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Studio Operations Manual

Revision 1.0

Table of Contents
CHAPTER 1 POWERING THE DIMMER BOARD AND LIGHTING GRID. THE ETC SMARTFADE DIMMER CONTROL BOARD AND SMARTPACK DIMMER ARE BOTH BEING UTILIZED IN THE YORK COLLEGE, COMMUNICATIONS TECHNOLOGY TV STUDIO. THE SMARTPACK DIMMER SUPPLIES POWER AND PROVIDES DIMMING CAPABILITIES TO THE LIGHTING GRID AND WALL SOCKETS. THE SMARTFADE DIMMER BOARD PROVIDES CONTROL OF THE DIMMER USING DMX A SYSTEM TO CONTROL LIGHTING FIXTURES. .................................................................................................................................................7 CHAPTER 2 DIMMER / CIRCUIT PATCHING. TRADITIONALLY LIGHTS ON A LIGHTING GRID CAN BE PATCHED INTO ANY DIMMER THE LIGHTING DIRECTOR CHOOSES. FOR EXAMPLE ALL KEY LIGHTS CAN BE PATCHED TO A SINGLE DIMMER CONTROLLED BY ONE FADER. AT YORK COLLEGE COMMUNICATIONS TECHNOLOGY TV STUDIO THE PATCHING IS SET-UP FOR A SIMPLE ONE TO ONE RELATIONSHIP. SO, IF YOU CONNECT A LIGHT TO SOCKET NUMBER ONE THEN FADER NUMBER ONE WILL CONTROL THAT SOCKET AND LIGHT. THIS CHAPTER LISTS A SIMPLE METHOD TO INSURE THIS FUNCTIONALITY. ................................................................................................................................. 14 CHAPTER 3 USINGS STUDIO LIGHTS. THE ETC SMARTFADE DIMMER BOARD HAS THE CAPABILITY OF SAVING A SHOW TO AN SD CARD. MAKING IT SIMPLE TO RECALL THE PATCHING OF THE CIRCUITS FROM CHAPTER TWO. THIS CHAPTER PROVIDES A SIMPLE EXAMPLE OF A THREE POINT LIGHTING SCHEME. THE MAIN PURPOSE IS TO ILLUSTRATE HOW THE LIGHTING GRID AND DIMMER BOARD WORK TOGETHER. .... 25 CHAPTER 4 STUDIO CAMERAS. THREE JVC HD CAMERAS, THREE SACHTLER TRIPODS, TWO WITH STEERING RINGS, ALL THREE WITH VIEWFINDERS, ZOOM AND FOCUS CONTROLLERS. THIS IS A SIMPLE HOW TO CHAPTER FOR ASSEMBLING, TESTING AND USING THE STUDIO CAMERAS......................................................................................................... 36 CHAPTER 5 REMOTE CCU. EACH JVC HD STUDIO CAMERA USES A MULTI-CORE CABLE TO TRANSMIT INFORMATION AND VIDEO BACK TO THE CONTROL ROOM. THE MULTI-CORE CABLE ATTACHES DIRECTLY INTO A CAMERA CONTROL UNIT. THE CCU ALLOWS SOME FUNCTIONS OF THE CAMERA TO BE CONTROLLED FROM THE CONTROL ROOM. THE CCU ALSO SENDS INFORMATION SUCH AS TALLY OR RETURN VIDEO BACK TO THE CAMERA FOR A SMOOTHER MORE RELIABLE STUDIO EXPERIENCE.......................................................................................................................................... 55 CHAPTER 6 STUDIO AUDIO. THIS CHAPTER COVERS ANYTHING AND EVERYTHING RELATED TO SOUND IN THE STUDIO AND CONTROL ROOM. STARTING WITH MICROPHONE OPERATION, INCLUDING AUDIO MIXER DEFINITIONS AND USAGE PLUS INTERCOM AND IFB SET-UP. ........................................................................................................... 66 CHAPTER 7 TELEPROMTER. THE TELEPROMPTER IS USED TO DISPLAY READABLE TEXT FACING THE HOST ON A TV SET. THE TELEPROMPTER, IS BROKEN DOWN INTO COMPONENTS SUCH AS THE FLIP-Q PROGRAM, MONITOR SET-UP AT THE CAMERA. THIS CHAPTER DESCRIBES THE ENTIRE SET-UP PROCESS PLUS THE OPERATION AT SHOW TIME. .......................................................................................................................................... 87 CHAPTER 8 VIDEO SWITCHER. THE VIDEO SWITCHER IS GENERALLY CONSIDERED THE HEART OF ANY TV STUDIO. AT THE CT DEPARTMENT OF YORK COLLEGE WE HAVE A PANASONIC AV-HS400A. THE SWITCHER ALLOWS MANY INPUTS SUCH AS CAMERAS, VTR PLAYBACK DEVICES, CG DEVICES AND COMPUTER INPUTS TO ME

