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CONTENTS
Identifying Colors • 42
DISCLAIMER • 2
TRADEMARKS • 2
FCC Statement • 2
Using Color Backgrounds • 42
Changing Colors and Styles • 42
Creating Custom Colors • 43
Using Borders • 43
1 INTRODUCTION
Major Features • 2
Changing Border Styles • 44
Common Uses for MX-4 DV • 4
MX-4 DV Package Contents • 5
About this User Guide • 6
5 TRANSITIONS
Basic Transition Concepts • 48
Transition Categories and Menus • 50
Basic Transitions Category • 51
Edges Transitions Category • 51
Misc. Transitions Category • 51
Shapes Transitions Category • 51
User Transitions Category • 51
Changing User Transitions Menu • 52
Selecting Transition Sources • 53
Setting the CURRENT Source • 53
Setting the NEXT Source • 53
Selecting Transitions • 54
2 QUICK START
Quick Start Steps • 10
Setting Up • 10
The Preview Screen • 11
Running the Demo • 12
Cutting Between Sources • 13
Borders and Solid Color Backgrounds • 13
Setting up a Transition • 13
Running Transitions • 14
Using CUT Transitions • 14
Choosing Transitions • 15
Using Transition Categories • 15
Other Features • 15
Using the Transitions Menu • 54
Using Transition Numbers • 55
Adjusting Transitions • 56
Changing Transition Speed • 56
Changing Transition Direction • 56
Running Transitions • 58
3 INSTALLING THE MX-4 DV
Sources and Output • 18
Running Transitions Automatically • 58
Running Transitions Manually • 58
Preview and Program Monitors • 18
Preview Monitor • 19
Program Monitor • 19
Number of Monitors • 19
Understanding MX-4 DV Connectors • 20
Power Connector • 22
Cables and Adapters • 22
6 INPUT EFFECTS
Input Effects Menu • 60
Special Key Combinations • 61
Using Input Effects • 62
B&W • 63
Installation Examples • 24
B&W Neg • 63
Posterize • 63
Correlating Input Sources to MX-4 DV Jacks • 24
Using Headphones • 25
Flip Horizontal • 63
Mosaic • 64
VCR Selector Switches • 25
General Notes • 25
Color Correct • 64
Color Neg • 64
Video Adjustment • 65
Chromakey • 65
Post Production Configuration • 26
Live Broadcast Configuration • 28
Using a Microphone with MX-4 DV • 30
Flip Vertical • 65
Strobe • 65
4 BASIC OPERATIONS
Starting and Stopping the MX-4 DV • 32
Understanding the Keyboard • 32
Using the Preview Screen • 35
Changing the Display Configuration • 35
Input Source Previews • 36
Active Source Highlights • 36
Color Selector • 37
7 FUNCTIONS
Demo • 68
Running a Locked Demo • 68
Display • 69
Setup • 71
Force Field Freeze • 72
GPI Out Mode • 72
Comb Filter • 72
Audio Mode • 72
Dual Monitor Mode • 72
7.5 IRE Pedestal • 72
FTP • 73
Transitions Menu • 37
Selected Transition • 37
Using CURRENT and NEXT Sources • 38
Selecting Sources • 39
Using the Video/Audio Selector • 39
Swapping Sources • 40
Simple Cuts • 40
Swapping Between Two Sources • 40
Working with Colors • 41
Route • 73
Configuring the MX-4 DV • 73
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CONTENTS
Changing the Routing • 74
Advanced Audio Steps • 113
Example: Changing the Routing • 75
Routing Audio Through Color or Background Channels • 76
Sub-Route Menus • 77
Using the Analog Audio Adjustments Function • 113
Selecting Manual Levels • 114
Selecting Audio Delay • 114
Learn • 78
13 ADVANCED OPERATIONS
Using Titles • 116
Compose • 79
PIPs • 79
Audio Mix • 79
Using Color Bars • 116
Freeze • 79
Performing Roll Edits • 117
Field and Frame Freezes • 79
Major Freeze Functions • 80
Freeze Examples • 80
Cutting Between Scenes • 117
A/A Roll Edits • 117
A/B Roll Edits • 118
Transitions TO and FROM Solid Colors • 118
Transitions to Modified Sources • 119
Operating in Live Environments • 119
Security Monitoring • 119
8 PIPS
Single PIP • 84
Background Tile • 84
Foreground Tile • 84
Using a GPI Device • 120
Using Other Effects with Single PIPs • 86
Multi-PIP • 87
Instructions for Building a GPI Trigger • 121
Using a GPI Trigger Device • 122
Resetting the MX-4 DV Factory Defaults • 122
Connecting with Ethernet • 123
IP Setup for a Computer or Laptop • 124
Transferring Files TO or FROM the MX-4 DV • 130
Updating System Software • 131
Information About FTP Clients • 132
Using Freeze Effect with Multi-PIPs • 88
9 COMPOSE
Basic Composition Steps • 90
Backgrounds • 90
Foreground Tiles • 91
Creating Color Tiles and Lines • 91
Creating Moving Video Tiles • 91
Creating Still Image Tiles • 91
Manipulating Tiles • 91
Positioning Tiles • 91
Sizing Tiles • 92
Composition Rules • 92
Creating a Composed Image • 93
Playing the Composition • 94
Exiting from Compose Mode • 94
A TRANSITIONS LIST 135
Basic Transitions • 136
Edge Transitions • 144
Misc. Transitions • 145
Shape Transitions • 146
Default User Transitions • 151
B TIME BASE CORRECTOR 153
Dual TBC Mode • 153
10 CHROMAKEY
Vertical Interval Data • 153
Preparing the Background Footage • 96
Preparing the Keyed Footage • 97
Preparing the Chromakey Footage • 97
Performing the Chroma key • 99
Fine-Tuning Key Colors • 99
Ending Chroma Key • 99
TBC Technical Information • 154
C VIDEO QUALITY 155
Preview Image Quality • 155
Video Scaling Artifacts • 156
Freeze Quality • 156
Video Processing Artifacts • 156
11 LEARN MODE
Learned Environments • 102
Learned Scripts • 103
D TECHNICAL SPECIFICATIONS 157
Using Learn Mode • 104
Other Useful Information • 105
Aborting a Playback Session • 105
E HELP FOR MXPRO DV USERS 159
MX-4 DV Defaults to Y/C on All 4-Channels • 159
Transitions Organized Differently • 159
12 WORKING WITH AUDIO
Audio Devices You Can Use • 108
Ways You Can Control Audio • 108
Controlling Audio Transitions • 108
VIDEO/AUDIO Selector • 108
Selecting Audio Sources • 109
Ways to Use Audio • 109
Glossary
Index
Audio Accompanies Video • 109
Continuous Audio • 110
Using the Audio Mixer • 111
Audio Mixer Controls • 112
Using Background Audio • 112
Using Headphones • 113
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CHAPTER 1
INTRODUCTION
Welcome to the MX-4 DV, and thank you for buying FOCUS Enhancements products.
This chapter contains:
•
•
•
•
•
Brief descriptions of major MX-4 DV features
Typical uses for the MX-4 DV
How to contact FOCUS Enhancements
An inventory of package contents
Description of the contents of this User Guide
Please take a few moments to read the material so you can take full advantage of all
MX-4 DV benefits.
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MX-4 DV USER GUIDE
CHAPTER 1
2
MAJOR FEATURES
MX-4 DV contains features found on most video mixers. In addition, it contains the special fea-
tures described in this section.
Superb Video Quality — To ensure the highest video quality, the MX-4 DV uses 10-bit (4:2:2)
video technology for Y/C applications, and 8-bit 4:2:2 for composite applications.
Four Input Synchronized Switcher — MX-4 DV provides four input channels that mix analog
sources. This makes MX-4 DV useful in live production settings where up to four cameras or other
sources might be in use. MX-4 DV synchronizes the inputs, so picture disruptions do not occur
when switching between sources.
Picture-in-Picture (PIPs) — PIP allows mul-
tiple pictures to share the screen in various
configurations. For example, one source might
take the entire background while another
image appears inside a separate, smaller win-
dow, both sharing the screen at the same time.
You can use up to 4 images in a PIP configura-
tion.
Effects Generator — Use a variety of effects to enhance a source or transition between sources.
Select from over 700 effects, including natural shapes (diamonds, three leaf clover, and so forth),
fancy edges, and borders. You can also build your own custom menu for quick access to those
effects you use most often. Take advantage of FOCUS Enhancements downloadable subscription
site which provides additional new transitions and natural shapes to better serve your production
needs.
Time Base Corrector (TBC) — MX-4 DV automatically corrects the output’s time base. MX-4
DV stabilizes the output signal even when the input sources are not stable.
Chromakey — Keying replaces
parts of one picture with another,
based on their color. Here the solid
background behind Kong is replaced
by the picture of the bridge. The
chromakey version shows Kong con-
templating the bridge.
Frame Synchronizer and Digital Video Mixer — Mix any two input sources together using a
variety of transitions — wipes, dissolves, flips, and so forth. With the frame synchronizer you can
mix independent video signals.
Compose — MX-4 DV provides a video
painting system you can use to combine video
stills, color shapes, and moving video on one
screen. You can create a screen that contains a
video still of a football coach (with a sur-
rounding red border), combined with a mov-
ing video of the players in action on the field.
Audio Mixer — MX-4 DV provides sophisticated audio control. You can change the sound along
with the video, or play a constant sound while the video plays. Audio can come from a video
source or from external audio devices.
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INTRODUCTION
MAJOR FEATURES
3
Connectivity — MX-4 DV provides multiple video/audio outputs, including one DV output, two
Y/C Program outputs, two composite Program outputs, one composite Preview output, two sets of
stereo audio outputs, and a Headphone output.
Joystick — The joystick gives you fine control over color adjustments and positioning of PIP (pic-
ture-in-picture), compose, and the chromakey cursor.
Color Correction — Apply true RGB color correction to any or all input sources. Color correction
parameters can be set separately for each channel.
Input Effects — Apply special effects such as flips, mosaics, and others to the signals coming in
from any input source. You now have the ability to adjust the brightness, contrast, color saturation
and hue on your input sources and thumbnails.
Still Frame Jpeg Images — For the ultimate in creative expression, let the MX-4 DV allow you to
trigger a stand-alone jpeg clips for background, input, or foreground use in your live video produc-
tion programming. You can import and store up to 100 jpeg images (50 background and 50 fore-
ground) using the Ethernet connection on the back of your unit.
Ethernet — You can network your MX-4 DV to a Mac or PC using an Ethernet (10Base-T) con-
nector. You can import backgrounds, bugs and still frame jpegs to or from your unit.
Gradients — You can access eight gradients using the graphics menu.
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MX-4 DV USER GUIDE
CHAPTER 1
4
COMMON USES FOR MX-4 DV
Multiple-Source Video Production — In a video production setup, you can connect one or more
video sources (VCRs, camcorders, video disc players, cameras, title generators, computer graphics
systems, and so forth) to MX-4 DV’s four input channels. The Program output can then be sent to a
VCR or directly to a monitor.
You can determine what is sent to the output. While the original inputs play, you can switch
between any of MX-4 DV’s channels. Use dissolves or other transitions to go from one chan-
nel to another. Add special effects to any channel, and use advanced features such as compose
and chromakey to enhance the production.
Single-Source Use — MX-4 DV supports A/A roll, a method for creating interesting transitions
with a single source. Its digital effects (such as picture freeze, posterization, and mosaic) give
added life to productions. You can use MX-4 DV with a titler to mix and superimpose titles. Time
base correction improves the picture (especially when making multiple-generation copies) by
removing the jitter common to most VCRs.
Live Video — In live production setups, MX-4 DV processes events as they occur. Good coverage
requires seeing the events from different vantage points—which means you need multiple input
sources. MX-4 DV gives you the ability to connect up to four sources simultaneously. For exam-
ple, at a sporting event, camera one might focus on the playing field, camera two on the team
benches, camera three on the announcer, and camera four on the scoreboard. Using MX-4 DV you
can easily switch between the sources whenever necessary.
NOTE
MX-4 DV is not an edit controller — that is, it does not control VCRs, camcorders, and similar
devices. You can control the sources manually, or use external edit controllers such as those
manufactured by FOCUS Enhancements.
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INTRODUCTION
MX-4 DV PACKAGE CONTENTS
5
MX-4 DV PACKAGE CONTENTS
The MX-4 DV package contains the items shown below. Check your package against the illustra-
tion.
MX-4 DV Unit
MX-4 DV
USER GUIDE
Product registration card
and other information
POWER ADAPTER AND CORD
If your package doesn’t
contain all of the items
shown here, contact the
dealer where you purchased
the MX-4 DV for the
necessary replacements.
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MX-4 DV USER GUIDE
CHAPTER 1
6
ABOUT THIS USER GUIDE
This User Guide contains the chapters, appendixes, and other sections shown in the following
table.
Table 1: User Guide Contents
CHAPTER
DESCRIPTION
Chapter 1
Introduction
Basic overview of MX-4 DV features, description of
package contents, description of manual.
Chapter 2
Quick Start
Brief steps to setting up MX-4 DV with your equip-
ment. Provided for people quite familiar with connect-
ing video equipment.
Chapter 3
Installing MX-4 DV
Instructions for setting up MX-4 DV to work with
your video equipment.
Chapter 4
Basic Operations
Explains most common procedures and functions used
with MX-4 DV.
Chapter 5
Transitions
Complete description of and instructions for using
MX-4 DV transitions. Also see Appendix A, Transi-
tions List.
Chapter 6
How to use various effects with video input material.
Input Effects
Chapter 7
Functions
Descriptions of and instructions for using MX-4 DV’s
built-in functions.
Chapter 8
Instructions for using the picture-in-picture functions.
PIPs
Chapter 9
Compose
How to create composed images consisting of rectan-
gles, lines, still images, and/or moving images.
Chapter 10
Chromakey
Instructions for creating chromakey images where spe-
cific colors (such as a blue screen) can be keyed out
and replaced with a video sequence or other image.
Chapter 11
Learn Mode
How to use MX-4 DV’s Learn Mode for “recording”
your mixing steps then playing them back.
Chapter 12
Working with Audio
How to use audio sources (tapes, CDs, and so forth)
with MX-4 DV.
Chapter 13
Advanced Operations
Descriptions of operations used infrequently, but still
of substantial use for mixing video programs.
Appendix A
Transitions List
Complete list of transitions available with MX-4 DV,
along with their assigned code numbers and descrip-
tions.
Appendix B
Time Base Corrector
Explains the time-base corrector feature built into
MX-4 DV.
Appendix C
Video Quality
Discusses issues concerning the level of quality in vid-
eos — that is, what to expect and what you can do to
improve quality.
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INTRODUCTION
ABOUT THIS USER GUIDE
7
Table 1: User Guide Contents (continued)
CHAPTER
DESCRIPTION
Appendix D
MX-4 DV product specifications.
Technical Specifications
Appendix E
Help for MXPro DV Users
Summarizes operational differences between MX-4
DV and FOCUS Enhancements’s Video Mixers.
Glossary
Definitions of terms frequently used in conjunction
with MX-4 DV and video mixing procedures.
Index
Standard index to topics in this manual.
Conventions The User Guide employs the conventions described in this section.
Tips, Notes, Cautions, and Warnings use the following formats.
TIP
A tip provides useful information for doing various tasks and procedures.
NOTE
Notes contain information to supplement the other information contained throughout the guide.
CAUTION
Cautions warn that if you continue with what you are doing there is a danger of losing information.
WARNING
Warnings mean stop what you are doing because there is danger of losing information and,
possibly, damaging your equipment.
MX-4 DV Buttons When referencing the various buttons (keys) and other controls on the MX-4 DV keyboard, they
appear in uppercase, boldface characters. For example, the keyboard contains the PLAY button and
T-BAR.
In some cases you use two buttons together to perform a function. This is normally done using the
shift button in combination with some other button. A plus (+) symbol indicates this. For example,
you might be asked to enter SHIFT+PIPS to start MultiPIP mode. This means press and hold down
the SHIFT button, press the PIPS button, then release both.
PIPs
SHIFT
Sources, Channels, The terms Source, Channel, and Output appear extensively throughout this guide. It’s important to
and Outputs understand the differences between them.
A Source is a physical device, such as a VCR, that provides a video and/or audio signal.
A Channel is an internal MX-4 DV video signal path. The video and/or audio signal originating
from a source travels along one of the channels.
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MX-4 DV USER GUIDE
CHAPTER 1
8
An Output displays or records a mixed signal (such as the video on one channel, a transition, and
the video on another channel) on an output device. The output device might be a recording VCR or
a live broadcast signal.
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CHAPTER 2
QUICK START
This chapter contains brief instructions for setting up MX-4 DV with basic equipment. The
instructions do not go into detail. If you feel comfortable connecting video and audio equip-
ment, you can probably get started quickly using these instructions.
If you are upgrading from the Videonics MXPro DV, refer to Appendix APPENDIX E, Help
for MXPro DV Users, for helpful information in setting up your MX-4 DV.
Skim the instructions in this chapter. If you have any questions about any of the steps, turn to
Chapter 3, Installing the MX-4 DV, and follow the detailed instructions for setting up your
equipment.
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MX-4 DV USER GUIDE
CHAPTER 2
10
QUICK START STEPS
Setting Up
Input Source
Input Source
IN 1
OUT 1
IN 2
Output Monitor
Preview Monitor
PREVIEW OUT
Output Device
•
•
•
Connect a COMPOSITE-type monitor to MX-4 DV’s PREVIEW OUT jack.
Connect an Input Source (such as a VCR or camcorder) to the MX-4 DV’s DV IN 1 jack.
Connect a second Input Source to the MX-4 DV’s Y/C IN 2 jack.
The MX-4 DV is set up, by default, to expect DV devices to be connected to the DV IN 1 and
DV IN 2 input jacks, and S-Video (Y/C) devices to be connected to the IN 1 and IN 2 input
jacks. If you connect a different assortment of input devices, you must tell the MX-4 DV this
fact. Refer to “Route” beginning on page 73 after completing the following steps.
•
•
Connect an output device to the OUT jacks on the MX-4 DV rear panel. This is the
device where you record the program.
Remember, a DV connector carries the audio signal as well as the video signal. It is, therefore,
unnecessary to make separate connections for these signals when using a DV device as output.
Connect a television or monitor to the recording VCR according to their instructions.
Having this monitor available lets you see exactly what is being recorded (or, output).
NOTE
These instructions assume there is a two-monitor setup. If you are using only one monitor, connect
it to PREVIEW OUT.
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QUICK START
THE PREVIEW SCREEN
11
•
•
•
Connect the MX-4 DV power supply to the power supply jack on the rear panel.
Connect the MX-4 DV’s power cord to a suitable outlet.
Turn on all devices (the MX-4 DV power switch is located on the right end of the unit)
and let the tapes roll.
For more detailed information about setting up your equipment, refer to Chapter 3, Installing the
MX-4 DV.
The Preview Screen
NEXT Source
CURRENT Source
Previews
You should see a Preview
screen similar to this on
your Preview monitor.
Transitions Menu
NOTE
The MX-4 DV provides a small preview screen in the user interface with the sources you have
attached. The images are scaled down in size, therefore, don’t play as smoothly as they would in a
single-source video monitor image. This does not affect the quality of the video going to the output
— it is always highest quality. In addition you will be able to view beforehand your source images
before running your transitions. Take advantage of the ability to adjust the Brightness, Color
Saturation, Contrast and Hue while viewing it on your preview screens. Refer to the video
adjustment menu section in Chapter 4 for these adjustments.
The PREVIEW screen contains the elements you need to run transitions:
CURRENT Source — The signal currently playing on your Output monitor. The MX-4 DV
highlights the CURRENT source in yellow (just above the preview images).
NEXT Source — The signal that will play on the Output monitor after the transition runs. The
MX-4 DV highlights the NEXT source in green.
Transitions Menu — Rows and columns of icons representing some of the transitions avail-
able. The MX-4 DV highlights the currently selected transition in blue. The icons also show
the speed and direction for the selected transition.
Near the upper-right corner of the Preview screen is the color channel. The swatch uses numbers to
indicate the current background color, border color, and border style.
For more detailed information about controlling the content of the Preview screen, see “Using the
Preview Screen” beginning on page 35.
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MX-4 DV USER GUIDE
CHAPTER 2
12
Using the Route The Route function ensures that the MX-4 DV understands where your input devices are connected
Function on the rear panel. If you connect Y/C devices to the IN1, IN2, IN3, and/or IN4 jacks, re-routing is
not necessary. Go on to the next section, “Running the Demo”.
•
After starting the MX-4 DV with all devices connected and turned on, press ROUTE to dis-
play the Route screen.
•
•
•
Press the LEFT ARROW or the RIGHT ARROW to select the appropriate input S
(Y/C), V (Composite), or DV.
To route other inputs to different channels, press NEXT/X, where X represents the chan-
nel to which you want to route. Then repeat the preceding step.
Press ROUTE again to exit from the Route screen.
Running the Demo
The demo gives you a quick look at some of the MX-4 DV’s important features and assortment of
transitions.
•
Press the SHIFT+DEMO/DISPLAY buttons at the same time.
You should see the two sources alternating, with a variety of transition effects in between.
Press any key to stop the demo at any time.
•
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QUICK START
CUTTING BETWEEN SOURCES
13
Cutting Between Sources
•
Press CUT/A.
When you press a CUT button, the
small light below the button glows
steadily to indicate it is the CURRENT
source.
When you press a NEXT button, the
small light above the button blinks to
indicate it is the NEXT source.
The light below the A button comes on and the Output monitor displays the signal from what-
ever device is plugged into the inputs labeled IN 1. The yellow highlight above preview image
A tells you it is the currently active input.
•
•
Press CUT/B.
The light below the B button begins flashing (indicating B is both the CURRENT and NEXT
source) and the Output monitor displays the signal from whatever device is plugged into the
inputs labeled IN 2. The yellow highlight above preview image B tells you it is the currently
active input.
If you have anything plugged into IN 3 or IN 4, press CUT/C and CUT/D, respectively, to
display their signals.
Borders and Solid Color Backgrounds
•
•
•
Press CUT/BACKGROUND.
The MX-4 DV highlights the speaker, headphone, or color block above the channel indicator,
but does not show the channel letter. The Output monitor shows a solid color screen.
To change the color, press BG COLOR.
Each time you press the button the color changes in the background color sample and at the
Output. Continue pressing the button until you see a color you like.
You can also define a border color and style to use at the edge of most transitions and
PIPs. Press BORDER COLOR and the color around the background color sample shows
you the new choice. Press BORDER STYLE to select from different styles for the border.
Setting up a Transition
To set up a transition you need to select the sources you want to use and the transition you want to
use when switching between them. Here’s how to transition from source A to source B using a hor-
izontal wipe.
•
Press CUT/A to set A as the CURRENT source. The MX-4 DV shows a steadily glowing
light below the CUT button you press.
•
Press NEXT/B to set B as the NEXT source (the one you want to see after the transition
finishes running). The LED light above the button you press flashes to indicate it is the
NEXT source.
•
Use the ARROW keys to highlight the Wipe transition in the Transitions Menu, as shown
in the following example.
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MX-4 DV USER GUIDE
CHAPTER 2
14
Use LEFT and RIGHT ARROWS to move the selection horizontally. Use UP and DOWN ARROWS
to move the selection vertically: or, press 2 then OK to select the transition by number.
Selected Transition
The MX-4 DV transitions between the two sources using the horizontal wipe transition with the
Output screen showing the results.
Running Transitions
You can run transitions automatically or manually.
Automatic • Press PLAY. The MX-4 DV runs the transition at a pre-determined speed.
Transitions
The MX-4 DV transitions between the two sources using the horizontal wipe transition with
the Output screen showing the results.
At the end of the wipe, B is on the OUTPUT monitor — it has become the CURRENT source. The
yellow highlight above the preview images has changed to reflect that. Furthermore, A is now the
NEXT source and the green highlight has been changed to A.
•
•
To wipe back and forth between sources A and B, press PLAY repeatedly.
To change the speed at which a transition runs, press the SPEED button. The Speed indi-
cator under the transition icon changes.
Speed
•
•
Press the button again until the desired speed appears. 0 is the slowest speed, 9 is the fast-
est.
Try this with various speeds: Change the speed and press PLAY.
Manual Use the TAKE BAR to run transitions and control their speed and direction.
Transitions
•
Set up the transition as you would normally. However, instead of pressing PLAY, simply move
the T-BAR.
The transition begins running as soon as you move the T-BAR. You can even move back and
forth by moving the T-BAR in different directions. Give it a try!
Using CUT Transitions
Most video productions use simple cuts a majority of the time. To cut between any two sources (for
example, you could cut from A to C to BACKGROUND to D), use the CUT buttons.
There’s a quick way to cut back and forth between two sources using just the PLAY button, instead
of having to alternate between two CUT buttons:
•
•
•
Press 0 and then OK to select transition 0, a simple cut.
Press PLAY again and again.
A solid color screen can be used as if it were a separate source. Press the NEXT/BACKGROUND
button and run any transition, or press CUT/BACKGROUND.
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QUICK START
CHOOSING TRANSITIONS
15
Choosing Transitions
The Preview screen contains the Transitions Menu. This menu contains icons and other informa-
tion for all MX-4 DV transitions. A blue highlight indicates the transition selected for the next
transition.
•
Select Transitions in the following ways:
ARROW keys – Simply use the arrow keys to highlight the desired transition.
NUMBER keys – The MX-4 DV assigns a unique number to every transition. The number
appears below the transition icon on the PREVIEW screen (in the following example, the
checkerboard transition is number 29). You can use the number to select a transition. (When
you select/highlight a transition in the menu, the MX-4 DV shows the transition’s speed and
direction. At this point, the transition number is no longer visible.)
Transition Number 29
•
•
Enter 106 using the number keys (press 1, then 0, then 6), then press OK to highlight the tran-
sition icon.
The MX-4 DV replaces the current Transitions Menu and shows the one that contains the tran-
sition you selected.
Press PLAY.
Using Transition Categories
The MX-4 DV categorizes transitions into five major groups — User, Basic, Edges, Shapes, and
Misc. You can access any category at any time by pressing one of the Transition Category buttons.
When you press one of the buttons, the content of the Transitions Menu (see “The Preview Screen”
on page 11) changes.
•
Press the MISC. button. The Transitions Menu display a completely different set of transi-
tion icons.
•
•
Use the ARROW keys to highlight a transition you’d like to see run.
Press PLAY or use the T-BAR to run the transition.
The USER transition category is slightly different from the others. It originally contains a default
set of transitions, each of which also exists in the other categories. You can “tailor” the content of
the USER category to your specific needs and preferences. You’ll learn more about this in later
chapters.
Other Features
Refer to the rest of this User Guide to learn about the many additional MX-4 DV features, includ-
ing:
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MX-4 DV USER GUIDE
CHAPTER 2
16
•
•
•
•
•
•
•
Using the DEMO/DISPLAY button to change the content of the Preview screen.
Freeze the picture, and compress it.
Separately control the sound.
Apply input effects, such as mosaic, paint (posterization), negative, and more.
Use chromakey to combine parts of one picture with parts of another.
Compose your own pictures, made up of several stills, color rectangles, and a moving picture.
Rearrange the inputs so A, B, C, and D, and their audio channels come from different rear
panel jacks.
•
Memorize a sequence of transitions and play them back.
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CHAPTER 3
INSTALLING THE MX-4 DV
This chapter explains how to install (or, set up) MX-4 DV to use with other equipment.
Major topics include:
•
•
•
•
•
•
Understanding Sources and Output
Understanding Preview and Program monitors
Understanding the MX-4 DV connectors
Identifying Cables and Adapters you might need
Installation examples
Installing a Microphone
If you have experience with the Videonics MXPro DV, refer to APPENDIX E, Help for
MXPro DV Users, for information that will be helpful setting up your equipment.
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MX-4 DV USER GUIDE
CHAPTER 3
18
SOURCES AND OUTPUT
Source and Output refer to the way you use devices with MX-4 DV.
