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SECTION 8.2 INPUT CONFIGURATION
FIGURE 131 (TRICASTER 8000 SHOWN)
TriCaster’s input monitors have contextual tools that appear when you roll the mouse pointer over in the footer (that is, the titlebar below each monitor). In every case, the right-most button is a Configure button (gear). Clicking it opens the Configuration panel for a specific source (Figure 131).
The Configuration panel for the Camera inputs features a Connection type menu at the top of its Input Settings tab. Connection menu options vary depending on the Video Standard for the session. TriCaster Multi-standard provides PAL and NTSC-J session options, in addition to NTSC.
The Connection Type menu options for a PAL session list PAL HD and SD format options. Choosing NTSC as the session Video Standard results in a Connection Type list with appropriate formats, and it is similar for NTSC-J. Changing from one Video Standard to another requires opening a new session.
Hint: All connected cameras must conform to the current Video Standard for the session.
The standard options are (note that TriCaster 410 and TriCaster Mini do not support analog video input options):
1080i (Component), 1080/30PsF (Component), 1080/24p Telecine (Component)
• Analog source, high definition, interlaced or PsF (Progressive Segmented Frame)
• 1080/60i , 21080/50i, or 1080/24p
• 1920x1080 pixels, 16:9 picture aspect
• Connected to TriCaster by Y, Pr and Pb input connectors
1080i (SDI)
• Digital source, high definition, interlaced
• 1080/60i or 21080/50i
• 1920x1080 pixels, 16:9 picture aspect
• Connected to TriCaster by SDI input connectors
• Optionally carries embedded audio
1080/30p (SDI), 1080/30PsF (SDI), 1080/24p (SDI),
11080/24p Telecine (SDI), 21080/25p (SDI), 21080/25PsF (SDI)
• Digital source, high definition, progressive scan, or PsF (a hybrid)
• 1920x1080 pixels, 16:9 picture aspect
• Connected to TriCaster by SDI input connectors
• Optionally carries embedded audio
720/60p (Component), 2720/50p (Component)
• Analog source, high definition, progressive scan
• 1280x720 pixels, 16:9 picture aspect
• Connected to TriCaster by Y, Pr and Pb input connectors
720/60p (SDI), 720/30p (SDI), 720/24p (SDI), 2720/50p (SDI), 2720/25p (SDI)
• Digital source, high definition, progressive scan
• 1280x720 pixels, 16:9 picture aspect
• Connected to TriCaster by SDI input connectors
• Optionally carries embedded audio
The standard definition options listed below are provided in both 4:3 and 16:9 versions:
480/30i (Component)
• NTSC analog format, standard definition, interlaced
• 720x480 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to TriCaster by Y, Pr and Pb input connectors
480/30i (SDI)
• NTSC digital format , standard definition, interlaced
• 720x480 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to TriCaster by SDI input connectors
• Optionally carries embedded audio
480/30i (Y/C)
• NTSC (S-Video) analog format , standard definition, interlaced
• 720x480 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to TriCaster by Y and Pb input connectors
480/30i (Composite)
• NTSC analog format , standard definition, interlaced
• 720x480 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to TriCaster by Y input connector
2576/25i (Component)
• PAL analog format, Standard definition, interlaced
• 720x576 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to TriCaster by Y, Pr and Pb input connectors
2576/25i (SDI)
• PAL digital format , standard definition, interlaced
• 720x576 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to TriCaster by SDI input connectors
• Optionally carries embedded audio
2576/25i (Y/C)
• PAL (S-Video) analog format , standard definition, interlaced
• 720x576 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to TriCaster by Y and Pb input connectors
2576/25i (Composite)
• PAL analog format , standard definition, interlaced
• 720x576 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect
• Connected to TriCaster by Y input connector
1 The ‘telecine’ option removes ‘2:3 pull-up’ in output from cameras claiming 24PsF but actually supplying video at 30 fps (to make it suitable for 24P use sessions).
2 Multi-standard TriCaster PAL connection type
TriCaster optionally allows one or more neighboring pairs of video inputs to be combined as a single ‘video + alpha’ channel (sometimes also referred to as “fill and matte”).
The ability to configure one input as the alpha channel source for another is absolutely invaluable for installations employing video feeds from high end external CG and chromakeying systems (such as Chyron® and Ultimatte® ).
To use this feature, select Act as Alpha Channel for Input (#) as the Connection Type in the Input Configuration panel for an even-numbered input.
FIGURE 132
Note: The input configuration (video format and connection type) for the alpha input is automatically configured to match the fill source it is paired with.