MIXED THEN OUTPUT THROUGH A SINGLE CHANNEL. THE SWITCHER IS CAPABLE OF GENERATING SPECIAL EFFECTS AND ASSORTED WIPE PATTERNS.................................102 CHAPTER 9 VIDEO PLAYBACK. PLAYING BACK OF VIDEO FILES IS A CRUCIAL ELEMENT IN TV PRODUCTION. IT IS GENERALLY REFERRED TO A VT PLAYBACK AND CAN BE ANYTHING FROM A SIMPLE BACKGROUND TO A STILL IMAGE INSERTED INTO A MONITOR OR FULL MOTION VIDEO WITH SOUND. ...............................................................125 CHAPTER 10 RECORDING VIDEO. THE TV PRODUCTION PROCESS AT ITS FINAL STAGE CAN END ONE OF TWO WAYS. EITHER THE PRODUCTION WILL BE BROADCAST LIVE OR IT WILL BE RECORDED FOR LATER EDITING OR BROADCAST AT ANOTHER TIME. THIS CHAPTER INSTRUCTS FOR THE RECORDING PROCESS. ............................................142 CHAPTER 11 THE CLOCK. MOST TV PRODUCTIONS INCLUDING THE ONE STUDENTS HERE AT YORK COLLEGE ARE UNDER TIME CONSTRAINTS. MORE OFTEN THAN TIMING A SEGMENT OR SHOW WILL BE REQUIRED AND WILL NEED TO BE ACCURATE. AS THE SAYING GOES, TIME IS MONEY THIS CHAPTER WILL INSTRUCT ON THE BASIC OPERATIONS OF THE CONTROL ROOM CLOCK. .........................................................159

C h a p t e r 1

Powering the Dimmer Board & Lighting Grid


Revision 1.0

Chapter 1 Powering the Dimmer Board and Lighting Grid. The ETC SmartFade dimmer control board and SmartPack dimmer are both being utilized in the York College, Communications Technology TV studio. The SmartPack dimmer supplies power and provides dimming capabilities to the lighting grid and wall sockets. The SmartFade dimmer board provides control of the dimmer using DMX a system to control lighting fixtures.

1. Locate circuit breaker panel on the wall

2. Power on all four panels by flipping up the switch on the far left of each circuit.

a. Make sure all circuit switches are up.1

These will most likely already be up unless a circuit has been overloaded and shut itself off.

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3. Locate the Dimmer board in the corner next to the doorway.

4. Turn on the dimmer board by pressing the (Mode) button on the top right side of the board. 5. Make sure the SD card is loaded.

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C h a p t e r 2

Dimmer / Circuit Patching


R e v i s i o n 1 . 0

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Chapter 2 Dimmer / Circuit Patching. Traditionally lights on a lighting grid can be patched into any dimmer the Lighting Director chooses. For example all key lights can be patched to a single dimmer controlled by one fader. At York College Communications Technology TV studio the patching is set-up for a simple one to one relationship. So, if you connect a light to socket number one then fader number one will control that socket and light. This chapter lists a simple method to insure this functionality.

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USING THE SD CARD TO RECALL SETTINGS


Loading a show
1. Power on the studio lighting, see Chapter One 2. Press (Menu) button.

3. Rotate wheel to Save/Load show.

4. Press (Menu) button to select Save/Load show 5. Rotate wheel to Load show.

6. Press (Menu) button to Load show.

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7. Rotate wheel to select show number.2

8. Press (Menu) button to load SHOW99. 9. LED will respond with Confirm?

10. Press (Menu) button to confirm. 11. LED will display show file loaded and exit out of the menu system.

12. The lighting grid numbers and faders now match. For example raising fader 15 will power a light plugged into circuit 15

Two shows have been saved with the correct patching, SHOW01.ASC and SHOW99.ASC.

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PATCHING THE DIMMERS & CIRCUITS FROM SCRATCH.


1. Press (Menu) button.

2. Rotate wheel to Patch.

3. Press (Menu) button to select Patch. 4. Rotate wheel to Patch by Dimmer.

5. Press (Menu) button to Select Patch by Dimmer. 6. Rotate wheel to Live.

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7. Press (Menu) button to select Live mode.3 8. You are now able to cycle through each dimmer and circuit using the wheel.4 9. Rotate the wheel to cycle through each dimmer.

10. Press (Menu) button to move the cursor to the right and change the circuit number.

11. Rotate the wheel and find the number you need to match the dimmer and circuit together.

12. Press (Menu) button to move the cursor to the left and cycle through the dimmers.


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Live means when you rotate the wheel it will cycle through and power each dimmer and circuit. The dimmer board remembers the last circuit used and will light it accordingly.