Source
Source
Source
Source
MX-4 DV
Output
Output
Source — A source is an input device. Each source provides a video signal, audio signal, or both.
You use the MX-4 DV to combine and (optionally) animate these signals.
Output — An output is a device on which you record and/or broadcast a signal. The signal might
contain video, audio, or both. This signal is often a mix of signals coming into MX-4 DV from one
or more sources. The output device might be a VCR with an optional monitor attached, or it might
be a live broadcast.
PREVIEW AND PROGRAM MONITORS
The MX-4 DV designates monitors as either Preview or Program to indicate how a particular mon-
itor may be used. This manual uses the following picture to distinguish between the two monitors.
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INSTALLING THE MX-4 DV
PREVIEW MONITOR
19
Preview Monitor
Program Monitor
Preview Monitor
The Preview monitor is your “working” monitor. Most of the time it contains controls for manag-
ing Source and Output devices. For example, it shows miniature versions of images coming from
the attached VCRs and camcorders. The Preview monitor also shows a menu of transitions and
other effects from which you can choose. Refer to “Using the Preview Screen” beginning on
page 35.
CAUTION
The preview monitor must be a Composite device. Do not attempt to connect any other type
of monitor to the PREVIEW OUT jack on the MX-4 DV rear panel.
Program Monitor
The Program monitor shows the production exactly as recorded on the output device or displayed
in a live video environment. The Program monitor shows the program complete with transitions
and other effects. You normally connect the Program monitor to the output device. The Program
monitor can be either a Composite, or Y/C device.
Number of Monitors
You can operate the MX-4 DV with only one monitor connected to the Preview out. However, to
greatly simplify your work you should have at least two monitors — one Preview and one Pro-
gram. Instructions in this manual assume you have separate Preview and Program monitors.
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MX-4 DV USER GUIDE
CHAPTER 3
20
UNDERSTANDING MX-4 DV CONNECTORS
To properly setup the MX-4 DV, you need to know how and where to connect external compo-
nents – such as VCRs, camcorders, and so forth. Use cables to connect video devices to the MX-4
DV’s rear panel. Refer to “Cables and Adapters” on page 22.
Remove the MX-4 DV from its package and set it so you can see the rear panel. Refer to the panel
and the illustration on the next page while reading this section.
The MX-4 DV rear panel has numerous connectors and they vary by type. You can connect input
sources in any combination – up to a maximum of twelve – but you can use a maximum of four
devices at any given time. You can process just the video signal from a device, just the audio sig-
nal, or both.
You can connect four separate output devices to the MX-4 DV. You might, for example, direct one
output to a recording device and another to a live broadcast.
Note the labels associated with each connector on the MX-4 DV rear panel.
POWER — An electrical power connector. Use the power cord and adapter in the MX-4 DV
package to connect the unit to an electrical outlet.
Y/C IN— Connect Y/C sources to these connectors.
RCA IN — Connect composite sources to these connectors.
DV IN — Connect Digital Video sources to these connectors. Both the audio and video signal
is sent through these connections.
AUDIO IN — Connect audio devices to these connectors. Each set of connectors has L (Left)
and R (Right) jacks for stereo input. Refer to “Audio Connectors” on page 23.
HB IN — Connect a composite source such as a camera to lock on to and synchronize the
MX-4 DV with it.
GPI CONTROL — Connect a General Purpose Interface (GPI) device to this jack to control
the MX-4 DV from an external device or remote location. Refer to “Using a GPI Device”
beginning on page 120.
There are a total of eleven output connectors — one Preview, two composite, two S-Video, four
audio, and a Headphone jack.
PREVIEW OUT — Connect a composite video monitor to this jack. You cannot use an Y/C
monitor as Preview. This monitor serves as your visual “interface” with the MX-4 DV. It’s
where you do most of your work.
DV OUT — Connect a Digital Video output device. You record productions on this device,
use it to display a live broadcast signal or both. Both the audio and video signal are sent
through this connector.
Y/C OUT— Connect an Y/C output device. You record productions on this device, use it to
display a live broadcast signal, or both.
RCA OUT — Connect a composite output device. Same as above, but use this connector if
your output device is composite format.
AUDIO OUT — Connect a suitable audio cable or cables from these jacks to the audio inputs
on your output device. Refer to Chapter 12, Working with Audio, for a discussion of the dual
audio output features.
HEADPHONES — Refer to “Using Headphones” on page 25.
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INSTALLING THE MX-4 DV
UNDERSTANDING MX-4 DV CONNECTORS
21
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MX-4 DV USER GUIDE
CHAPTER 3
22
Power Connector
The MX-4 DV package contains the required transformer and power cord for the unit.
Male Socket Female Plug
Power
Adapter
Plug
Male
Plug
Transformer
Power Cord
WARNING
USE ONLY THE POWER CORD AND TRANSFORMER PROVIDED IN THE PACKAGE. DO NOT
USE THIS POWER CORD AND TRANSFORMER WITH ANY OTHER EQUIPMENT. FAILURE TO
OBSERVE THESE CONDITIONS CAN DAMAGE YOUR EQUIPMENT AND VOID YOUR
WARRANTY.
To connect the power cord and transformer:
1
Connect the female plug on the power cord into the male socket on the transformer.
Connect the male plug on the power cord to a suitable power outlet.
2
3
Connect the power adapter plug on the transformer cord into the power connector on the MX-
4 DV rear panel.
4
Turn the MX-4 DV power switch (located on the right side of the unit) to the ON position.
CABLES AND ADAPTERS
To connect video devices to the MX-4 DV you need specific types of cables. You might also need
one or more adapters, depending on your equipment.
Look closely at the jacks on the MX-4 DV rear panel and note that they accept RCA Composite,
S-Video (Y/C), or Digital Video (DV)cables.
RCA
Composite
S-Video
(Y/C)
Digital Video
Connector
Before connecting any device to the MX-4 DV, make sure the cable you are using has the right
type of fitting for the jack you intend to use.
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INSTALLING THE MX-4 DV
CABLES AND ADAPTERS
23
CAUTION
When making connections, always connect the OUT from one device to the IN on the other
device. NEVER connect OUT to OUT or IN to IN
GOOD!
BAD!
Microphones
You can connect a microphone to any MX-4 DV input jack, but you may need a spe-
cial adapter to make the connection. The type of adapter needed varies depending on
the type of microphone you want to use. If you do not have the adapter you need,
take your microphone to a local electronics supply store to make sure you select the
correct adapter.
Audio Connectors To connect a stereophonic audio device to the MX-4 DV, you need two separate audio cables —
one for the left channel and one for the right.
To connect a monaural audio device you need a Y-adapter cable (like the one shown
at the left). Connect the single end of the adapter to the line input or output on the
device. Connect the two remaining ends to the left and right channel inputs or out-
puts on the MX-4 DV rear panel.
The Y-adapter cable does not provide stereophonic audio. It simply directs the mono
signal to or from both MX-4 DV channels.
You can also connect a mono audio device, then connect the other end to either the
left or right connector on any MX-4 DV audio input. Once connected, use the MX-4
DV ROUTE function to specify which connector (left or right you used. Refer to
“Route” beginning on page 73.
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MX-4 DV USER GUIDE
CHAPTER 3
24
INSTALLATION EXAMPLES
This section shows examples of two common MX-4 DV configurations, but does not describe
every possibility. Before proceeding, study the following diagram (MX-4 DV Installation Concept)
that shows overall configuration concepts.
MX-4 DV Installation Concept
Channel
Channel
Channel
Channel
A
B
C
D
SOURCES
This diagram illustrates
the overall concept for
installing equipment with
MX-4 DV. Please study it
before you begin
installing your own
equipment.
Headphones
Program
Preview
Output
You can have up to four separate audio/video input sources active at any given time. The MX-4
DV designates them as sources A, B, C, and D. You can use any mix of devices as necessary to
complete your work so long as they are valid MX-4 DV devices. For example, you can use VCRs,
VTR’s, camcorders, laserdisc players, satellite tuners, broadcast tuners/receivers, character genera-
tors (CG’s), video-equipped computers, and audio devices (such as a CD player or tape deck).
The MX-4 DV sends the output signal to a recording device (such as a VCR) and/or a Program
monitor.
Use a second monitor, Preview, to display preview images of all input sources. The Preview moni-
tor also displays the on-screen controls you use to operate MX-4 DV. The Preview monitor is
required for operation.
Correlating Input Sources to MX-4 DV Jacks
As stated above, the MX-4 DV designates your input sources as A, B, C, and D. However, if you
examine the jacks on the MX-4 DV rear panel, you’ll see they are labeled 1, 2, 3, and 4. Initially,
there is a direct correlation between the letter and the number designations: jack 1 corresponds to
source A, jack 2 corresponds to source B, jack 3 corresponds to source C, and jack 4 to source D.
You can re-route inputs to other channels. For more information, refer to “Route” beginning on
page 73.
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INSTALLING THE MX-4 DV
USING HEADPHONES
25
Using Headphones
To use headphones, connect them to the Headphone jack, which is located on the middle of the
unit. The jack accepts standard stereo headphones with a miniature plug. If your headphones have
a large plug, you need an adapter to switch it to a miniature plug.
VCR Selector Switches
Many VCRs have an input selector switch that routes between Line (or AUX, EXT, A/V, or S) and
Tuner. Here are some examples.
If a device has a switch
similar to one of these,
set the switch to the
LINE position.
Some VCRs have more than one VIDEO IN jack (for example, one might be Composite and the
other Y/C). Set the switch to match the jack you are using as the connector to the MX-4 DV.
General Notes
When connecting video and audio outputs from source devices, most of the time you’ll probably
connect to corresponding jacks on the MX-4 DV rear panel. For example, if you connect the video
to the VIDEO IN jack labeled “1,” you’ll most likely connect the audio to the AUDIO IN jack also
labeled “1.” However, this is not a requirement. You might use non-corresponding jacks — for
example, you might connect the video from one source to VIDEO IN 1 but connect the audio from
the same source to AUDIO IN 2 if you want to control the audio and video separately.
Remember, DV devices carry the audio and video signal (as well as a machine control signal) on
the same connection.
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MX-4 DV USER GUIDE
CHAPTER 3
26
Post Production Configuration
This configuration is useful in a Post-Production environment—where you mix two or more pro-
grams together.
This installation example below shows the use of DV equipment in combination with analog
equipment.
1
2
3
Connect the VIDEO OUT from a DV VTR 1 to DV IN 1 on the MX-4 DV rear panel.
Connect the AUDIO OUTs from a DV VTR 1 to AUDIO IN 1 on the MX-4 DV rear panel.
Connect the VIDEO OUT from a DV VTR 2 to DV IN 2 on the MX-4 DV rear panel.
Connect the AUDIO OUTs from a DV VTR 2 to AUDIO IN 2 on the MX-4 DV rear panel.
OPTIONAL – Connect an audio source (CD player, tape deck, or microphone) to AUDIO IN
4 on the MX-4 DV rear panel.
4
5
Connect a Composite-type monitor to the PREVIEW OUT jack on the rear panel.
OPTIONAL - Connect a Character Generator (CG) to the OUT Y/C jack on the rear panel.
With this configuration you can superimpose titles from the CG atop the output signal.
Connect a recording VTR to the OUT Y/C jack on the rear panel.
6
If you are using the optional Character Generator (described above), connect the output from
the CG to the VTR input.
7
8
Connect an Output Monitor to the recording VTR so you can see the signal being recorded.
Connect the power cord and transformer to the MX-4 DV rear panel. Refer to “Power Connec-
tor” on page 22 for instructions.
Use the Route function (“Route” beginning on page 73) to make sure your devices are directed to
the correct MX-4 DV channels.
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INSTALLING THE MX-4 DV
POST PRODUCTION CONFIGURATION
27
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MX-4 DV USER GUIDE
CHAPTER 3
28
Live Broadcast Configuration
This configuration is useful in a Live Broadcast environment.
1
2
3
Connect the VIDEO OUT from Camera 1 to VIDEO IN 1 (Y/C) on the MX-4 DV rear panel.
Connect the AUDIO OUTs from Camera 1 to AUDIO IN 1 on the rear panel.
Connect the VIDEO OUT from Camera 2 to VIDEO IN 2 on the MX-4 DV rear panel. Con-
nect the AUDIO OUTs from Camera 2 to AUDIO IN 2 on the rear panel.
OPTIONAL – Connect an audio source (CD player, tape deck, or microphone) to AUDIO IN
4 on the MX-4 DV rear panel.
4
5
Connect a Composite MV-4 -type monitor to the PREVIEW OUT jack on the rear panel.
OPTIONAL – Connect a GPI trigger device to the GPI CONTROL on the MX-4 DV rear
panel.
6
7
OPTIONAL – Connect a character generator (CG) to the OUT Y/C jack on the rear panel.
With this configuration you can superimpose titles from the CG atop the output signal.
Connect a recording VTR to the OUT Y/C jack on the rear panel.
If you are using the optional Character Generator (described above), connect the output from
the CG to the VTR input.
8
9
Connect the Output Monitor to the recording VTR so you can see the signal being recorded.
Connect the Power Cord and Transformer to the MX-4 DV rear panel. Refer to “Power Con-
nector” on page 22 for instructions.
Use the Route function (refer to page 73) to make sure your devices are directed to the correct MX-
4 DV channels.
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INSTALLING THE MX-4 DV
LIVE BROADCAST CONFIGURATION
29
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MX-4 DV USER GUIDE
CHAPTER 3
30
USING A MICROPHONE WITH MX-4 DV
This section explains how to
connect a microphone to
MX-4 DV. You’ll need the
equipment listed below…
•
•
•
•
•
Professional quality microphone
Microphone cable (male-XLR to female-XLR connectors)
An audio direct box (which you can purchase from any professional audio equipment dealer)
A 1/4 inch (phone jack) to RCA cable
A female RCA to dual-male RCA “Y” Adapter
To connect a microphone:
1
2
3
4
Using the microphone cable, connect it to the XLR (balanced) input on the Direct Box.
Plug the 1/4-inch-to-RCA cable into the 1/4-inch (unbalanced) output on the Direct Box.
Attach the RCA “Y” adapter to the 1/4-inch-to-RCA cable.
Plug the two male ends of the RCA “Y” Adapter into the R and L audio inputs on the MX-4
DV rear panel. You can plug the microphone into any audio input and route it like any other
source.
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CHAPTER 4
BASIC OPERATIONS
This chapter describes several basic MX-4 DV operations, including:
•
•
•
•
•
•
•
•
•
•
Starting and stopping the MX-4 DV
Using the MX-4 DV keyboard
Using the Preview screen
Using CURRENT and NEXT sources
Selecting Sources
Using the VIDEO/AUDIO selector
Cutting Between Sources
Working with Color
Using Backgrounds
Using Borders
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MX-4 DV USER GUIDE
CHAPTER 4
32
STARTING AND STOPPING THE MX-4 DV
Press the Power switch to start or stop the MX-4 DV. The switch, located on the right-end of the
unit, is a rocker-type switch.
UNDERSTANDING THE KEYBOARD
Use the MX-4 DV keyboard to control how the unit operates.
This section briefly describes the button groups and, in some cases, individual buttons and con-
trols. Additional information appears throughout this User Guide. Some of the following descrip-
tions provide a reference to the page where you can find details. Refer to the illustration on the next
page while reading this material.
1
2
3
T-Bar (or, Take Bar) — Use to manually control the way transitions run, tile size in PIP
mode, and audio levels in the Audio Mixer. Refer to Chapter 5, Transitions, Chapter 8, PIPs,
and Chapter 12, Working with Audio, respectively. The T-BAR also controls the video adjust-
ment sliders.
Function Buttons — Provide immediate access to built-in functions, including DISPLAY,
SETUP, FTP, ROUTE, LEARN, COMPOSE, PIPS, AUDIO MIX, and FREEZE. You can also access
the built-in demo using the SHIFT+DEMO/DISPLAY buttons. Refer to Chapter 7, Functions, for
details.
Source Selectors — Use to select the CURRENT (CUT) and NEXT sources for a production.
Normally, you select the CURRENT and NEXT sources, select a transition to use between the
two, then run it. For example, you might select a camcorder as one input source (CURRENT)
and a VCR as the other (NEXT). You then select a transition, such as a dissolve or wipe. When
you reach the point in the CURRENT source where you want to change to the NEXT source,
press PLAY or use the T-BAR to instruct the MX-4 DV to play the transition. The CURRENT
source becomes the new NEXT source, and the old NEXT source becomes the new CUR-
RENT source. (See “Using CURRENT and NEXT Sources” beginning on page 38.) Use the
COLOR buttons to create solid colored backgrounds and other effects. (Refer to “Working with
Colors” beginning on page 41.)
4
5
Video/Audio Selector — Determines whether VIDEO, AUDIO, or both VIDEO and AUDIO
are affected when you run a transition. When set to VIDEO, the video changes but the audio
does not. When set to AUDIO, the audio changes but the video does not. When set to both, the
video and audio both change. Refer to “Using the Video/Audio Selector” on page 39.
Joystick — Provides an easy way to make fine adjustments to various components. For exam-
ple, when using PIPs, the joystick positions the various picture elements on the screen. When
using color correction, the joystick adjusts the color. The joystick has other uses you’ll learn
about in later chapters.
6
7
Power Switch — The Power switch is a rocker-type switch for turning the unit on and off.
Transition Category Buttons — Gives you immediate access to the five, major categories of
transitions, including USER, BASIC, EDGES, SHAPES, and MISC. All MX-4 DV transitions fall
into one of these categories. After pressing a button, you can search through the transitions in
that category to find the one you want to use. Refer to “Transition Categories and Menus”
beginning on page 50.
8
Play Button — Press to invoke the next command and complete a transition you have set up.
In other words, set up your CURRENT and NEXT sources, select a transition, then press PLAY
at the moment you want the MX-4 DV to perform the step.
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BASIC OPERATIONS
UNDERSTANDING THE KEYBOARD
33
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MX-4 DV USER GUIDE
CHAPTER 4
34
9
Control Buttons — Use these buttons to reverse transition direction, change transition speed,
specify background and border colors, and set border styles.
10 Numeric Keypad — Use for various functions, such as entering the number of a transition
you want to use, setting a precise speed for a transition, and so forth.
11 OK Button — Generally used to indicate to the MX-4 DV that you have completed some
operation and want the unit to prepare for or perform it accordingly.
12 SHIFT Button — A modifier key that invokes special functions when used in conjunction
with other keyboard keys.
13 Arrow Keys — Primarily used for selecting effects and functions. For example, use the arrow
keys to highlight a transition you want to use in the Transitions menu.
14 EFFECTS Buttons — Provides access to effects you can apply to input sources. The light
below the EFFECTS button glows when the MX-4 DV is in Input Effects mode. Refer to Chap-
ter 6, Input Effects, for more information.
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BASIC OPERATIONS
USING THE PREVIEW SCREEN
35
USING THE PREVIEW SCREEN
The Preview Screen is your control center for the MX-4 DV operations. This section describes
individual items on the Preview screen. The Preview screen appears on the monitor attached to the
MX-4 DV PREVIEW OUT jack.
PREVIEW MONITOR AND STANDARD PREVIEW SCREEN
Color
Selector
Active Source Highlights
Input Source Previews
Select
Transition
n
Transition
Number
Transitions Menu
The MX-4 DV always processes the output at the highest possible quality. The Input Source
Previews, however, appear in reduced quality because the MX-4 DV must reduce the images to fit
the smaller window. What you see on the Preview screen is not indicative of what gets recorded or
displayed on the output.
Changing the Display Configuration
Press the DISPLAY button to repeatedly cycle through five different configurations for the Preview
screen, or use the shortcut key indicated for each:
•
•
•
Standard — (SHIFT+1) Shows preview images for all four input sources and up to 30 different
transition options (as shown above).
Two Channel — (SHIFT+2) Shows only enlarged CURRENT and NEXT input source Pre-
views and two rows of the Transitions menu.
Full – (SHIFT+3) Displays only the input source Preview windows, each in a larger size. Tran-
sitions menu not displayed.
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MX-4 DV USER GUIDE
CHAPTER 4
36
•
•
Next — (SHIFT+4) Displays full-screen image of the NEXT input source. Transitions menu
not displayed.
Current — (SHIFT+5) Displays full-screen image of the CURRENT input source. Transitions
menu not displayed.
Refer to “Display” beginning on page 69 for more information. Unless stated otherwise, this guide
assumes you are using the Standard preview.
Input Source Previews
A small, preview image from each input source appears in a separate window. Use the previews to
direct the action, position cameras, find a particular sequence on a video tape, and so forth. Input
effects can be viewed in the preview thumbnail images.
Active Source Highlights
You can have up to four input sources. The MX-4 DV labels the sources A, B, C, and D. (There is
also a fifth, built-in source — the mixer’s own background color generator.) All transitions start
with one source, called the CURRENT source, and end with another, called the NEXT source.
Colored highlights help identify one video source from another. Yellow highlights the CURRENT
video source (above the preview image), and green highlights the NEXT video source (below it).
The speaker icon (rather than a colored highlight) indicates the CURRENT and NEXT
audio selections.
The headpins icon identifies the channel to which the headphone output is currently
directed.
In addition to the highlights described above, indicator lights between the CUT and NEXT
buttons indicate the currently selected video sources.
A steady light identifies
the CURRENT video
source. A blinking light
identifies the NEXT video
source.
Brief descriptions of the Transitions Menu, Highlights, and Indicators follow. For more detailed
information, refer to Chapter 5, Transitions.
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BASIC OPERATIONS
COLOR SELECTOR
37
Color Selector
The Color Selector shows current choices for background color, border color, and border style. The
selector shows the actual colors, and the numeric values associated with each. This example shows
a background color 5, border color 7, and border style 5.
Background
Color
If you turn off the border (that is, set the
border style to zero), the border color
swatch and number do not appear in the
Border
Style
Color Selector. However, the border style
number (which is 0) is shown.
Border
Color
You can cycle through all available colors for each component using the BG COLOR, BORDER
COLOR, and BORDER STYLE buttons. Refer to “Working with Colors” beginning on page 41.
Transitions Menu
The Transitions menu shows up to 30 transitions at a time. The MX-4 DV groups the 700+ avail-
able transitions into categories.
To access any transition category, press the appropriate transition category button.
Refer to “Transition Categories and Menus” beginning on page 50 and Appendix A, Transitions
List, for detailed information.
Use the ARROW keys to navigate through the transitions in the current menu. If a category contains
more transitions than can appear in the Transitions menu at one time, continue pressing DOWN
ARROW or UP ARROW to scroll the other transitions into the menu. When the transition you want
appears in the Transitions menu, use the ARROW keys to select (or, highlight) it.
Selected Transition
When you select a transition in the menu, the MX-4 DV highlights it in blue. It also shows the cur-
rent speed and direction for the transition. In this example, speed is 5 and the direction is forward
(as indicated by the arrow).
You can change the speed at which a transition runs, and you can also change the direction in
which it runs. Refer to “Adjusting Transitions” beginning on page 56.
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MX-4 DV USER GUIDE
CHAPTER 4
38
Using CURRENT and NEXT Sources
The concept of CURRENT and NEXT sources is fundamental to MX-4 DV operations. As you go
about creating productions, you always have a CURRENT and NEXT source.
Example…
Suppose you want to create a sequence of transitions from Kong’s thoughtful gaze to footage of
a fighter plane contemplating take off and, finally, a shot of Stonehenge for a mystic closing.
CURRENT
NEXT
Source A
Source B
Source C
To identify the CURRENT and NEXT sources:
1
2
3
Begin with the footage of Kong. Press CUT/A to make this (Source A) the CURRENT source.
Press NEXT/B to make the fighter plane (Source B) the NEXT source.
Select a transition to use when switching from the CURRENT to NEXT source, such as a
right-to-left wipe.
Use the ARROW keys to highlight the transition in the Transitions Menu. Refer to “Selecting
Transitions” beginning on page 54 for additional methods of selecting transitions.
4
Roll the CURRENT source to the spot where the transition should run, then press PLAY.
Immediately upon completion of the transition, the MX-4 DV makes the CURRENT source
(Kong) the NEXT source, and makes the NEXT source (the fighter plane) the CURRENT
source.
TIP
You can use this automatic swapping of CURRENT to NEXT and vice versa to your advantage.
When you want to cut back and forth between only two sources, the automatic swapping always
selects the next source for you.
For this procedure, however, you need to make Stonehenge the NEXT source so that when
transitioning out of the fighter plane, Stonehenge comes on screen.
5
Press NEXT/C to select Stonehenge as the NEXT input source.
CURRENT
NEXT
Source B
Source C
Source A
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BASIC OPERATIONS
SELECTING SOURCES
39
6
7
Select a transition to use this time to switch from CURRENT to NEXT source, such as a slow
dissolve. The CURRENT source (the fighter plane) continues running, and continues to appear
on the output device.
To transition to Stonehenge, hold down the SHIFT button and move the T-BAR to the bottom of
its slot, release the SHIFT key, then swing the T-BAR upwards at whatever speed you want the
dissolve to happen.
The T-BAR and the PLAY button run the same transition, except that the T-BAR lets you manu-
ally control the speed at which the transition runs.
SELECTING SOURCES
Now that you understand the distinction between the CURRENT and NEXT source, you need to
know how to select sources for each. Use the CUT and NEXT buttons on the MX-4 DV keyboard to
select sources.
Use to change the CURRENT source
Use to select NEXT source
Use the CUT buttons to select the CURRENT source. The four buttons labeled A, B, C, and D corre-
spond directly to the Input Source Previews on the Preview Screen (refer to page 36) and to the
MX-4 DV’s four channels. Use the BACKGROUND button to select a solid color background rather
than an image coming from a source device (refer to “Using Color Backgrounds” on page 42).
When you press any CUT button, the output video cuts to the new source and the indicator light
below the CUT button glows steadily.
After selecting the CURRENT source, use the NEXT buttons to select the NEXT source. The but-
tons are labeled the same as the CUT buttons. When you press any NEXT button, the indicator light
above that button flashes.
USING THE VIDEO/AUDIO SELECTOR
The VIDEO/AUDIO selector controls which parts of the input signal get used from any given source.
You can set the VIDEO/AUDIO selector to any of three positions — VIDEO only, AUDIO only, or
both. Press the button as required to turn on the Video, Audio, or both lights.
VIDEO – Video changes, audio does not. Video light only is illuminated.
AUDIO – Audio changes, video does not. Audio light only is illuminated.
BOTH – Audio and Video both change. Both the video and audio lights are illuminated.
Many sources (such as pre-recorded video tapes) carry both video and audio signals. Other input
sources (such as a compact disc player) carry only audio signals, and some sources carry only
video signals.
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MX-4 DV USER GUIDE
CHAPTER 4
40
Example…
You are producing a documentary on hot air ballooning. You want to over-dub the video
footage of hot air balloons with a narrative audio track. Using the VIDEO/AUDIO selector you
can process only the video from the VCR and combine it with the audio from an audio tape
containing the voice-over material.
To do this type of mixing:
1
2
3
4
5
6
7
8
9
Connect the VCR to one of the MX-4 DV inputs on the rear panel, such as set number one.
Connect the audio tape deck to a different set of inputs, such as set number two.
Press CUT/A to select the VCR input.
Press the VIDEO/AUDIO selector until only the VIDEO light is on
Press CUT/B to select the audio deck input.
Press the VIDEO/AUDIO selector until only the AUDIO light is on.
Press CUT/A to make it the CURRENT source, then press NEXT/B to make it the NEXT source.
Start both input devices rolling.
Press PLAY to begin outputting the program.
NOTE
To designate any part of a signal with the video/audio selector, an input device must be set up
accordingly. For example, to process only the audio signal from a video tape in a VCR, the VCR’s
audio output must be connected to the MX-4 DV’s audio input jacks. Refer to Chapter 3, Installing
the MX-4 DV and also refer to “Route” on page 73.
SWAPPING SOURCES
This section discusses common ways to switch between source devices.