8.2.3 FRAME SYNC
TriCaster internal Frame Sync is enabled for all sources by default, allowing you to work with a wide array of potential video sources without concerns about video timing. For TriCaster 8000 (only), it is possible to ensure the very lowest possible throughput latency for genlocked sources by disabling Frame Sync.
Sources with Frame Sync disabled must be genlocked, and further, must be ‘in phase’ (within 180° of the current switcher output); otherwise, video from the source will simply not be visible.
In practice, then, disable Frame Sync for your genlocked sources, adjust the Phase
setting (see Section 8.1.2) until video is displayed and you should be all set.
Note: If Frame Sync is enabled or disabled for one source in a ‘Fill + Alpha’ input pair, the Frame Sync setting for the corresponding input channel is automatically updated to match.
8.2.4 PROC AMP
The Input Settings tab also contains Proc Amp (processing amplifier) settings. Input Proc Amp adjustments are applied after LiveMatte is processed, which can help when composing greenscreen shots to match a background or LiveSet.
You may also notice that changes to Proc Amp settings affect stopped (or frozen) sources, including live camera feeds.
A switch at the top of the Proc Amp control group toggles the feature on/off. Other controls operate as follows:
Proc Amp practices:
Whenever possible, it is best to perform color adjustments at the source or target device. For example, it is preferable to calibrate a camera's colors at the camera, before sending the signal to TriCaster. Doing so will yield higher color precision.
TriCaster’s Proc amps are available for occasions when no upstream color correction is available.
Brightness: Adjustment range from -50 to
+50 IRE (the default being 0). As reference, the
full luminance range of the visible portion of a video signal can be thought of as ‘100 IRE units’ (named for the Institute of Radio Engineers) – ignoring minor regional variations.
Contrast – Adjustment range from 25 - 400% (default 100%).
Hue – Adjustment range between -180° and +180°. Adjusts the master color of the video signal from the attached source, swinging the entire image through the color wheel’s spectrum.
Saturation – Adjustment range from 0-500%. Zero saturation results in a ‘black and white’ picture; increased saturation results in richer colors. High saturation values can exaggerate the color portion of the signal.
(Note that over-saturated colors are considered illegal for broadcast transmission, and may result in display problems on some devices.)
Hint: your TriCaster system provides Waveform/Vectorscope monitors, an invaluable aid to calibrating your video sources.
White Balance – this secondary control group adds U Offset and V Offset controls to the Proc Amp.
FIGURE 135
The U portion of the video signal carries blue and yellow color information. Rotating the U Offset knob clockwise shifts the signal toward blue, while a counter-clockwise twist shifts the signal toward yellow.
The V portion of the video signal carries red and green color information. Rotate V Offset clockwise to shift the signal toward red and counter-clockwise to shift the signal toward green.
To automatically white balance – click and hold the mouse button over the Color (eyedropper) button, and then slide the pointer onto the monitor for the corresponding source. Release the mouse button over a part of the image that should appear as white after processing.
It is very common for a source to be supplied with unintentional inclusions; these are often items that remain after chromakeying is applied, but which need to be removed along with the background. (Common examples include microphones or lighting fixtures dangling from above, or perhaps a harsh crease, blemish or tear in the background screen.) Or, as is frequently the case, the source video itself may have a few pixels of black or video ‘noise’ along one or more of its edges.
Cropping settings in the Edges control group can be used to remove such unwanted ‘garbage’ from the scene, or used independently for other purposes – such as to isolate some portion of the screen for use as a ‘Picture in Picture’ overlay source.
FIGURE 136
Essentially, the numeric controls in this group allow you to define independent margins for the frame. Drag left or right on the number fields to adjust the values interactively, or double-click a field to type a value using the keyboard. The region defined by these controls will be completely cropped. Use the Feather setting (TriCaster 8000 only) to soften the edges.
Hint: For added convenience, similar cropping tools are available separately in the Position panels of DSK channels and M/Es.
The second tab in the Input Configuration panels is where TriCaster’s powerful realtime keying system for live production, LiveMatte, is configured. Keying is a popular and powerful method of compositing multiple images, whether photos, video clips or live camera streams.
FIGURE 137 (TRICASTER 8000 SHOWN)
The process involves eliminating a portion of the image (effectively cutting a digital ‘keyhole’ in it) to reveal a user-defined background scene. It also plays an important role in the workflow of LiveSet, TriCaster’s powerful virtual set technology.