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13. The following chart assigns all numbers on the lighting grid to the corresponding number on the dimmer board.
Dimmer 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Circuit 1 2 3 4 5 6 7 8 9 10 41 42 11 12 13 14 15 16 17 18 19 20 43 44 Dimmer 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 Circuit 21 22 23 24 25 26 27 28 29 30 45 46 31 32 33 34 35 36 37 38 39 40 47 48

14. When completed push the back button with two arrows to exit the menu system.

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USING THE SD CARD TO SAVE SETTINGS


Saving a show
1. Press (Menu) button.

2. Rotate wheel to Save/Load show.

3. Press (Menu) button to select Save / Load. 4. Rotate wheel to Save show.

5. Press (Menu) button to Select Save Show.

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6. Rotate wheel to select show number.5

7. Press (Menu) button to select the number you wish. 8. The LED will respond with Confirm?

9. Press (Menu) button to confirm. 10. The LED will display Show file saved and exit out of the menu system.

SHOW99.ASC is already saved with the patching done.

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C h a p t e r 3

Using Studio Lights


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Chapter 3 Usings Studio Lights. The ETC SmartFade dimmer board has the capability of saving a show to an SD card. Making it simple to recall the patching of the circuits from chapter two. This chapter provides a simple example of a three point lighting scheme. The main purpose is to illustrate how the lighting grid and dimmer board work together.

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USING THE SD CARD TO LOAD A SHOW6


Loading a show
1. Power the on studio lighting, see Chapter One. 2. Press (Menu) button.

3. Rotate wheel to Save/Load show.

4. Press (Menu) button to select Save/Load show 5. Rotate wheel to Load show.

6. Press (Menu) button to Load show.



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The SD card is permanently inserted in the slot and should never be removed

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7. Rotate wheel to select show number.7

8. Press (Menu) button to load SHOW99. 9. LED will respond with Confirm?

10. Press (Menu) button to confirm. 11. LED will display show file loaded and exit out of the menu system.

12. The lighting grid numbers and faders now match.

Two shows have been saved with the correct patching, SHOW01.ASC and SHOW99.ASC.

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Example Of Three Point Lighting With One Background Light 8 9


1. Determine where the lights will be needed. 2. Three-point light set with a background light.

3. On the dimmer board locate the faders section. 4. Select button 1-24.

8 This example assumes the lights have not moved from the grid location and are still connected to the circuits listed. 9 This is an example only. Use any lights, in any location necessary to accomplish your goal. 29

5. Dimmer / Circuit 11 is used to light the subject from behind.

6. Dimmer / Circuit 15 is used for key light.

7. Circuit 3 is for the background.

8. On the dimmer board locate the faders section again.

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9. Select button 25-48, this will give you access to the second set of numbers on the panel.

10.

Circuit 33 will be used as a fill light.10

10 The 9 lights on the dimmer board, however the 25-48 button is selected the upper row of numbers is in service. 31

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This is our end product.

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Troubleshooting a Light, Dimmer, Circuit


1. If any light or circuit does not work check the SmartPack wall unit breaker panel first. 2. If the light still does not work check to make sure the patching is correct (see chapter two). 3. If the light still does not work check the circuit you are using to make sure it matches the socket on the lighting grid 4. If the light still does not work check the lamp in the light fixture.

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C h a p t e r 4

Studio Cameras
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Chapter 4 Studio Cameras. Three JVC HD cameras, three Sachtler tripods, two with steering rings, all three with viewfinders, zoom and focus controllers. This is a simple how to chapter for assembling, testing and using the studio cameras.

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1. Moving the Studio cameras. a. Camera one is different from camera two and three. b. Unlock the wheel brakes at each camera.

c.

Steering the tripod.11

d.

Set cable guards for the proper height.12


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Camera one needs to be steered manually since it is a different type of tripod. The cable guards should bet set one time, however it may be necessary to check them before use.

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2. Camera Cables.13 a. The cameras are labeled one, two and three. b. The cables are labeled one, two and three.

c.

Secure the Multi-Core cable on the camera.14 i. Pull the cable up and under the viewfinder. ii. Pull cable back through the handle. iii. Extend cable down then back up to the connector.


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The cameras and cables are interchangeable. Do this for each camera. Securing the cable relieves strain on the connectors.

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d. Connect the Multi-Core cable to the camera back. e. Align the red mark on the cable to the red mark on the camera back. f. Turn the outer sleeve clockwise while gently pushing up.

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3. Attach the battery to the camera back15.

15 The battery is used to power the viewfinder (monitor) 41

4. Power the monitor (viewfinder) on the camera.

5. Set Power Select switch to RM (remote control)

6. Set Power switch on the front right side of the camera to ON.

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7. Zoom control cable connection & settings.16 a. Connect cable for zoom handle. b. Transfers control to zoom handle.

This may already be connected and set to Servo just check to make sure it is
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8. Focus control handle connections.17 a. Connect cable for focus handle. b. Transfers control to focus handle.


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This may already be connected just check to make sure it is.

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9. Set IRIS control to manual. a. Transfers control of the IRIS to the CCU.