Simple Cuts
To switch to a specific source, press the CUT button for that source. The CUT buttons cause the
switch to occur almost immediately. For example, press CUT/A to immediately switch to that input.
You don’t need to press PLAY or use the T-BAR when you use the CUT buttons.
To immediately switch to a colored background, press CUT/BACKGROUND. The MX-4 DV displays
the currently selected background color on the output. Set the background color to the color you
want before pressing CUT/BACKGROUND. Refer to “Working with Colors” beginning on page 41
for further instructions.
Swapping Between Two Sources
To switch back and forth between two sources, use the PLAY button to automatically switch
between the two.
TIP
When using this back-and-forth switching process, you might find it helpful to use the TWO
CHANNEL mode (SHIFT+2) for the Preview screen. Refer to “Display” beginning on page 69.
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BASIC OPERATIONS
WORKING WITH COLORS
41
To switch sources using this method:
1
2
3
Press the CUT button for the source with which you want to begin — for example, press CUT/A.
Press the NEXT button for the other source — for example, press NEXT/B.
Use the ARROW keys to highlight and select a transition, or enter the transition number on the
numeric keypad. Press OK.
When you need a very quick switch between sources — such as when doing a live broadcast of
two individuals debating — use the Cut transition (zero).
4
5
Roll the input sources.
To run the transition, press PLAY. At this point, the MX-4 DV switches the sources — source
A becomes the NEXT source, and source B becomes the CURRENT source.
6
To switch between sources A and B, press PLAY again.
Working with Colors
Common uses for color include solid colored backgrounds and colored borders around objects. So,
you need to know how to choose colors and identify those you’ve chosen.
The MX-4 DV gives each color a unique number ranging from 0 (zero) to 9. The following table
defines these colors and their code numbers.
Table 2: Default Colors and Numbers
CODE
COLOR
CODE
COLOR
a
0
5
Green
Black
1
2
3
4
White
Gray
6
7
8
9
Bright Blue
Light Blue
Red
Purple
Yellow
Medium Blue-Green
a. You cannot modify Black (color code 0).
The maximum number of colors in the MX-4 DV palette is ten. You can change nine of the ten col-
ors. You cannot change color 0 (black).
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MX-4 DV USER GUIDE
CHAPTER 4
42
Identifying Colors
Background Color
The Color Selector appears in the upper-right corner of the
Preview screen. It indicates colors selected for the back-
ground and borders as well as border style.
Border Style
Border Color
The inner-most rectangle shows a sample of color assigned
to the background as well as the color number. The border
around the rectangle shows both the current border style
and color and their associated color and style codes.
Using Color Backgrounds
Colored backgrounds have many uses. For example, to dissolve to a solid black background when
transitioning out of the CURRENT source, hold the black for a moment or two, then dissolve from
the black background into the NEXT source.
TIP
Use the solid color background to lay down ten seconds of black at the beginning of your video.
Transition into and out of solid colored backgrounds basically the same way as transitioning
between sources. The difference is that you must select the background color you want to use
before running the transition.
To make the selection:
1
2
Press BG COLOR until the color you want appears in the Color Selector.
To immediately cut to the colored background, press CUT/BACKGROUND.
To transition into the colored background, press NEXT/BACKGROUND, then press PLAY or use
the T-BAR to switch to the colored background.
Changing Colors and Styles
Use the BG COLOR, BORDER COLOR, and BORDER STYLE buttons to change colors and styles. In
each case, press the button repeatedly to cycle through all of the available options for that particu-
lar setting.
The following sections
describe the BG
COLOR, BORDER
COLOR, and BORDER
STYLE buttons.
If you already know the color number of the color you want to assign:
1
2
Press and hold either BG COLOR or BORDER COLOR, depending on which you want to change.
Enter the color number on the numeric keypad. For example, press and hold BG COLOR, then
press 6 to specify bright blue.
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BASIC OPERATIONS
CREATING CUSTOM COLORS
43
Creating Custom Colors
You can change any color other than color 0 (black) (refer to Table 2 on page 41) to create custom
colors. You cannot add more colors, but you can change the existing ones. Once you create a cus-
tom color, it stays permanently in the MX-4 DV unit until and unless you change it again.
BG COLOR and BORDER COLOR share the color palette. Therefore, changing any color affects both
the background and border colors.
To create a custom color:
1
Press BG COLOR or BORDER COLOR until the color you want to change appears in the Color
Selector.
2
Press LEARN+BG COLOR or LEARN+BORDER COLOR (depending on which one you want to
change).
These key combinations activate Learn Color mode. The MX-4 DV blinks the VIDEO/AUDIO
selector lights to indicate you are in the proper mode.
3
Use the JOYSTICK and T-BAR in combination to define the new color.
a
b
c
d
Move the T-BAR up and down its slot to adjust luminance.
You can use the SHIFT+ARROW KEYS for fine adjustment to luminance.
Move the JOYSTICK relative to its color ring to adjust chrominance (or color value).
You can use the arrow keys for fine adjustments to chrominance.
4
When the color you want appears in the Color Selector, press OK. You exit from Learn Color
mode and the VIDEO/AUDIO lights cease blinking.
If you decide you don’t want to change the color after manipulating the JOYSTICK and T-BAR,
press SHIFT+0 (zero) to revert back to the original color. The MX-4 DV restores the original
color and exits from Learn Color mode (the VIDEO/AUDIO lights cease blinking).
USING BORDERS
Borders have many uses, such as providing a distinct separation between two sources while run-
ning a transition.
Wipe Transition
No Border
Wipe Transition
White Border
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MX-4 DV USER GUIDE
CHAPTER 4
44
You can also use borders to frame images in a picture-in-picture (PIP) image, and so forth. What-
ever purpose you use a border for, you can specify the color and style for the border.
To specify border color:
•
Repeatedly press BORDER COLOR to cycle through the available colors. The Color Selector
shows the current color.
Press BORDER STYLE+0 (zero) to immediately turn off the border.
To specify border style:
•
Repeatedly press BORDER STYLE to cycle through the available styles. The Border Style indi-
cator in the Color Selector increments by one each time you press the button. You can specify
ten different styles (0 through 9).
Table 3: Border Styles (Defaults)
NO.
RESULT
NOTES
0
Border and Edges Off
Soft Edge Border
1-3
Use LEARN+UP/DOWN ARROW keys to soften and harden bor-
der edges.
4-6
7-9
Colored Border
LEARN+RIGHT/LEFT ARROW keys adjust border width.
LEARN+UP/DOWN ARROW keys soften the border.
Drop Shadow Border
LEARN+ARROW keys reposition drop shadow.
Changing Border Styles
This section explains how to specify different edges, color borders, and drop shadows to use in
conjunction with border styles.
To change a border style setting
1
While the Preview screen is displayed, enter BORDER STYLE+# — where # can range from 1
to 9 (inclusive) and is the number of the border style you want to change, as shown in the pre-
ceding table.
2
Select the shape or edge to which you want to add a border or shadow by selecting an appro-
priate transition.
TIP
Try using transitions 300-305 for edges and 554-562 for shapes.
3
4
Move the T-BAR to its mid point.
Press LEARN+BORDER STYLE to cycle between soft edge, color border or drop shadow.
TIP
Make note of the border style number you are changing for future reference.
You can also use PIP to select and modify border styles for shapes.
5
6
Use LEARN+ARROW KEYS (as indicated in Table 4, “Keys for Changing Border Attributes,”
on page 45, below) to specify what you want to change – width, softness, or position.
Return the T-BAR to its full up or full down position.
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BASIC OPERATIONS
CHANGING BORDER STYLES
45
The MX-4 DV automatically stores the border style so that it is available until and unless you
change it again.
Table 4: Keys for Changing Border Attributes
FUNCTION
KEY COMBINATION
Toggle through Soft Edges, Color Border,
and Drop Shadow
LEARN+BORDER STYLE
Soft Edges
Increase Softness
LEARN+UP ARROW
Decrease Softness
LEARN+DOWN ARROW
Color Border
Increase border thickness
Decrease border thickness
Increase border softness
Decrease border softness
LEARN+RIGHT ARROW
LEARN+LEFT ARROW
LEARN+UP ARROW
LEARN+DOWN ARROW
a
Drop Shadow
Move shadow right
Move shadow left
Move shadow up
Move shadow down
LEARN+RIGHT ARROW
LEARN+LEFT ARROW
LEARN+UP ARROW
LEARN+DOWN ARROW
a. Drop Shadows created for edges do not translate well to shapes, and vice-versa. Therefore, you should
specify one set of drop shadow styles for shapes and another for edges.
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NOTES
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CHAPTER 5
TRANSITIONS
The MX-4 DV contains over 700 transitions from which you can choose. Furthermore, you
can manually control any transition to change the way it works, thereby creating your own
versions of the supplied set.
Transitions artistically switch from one scene to the next in a production. The MX-4 DV
transitions range from simple cuts, dissolves, and wipes to sophisticated zooms, fly-ins, and
flips. You can change the speed (either manually or automatically) at which transitions run,
and run them in reverse. Combine these features for many different variations.
In this chapter you’ll learn about:
•
•
•
•
•
•
Basic transition concepts – what is a transition and how to use it
Transition Categories and Menus
Selecting Sources to use during Transitions
Selecting Transitions
Adjusting Transitions
Running Transitions
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MX-4 DV USER GUIDE
CHAPTER 5
48
BASIC TRANSITION CONCEPTS
Transitions create on-screen effects used when switching from one source to another (that is, one
scene to another). The most basic type of transition is the cut, where the first frame from the NEXT
source immediately replaces the last frame from the CURRENT source. Cuts produce abrupt
changes. Other types of transitions use special effects to produce a smoother, more artistic change
from one source to the next. The following illustration shows a horizontal wipe transition.
Transition
in Progress
CURRENT
NEXT
a
b
NOTE
When discussing transitions, we use the letters a and b to differentiate the beginning scene (a) from
the ending scene (b). These letters often appear in the transition icons to indicate the direction in
which the transition travels. These letter indicators have no relationship to the A, B, C, and D
letters used to differentiate between the MX-4 DV channels.
The following basic steps explain how to run a transition with the MX-4 DV. Each step is
described in more detail later in this chapter.
To run a transition:
1
Display the CURRENT source on the output screen. For example, press CUT/A to make A the
current source.
2
Select the NEXT source — the one you want to appear on the output following the transition.
For example, press NEXT/B to make that the next source.
Highlights above and below the source previews
indicate CURRENT and NEXT sources, respectively.
3
Select a transition to use. For example, press the BASIC Transition Category button, then select
a wipe transition from the menu.
4
5
Prepare the sources (such as VCRs and camcorders) and let them roll.
At the right moment, use either the T-BAR or the PLAY button to run the transition.
As you can see, you first set up the transition, then execute it. Nothing happens until you use the
T-BAR or PLAY button to run the transition. So, you set everything up, then run the transition at the
precise moment you want it to occur. As soon as one transition finishes, immediately set up the
next one so that all you have to do is press PLAY or use the T-BAR to proceed.
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TRANSITIONS
BASIC TRANSITION CONCEPTS
49
You can select the CURRENT source, the NEXT source, and the transition in any order, and
change them as many times as necessary before actually running the transition.
At the completion of the transition, the CURRENT and NEXT sources swap places — that is,
CURRENT becomes NEXT, and NEXT becomes CURRENT.
At this point, you can do one of the following:
•
Leave the CURRENT and NEXT sources as they are and switch back and forth between them;
or,
•
Select a new NEXT source and, optionally, a new transition, then repeat the process.
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MX-4 DV USER GUIDE
CHAPTER 5
50
TRANSITION CATEGORIES AND MENUS
To help manage the 700+ transitions, the MX-4 DV separates them into five logical categories —
User, Basic, Edges, Shapes, and Misc. Use the Transition Category buttons to access the different
categories.
Transition Category Buttons
When you press a Transition Category button, MX-4 DV displays the transitions available in that
category in the Transitions Menu. The content of the menu differs depending on which category
you select. However, the menus have a common structure and always appear in the same place.
The content of the Transitions Menu differs depending on the Category selected.
Transitions
Menu
NOTE
The Transitions Menu does not appear when you work with the Full, Current, or Next Preview
screen. Refer to “Display” beginning on page 69 for more information.
Use the ARROW keys to navigate the Transitions Menu. If the category contains more transitions
than can appear in the menu at one time, use the UP and DOWN ARROW keys to scroll through
them. You can scroll through only those transitions in the current category.
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TRANSITIONS
BASIC TRANSITIONS CATEGORY
51
The MX-4 DV color codes the transition icons in the menu:
Basic
Edges
Misc.
Shapes
White
Blue
Yellow
Red
Basic Transitions Category
This category includes common transitions, such as wipes and dissolves. The transitions in this cat-
egory are color coded white. Refer to page 136 for samples.
MXProDV If you are upgrading to the MX-4 DV from the Videonics MXProDV Video Mixer, the transitions
Compatibility in the basic category are the same as the MXProDV except for 60 new transitions.
The MX-4 DV provides a set of hot keys that directly correspond to the MX-4 DV buttons. Using
the hot keys (in the following table) causes the MX-4 DV Preview screen cursor to appear at the
beginning of each section within the basic category.
Table 5: MX-4 DV Compatibility Hot Keys
FUNCTION
MX-4 HOT KEY
Fades and Dissolves
Wipes
SHIFT+BASIC
SHIFT+EDGES
SHIFT+MISC.
SHIFT+SHAPES
Zooms
Flips
Edges Transitions Category
These transitions move a curved or jagged edge across the screen when transitioning to a different
picture source. Transitions in this category are color coded blue. Refer to page 144 for samples.
Misc. Transitions Category
The transitions in this category move cutout and compression images across the screen as a change
occurs. The cutout images and compression images go away once the transition finishes. Transi-
tions in this category are color coded yellow. Refer to page 145 for samples.
Shapes Transitions Category
These transitions occur as a wipe in the shape of a geometric object, such as a heart, a five-pointed
star, and so forth. Transitions are color coded red. Refer to page 146.
User Transitions Category
It’s unlikely you’ll use all of the available transitions — but it is likely that you’ll have a limited set
you use most of the time. With this in mind, the MX-4 DV makes it easy for you to access your
favorite transitions by creating your own personal menu — the User menu. The MX-4 DV comes
with a default set, but you can change them to tailor the User menu to your preferences and needs.
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MX-4 DV USER GUIDE
CHAPTER 5
52
TIP
During production planning, determine which transitions you want to use, then set up the User
category to contain those transitions. This gives you quick, immediate access to the transitions
without having to search through the other categories. See the following section (“Changing User
Transitions Menu”) to learn how to tailor the menu to your preferences.
CHANGING USER TRANSITIONS MENU
The first time you power up the MX-4 DV and press the USER Transitions Category button, the
default transitions appear in the menu. The default set contains a variety of transitions from the
other four categories, as defined by FOCUS Enhancements at the factory. If you are satisfied with
the default set, there is no need to change them.
The USER category does not contain distinct transitions – that is, all transitions in the USER
category actually exist in other categories (basic, edges, shapes, and misc.). Think of the USER
category as a collection of references to other transitions.
You can change as many transitions in the USER menu as you want.
To change a transition in the User menu:
1
Decide which transition you want to add to the USER category. Refer to Appendix A, Transi-
tions List, for a list of valid numbers and their associated transitions.
2
If necessary, press DISPLAY to set the Preview screen to Standard or Two Channel mode.
In the other Preview modes (Full, Current, or Next), the MX-4 DV does not display the Transi-
tions Menu. Refer to “Display” beginning on page 73.
3
4
5
Press the USER Transition Category button to display the menu on the Preview screen.
Use the ARROW keys to highlight the transition you want to replace in the USER category.
Enter the number of the transition you selected in step 1, above. You can enter the number of
any transition from any category.
6
Press OK.
Restoring Default You can easily restore the default set of transitions in the User category. NOTE: By pressing #+OK
User Transitions you can also set a transition in the User menu.
To restore the default set of transition to the User menu:
1
If necessary, press the USER Transition Category button to display that menu on the Preview
screen.
2
Enter SHIFT+0 (zero). This restores the default set of transitions for this category.
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TRANSITIONS
SELECTING TRANSITION SOURCES
53
SELECTING TRANSITION SOURCES
An important step in setting up a transition is to identify the CURRENT and NEXT sources. Use
CUT and NEXT to choose the two sources. The MX-4 DV provides feedback in a couple of dif-
ferent ways to confirm your choices.
Selecting Sources and Getting Feedback
The lights between the rows of
CUT and NEXT buttons act as
indicators. A steady light identifies
the CURRENT source (A) – a
flashing light identifies the NEXT
source (C).
Yellow highlights the CURRENT source (A)
Green highlights the NEXT source (C)
The MX-4 DV identifies the CURRENT source by a yellow highlight on the Preview screen and a
steady light beneath the corresponding CUT button. It identifies the NEXT source by a green
highlight on the Preview screen and a flashing light above the corresponding NEXT button.
If you make CURRENT and NEXT the same source, the source light (between the two rows of
buttons) flashes as though it were just the NEXT source.
Setting the CURRENT Source
In many cases you don’t need to select the CURRENT source because the ending source from the
previous transition automatically becomes the new CURRENT source (refer to the diagram on
page 49). However, if you want to change the CURRENT source, press the corresponding cut but-
ton. For example, pressing CUT/D makes D the CURRENT source, and the Program monitor
immediately displays D’s signal.
Setting the NEXT Source
To specify the NEXT source, press the corresponding NEXT button. For example, to make D the
next source, press NEXT/D.
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MX-4 DV USER GUIDE
CHAPTER 5
54
SELECTING TRANSITIONS
To select a transition to use between the CURRENT and NEXT sources, do one of the following:
•
•
Use the ARROW keys to select from the Transitions Menu on the Preview screen; or,
Enter the transition’s assigned number on the MX-4 DV numeric keypad, then press OK.
Use ARROW keys to select a
transition from the Transition
Menu on the Preview
Screen…
or
…
…enter the transition number
Preview
Screen
on the keypad…
then press OK.
Numeric
Keypad
NOTE
When selecting from the user category, you must always use the arrow keys to select a transition
from the Transition Menu on the Preview screen. Entering a transition number and pressing ok
replaces the current transition with the one you select.
Using the Transitions Menu
The Transitions menu appears just below the preview images on the Preview screen when you set
the Preview to Standard or Two Channel mode (refer to “Display” beginning on page 69 for more
information about Preview modes).
Blue highlights the selected transition
Each icon in the
menu represents
one transition.
To select a transition from the Transitions Menu:
1
If necessary, press the appropriate Transition Category button to display the set of transitions
containing the one you want.
2
Use the ARROW keys to highlight the transition you want to use.
Blue highlights the currently selected transition. Use the LEFT and RIGHT ARROWS to move
the highlight horizontally. Use the UP and DOWN ARROWS to move the highlight vertically.
When you reach the bottom row of icons in the current menu, press DOWN arrow to display
additional transitions in the category, if present.
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TRANSITIONS
USING TRANSITION NUMBERS
55
Using Transition Numbers
Every transition has a number assigned for reference and identification. The number appears in the
Transitions Menu just below each transition icon.
The transition number…
in this example, number 14
To select a transition using transition numbers:
1
2
Enter the transition number on the keyboard.
Press OK.
To immediately play back the transition, press PLAY rather than OK.
Refer to Appendix A, Transitions List, for a complete listing of transitions and their assigned num-
bers.
If you make a mistake entering a number, press OK, enter the number correctly, then press OK
again.
NOTE
When you highlight a transition in a Transitions menu, the highlighting obscures the transition
number. The number below the transition icon represents the speed at which the transition plays.
The following section, “Adjusting Transitions” discusses this.
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MX-4 DV USER GUIDE
CHAPTER 5
56
ADJUSTING TRANSITIONS
Every transition runs at a pre-set speed and direction. Symbols appear below the transition icon in
the Transitions Menu indicating the current speed and direction.
Transition Icon
Transition Direction
Transition Speed
Use the SPEED and REVERSE buttons to change the speed and/or direction of a transition.
Transition Direction
Transition Speed
NOTE
When you change a transition’s speed and/or direction, the change applies to all other transitions
until you specifically change it. For example, if you set the speed of the current transition to 4, all
subsequent transitions run at this same speed until you again change the speed factor. This also
applies to transition direction.
Changing Transition Speed
Transition speed values can range from 0 (slowest) to 9 (fastest).
To change the transition’s speed:
•
Press SPEED. Each press increases the speed by one unit. Press SHIFT+SPEED to decrease the
speed by one unit.
The MX-4 DV changes the Transition Speed indicator below the transition icon to the currently
selected value. You can change the speed any time either prior to running the transition, or while it
runs (which allows you to make adjustments “on the fly.”)
TIP
To directly set the speed to a specific value, press and hold the SPEED button while entering a value
from 0 to 9 on the numeric keypad.
Changing Transition Direction
Transitions can run in two directions — forward and reverse. If you use the PLAY button, transi-
tions run, by default, in the forward direction. If you use the T-BAR, moving it up runs the transition
forward; moving it down runs it in reverse. For example, a simple wipe transition might move a
vertical border across the screen from right-to-left or left-to-right, replacing scene a with scene b.
Example…
Suppose you’re producing a video showing renovations to a building. Occasionally you want
to go back and show how the building looked originally. When going back in time, use a wipe
transition that moves from left-to-right. When going forward in time (to show the new
modifications), reverse the wipe so that it moves from right-to-left.
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TRANSITIONS
CHANGING TRANSITION DIRECTION
57
To reverse a transition:
•
Press REVERSE.
Remember, all transitions run in reverse until you press REVERSE again. Reverse has no effect
on a simple Cut or Dissolve transition because reversing those transitions produces no visible
result.
MX-4 DV changes the Transition Direction indicator below the transition icon to the currently
selected direction. When the arrow points right, the transition runs in its normal direction. When
the arrow points left, the transition runs in reverse.
Forward
Reverse
The Reverse function does not change the relationship between the sources. For example, a vertical
wipe from source A to B moves from the top of the screen to the bottom, replacing source A with
B. If you apply the Reverse function, source B still replaces A, but the transition wipes from the
bottom of the screen to the top.
NOTE
Mosaic, dissolve, and misc. transitions work in only one direction at all times, including when you
press FREEZE before running the transition.
You cannot run Misc.-type transitions in a reverse direction. If you select a Misc.-type transition,
then move the T-BAR from its up position to the down position, the MX-4 DV performs a simple
dissolve (transition 160).
Using Auto-Reverse automatically reverses the direction of transitions each time they run. In the previous
Auto-Reverse building renovation example, you press REVERSE at the conclusion of each transition to alternate
between left-to-right and right-to-left wipes. When you use Auto-Reverse, the MX-4 DV handles
switching automatically. For example, if the transition is set to run from left-to-right, it automati-
cally alternates between left-to-right and right-to-left each time it runs.
To invoke the Auto-Reverse feature:
•
Enter SHIFT+REVERSE.
With Auto-Reverse activated, the MX-4 DV displays a distinct arrow below the transition’s icon in
the Transitions Menu. To manually reverse the current direction even with Auto-Reverse activated,
press REVERSE at any time.
Auto-Reverse Forward
Auto-Reverse Backward
Auto-Reverse remains active until you press SHIFT+REVERSE again to go back to one-way transi-
tions. Auto-Reverse has no effect on dissolve and Misc. transitions.
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MX-4 DV USER GUIDE
CHAPTER 5
58
RUNNING TRANSITIONS
After selecting the CURRENT and NEXT sources and the transition to use, you can run the transi-
tion either automatically or manually.
•
•
Use PLAY to run transitions automatically, when you want them to run smoothly and always
the same way.
Use the T-BAR to run transitions manually, when you want fine control over the way it runs.
For example, you can make the transition speed up, slow down, or even reverse itself at any
point.
NOTE
If you apply the strobe effect to a source, the MX-4 DV automatically turns it off while the
transition runs (refer to “Strobe” on page 69).
Running a Misc.-type transition to either the Background channel or a channel with no video source
executes a simple dissolve (transition 160).
Running Transitions Automatically
To run a transition automatically at a predetermined speed:
Press PLAY.
•
You can pause an automatic transition by pressing PLAY again. Each time you press the button, the
transition alternately stops and starts until you finally allow it to finish. Although the transition
pauses, the video continues to play.
Running Transitions Manually
Use the T-BAR to manually control transitions. You can change a transition’s speed and reverse its
direction.
Operating the The T-BAR operates as follows:
T-BAR
•
•
•
Moving the T-BAR from the DOWN to UP position runs the transition forward.
Moving the T-BAR from the UP to DOWN position runs the transition in reverse.
Holding down the SHIFT button while moving the T-BAR disables T-BAR operation. Use this
method to reposition the T-BAR without running a transition or effect.
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CHAPTER 6
INPUT EFFECTS
This chapter describes MX-4 DV Input Effects, that are available in the following button
group on the MX-4 DV keyboard.
Use Input Effects in the following ways:
•
•
•
•
•
•
Apply input effects to any source.
Combine many different input effects to create entirely new effects.
Apply input effects to some, none, or all sources, in any combination.
With miscellaneous transitions.
With multi-PIPs.
In compose mode.
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MX-4 DV USER GUIDE
CHAPTER 6
60
INPUT EFFECTS MENU
Press any input effects button to display the Input Effects Menu — or, press the EFFECTS button.
POSTERIZE
B&W
NEGATIVE
FLIP
HORIZONTAL
MOSAIC
MX-4 DV updates the
preview images to show
Input Effects.
B&W
COLOR
CORRECT
VIDEO
ADJUSTMENT
FLIP
VERTICAL
COLOR
NEGATIVE
STROBE
When you press one of the input effects buttons (such as POSTERIZE), the MX-4 DV automatically
selects that effect in the menu. When you press the INPUT EFFECTS button, the MX-4 DV selects
the first item in the menu — B&W.
NOTE
The menu does not contain an icon or settings for the chromakey option. When you press the
CHROMAKEY button, the MX-4 DV takes you directly to the chromakey screen. Refer to Chapter
10, Chromakey, for details.
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INPUT EFFECTS
SPECIAL KEY COMBINATIONS
61
Special Key Combinations
Use the following key combinations while working with the Input Effects menu.
Table 6: Input Effects Mode Key Combinations
KEY COMBINATION
RESULT
Moves cursor (or, highlight) between the different Input Effects.
Directly sets the parameter value for the highlighted effect.
Exits from Input Effects mode.
ARROW keys
Numeric Keypad
EFFECTS or OK
EFFECTS buttons
Moves the cursor directly to that effect – for example, press POS-
TERIZE to highlight that effect: press MOSAIC to highlight that
effect: and so on.
If the selected effect matches the currently highlighted one on the
Input Effects menu, pressing the EFFECTS button increments the
effect’s parameter value by one.
Resets all effects to 0 (off) for the selected channel.
SHIFT+0 (zero)
When you are not working at the Input Effects menu, use the following key combinations.
Table 7: Main Mode Input Effects Key Combinations
KEY COMBINATION
RESULT
Increments the parameter value by one for the selected effect and
applies it to the CURRENT source.
SHIFT+EFFECTS button
Temporarily disables and re-enables Input Effects from being
sent to Program out. Refer to the following paragraph.
SHIFT+EFFECTS
When the Effects LED light is lit, Input Effects are enabled. The MX-4 DV applies the effects
according to the parameter values for each effect.
When you use the SHIFT+EFFECTS key combination to disable Input Effects, the MX-4 DV turns
off the LED light. It does not change any effects parameter values, but it does prevent the current
Input Effects from being used. Press SHIFT+EFFECTS again to enable them.
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MX-4 DV USER GUIDE
CHAPTER 6
62
USING INPUT EFFECTS
To apply a parameter value:
1
2
Press EFFECTS or one of the input effects buttons to display the Input Effects menu.
If you haven’t already done so, use the ARROW keys or EFFECTS button to select the desired
Please select a
channel source before
choosing an Input
Effect.MX-4 DV.
Input Effect to which you want to apply parameter values.
3
4
Set the parameter value to 0 (zero) to turn it OFF, or to 1 to turn it ON.
