highlight color. Likewise, when theangle between the pixel "normal" and the light ray is greater than90 degrees, a shadow results; this shadow is the Lowlight color.


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The Highlight color defaults to white and the Lowlight colordefaults to black; however, you can make either component anycolor you want.

Follow these steps to apply a light source to an image.

STEP 1: Key the DVE over a background in the 8150. See the8150 Switcher Operations Manual Section 4 – Keyingfor more information on setting up a key.

STEP 2: Press and hold CLEAR and press each Channel Selectbutton (below the joystick) in succession to clear allDVE parameters.

STEP 3: Press the left hand Channel Select button by itself,lighting the CHAN A label. If it is not already present,press the DVE menu button to recall the DVE Chan Amenu.

STEP 4: Press the Transform softkey, then toggle the 3D Locatesoftkey to Target. Use Z to locate the image slightlyback in space (using a low positive Z value).

STEP 5: Press the Light Source softkey, then toggle the SetupEnable softkey to Hi-Lite. The reflection of the lightsource appears at the center of the image.

STEP 6: Press Transform, then toggle Rotate to Target. Rotatethe image on all three axes to see the effect of the lightsource.

STEP 7: Press and hold CLEAR and press the Rotate softkeyto set all rotational parameters back to default.

STEP 8: Press Light Source to recall that submenu, then togglethe Position softkey to Spot. This accesses the H, V,and Z position controls for the light source.

STEP 9: Using the joystick, position the light source in all threedimensions, noting how it interacts with the image.When the Z position of the light source is a lower


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number than that of the Z position of the image, thelight source is "in front of" the image and creates areflection on it. When the Z position of the light sourceis a higher number than that of the image, the lightsource is "behind" the image and is not visible.

STEP 10: Toggle Setup Enable to Lo-Lite. Now when you movethe light source, its effects are only visible when it is"behind" the image, and it casts a shadow on the frontof the image.

STEP 11: Toggle Setup Enable to Both. Now moving the lightsource shows both reflection and shadow, allowingthe light source to affect the image no matter what itslocation is.

STEP 12: Return to the Transform submenu and use 3DLocate/Target and Rotate/Target to move the image,observing that the Highlight and Lowlight alwaystrack the position of the light source relative to theimage.

STEP 13: In the Light Source submenu press the Light softkeyand toggle to Hi-Lite. You can use the Hi-Lite Luma,Hi-Lite Sat, and Hi-Lite Hue controls to create anyHighlight color you want, as well as make ittransparent with the Hi-Lite Opacity control.Similarly, toggling Light to Lo-Lite accesses controlsfor adjusting Lowlight color and opacity.

Light Source TypesEach channel’s light source can be one of three types: Spot, asingle point of light; Bar, a "line" of light, like a fluorescent tube;Flood, an entire "plane" of light whose light rays are all parallelto each other, much like the sky. Each type produces differentHighlights and Lowlights according to their position relative to


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the image. Each type has its own position controls; in addition,the Bar type has rotation controls so that you can pivot it in 3Dspace.

Spot – simulates a single point of light in 3D space, such as alight bulb or candle. It produces light rays that radiate from acentral point, meaning that no two rays are parallel to eachother, so that a flat image can have different reflectionbrightness or shadow darkness for each pixel in the image. Youcan position the Spot light anywhere in 3D space.

Bar – simulates an infinitely long "line" of light, such as a verylong and narrow fluorescent or neon tube. It produces lightrays that are parallel with each other axially (along the axis ofthe Bar), but that are not parallel radially (around the"circumference" of the bar), so that a flat image has a line ofreflected light and/or shadow produced by this light sourcetype. You can position the Bar light anywhere in 3D space, aswell as rotate it around its center point, as defined by theposition of the light when it is a Spot.

Flood – simulates an infinitely large "plane" of light, such asthe sky. It produces light rays that are all parallel to each other,so that a flat image has the same reflected brightness or shadowacross its entire surface produced by this light source type. Youcan position the Flood light anywhere in 3D space; however,since its light rays are all parallel, movement of the plane inspace is not as apparent as movement of either the Spot or theBar.

HINT: When first positioning the light source, it ishelpful to use the Spot type light source, because theeffect of its motion is the easiest to see on the image.Since the Spot indicates the center of rotation of theBar type, you can easily position the Spot, thenswitch to Bar and rotate it if necessary. All three lightsource types share the same position values.


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Focusing the Light SourceYou can focus the light source with the Focus control, which youcan access by pressing the Setup Enable softkey, limiting its range.A truly natural-looking Spot light source, such as a light bulb orcandle, would have a focus value of 1.0000. However, in the 8150DVE’s light source modeler, this value allows light from the lightsource to shine equally on nearly the entire image unless the lightsource is extremely close to it.

By defaulting the Focus value to 0.3000, the DVE allows the visualeffect of the light source to be more readily apparent. You shouldavoid values below 0.0500, as they create harsh edges andbanding effects in the light source. Values over 0.5000 show morenatural lighting, but the location of the light source, particularlyif it is not moving, is less obvious.

Screen-Based Vs. Image-Based PositionAs referenced in the Section 3 – Transforms discussion of theHierarchy of Parameters, the light source position can be eitherindependent of all 3D movement, or it can be directly tied tomovement of the source image. You can change this mode withthe Light Reference control, accessed by the Setup Enablesoftkey.

The default mode, Screen, gives the light source its own positionoutside of 3D space, so that the light source can maintain a fixedposition regardless of any 3D transforms applied to the image.Only 2D Adjust/PostTrans affects the position of the light source,as this control is effectively moving the point of view of theobserver, not any objects in 3D space. Of course, you can stillmove the light source with its own Position and Rotationcontrols.

The other mode, Image, locks the position of the light source tothe position of the source image. If you move the source image


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with any transform parameter, including 2D Adjust/PreTrans,the light source position tracks the position of the image, as if thelight source were physically connected to the source image.However, Warp status affects this setting in one important way.

When the Warp feature is turned on, no matter what pattern isselected, if the light source Light Reference is set to Image, thelight source position then becomes locked to the local Sourcetransforms (3D Locate/Source, Rotate/Source, etc.) instead of 2DAdjust/PreTrans. This means that if you move the source image(with a light source applied to it) with 2D Adjust/PreTrans, thenturn Warp on, the position of the light source reverts back to itsown Position settings relative to the source image. However,moving the image with any 3D transform, or with 2DAdjust/PostTrans, maintains the light source position so that ittracks the source image position. Turning Warp off allows thelight source to return to its original position, locked to any sourceimage motion with 2D Adjust/PreTrans.

Light Source ModelsTwo different operating models determine how the light sourceaffects the appearance of the image. The Specular model, whichis the default selection, applies the light source to the image as amatte color that is added to the image, giving the impression thatit is reflecting off a shiny or glossy surface, such as a photograph.The Diffuse models are more subtle in that they do not add acolor to the image, but rather modify its luminance and/orchrominance gain, to simulate a flat or non-reflective surface suchas a piece of paper or cloth.

SpecularAs mentioned above, Specular model creates the light sourcereflection or shadow by adding a matte color to the image atlocations where the light source would appear. The default colorsare white for the Highlight and black for the Lowlight, although


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you can make either one any color. This gives the image a shinyor glossy look because of the impression of high reflectivity.

Diffuse There are two Diffuse models, Maximum and Minimum, both ofwhich imply the presence of the light source by increasing theluminance and/or chrominance gain of the image where the lightsource is striking the image, and by decreasing the gain of theimage where the light source does not strike the image. This is amore subtle effect that simulates a dull or non-reflective surface.You can independently vary the luminance and chrominancegain of the image, both where the light source is shining andwhere it is not shining.

Diffuse Max allows you to increase the gain of the lit and/or unlitportions of the image up to twice their original level. You can alsodecrease the gain of the lit portion relative to the unlit portion,but to no lower than one-half that of the unlit portion. As youadjust the gain of the unlit portion, the gain of the lit portion tracksthe unlit portion. A Gain value of 100.00 is twice the original level,while a value of 0.00 is unity gain (the original level), and a valueof -100.00 sets the video level to black.

Diffuse Min allows you to decrease the gain of the lit and/orunlit portion of the image to black. You can only increase the gainof the unlit portion to its original level, not above that level. Inthis mode, you cannot increase the gain of the lit portion of theimage above the level of the unlit portion. This mode is mainlyuseful for casting shadows on an image rather than lighting it. AGain value of 100.00 is unity gain (the original level), while a valueof 0.00 is half the original level, and a value of -100.00 sets thevideo level to black.


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Multiple Light SourcesEach DVE channel has its own light source generator. However,if the DVE is in Vid+Vid or Vid/Key+S modes, the B channel’slight source is not usable. You would be applying a light sourceto the key signal itself, changing the transparency of the keyand/or drop shadow. For this reason, you can "borrow" the lightsource from one channel and apply it to the other channel,resulting in two light sources shining on one channel.

To acquire the light source from the other channel, you must firstrelease it from that channel (you must release the B channel lightsource in order to acquire it for the A channel). This removes theeffect of the light source from the B channel and applies it only tothe A channel, since a light source can only be applied to onechannel at a time. However, the controls for the positioning,coloring, etc., of the "borrowed" light source, still appear in theoriginal channel’s Light Source menu.

The following example shows the effect of two light sources onone image.

STEP 1: Use the procedure in the previous tutorial to positionthe A channel image and turn on its light sourcegenerator.

STEP 2: In the Light Source menu, press the Position softkeyleaving Spot highlighted, then move the light sourceto one corner of the image.

STEP 3: Press the Setup Enable softkey and turn the Usecontrol to select Both. The second light source does notyet appear on the image.