Hint: When LiveMatte, Proc Amp, or Crop settings are active for a source, bright green, blue and yellow indicators are lit under its monitor.
8.2.7 HOTSPOTS
The lower portion of the LiveMatte tab in the Input Configuration panel is devoted to
Hotspots – TriCaster’s powerful interactive automation feature.
A Hotspot is a square, user-defined region of the screen that (when active) detects opacity changes inside its boundaries. This is why the feature is paired with LiveMatte in the TriCaster interface (Hotspots do not work without LiveMatte being enabled).
With LiveMatte properly configured, the Hotspot feature can trigger a macro when opaque pixels are newly detected in an active Hotspot (as, for example, when talent in a greenscreen set walks into that location in the frame), and a second macro when all opaque pixels move out of the region.
All manner of creative implementations are possible. Hotspot setup, options and use is discussed in depth in Chapter 17, Macros, Automation and Remote Control.
(TriCaster 8000 only) The Tracker tab provides control over TriCaster’s realtime motion tracking features.
This feature allows you to choose a colored region of the video frame using tools similar to those found in the LiveMatte tab (Section 8.2.6).
The tracked region is defined by choosing a primary Color using the color picker tool. The Tracker follows this region as it moves and shifts within the frame over time, and outputs the motion data to TriCaster.
In turn, Tracker output from one source can be used to control the placement of other video sources configured to do so in their individual Position panels (supplied wherever appropriate in DSK controls and M/E panes).
ADJUSTING TOLERANCE
FIGURE 139
Click the eyedropper, keep the mouse button depressed, and drag the pointer over top of the monitor showing the source
you want to track (Figure 140). The color swatch updates constantly as you drag, until you release the button to make a selection.
TriCaster makes it easy for you to adjust the Tracker settings by making it possible to see the result of your attempts in its monitors. Right-click on a monitor and select Tracking Markers from the Overlays options group in the menu. A yellow- shaded rectangle is overlaid on the video using the current settings. Watch how this overlay is affected by adjustments you make to the Tolerance value for the Tracker. Raise or lower the Tolerance value until the result is steady, not jittering or jumping about.
FIGURE 140 (TriCaster 8000 Shown)
SMOOTHNESS
The Smoothness setting works just like the LiveMatte feature with the same name. Its impact on tracking data output is minimal, but it is often important when used with the Advanced Tracking effect in M/E panels (see Section 14.2.2).
LOCK
At right are controls that permit you to Lock certain Tracker attributes (Figure 141):
Lock Scale to prevent the Tracker from automatically compensating when the scale of the tracked region grows or shrinks during motion. Likewise, when Rotation is locked, the orientation of Tracker output is constrained. The Aspect Ratio lock forces the Tracker to conform to a square (1:1), or rectangular (4:3 or 16:9) shape. |
Hint: Generally, locking channels in this manner make it easier to obtain a very steady motion track; but just as often, your choices will be dictated by creative requirements.
The Tracker is designed to follow the largest shape in a frame that meets the defined color criteria.
LIMIT TO REGION
At times, similar colored articles
or inclusions in the frame can interfere
with Tracker output. The settings in this group allow you to limit
FIGURE 142
the area of the frame the Tracker monitors, which can help you sidestep this issue.
We’ll discuss the application of the Tracker’s data stream when discussing the
Positioner tools.
8.2.9 PTZ
PTZ (pan-tilt-zoom), or ‘robotic’ cameras can play important roles in certain types of productions. These systems range widely in price, from a few hundred dollars to those the ‘six figure’ range, with an equally diverse range of quality and features.
Generally, remote control of PTZ cameras involves sending instructions to the camera across either serial (RS232. RS422, orRS485) or network connections. TriCaster support for both types (see note below). Connection settings shown in the PTZ tab (Input Configuration pane) update depending on which Camera type you select.
Choose your camera protocol (or one similar to it) using the drop-down menu, and then enter (or select) appropriate settings for the unit.
FIGURE 144
Note: TriCaster does not have an external serial port. For PTZ cameras requiring a serial connection, you will need to use a third party USB-to-Serial Port adapter.
Windows will automatically assign a COM port number to the adapter, usually COM 1. In some cases, you may wish to manually assign it to a specific port. Exit to Windows from TriCaster’s Adminstration Mode screen (Section 5.2.3) to access the controls shown in Figure 145. Refer to the documentation provided with your adapter for further directions.
The Flip Camera switch inverts the image, helpful when the camera is mounted in an upside-down orientation. It also affects the pan and tilt controls, when possible (this support varies by camera).