10. Power cameras from remote Camera Control Unit (CCU).18 a. On the CCU press the power button on the far right


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The Remote CCU can be found in the control room on the far right of the front bench. Operation instructions of the CCU can be found in the chapter titled Remote CCU for Studio Cameras

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11. Tripod Tilt and Pan locks plus Friction Controls. a. Camera one is different than camera two and three. b. Tilt and pan locks are to be used only when the camera is to be stored or moved for placement. c. The locks should never be used when a show is live or taping. d. Friction controls are used to control the movement of the camera when tilting or panning. e. Friction controls are based on numbers. i. 0 the least amount of resistance. ii. 7 the most resistance. f. Camera One.

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g. h.

Camera Two. Camera Three.

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12. Raising or lowering the camera. This is a twoperson operation. Camera one is different than two and three. a. Camera One, i. Disengage the silver lock on the tripod. ii. Pull up on the tripod head while holding the tripod base down.

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a.

Camera two and three. i. Disengage the locks on all three legs of the tripod. ii. Pull up on the steering ring to the desired height. Re-engage the tripod locks.

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13. Removing the camera from the pedestal / tripod. a. Lock the tilt and pan locks. b. Disconnect focus controller. c. Disconnect zoom controller. d. Disconnect Multicore cable.

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e. While holding the camera disengage the camera plate lock and remove the camera.

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14.

Replacing the camera on the tripod.

15. Rebuilding the camera, reverse step 13 a,b,c and d.

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C h a p t e r 5

Camera Control Unit (CCU)


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Chapter 5 Remote CCU. Each JVC HD studio camera uses a Multi- Core cable to transmit information and video back to the control room. The Multi-Core cable attaches directly into a Camera Control Unit. The CCU allows some functions of the camera to be controlled from the control room. The CCU also sends information such as tally or return video back to the camera for a smoother more reliable studio experience.

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1. Power Camera Control Units19.

2. Set the IRIS control to manual.20

3. Spin the IRIS knob to make sure you have control of the cameras.


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This will power the cameras, assuming all connections have been made. Auto IRIS can be used as an alternative. In Auto the CCU will determine what F-Stop the IRIS uses.

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4. Set Full Auto to OFF.21

5. White-balance all cameras.22 a. Set white balance presets to A.

Full auto can be used as an alternative. In Full Auto the CCU will determine all levels.
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When doing a white balance be sure lights are at the level to be used for the taping session and the work lights are turned OFF.

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b. c. d.

Set a white board on a music stand under the lights. Move cameras close together under the lights. Point all the cameras at the music stand with the white board.

e.

Press the Auto white button on each CCU

6. Wait for an indication on the LED display. a. Display reads, Error: Low Light, open the IRIS.

b. c.

Press Auto again. Display reads Error: Over Lightclose the IRIS.

d.

Press Auto again.

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e.

If the display reads Operation then OK, the white balance is done.

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7. Check the function of the tally system.23 a. On the switcher take camera one to program, the tally at the remote control and the tally at the camera should light red along with the tally on the switcher monitor

8. The camera IRIS and Black levels can now be adjusted using a face tone chart.24 25 a. Place the face tone chart on the music stand


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This should be at the same time the Technical Director checks the intercom system Adjusting beyond a white balance is NOT mandatory. 25 The goal of adjusting the cameras manually and at the same time allows for greater control of the look and uses your eyes rather than the CCU to match colors.

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b.

Adjust the IRIS and black levels using the scopes above the Remote CCU.26

c.

Turn on the Paint button

Full auto can be used instead of manually adjusting the IRIS and black levels.
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d.

Adjust the paint knobs to match cameras to each other.

9. The cameras can now be moved into the show ready positions. a. Adjustments can still be made until you are satisfied with the picture quality.

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C h a p t e r 6

Studio Audio: Mixer & Intercom


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Chapter 6 Studio Audio. This chapter covers anything and everything related to sound in the studio and control room. Starting with microphone operation, including Audio mixer definitions and usage plus Intercom and IFB set-up.

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Microphones
1. Determine what type of microphone is needed.27 2. Find the wall breakout box.

Some microphones require phantom power (power generated from the audio mixer). Depending on the
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circumstances a Lavalier microphone may work best or you may be required to use a hand-held or stick microphone.

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a. Plug in XLR cables to the corresponding number of the audio mixer in the control room. b. Numbers 1 through 8 on the break-out box in the studio corresponds to numbers 1 through 8 on the audio mixer in the control room.

c. Power on and set a level for the speakers in the control room.28


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A good starting point is about 5.

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d.

Power on the Audio Mixer.

e. Connect a microphone to the opposite end of the XLR cable.

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3. Dressing microphones and cables. a. Hide the cables behind furniture or out of camera shots as much as possible.

b. Dress the Lavalier microphone to be worn on the guest or host.

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Using the Audio Mixer


1. Audio Mixer for all audio channels.29 a. Using meters to measure sound levels.30 i. Select Input on the meters section to view the level going into the mixer. ii. Select Output on the meters section to view the level coming out of the mixer.