STEP 4: Press the middle Channel Select button (below thejoystick), lighting the CHAN B label and recalling theDVE Chan B menu.


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STEP 5: The Setup Enable softkey should already behighlighted; toggle it to Both to turn on the B channellight source.

STEP 6: Turn the Use control to select All Off. This releasescontrol of the light source from this channel, allowingthe other channel to acquire it. The second light sourcenow appears on the A channel image.

STEP 7: Press the Position softkey, leaving Spot highlighted,and move the light source. Note that only the secondlight source moves; to reposition the original lightsource, you must return to the DVE Chan A menu bypressing the Channel Select button for Channel A.

STEP 8: You could even apply the A channel’s light source tothe B channel and vice versa. To do this, go to bothDVE Chan menus and change Use to Secondary. Thisapplies each channel’s light source to the otherchannel. However, note that if either channel’s Usecontrol is set to Primary or Both, you cannot acquireits light source from the other channel.

When in Vid+Vid mode, you may want to apply a single lightsource to both channels. As mentioned above, you can only applya light source to one channel at a time; however, you can placeeach channel’s light source at the same position in 3D space,making it appear that only one light source is shining on bothimages, even though both light sources are being used.


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Using the Light Source with TexturesThe SurfaceFX Texture feature is visible only when the lightsource is turned on, because it is the light source that applies thereflections and shadows necessary to see the textures.

The light source generator uses Z (depth) information todetermine how the light source appears on the image. Bymodulating or changing this Z data slightly, applying variationsin depth to the image, the DVE can give the light source reflectionsand shadows a three-dimensional look. This three-dimensionallook is its texture.

A Texture source, whether one of the 8150’s internal patterns orlive video, is simply a luminance-only signal, like a key signal,that is used to impart extra depth information to the image. Whenyou apply the light source to an image, the texture informationmodifies the light source reflections and shadows to give theimpression that the image has "bumps." High luminance levelsin the texture source appear "raised" above the plane of the image,while dark luminance levels appear "indented" below the planeof the image.

Note that the absolute level of the luminance in the source imageis not as important as the abruptness of the change in level, alsoknown as the "risetime" of the luminance. Slow risetimes, eventhough the level may change from black to 100% white, do notappear in the image as textures because the texture "slope" is toogradual for the light source generator to distinguish. However,fast risetimes, even if the change in luminance level is slight, showup as a texture because the light source generator can distinguisha sharp "slope" between the two levels. It is this "slope" thatdetermines how visible the texture in the image actually is.

This explains why the light source must be turned on to make thetexture visible. These texture "slopes" change the pixel normals inthe image, making some pixels reflect more light, and others


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reflect less placing them "in shadow," even though the image, inreality, is completely flat. You can prove this by applying a textureto an image, then rotating the image edge-on. The texturesdisappear when the image is edge-on, showing its truetwo-dimensional nature.

Use the following procedure to apply a texture to an image.

STEP 1: Turn on the light source for the A channel as describedin the first tutorial in the Light Source submenusection.

STEP 2: In the Light Source submenu, press the Texture softkeyto toggle it to On. No texture is yet visible because thedefault texture source is Black.

STEP 3: Use the Source pushknob to select any direct sourcein the 8150 as a texture source. A direct source is onethat is not passing through the M/E orPGM/PST/DSK buses, meaning that you can use anyexternal input, the SuperMatte generator, or either8150 Framestore, but you should not use the M/E orPGM/PST wipe generator, key monitor, or any M/Eor DSK output.

STEP 4: When you have selected a source containing rapidlyvarying luminance levels, a texture generated fromthat source appears in the image. If the source is live,the texture appears live also. If you have selected oneof the Framestores, you can recall texture patterns intothe Framestore in the 8150 Framestore menu. A list ofthe available texture patterns appears later in thissection.

STEP 5: You can adjust the amount of texture applied to theimage with the Gain control, which increases the slopeof luminance transitions in the texture source, muchlike the Gain controls in the 8150 keyers. A Gain value


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of 0 makes the texture invisible, while a negative Gainvalue actually inverts the texture, making high pointslow and low points high. You can also accomplish thisinversion by toggling Texture to Invert.

STEP 6: You can adjust the maximum height and depth of the"peaks" and "valleys" in the texture with the Clipcontrol. This functions much like the black clip andwhite clip in the 8150 Color Corrector option, limitingthe amount of height or depth in the texture.

STEP 7: You can freeze the texture independent of the videoby using the Freeze control to select Field 1, Field 2,or Frame. This is useful because you can recall atexture pattern from one of the 8150 Framestores,freeze it in the Texture framestore for one DVEchannel, then recall another pattern in the same 8150Framestore and freeze it in the Texture framestore forthe other DVE channel, leaving both 8150 Framestoresavailable for other functions.

STEP 8: By toggling Texture Mask On, you can "crop" thetexture, like cropping the video image, moving eachmask edge independently of the others, limiting thetexture to a small portion of the image. TogglingTexture Mask to Invert allows you to mask the texturefrom the center of the image toward the outside,limiting the untextured portion of the image.

STEP 9: You can apply the same texture or a different textureto the B channel by repeating the above steps with theDVE Chan B menu active.


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Using the Light Source with UltraWarp PatternsMany of the 8150 DVE’s UltraWarp patterns interact with thelight source generator to create three-dimensional Warp effects.These patterns are marked with an asterisk (*) in the Warpsubmenu, and include these categories:

Page Turn, including the front, back, and both-side versions ofthe Roll and Flap patterns.

Quad Page, including the front, back, and both-side versionsof the Roll and Flap patterns.

Sphere, including the front and back versions of theTransparent and Opaque patterns.

Ripple, including both the Circular and Linear patterns. Thiscategory requires that you use the light source with it to get themaximum effect of these patterns.

Cylinder, including the Horizontal and Vertical patterns.

Fancy, including the front and back versions of the Cylinder,Page Turn, and Page Roll patterns.

Like textures, the above UltraWarp shapes contain Z (depth) datathat modifies pixel normals in the image, so that the light sourceapplies different reflections and shadows than it would to a flatimage. (All other Warp patterns in the 8150 DVE show lightsource reflections and shadows, but do not interact with them tocreate effects that look three-dimensional.)

Since an UltraWarp shape can "bend" an image more than 90degrees, both the light source Highlight and Lowlight can appearin the same image at the same time. For an example of this,perform the following procedure.


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STEP 1: Turn on the A channel light source by following thefirst tutorial in the Light Source submenu section.

STEP 2: Press the Warp softkey, followed by the Select Patternsoftkey to turn it On.

STEP 3: Press the Select Bank softkey and use the SettingsBank control to select Default.

STEP 4: Turn the Categories Select control, scrolling down theCATEGORIES list to select the Sphere category.Select the Opaque – front pattern with the PatternsSelect control. The Sphere pattern appears with thelight source applied to it.

STEP 5: Press the Adjust Warp softkey and use the joystick toreposition the Warp pattern. Note that the light sourcereflection moves to give the impression that the sphereis a 3D object.

STEP 6: Press the Light Source softkey, followed by thePosition softkey. Move the light source in 3D space,observing that the Highlight and Lowlight move tocorrectly show reflections and shading in the sphere.

This concludes the discussion on the SurfaceFX features. See theWarp Submenu discussion for more information on UltraWarppatterns.


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Light Source Submenu Controls

When you press the Light Source softkey, the following menucontrols appear.

Setup Enable Press Setup Enable to toggle the light source through its selections(Off, Hi-Lite, Lo-Lite, and Both), and to access controls forselecting the light model type, the light source position reference,the light source focus, and which DVE channel uses which lightsource.

Hi-Lite turns on only the Highlight (reflections) for that lightsource, while Lo-Lite turns on only the Lowlight (shadows) forthat light source. Both turns on the Highlight and Lowlightsimultaneously. Off disables all light source functions for thatchannel.

Keypad


SetupEnable

Light

Position

Hi-Lite

Rotation

Texture

TextureMask

Transform

SourceImage

Input

Output

Use

JPPrimary

Model

JPSpecular

Warp

LightSource

TL 1 KF 0/0

Lo-Lite

SpotBar

Flood

SpotBar

Flood

OffOn

Invert

OffOn

Invert

LightReference

JPScreen

DVE Loop Off

Focus

SM0.3000



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UseThe Use control allows you to "borrow" the light source from oneDVE channel and apply it to the other channel. The default settingfor both channels is Primary, meaning that each channel isshowing its own (Primary) light source.

Secondary performs two functions: first, it removes the (Primary)light source from the channel, making it available to the otherchannel; secondly, it applies the other channel’s light source(providing it is available) to itself. (A light source can only beapplied to one DVE channel at a time.)

Both applies the light sources from both channels to the subjectchannel (providing the other channels light source is available; ifnot, only the subject channel’s Primary light source is visible). AllOff turns both light sources for that channel off, making bothavailable for the other channel.

The table on the next page shows all combinations of Use settingsfor both channels. Abbreviations in the table are as follows: "ALtsrc" means that the normal light source for the A channel isvisible on the selected channel; "B Ltsrc" means that the normallight source for the B channel is visible on the selected channel;"A+B Lt" means that the combination of both light sources isvisible on the selected channel; and "Lt off" means that there is nolight source visible on the selected channel.


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Channel BSetting

Channel A Setting

Primary Secondary Both All OffPrimary

A = A LtsrcB = B Ltsrc

A =Lt offB = B Ltsrc


A = Lt offB = B Ltsrc

SecondaryA = A LtsrcB = Lt off

A = B LtsrcB = A Ltsrc

A = A+B LtB = Lt off

A =Lt offB = A Ltsrc

BothA= A LtsrcB = B Ltsrc

A = Lt offB = A+B Lt


A = Lt offB = A+B Lt

All OffA = A LtsrcB = Lt off

A = B LtsrcB = Lt off

A = A+B LtB = Lt off

A = Lt offB = Lt off

ModelThe Model control toggles between Specular, Diffuse Min, andDiffuse Max.