Use one of the NEXT buttons to select the source to which you want to apply the effect. For
example, press NEXT/B to apply the effect to channel B.
5
Type the parameter value on the MX-4 DV numeric keypad, or continue pressing the corre-
sponding effects key until the parameter value you want appears in the menu.
6
7
Press OK to exit from Input Effects mode.
You can also use the Input Effects Menu to access the Video Adjustment Menu for Brightness,
Contrast, Color Saturation, and Hue. Use one of the NEXT buttons to select the source to which
you want to apply the adjustments. Use the ARROW keys to select the Video Adjustment
option. Press OK to go to the Video Adjustment Menu. You can also press SHIFT+PLAY to go
straight to the Video Adjustment Menu from any other menu. To reset to the original factory
settings, press the SHIFT then OK button.
8
Inside the Video Adjustment menu, select the proper video adjustment (Brightness, Contrast,
Color Saturation, and Hue) with the LEFT/RIGHT ARROW keys. Once you have selected the
video adjustment, make the proper adjustments with the UP/DOWN ARROW keys or with the
T-BAR until you have achieved the desired effect. You can view all adjustments on the Preview
screen.
The MX-4 DV stores the most recent set of input effects. Therefore, when you turn the unit off,
then turn it back on again, the most recent selection of input effects is still active.
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INPUT EFFECTS
B&W
63
B&W
Changes the input picture to black and white. Removes all
color from the image.
Parameter Values — Zero or one.
0 = Off: 1 = On
B&W NEG
Reverses all black and white values in the image. If applied to
a color image, reverses all black and white values but does
not change any color values in the image.
Parameter Values — Zero or one.
0 = Off: 1 = On
TIP
To create a black and white negative effect, also turn on the B&W effect.
POSTERIZE
Reduces picture’s continuous tones to fewer levels. Creates a
“painted” look.
Parameter Values — Zero through nine. Zero turns off the
effect.
High values produce an extreme paint effect: low values cre-
ate a subtle effect.
FLIP HORIZONTAL
Flips picture left-to-right, creating a mirror image.
Parameter Values — Zero or one.
0 = Off: 1 = On
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MX-4 DV USER GUIDE
CHAPTER 6
64
MOSAIC
Divides picture into tiles.
Parameter Values — Zero through nine. Zero turns off the
effect.
Low values create numerous, small tiles. High values create
fewer, larger tiles. Highest values might make image difficult
to recognize.
COLOR CORRECT
Adjusts overall color values throughout the entire image.
You can set Color Correction values separately for each channel.
Parameter Values — Zero or one.
0 = Off: 1 = On
CAUTION
Apply color correction BEFORE going live or rolling tape. Because of the way the MX-4 DV
implements color correction, the program output might be affected temporarily.
To use Color Correct:
1
2
3
Press COLOR CORRECT to display the Input Effects menu, or press EFFECTS then use the
ARROW keys to highlight the Color Correct icon.
Press the NEXT button that corresponds to the source you want to correct. For example, to
apply color correction to channel C, press NEXT/C.
Turn on the Color Correct option. That is, either press 1 on the keyboard, or press COLOR
CORRECT so the parameter value equals 1.
The MX-4 DV replaces the Input Effects menu with a preview of the color corrected image.
4
5
Use the JOYSTICK to adjust the RGB (Red, Green, and Blue) values in the image.
Use the T-BAR to adjust the luminance of the image. You can do fine-grained adjustment with
the arrow keys (and shift arrow keys), just like in the Learn color mode.
6
When the image looks the way you want, press OK to exit from Input Effects mode.
COLOR NEG
Inverts all colors in the image.
Parameter Values — Zero or one.
0 = Off: 1 = On
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INPUT EFFECTS
VIDEO ADJUSTMENT
65
VIDEO ADJUSTMENT
Allows you to access the Brightness, Color Saturation, Contrast, and Hue adjustment
menu. Use the ARROW keys to select this option, then press OK. The MX-4 DV then
guides you to the video adjustment menu. Refer to “Using Input Effects” on page 62
for complete details.
Parameter Values — Zero or one.
0 = Off: 1 = +OK activates video adjustment menu.
CHROMAKEY
Chromakey replaces all occurrences of a
color in an image with a different image.
In this example, (1) the block of color in
the first image (the area behind Kong’s
head) gets replaced with the image of the
Golden Gate Bridge (2). The resulting
image (3) is Kong superimposed over the
bridge. Refer to Chapter 10, Chromakey,
for complete details.
1
2
3
FLIP VERTICAL
Flips picture top-to-bottom.
Parameter Values — Zero or one.
0 = Off: 1 = On
STROBE
Slows down the picture’s video frame rate. Motion appears halting, or jerky — like
that produced by a strobe light. The strobe effect stays on during a transition.
Parameter Values — Zero through nine. Zero turns off the effect.
Higher values increase the effect. Setting 1, for example, produces the look of film:
setting 2 makes video look like an old movie.
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NOTES
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CHAPTER 7
FUNCTIONS
This chapter describes the Function buttons, that give you access to the MX-4 DV’s built-in
functions. The function button group contains eight buttons, but gives you access to more
than eight functions.
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MX-4 DV USER GUIDE
CHAPTER 7
68
DEMO
Press SHIFT+DEMO/DISPLAY to run a demonstration of several MX-4 DV transitions and other
effects. Demo works in conjunction with the CURRENT and NEXT sources. (If you have one
source selected as CURRENT and NEXT, the demo works with that source only.) The demo shows
many of the effects you can produce with the MX-4 DV.
The demo runs automatically and, upon reaching the end, starts over from the beginning.
To run the demo:
1
Select the CURRENT and NEXT sources to use for input to the demo.
To use a single source (such as channel A), press CUT/A and NEXT/A. To use two different
sources (such as channels A and B), press CUT/A to make it the CURRENT source, then press
NEXT/B to make it the NEXT source.
2
3
Press SHIFT+DEMO/DISPLAY to start the demo running.
To exit from the demo, press any key.
TIP
If you see a transition you like while the demo runs, immediately press any key to stop the Demo.
When the Preview screen returns, the last transition run is highlighted in the Transitions Menu.
Make a note of the transition number, then add it to your custom User Transitions Menu. Refer to
“Changing User Transitions Menu” on page 52.
Running a Locked Demo
You can run the demo in locked mode, which prevents it being stopped by pressing any key on the
keyboard. This might be useful for running the demo in a kiosk, a trade show, or anyplace where
someone might interrupt it.
To run the demo in Locked mode:
1
Select the CURRENT and NEXT sources to use for input to the demo.
To use a single source (such as channel A), press CUT/A and NEXT/A. To use two different
sources (such as channels A and B), press CUT/A to make it the CURRENT source, then press
NEXT/B to make it the NEXT source.
2
3
Press LEARN+DEMO/DISPLAY to start the demo.
To exit from the locked demo, press LEARN+DEMO/DISPLAY again.
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FUNCTIONS
DISPLAY
69
DISPLAY
To control what appears on the Preview monitor, use the DISPLAY function. Press DEMO/DISPLAY
to cycle through the different display configurations. Refer to samples of these configurations on
the next page. The illustrations show the key combination you can use to directly access any
display configuration.
STANDARD – Provides most extensive display. Shows preview images of all active input
sources and a menu of up to 30 different transitions from which you can choose.
TWO CHANNEL – Displays preview images for the CURRENT and NEXT sources. Preview
images increase in size, but the Transitions Menu shows only 20 transitions.
FULL – Divides preview screen into four sections. Each section shows a preview image of the
currently active input sources. The Transitions Menu is not available.
NEXT – Displays only a full-screen preview image of the NEXT source.
CURRENT – Displays only a full-screen preview image of the CURRENT source.
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MX-4 DV USER GUIDE
CHAPTER 7
70
DISPLAY CONFIGURATIONS
Standard – SHIFT+1
Two Channel – SHIFT+2
Flashing whiteborder indicates
CURRENT source, unless that
source is the COLOR channel.
Full – SHIFT+3
Next – SHIFT+4
Current – SHIFT+5
For all examples on this page,
assume source A is CURRENT and
source B is NEXT. Input sources C
and D show up only when using
Standard or Full options.
Use the shortcut keys or press
DISPLAY to cycle through the
display options.
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FUNCTIONS
SETUP
71
SETUP
The Setup functions control various aspects of the way the MX-4 DV operates, including Force
Field Freeze, GPI Out Mode, Comb Filter, Dual Monitor Mode and 7.5 IRE Pedestal.
To access the Setup functions, press SETUP.
Force Field
Freeze
7.5 IRE
Pedestal
GPI Out Mode
Audio Mode
Dual Monitor Mode
Comb Filter
Table 8: Setup Menu Navigation Keys
TO DO THIS FUNCTION:
ENTER
NOTES
Select a menu option
Wraps through all options
LEFT or RIGHT ARROW
NUMBER keys
Enter specific option value
If value entered is not
valid, the MX-4 DV sets
to the nearest valid value.
Restore setup values to factory
defaults.
SHIFT+0
OK
Exit from Setup menu
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MX-4 DV USER GUIDE
CHAPTER 7
72
Force Field Freeze
The Force Field Freeze option lets you specify whether you want the MX-4 DV to perform a frame
or field freeze. This option works in conjunction with the Freeze feature (refer to “Freeze” on
page 79).
Frame Freeze produces best quality, but it might produce a jittering effect when trying to freeze
objects in motion. In such cases, use a Field Freeze.
Field Freeze – The MX-4 DV freezes only every other line of the image. This produces a fast
freeze, but image quality degrades somewhat. To use Field Freeze, set the Force Field Freeze
option to 1.
Frame Freeze – The MX-4 DV freezes every line in the image. The freeze takes slightly
longer, but the image quality matches the original because it uses all of the video signal. To use
Frame Freeze, set the Force Field Freeze option to 0 (zero).
GPI Out Mode
This setting determines whether the MX-4 DV provides a GPI output to an external device, such
as a character generator, thereby allowing you to trigger an external event based on an action from
the MX-4 DV. Set the value to 0 (zero) to use the MX-4 DV with an edit controller. Set the value to
1 to enable GPI output to trigger a character generator, such as the Videonics TitleMaker.
CAUTION
The MX-4 DV also accepts values 2 through 4 for this option. However, using any of these
values might cause your equipment to malfunction and should not be used.
Refer to “Using a GPI Device” beginning on page 120 for relevant information.
Comb Filter
Audio Mode
This option can be used in some cases to affect the quality of the video coming from an input
source. Normally, you should leave this set at the default – 1 or On. Change it only if asked to do so
by a FOCUS Enhancements Customer Support Representative.
This option allows you to choose between 32-kHz and 48-kHz audio on DV OUT. Set the value to
0 (zero) for 32-kHz audio, or 1 for 48-kHz audio.
Dual Monitor Mode
This lets you specify whether you want the MX-4 DV to run the selected transition on both the pre-
view and program monitor at the same time with a setting at 0. As an alternative, you can keep the
preview screen constant while the transition takes place on the program monitor only with the set-
ting at 1.
7.5 IRE Pedestal
NTSC Video equipment commonly uses one of two black level settings:
•
•
7.5 IRE – The traditional black, which is the MX-4 DV default setting.
0 IRE – A darker black level used in Japan.
To use the darker black (0 IRE) for the MX-4 DV background and border colors, set Pedestal to 0
(zero).
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FUNCTIONS
FTP
73
If you are working with equipment that requires 7.5 IRE, set Pedestal to 1.
NOTE
This option is not available on PAL versions of the MX-4 DV.
FTP
The FTP function lets you network your MX-4 DV to a PC using the Ethernet connector on the
back of you unit. You can copy background, foreground and still frame jpeg images to or from
your unit. Refer to “Ethernet Connection” in Chapter 13 for complete information.
ROUTE
The Route function has the following primary purposes:
•
•
Configure the MX-4 DV to match your equipment.
Re-direct signals coming from an input device to different or multiple MX-4 DV channels.
Configuring the MX-4 DV
The MX-4 DV ships from the factory with the following default options:
•
•
•
•
Source Input 1’s video and stereo audio are assigned to Channel A, with the video signal
routed through the DV IN 1 connector.
Source Input 2’s video and stereo audio are assigned to Channel B, with the video signal
routed through the DV IN 2 connector.
Source Input 3’s video and stereo audio are assigned to Channel C, with the video signal
routed through the Y/C IN 3 connector.
Source Input 4’s video and stereo audio are assigned to Channel D with the video signal routed
through the Y/C IN 4 connector.
•
•
•
Color Source defaults to MUTE.
BKGD MUSIC Source defaults to MUTE.
BACKGROUND and FOREGROUND graphics default to OFF.
Unless you tell the MX-4 DV otherwise, it assumes your sources are connected exactly as
described above.
Default Settings for If your set up does not match the default options, you need to change the Route settings. For exam-
Route Functions ple, assume you have an Y/C VCR attached to the input jacks marked 3 (IN3), and a Composite
VCR attached to the input jacks marked 2 (IN2). You don’t need to change anything for the first
input because it matches the default setting. However, because the second source is a Composite
device (rather than DV) you need to notify the MX-4 DV of this fact.
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MX-4 DV USER GUIDE
CHAPTER 7
74
Changing the Routing
To change the routing,
1
Press ROUTE to display the Route menu.
The MX-4 DV has four internal channels: A, B, C and D. The route menu lets you select
which of the twelve inputs are connected to each of the four channels.
Audio sources can be routed to the same four channels (A, B, C and D) and in addition, can be
routed to the color channel (Color) or the background audio channel (BKGD). Refer to Chap-
ter 12, Working with Audio, for more information.
2
3
Select the channel (A,B,C or D) you want to change by pressing NEXT/A, NEXT/B, NEXT/C,
NEXT/D, NEXT/BACKGROUND, or SHIFT+NEXT/BACKGROUND (for Background Audio). Once
you select the channel, it is highlighted.
Select the video source you want to display for this channel. Use the UP ARROW/DOWN
ARROW keys to move to the Video row, then use the LEFT ARROW/RIGHT ARROW keys to
select a video source.
a
The first choices in each Video Input selection (IN1-4) are composite (V) and Y/C (S)
sources.
b
c
The next choice in each video input section (IN1-4) are DV sources.
The remaining choice to the right consists of a graphics/gradients input selection. Once
you select this feature and press OK, a sub menu appears providing the option to select
graphics/gradients or a solid color as an input. Refer to “Sub-Route Menus” on page 77
for more information.
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FUNCTIONS
EXAMPLE: CHANGING THE ROUTING
75
2
3
4
5
4
Select the Audio source to use with your selected channel. Use the DOWN ARROW key to high-
light the Audio row, then use the LEFT ARROW/RIGHT ARROW keys to select an audio source.
a
Audio can be a stereo pair of inputs from a DV source IN1-4 or from analog inputs IN1-4
b
Audio is available to output on DV audio channels 1 and 2 or on analog outputs L1 and
R1, if you select 2-channel 48kHz audio output in the Setup Menu.
c
IN1, IN2, IN3 and IN4 can be either mono or stereo sources: you can select the left chan-
nel, the right channel, or both.
d
DV sources can have two or four channels of audio inputs. If you use 4-channel sources
and select 4-channel output in the Setup Menu, you can either select channel 1 and 2 or 3
and 4, but not both at the same time. Note that while using 4-channel audio output DV will
only run in 32kHz and not allow mixing and matching. If you select 2-channel audio out-
put in the Setup Menu, it will run at 48kHz on channels 1 and 2.
e
f
Select MUTE if you do not want audio routed to this channel.
Press SHIFT+NEXT/BACKGROUND to route to the Background Audio channel.
Press OK or ROUTE to exit the Route Menu.
g
5
You can select a foreground and/or a background graphic. Once you select this feature, press
OK and the MX-4 DV will guide you into either the foreground or background graphics menu
to select the imported graphic of your choice. When you make the selection, press ROUTE to
return to the Route menu. Note that you can apply four layer video effects, that can include a
background, foreground and two jpeg inputs all at the same time.
Example: Changing the Routing
In this example, you will change the Routing for Channel C, make video come from DV IN1, and
make Audio come from L1 and R1 or DV IN1 using 2-channel input a 48kHz.
1
Press ROUTE to display the Route menu.
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MX-4 DV USER GUIDE
CHAPTER 7
76
2
3
Select the channel by pressing NEXT/C. Verify that channel C is highlighted.
Select the Video. Use the UP ARROW/DOWN ARROW keys to move the red highlight bar to the
Video row, then use the LEFT ARROW/RIGHT ARROW keys to select DV IN1.
4
Select the Audio channel. Since you are in a 2-channel input, use the UP ARROW/DOWN
ARROW keys to move to the Audio row representing the Digital section, then use the LEFT
ARROW/RIGHT ARROW keys to select L1 and R1 within DV IN 1.
Routing Audio Through Color or Background Channels
Don’t forget that you can route audio through the Color and Background Channels. These are use-
ful for fading to colors while maintaining the same audio source or mixing words with a music
background.
To route audio through the Color or Background Channels:
1
Press NEXT/BACKGROUND or SHIFT+NEXT/BACKGROUND to select the Color or Background
channel. Refer to “Using the Audio Mixer” on page 111.
2
Use the LEFT ARROW/RIGHT ARROW keys to select the audio of your choice.
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FUNCTIONS
SUB-ROUTE MENUS
77
Sub-Route Menus
You can select Sub-Route menus for the following:
Input graphics
•
•
•
Foreground graphics
Background graphics
Once you highlight the selection on the Route Menu, press OK to continue into the selected sub-
menu.
Input Graphics and Once you have chosen either a graphic as an input or apply a background graphic from the main
Background router menu, you will be directed to the menu referenced below. The menu provides eight gradients
Graphics Menu and a possible 50 background jpegs to add to your unit.
Use the ARROW keys to select a graphic. You can change the gradient colors by using the BG
COLOR button. To create a custom gradient colors, press LEARN+BG COLOR, and then use the joy-
stick and T-BAR to create a new color. When you’re done creating a custom color, press OK.
Background Graphics Menu
Solid
Color
Gradients
Gradients
Backgrounds
0-3
4-49
Importing Graphics In order to import a jpeg into the Foreground or Background menu, you must first assign a proper
into the Foreground file name. This name must include the specified menu (background or foregrounds) and placement
or Background within the selected menu (0-49 foregrounds, 0-49 backgrounds).
Menus
Example: Back_08.jpeg
Once you complete your file name configuration, you can then import the jpeg files using the
Ethernet port on the back of the unit and by using the standard FTP software. Refer to “Transfer-
ring Files TO or FROM the MX-4 DV” on page 130, for complete details.
The MX-4 DV comes with the following installed 12 inch Design background and foreground
jpegs:
Background_00.jpeg through Background_49.jpeg
Foreground_00.jpeg through Foreground_49.jpeg
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MX-4 DV USER GUIDE
CHAPTER 7
78
Importing jpegs for background, input or foreground use will automatically replace what currently
exists on your MX-4 DV. A factory reset will not restore the original 12 inch Design jpegs that are
included on the MX-4 DV. Refer to the included CD or use the FOCUS Enhancements website to
re-import the original jpegs if desired.
Foreground Once you have selected “foreground graphics” from the main router menu, you, are directed to the
Graphics Menu menu below. It allows you to select various jpeg images. They can be imported and stored using
the Ethernet port located on the back of the MX-4 DV.
To make a selection from the Foreground Menu, use the following steps.
1
2
Use the ARROW keys to select a graphic.
Once you have selected a graphic, press ROUTE to return to the Router menu, or OK to return
to the Preview screen.
3
4
Use the joystick to position the graphic on the program side before presenting it as a live feed.
Use the T-BAR to adjust (on the program side) how transparent you would like the logo before
presenting it as a live feed. You can also use the number keypad to adjust the transparency of
the foreground log.
The foreground is now ready to be included in a live application.
Foreground Graphics Menu
Correspondin
Foreground
Slots
Foregrounds
0-3
4-7
8-11
12-49
LEARN
The Learn feature consists of one or more Learned Environments. Within each Learned Environ-
ment you can create a Learned Script.
In a Learned Script you teach the MX-4 DV about a series of transitions and edits you want to
include in a production. This is similar to using an Edit Decision List (EDL), though not as flexible
or powerful.
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FUNCTIONS
COMPOSE
79
Once you activate the Learn feature, the MX-4 DV remembers each step you go through in
preparing a production — including all transitions, input effects, and other operations. You can
play back this Learned Script to automatically perform all of the steps and functions it contains.
Refer to Chapter 11, Learn Mode, for complete information.
COMPOSE
Use Compose to create screen images made up of several different graphic
elements. For example, a composed screen might show two still images
(polar bears and Kong) placed atop solid colored rectangles and a solid
colored background. With a character generator (such as the Videonics
TitleMaker), you can also add text elements to composed screens. Refer to
Chapter 9, Compose.
PIPS
PIPs (Picture-In-Picture) let you combine images from separate sources
and place them on the screen at the same time in separate windows (or,
tiles). You have many options for arranging the PIP windows on the
screen. Refer to Chapter 8, PIPs.
AUDIO MIX
Use Audio Mix to adjust audio levels for any channel. Refer to Chapter
12, Working with Audio.
FREEZE
The Freeze effect immediately freezes the selected video source.
This section describes the types of freeze effects you can produce with MX-4 DV and how to use
Freeze with transitions.
You can also use the Freeze effect with the MX-4 DV PIP and Compose features. Refer to Chapter
8, PIPs, and Chapter 9, Compose, for further information.
Field and Frame Freezes
You can freeze either a video field, or a full frame.
Field Freeze – Captures every other horizontal line of the video. This is ideal for capturing
anything in motion.
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MX-4 DV USER GUIDE
CHAPTER 7
80
Frame Freeze – Captures all horizontal lines, thereby producing a higher resolution (better
quality) image. Use Frame Freeze when working with still images, such as photographs. Using
Frame Freeze with images in motion normally produces jitter in the movie.
The MX-4 DV captures using Frame Freeze, by default. Refer to “Force Field Freeze” on page 72
to learn how to change the default setting.
Major Freeze Functions
The MX-4 DV provides three major freeze functions: Freeze Current, Freeze Next, and Freeze
During (Transitions).
Freeze Current Freezes the image on the Program Output device.
•
•
To freeze the video on the current source, press FREEZE.
To unfreeze the video on the current source, press FREEZE again.
Freeze Next Freezes the video on the Next source. This is useful for freezing an image, then transitioning to it.
•
•
To freeze the video on the Next source, enter SHIFT+FREEZE.
To unfreeze the video on the Next source, enter SHIFT+FREEZE, again.
Freeze During Stops the current transition and freezes both the Current and Next video sources.
(Transition)
•
Freeze during transition works the same as Freeze Current and Freeze Next. FREEZE toggles the
freeze state of the current source and SHIFT+FREEZE toggles the freeze state of the NEXT source.
•
FREEZE no longer pauses or unpauses the transition.
Freeze Examples
This section discusses some common uses for the Freeze function. As you use the MX-4 DV over
time, you’ll probably create many others ways to use this function.
Single Source When working with a single source, use the Freeze function to transition to or from the second
(A/A) Editing image.
To use Freeze with Single Source Editing:
1
2
Route the same video source to Channel A and Channel B.
Use the CUT/A and NEXT/B buttons to specify Source A as the Current Source and Source B as the
Next Source.
3
4
Enter SHIFT+4 to select Preview NEXT mode on the Preview Monitor.
Press FREEZE to freeze the Current source.
The MX-4 DV freezes the Current source on the Program monitor, and the Next source (on the
Preview monitor) continues moving even though there is only one source (routed to two chan-
nels).
5
6
Enter 1, OK, PLAY to run a simple dissolve transition. The frozen image dissolves to moving video.
Press SHIFT+FREEZE to release the freeze on the Next source.
To freeze and dissolve back and forth, repeat steps 3 through 5.
The following steps explain how to transition from moving video to a still image.
7
8
9
Enter SHIFT+FREEZE to create a still frame on the Next source.
Enter 1, OK, PLAY to dissolve from the Current moving video to the Next still image.
Press FREEZE to release the freeze on the Current source.
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FUNCTIONS
FREEZE EXAMPLES
81
Creating Still You can use the Freeze function to transition between a series of still images to create a “still mon-
Montages tage.” You can use from one to four sources.
To create a still montage:
1
Route a video source to Channel A. Remember, you can use up to as many as four sources for
this procedure.
This example starts from a black screen, then transitions to a still image.
2
3
Enter BG COLOR+0 (zero) to set the background color to black.
Press CUT/BACKGROUND to set the Color Channel as the Current source. You now have a
black screen on the Program monitor.
4
5
Press NEXT/A to set Channel A as the Next source.
Enter SHIFT+4 to set the Preview monitor to Preview Next mode.
You’re now ready to create and transition to the first still image.
6
7
Enter SHIFT+FREEZE to create a frozen image on the Next channel.
Enter 1, OK, PLAY to dissolve from black to the first frozen image.
The NEXT and CURRENT sources swap positions. You’re now ready to select the second still
image.
8
9
Press any NEXT button to select a new source to freeze.
Enter SHIFT+FREEZE to freeze the NEXT image.
10 Enter 1, OK, PLAY to dissolve to the NEXT image.
To transition to other still images, repeat steps 8 through 10.
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MX-4 DV USER GUIDE
CHAPTER 7
82
NOTES
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CHAPTER 8
PIPS
With the MX-4 DV you
can easily produce
single and multiple
Picture-in-Picture
displays.
Single PIP
Multi-PIP
PIP (Picture-In-Picture) provides a way to combine images on the same screen. For exam-
ple, one image appears inside a small rectangle, and the other image fills the remainder of
the screen as shown by Single PIP, above.
You can freeze the background or foreground, or make either one a solid color.
You can create Single PIP configurations where two images appear on the screen at the
same time. You can also create Multi-PIP configurations where up to four images appear on
the screen at the same time. Single PIP and Multi-PIP work differently.
PIP images consist of a tile (the video image) and a mask (the window or shape through
which the tile shows).
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MX-4 DV USER GUIDE
CHAPTER 8
84
SINGLE PIP
In a single PIP configuration, one tile fills the background while another tile and its mask float atop
the background. The CURRENT source always serves as the background tile; the NEXT source
always serves as the PIP image.
Foreground Tile and Mask
…from NEXT Source
Background Tile
…from CURRENT Source
Background Tile
Foreground Tile
The background tile always fills the entire screen. You can apply Input Effects (Strobe, Freeze, and
so forth) to the background tile, or make the tile a solid color. You cannot otherwise change the
background tile in any way.
You can manipulate the foreground tile and mask in different ways, such as:
•
•
•
•
Position the tile anywhere on screen.
Change the size and shape of the tile and its mask.
Create a border around the tile.
Reposition, resize, and otherwise change the mask without changing its corresponding tile.
To create and apply a single PIP:
1
Assume the background image originates on input source A. Press CUT/A to make source A the
CURRENT source. It serves as the background tile.
If you want, instead, to make the background a solid color, press CUT/BACKGROUND. Refer to
“Using Color Backgrounds” on page 42 to learn how to select colors.
2
3
4
Assume the image of the gorilla originates on input C. Press NEXT/C to make source C the
NEXT source. It serves as the foreground tile.
Press PIPS to enter PIP mode. The Preview screen shows the background video with the fore-
ground video inset in a small tile.
Press NEXT/A, NEXT/B, NEXT/C, NEXT/D, or NEXT/BACKGROUND to change the image in the
PIP window.
5
6
Press PLAY to display the PIP on the Output.
To exit PIP mode, press PIPS.
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PIPS
FOREGROUND TILE
85
Manipulating the This section explains how to change the position, size, shape, and so forth of the foreground tile. In
Foreground Tile each case, do the steps after pressing PIPS, as described in the preceding steps. You can do any of
these steps while the PIP plays on the Output.
Table 9: Manipulating PIPs Tiles
TO CHANGE TILE…
USE OR PRESS…
NOTES…
Position
Moves the tile and its mask around the screen.
Moves the tile around the screen.
JOYSTICK
OK+JOYSTICK
Size (Resizing the tile normally distorts the image it contains.)