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The mixer is broken up into 16 channels and they are labeled at the top and bottom of the mixer. Referring to a channel means for example, starting from the left channel 1 is the first fader on the mixer. 30 When using Input the meters can be seen moving without the faders being up, using output meters means the faders must be up to see a meter. Input and Output levels will not always be the same.

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b.

Reading the meters. i. When either input or output is selected on the meters section each channels input or output is displayed on the blue strip of meters.31

ii. The main level meter will only register if the Main fader is up and set to U (unity).


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Each set of lights represents a channel. Starting on the left with channel 1 to the right at channel 16.

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c.

Adjusting the gain32 for each source using input meters. i. Select input on the meters section.

i.

Pull all faders down.


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Gain is signal strength or amount of power coming into the mixer.

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ii. Turn the trim knob to the 12 oclock (straight up) position for all channels. iii. For each audio channel used press the blue Select button and set the gain level to 20.33 iv. Turn OFF Limit on each channel. v. When done setting all channels, press input on the meters section again, have someone speak into a microphone.34


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Select must be pushed in order to adjust the specific channel. The meters will bounce indicating sound is going to the channel.

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vi. vii. viii. ix.

Press the blue Select button.35 Set the Compressor ON. Set Threshold to -12 Set Attack to Auto and Release to Soft.


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Do this for each channel.

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d.

Setting a fader level using output meters. i. Press output on meters section. See section 1-a-i. ii. Set the Main fader to U (unity) iii. Have someone speak into the microphone. iv. As they are speaking into microphone, set the fader channel to U (unity). v. Turn trim knob to adjust.

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e.

Turning on phantom power.36

f.

Use the EQ function to fine-tune.37 i. Press the blue Select button for the channel that will be adjusted. ii. Turn ON the function of the EQ. iii. Adjust Freq and Gain using the knobs.

2. The levels of all sources can be adjusted throughout the session using the faders

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Phantom power is only needed with certain microphones, should NOT be used unless power is required. EQ may be needed to fine-tune any particular sound source.

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Setting up the Intercom & IFB38

1. Find the wall breakout box in the corner of the studio in between camera one and the lighting dimmer board.

2. Plug in an XLR cable to each port.39 a. Extend a cable to each camera position. b. Extend a cable for the Stage Manager. c. Plug in the belt-packs. d. Plug in headsets to each belt-pack.


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IFB (interrupted fold-back) is for the talent (host) to be able to listen to the producer in the control room. Also to send program sound to the host in case there is sound he/she would need to hear. 39 XLR cables can be found on the wall hanging from coat hooks.

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3. Belt-pack and headset. a. XLR cable from the break-out box connects to the port labeled intercom. b. Headset is connected to the port labeled headset.

c.

The volume control for the belt-pack is on the side of the box.

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d.

Using the microphone to talk on the intercom. i. Press the talk button.

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4. Power on the intercom Main Station in the control room.

a.

Set all stations to Channel A and B.40 41

b. c.

Set Speaker to Off or ON. Set volume for program and intercom.


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Channel A is used to communicate with all intercom stations including cameras and the stage manager. Channel B is used for IFB (interrupted fold-back) for the Host to listen to the control room.

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5.

Set TD and Director station intercom.42 a. Adjust speaker level if not using headset.

b. Plug in and adjust headset (if using).

c. Adjust Program volume (if program is being fed to the intercom).

d. Set gooseneck microphone OFF if a headset is being used. e. Set gooseneck microphone ON if a headset is NOT being used.

At the same time the intercom system is checked the Technical Director can check the tally system.
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5. IFB is used to send audio to the talent (host). a. Connect an XLR cable to IFB port at the breakout box in the studio. b. Connect the TR-50 Talent Receiver to the XLR cable. c. Plug in an earpiece to the TR-50.

6. Directors station intercom. a. Plug in headset. i. Adjust headset sound level. ii. Test headset microphone. b. Test IFB connection (if IFB is being used). i. IFB ports 1, 2 & 3 correspond to buttons 1, 2 & 3 on the intercom panel.

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C h a p t e r 7

Prompter Operations
R e v i s i o n 1 . 0

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Chapter 7 Telepromter. The Teleprompter is used to display readable text facing the host on a TV set. The Teleprompter, is broken down into components such as the Flip-Q program, monitor set-up at the camera. This chapter describes the entire set-up process plus the operation at show time.

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1. Find the DVI cable in the studio labeled Prompter DVI One.43

2. Connect the DVI cable to the prompter monitor on camera 2. a. Run the cable through the base of the camera to keep it close to the Multi-core cable.


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There are two cables in the studio either can be used. For this manual the cable we are using is hanging on the wall near the door above the lighting dimmer. Cable is labeled Prompter DVI One.

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3. Connect power to prompter monitor. a. Use extension cord and plug in at any wall socket. b. Run the cable through the base of the camera to keep it close to the Multi-core cable. c. Connect to the monitor power supply. d. Press power on the monitor.