Specular – the default model, adds a matte color to the imageto show reflections and shadows

Diffuse Min and Diffuse Max – change the luminance andchrominance gain of portions of the image according to thelocation of the light source

Diffuse Min only – reduces the original gain of the image,

Diffuse Max – can reduce or increase the original gain of theimage, making it the more useful of the two modes.

See the discussion on light source models earlier in this sectionfor more information.


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Light ReferenceThe Light Reference control toggles between Screen and Image.

Screen – the default, allows the light source to have its ownindependent location in 3D space, maintaining a fixed positionrelative to all 3D transforms

Image – locks the light source position to the position of thesource image.

See the discussion on Screen-based vs. Image-based light sourcepositioning earlier in this section for more information.

FocusThe Focus control gives you the ability to limit the range of thereflections and shadows of the light source to a small area of theimage, similar to focusing a beam of light. The default value of0.3000 gives a good approximation of the effects of a light sourceon the image. Values above 1.0000 tend to light the image tooevenly, making it difficult to distinguish between lit and unlitareas, while values below 0.0500 tend to have a harsh cutoff andmay exhibit banding effects.

LightPress the Light softkey to toggle between Hi-Lite and Lo-Lite.This accesses controls for adjusting the Highlight and Lowlightcolor or gain of the image.

When Model (see above) is Specular, you have Luma, Sat, Hue,and Opacity controls, with which you can change the color andtransparency of the Hi-Lite or Lo-Lite, whichever is selected. AnOpacity value of 100 makes the reflection and shadow opaquewhen the light source is shining directly on the image. An Opacityvalue of 0 makes the reflection and shadow completely invisible.

When Model is Diffuse Min or Diffuse Max, you have Hi-LiteGain Y and Hi-Lite Gain C controls for adjusting the Highlight,and Lo-Lite Gain Y and Lo-Lite Gain C controls for adjusting the


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Lowlight, which set the luminance (Y) or chrominance (C) gainof the portion of the image which the light source is affecting. TheAmbient Gain Y and Ambient Gain C controls set the gains ofthe surrounding, or ambient, portion of the image which is notaffected by the light source. In the Diffuse Max model, a GainY/C or Ambient Gain Y/C value of 0.00 does not modify the gainof the image; a value of 100.00 doubles the original gain, and avalue of -100.00 reduces the original level to zero, or black.

The Diffuse Min and Diffuse Max models allow the Gains andAmbient Gains to interact differently; see the Light Source Modeldiscussion earlier in the section for more information on thedifferences between the two.


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Position Press the Position softkey to toggle between Spot, Bar, and Flood,and to access 3D positioning controls for the selected light sourcetype. Spot is a single point source of light, like a light bulb orcandle; Bar is a long "line" of light, like an infinitely longfluorescent or neon tube; and Flood is a full "plane" of light, likethe sky.

Use the H, V, and Z position controls or the joystick to move thelight source in its own 3D space when Light Reference is set toScreen. When Light Reference is set to Image, use these controlsto offset the position of the light source relative to the sourceimage.

See the discussion on Screen-based vs. Image-based positioningearlier in this section for more information.

Keypad


SetupEnable

Light

Position

Hi-Lite

Rotation

Texture

TextureMask

Transform

SourceImage

Input

Output

Use

JPPrimary

Model

JPSpecular

Warp

LightSource

TL 1 KF 0/0

Lo-Lite

SpotBar

Flood

SpotBar

Flood

OffOn

Invert

OffOn

Invert

LightReference

JPScreen

DVE Loop Off

Focus

SM0.3000



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RotationPress the Rotation softkey to access controls for rotating the Barlight source when it is selected. The H, V, and Z rotation controlsare active only when the light source is a Bar. You can easily findthe center of rotation of the Bar if you momentarily select Spot;the Spot light shows the center of rotation for the Bar.

TexturePress the Texture softkey to toggle between Off, On, and Invert,and to access controls for selecting the texture source, freezing thetexture framestore, and adjusting the clip and gain of the texture.

NOTE: The light source must be turned on in orderto be able to see textures applied to the source image.

With Texture On, you can use the Source control to select anydirect source in the 8150 as a texture for the image. A direct sourceis any source not passing through the M/E or PGM/PSTbuses—any external input, the SuperMatte generator, or either ofthe 8150 Framestores. Sources that are delayed by the M/E orPGM/PST buses force the DVE to delay itself, and may causeother timing difficulties.

In general, the DVE video inputs and texture inputs must be intime with each other at the DVE input; if you select video input(s)whose timing is delayed from the texture input(s), the 8150 mustuse one or both internal retiming paths to delay the textureinput(s). Since these internal retiming paths are normally used asthe Aux 3 and 4 outputs, you must choose one of the following:

Aux 3 and 4 outputs only are timed correctly

The two DVE texture inputs only are timed correctly

Aux 3 output and Texture A input only are timed correctly


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See the 8150 Switcher Operations Manual Section 13 –Engineering (particularly the Engineering Misc submenudiscussion) for more information on 8150 sources that are allowedas texture sources and compromises you must make tocompensate for delays in the system.

NOTE: The 8150 Engineering menu structure haschanged slightly since the May 1996 version of the8150 Switcher Operations Manual was released.Previously, the Aux/Txt Retime control was a softkeyin the Engineering Miscellaneous submenu. Youcan now find this control by pressing the Timingsoftkey in this submenu; it appears as a pushknoblabeled Aux/Txt Retime, and performs the samefunctions as outlined in the 8150 SwitcherOperations Manual Section 13 – Engineering.

The Freeze control allows you to independently freeze the texturesource for the selected DVE channel without freezing the inputvideo. You can select Field 1 or Field 2 to freeze a single field ofthe texture pattern if it is taken from a moving image, or selectFrame to freeze a stationary image or graphic for maximumresolution. Selecting Off unfreezes the texture and allows you touse a moving texture source.

The Clip control acts as a limiter, setting the maximum "height"or "depth" of the texture applied to the image. At its default valueof 0, there is no clipping of the texture. At positive values, it limitsthe "height" of the texture by clipping off the "peaks," while atnegative values, it limits the "depth" of the texture by clipping offthe "valleys."

The Gain control adjusts the slope of the edges of the texturesource, much like the 8150 keyer gain controls sharpen key edges.A Gain value of 1 is unity gain, and larger values exaggerate the


9100-0254-00 - MAY 96 DVE Menus 4-75

texture "peaks" and "valleys." A Gain of 0 removes the texturecompletely, while negative Gain values invert the polarity of thetexture.

The Texture/Invert selection performs the same function asapplying a negative Gain to the texture source—inverting thepolarity of the texture. Setting Texture to Off disables the entireTexture function.

Texture MaskPress the Texture Mask softkey to toggle between Off, On, andInvert, and to access controls for positioning the mask on theimage.

With Texture Mask On, you can "crop" the texture from theoutside edges inward, much like using the Source Image menuCrop/Edge function to mask the video input. You have individual

Keypad


SetupEnable

Light

Position

Hi-Lite

Rotation

Texture

TextureMask

Transform

SourceImage

Input

Output

Use

JPPrimary

Model

JPSpecular

Warp

LightSource

TL 1 KF 0/0

Lo-Lite

SpotBar

Flood

SpotBar

Flood

OffOn

Invert

OffOn

Invert

LightReference

JPScreen

DVE Loop Off

Focus

SM0.3000



4-76 DVE Menus 9100-0254-00 - MAY 96

Left, Right, Top, and Bottom controls for changing the positionof each mask edge. Alternatively, you can set the mask size withthe pushknob controls and then reposition it with the joystick.

Setting Texture Mask to Invert allows you to mask the texturefrom the center of the image outward. Setting Texture Mask Offdisables the Texture masking function.


9100-0254-00 - MAY 96 DVE Menus 4-77


4-78 DVE Menus 9100-0254-00 - MAY 96

Section 5

Building andRunning Effects

OverviewThis section discusses the snapshot keyframe and timeline effectconcepts. It details using the Timeline Control buttons, and coversusing the TimeFrame Effects Editor, and creating and runningDVE effects as part of a Switcher Timeline effect. It also gives adetailed description of the DVE Misc menu, which allows you tosave and recall independent two-keyframe effects that theinternal DVE uses when you select an Effect transition.

This section does not attempt to describe all aspects of creating,saving, and recalling switcher Timeline effects; the descriptionshere pertain mainly to the inclusion of the internal DVE into the8150’s Timeline effects. For detailed information on switcherTimelines, see the 8150 Switcher Operations Manual Section 10 –Timelines.

Snapshot Keyframes

As detailed in the 8150 Switcher Operations Manual, the switchercan "take a snapshot" of itself, storing all settings for the keyers,wipe generators, color correctors, SuperMatte generator, and Auxoutputs, all as a single keyframe. With the internal DVE optioninstalled, a "snapshot" keyframe also stores all parameters forboth DVE channels and their Global controls. The same 25


9100-0254-00 - MAY 96 Building and Running Effects 5-1

snapshot keyframe registers save and recall any DVEconfiguration because the DVE is part of the switcher.

For examples of saving and recalling snapshot registers thatinclude the internal DVE, see the tutorial in Section 2 – GettingStarted in this manual.

See the 8150 Switcher Operations Manual Section 10 – Timelinesfor more information on saving and recalling snapshotkeyframes, and storing and restoring them to and from disk.