Resizes the foreground tile and its mask. Use
T-BAR
the T-BAR to manually zoom the image.
Resizes the foreground tile.
OK+T-BAR
UP ARROW
Increases the height of the foreground tile and
its mask.
Decreases the height of the foreground tile and
its mask.
DOWN ARROW
RIGHT ARROW
LEFT ARROW
SHIFT+FLIP ▲
Increase the width of the foreground tile and its
mask.
Decrease the width of the foreground tile and its
mask.
Snaps the PIP tile and its mask to the normal
aspect ratio base on the current horizontal
dimensions.
Snaps the PIP tile and its mask to the normal
aspect ratio base on the current vertical dimen-
sions.
SHIFT+FLIP ▼
SHIFT+0 (zero)
Restores the PIP tile to the default size, shape,
and position.
Shape
Cycles through available shapes for foreground
tile.
SHAPES
Cycles backward through shapes.
SHIFT+SHAPES
n
Applies a specific shape to the tile, where n cor-
responds to the numbers shown in the shapes
following this table.
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MX-4 DV USER GUIDE
CHAPTER 8
86
You can apply the following shapes to PIP tiles. To select a shape, press the numeric key (0 through
9) that corresponds to the shape you want, as indicated below.
Additional shapes can be selected for PIP mode using the SHAPES button.
Manipulating the The mask changes shape, size, and position when you change the corresponding attribute of the
Mask foreground tile. You can, however, manipulate the mask independently, as discussed in this section.
Table 10: Manipulating PIPs Mask
TO
CHANGE
USE OR PRESS…
NOTES…
MASK…
Position
Change mask position.
SHIFT+JOYSTICK
Style (Press keys repeatedly to cycle through available colors and styles.)
Change mask border color.
Change mask border style.
BORDER COLOR
BORDER STYLE
Size
Change mask size.
SHIFT+T-BAR
Increase vertical size of mask.
Decrease vertical size of mask.
Increase horizontal size of mask.
Decrease horizontal size of mask.
SHIFT+UP ARROW
SHIFT+DOWN ARROW
SHIFT+RIGHT ARROW
SHIFT+LEFT ARROW
Using Other Effects with Single PIPs
Input Effects You can apply any of the input effects (refer to Chapter 6, Input Effects) to the background and
foreground tiles. Apply the input effect(s) you want prior to entering PIP mode.
The Freeze Effect You can apply the Freeze effect (refer to “Freeze” on page 79) to the background and/or fore-
ground tile.
Press FREEZE while in PIPs mode to freeze the background. Press FREEZE again to release the
freeze effect.
Press SHIFT+FREEZE while in PIPs mode to freeze the foreground tile. Press SHIFT+FREEZE again
to release the freeze effect.
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PIPS
MULTI-PIP
87
MULTI-PIP
In Multi-PIP, as many as 4 separate images can share the screen at the same time. Each image appears inside
a separate tile.
You can use any of the four input sources to provide the images that appear in the tiles.
You can choose from 9 different multi-PIP configurations by pressing the number keys shown in
the following table.
Table 11: Multi-PIP Screen Configurations
NO.
CONFIGURATION
NO.
CONFIGURATION
NO.
CONFIGURATION
1
4
7
2
3
5
6
8
9
The following procedure explains when to specify which configuration you want to use.
To create a multi-PIP image such as the one shown above:
1
Assume the image of Kong originates on input source A. Press CUT/A to make source A the
CURRENT source.
If you want, instead, to make the background a solid color, press CUT/BACKGROUND. Refer to
“Using Color Backgrounds” on page 42 to learn how to select colors.
2
3
Assume the graphic of the word “Kong” originates on input C. Press NEXT/C to make source C
the NEXT source.
Press SHIFT+PIPS to enter Multi-PIP mode. The Preview screen defaults to show configuration
1 (two horizontal tiles). One of the tiles has a flashing border to indicate it is the current tile.
One tile shows the primary input – Kong’s head.
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MX-4 DV USER GUIDE
CHAPTER 8
88
4
If this is the Multi-PIP configuration you want to use, move on to the next step: otherwise…
a
Press the number on the keyboard that corresponds to the PIP configuration you want to
use. (Refer to Table 11, “Multi-PIP Screen Configurations,” on page 87, at the beginning
of this section.) MX-4 DV displays the configuration on the Preview screen.
5
Use the ARROW keys to move the flashing border to a tile where you want to display the sec-
ondary input source: or, press SHIFT+ARROW KEY to move to the beginning or end of a row or
column.
6
7
8
9
Press NEXT/C. Channel C, in this example, carries the video of the graphic word “Kong.” That
image appears in the tile you selected in the preceding step.
Repeat the two preceding steps for any other tile or tiles you want. You can direct any input
signal to any tile by using one of the NEXT keys.
When the Preview screen looks the way you want, press PLAY to cut to the Multi-PIP on the
output; or use the T-BAR to fade the Multi-PIP to the output.
Press SHIFT+PIPS to return to the Preview screen.
Using Freeze Effect with Multi-PIPs
You can apply the Freeze effect (refer to “Freeze” on page 79) to any Multi-PIP tile.
To use the Freeze effect with Multi-PIPs:
1
2
3
Use the ARROW keys to select a Multi-PIP tile.
Press FREEZE.
Press FREEZE again to release the effect.
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CHAPTER 9
COMPOSE
A composition can contain up to four
moving (or still) video tiles, an
unlimited amount of solid color tiles,
and one background.
Compose provides a way to create screens containing picture elements, solid colors, and
rectangles.
A composed screen consists of a background and one or more objects (called tiles) placed
atop the background. The background fills the entire screen. Tiles can vary in size and
appear anywhere on the screen.
You cannot save composed screens. Therefore, once you set up the composed screen the
way you want it, you must immediately record or display it on the output device. If you
move on to other functions without recording or displaying the composed screen, it is lost
and cannot be recovered.
The MX-4 DV provides a limited set of “drawing tools” in compose mode to help you create
backgrounds and tiles.
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MX-4 DV USER GUIDE
CHAPTER 9
90
BASIC COMPOSITION STEPS
This sequence shows how the composition at the beginning of this chapter was produced. More detailed
descriptions of the steps follow.
Select the background. This example uses a still image
of a mountain range. You can use imported still jpeg
images, gradients, solid color backgrounds, or color
bars.
1
2
3
4
5
Create a solid color tile. This rectangle serves as a
background for the next element and separates it
from the main background image.
Create the next tile, which is a moving video of two
polar bears jousting.
Create another solid colored tile. You might eventually
use this tile as a background for a text title.
Create one last solid color tile, but make it long and thin
so that it looks like a simple, wide line.
BACKGROUNDS
The background for a composition can be any of the following:
•
•
•
•
•
•
A moving video sequence
A still image (that is, a frozen frame from a video sequence)
A solid color
A set of color bars
A gradient
An imported still frame jpeg image
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COMPOSE
FOREGROUND TILES
91
As you’ll learn later in this chapter (under “Creating a Composed Image”), you must establish the
background before entering Compose mode.
FOREGROUND TILES
Creating Color Tiles and Lines
Color tiles can be rectangles of any size and shape.
Colored lines are simply thin rectangles. You can create horizontal and vertical lines, but not diag-
onal ones.
When you place a color tile on the screen, it can overlap other tiles. If the other tile is a color tile,
the new tile obscures the previous one wherever they overlap. However, if the other tile is a mov-
ing video, the color tile does not cover any portion of the moving video.
Once you create a color tile you can use BG COLOR to change its fill color.
Creating Moving Video Tiles
A tile can contain video originating from any of the MX-4 DV input sources.
The tile can be a rectangle of any size. The MX-4 DV scales the incoming video to fit within the
tile, it does not crop the image.
Creating Still Image Tiles
Still image tiles can contain a frozen image from any of the input sources.
MANIPULATING TILES
You can place foreground tiles anywhere you want on the screen. You can set their size, fill them
with color or images, and set their border characteristics.
TIP
Remember, once you place and define a foreground tile you cannot change it. Placing the tile
occurs once you move the Compose Cursor (or, rectangle) to any other position on the screen.
You’ll learn about the Compose Cursor in this section.
Positioning Tiles
When you press the COMPOSE button to enter Compose mode, the MX-4 DV shows your choice of
background on both the Preview and Output monitors. The MX-4 DV also displays a flashing rect-
angle at the center of the Preview screen. This flashing rectangle is called the Compose Cursor.
The Compose Cursor (a flashing
rectangle) appears on the Preview
screen when you enter Compose
mode.
JOYSTICK positions Compose Cursor
Use the JOYSTICK to move the Compose cursor where you want it on the screen. You can also use
the ARROW keys to make fine adjustments.
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MX-4 DV USER GUIDE
CHAPTER 9
92
Sizing Tiles
You can make foreground tiles any size you want, from covering the entire screen to a thin hori-
zontal or vertical line.
Always establish the size of the tile before filling it with a solid color, moving video, gradient, or
jpeg image.
Use the SHIFT key in conjunction with one of the ARROW keys to adjust tile size. Enter SHIFT+0
(zero) to restore the tile to its default size.
Enter SHIFT+FLIP
to reproportion the tile based on its current width. Enter SHIFT+FLIP to
reproportion the tile based on its current height.
COMPOSITION RULES
Observe the following rules when creating compositions.
•
•
•
Select and define the image you want to use as the background before entering Compose
mode.
A composition can contain one background and anywhere from one to four video foreground
tiles with many colors.
When you create a foreground tile that overlaps an existing solid color rectangle or still image,
the overlapping portion erases whatever it overlaps.
The larger tile is drawn first. When the
second tile is drawn, it overlaps part of the
larger one. The overlapping portion of the
smaller tile erases that portion of the
larger tile where the two overlap.
•
Reducing the size of a still or moving video image normally introduces minor pixel artifacts,
thus reducing quality.
•
•
Once you place (or, stamp) a foreground tile into place, you cannot move or change it.
To use a composed image, you must record or display it on the output. There is no other way to
save the composition.
•
You cannot use composed screens in conjunction with Learn mode.
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COMPOSE
CREATING A COMPOSED IMAGE
93
CREATING A COMPOSED IMAGE
To create a composition:
1
Create or choose the background, foreground, gradient, or still frame jpeg image on the Route
screen. Do this before entering Compose mode because the CURRENT source at the time you
enter compose mode automatically becomes the background for the composition.
a
b
c
Solid Color Background – Use the BG COLOR button to select the color you want. Then
press CUT/BACKGROUND or use a transition to make BACKGROUND the CURRENT
source.
Moving Video Sequence – Use the appropriate CUT button to make the desired input
source the CURRENT one. For example, to use a moving video sequence from source C
as the background, press CUT/C.
Still Image – Use the appropriate CUT button to make the desired input source the CUR-
RENT one. For example, to use a frame from source B as the background, press CUT/B.
When the frame you want to use as the still image appears on the Preview screen, press
FREEZE to create the still image.
d
e
f
Color Bars – Press SHIFT+NEXT/BACKGROUND while in Compose mode to display color
bars in the background.
Input Effects – Apply any Input Effects you want to the background source before enter-
ing Compose mode.
Gradient or Jpeg – Use the Route menu to choose a gradient or jpeg and then route it to a
source. Next press the CUT key associated with that source to make the gradient or jpeg
the background.
2
Press COMPOSE to enter Compose mode.
A full screen image of the CURRENT source (the one on the Output) replaces the Preview
screen. The Compose Cursor appears on the Preview screen.
TIP
To use color bars as the background, enter SHIFT+NEXT/BACKGROUND now – before creating
foreground tiles.
3
4
Use the JOYSTICK or ARROW KEYS to position the Compose Cursor where you want it on the
screen.
Size the Compose Cursor to the size you want for the foreground tile.
You can do the two preceding steps in either order.
5
Press one of the NEXT buttons to fill the tile with whatever color or image you want.
a
Solid Color Background – Press NEXT/BACKGROUND to fill the tile with the currently
selected color.
To specify a different color from the one currently selected, press BG COLOR until the
color you want fills the tile.
To create a custom color for the tile, press LEARN+BG COLOR, then use the JOYSTICK and
T-BAR to create a new color. Press OK when the tile color is the one you want.
b
c
Moving Video Sequence – Press the appropriate NEXT button to select source A, B, C, or
D. If the dimensions of the tile and video do not match, the video appears distorted.
Frozen Image – Fill the moving video tile with the image you want, then press FREEZE.
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MX-4 DV USER GUIDE
CHAPTER 9
94
6
7
Repeat steps 3 through 5 until your composition is complete.
Use the PLAY button or T-BAR to send your composition to the program output.
PLAYING THE COMPOSITION
To play a composition on the output device:
Press PLAY or use the T-BAR.
•
Moving the T-BAR from the bottom-to-top in its slot transitions the composition to Program.
Moving it from top-to-bottom dissolves it out.
Pressing PLAY produces a cut from the CURRENT source to the composed screen — using the
T-BAR produces a dissolve. Pressing PLAY or using the T-BAR again lets you switch back and forth
between the CURRENT source and the composed image.
To reposition the T-BAR, hold down SHIFT while moving it. Holding down the SHIFT button tempo-
rarily disables the T-BAR.
NOTE
If you cut to any source or exit from Compose mode, your composed screen will be lost and cannot
be recovered.
EXITING FROM COMPOSE MODE
Remember, if you do not record your composed image to the output device before exiting Com-
pose mode, your composed image will be lost and cannot be recovered.
To exit from Compose mode, press COMPOSE.
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CHAPTER 10
CHROMAKEY
Using Chromakey you can
combine two completely
separate images to create a
composite image that might
be impossible to create any
other way.
You’ve probably seen the chromakey effect used in television weather reports. The weather
person stands in front of a “blue screen” (a solid blue background) and the weather map then
keys onto the background from some other source.
Chromakey combines two sources to create a composite image.
One source has a
solid colored
background, such as
a blue screen.
The other source
can be any video
image.
1
2
The chromakey effect replaces the solid colored
background in the first image with the video
signal from the second image. The second image
replaces the background only where the
designated color appears.
3
Chromakey requires careful preparation of the input sources to achieve the desired effect.
Keep the following points in mind:
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MX-4 DV USER GUIDE
CHAPTER 10
96
•
The color used for the background must not appear elsewhere in the image. For example, if
Kong’s head (in the example above) contains colors close to the chromakey background, the
picture of the bridge would appear in those areas. (Professionals often use a special “blue
screen” paint for the backdrop when filming the image.)
•
The color of the background must be evenly distributed. Glare from camera lights and shad-
ows of the subject can alter the background color. MX-4 DV’s chromakey circuitry might not
be able to handle the different values, thereby spoiling the illusion.
This chapter explains how to prepare footage for use with the chromakey feature. Of course, screen
images appear in grayscale in this book.
Keyed
Footage
Background
Footage
Chromakey
Footage
The Background footage shows traffic moving along a freeway or highway.
The Keyed footage, specially prepared, shows our intrepid hero flying against a solid colored
background.
The Chromakey footage is the result of combining the background footage and keyed footage
using the MX-4 DV chromakey feature.
PREPARING THE BACKGROUND FOOTAGE
Preparation of the background footage does not require anything special. It might be footage of
automobile traffic taken from a bridge.
TIP
The more unusual or dramatic the Background footage the greater the final effect of the chromakey.
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CHROMAKEY
PREPARING THE KEYED FOOTAGE
97
PREPARING THE KEYED FOOTAGE
Preparation of the keyed footage presents a challenge. It is the most important and most difficult
step, because the solid colored background is so crucial to the success of the illusion. To achieve
the required background requires, in most cases, special props, lighting, and other materials.
In this example, we placed our flying hero atop a platform centered on the set.
Here’s how the footage used in this example was prepared:
•
Uniquely colored fabric was draped over the back, sides, and bottom of the set. The same fab-
ric was used to wrap completely around the platform on which we posed our flying hero.
When choosing the fabric color, it was important to try and select a fabric that did not contain
any of the colors in our flying hero’s wardrobe. Professional studios generally use a bright
green or blue screen in place of the colored fabric.
•
Key lights and fill lights were positioned so as to minimize glare and shadows during filming.
Light bouncing off an area produces different shades of the background color. Likewise, shad-
ows also produce varying shades. The key to successful chromakeys is to reduce as much as
possible the colors in the background.
The use of lighting filters, umbrellas, lighting stands, and similar tools can make a tremendous
difference in the quality of the chromakey as well as the amount of “post production” work
you must do to produce the exact illusion you want.
•
•
Several test shots were made, then lighting was adjusted, the actor was repositioned, and so
forth, until the optimum results were produced.
Final footage was then shot.
PREPARING THE CHROMAKEY FOOTAGE
With the background footage and keyed footage recorded and available, you’re ready to combine
them into the chromakey effect. The following steps assume that source A is the background foot-
age (the traffic sequence) and source C is the keyed footage (the flying hero).
To prepare the chromakey footage:
1
2
3
If necessary, turn on the MX-4 DV and all sources.
Start both sources (A and C) rolling.
Select the background footage as the CURRENT source — that is, press CUT/A. The image
appears on the program monitor.
4
5
Select the keyed footage as the NEXT source — that is, press NEXT/C.
Press CHROMAKEY or SHIFT+CHROMAKEY to activate the effect. CHROMAKEY starts it and
uses the last chromakey setting you created; SHIFT+CHROMAKEY starts with a new chromakey
setting.
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MX-4 DV USER GUIDE
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98
The Preview screen displays a full-screen picture of the keyed footage from source C. A cursor
(a small flashing circle) appears atop the image.
Chroma Key
Cursor
Once you activate the Chroma Key, it stays in effect until you specifically deactivate it (which
you’ll learn to do later in this procedure).To change the selected color or colors for the Chroma
Key, press SHIFT+CHROMAKEY. This instructs the MX-4 DV to discard the current set of col-
ors so you can specify different ones.
6
7
Use the JOYSTICK or ARROW keys to move the cursor so that it is directly over the area that
contains the color to key out — that is, to specify the area in which the other video source is
going to play.
Press OK. Those areas in the picture that match the color under the cursor get replaced by the
background source.
a
If you need to include other colors in the keyed-out area, repeat steps 6 and 7. You can
repeat the steps as many times as necessary to key-out the entire background.
b
c
To remove the last keyed color change, enter SHIFT+0 (zero).
To fine-tune the keyed color, use SHIFT+ARROW KEY.
If you aren’t able to successfully isolate the background from the subject, you might have to re-
shoot the scene using a background of a different color — or, you might just need to change the
lighting to eliminate glare and shadows.
Cancelling the If you need to start over, you can cancel all of the chromakey selections made thus far by pressing
Selections SHIFT+CHROMAKEY, as explained above.
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CHROMAKEY
PERFORMING THE CHROMA KEY
99
PERFORMING THE CHROMA KEY
When the preview screen shows the desired chroma key results:
•
Press PLAY. The output monitor shows the chroma key image. Press PLAY again to cut back to
the background source.
You can also dissolve between the background footage and the chroma key footage using the
T-BAR, rather than pressing PLAY.
Using Freeze and You can apply Input Effects (including Freeze) to the background footage, but not to the keyed
Other Input footage.
Effects
•
To apply the freeze effect, press FREEZE either before or after pressing CHROMAKEY or
SHIFT+CHROMAKEY.
•
To apply any of the other Input Effects, apply them to the CURRENT source before pressing
CHROMAKEY. The MX-4 DV ignores effects applied to the NEXT source during chromakey.
Fine-Tuning Key Colors
You can fine-tune the chroma key effect so that more or less of the keyed footage gets keyed. You
can separately adjust the range of colors and video brightness that gets keyed.
•
To adjust the brightness range, enter SHIFT+UP ARROW to increase the range of brightness val-
ues that get keyed, replacing more of the keyed footage with the background footage. Use
SHIFT+DOWN ARROW to decrease the brightness range, reducing the portion of the image that
gets keyed.
•
To adjust the color range, enter SHIFT+RIGHT ARROW to increase the range of colors that get
keyed, replacing more of the keyed footage. Use SHIFT+LEFT ARROW to decrease the range of
key-colors, reducing the portion of the image that gets keyed.
Ending Chroma Key
When you finish using chroma key, press CHROMAKEY.
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NOTES
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CHAPTER 11
LEARN MODE
In Learn Mode, the MX-4 DV “remembers” most of what you do, such as which transitions
you used and how you used them. You can subsequently instruct the MX-4 DV to replay
those steps, at which time the MX-4 DV creates the production on the output device.
The basic steps involved in using Learn mode include:
•
•
•
Create a Learned Environment.
Place the MX-4 DV in Learn mode.
Create the production, complete with transitions, freezes, input effects, and so forth. The
MX-4 DV records each action to a Learned Script.
•
Instruct the MX-4 DV to replay the Learned Script.
TIP
The MX-4 DV saves Learned Environments in memory, so they are available even when you
turn the unit off then back on again.
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102
LEARNED ENVIRONMENTS
A Learned Environment can be thought of as a “snapshot” of your current the MX-4 DV configu-
ration, including input effects, functions, styles, and so forth, that are in effect when you create the
Learned Environment. You can subsequently recall a Learned Environment whenever you want to
use it. You might, for example, have one environment you use for mixing three VCR input sources;
another for broadcasting from live cameras; another for applying special input effects; and so forth.
You can create up to five separate Learned Environments, each with their own configuration, as
shown by this illustration.
1
Each Learned
Environment can
contain an
optional Learned
Script.
3
4
5
2
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LEARN MODE
LEARNED SCRIPTS
103
To create a Learned Environment:
1
Set up the MX-4 DV the way you want for this particular environment. This includes setting
any input effects you want, selecting the initial CURRENT and NEXT sources, defining color,
defining borders, and so forth.
2
Enter LEARN+<NUMBER>, where <NUMBER> can be any value from 1 to 5.
The MX-4 DV saves all current settings under the number you enter. Note that the INPUT
EFFECTS LED (or, light) flashes to let you know the MX-4 DV is in Learn Mode.
At this point, you can create a Learned Script to save with the current Learned Environment.
See the following section for further instructions.
You can also save the environment without a Learned Script. To do so, just press LEARN to dis-
engage Learn Mode.
LEARNED SCRIPTS
Learned Scripts exist only within Learned Environments. Although you can create a Learned
Script without first specifically creating a Learned Environment, The MX-4 DV automatically cre-
ates a Learned Environment using the current settings.
Learned Scripts can have 25 actions (or, steps). If you attempt to exceed this number, the MX-4
DV just stops recording steps when it reaches capacity. You can replay all steps learned up to that
point.
The MX-4 DV does not record the following steps while in Learn mode:
•
•
•
•
Create or transition to compose screens
Use Chroma Key
Use PIPs
Use the Demo
You cannot modify a Learned Script after creating it. If you need to modify a Learned Script, you
must re-record it from the beginning.
If you’re familiar with the video-related term “Edit Decision List,” the MX-4 DV is not an EDL.
The MX-4 DV just records certain steps, then replays them at your direction.
About Steps Most individual actions count as one step. For example, if you enter a two-digit transition number
on the keyboard, that counts as two steps: each time you press PLAY or use the T-BAR, that also
counts as one step: and so forth.
Other buttons count as one step, including SPEED, FREEZE, SETUP, INPUT EFFECTS, ARROW keys,
CURRENT and NEXT sources, and so forth.
Example…
The following Learned Script consists of 6 individual steps:
1
2
3
4
5
6
Press NEXT/B to select that device as the NEXT source (step one).
Press SPEED to increase the speed of the transition (step two).
Press SPEED once more to increase transition speed another unit (step three).
Enter 55 to designate that transition (steps four and five).
It requires two steps to enter the two digits.
Press PLAY (step six).
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MX-4 DV USER GUIDE
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104
TIP
Using ARROW keys to select a transition consumes one step for each key pressed. In most cases, to
fit as many transitions as possible into a Learned Script, use the numeric keypad to enter transition
numbers rather than using the ARROW keys.
Select the CURRENT and NEXT sources before entering LEARN mode. LEARN mode interprets
pressing the CUT button as a transition.
USING LEARN MODE
Learn mode involves the following steps:
1
Activate all devices.
Turn on the MX-4 DV and all devices you intend to use, if necessary.
2
Press LEARN+<NUMBER> to engage Learn mode, where <NUMBER> can be any value from 1
to 5. The number designates the Learned Environment you want to use.
Note that the INPUT EFFECTS LED (or, light) flashes while the MX-4 DV is in Learn mode.
3
4
Enter production steps.
Create the production in the same way you would even if you weren’t using Learn mode.
Press LEARN again to disengage Learn Mode.
Learn mode disengages automatically if you exceed 25 steps, the maximum allowed in a
Learned Script.
5
Play back the Learned Script.
a
Enter SHIFT+LEARN+<LEARNED SCRIPT #> on the keyboard, where <LEARNED SCRIPT
#> is the number of the Learned Environment and Learned Script you want to play back.
Remember, the Learned Script numbers can range from 1 through 5, inclusive with the
Learned Environment.
When this step finishes, MX-4 DV restores the selected environment and the unit is ready
to play back any learned scripts.
b
Press PLAY or use the T-BAR to run each transition in a Learned Script. When you use the
T-BAR, you can manually control any transition in the Learned Script.
The MX-4 DV begins replaying the Learned Script and displays and/or records the results to the
output device. (If the MX-4 DV Preview screen is not currently visible on the Preview monitor,
press DISPLAY until it appears.)
You can also use a GPI trigger device to play the steps in a Learned Script. A GPI trigger device
works exactly the same as pressing PLAY. Refer to “Using a GPI Device” beginning on page 120
for more information.
CAUTION
You cannot edit a Learned Script. The only way to change a Learned Script is to re-enter it
from the beginning. If you create a Learned Script and begin entering commands, the MX-4
DV OVERWRITES the previous script.
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LEARN MODE
OTHER USEFUL INFORMATION
105
OTHER USEFUL INFORMATION
When the MX-4 DV comes to the end of a Learned Script, it stops. You can re-initiate the same or
any other Learned Script by entering SHIFT+LEARN+<LEARNED SCRIPT #> for the script you want
to run.
You can do the following in a Learned Script:
•
•
•
•
Perform transitions, including use of Reverse and Speed settings.
Choose CURRENT and NEXT sources.
Use the Freeze function.
Transition audio, video, or both.
You cannot do the following in a Learned Script:
•
•
•
•
Create or transition to Compose screens.
Use Chroma Key.
Use the Demo.
Use PIPs.
The MX-4 DV memorizes a manual transition (such as when using the T-BAR) as an automatic
transition at the currently set speed — that is, it is remembered as if you had used the PLAY button
rather than the T-BAR.
The MX-4 DV erases a Learned Script when you overwrite an existing Learned Script.
ABORTING A PLAYBACK SESSION
Once the MX-4 DV begins playing back a Learned Script, you can abort the playback session by
pressing LEARN.
Once you end playback of a Learned Script, the PLAY button and T-BAR act normally, playing the
effect indicated on the screen rather than the Learned Script.
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NOTES
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CHAPTER 12
WORKING WITH AUDIO
The MX-4 DV provides flexible control for audio sources. You can:
•
•
•
•
•
Easily switch between devices.
Record video and/or audio from a device, in any combination.
Allow or disallow transitions to affect audio.
Automatically or manually fade the sound between sources.
and more…
Before using audio sources, make sure they are properly connected to the MX-4 DV. Refer
to Chapter 3, Installing the MX-4 DV, for instructions. You might also have to visit the Route
menu to set up the audio devices correctly. Refer to “Route” beginning on page 73 for more
information and instructions.
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MX-4 DV USER GUIDE
CHAPTER 12
108
AUDIO DEVICES YOU CAN USE
You can:
•
Use dedicated audio input sources, such as audio cassette players, compact disc players, and
even live microphones. (Refer to “Using a Microphone with MX-4 DV” on page 30 for instal-
lation instructions.)
•
•
Use the audio signal coming from combined input sources, such as the audio track contained
on a video tape.
Separate the audio signal to record only the audio track from a video tape, laser disk player,
and so forth.
WAYS YOU CAN CONTROL AUDIO
Basically, you can:
•
•
Control the way audio transitions between scenes.