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4. Find DVI cable in the control room labeled Prompter DVI One.44

5. Connect DVI cable to laptop.


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There are two DVI cables in the control room that can be used for this. Find the cable against the back wall near the window, on the floor.

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6. Connect prompter scroll knob to USB port on the laptop.45

7. Power laptop.


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The USB knob controller will work from any USB port. The light at the base of the controller will light blue if connected properly.

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8. Press Control and right click on Flip-Q icon.

b. are c. d.

This is to make sure laptop display settings correct.46 Navigate window to Select Scheme. Click on FlipQ.


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See section 9 below if this doesnt work.

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9. Double click prompter program Flip-Q from desktop. a. Set Flip-Q program for use.47

i. Primary Display Settings, select Normal. ii. Check box on Use Quarter size Window in Primary. iii. Uncheck box on Small Window Output Settings: select Normal. iv. Check box on Secondary Display Settings: select Mirrored.


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Far right tab in Flip-Q window labeled: Settings.

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10. Set Laptop display to proper configuration.48 a. Open Control panel by clicking on the Start button.

b. Double click on Display.

c. Click on Settings tab. d. Click on number 2 window.


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Do this only if Step 8 didnt work or if you are not seeing anything at the prompter.

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e. Check box Extend my Windows desktop onto this monitor.

f. Click Apply, then OK.

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11.

Increasing Flip-Q font display size. a. Press F7 to enter a size.49

b. Press F5 to increase size one step at a time. c. Press F6 to decrease size one step at a time. 12. Entering new text. a. Flip-Q can use Rich Text files and some Word documents. b. Transfer any document to the laptop. c. Copy and paste from Word to Notepad program to create text. 13. Starting the Prompting session. a. Flip-Q program click the Lighting Bolt icon at the top right hand side.


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When using F7 a good font size is 30.

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b. A small window opens on the laptop and the screen at the camera displays the same text.

c. Use the Teleprompter scroll knob to move the text up or down on the screen.

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14. d.

To end the prompting session Press ESC.50 Or click on the small window X to end session.


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This only stops the prompting session. Close the program and shut-down the laptop as any other computer.

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C h a p t e r 8

Video Switcher
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Chapter 8 Video Switcher. The video switcher is generally considered the heart of any TV studio. At the CT Department of York College we have a Panasonic AV-HS400A. The switcher allows many inputs such as cameras, VTR playback devices, CG devices and computer inputs to me mixed then output through a single channel. The switcher is capable of generating special effects and assorted wipe patterns.

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1. Power on the Video Switcher from the back panel on/off switch

2. Power on the two flat screen TVs

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3. Set inputs for both screens using the black Samsung remote control next to the audio mixer. a. On the large screen.

b. On the small screen.

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4. Basic Switcher Operations. a. Labels / inputs on the switcher. i. The inputs for each button on each bus have been set-up and labeled.

b. Program/Preview. The switcher has many rows of buttons each row of buttons is a bus. At the bottom are two buses labeled PGM/A and PST/B.

i. PGM/A or Program Bus will take to air input you choose by pressing the button. ii. PST/B Preset Bus is the preview of the next source. iii. Transitions from source to source (e.g. CAM 1 to VTR1) will be discussed later.

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the


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Take to air also means output to program (PGM)

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c. Aux Bus Delegation. i. Selects input for Key, DSK, PinP and Aux.52 ii. Buttons light Amber when selected. iii. Buttons light green when pressed twice. iv. The green is to select a Linear Key / Alpha channel.53

v. Select a destination -> Key, DSK PinP or Aux. vi. Select an input for this destination.

vii. Aux button has its choices to the right of the button -> CLN, PVW, PGM.54


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These will be discussed and explained later. A Linear key uses an Alpha channel from the graphic being used. This switcher is not sent up, so use a Luminance key, which uses the luminance of a graphic. 54 The AUX has not been set-up yet in the future this will allow an external monitor have any source from the switcher sent to it.

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d. Transitions. i. Transitioning between sources can be accomplished using the CUT button, AUTO button or the T-bar.

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ii. The CUT button takes to air instantly the source selected on the Preset bus.

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iii. BKGD55 and MIX are selected and the AUTO button is pushed the two sources dissolve or cross-fade from each other.

iv. Selecting WIPE will trigger a wipe pattern to transition from PST to PGM.

e. BKG and KEY buttons on PGM and PST bus. i. Selects to transition the background or key or both simultaneously. ii. If you are not keying anything press BKGD button only.56


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KEY will be explained in a later section.

BKGD is the lower layer or source.

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f. Positioner. i. This is used to adjust PinP settings, some Wipe controls and Chroma key controls.

g. LCD menu i. Displays the menu settings.