NOTE: Only keyframable parameters are saved in asnapshot register. Controls such as DVE inputblanking adjustments, which are engineeringfunctions, are not saved with a snapshot becausethey are not parameters you can change on akeyframe-by-keyframe basis.

Timeline Effects

You can string one or more keyframes together to create asequence, called a Timeline effect. When you run an effect, the8150 begins by setting up all switcher parameters, including bothDVE channels and their Global controls, to the first keyframe. Asthe effect progresses, the DVE interpolates between keyframesjust like any standard 8150 keyframe parameter interpolation.

See Section 2 – Getting Started in this manual for an example ofa simple Timeline effect that includes the internal DVE. See alsothe 8150 Switcher Operations Manual Section 10 – Timelines formore details on the basics of Timeline effects.

Assigning the DVE its Own Timeline(s)

When you include the internal DVE in a switcher Timeline effect,its parameters default to Timeline 1, which is where all other


5-2 Building and Running Effects 9100-0254-00 - MAY 96

switcher parameters default. However, as with the switcherparameters, you can assign different sets of parameters todifferent timelines. Since an 8150 Timeline effect can have up tofour Timelines, you can create an effect in which you can give theparameter sets up to four different timing offsets. The standard8150 has nine parameter sets that you can assign to any of theTimelines: Keyer 1, Keyer 2, DSK, M/E Transition, P/PTransition, M/E Color Corectors, P/P Color Correctors, theSuperMatte generator, and Miscellaneous functions. TheMiscellaneous functions set includes Aux bus source selections,Framestore attributes, GPO (GPI Output) triggers, and effectpauses.

When the internal DVE option is installed, there are three moreparameter sets available: DVE Chnl A, DVE Chnl B, and DVEGlobal. You can assign each of these parameter sets to the sameTimeline or to different Timelines, giving you the ability to offseteach channel and the Global controls, independent of each other,or independent of other switcher parameters.

To assign the DVE channels to different Timelines, use the sameprocedure as outlined in the 8150 Switcher Operations ManualSection 10 – Timelines, repeated here in abbreviated form:

STEP 1: Press the TIMELINE button to access the Timelinemenu, and press the Assign Timelines softkey.

STEP 2: Use the joystick to move the black square in the menudisplay, placing it in the box containing the word"Empty" in one of the other Timeline columns. The boxhighlights when the black square is inside it.

STEP 3: Turn the Parameter Select control to select DVE ChnlA. Press the Add softkey. This removes the DVE ChnlA parameters from Timeline 1 and places them in theselected Timeline.

STEP 4:



Repeat the above steps for DVE Chnl B and DVEGlobal as needed.

If there were any keyframes in Timeline 1 before you moved theDVE parameters, those keyframes now appear in the Timeline(s)to which you moved the DVE parameters.

Creating EffectsYou can use the QUICK KEYFRAMES or TIMEFRAME EFFECTSEDITOR buttons to add keyframes to effects and to modify, copy,delete, or remove existing keyframes. See the discussion on thesebuttons later in this section for more details on the editingcommands.

The Undo Buffer

Changing a parameter setting and modifying a keyframe with theQUICK KEYFRAME or TIMEFRAME EFFECTS EDITOR buttonschanges the current workspace. This also copies the existingworkspace (before you made the change) into temporary memorycalled the undo buffer. Think of the undo buffer as backup storagein case you make a mistake in the workspace or decide that thechange is not what you want. Pressing the UNDO KF EDITbutton exchanges the workspace, which holds the effect with theunwanted change, with the undo buffer, which holds the effectbefore you made the change.

Also, when you save the workspace to an effect register, itautomatically copies the current contents of that effect register tothe undo buffer before saving the workspace. This lets yourecover the previous effect register contents in case you saved theworkspace to the wrong effect register. When you recall an effectregister, it automatically copies the current contents of theworkspace to the undo buffer before recalling the effect register.

Creating Effects 8150 DVE Operations


This lets you recover what was in the workspace if you did notsave it before recalling the new register. In either case, pressingUNDO KF EDIT exchanges the workspace with the contents ofthe undo buffer.

Modify and Modify – Trim

Use the TIMEFRAME EFFECTS EDITOR MODIFY button tochange a group of keyframes at the same time. You can changethe border color on a 25-keyframe effect, for example, and nothave to modify each keyframe individually. There are twoimportant considerations:

which parameters do you want to modify?

do you want to set them all to the same value or trim theirexisting values?

Affected ParametersNOTE: The following examples use the commandMODIFY – ALL – ENTER, but they apply to anycommand string that modifies more than onekeyframe (for example, START – TO – END, 1 – TO– 3, etc.).

When you select a workspace keyframe with START (REW),END (FF), PREVIOUS, NEXT, or THIS, the keyframe bufferexactly equals the contents of that keyframe. Any changes younow make, whether they are flags (changing from T1 to Smoothedmotion) or numerical values (a border color), make the keyframebuffer different than the workspace keyframe. Pressing MODIFY– ALL – ENTER causes the 8150 to note which parameters havechanged and to apply those changes to all workspace keyframes.

For example, if each keyframe has a different Rotate value,pressing MODIFY – ALL – ENTER does not affect the Rotatevalues for any keyframe unless you have changed the Rotate

8150 DVE Operations Creating Effects


value before entering the Modify command. If you change therotate value, even by 0.0001, that new value applies to allkeyframes. To ensure that you do not accidentally changeunintended parameters, it is a good idea to press THIS first, thencarefully make the changes, then press MODIFY – ALL – ENTER.

It is easy to make changes and mistakenly press the MODIFYbutton in the QUICK KEYFRAMES button group. This changesonly the current keyframe to match the keyframe buffer, asdescribed below. Pressing MODIFY – ALL – ENTER now has noeffect because there is no difference between the settings in thekeyframe buffer and the current effect keyframe. Take care not touse the QUICK KEYFRAMES MODIFY button when you shouldactually use the TIMEFRAME EFFECTS EDITOR MODIFYbutton.

Replacing vs. Trimming ParametersThe previous examples used the MODIFY – ALL – ENTERcommand, which replaced any changed parameter(s) with thenew setting(s). However, you will occasionally want to trim theexisting values for a group of keyframes instead of replacingthem.

In this case, use MODIFY – TRIM – ALL – ENTER. This causesthe 8150 to determine which parameters have changed, by howmuch, and in which direction. The 8150 uses the change amount(positive or negative) to trim the keyframes’ existing settings. Forexample, in a two keyframe effect, Keyframe 1 has the image Hrotated 0.2500, and Keyframe 2 has the image H rotated 0.5000.After pressing START to move to Keyframe 1, you change the Hrotate value to 0.5000, a change of 0.2500 from its original value.Pressing MODIFY – TRIM – ALL – ENTER gives Keyframe 2 anH rotate value of 0.7500, which is also a change of 0.2500 from itsoriginal value.

Creating Effects 8150 DVE Operations


Quick Keyframe Buttons The buttons in the QUICK KEYFRAMES area of the Control Panelare single-press commands, or "hot keys," that allow you to makesimple keyframe insertions, deletions to the delegated Timelineswith a single button press. The INSERT NEXT, DELETE, andMODIFY buttons apply only to the current keyframe, which isalways indicated above the Keypad Buffer box in the lower righthand corner of the menu display. For instance, the third of fivekeyframes on Timeline one is indicated as:

TL 1 KF 3/5

This example indicates that, with Timeline 1 as the MasterTimeline, Keyframe 3 is the current keyframe. The current timemay be exactly on the Keyframe 3 boundary, or somewherebetween Keyframe 3 and Keyframe 4.

The following table lists the commands you can enter with theQUICK KEYFRAMES buttons, and their results. In this table, "KF"is an abbreviation for "Keyframe," while "TL" is an abbreviationfor "Timeline."

DELETE

UNDOKF EDIT

MODIFY

INSERTNEXT

QUICK KEYFRAMES

The Quick Keyframe Buttons

8150 DVE Operations Quick Keyframe Buttons


Command Condition Result

INSERT NEXT No KFs on thedelegated TL(s).

New KF 1 insertedat 0.00 on delegatedTL(s).

Current time is on aKF location, beforeany KFs, betweenKFs, or after anyKFs on thedelegated TL(s).

New KF insertedafter the current KF;subsequent KFnumbers ripple up;TL durationincreases by newKF duration.

DELETE No KFs on thedelegated TL(s).

No effect.


Current KF deleted;subsequent KFnumbers rippledown; TL durationdecreases bydeleted KF duration.

MODIFY No KFs on thedelegated TL(s).



Modifies thecurrent keyframewith any changesyou have madesince the keyframewas last modified.

Quick Keyframe Buttons 8150 DVE Operations



UNDO KF EDIT Any. Undoes the lastkeyframe editingoperation,including thesaving or recallingof an entireTimeline effect.There is only onelevel of "Undo KFEdit."

TimeFrame Editing Commands Whenever you create or change a Timeline effect, you are editingit. Use the buttons in the TIMEFRAME EFFECTS EDITOR area ofthe Control Panel to edit an existing Timeline effect, or to createa new effect. These buttons are INSERT, DELETE, REMOVE,COPY, MODIFY, START (REW), TO, END (FF), THIS, ALL,and ENTER. The CLEAR KEYFRAME button has no function.Also used are the PREVIOUS and NEXT buttons in theTIMELINE button area, as well as the TRIM button in the numerickeypad.

TIMEFRAME EFFECTS EDITORTM

The TimeFrame Effects Editor Buttons

8150 DVE Operations TimeFrame Editing Commands


The keyframe edit dialog in the menu display shows your editingcommand sequences as you enter them. Use the numeric keypadCLEAR button to clear entries in the keyframe edit dialog.