Mix the audio coming from input sources
CONTROLLING AUDIO TRANSITIONS
You control audio transitions somewhat the same as video transitions. However, the MX-4 DV
gives you the ability to control audio and video separately. The two components for managing
audio transitions are the VIDEO/AUDIO selector (on the keyboard) and the top of the Preview
screen.
VIDEO/AUDIO Selector
Small lights appear above and below the VIDEO/AUDIO selector labeled VIDEO and AUDIO. The
lights tell you whether the next transition will affect the video, the audio, or both. By pressing the
VIDEO/AUDIO selector you can choose between the following states:
•
•
•
To have the next transition affect both the video and audio, press VIDEO/AUDIO until both
lights are on.
To have the next transition affect only the audio (leaving the video unaffected), press
VIDEO/AUDIO until only the AUDIO light is on.
To have the next transition affect only the video (leaving the audio unaffected), press
VIDEO/AUDIO until only the VIDEO light is on.
You’ll learn more about using the VIDEO/AUDIO selector to achieve a sound mix under “Ways to
Use Audio” starting on the next page.
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WORKING WITH AUDIO
SELECTING AUDIO SOURCES
109
Selecting Audio Sources
Select audio sources the same way you select video sources, using the CUT and NEXT buttons and
the highlights at the top of the Preview screen.
CURRENT Audio Source
Indicates that source can be
monitored through the
MX-4 DV’s headphone jack
NEXT Audio Source
Remember, the MX-4 DV highlights the CURRENT video source in yellow (above the Preview
window). The speaker icon inside the highlight indicates that the current audio is on channel A.
The MX-4 DV highlights the NEXT video source in green (below the window). The speaker icon
in this location means after you run the next transition, channel C’s audio plays through.
In addition, the headphones icon indicates you can monitor this particular audio through the MX-4
DV headphone jack, located on the rear of the unit.
WAYS TO USE AUDIO
You can manage audio in several different ways during video transitions. This section explains
some of the more useful methods.
Audio Accompanies Video
When you transition from one source to another, you might want the native audio (that is, the
sound recorded on the original media) to transition right along with the video.
Example…
Suppose you want to dissolve from a shot of a car arriving in front of a house to a shot of the
person entering the house through the front door. In this case, you might want to hear the car
drive up, then hear the door to the house open.
To have audio accompany video and follow the same transition:
1
Set up the CURRENT and NEXT sources, and choose a transition.
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MX-4 DV USER GUIDE
CHAPTER 12
110
2
3
Press VIDEO/AUDIO until both the VIDEO and AUDIO lights are on.
Press PLAY or use the T-BAR to run the transition.
Both the video and audio transition together. The audio mixes together — that is, audio from the
first video scene fades away gradually as the audio from the next scene fades in and mixes with the
original audio.
You can control the duration of the fade by adjusting the speed of the transition. A slow transition
fades the sound slowly, whereas a fast transition fades the sound quickly. (Refer to “Changing
Transition Speed” on page 56.) If you use a Cut transition, the sound switches abruptly.
Continuous Audio
Example…
Suppose you taped a musical concert using two cameras. The first camera focuses on the
musicians and picks up the audio. The second camera focuses around the audience to get the
reactions of different listeners. You want to mix together the footage from both cameras, but
have only the audio from the first camera play through all transitions.
To use continuous audio:
1
Set up the CURRENT and NEXT sources, and choose a transition.
Assume the tape from the first camera is on channel A, and the tape from the second on chan-
nel B. Press CUT/A to make it the CURRENT source, press NEXT/B to make it the NEXT
source.
2
3
Press VIDEO/AUDIO until only the VIDEO light is on.
This tells the MX-4 DV that when the transition runs, only the video changes. For example,
press CUT/B to cut to the video of the audience. The audio continues to come from channel A.
Continue pressing CUT (or using other transitions) to switch back and forth between the stage
and the audience. The audio will remain with channel A.
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WORKING WITH AUDIO
USING THE AUDIO MIXER
111
USING THE AUDIO MIXER
The MX-4 DV Audio Mixer provides extensive control over all audio channels. You can, for
example, subdue the audio on one channel (such as background music) and pump up the audio on
another (such as the narrative).
To access the Audio Mixer, press AUDIO MIX in the Functions button group.
Line Out Slider
Gain Slider
Phone Slider
Background Mix Slider
Gain Slider — Control the audio on the four standard MX-4 DV selected channels — A, B, C, D,
Background, and Background Music.
Background Mix Slider — Controls the mix between the Background Music channel and the cur-
rent channel audio.
TIP
If Background Audio is not being used, be sure to set the Background Mixer slider all the way
down.
Line-Out Slider — Controls the output of the main out line.
Phones Slider — Controls the output through the MX-4 DV headphones jack. Note that the head-
phones monitor only one channel at a time, except during transitions.
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MX-4 DV USER GUIDE
CHAPTER 12
112
Audio Mixer Controls
The following tables explain how to operate the Audio Mixer controls from the MX-4 DV key-
board.
Table 12: Selecting Mixer Channels
TO…
USE THESE KEYS…
Select consecutive sliders
Select a specific channel
LEFT ARROW and RIGHT ARROW
NEXT/A
NEXT/B
NEXT/C
NEXT/D
NEXT/BACKGROUND
SHIFT+NEXT/BACKGROUND
Table 13: Adjusting Audio Levels
TO…
USE THESE KEYS…
Raise level one tick
UP ARROW
Lower level one tick
DOWN ARROW
SHIFT+UP ARROW
SHIFT+DOWN ARROW
T-BAR
Raise level ten ticks
Lower level ten ticks
Raise/Lower level arbitrarily
Restore previous slider position
Restore factory default
SHIFT+OK
SHIFT+0 (ZERO)
Using Background Audio
To control the level of the music, use the Background Music slider in the Audio Mixer. Use the
keyboard controls shown in the preceding table to adjust the audio level.
Depending on how you set things up, the CURRENT source transitions to the NEXT source and
the background music plays uninterrupted between them. The audio from the CURRENT and
NEXT sources normally follows the video transitions—for example, if you set up a dissolve transi-
tion, audio from the CURRENT source fades away, then the audio from the NEXT source fades in.
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WORKING WITH AUDIO
USING HEADPHONES
113
USING HEADPHONES
You might find headphones helpful for monitoring audio input signals. You can plug a set of head-
phones directly into the MX-4 DV by connecting them to the headphone jack located on the rear
panel of the unit. Headphone audio is stereo.
Normally, headphones carry only the main sound, that is, the sound coming from the CURRENT
input source. You can, however, monitor the sound from the NEXT source without disturbing the
audio going to the output device.
To monitor the audio on the NEXT source:
•
Press SHIFT+AUDIO/VIDEO.
Each time you press SHIFT+AUDIO/VIDEO, you toggle between the audio on the CURRENT source
and that on the NEXT source.
ADVANCED AUDIO STEPS
If you have an external audio mixer device available, FOCUS Enhancements recommends you use
that device to manually control all sound. you can:
•
Connect the external mixer’s output to any MX-4 DV audio input, and permanently set that
source as your sound input source. This lets you use the external mixer when you need flexi-
bility, or use the MX-4 DV when you want control of the audio. The latter gives you the ability
to perform more activities, like fading audio automatically when video transitions run.
•
Meter line out, which is not necessarily the source you’re working on. For example, suppose
the Program out is on Source A, but your adjusting the gain for Source B. You won’t see that
reflected in the LED meter (if Source B was on the program out you would). The line out
slider should affect the meter.
USING THE ANALOG AUDIO ADJUSTMENTS FUNCTION
Use the Audio Adjustments Function to adjust the analog audio input levels and add delay to the
analog or DV audio path. These are advanced functions and most users should leave the system set
to its default settings: 0dB gain and 2.25 fields of delay. Use these functions if you need fine con-
trol over your audio inputs or to compensate for video delays that may have occurred in other
devices in your video stream.
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MX-4 DV USER GUIDE
CHAPTER 12
114
To display the Audio Adjustment screen, press SHIFT+AUDIO MIX. The four slider groups repre-
sent the four analog and DV audio inputs on the rear of the MX-4 DV: IN1, IN2, IN3, and IN4. DV
audio adjustment can be applied to each input by adjusting he second “DELAY” slider. Make the
proper adjustment depending upon which analog or DV output has been selected in the Route
menu.
Selecting Manual Levels
To make manual adjustments to the input audio level for your analog sources:
1
Use the LEFT ARROW/RIGHT ARROW keys to select the audio source (IN1, IN2, IN3, or IN4).
Make sure you’re on a gain slider.
2
Use the T-BAR or the UP ARROW/DOWN ARROW keys to adjust the Audio Levels to the desired
settings. You can also use the SHIFT+UP/DOWN arrow keys to make fine adjustments.
Another option is the SHIFT+UP/DOWN ARROW keys to make fine adjustments.
The adjustment range is the same for all inputs: +12.0dB to -33.5dB.
Selecting Audio Delay
The audio delay values show the amount of delay, in video fields to be applied to each source. The
maximum delay is ten fields (PAL is 8.5).
Because analog audio and video travel in different paths in audio/video equipment, the audio and
video can become separated. Typically, the video is delayed in relation to the audio. For example,
if video is delayed, you might hear someone clap, then a moment later see the hands come together.
Usually the difference is so minimal that no adjustment is needed. However, if an adjustment is
needed, you can delay analog audio up to five fields with this parameter.
To adjust the audio delay for your analog sources:
1
Use the LEFT ARROW/RIGHT ARROW keys to select the audio source (IN1, IN2, IN3, or IN4)
and analog or DV delay adjustments. Refer to “Using the Analog Audio Adjustments Func-
tion” on page 113 for further details.
2
Use the T-BAR or the UP ARROW/DOWN ARROW keys to adjust the delay to the desired set-
tings. You can also use the SHIFT+UP/DOWN arrow keys to make fine adjustments.
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CHAPTER 13
ADVANCED OPERATIONS
This chapter discusses operations you might not use very often, but are quite helpful when
you need them. They include:
•
•
•
•
•
•
•
•
Using Titles with the MX-4 DV
Using Color Bars
Performing Roll Edits
Operating in Live Environments
Security Monitoring
Using a GPI Device
Resetting the MX-4 DV to Factory Defaults
Connecting the MX-4 DV to a network using Ethernet
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MX-4 DV USER GUIDE
CHAPTER 13
116
USING TITLES
In Chapter 3, Installing the MX-4 DV, you learned how to install a character generator (CG) to use
with the MX-4 DV (refer to “Live Broadcast Configuration” on page 38). Using a setup where you
connect the CG between the MX-4 DV and the output device (downstream), you can create titles
for your productions. Using any of the Videonics TitleMaker products, you can superimpose titles
over video and use transitions for sophisticated titling.
With a Videonics TitleMaker
you can create high-quality,
professional-looking titles for
your productions.
Most CG’s work in similar ways. Following is an example using a Videonics TitleMaker.
1
2
Use TitleMaker to create the pages you need for the titles.
Insert a blank page between each title page. The page should not contain any characters, its
background should be set to video, and its duration should be set to infinite.
3
Press PLAY on the TitleMaker and the next title page appears superimposed over the MX-4 DV
output.
At this point, you can run a transition and the title continues to superimpose while the transi-
tion runs.
You can also use other TitleMaker features, such as tinted backgrounds, patterns, scroll, and crawl.
Because the MX-4 DV’s TBC (Time Base Corrector) creates a stable time base, TitleMaker can
lock to it securely to produce an excellent picture.
USING COLOR BARS
The MX-4 DV provides a set of standard color bars built into the unit. You can display the color
bars on the Preview monitor.
To display the built-in color bars:
1
2
3
4
Press COMPOSE.The MX-4 DV enters Compose mode, and a flashing rectangle appears.
Press SHIFT+NEXT/BACKGROUND. A set of color bars appears on the Preview monitor.
Press PLAY to apply the color bars to Program out.
Press COMPOSE to remove the color bars and exit Compose mode.
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ADVANCED OPERATIONS
PERFORMING ROLL EDITS
117
PERFORMING ROLL EDITS
Two types of roll edits are commonly used in video editing — A/A rolls and A/B rolls. You can do
both types of rolls with the MX-4 DV. A/A rolls can be accomplished with relative ease. As you’ll
learn later in this section, you can also do A/B roll editing with the MX-4 DV, although it does
require good preparation and manual control of the devices.
Cutting Between Scenes
Simple cuts between scenes do not require special features. All you have to do is pause the record-
ing VCR at the end of one scene, then release pause when the next scene begins.
A/A Roll Edits
A/A roll edits can be defined as Single-Source editing because all of the original materials come
from a single videotape. The MX-4 DV offers special features designed specifically for these types
of situations.
An easy way to add interest to a single-source transition is to use the A/A roll edit (sometimes
called an A/X/A edit). In this situation, the video freezes at the end of one scene, then a dissolve or
other effect transitions to the next scene.
Example…
You are producing a murder mystery. The door opens and the villain sneaks into the room.
Slowly he moves toward the camera, then you press FREEZE to freeze the killer’s menacing
glare!
Next, you pause the recorder and set up the MX-4 DV to perform a dissolve. Then you find the
next scene and start it playing a bit before the scene starts. There’s the victim — it’s granny,
sitting in a rocking chair with her back to the camera. You start the recorder. It’s still recording
the frozen picture. At the correct moment you transition from the frozen close-up of the
murderer to granny in her chair. As the killer’s face dissolves away, granny turns and we
discover it’s the constable, ready to arrest the scoundrel!
To perform a roll edit such as this:
1
2
3
4
5
6
Roll the tape and press FREEZE at the appropriate moment to freeze the end of the scene.
Pause the recording device.
Set up the transition you want.
Position the source tape just before the next scene and let the scene play.
Release pause on the recording device to record more of the frozen picture.
At the appropriate moment, run the transition between the frozen picture and the rolling video
from the next scene.
This type of A/A roll works best when the recording device has flying-erase heads — a feature that
lets the VCR make a clean break when you pause the recording.
You can perform an A/A roll with an automatic editing system. Press FREEZE at the end of one
scene and wait for the editing system to start the next scene. While the controller locates the next
scene, set up the transition you want. When you see the editor release the recorder from the pause
state, press PLAY on the MX-4 DV to run the transition.
Limitations on Transitions might not produce the impact you want when the frozen picture is similar to the incom-
A/A Roll ing video. Experiment with various transitions to determine which ones produce the results you
Transitions want.
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A/B Roll Edits
A/B roll editing involves editing scenes from multiple sources. When doing A/B roll edits, you
must manually synchronize the sources so that they are timed correctly.
Normally, you record a countdown before each scene so you know when it starts, then back-time
the transition accordingly.
Example…
Scene 1 is playing on VCR A. You know it ends soon, so you start VCR B, and pause it at a
point 5 seconds before its action starts. When VCR A is 5 seconds from its end, you release
VCR B and let it roll. At this point, both VCR A and B are rolling. At the desired moment, you
perform the transition from VCR A to VCR B.
Another method of A/B roll editing involves the use of working copies. You copy the original foot-
age to new tapes, placing every other scene on a different tape. The result might look similar to
this:
Accurate placement of the scenes (1 through 5 in this example) allow both tapes to roll simulta-
neously so you can transition between scenes without having to start and stop each VCR at the cor-
rect moment in time. When you want to use a transition between scenes, you should overlap them
by a couple of seconds to ensure the proper effect.
The advantage to this method is that it makes it easy to get exactly what you want on tape. It has
two disadvantages, however — (1) it requires careful preparation and planning, and (2) it requires
an extra “generation” in the tapes (that is, productions are a copy of a copy rather than a copy of the
original).
Transitions TO and FROM Solid Colors
You can insert a solid color background between two scenes for impact. For example, scene one
dissolves to solid black, holds briefly, then dissolves from black to the next scene.
To run this type of transition:
1
2
3
Assume your CURRENT source is on Channel A — press CUT/A to ensure it is the current
one.
Select the transition you want to use from the Transitions Menu — in this example, select a
slow dissolve.
Press NEXT/BACKGROUND to activate the Color Selector on the Preview screen.
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ADVANCED OPERATIONS
TRANSITIONS TO MODIFIED SOURCES
119
4
5
6
Press BG COLOR as many times as necessary to make the background black.
Press PLAY to run the transition and fade to black.
Assume your NEXT source (the one you are transitioning into) is on Channel C — press
NEXT/C to make that the next source.
7
8
Select the transition you want to use from the Transitions Menu — again, for this example
select a slow dissolve.
Press PLAY to transition from solid black to Channel C.
TIP
Use a wipe or dissolve to and from a solid colored background to indicate passage in time, a
change in mood, or a change in scenery. For example, a red background might indicate anger or
frustration; light green might indicate an open forest (tranquility) and dark green a rain forest
(somber and cool).
Transitions to Modified Sources
Use the MX-4 DV’s Input Effects to create a modified version of a source. This lets you transition
between the modified and unmodified versions. For the following procedure, assume you want to
flip a source image to create a mirror image.
To run this type of transition:
1
Use the MX-4 DV’s Route function to make the same source appear on two different channels.
For example, route channels A and B to IN 1 on the ROUTE screen. (Refer to “Route” on
page 73.)
2
3
4
Enter SHIFT+FLIP (horizontal) to apply the effect.
Select a transition (such as number 6) to run between channels A and B.
Press PLAY or move the T-BAR to run the transition.
Prior to running the transition, the source appears normal. After running the transition, the source
appears as a mirror-image of itself.
OPERATING IN LIVE ENVIRONMENTS
In most live environments you need the ability to quickly and easily switch between the various
live feeds. The MX-4 DV serves this need well because you can view the four input sources on the
Preview screen and easily run transitions from the CURRENT to the NEXT feed simply by press-
ing PLAY or moving the T-BAR.
SECURITY MONITORING
The MX-4 DV also serves well for monitoring security cameras. For example, you might set up
four different cameras and train them on areas that require security coverage. The Preview screen
shows small images from each camera. Switch to FULL Preview (SHIFT+3) to see larger previews
from all cameras. When you want to see a full screen image of a specific area, simply press the
CUT button for that camera.
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USING A GPI DEVICE
You can connect a GPI (General Purpose Interface) device to the MX-4 DV. The GPI device can
trigger an event from an external source, such as a push-button switch or an edit controller with
GPI output. A GPI device is especially useful when you are positioned some distance away from
the MX-4 DV but still want to be able to control its operation.
A GPI pulse causes the MX-4 DV to behave exactly as if the play button were pressed. Normally,
it starts a transition you previously set up. If you are playing back a Learned sequence (refer to
Chapter 11, Learn Mode), it triggers the next event in the sequence.
An edit controller or computer that provides a contact closure can also serve as a GPI triggering
device.
WARNING
Do not connect a power source of any kind to the Control GPI input connector on the MX-4
DV. Doing so can damage the equipment and void your warranty.
You can use a remote push-button device to trigger events on the MX-4 DV. If you already have a
GPI device you want to use, refer to “Live Broadcast Configuration” on page 38 to learn how to
connect the device. If you do not have a GPI device but would like to build one, refer to the
instructions in the next section.
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ADVANCED OPERATIONS
INSTRUCTIONS FOR BUILDING A GPI TRIGGER
121
INSTRUCTIONS FOR BUILDING A GPI TRIGGER
This section contains a diagram of the GPI Trigger Button you can build and all associated instruc-
tions.
Required Tools Soldering Iron and Solder
and Parts Wire Cutters
Electric Drill
Parts Required
A “normally open momentary push-button switch” (A).
One four-inch piece of 3/4-inch PVC pipe (C) and two end caps
(B and E).
3-conductor, 22-24 gauge stranded wire cable (D).
A stereo 3.5-mm mini-pin plug (F)
Instructions 1 Drill a 1/4-inch hole in the center of one PVC end cap (E) and a hole to match the push-button
switch in the other end cap (B).
2
Feed one end of the cable through the end cap with the 1/4-inch hole (E) and strip the end of
each wire.
3
4
5
6
7
8
Tie a single knot (D) about 8 inches from the end of the wire.
Slide the wire through the PVC pipe, the nut and washer, and the other end cap (B).
Solder the two wires at the knotted end to the two poles on the switch (A).
Slip the switch into the end cap and secure it using the nut and washer.
Solder the other ends of the cable to the plug (F).
Connect to the tip (G) and the base (H) of the plug. Don’t connect anything to the middle sec-
tion of the plug.
Base
Tip
Middle Section
9
Push the end caps in place.
10 After you’ve tested the unit, you can cement the end caps (A and E) into place, if you want.
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11 Solder the wires of the other end of the cord to the poles from the tip and base of the stereo
mini-pin plug (F). If you aren’t sure which poles are which, ask at the store when you make the
purchase.
12 Plug your new remote trigger plug into the GPI jack on the MX-4 DV rear panel.
Using a GPI Trigger Device
If your edit controller is automatic and has a GPI trigger, you can trigger each page in a project
with the controller. You might need a special cable to connect the GPI jacks from the GPI device to
the MX-4 DV.
WARNING
Always turn off power before plugging into any GPI jack.
The following instructions explain how to automatically trigger events using the device described
above. Instructions for other devices should be similar, but you should check the device instruc-
tions beforehand.
To use a GPI device as a trigger:
1
2
Connect the GPI device to the MX-4 DV using an appropriate cable.
Press the GPI trigger button when you want to trigger an event. You can trigger events
between scenes or anywhere in the middle of a scene. You can also trigger each event in a
Learned Script (refer to “Learned Scripts” beginning on page 103).
3
With the appropriate setup menu value, you can use the mixer to trigger other products (like a
Videonics TitleMaker).
RESETTING THE MX-4 DV FACTORY DEFAULTS
When you first power up the MX-4 DV, it operates using settings defined by FOCUS Enhance-
ments. As you go about using the MX-4 DV and changing its various settings, the unit stores your
settings in its memory (called NVRAM). You can reset all settings to their factory defaults.
To reset the MX-4 DV to its factory defaults:
1
2
3
4
Power down the unit (using the Power switch).
Press down and hold the SHIFT+SETUP/FTP buttons.
Turn on the MX-4 DV’s Power switch.
After the unit powers up and you see the Preview screen, release all buttons.
NOTE
A factory reset will not restore the original background and foreground jpegs which are included
when the MX-4 DV is shipped. Refer to the included CD or www.focusinfo.com to re-download the
original 12 inch Design graphics if desired. Apply the SHIFT+ROUTE keys after powering down
the unit to remove all current jpegs on the system if desired before powering up again to import
new ones.
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ADVANCED OPERATIONS
CONNECTING WITH ETHERNET
123
CONNECTING WITH ETHERNET
Network your MX-4 DV to a PC or a Macintosh using the included crossover cable. Copy the fol-
lowing to and from the MX-4 DV:
•
•
Background and Foreground jpegs
Operating software
To work on a standard Ethernet network, each MX-4 DV requires an unique IP address. This
address and associated information can be static (assigned and typed in), or dynamic (assigned by a
DHCP server). Do this by pressing the SHIFT+SETUP/FTP buttons to access the ftp menu. The
example screen shot shown below represents the beginning setup screen to apply a static or
dynamic IP address.
To connect to a network (Static IP):
1
2
Power down the MX-4 DV.
Connect the MX-4 DV to your network with the included crossover cable to either a PCs or a
Macintosh computer.
3
Power up, and assign the IP and Mask. The Gateway and Password are not needed to perform
this function.
FOCUS Enhancements recommends you use one of the following IP address for static input:
•
•
•
192.168.0.2
192.168.0.3
192.168.0.4
NOTE
192.168.01 will not function in this system.
4
Reboot for the changes to take effect.
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MX-4 DV USER GUIDE
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5
The MX-4 DV is now networked, and it should be visible as an FTP device.
IP Setup for a Computer or Laptop
To set up your PC to communicate with the MX-4 DV (Static IP address):
Win98SE/Win2000/XP Pro/WinT40/WinT40 Server
1
Plug in the crossover cable (R5) to the MX-4 DV Ethernet port and your computer’s Ethernet
port.
NOTE
A straight cable has the same wire configuration colors on each end.
A crossover cable has two different wire configuration colors on each end.
Make sure to use the included crossover cable if you are working with a PC.
2
On your computer, select My Network Places from the desktop and right click and select
Properties.
a
Select Local Area Connection and click Properties.
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ADVANCED OPERATIONS
IP SETUP FOR A COMPUTER OR LAPTOP
125
b
Select TCP/IP and click Properties.
3
On the Internet Protocol (TCP/IP) Properties screen or identified as the Network screen for
Windows 95/98, switch the default selection from Obtain an IP Address Automatically to
Use the Following IP Address and type in the following IP address: 192.168.1.2. Press the
TAB key.
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MX-4 DV USER GUIDE
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The subnet mask information should be automatically filled in the blank space. If not, fill in
the subnet mask blank space with the following: 255.255.255.0.
NOTE
If you have selected the ADVANCED button before typing in the subnet mask (or pressing the TAB
key), you will be taken to a new window asking you to input the subnet mask. The correct subnet
mask number will appear next to the IP address. Select OK and the subnet mask blank space will be
filled.
4
On the MX-4 DV, use SHIFT+SETUP/FTP to enter the IP Address Screen. In the “IP” section,
enter the following IP address: 192.168.1.3. Click OK.
5
6
Reboot the MX-4 DV (power off and on).
After the MX-4 DV has rebooted, press SHIFT+SETUP to enter the IP Address Screen. The new
IP address (192.168.1.3) is displayed in RED.
7
Restart the computer. When the Name and Password screen appears, select cancel.
NOTE
Do not enter your name and password at this time.
8
Select Start (from the bottom tab bar) and then Run. When a new window appears, type cmd
or command in the Open blank and click OK.
A new MS-DOS window appears with C:\Documents and Settings> in the command line.
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ADVANCED OPERATIONS
IP SETUP FOR A COMPUTER OR LAPTOP
127
9
Type the following in the command line: ping 192.168.1.2. (Make sure there is a space
between ping and 192.) Press the ENTER key and a ping test is executed. The reply messages
should appear similar to the following screen.
10 Type the following command on the command line: ipconfig. Press the ENTER key. The
screen displays the Ethernet IP configuration (Adapters 0, 1, and 2)
11 Double-click the Internet Explorer icon and type the following in the address line:
ftp://192.168.1.3. Three folders should appear as shown in the following illustration. The fold-
ers are BACK (background), FORE (foreground), and MISC.
Now you are ready to import new, updated software or jpeg images to and from your MX-4 DV.
Details about how to transfer files are described in further detail in “Transferring Files TO or
FROM the MX-4 DV” on page 130.
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To set up your Macintosh computer to communicate with the MX-4 DV (Static IP address):
Macintosh OS 10.2.8/OS 10.3.6
1
Plug in the included crossover cable to the MX-4 DV Ethernet port and your computer’s
Ethernet port.
NOTE
A straight cable will have the same wire configuration colors on each end.
A crossover cable will have two different wire configuration colors on each end.
Make sure to use a crossover cable if you are working with a Macintosh computer.
2
Access System Preferences on the desktop using the Apple Logo in the right-hand corner of
the screen.
3
4
Click the Network icon in System Preferences to access the Network page.
In the Network page, change the Configure IPv4 field to Manually.
The network page should show an IP address of 0.0.0.0.
5
6
Apply a universal static IP address (192.168.1.4) to allow communication with the mixer
(192.168.1.3).
For example, if the mixer displays 192.168.1.3, the IP address entered on the Macintosh
should be 192.168.1.4.
Access your Internet browser. It should display the following:
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ADVANCED OPERATIONS
IP SETUP FOR A COMPUTER OR LAPTOP
129
Now you are ready to import new, updated software or jpeg images to and from your MX-4 DV.
Details about how to transfer files are described in further detail in “Transferring Files TO or
FROM the MX-4 DV” on page 130.
To connect to a network (Dynamic IP):
1
2
3
Set the IP address to 0.0.0.0 to indicate that you want DHCP, or it will stay static.
Power down the MX-4 DV.
Connect the MX-4 DV to your network with a standard 10Base-T Ethernet cable, just as you
would network a computer.