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h. Wipe pattern section selects what type of pattern to use.57 i. There are 12 basic patterns. ii. Within the 12 patterns are 4 more pages. iii. Select the BKDG PATT button or KEY PATT button to select the page.58 iv. Each time the button is pressed the green LED indicator will indicate WIPE, SQ, SL or 3D.


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Wipe is a transition that is anything other than a cut or dissolve. The BKGD and KEY can wipe individually and simultaneously with different wipe patterns.

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3 Layers on top of the background59


KEY, PinP or DSK
5. Key is used to superimpose or layer an input over a background. a. Insert a KEY by selecting the KEY button. b. Transition both the BKGD and KEY by selecting both buttons.

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c. BKGD and Key can be transitioned together or separately as a wipe, cut or mix. i. In the example below CAM2 is the KEY, CBGD (color background) is the BKGD.60 ii. With the KEY button selected we transition only the key.

iii. CAM2 is the key source selected on the AUX BUS.



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This is an Example of a CHROMA-KEY. The switcher can do Full, Linear, Luminance keys as well. A CHROMA-KEY uses a color to separate and remove parts of the screen.

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iv. Press the CUT button again to turn OFF the KEY.61


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Press BKGD to transition only backgrounds.

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6. DSK (Down Stream Key) is used for name templates at the bottom of the screen. a. Connect the laptop to the Switcher DVI1 Input cable.

b. Power the laptop.

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c. Start the Power Point Program.

d. Open a file, Navigate to Desktop-> CT240 folder-> World Talk folder-> ct240worldtalk.ppt.

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e. Click on Play Slide Show. i. Press spacebar fives to advance to the name slide.

f. On the switcher select DSK from the AUX BUS delegation section. i. Select CG/DVI1 as the source.

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g. Press the DSK button to insert over PGM.62

7. PinP (Picture in Picture) is used to layer another input. a. Press the PinP button on the AUX Bus. b. Choose the source.63

c. Press the PinP button to insert over PGM.



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They are known as Lower Thirds, Supers, CG For this example MEM1 is input to PinP.

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8. Layer Priority. When all three layers (Key, PinP and DSK) are inserted there is a layer priority. a. BKGD is at the bottom. b. Key is next. c. PinP is next. d. DSK is on top.

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9. FTB (Fade to Black) fades the entire PGM output to black. a. Press the FTB button. b. Buttons that were red turn amber indicating the FTB button is in use.

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10. Settings Menu. a. The setting menu is activated when the FUNC button is selected.

b. Each button adjusts a specific area. i. 1) Time adjust auto transition times. ii. 2) Wipe modify wipe parameters. iii. 3) Color change CGGD colors. iv. 4) Key modify key. v. 5) Chroma Key adjust chroma key. vi. 6) Freeze modify freeze. vii. 7) DSK downstream key settings viii. 8) PinP picture in picture settings ix. 9) In/Out input/output settings. x. 10) Memory preset / frame memory. xi. 11) XPT cross-point settings. xii. 12) System system settings

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C h a p t e r 9

Video Playback
R e v i s i o n 1 . 0

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Chapter 9 Video Playback. Playing back of video files is a crucial element in TV production. It is generally referred to a VT playback and can be anything from a simple background to a still image inserted into a monitor or full motion video with sound.

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Playback of Video Files


Playback Computer in Control Room
1. Power the computer.

a. Click on ControlRoom_Playback

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b. Password: yorkct12

2. Open Blackmagic Media Express.64


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The computer is set to automatically start the RAID utility program at start-up. It can be left on or click on the red button at the top left hand corner of the window to close.

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3. Blackmagic Preferences a. Click on Media Express at the top left corner of the screen. b. Click on Preferences.

c. Setup according to the following image.65

d. When done click on the red button at the top left of the window.

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This should already be set-up, just make sure nothing has changed.

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4. Blackmagic Preferences a. Click on the Apple at the top left corner of the desktop.

b. In the Preferences window click Sound.

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i. Set Input to Blackmagic audio.

ii. Set output to Blackmagic audio. iii. Click Show All.

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iv. Click on Blackmagic Design.

v. Click on the settings tab make sure the setting match the following image.

vi. When finished click the red button on the top left corner of the window.

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5. Click on the Playback tab.

6. 3 methods to load a clip. a. Select File > Import > Media Files. b. Right click on the empty area (grey) and select Import. c. Double click on the empty area (grey) of the list.

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d. Either will give you the next window.

7. Finding a clip. a. Clips are digital files that can be stored anywhere. b. Generally located on Xserve Raid Playback Drive. 8. File format & size acceptable for playback. a. Apple ProRes 422

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9. For testing purposes there is a clip of bars and tone stored on the Xserve Raid Playback Drive. a. See section 6 on how to import the clip.

b. Press play. c. Check the switcher for video and the audio mixer for sound.

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10. Playing single clip. a. Highlight the clip and click play or press the spacebar. 11. Playing multiple clips. a. Highlight all the clips by holding the command key on the keyboard and single clicking on each clip.66 12. Tracking the sound from the Audio mixer. a. The sound is routed to faders 13 and 14 on the mixer. b. See Chapter 6 Studio Audio


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Media Express will play all the highlighted clips in sequence. If no clips are selected the entire list will play back.