NOTE: You can only edit delegated (active)Timelines. To delegate a Timeline, press itsTimeline Delegation button to light its LED.

The following tables list the command sequences you can createwith the TIMEFRAME EFFECTS EDITOR buttons, and theirresults. Examples of commands that act on specified keyframesuse keyframes 3 and 12. "KF" is an abbreviation for "keyframe,"while "TL" is an abbreviation for "Timeline." The term"penultimate KF" refers to the next-to-last keyframe in a Timeline.

NOTE: All INSERT operations place the currenttime at the beginning of the new keyframe.


INSERT – ENTER(same as INSERTNEXT button)

No KFs ondelegated TL(s).




INSERT – THIS –ENTER



TimeFrame Editing Commands 8150 DVE Operations



INSERT – THIS –ENTER (continued)

Current time is on aKF location.

New KF insertedbefore the currentKF; subsequent KFnumbers ripple up;TL durationincreases by newKF duration.

Current time isbetween KFlocations ondelegated TL(s).

New KF inserted atcurrent time,shortening durationof previous KF tofit; subsequent KFnumbers ripple up;TL duration doesnot change.

Current time isbefore start KF ondelegated TL(s).

New KF inserted atcurrent time; offsetfrom old start KFbecomes new startKF duration;subsequent KFnumbers ripple up;TL durationincreases by newKF duration.

Current time is afterend KF ondelegated TL(s).

New KF inserted atcurrent time; offsetfrom old end KFbecomes old endKF duration; TLduration increasesby new KF duration.




INSERT – START– ENTER




New KF inserted atthe start of thedelegated TL(s);subsequent KFnumbers ripple up;TL durationincreases by newKF duration.

INSERT – END –ENTER


Two identical KFsinserted at 0.00 and1.00 on delegatedTL(s).


New KF inserted atthe end of thedelegated TL(s); TLduration increasesby duration of newpenultimate KF.

INSERT — NEXT— ENTER (same asINSERT NEXTbutton)








INSERT –PREVIOUS –ENTER



Current time isbefore or at startKF, or between startKF and KF 2 ondelegated TL(s).

New KF inserted atthe start of thedelegated TL(s);subsequent KFnumbers ripple up;TL durationincreases by newKF duration.

Current time is onKF 2 or above,between KFs 2and 3or above, or afterany KFs on thedelegated TL(s).

New KF insertedbefore the previousKF; subsequent KFnumbers ripple up;TL durationincreases by newKF duration.

INSERT – 3 –ENTER


Three identical KFsinserted at 0.00,1.00, and 2.00 ondelegated TL(s).


New KF 3 insertedon delegated TL(s);identical KF 2created if it did notexist; subsequentKF numbers rippleup; TL durationincreases by newKF duration(s).




INSERT – 3 – TO –12 –ENTER


Twelve identicalKFs inserted at 0.00,1.00, 2.00, etc. ondelegated TL(s).


New KFs 3 through12 inserted ondelegated TL(s),creating identicalintermediate KFs ifthey did not exist;subsequent KFnumbers ripple up;TL durationincreases by newKF duration(s).

DELETE – ENTER No KFs ondelegated TL(s).

No effect.


Current KF deletedfrom delegatedTL(s); subsequentKF numbers rippledown; TL durationdecreases bydeleted KF duration.

DELETE – THIS –ENTER

Any. Same as DELETE –ENTER.

DELETE – START– ENTER


No effect.




DELETE – START– ENTER(continued)


Start KF deletedfrom delegatedTL(s); subsequentKF numbers rippledown; TL durationdecreases bydeleted KF duration.

DELETE – END –ENTER


No effect.


End KF deletedfrom delegatedTL(s); TL durationdecreases byduration of oldpenultimate KF.

DELETE – NEXT –ENTER


No effect.


Next KF deletedfrom delegatedTL(s); subsequentKF numbers rippledown; TL durationdecreases bydeleted KF duration.

DELETE –PREVIOUS –ENTER


No effect.




DELETE –PREVIOUS –ENTER (continued)


Previous KFdeleted fromdelegated TL(s);subsequent KFnumbers rippledown; TL durationdecreases bydeleted KF duration.

DELETE – 3 –ENTER


No effect.


KF 3 deleted fromdelegated TL(s);subsequent KFnumbers rippledown; TL durationdecreases bydeleted KF duration.

DELETE – 3 – TO –12 – ENTER


No effect.


KFs 3 to 12 deletedfrom delegatedTL(s) if they exist;subsequent KFnumbers rippledown; TL durationdecreases bydeleted KFduration(s).

DELETE – ALL –ENTER


No effect.




DELETE – ALL –ENTER (continued)


Deletes all KFs fromthe delegated TL(s).

REMOVE – ENTER No KFs ondelegated TL(s).

No effect.

Current time is onor before KF 1, orbetween KF 1 andKF 2 of delegatedTL(s).

Start KF deletedfrom delegatedTL(s); subsequentKF numbers rippledown; TL durationdecreases byduration ofremoved KF.

Current time is onor after last KF ofdelegated TL(s).


Current time is onKF 2 or above, orbetween KF 2 andthe last KF.

Current KF deletedfrom delegatedTL(s), but itsduration is addedto the previous KF;subsequent KFnumbers rippledown; TL durationdoes not change.




REMOVE – THIS— ENTER

Any. Same as REMOVE– ENTER.

REMOVE –START – ENTER(same as DELETE –START – ENTER)


No effect.


Start KF deletedfrom delegatedTL(s); subsequentKF numbers rippledown; TL durationdecreases byduration ofremoved KF.

REMOVE – END –ENTER


No effect.



REMOVE – NEXT– ENTER


No effect.




REMOVE – NEXT– ENTER(continued)


Next KF deletedfrom delegatedTL(s), but itsduration is addedto the previous KFunless it is the lastKF; subsequent KFnumbers rippledown; TL durationdoes not change,unless it is the lastKF that is removed(see REMOVE –END – ENTER).

REMOVE –PREVIOUS –ENTER


No effect.


Previous KFdeleted fromdelegated TL(s), butits duration isadded to theprevious KF unlessit is the start KF;subsequent KFnumbers rippledown; TL durationdoes not change,unless it is the startKF that is removed(see REMOVE –START – ENTER).




REMOVE – 3 –ENTER


No effect.


KF 3 deleted fromdelegated TL(s), butits duration isadded to KF 2;subsequent KFnumbers rippledown; TL durationdoes not change.

REMOVE — 3 —TO — 12 — ENTER


No effect.


KFs 3 through 12deleted fromdelegated TL(s) ifthey exist, but theirdurations areadded to KF 2;subsequent KFnumbers rippledown; TL durationdoes not change.

REMOVE – ALL –ENTER

Any. Same as DELETE –ALL – ENTER.

MODIFY – ENTER No KFs ondelegated TL(s).





MODIFY – ENTER(continued)


Modifies thecurrent KF ondelegated TL(s) toreflect any changesmade to theworkspace.

MODIFY – THIS –ENTER

Any. Same as MODIFY –ENTER.

MODIFY – START– ENTER




Modifies start KFon delegated TL(s)to reflect anychanges made tothe workspace.

MODIFY – END –ENTER




Modifies last KF ondelegated TL(s) toreflect any changesmade to theworkspace.

MODIFY – NEXT –ENTER






MODIFY – NEXT –ENTER (continued)


Modifies the nextKF on delegatedTL(s) to reflect anychanges made tothe workspace.

MODIFY —PREVIOUS —ENTER




Modifies theprevious KF ondelegated TL(s) toreflect any changesmade to theworkspace.

MODIFY – 3 –ENTER


Three identical KFsinserted at 0.00,1.00, and 2.00 ondelegated TL(s).


Modifies KF 3 ondelegated TL(s) toreflect any changesmade to theworkspace, andcreates identical KF2 if it does not exist.

MODIFY – 3 – TO– 12 – ENTER


Three identical KFsinserted at 0.00,1.00, and 2.00 ondelegated TL(s);KFs 4 through 12are not created.




MODIFY – 3 – TO– 12 – ENTER(continued)


Modifies KFs 3through 12 ondelegated TL(s) toreflect any changesmade to theworkspace, andcreates identical KF2 if it does not exist.

MODIFY – ALL –ENTER




Modifies all KFs ondelegated TL(s) toreflect any changesmade to theworkspace.

MODIFY – TRIM –(ALL, 3 – TO – 12, 3– TO – END,START – TO – 3) –ENTER






MODIFY – TRIM –(ALL, 3 – TO – 12, 3– TO – END,START – TO – 3) –ENTER (continued)


Trims all specifiedKFs on delegatedTL(s) according tothe amount anddirection of changebetween the currentKF and theworkspace; allspecified KFs arechanged by thesame amount anddirection relative totheir original values.

COPY – (START,THIS, 3, NEXT,PREVIOUS, END)– TO (START, 12,NEXT, etc.) –ENTER


No effect.

Current time is on aKF location, beforeany KFs, betweenKFs, or after anyKFs on thedelegated TL(s);exception: seeCOPY – START –TO – END –ENTER.

Copies values fromspecified KF andmodifies existing"to" KF with thoseparameters; if "to"KF does not exist, itis inserted after thelast KF.

COPY – 3 – TO – 12– TO – 13 – ENTER


No effect.




COPY – 3 – TO – 12– TO – 13 – ENTER(continued)


Copies values fromspecified range ofKFs and modifiesexisting "to" rangeof KFs with thoseparameters; if anyor all of "to" rangeof KFs does notexist, new KFs areinserted after thelast KF.