4
Power up. DHCP is the default mode. To determine if an IP address has automatically been
assigned, press SHIFT+SETUP/FTP.
A non-zero number should appear on the screen. Contact your network administrator if this
doesn’t occur, to verify that your network has a working DHCP server.
5
To prevent unauthorized users from corrupting your system, use the password setting within
the MX-4 DV ftp menu. FOCUS Enhancements recommends that while using a DHCP IP
address, you arrow down and type in from your number keypad a code to lockout unauthorized
users. If the password is set to “222” on the mixer, for example, then you should apply “222”
to the access section of your ftp page.
The MX-4 DV is now networked, and it should be visible as an FTP device.
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Additions DHCP If your MX-4 DV is connected to a network and the IP address is automatically assigned to your
Tips computer, perform the following procedure:
1
2
3
Hook up a standard straight network cable between the router or hub and the MX-4 DV unit.
Switch on the mixer.
The MX-4 DV will recognize the new address assigned by the network and allow access to
any browser or FTP application by typing in the address appearing on the MX-4 DV’s ftp
menu. (Use SHIFT+SETUP/FTP.)
If your MX-4 DV is connected to a network and the IP address is NOT automatically assigned to
your computer or laptop, contact your Network Administrator.
Transferring Files TO or FROM the MX-4 DV
From a PC or Macintosh, communicate with the MX-4 DV using standard FTP software. A few
software options are Fetch for Macintosh users or Windows Shareware for Windows users.
System Upon making a computer connection, you can write jpegs to, or read jpegs from the following
Directories and directories: BACK and FORE.
Files
These directories can contain 50 jpegs each. The jpegs in the BACK directory can be used as input
or Background graphics. They should not exceed 1024x768 pixels. They will be displayed in the
center. The jpegs in the FORE directory can be used as Foreground graphics. They will generally
be smaller (180x120 pixels) and can be displayed anywhere on the screen. The image and quality
at 180x120 will not be very sharp. The jpeg file names must have a number between 0 and 49 for
them to be used by the MX-4 DV, for example: FOCUS_01.JPG. Once the jpegs have been
imported with the correct file names, reboot the MX-4 DV. After restarting the MX-4 DV, it will
take a few minutes to load the imported jpegs and formulate the thumbnails into the proper back-
ground and foreground menus.
NOTE
The time it takes to load the imported jpegs into the system depends on how many jpegs were
loaded at one setting.
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ADVANCED OPERATIONS
UPDATING SYSTEM SOFTWARE
131
Updating System Software
The hidden file software is the MX-4 DV’s operating software. This file resides in the top level
directory, but isn’t displayed by communications software. Without this file, the MX-4 DV would
power up with minimum functionality. Updating system software consists of replacing the firm-
ware with a newer version. You can do this using Ethernet. Upon restart, the MX-4 DV will boot
from the replacement (newer) version.
This feature allows you to easily deal with operating software upgrades. For example, you can
download new operating software from the support site of FOCUS Enhancements to a networked
PC. This same PC can be used to access your MX-4 DV to install the software file. Older copies of
the operating software, as well as a library of background, foreground, and still frame jpeg images
can be kept on your PC.
After changing any stored settings (IP, Mask, Gateway, or FTP password), you must perform a
power cycle. To do this, remove the AC power supply, wait a few seconds, then replace it. Upon
restart the new settings will take effect.
To download the latest MX-4 DV software from the FOCUS website
http://.focusinfo.com/support/updates.htm:
1
Right click. Select Save Target As and save it to a predetermined directory or to your Win-
dows desktop.
2
3
Open the FTP Explorer.
Click on Tools, then Quick Connect, and type 192.168.1.2 or the IP address the network
assigned for the mixer. Make sure the box Anonymous is checked and click SAVE.
4
5
Click Connect. You will now see the contents of the MX-4 DV.
To transfer the saved software files from you computer to the MX-4 DV, drag the file over to
the MX-4 DV root directory.
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MX-4 DV USER GUIDE
CHAPTER 13
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6
Click Tools and select Disconnect. Upon exiting this FTP program, the software will transfer
to the MX-4 DV. You can also select File and select Upload and go to the directory of desktop
and select the previously saved software.
7
8
To activate the new software, recycle the power on the MX-4 DV (power off and power on).
To verify the new software version, hold down the SHIFT key and press the #9 key. (Press
SHIFT and the #9 key again to return to the Preview screen.)
NOTE
The software file is approximately 3.0 Mbytes in size. With a 56K modem, it takes about 15
minutes to download the software to your computer. ISDN, DSL, and cable modems should take
less time.
Information About FTP Clients
Many http Internet browsers support the FTP protocol, but they can vary in operation. You may be
able to access your MX-4 DV by just typing “FTP://000.000.000.000”, where the zeros are your
unique IP address. Internet browsers are also more difficult to use when the FTP host (your MX-4
DV) is set to require a password. For this reason FOCUS Enhancements suggest that you use a
“real” FTP client, such as ws_ftp (Windows Shareware), or Fetch (Macintosh). The MX-4 DV net-
working feature was designed to be reliable in providing one-on-one connections, not in support-
ing multiple clients.
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ADVANCED OPERATIONS
INFORMATION ABOUT FTP CLIENTS
133
NOTE
An example of an FTP program to upgrade the MX-4 DV’s software and the transfer of files is FTP
Explorer. It can be found at the following site: http://www.ftpx.com/download.html for Windows.
Use Fetch 3.0 for the Macintosh. The instructions in this chapter are for the FTP Explorer, so they
may change slightly depending upon the program you use.
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CHAPTER 13
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APPENDIX A
TRANSITIONS LIST
This appendix shows the icons assigned to each MX-4 DV transition, and identifies them by
number.
Some transition descriptions use special terms and abbreviations to describe how the transi-
tions work.
(A) — The CURRENT source: the one on the screen before the transition begins.
(B) — The NEXT source: the one on the screen after the transition finishes.
Dissolve — One image fades away as another fades in.
Wipe — A simple window or boundary that reveals the underlying video. The video image
neither moves nor changes size.
Slide — Leaves the video full size but the picture moves with the transition.
Comp, Exp — (Compress, Expand) The video resizes to fit the window. Normally, the
entire picture scales to fill the window.
H, V — (Horizontal, Vertical) These refer to the direction in which the transition moves. For
example, a V wipe is a horizontal line that moves vertically up or down the screen. When the
effect runs in the forward (non-reversed) direction, vertical transitions move down the
screen and horizontal transitions move from left to right, unless otherwise indicated.
CW, CCW — ClockWise and CounterClockWise movement.
L, R, Ctr, T, B — Left, Right, Center, Top, and Bottom, respectively.
TLC, TRC — Top Left Corner and Top Right Corner, respectively.
BLC, BRC — Bottom Left Corner and Bottom Right Corner, respectively.
“;” — Divides multi-step transitions. “/” indicates two actions that occur simultaneously.
* — The transition always uses a fixed direction when performed from frozen picture. They
are not affected by the REVERSE button.
# — The transition operates differently when performed from a frozen picture. Simpler
effects are substituted automatically.
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MX-4 DV USER GUIDE
APPENDIX A
136
BASIC TRANSITIONS
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TRANSITIONS LIST
BASIC TRANSITIONS
137
Basic Transitions (continued)
240
250
260
270
280
241
251
261
271
281
242
252
262
272
282
243
253
263
273
283
244
254
264
274
284
245
255
265
275
285
246
256
266
276
286
247
257
267
277
287
248
258
268
278
288
249
259
269
279
289
295
290
291
292
293
294
296
297
298
299
The Basic Transitions category contains transitions numbered from 0 through 299. The category
contains a wide assortment of effects.
Transitions 0 through 29 serve as the default assortment in the Transitions Menu. When you turn
the unit on for the first time, these transitions appear in the menu. They provide a unique assort-
ment of transitions suitable for many purposes.
In the following table, transitions marked with * (asterisk) always use fixed direction when per-
formed from a frozen picture. They are not affected by the REVERSE button. Transitions marked
with # (pound sign) operate differently when performed from a frozen picture. Simpler effects are
automatically substituted.
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MX-4 DV USER GUIDE
APPENDIX A
138
Table 1: Descriptions of Basic Transitions
#
DESCRIPTION
#
DESCRIPTION
Default Transition Assortment
0
1
2
3
Cut
15#
16
H Comp. (A) alongside (B) in motion; Exp. (B)
Comp. (A) to 1/2; roll R to (B); Exp
Dissolve
H Wipe
V Wipe
17
Slide in slice (B) from L at T; Wipe slice to full
18
V Comp. (A) to Ctr slice; H collapse slice to Ctr
point
4
H Curtain Wipe (B) from Ctr to full
V Curtain Exp. (B) from Ctr to full
H Slide (A)/Exp. (B)
19
Butterfly from T L/random proportion
Ctr Exp. (B) with 2 flips
5
20
6
21
Ctr Comp. (A); swing back; out B
Bounce off edges/Wipe
7
H Slide (A)/Slide (B)
22
8
V Comp. (A)/Exp. (B)
23
Bounce in from T
9
V Slide (A)/Slide (B)
24*
25*
26#
Comp. (A) to T; CW spiral out to T
Comp. (A); CW spiral to Ctr
Mosaic Zoom
10#
11*
H Slide (A) out L; Slide (B) in from L
H Comp. (A) R to 1/2 screen slice; Slide to
L; slide under Ctr line
12
Ctr Exp. (B)
27
28
29
Random Sizes & Flips (B)
Luminance Key 1
13
Ctr Exp. & Dissolve (B)
Comp. (A) to lower R of (B); Exp. (B)
14#
Checkerboard w/middle dissolve
Other Basic Transitions
30
31*
32*
33
34
35
36
37
38
39
40
41
42
43
H Wipe
136
137
138*
139*
140
141
142
143
144
145
146
147
148*
149*
Diagonal Exp. (B) from TRC/Slide (A) to BLC
Diag. Slide (B) from TRC/Comp. (A) to BLC
Diagonal Comp. & Dissolve (A) to TRC
Diagonal Slide & Dissolve (A) to TRC
Diagonal Wipe (B) from BLC
H Comp. (A)/Wipe (B)
H Slide (A)/Wipe (B)
H Wipe (A)/Exp. (B)
H Comp. (A)/Exp. (B)
H Slide (A)/Exp. (B)
H Wipe (A)/Slide (B)
H Comp. (A)/Slide (B)
H Slide (A)/Slide (B)
H Picture Roll
Diagonal Exp. (B) from BLC
Diagonal Comp. (B) to BLC; Exp.
Diag. Exp. (B) from BLC/Comp. (A) to TRC
143, with overlap
Diagonal Slide (B) from BLC/Slide (A) to TRC
Diagonal Exp. (B) from BLC/Slide (A) to TRC
Diag. Slide (B) from BLC/Comp. (A) to TRC
Diagonal Comp. & Dissolve (A) to BLC
Diagonal Slide & Dissolve (A) to BLC
H Curtain Wipe (B) from Ctr to full
H Curtain Exp. (B) from Ctr to full
H Wipe (B) from L Ctr
H Exp. (B) from L Ctr
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TRANSITIONS LIST
BASIC TRANSITIONS
139
Table 1: Descriptions of Basic Transitions (continued)
#
DESCRIPTION
#
DESCRIPTION
44
45
46
47
48
49
50
H Exp. (B) from L Ctr/Comp. (A) to R Ctr
H Exp. (B) from L Ctr/Slide (A) to R
H Wipe (B) from R Ctr
150
151
152
153
154
155
Diagonal Wipe (B) from BRC
Diagonal Exp. (B) from BRC
H Exp. (B) from R Ctr
Diagonal Comp. (B) to BRC; Exp.
Diag. Exp. (B) from BRC/Comp. (A) to TLC
153 with overlap
H Exp. (B) from R Ctr/Comp. (A) to L Ctr
H Exp. (B) from R Ctr/Slide (A) to L
H Slide & Wipe (B) from R Ctr/Slide (A) to
L
Diagonal Slide (B) from BRC/Slide (A) to TLC
51
H Slide & Wipe (B) from L Ctr/Slide (A) to
R
156
Diag. Slide (B) from BRC/Comp. (A) to TLC
52
53
H Slide (B) from L/Comp. (A) to R Ctr
H Slide (B) from R/Comp. (A) to L Ctr
H Comp. (A) to Ctr line; Exp. (B) from line
157
Diagonal Exp. (B) from BRC/Slide (A) to TLC
Diagonal Comp. & Dissolve (A) to BRC
Diagonal Slide & Dissolve (A) to BRC
158*
159*
54#
55#
56#
H Comp. (A) to Ctr line; Exp. (B) from line
160
161
Dissolve
H Slide (A) out L edge; Slide (B) in from
edge
Ctr Exp. & Dissolve (B)
57
H Slide (A) out R edge; Slide (B) in from
edge
162
Exp. & Dissolve (B) from R Ctr
58#
59
H Comp. (A) to L edge; Exp. (B) from edge
H Comp. (A) to R edge; Exp. (B) from edge
163
164
165
Exp. & Dissolve (B) from L Ctr
Exp. & Dissolve (B) from T Ctr
Exp. & Dissolve (B) from B Ctr
60
H Wipe 1/4 slice (B); H Wipe 1/2 slice (B);
H wipe (B) to R
61
H Wipe 1/2 slice (B); V Wipe 1/2 slice (B);
H wipe (B) to R
166
167
168
169
Diagonal Exp. & Dissolve (B) from TRC
Diagonal Exp. & Dissolve (B) from TLC
Diagonal Exp. & Dissolve (B) from BRC
Diagonal Exp. & Dissolve (B) from BLC
62*
63*
64*
H Comp. (A) L to 1/2 screen slice; Slide
slice R
H Comp. (A) L to 1/2 screen slice; Slide to
R; slide under Ctr line
H Comp. (A) L to 1/2 screen slice; Slide to
R; Comp. to Ctr line
H Comp. (A) R to 1/2 screen slice; Slide to L 170
Ctr Wipe
65*
66*
H Comp. (A) R to 1/2 screen slice; Slide to
L; slide under Ctr line
171
172
Ctr Exp. (B)
H Comp. (A) R to 1/2 screen slice; Slide to
L; Comp. to Ctr line
Ctr Wipe (B) with Slide from L
67*
68
69
70
H Comp. line to L edge; Exp. to full screen
H Comp. line to R edge; Exp. to full screen
V Wipe
173
174
175
Ctr Wipe (B) with Slide from R
Ctr Wipe (B) with Slide from B
Ctr Wipe (B) with Slide from T
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APPENDIX A
140
Table 1: Descriptions of Basic Transitions (continued)
#
DESCRIPTION
#
DESCRIPTION
V Comp. (A)/Wipe (B)
V Slide (A)/Wipe (B)
V Wipe (A)/Exp. (B)
V Comp. (A)/Exp. (B)
V Slide (A)/Exp. (B)
V Wipe (A)/Slide (B)
V Comp. (A)/Slide (B)
V Slide (A)/Slide (B)
V Picture Roll
176
177
178
179
180
181
182
183
Ctr Wipe (B) with Slide from B L
Ctr Wipe (B) with Slide from B R
Ctr Wipe (B) with Slide from T L
Ctr Wipe (B) with Slide from T R
Comp. (A) to 1/2; roll R to (B); Exp.
Comp. (A) to 1/2; slide R to (B); Exp.
Comp. (A) to 1/2; roll down to (B); Exp.
71*
72*
73
74
75
76
77
78
Comp. (A) to 1/2; slide down to (B); Exp.
184#
185#
186#
187#
188#
79
H Comp. (A) alongside (B) in motion; Exp. (B)
80
81
82
83
84
V Curtain Wipe (B) from Ctr to full
V Curtain Exp. (B) from Ctr to full
V Wipe (B) from T Ctr
H Comp. (A) alongside (B); shuffle; Exp. (B)
V Comp. (A) above (B) in motion; Exp. (B)
V Comp. (A) above (B); shuffle; Exp. (B)
Comp. (A) to lower R of (B); Exp. (B)
Comp. (A) to lower L of (B); Exp. (B)
V Exp. (B) from T Ctr
189#
190
191
192
193
194
195
V Exp. (B) from T Ctr/Comp. (A) to B Ctr
85
86
87
88
89
90
V Exp. (B) from T Ctr/Slide (A) to B
V Wipe (B) from B Ctr
Bounce in from T
Overshoot from T
V Exp. (B) from B Ctr
Bounce in from T with hammer effect on (A)
Bounce off edges/Wipe
Bounce off edges/Exp.
Perimeter Slide/Exp.
V Exp. (B) from B Ctr/Comp. (A) to T Ctr
V Exp. (B) from B Ctr/Slide (A) to T
V Slide & Wipe (B) from B Ctr/Slide (A) to
T
91
V Slide & Wipe (B) from T Ctr/Slide (A) to
B
Ctr Wipe (A) to 1/16 screen; CW spiral reveal
196*
92
93
94
95
V Slide (B) from T/Comp. (A) to B Ctr
V Slide (B) from B/Comp. (A) to T Ctr
V Comp. (A) to Ctr line;Exp. (B) from line
197*
198*
199*
200*
Ctr Wipe (A) to 1/16 screen; CCW spiral reveal
Ctr Wipe (A) to 1/8 screen; CW spiral reveal
Ctr Wipe (A) to 1/8 screen; CCW spiral reveal
Comp. (A) to T; CW spiral out to T
V Comp. (A) to Ctr line;H Exp. (B) from
line
96
97
98
99
100
V Slide (A) out T edge; Slide (B) in from T
V Slide (A) out B edge; Slide (B) in from B
V Comp. (A) to T edge; Exp. (B) from edge
V Comp. (A) to B edge; Exp. (B) from edge
Comp. (A) to T; CCW spiral out to T
Comp. (A) to B; CW spiral out to B
Comp. (A) to B; CCW spiral out to B
Comp. (A) to L; CW spiral out to L
Comp. (A) to L; CCW spiral out to L
201*
202*
203*
204*
205*
V Wipe 1/4 slice (B); V Wipe 1/2 slice (B);
V wipe (B) to B
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TRANSITIONS LIST
BASIC TRANSITIONS
141
Table 1: Descriptions of Basic Transitions (continued)
#
DESCRIPTION
#
DESCRIPTION
101
V Wipe 1/2 slice (B); H Wipe 1/2 slice (B);
V wipe (B) to B
Comp. (A) to R; CW spiral out to R
Comp. (A) to R; CCW spiral out to R
Comp. (A); CW spiral to Ctr
206*
V Comp. (A) T to 1/2 screen slice; Slide
slice to B
102*
103*
104*
207*
208*
209*
V Comp. (A) T to 1/2 screen slice; Slide to
B; slide under Ctr line
V Comp. (A) T to 1/2 screen slice; Slide to
B; Comp. to Ctr line
Comp. (A); CCW spiral to Ctr
V Comp. (A) B to 1/2 screen slice; Slide to T 210
Ctr Exp. (B) with 2 flips
Ctr Exp. (B) with 4 flips
105*
106*
V Comp. (A) B to 1/2 screen slice; Slide to
T; slide under Ctr line
211
V Comp. (A) B to 1/2 screen slice; Slide to
T; Comp. to Ctr line
212
Butterfly from T L/random proportion
107*
108
109
110
V Comp. line to T edge; Exp. to full screen
V Comp. line to B edge; Exp. to full screen
213
214
215
Butterfly from T R/random proportion
Fly-in from T L/fixed proportion
Fly-in from T R/fixed proportion
Slide in slice (B) from L Ctr; Wipe slice to
full
111
112
Comp. in slice (B) from L Ctr; Exp. to full
216
217
Random Sizes & Flips (B); fills screen at end
Random Wipes (B); Ctr wipe to full screen
Slide in slice (B) from R Ctr; Wipe slice to
full
113
114
Comp. in slice (B) from R Ctr; Exp. to full
218
219
H Cube Roll
V Cube Roll
Slide in slice (B) from L at T; Wipe slice to
full
115
116
Comp. in slice (B) from L at T; Exp. to full
220
Zoom in on (A); zoom away from (B)
Mosaic Zoom
Slide in slice (B) from L at B; Wipe slice to
full
221*
117
118
Comp. in slice (B) from L at B; Exp. to full
222
223
Ctr Comp. (A); swing back; out B
Ctr Comp. (A); swing back; out T
Slide in Ctr slice (B) from T; Wipe slice to
full
119
120
Slide in Ctr slice (B) from B; Wipe slice to
full
Ctr Comp. (A);Ctr Exp. (B)
224*
225#
226
227
Diagonal Wipe (B) from TLC
Ctr Comp. & Dissolve (A);Ctr Exp. & Dissolve (B)
121
122
123
124
125
126
Diagonal Exp. (B) from TLC
H Comp. (A) to Ctr slice; V Comp. slice to Ctr.
V Comp. (A) to Ctr slice; H Comp. slice to Ctr.
H Comp. (A) to Ctr slice; collapse to Ctr; Exp.
Multi-direction Cube roll
Diagonal Comp. (B) to TLC; Exp.
Diag. Exp. (B) from TLC/Comp. (A) to BRC 228
123 with overlap
229
230
231
Diag. Slide (B) from TLC/Slide (A) to BRC
H variable stripes
Diagonal Exp. (B) from TLC/Slide (A) to
BRC
V variable stripes
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APPENDIX A
142
Table 1: Descriptions of Basic Transitions (continued)
#
DESCRIPTION
#
DESCRIPTION
127
Diag. Slide (B) from TLC/Comp. (A) to
BRC
232
H stripe-wipe
Diagonal Comp. & Dissolve (A) to TLC
Diagonal Slide & Dissolve (A) to TLC
Diagonal Wipe (B) from TRC
233
234
235
236
237
V stripe-wipe
128*
129*
130
131
132
133
134
135
Checkerboard w/middle dissolve
Checkerboard w/start to finish dissolve
Checkerboard w/shrinking checkers
Luminance Key 1
Diagonal Exp. (B) from TRC
Diagonal Comp. (B) to TRC; Exp.
Diag. Exp. (B) from TRC/Comp. (A) to BLC 238
Luminance Key 2
133 with overlap
239
240
(A) wanders out
Diagonal Slide (B) from TRC/Slide (A) to
BLC
Vertical eat away from bottom to top
241
242
243
244
245
246
Vertical eat away from top to bottom
Horizontal eat away from left to right
Horizontal eat away from right to left
Eat away from TLC to Center
Eat away from TRC to Center
Eat away from TLC to bottom BRC; BRC to BLC
to Center
247
Eat away from TRC to bottom BRC; BRC to BLC
to Center
248
249
Eat away from Center to bottom BLC
Eat away from Center to bottom BRC
250
251
252
Slide in (A) from TRC to B; Slide -b back to
B up to Trans Exp.
Slide in (A) from TLC to T; Slide to Ctr then
Exp to BRC.
272
273
Exp from (A) BLC to TRC; Exp from TRC to Ctr.
H Exp (A) from R to L; Exp from R to Ctr.
H Exp (A) from L to R; Exp from R to Ctr.
H slide (A) to L with V Flip; Slide to BRC
Exp.
253
254
Exp (A) from Ctr with H flip to full screen.
274
275
Comp slide in (A) from R to Ctr to L; Exp
slide from L to R to Ctr.
H comp (A) from Ctr to R back to Ctr; Exp from
Ctr to L back to the R.
255
256
V comp slide (A) to Ctr; Exp from Ctr with
V flip to full screen.
276
277
V comp (A) from Ctr to T back to Ctr; Exp from
Ctr to B back to T.
H slide in (A) to BLC; Slide from BLC to T
then to B; Slide from B to L then R finishing
with Exp to Ctr.
Comp slide (A) from BRC to TLC; Comp slide
from TLC with H flip to BRC.
257
258
V Exp slide in (A) to Ctr with Exp to full
screen.
278
279
Comp slide (A) from BRC to TLC; Comp slide
from TLC to R then Exp to BLC.
H comp slide in (A) to L; Slide from t to B
then Exp to Ctr to fill full screen.
Comp slide (A) from BRC to TLC; Comp slide V
from B to T.
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TRANSITIONS LIST
BASIC TRANSITIONS
143
Table 1: Descriptions of Basic Transitions (continued)
#
DESCRIPTION
#
DESCRIPTION
259
H slide in (A) to BRC; CCW Exp Spiral into
Ctrt.
280
Comp slide (A) from B to T; Comp slide from T to
B with H flip.
260
261
262
Ctr Exp (A); Slide from T to B with Exp to
full screen.
281
282
283
Comp h flip (CA) from Crt to B; Exp H flip from T
to B.
Slide in (A) from R to L; Slide T to B then
Exp from Ctr.
Comp V flip (A) from Ctr to R; Exp V flip from L
to R.
Comp slide in (A) from BRC to Ctr then Exp
slide to TLC; Comp slide in (A) from TRC
then Exp slide to BLC; Exp from Ctr.
Comp slide (A) from BRC to TLC with V flip;
Comp from TLC to BRC with V flip.
263
264
265
266
267
268
269
270
271
293
294
295
296
V Exp slide (A) to Ctr; Exp from Ctr with H
flip to full screen.
284
285
286
287
288
289
290
291
292
298
299
Comp slide (A) from Ctr to TRC; Comp slide from
TRC to B and back to Ctr.
H Exp slide (A) to L; Exp slide from L to
Ctr.
Comp slide (A) from Ctr to T; Comp slide from T
to B back to T.
Multipls Exp screens (A) to Ctr.
Comp slide (A) from R to L with V flip; Comp
slide from L to R with V flip.
V Exp slide (A) to B with V flip; Exp slide
with V flip to Ctr.
Comp slide (A) from BRC to TLC; Comp slide
from TLC to B from Exp to TRC.
H slide (A) from L to R; Exp slide from
BRC to Ctr.
Shrink comp (A) from B to Ctr; Slide from TLC to
BRC, then from TRC to BLC.
H Exp dissolve slide (A) from L to R.
Comp V flip (A) from B to Ctr; Comp H flip from
Ctr to T.
V Exp slide (A) from B to T.
Comp slide (A) from L to BRC; Comp slide from
BRC to L then TRC to L.
V Comp slide (A) from T to Ctr; Ctr Exp
slide to B back to Ctr.
Comp slide (A) from BRC to Ctr; Comp slide from
Ctr to R then flip back to L.
Exp (A) from BRC to TLC; From TLC to
Ctr.
Shrinking Comp slid (A) from B to Ctr.
Shrinking comp CCR. Spiral slide (A) from
BRC to Ctr.
Shrinking comp CR spiral slide (A) from BRC to
Ctr.
Shrinking comp slide (A) from BRC to L;
Shrinking comp from L to R then to Ctr.
Comp slide (A) from BLC to R; Comp slide from R
to Ctr then Exp to L.
Shrinking comp (A) from B to T; Shrinking
comp from T to B then to Ctr.
Shrinking comp slide (A) from BLC to TRC;
Shrinking comp slide from TRC to BLC
then Exp to BRC.
297
Shrinking comp slide (A) from BRC to TLC;
Shrinking comp slide from TLC to BRC
then Exp to BLC.
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APPENDIX A
144
EDGE TRANSITIONS
Edge transitions move a border across the screen between the outgoing and incoming images. Edge
transitions group into sets of six. For example, transitions 300 through 305 perform the same type
of effect, but using six different edges: transitions 306 through 311 perform the same type of effect,
but using the same six edges as the preceding group: and so forth.
Table 2: Edge Transitions
Horizontal Wipes
300
301
302
308
314
320
326
332
338
344
350
303
309
315
321
327
333
339
345
351
304
310
316
322
328
334
340
346
352
305
311
317
323
329
335
341
347
353
Horizontal Compress (A)/Wipe (B) *
306 307
Horizontal Slide (A)/Wipe (B) *
312 313
Horizontal Wipe (A)/Expand (B)
318 319
Horizontal Compress (A)/Expand (B)
324 325
Horizontal Slide (A)/Expand (B)
330 331
Horizontal Wipe (A)/Slide (B)
336 337
Horizontal Compress (A)/Slide (B)
342 343
Horizontal Slide (A)/Slide (B)
348 349
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TRANSITIONS LIST
MISC.TRANSITIONS
145
MISC. TRANSITIONS
Table 3: Misc. Transitions
NO.