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13. Using the Playback computer to record from a tape. a. At Media Express Program click on the Log and Capture tab.

b. Load and cue a tape into the HD playback deck.

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c. To name your clip click in the Description tab. i. Type the name of the clip. ii. Click the plus button.

d. Click Capture, the screen indicates the recording is on with counters rolling.

e. When finished click Capture to stop the process.

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f. The clip will appear in the media list on the left.

g. To record with another clip with the same name plus a number 1 just click capture again.

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C h a p t e r 1 0

Recording Video in the Control Room


R e v i s i o n 1 . 0

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Chapter 10 Recording Video. The TV production process at its final stage can end one of two ways. Either the production will be broadcast live or it will be recorded for later editing or broadcast at another time. This chapter instructs for the recording process.

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Recording of Video Files


1. Power the computer.

2. Open AJA Control Panel.

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a. Load Preset. i. Click on Presets at the top left side of the screen.67 ii. Click on Spring_2012_Setup.


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This loads the presets and configurations for the AJA capture card.

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3. Open AJA VTR Xchange.

b. Once the program starts the preferences need to be set. i. Select AJA VTR Xchange from the top left corner of the program. ii. Select preferences.

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c. The preferences window will open.

d. Captured Clips Folder determines where the recorded clips will be stored.68 e. If necessary, change the Captured Clips Folder by clicking on the Change button.


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This may already be set, see the College assistant to determine where this is to be set.

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f. Navigate to the folder used for capture purposes, click choose.

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4. Capture Settings a. Video settings i. Click on Capture at the top left of the screen then click on Video on the drop down menu.

ii. Click on Compression tab iii. Compression type is Apple ProRes 422, Frames per second is 29.97, for Gamma Correction is Automatic.

iv. Click on Source tab.

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v. For Source setting use 1080i29.97 10bit (1920x1080), Format is NTSC.

vi. Click OK. b. Audio Settings i. Click on Capture at the top left of the screen then click on Audio on the drop down menu.

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ii. Device is AJA KonaLHi, Format is 16-bit Integer (Big Endian), 8 Channels, 48.000 kHz.

iii. The Monitor section can be set to listen to what is being recorded through the computer speakers.69 iv. Under Monitor at the Device drop-down select Built-in Line Output.

v. Click OK.


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This is to make sure you are recording audio along with video.

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5. Choose the name of your file. a. Click in the box labeled name at the bottom of the capture window. b. The output of the switcher will be inside the window.

6. Set to capture Audio with video.

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7. You are ready to record. 8. Click Capture Now.

9. A window will open with the title of the clip at the top.

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10. To stop recording. a. Click on the Stop button.

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11. Recording on the HD or SD tape deck.70 a. Power the tape deck.

b. Insert tapes into the decks. c. Press Record and Play at the same time.


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This is a back-up to recording on the AJA VTR Xchange.

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d. To stop recording press Stop.

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C h a p t e r 1 1

Clock Operations
Revision 1.0

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Chapter 11 The Clock. Most TV productions including the one students here at York College are under time constraints. More often than timing a segment or show will be required and will need to be accurate. As the saying goes, Time is money this chapter will instruct on the basic operations of the control room clock.

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1. The clock is in the control room next to the large Samsung monitor.

2. There are two ways to control and adjust the clock. a. Remote Control.

b. Controls on top of the clock.

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3. The Remote. c. Display selection is 1.

4. The clock has been set to count up from zero. 5. Press UP to start the clock. 6. Press Down once to pause. 7. From the paused mode, press Down to reset the clock to zero.

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8. Use the Start/Resume and Stop/Reset buttons for the same purpose.

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9. To change to a down or up timer. (Using the remote control) a. Press and hold the Mode Menu button for at least 5 seconds. The display will change to the pattern below.

b. After five seconds the display goes to the mode menu and will display a 01.

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c. Change the 01 to 14 using the UP button on the remote.

d. Press Mode Menu once.

e. This is the second Mode page.

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f. Choose 2 for an UP timer or choose 3 for a down timer using the remote up or down buttons.

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g. When finished press Timer Control once. h. The clock goes back to what it was doing before the changes.

10. Changing the start time for a timer (Using the remote). a. Press Timer Control (the text on the clock will darken).

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b. Use the Up or Down button to get the number you wish.71

c. Press Timer Control again (display returns to normal.)


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The longer the Up or Down buttons are pressed the faster the numbers increase or decrease.

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11. Control pad on the top of the clock has similar functions as the remote control.

12. If you simply want to count up from Zero. a. See Section 9, set to Up timer. b. See Section 10, set the Timer Control to zero. c. Press the Up button or the Start / Resume button to start the clock. d. Press the Down button or the Stop / Reset button to stop the clock.

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