COPY – START –TO – END –ENTER


No effect.

One KF ondelegated TL(s).

Creates a second KFidentical to KF 1 ondelegated TL(s).

More than one KFon delegated TL(s).

Same as COPY –(START, THIS, 3,NEXT, PREVIOUS,END) – TO(START, 12, NEXT,etc.) – ENTER

TO – 3 – ENTER No KFs on MasterTL.

No effect.

Current time is on aKF location, beforeany KFs, betweenKFs, or after anyKFs on the MasterTL(s).

Moves current timeto KF 3 of MasterTL if it exists; if KF3 does not exist, thecurrent time movesto the end of theMaster TL.




START Any. Moves current timeof all TLs to 0.00.

END Any. Moves current timeto the last KF of thelast TL.

THIS No KFs on MasterTL.

No effect.

Current time is on aKF location, beforeany KFs, betweenKFs, or after anyKFs on the MasterTL.

Moves current timeto beginning ofcurrent KF onMaster TL.

PREVIOUS No KFs on MasterTL.

No effect.


Moves current timeto beginning ofprevious KF onMaster TL.

NEXT No KFs on MasterTL.

No effect.


Moves current timeto beginning of nextKF on Master TL.



The DVE Misc Menu Press the EFFECTS TRANS menu button to access the DVE Miscmenu, which contains controls for recalling, saving, deleting, andcreating two-keyframe effects that the 8150 internal DVE uses forEffect transitions. If the Auto Menus selection is On (underPersonality menu, User Keys & Misc submenu), youautomatically recall this menu whenever you press the EFFECTbutton in the Transition area (lighting the button in red).

The standard 8150 switcher can execute Mix, Wipe, and NAM(Non-Additive Mix) transitions from one source to another. Withthe DVE option installed, the 8150 can also execute an Effecttransition, which uses the DVE to "push," "squeeze," or performsome other digital effect as a transition from one source to

Keypad

Name EffSave

Recall

Protect

Recall Eff

CopyCurrent

Save - Recall

UserEffects

Scroll

33


DeleteDelete Eff

Confirm

Cursor

< Move >

Character

A

Change

2 0 ) s l i d e _ d 0 2 - 1 9 - 9 6 1 0 : 0 5 P2 1 ) s l i d e _ l 0 2 - 1 9 - 9 6 1 0 : 0 5 P2 2 ) s l i d e _ r 0 2 - 1 9 - 9 6 1 0 : 0 5 P2 3 ) s l i d e _ u 0 2 - 1 9 - 9 6 1 0 : 0 5 P2 4 ) r o t _ l l 0 2 - 1 9 - 9 6 1 0 : 0 5 P2 5 ) r o t _ l r 0 2 - 1 9 - 9 6 1 0 : 0 5 P2 6 ) r o t _ u l 0 2 - 1 9 - 9 6 1 0 : 0 5 P2 7 ) r o t _ u r 0 2 - 1 9 - 9 6 1 0 : 0 5 P2 8 ) z r o t _ d 0 2 - 1 9 - 9 6 1 0 : 0 5 P2 9 ) z r o t _ l 0 2 - 1 9 - 9 6 1 0 : 0 5 P3 0 ) z r o t _ r 0 2 - 1 9 - 9 6 1 0 : 0 5 P3 1 ) z r o t _ u 0 2 - 1 9 - 9 6 1 0 : 0 5 P3 2 ) m _ r o t _ d 0 2 - 1 9 - 9 6 1 0 : 0 5 P

The DVE Misc Menu

8150 DVE Operations The DVE Misc Menu


another. These effects are limited to two keyframes: a startkeyframe and an end keyframe.

At the center of this menu is a list of 51 memory registersdedicated to these two-keyframe transition effects. Registers 20through 50 are read-only, you cannot change their contents. Theycontain pre-built two-keyframe effects that you can recall and useat any time as Effect transitions. These registers also display iconsthat show what the transition effect looks like. You can useregisters 0 through 19 to name and save your own two-keyframetransition effects. You can recall and use them at any time as Effecttransitions. These registers do not have display icons.

NOTE: These registers are not intended to be usedas general purpose effect registers like those foundin a dedicated DVE. They are designed only to storetwo-keyframe switcher transition effects. To create,save, and recall more complex DVE effects, use theTimeline menu, which saves any DVE effect as partof a switcher effect.

See the discussion later in this section for more information onEffect transitions, or see the discussion earlier in this section formore information on building switcher Timeline effects thatincorporate DVE effects. You can also refer to the 8150 SwitcherOperations Manual Section 3 – Transitions for more informationon all switcher transitions, or the 8150 Switcher OperationsManual Section 10 – Timelines for more information on creatingswitcher Timeline effects.

The DVE Misc Menu 8150 DVE Operations


The Save – Recall Submenu

Press the Save – Recall softkey to access controls for naming,saving, recalling, and deleting two-keyframe transition effects. Toname, save, recall, or delete 8150 switcher effects, use the Timelinemenu.

Save (Name Eff)When you want to save a transition effect that you have created,press Save (Name Eff) to add it to the User Effects submenu.Scroll, Cursor, and Character controls also appear when Save(Name Eff) is highlighted.

Use the Scroll control to move up and down the list of transitioneffects. You cannot save an effect to registers 20 through 50, asthey are read-only registers.

Keypad

Name EffSave

Recall

Protect

Recall Eff

CopyCurrent

Save - Recall

UserEffects

Scroll

33


DeleteDelete Eff

Confirm

Cursor

< Move >

Character

A

Change


The Save--Recall Submenu



You can connect a PC–AT compatible keyboard to theKEYBOARD port on the 8150 Control Panel, with which you canquickly type transition effect names. If a keyboard is not available,you can use the Cursor and Character controls to enter up to eightalphanumeric characters as effect names. The currently selectedcharacter appears on the bottom row of the naming box (in themiddle of the menu display) and acts as a cursor for the namingfunction. Turn the Character pushknob to select a character, thenpush it to enter the character into the naming box.

Turn the Cursor control pushknob to move the cursor in thenaming box left or right. This allows you use the Character knobagain to retype or overwrite a character. Alternatively, you canpress the Cursor knob to backspace, erasing one character perpress of the pushknob. Press and hold CLEAR and pressCharacter to clear the naming box completely.

Once you have selected an unused register in which to save theeffect, and entered a name in the naming box, press the Confirmsoftkey to execute the saving operation. The current transitioneffect, with the name you gave it, plus a time and date stamp, aresaved to the highlighted effect register.

To prevent the effect from being accidentally overwritten, pressthe Protect softkey. This places the letter P next to the effect name,indicating that you cannot overwrite this register. To "unprotect"a register that is currently protected, highlight the register withthe Scroll control and press Protect again.

Recall (Recall Eff)Press Recall (Recall Eff) to recall a transition effect from the listat the center of the menu. A Scroll control also appears whenRecall (Recall Eff) is highlighted.

Use Scroll to move up and down the list of transition effectregisters and highlight the one you want to recall. The pre-built



effects display icons show what the Effect transition will look like.When you have selected an effect, press Confirm to load it. If theEFFECT button is lit red, you can execute this Effect transitionwith the fader bar or the AUTO TRAN button.

If you attempt to recall an empty register, the current effectremains active.

Protect Press the Protect softkey to assign read-only status to an effectregister, so it cannot be accidentally overwritten. Press it again to"unprotect" a protected register.

Delete (Delete Eff)Press the Delete (Delete Eff) softkey to access controls for clearingan effect register. Use the Scroll control to select the register youwant to clear, then press Confirm to actually clear the register. Ifthe register has a letter P next to its name, it is protected andcannot be deleted until you change its protected status.

Copy CurrentPress the Copy Current softkey to copy the name of thehighlighted register to the naming box. This is a convenient wayto modify an existing effect name without retyping it, or to createa similar effect name without retyping it. Once in the naming box,you can edit the name with a PC–AT keyboard or with the Cursorand Character controls.

ConfirmPress the Confirm softkey to execute the selected function(naming and saving, recalling, or deleting an effect). Think ofConfirm as an "Enter" button.



The User Effects Submenu

Press the User Effects softkey to access controls for creatingtwo-keyframe transition effects you can save and recall for Effecttransitions. To create more complex DVE effects, or effects to beused for purposes other than an Effect transition, use the Timelinemenu.

Overview of Effects TransitionsAn Effect transition allows you to transition between two sourcesas a digital effects move, rather than using a Mix or Wipe. Toperform this transition type, you must press the EFFECT button(lighting it red). This action automatically routes the original"from" source to the DVE, and the DVE output then becomes the"from" source in the transition. When you execute the transitionby moving the fader bar or pressing AUTO TRAN, the DVE

Name Effdefine 1

define 2

step rev

Save - Recall

UserEffects

step fwd


Keypad





performs its effect, revealing the "to" source as it moves off screen.The "to" source is not routed through the DVE until the end of thetransition, at which point the bus "flip flop" takes place; at thattime, the old "to" source becomes the new "from" source and isrouted through the DVE.

The ability to change from a Mix or Wipe transition to an Effecttransition live, or "on the fly," and without an obvious change inthe switcher Program output, requires that the first keyframe inthe transition effect keeps the "from" source at its original size andlocation on screen. Similarly, at the end of the transition, the "to"source must be at original size and position, with the "from"source completely off-screen.

To keep the creation of these transition effects simple, each effectconsists of only two keyframes: the Start and the End. The Startkeyframe (how the transition begins) should always maintain full1:1 size and position, so that the "from" source appears unchangedat the beginning of the transition. The End keyframe (how thetransition finishes) should always have the DVE completelyoff-screen so the "from" source is not visible.