ICON
DESCRIPTION
NO.
ICON
DESCRIPTION
400
Rectangle bounces off
bottom of screen
415
A circles in from TLC
401
402
403
404
405
406
407
408
409
410
411
412
413
414
B bounces off bottom of
screen
416
417
418
419
420
421
422
423
424
425
426
427
428
429
A circles in from TRC
A circles in from BRC
A twirls in from edges
A twirls in from edges
Rectangle bounces off
bottom of screen
B bounces off bottom of
screen
Rectangle around screen
perimeter
Rectangle around screen
perimeter
Rectangle circles in from
TLC
Rectangle circles in
from L middle
Rectangle circles out
from center
Rectangle circles in
from R middle
Rectangle circles out
from center
Rectangle circles in
from L middle
Rectangle circles out
from center
Rectangle circles in
from R middle
A circles out from center
A circles in from L
middle
A circles out from center
A circles in from R
middle
Rectangle bounces off
screen edges
A circles in from R
middle
Rectangle circles screen
perimeter
A circles in from L
middle
A twirls away to BRC
A circles in from BLC
A twirls away to BLC
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APPENDIX A
146
SHAPE TRANSITIONS
Shape transitions use various geometric and custom shapes (stars, hearts, and so forth) to transition
from one image to the next.
Table 4: Shape Transitions
Slide in slice (B) from R Ctr; Wipe slice to full
500
505
501
506
502
507
503
508
504
513
522
531
540
549
Slide in Ctr slice (B) from T; Wipe slice to full
509
514
510
515
511
516
512
517
Diagonal Slide Dissolve (A) to TRC *
518
523
519
524
520
525
521
526
Diagonal Wipe (B) from BLC
527
532
528
533
529
534
530
535
Ctr Expand Dissolve (B)
536
541
537
538
543
539
544
542
Diagonal Expand Dissolve (B) from BLC
545
550
546
551
547
552
548
553
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TRANSITIONS LIST
SHAPE TRANSITIONS
147
Table 4: Shape Transitions (continued)
Ctr Wipe
554
559
555
560
556
561
557
562
558
Ctr Wipe (B) with Horizontal Slide from T
563
564
569
565
570
566
571
567
576
585
594
603
612
568
Bounce off edges/Wipe
572
577
573
578
574
579
575
580
Ctr Wipe (A) to 1/16 screen; CCW spiral reveal *
581
586
582
587
583
588
584
589
Random Sizes Flips (B); fills screen at end
590
595
591
596
592
597
593
598
Random Wipes (B); Ctr wipe to full screen
599
600
605
601
606
602
607
604
(A) wanders out
608
613
609
614
610
615
611
616
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APPENDIX A
148
Table 4: Shape Transitions (continued)
Horizontal Curtain Expand (B) from Ctr to full
617
622
618
623
619
624
620
625
621
630
639
648
657
666
675
684
Horizontal Compress (A) to Ctr line; Expand (B) from line
626
631
627
632
628
633
629
634
Horizontal Compress (A) L to 1/2 screen slice; Slide slice R *
635
640
636
641
637
642
638
643
Horizontal Compress (A) L to 1/2 screen slice; Slide to R; slide under Ctr line *
644
649
645
650
646
651
647
652
Horizontal Compress (A) R to 1/2 screen slice; Slide to L; Compress to Ctr line *
653
658
654
659
655
660
656
661
Horizontal Compress line to L edge; Expand to full screen
662
663
668
664
669
665
670
667
Horizontal wipe
671
676
672
677
673
678
674
679
Horizontal Compress (A)/Wipe (B) *
680 681
682
683
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TRANSITIONS LIST
SHAPE TRANSITIONS
149
Table 4: Shape Transitions (continued)
685
686
687
688
Horizontal Wipe (A)/Expand (B)
689
694
690
695
691
696
692
697
693
702
Horizontal Compress (A) to L edge; Expand (B) from edge
698
703
699
704
700
705
701
706
Slide in Slice (B) for R Ctr: Wipe slice to full
707
708
709
714
719
724
729
734
739
744
710
715
720
725
730
735
740
745
711
716
721
726
731
736
741
746
Slide to Ctr slice (B) from T; Wipe slice to full
712
713
Diagonal Slide Dissolve (A) to TRC
717
718
Diagonal Wipe (B) from BLC
722
723
Ctr Expand Dissolve (B)
727
728
Diagonal Expand Dissolve (B) from BLC
732
733
Ctr Wipe
737
738
Ctr Wipe (B) with Horizontal Slide from T
742
743
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MX-4 DV USER GUIDE
APPENDIX A
150
Table 4: Shape Transitions (continued)
Bounce off edges/Wipe
747
748
749
750
755
760
765
770
775
780
785
751
756
761
766
771
776
781
786
791
796
801
Ctr Wipe (A) to 1/16 screen; CCW spiral reveal
752
753
754
759
764
769
774
Random Sizes Flips (B): fills screen at end
757
758
Random Wipes (B): Ctr wipe to full screen
762
763
(A) wanders out
767
768
Horizontal Curtain Expand (B) from Ctr to full
772
773
Horizontal Compress (A) to Ctr line; Expand (B) from line
777
778
779
Horizontal Compress (A) L to 1/2 screen slice; Slide slide R*
782
783
784
Horizontal Compress (A) L to 1/2 screen slice; Slide slide R; compress to Ctr line*
787
788
789
790
Horizontal Compress (A) R to 1/2 screen slice; Slide slide L; slide under Ctr line*
792
793
794
795
800
Horizontal Compress line to L edge; Expand to full screen
797
798
799
Horizontal wipe
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TRANSITIONS LIST
DEFAULT USER TRANSITIONS
151
Table 4: Shape Transitions (continued)
802
803
804
809
814
805
810
815
820
806
Horizontal Compress (A)/Wipe (B)
807
808
811
816
821
Horizontal Wipe (A)/Expand (B)
812
813
Horizontal Compress (A) to L edge; Expand (B) from edge
817
818
819
DEFAULT USER TRANSITIONS
The User Transitions category contains a default set of transitions compiled from the other catego-
ries. You can tailor the User category to your particular needs — refer to “Changing User Transi-
tions Menu” beginning on page 52.
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NOTES
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APPENDIX B
TIME BASE CORRECTOR
The MX-4 DV contains a Time Base Corrector (TBC) that ensures top quality results in your
productions. The TBC operates automatically at all times. You don’t have to do anything
special to use the feature.
TBC compensates for image “shifting” and “wavering” that occurs with many VCR’s, cam-
corders, and other video devices. It modifies the video signal so that all elements in the pic-
ture — lines, fields, frames, and individual dots (or, pixels) — appear on the OUTPUT
screen exactly where they should. This improves video signal quality significantly.
DUAL TBC MODE
You can use the MX-4 DV TBC as a dedicated, two-channel device to induce time base cor-
rection on two separate channels. Set up your equipment as follows:
1
Set up the video devices normally — that is, make one the CURRENT source and make
another the NEXT source.
2
Press DISPLAY so that the Preview screen shows the NEXT source. (See “Display”
beginning on page 69 for instructions.)
The CURRENT source appears on the Output monitor. So the two sources each appear on
separate monitors, and both have the benefit of time base correction.
While operating in Dual TBC Mode, the MX-4 DV can perform cut transitions as it nor-
mally does. Use the CUT buttons to change the CURRENT source — the one displayed on
the Output screen. Use the NEXT buttons to choose the NEXT source — which appears on
the Preview screen.
VERTICAL INTERVAL DATA
Time code, closed captioning, and other data in the vertical interval should be added after
mixing (downstream from the MX-4 DV). This is necessary because dissolves and other
transitions mix the data signals, making them unreadable. The MX-4 DV might remove ver-
tical interval data from the sources, depending on how data has been added and the accuracy
of a source’s time base.
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MX-4 DV USER GUIDE
APPENDIX APPENDIX B
154
TBC TECHNICAL INFORMATION
The following information might be useful to video technicians.
•
The MX-4 DV’s TBC has no control options. The MX-4 DV always applies TBC to the entire
signal, including the horizontal and vertical intervals.
•
•
The MX-4 DV provides a frame-based TBC to correct four sources at a time.
The output sync of the TBC may be either independent of all input signals, or locked to house-
black.
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APPENDIX C
VIDEO QUALITY
The MX-4 DV meets the highest video quality standards. However, video artifacts can
appear in video productions, especially when you use sophisticated effects and transitions.
This appendix describes some of the video artifacts that can occur.
NOTE
The situations and artifacts discussed in this appendix normally apply to advanced video
concepts. They might, therefore, be of interest only to a selected audience.
PREVIEW IMAGE QUALITY
Images appearing on the MX-4 DV Preview screen do not represent the MX-4 DV’s true
quality because they serve only as a representation of the images. Depending on the type of
devices attached, you might occasionally see lines along the sides of the preview images.
This is especially noticeable when using cue or review (search) with a VCR or camcorder
attached to an input jack, using poor quality video tapes, experiencing bad reception, and so
forth. In such cases, you might be able to improve video quality using one or more of the fol-
lowing methods:
•
•
Use only high-quality video sources.
When using a camcorder or VCR with an Edit switch, turn the switch On to disable
playback processing circuits.
•
Turn Off any sharpness controls and enhancement circuits.
Preview image quality does not affect video output quality.
You can switch to a full-size, full frame-rate version of the NEXT or CURRENT source at
anytime using the DISPLAY button. Refer to “Display” beginning on page 69 to learn about
all of the display options.
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MX-4 DV USER GUIDE
APPENDIX APPENDIX C
156
VIDEO SCALING ARTIFACTS
Reducing a video image’s size can create artifacts because some picture information must be dis-
carded to reduce the number of pixels in the image. In some cases, picture information might dis-
appear when eliminating pixels. For example, lines in the image might appear jagged when the
MX-4 DV removes pixels and, therefore, parts of the line.
Some MX-4 DV transitions scale an image down gradually. This might cause small features to
appear and disappear as the image scales down.
The artifacts described here are normal when performing advanced effects. They are normally
minor when running transitions at normal speeds.
FREEZE QUALITY
You can set the MX-4 DV to freeze either a frame or a field (refer to “Force Field Freeze” on
page 72).
Freeze Field captures one field (half a video frame) and duplicates it to make the two fields that
comprise a frame. This eliminates flashing caused when an object occupies a different position in
the two captured fields, or when an object is so small it appear in only one field. The MX-4 DV’s
Field Freeze eliminates flashing artifacts but reduces vertical resolution because it shows only one
field.
Freeze Frame captures all fields in the image. This produces a higher quality image, but some
flashing might occur.
VIDEO PROCESSING ARTIFACTS
Video processing circuits (such as enhancers, sharpness controls, and the playback circuitry in
some VCR’s) can over-process the video. This might cause the video signal to interfere with the
invisible sync portion of the signal, thus making the signal non-standard. Video lines might shift to
the right, black lines might enter the picture area from the left edge of the screen, white flashes
might appear, the video image might be shredded, or you might see video tearing.
Normal Picture
Picture with Video Tearing
When these types of artifacts occur, reduce or remove the processing to bring the signal back to
normal. VCR’s and camcorders often have controls that can disable extra processing. If your VCR
or camcorder has a Sharpness control, set it to zero or turn it off. If the device has an Edit switch,
turn it on.
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APPENDIX D
TECHNICAL SPECIFICATIONS
The MX-4 DV is a four-input video production switcher, mixer, frame synchronizer/TBC
(Time Base Corrector), Manual Color Corrector, and special effects generator.
Table 1: MX-4 DV Technical Specifications
GENERAL
Power Supply
External in-line; 110VAC@60Hz/240VAC@50 Hz
universal CE/FCC/UL/CSA Approved
(Non-US/Canada versions meet local regulatory standards)
Dimensions
16.6” x 9.5” x 3”
422mm x 241mm x 76mm
Weight
4 lbs. (1.8 kg)
Ambient Temperature
32-104°F
0-40°C
Ambient Humidity
ANALOG INPUTS
Video
Less than 95%
4 x Y/C: Y=1 Vp-p, C=0.30 Vp-p, 75-ohm,
4-pin mini-DIN connectors
4 x composite: 1.0 Vp-p 75-ohm, RCA connectors
Audio
4 x 2 RCA connectors, 50 k ohms
Mini-jack
GPI
HouseBlack
1x composite: 1.0 Vp-p 75-ohm, RCS Connector
ANALOG OUTPUTS
Video (PREVIEW & MAIN)
1.0 Vp-p, 75 ohm, PREVIEW=1x RCA; MAIN=2x
RCA Connectors and 2x Y/C
(MAIN): Y=1.0 Vp-p, C=0.3 Vp-p; 75 ohm, 4-pin mini-DIN connector
Audio (L and R)
Headphone
1 k ohms, 2x L+R RCA connectors
Stereo jack, 8-100 ohms, stereo signal
DIGITAL INPUTS/OUTPUTS
Digital Inputs
4x6 pin IEEE 1394 (Firewire, i.Link) connectors, Audio and Video Effects
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MX-4 DV USER GUIDE
APPENDIX APPENDIX D
158
Table 1: MX-4 DV Technical Specifications (continued)
Digital Outputs
EFFECTS
1x6 pin IEEE 1394 (Firewire, i.Link) connectors, Audio and Video Effects
Video
700+ Transitions
Input Effects
Strobe, Mosaic, Flips, Posterize, Brightness, Black and White, Black and
White Negative, Color Negative, Contrast, Color Saturation and Hue
Special Effects
Audio
Chroma Key and Compose (see partial list under features)
Mix, Fade, Background
COLOR GENERATORS
Millions of Colors
VIDEO PERFORMANCE
Meets long-haul video broadcast specification including CCIR-601 sampling
and RS-170A
Digital Conversion
Time Base
13.5 MHZ, 4:2:2, 10-bit quantization (Y/C); 10-bit quantitization (composite)
Meets RS-170A standard
Compatibility
Compatible with all NTSC video sources and tape formats
(PAL version available)
Gain
Unity
S/N Ratio
Greater than 60 dB (Y/C); Greater than 60 dB (composite)
480 TV lines/576 TV lines in PAL
Horizontal Resolution
AUDIO PERFORMANCE
Frequency Response
S/N Ratio
20 Hz - 20 kHz + 3 dB
80 dB
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APPENDIX E
HELP FOR MXPRO DV USERS
This appendix helps Videonics MXPro DV users make an easy transition to the MX-4 DV. It
highlights key operational commands from the MXProDV that have changed with the MX-4
DV.
The MX-4 DV offers may new features and expands the capability of some MXProDV oper-
ations. You won’t be able to enjoy the full benefits of the new features without reading the
other chapters in this Users Guide.
MX-4 DV Defaults to Y/C on All 4-Channels
If you use one or more Composite-type devices as input, you need to change the settings for
those devices on the ROUTE screen. Refer to “Route” on page 73 for instructions.
Transitions Organized Differently
All transitions available with the MXProDV are also available with the MX-4 DV, but
you can now select from more than 700 different effects. Refer to Appendix A, Transi-
tions List, for a complete description of what is now available.
Pressing any Transition Category button displays the menu of transitions available in that
category.
The ARROW keys move you only within the current category. To get to a different one,
press a different Transition Category button (refer to page 50).
Take Bar Operations
The MX-4 DV’s Take Bar (T-BAR) provides added control over transitions by running it
in the direction indicated by the transition direction setting.
Transition Direction Setting
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MX-4 DV USER GUIDE
APPENDIX APPENDIX E
160
Refer to “Operating the T-Bar” on page 58. Chapter 5, Transitions, contains several sections
explaining use of the T-BAR.
Transitions Compatibility
If you are upgrading to the MX-4 DV from the Videonics MXProDV Video Mixer, the transitions
in the Basic category are the same as the MXProDV except that there are 60 new transitions.
The MX-4 DV provides a set of hot keys that directly correspond to the MXProDV Effect buttons.
Using the hot keys (refer to Table 6, “MX-4 DV Compatibility Hot Keys,” on page 51) causes the
MX-4 DV Preview screen cursor to appear at the beginning of each section within the Basic (MX-
4 DV) category.
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GLOSSARY
Because the actual number of frames per second is really
29.97, a discrepancy occurs causing a loss of slightly more
than three seconds each hour. Drop frame corrects for this
error by skipping two frames every minute, except on the
tenth minute.
Some terms defined in this glossary might not appear in the body of the
User Guide.
A/A Roll
A term originating in the film world. Normally describes roll-
ing a single source into an effects device, such as the FOCUS
Enhancements MX-4 DV, and creating transitions between
the individual scenes.
Flying Erase Heads
Standard erase heads are mounted along the tape path in a
VCR. A flying erase head is built into the video head drum
just ahead of the video heads. It makes it possible to erase the
video each helical scan at a time resulting in clean video edits
with no rainbow effect. It is a requirement for high quality
video editing.
A/B Roll
Variation of A/A Roll (described above). Normally describes
rolling two or more sources into an effects device, such as the
FOCUS Enhancements MX-4 DV, and creating transitions
between the various source images.
FPS
Betacam
Frames Per Second. The number of picture frames that are
recorded or played during a one second period. Television
nominally uses 29.97 fps (NTSC) or 25 fps (PAL).
An industry standard format that uses half-inch videotape run-
ning at high speed to produce high quality video. It is an
evolving standard. There are currently three versions in com-
mon use: Betacam, Betacam SP, and Digital Betacam.
IR
InfraRed is one of several remote control protocols. It is a
one-way protocol that allows a device to send commands to
the VCR. Because this is a one-way communication, the VCR
cannot send tape location information back. VCR’s that offer
this limited method of control are suitable only as record
decks.
Camcorder
Combination camera and video recorder in one device. Nor-
mally contains video recording heads as well as a video play-
back unit (that is, a mini-VCR).
Composite Video
The format used by televisions and laser disc players. Both
signals are combined into one signal, which is of lesser qual-
ity. Also see S-Video.
LTC
Longitudinal Time Code is an SMPTE-defined standard for
time code, normally recorded onto a linear audio track of a
VCR.
Counter
A relative indicator of tape position. On VCR/s that do not
support time code, the tape counter stores scene locations.
Because it is a relative indicator of tape position, it is subject
to drift. The same tape logged on one VCR and viewed on
another might report different counter locations for the same
scene.
NTSC
National Television Standards Committee. A body that
defines television standards in the USA. NTSC is character-
ized by each frame being composed of 525 horizontal scan-
ning lines per frame, occurring at 30 frames per second. The
format is used in North America, Central America, Japan, and
parts of South America. (Also see PAL and SECAM.)
Deck
A video cassette/tape player or recorder, also called a VCR or
VTR.
NVRAM
Non-Volatile Random Access Memory. MX-4 DV uses
NVRAM to store unit settings so that they are available when-
ever you power up the unit. Normal (that is, volatile) RAM
cannot store information once the power supply is turned off.
Digital Still Camera
A recording device for taking photographs and storing the
information in digital form. The device is similar to a 35mm
reflex lens camera that uses traditional film except that it
stores the image on a silicon chip. Images can then be down-
loaded to a computer system.
OSD
On Screen Display. A feature available on some consumer-
level VCR’s. When OSD is toggled ON, the VCR displays its
status information on the connected video monitor.
Drop Frame
A variation on the SMPTE time code format. It refers to a
scheme designed to compensate for the fact that NTSC actu-
ally runs at 29.97 fps. Normal Time Code (or, Non-Drop
Frame Time Code) is recorded and calculated based on 30 fps.
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GLOSSARY
PAL
VTR
Phase Alternating Lines. The dominant color television
format in Western Europe, Australia, most of Asia, and
parts of South America and Africa. PAL is characterized
by each frame being composed of 625 horizontal scan-
ning lines occurring 25 times per second. (Also see
NTSC and SECAM.)
Video Tape Recorder. Similar to VCR (see above) except
that VTR’s are normally used in the professional video
field and contain enhanced features. VCR is normally
used in conjunction with consumer-level electronics.
RCTC
Rewritable Consumer Time Code (also referred to as
RC). Commonly available on 8mm and Hi-8 format
devices.
S-Video
A video standard used by camcorders. S-Video separates
the Y (luminance) and C (chroma) signals to improve sig-
nal quality. Also see Composite Video.
SECAM
The standard video signal used in France, Eastern Europe,
and parts of Asia and Africa. Also see NTSC and PAL.
SMPTE
Society of Motion Picture and Television Engineers.
(Pronounced simp-tee.) This committee of engineers and
manufacturers establishes the most widely accepted stan-
dard for time code. They created specifications for two
version of time code: LTC and VITC.
Time Code
A method of putting a unique number or address on each
frame of a videotape. There are several formats of time
code. The Society of Motion Picture and Television Engi-
neers set the most common time code standard, called
SMPTE.
VCR
Video Cassette Recorder. A video device normally used
to record and play back video on cassettes. VCR is a con-
sumer-level term: VCR’s in the professional field are nor-
mally referred to as VTR’s (Video Tape Recorders).
VCR’s and VTR’s perform the same functions, although
VTR’s usually provide many additional features and func-
tions.
Video Editing
The process of applying special effects to video
sequences and assembling those sequences into a video
program.
VITC
Vertical Interval Time Code. (Pronounced vit-see.) An
SMPTE-defined standard for time code, recorded into the
video signal during the vertical blanking interval.
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INDEX
background 96
canceling selections 98
cursor 98
ending 99
fine-tune 99
Y/C IN 20
CURRENT
PIPS 84
A
adapters 22
arrow keys 34
audio
selecting source 38
source 38, 53
transition 48
accompanies video 109
perform 99
adjust sliders 112
continuous 110
control 108
devices 108
fade 110
monaural 23
source 109
highlight 109
speaker icon 109
stereo 23
preparation 95
background 96
final footage 97
keyed footage 97
CURRENT preview 69
CUT 13, 38, 39, 40, 42
AUDIO MIX 109, 110
buttons 36
color 41
CHROMA KEY 97
current source 53
highlight 53
background 37, 42
bars
COMPOSE 93
display 116
border 37
changing 42
custom 43
lights 53
transitions 108
using COLOR channel 111
D
DEMO 12, 68
demo 12
AUDIO MIX 32
channel
slider 111
select channel 112
Audio Mode 72
identify current 42
numbers 41, 42
selector 37, 42, 44
color background 13
COLOR CORRECT 64
COLOR NEG 64, 65
Comb Filter 72
COMPOSE 32, 79, 89
background 90
solid color 93
basic steps 90
color bars 93
run 68
locked 68
device
input
number of 20
output
auto-reverse transition 57
number of 20
DISPLAY 32, 69
user transitions 52
Dual monitor mode 72
Dynamic IP, setup 129
B
B&W 63
B&W NEG 63
BACK COLOR 13
BACKGROUND 39, 40, 42
background
create 93
lines 91
still image tiles 91, 93
tiles 91
cursor 91, 93
move 91
color 37, 42
COMPOSE 90
tile 84
using 13
E
EDGES 32
edges transitions 51, 144
Ethernet, connecting to 123
BASIC 32
exit from 94
manipulate tiles 91
playback 94
rules 92
basic transitions 51, 136
BG COLOR 37
background 42
COMPOSE 93
custom 42, 43
Black Level 72
blue screen 96
border
F
FLIP Horizontal 63
FLIP Vertical 65
Force Field Freeze 72
foreground tile 84
change 85
tile
position 91
size 92
video source 93
video tiles 91
freeze 86
color 37, 44
style 37, 44
using 43
FREEZE 32, 79
CHROMA KEY 99
COMPOSE 93
current 80
connector 20
AUDIO IN 20
AUDIO OUT 20
CONTROL (GPI) 20
DV IN 20
BORDER COLOR 13, 37, 44
custom 42, 43
BORDER STYLE 37, 44
custom 42
during transition 80
examples 80
frame/field 72, 79
functions 80
LEARN 103
next 80
DV OUT 20
HEADPHONES 20
HOUSEBLACK IN 20
OUT Y/C 20
POWER 20
PREVIEW OUT 20
borders 13
C
PIPS 86
transition 57
cables 22
RCA IN 20
RCA OUT 20
character generator 116
CHROMA KEY 96
FTP 73
FULL preview 69
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INDEX
function buttons 32, 67
basic steps 101
COMPOSE 93
LEARN 103
PIPS 84
custom color 43
environments 102
INPUT EFFECTS light 104
locked demo 68
maximum steps 103
steps 103
transition 48, 58
number 55
G
GPI
POSTERIZE 63
power
cord 22
switch 32
preview
CURRENT
defined 69
FULL
defined 69
image 36
quality 155
build 121
trigger 122
GRADIENT
COMPOSE 93
green highlight 14
using 104
live environment 119
H
M
headphones 25
icon 109
jack 109
manual transitions 58
mask
PIPs 86
monitor 69
NEXT
defined 69
screen 39
STANDARD 52, 54
defined 69
TWO CHANNEL 52, 54
microphone 23
Misc. Transitions 145
miscellaneous transitions 51
monaural audio 23
MOSAIC 64
Multi-PIP
configurations 87
create 87
MXPro 160
I
input
effects 59
source
highlight 36
defined 69
PREVIEW screen 11
PROGRAM monitor 19
preview image 36
INPUT EFFECTS 59
B&W 63
MX-ProDV 51
B&W NEG 63
CHROMA KEY 99
COLOR CORRECT 64
COLOR NEG 64, 65
COMPOSE 93
FLIP Horizontal 63
FLIP Vertical 65
key combinations 61
LEARN 103
menu 60
R
N
RCA Composite 22
REVERSE
transition 56, 57
roll edits
NEXT 38, 39
AUDIO MIX 109
background 42
buttons 36
A/A 117
A/B 118
CHROMA KEY 97
highlight 53
lights 53
ROUTE 32
MOSAIC 64
PIPS 84
PIPS 84
source 38, 53
S
single 86
select 38
security monitoring 119
SETUP 32, 71
LEARN 103
navigation keys 71
screen 71
shapes in PIPs 86
shapes transitions 51, 146
single PIPs 84
POSTERIZE 63
STROBE 65
using 59
transition 48
NEXT preview 69
input selector switch 25
O
OK 34
output
defined 18
J
JOYSTICK
solid color backgrounds 13
source
CHROMA KEY 98
color correction 64
COMPOSE 91, 93
custom color 43
JPEG
alternate between 40
defined 18
highlights 48
select 39
selector 32
P
PIPS 32, 79, 83, 84
mask 86
COMPOSE 93
multiple
create 87
shapes 86
single 84
create 84
tile 84
swap 40, 49
SPEED 14
K
LEARN 103
transition 56
STANDARD preview 52, 54, 69
starting MX-4 32
Static IP. setup 123
stereophonic audio 23
stopping MX-4 32
keyed footage 96
PLAY 32, 39, 40, 42
AUDIO MIX 110
CHROMA KEY 99
COMPOSE 94
L
LEARN 32, 101
abort 105
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INDEX
STROBE 65
select by number 54
S-Video 22
system software, updating 131
V
video quality 155
VIDEO/AUDIO
T
T-BAR 32, 40, 42
AUDIO MIX 110
CHROMA KEY 99
color correction 64
COMPOSE 93, 94
LEARN 103
transition 48
tile 84
AUDIO MIX 110
selector 39, 108, 110
Y
Y-Adapter cable 23
background 84
foreground 84
change 85
Time Base Corrector 153
titler 116
transferring files 130
transformer 22
transition
adjust 56
audio 108
auto-reverse 57
basic category 51
category
basic 51
defined 50
edges 51
miscellaneous 51
shapes 51
user 51, 52
category button 32, 50
color highlight 54
direction
change 56
effect 15
highlight 37
menu 37, 50, 54, 69
using 54
number 54
defined 55
reverse 57
run 48, 58
automatic 58
manual 58
select 54
by number 55
from menu 54
sources 53
speed
change 56
TWO CHANNEL preview 52, 54, 69
U
USER 32
change transitions 52
user transitions 51
customizing 52
restore defaults 52
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NOTES
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