It is important to note that the DVE is not keyed over the "to"source during an Effect transition; in fact, none of the 8150 keyersare used to create this transition, and so remain available fornormal use. The Effect transition works by substituting the DVEKey output for the 8150 Wipe Generator pattern output. In thiscase, the DVE Key signal is the "wipe pattern" the 8150 uses toplace the "from" source, which is actually routed through theDVE, and the "to" source on screen simultaneously. This is whyyou cannot use an UltaMix (split) transition with an Effecttransition and a Wipe transition simultaneously.



Follow this procedure to create an Effect transition of your own.

STEP 1: Press the EFFECT button in the Transition Select area,lighting it red. Press the BKND button and select twosources, one on the Background A bus and one on theBackground B bus. (Make sure that the M/E output isselected on the Program bus so this is visible on the8150 Program output.)

NOTE: There is an inherent one-frame delaythrough the 8150 internal DVE. When you pressEFFECT to select an Effect transition, the 8150internal crosspoint matrix routes the "from" sourcethrough the DVE, which may be visible as aone-frame jump in the "from" source if it is a movingimage. Similarly, when you press MIX, WIPE, orNAM to select another transition type, the 8150matrix routes the "from" source directly to the mixer,bypassing the DVE, which may be visible as anotherone-frame jump if the "from" source is a movingimage. This delay is fundamental to the DVE designand cannot be changed.

STEP 2: Press and hold CLEAR and press all three oblong DVEChannel Select buttons (below the joystick). This setsall DVE parameters to default. This action is notnecessary, but is advised as a precaution to avoidsurprises when you execute the completed transition.

STEP 3: Press the EFFECTS TRANS menu button, followed bythe User Effects softkey. Press the Define Start softkey.This creates the Start keyframe with the DVE at defaultsize and position. If the DVE is not at its default sizeand position for the Start keyframe, the "from" sourcewill suddenly change size or position when you press



the EFFECT button. Additionally, since the DVE isactually the "from" source when an Effect transition isactive, the DVE output is surrounded by black untilyou execute the transition.

STEP 4: Press the DVE menu button, followed by theTransform softkey, to access the DVE submenus. (Youcan use either the DVE Chan A/B or DVE Global menuto create a transition effect; however, the Global menuhas only transforms, with no Borders, Crops, Warpeffects, Light Source effects, Textures, etc. Also, whenEFFECT is lit, the two DVE channels are lockedtogether and cannot be separated.)

STEP 5: Press 3D Locate and move the image off-screen in anydirection; it must be completely off-screen for theEffect transition to work properly. As you move theimage, you cannot see the "to" source underneath theDVE; this is normal, because the transition is notactually taking place at this time, so only the "from"source, which is the DVE video output, is visible. Sincethe DVE output is black outside the limits of the sourceimage, only black is visible outside the "from" source.

STEP 6: Return to the DVE Misc menu by pressing theEFFECTS TRANS menu button. Press the Define Endsoftkey to create the End keyframe of the Effecttransition.

STEP 7: To verify the positions of the two keyframes, press theStep Rev and Step Fwd softkeys. Step Rev shows theStart keyframe, which should be the "from" source atfull size, while Step Fwd shows the End keyframe,which should be black, meaning that the DVE isoff-screen.



STEP 8: Move the fader bar or press AUTO TRAN to executethe Effect transition. The transition begins with the"from" source at full size, then smoothly movesoff-screen, revealing the "to" source. At the end of thetransition, the buses flip-flop so that the new "from"source appears in the DVE when you execute anothertransition.

STEP 9: To save this Effect transition, press the Save – Recallsoftkey and press Save (Name Eff). Use a PC–ATkeyboard connected to the Control Panel, or use theCursor and Character controls, to assign a name of upto eight characters to the effect. Use the Scroll controlto select an unused register (0 to 19) and pressConfirm. The effect name, along with a time and datestamp, appear in the effect register list.

The above example is a basic one; you can incorporate any DVEparameter (Borders, Crops, Warps, Light Source, Textures, etc.)into an Effect transition, as long as the Start keyframe is at defaultsize and position, and the End keyframe is completely off-screen.

Define StartPress Define Start to create the Start (first) keyframe for an Effecttransition. The Start keyframe DVE parameters should be at theirdefaults for a full size image; if not, the "from" source will beshifted in position and surrounded by black.

Define EndPress Define End to create the End (last) keyframe for an Effecttransition. The End keyframe DVE parameters should result inthe DVE being completely off-screen; if not, the DVE will abruptlydisappear at the end of the transition.



Step Rev Press Step Rev to view the Start keyframe of the effect. If the DVEis at its defaults as it should be, this keyframe shows the current"from" source at its correct size and position in the switcheroutput.

Step FwdPress Step Fwd to view the End keyframe of the effect. If the DVEis completely off-screen as it should be, this keyframe shows blackin the switcher output.

Name Effdefine 1

define 2

step rev

Save - Recall

UserEffects

step fwd


Keypad





Section 6

Motion ControlOverview

Creating keyframes defines what happens to the image when yourun the effect. The motion settings covered in this sectiondetermine how the 8150 DVE interpolates from one keyframe tothe next. This often has a big impact on the look of the effect.

There are five motion path types that you can assign toparameters: Jump, Linear, Smooth-Linear, TCB (with two presetscalled T1 and T2), and Smoothed Motion. You can assign a motionpath type to any parameter that you can change on akeyframe-by-keyframe basis. Most of the position parameters

Keypad


Rotate

AxisPosition

Source

KeyerMode

Transform

H

SM0.0000

V

SM0.0000

TL 1 KF 0/0

Target

SourceTarget

ShapedUnshaped

Z

SM0.0000

DVE Loop Off

Blanking

SM JP SL T1LNLN

Path TypeSelections

Path TypeDesignation


9100-0254-00 - MAY 96 Motion Control 6-1

accept all five path types; however, other parameters accept onlythe simpler path types.

To assign a motion path type to a parameter, toggle the PATHbutton in the numeric keypad. The currently selected path typeappears highlighted in the keypad buffer. Assign the path typeto a parameter by pressing the parameter’s pushknob. You canassign the same path type to all the parameters accessed by asoftkey, by selecting the path type with the PATH button, thenholding the PATH button down and pressing that softkey. Youcan also assign a path type to all parameters in a submenu byselecting the path type with the PATH button, holding the PATHbutton down, and pressing the submenu softkey. Similarly, toassign a path type to an entire menu, select the path type, pressand hold PATH, and press the green menu button.

When using the above method, only the parameters that canaccept the selected path type actually change to that type; otherparameters retain their original path types. For example, if youtry to assign Smoothed Motion (SM) to the Crop function, theCrop Edge position parameters accept SM, but the Crop Softnessparameters remain at their current settings (LN is the default).

Because the path types define how the DVE interpolates betweenkeyframe parameter values, it does not interpolate from one pathtype to another. For example, an effect has Linear motion appliedto a parameter for keyframes 1, 2, and 3, then TCB on keyframes4, 5, and 6. When you run the effect, the DVE uses Linear motionbetween keyframes 1 and 4, then switches to TCB motion betweenkeyframes 4 and 6.


6-2 Motion Control 9100-0254-00 - MAY 96

Motion Path TypesFollowing are descriptions of the path types available, inascending "priority" order.

Jump (JP)

Jump, abbreviated JP, is similar to "Hold" in other DVEs. It holdsthe parameter value through the duration of the keyframe; it doesnot interpolate values from one keyframe to the next. At the firstfield of the next keyframe, the parameter "jumps" to the settingfor that keyframe. Note that even if you run an effect backward,the DVE looks ahead for Jump flags, so that the effect runsproperly in reverse.

All parameters accept the Jump motion path type. Parametersthat can accept only Jump are toggles and flags, such as modeselections or on/off status. Examples of toggles and flags areWarp on/off status and pattern selection, Light Source modelselection, Combiner Priority type, Motion Detect settings, and allinput source selections.

Linear (LN)

Linear, abbreviated LN, interpolates in a simple straight line fromthe parameter values of the current keyframe to those of the nextkeyframe. There is no acceleration or deceleration from onekeyframe to the next with this path type.

All parameters that use numerical values can accept the Linearmotion path type. Parameters that use numerical values, but arenot related to image position, default to Linear. These parameterscan accept only Jump, Linear, and Smooth-Linear (see below).Examples of this type of parameter are color settings (Luma, Sat,Hue, and Opacity values), Crop and Border Softness parameters,

8150 DVE Operations Motion Path Types


MulitPic parameters, Combiner Priority crossfade settings, andany Clip and Gain settings.

Smooth-Linear (SL)

Smooth-Linear, abbreviated SL, gives the parameter astraight-line path between keyframes, but adds acceleration at thestart of the current keyframe and deceleration into the nextkeyframe. This creates a better approximation of natural motionbetween keyframes, especially on border and crop settings, byeliminating abrupt starts and stops at keyframe boundaries.

All parameters that default to the Linear path type can accept theSmooth-Linear motion path type as well.

Motion Path Types 8150 DVE Operations


Tension–Continuity–Bias 1 and 2

OverviewThe Tension– Continuity–Bias (TCB) path type is abbreviated T1and T2 because there are two preset values available. The premisebehind TCB motion is that the source image moving in 3D spacehas mass, which prevents it from changing direction or speedinstantly. This results in a motion path that is no longer a straightline; it must curve as it passes through keyframe boundarylocations.

Only true motion parameters can use the T1 and T2 path types.Examples of motion parameters are; all Locate parameters, Rotateparameters, Crop and Border Edge parameters, Mosaicparameters, all Warp motion parameters, Z Key offsets, and lightsource Focus parameters.

TCB uses a "spline" to create this curved path. In the graphicsindustry, a spline is a flexible strip used in drawing curves; in theDVE, the spline is a mathematical equation.

An important feature of TCB is that it "looks ahead" to the nextkeyframe, or two keyframes if there are that many, and "looksbehind" to the previous keyframe, to determine how best to splinethe path through the keyframes and maintain realistic lookingspeeds and paths. This means that, for TCB to function, theremuse be at least three keyframes in the effect.

There are two independent sets of Tension–Continuity–Biasvalues, called T1 and T2, available for any parameter that canaccept TCB. This is to allow some parameters to use one set ofTCB values while other parameters can simultaneously useanother set of TCB values. It also allows one parameter, or set ofparameters, to use one TCB preset for one keyframe and anotherTCB preset for the next keyframe.



TCB Motion ExampleSince TCB motion algorithms are based on matrix math thatincludes vector calculations and keyframe "look-aheads" and"look-behinds, " it may be more intuitive to use a physical modelto demonstrate the effect of TCB motion. Although the internalcalculations do not work exactly as the model suggests, the resultsare the same.

For this example, imagine a person running in a straight line fromone point to another, then turning right and heading to a thirdpoint. He must first accelerate to his maximum speed whileheading to the position where he will make the right turn. Theshortest distance between two points is a straight line, but if theperson is going to make a right turn, he would have to stopforward motion at the second point, change directions, then moveforward again. To maintain maximum speed and avoid stopping,the person can veer a little to the left and then back to the right ashe approaches the second point; in this way he can "spread out"the right turn over a longer period of time, and does not need toslow down as much to execute the turn.



All of this means that the person must look ahead and anticipatethe change in direction. TCB splining looks past the keyframeimmediately ahead to the one after it, and uses that informationto determine the needed path. Furthermore, what happened atthe previous keyframe also affects the current path. This is similarto the person making the right turn not being able to follow astraight path to the third point: the right turn is not complete untilsometime after he passes the second point.

"Look Ahead" and "Look Behind"The 8150 DVE uses a four keyframe "window" in the TCB pathtypes—it uses the positions of four keyframes simultaneouslywhen making motion path calculations for each keyframe. Thisis commonly known as a two-keyframe look-ahead: TCB looksahead to the next keyframe and the one after to see where theimage will be positioned in the "future." The fourth keyframe isa one-keyframe look-behind: TCB looks back to the previouskeyframe to see where the image was positioned in the "past."

Note that in the first keyframe of any effect, TCB cannot lookbehind, so it only looks ahead to the next two keyframes tocalculate its motion path as it accelerates from its start point.Similarly, in the last keyframe of any effect, TCB cannot lookahead, so it only looks behind to the previous keyframe tocalculate its motion path as it decelerates to its end point.



In a three-keyframe effect, TCB obviously cannot look at fourkeyframes at once, and so it looks ahead and/or behind only asfar as it can. In the simpler case of a two-keyframe effect, in whichany given parameter can only move in a straight line, TCB doesnot attempt to calculate a motion path, although acceleration anddeceleration between keyframes is still applied.

You can adjust the Tension–Continuity–Bias valuesindependently for each keyframe, meaning that the valuesthemselves can interpolate from one keyframe to the next. For thisreason, the TCB parameters can have motion path types assigned;in this case, since they are not positional values, the path typesavailable are limited to Jump, Linear, and Smooth-Linear.



TCB DescriptionsFor the purposes of this discussion, we will use a simple examplewith three keyframes to illustrate Tension–Continuity–Bias. Theimage has been sized and moved as illustrated in the followingfigure. A TCB motion path is selected for all keyframes.

As a physical model for this effect, think of three metal stakesdriven into the ground, defining an "L" shape, with one stake ateach end of the "L" and one at the corner of the "L". These threestakes are the three keyframes in our example effect; they are fixedin position and cannot move. Stretched between these stakes aretwo bungee cords, one stretched between the first and secondstake, and the other stretched between the second and third stake.These bungee cords are the motion path that the effect takes as itruns.

The figure below shows the effect using a linear path without TCBapplied. Without TCB, the two bungee cords (which comprise themotion path) are perfectly straight, with an abrupt 90-degree turnat the second stake (Keyframe 2).



Tension Adding Tension is like attaching a string to the midpoint of eachbungee cord and pulling outward on them, stretching the cordsinto arcs and bending the motion path as if the moving image hadmomentum and inertia. The default Tension value, 0.7, providesa natural looking path based on the inertia of real moving objects.Increasing the Tension value exaggerates the path, stretching itfurther, while reducing the Tension value reduces the bending ofthe motion path. The maximum Tension value is 10.0, which is anextremely stretched motion path.

As the Tension value decreases through 0.0 to negative numbers,a value of –1.0 effectively turns Tension off, producing the sameeffect as the Smooth-Linear motion path type, meaning that thereis acceleration and deceleration into and out of each keyframe,but the path is straight (linear). This also means that a Tensionvalue of –1.0 is the equivalent of having no "look ahead." Notethat the motion actually stops at each keyframe: with no lookahead, TCB treats each keyframe as if it is the last one.

A use for TCB with tension set to –1.0, instead of using theSmooth-Linear path type, is that you can interpolate to this setting



from a different Tension value. This is very useful when you wantto remove the look ahead function smoothly, such as on akeyframe containing a pause.

As the Tension values increase in the negative direction, theyproduce a path that enters and leaves each keyframe in oppositedirections than with values above –1.0. The maximum negativeTension value is –10.0, which is again an extremely stretchedmotion path.

ContinuityContinuity defines how smooth or continuous the motion path isbetween keyframes; in the illustration, Continuity describes theangle at which we exert tension on the bungee cords with thestring. With a zero Continuity setting, the string pulls the cord atright angles to the linear path, producing a symmetrical arc as thepath enters and exits each keyframe. Positive Continuity valuesangle the pulling force toward the outside of the keyframe, whilenegative Continuity values angle the pulling force toward theinside of the keyframe. In these illustrations, for simplictiy, onlykeyframe 2’s Continuity setting is changed.



Continuity is useful for creating movement that appears to"bounce" without any added acceleration or deceleration.Positive Continuity makes the path enter and exit the keyframelocation from the "outside," while negative Continuity makes thepath enter and exit the keyframe location from the "inside." Inboth cases, however, the moving object makes a definite "bounce,"the severity of which is determined by the Continuity value. TheContinuity range is from 10.0 to –10.0.



The Tension value interacts with the Continuity settings; thegreater the Tension value, the more obvious is the effect ofContinuity. Setting tension to –1.0 causes the Continuity settingsto have no effect, since it removes all Tension from the motionpaths.

Bias The Bias setting determines how much Tension (pulling force)applies to each bungee cord, as though the strings stretching thecords were being pulled with different strengths. A zero Biasvalue distributes the pulling force equally between both bungeecords. Positive bias settings increase the pulling force after thekeyframe, making the path "overshoot" that keyframe position.Negative bias settings increase the pulling force before thekeyframe, making the path "undershoot" that keyframe position.

In the first example of the person running and making a rightturn, Bias settings effectively determine how much of the turn iscomplete at the apex, or midpoint, of the turn (which correspondsto the middle keyframe location). With Bias at 0.0, the runner hascompleted half of the turn by the time he reaches the apex; hecontinues smoothly on to the next keyframe.



With a positive Bias, the runner has completed less than half theturn by the time he reaches the apex; he runs past the apex andhas to turn more sharply afterward to return to the proper path.Conversely, with a negative Bias, the runner has completed morethan half the turn by the time he reaches the apex; the runner hasstarted turning early and must straighten out afterward to returnto the proper path.

As with Continuity, the Tension value also affects Bias. SettingTension to –1.0 causes the Bias settings to have no effect, againbecause without a Tension applied, there is no look ahead or lookbehind and hence no overshoot or undershoot. You can, however,use Bias with a Continuity setting of 0.0, or use Continuity witha Bias setting of 0.0. The Bias range is from 10.0 to –10.0.

Using T1 and T2The previous discussions dealt with a very simple effect that usedposition changes only. In building effects that use position,rotation, and size changes at the same time, you will findachieving the exact motion path you need is a little more complex.



Rotation parameters are notorious for causing unwantedmovement in an effect. Setting Tension to –1.0 removes theunwanted motion, but also removes TCB from all otherparameters. Normally, only the rotation’s look ahead is incorrect,and is the only parameter that needs the –1.0 Tension setting.

As mentioned previously, T2 is just another preset that lets youuse two TCB settings in an effect at the same time: one TCB settingon some parameters, the other TCB setting on others. In the aboveexample, setting the tension for T2 to –1.0 and assigning it to therotation parameters eliminates the rotation look aheads, but letsthe position and size parameters operate with the normal T1tension of 0.7, or whatever value is necessary.

Smoothed Motion (SM)

Smoothed Motion, abbreviated SM, looks at all keyframepositions and durations in the effect to create the smoothestpossible path, both in time and space, by smoothing out anyabrupt direction or speed changes in the effect, yet still "landingon" the exact keyframe locations at the correct times.

For example, when using TCB, a Z rotation in keyframe 3 of a sixkeyframe effect affects the path from keyframes 2 through 5 (thefour keyframe window). With Smoothed Motion, the rotationaffects the paths of all six keyframes, with less impact on thekeyframes further from the keyframe that contains the rotation.

Only true motion parameters can use the SM path type; in fact,they default to this path type. Examples of these parameters are;all Locate parameters, Rotate parameters, Crop and Border Edgeparameters, Mosaic, all Warp motion parameters, Z Key offsets,and light source Position and Focus parameters.



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