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NewTek tricaster advanced edition User Manual

Live video production
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  • Page 2 VSE Advanced Edition, LiveMatte, TimeWarp, VT, VT[3], VT[4], V[T5], Video Toaster, Toaster, Inspire 3D, 3D Arsenal, Aura, LightWave, LightWave 3D and LightWave CORE are trademarks, service marks, and registered trademarks of NewTek. All other brand names, product names, or trademarks belong to their respective holders..

  • Page 3: Table Of Contents

    T A B L E O F C O N T E N T S CHAPTER 1 ABOUT THIS MANUAL ......................3 CHAPTER 2 INTRODUCTION ........................5 Section 2.1 Meet the Family ................................ 5 Section 2.2 Overview ................................... 5 ® Section 2.3 TriCaster Advanced Edition ............................
  • Page 4 Section 3.4 Input Connections ..............................19 3.4.1 Connect A/V Sources ..............................19 3.4.2 Connecting a Video Router ..........................22 Section 3.5 Genlock Connection ..............................24 Section 3.6 Timecode Connection ............................. 24 Section 3.7 Output Connections ..............................24 3.7.1 A/V Output ................................... 24 3.7.2 HD and SD ..................................
  • Page 5 5.2.5 Add-Ons ..................................55 Section 5.3 The Session Page ..............................55 5.3.1 Live ....................................56 5.3.2 Graphics ..................................56 5.3.3 Manage ..................................57 CHAPTER 6 LIVE DESKTOP: OVERVIEW ..................... 61 Section 6.1 Display Requirements ............................. 61 Section 6.2 Overview ................................. 61 Section 6.3 Control Types ................................
  • Page 6 Section 8.3 Timecode Configuration ............................92 8.3.1 Subtract 12 Hours ................................. 92 8.3.2 Event Time ..................................92 8.3.3 LTC Timecode ................................93 CHAPTER 9 SWITCHER, TRANSITIONS AND OVERLAY................95 Section 9.1 Switcher Rows ................................. 95 Section 9.2 Program and Preview .............................. 96 Section 9.3 Background and DSK Layers ............................
  • Page 7 Section 11.3 Editing Title Pages ............................... 125 11.3.1 Header Tools ................................125 11.3.2 Footer Tools ................................126 11.3.3 DataLink ..................................127 Section 11.4 Buffers ................................. 127 11.4.1 Buffer Types................................128 11.4.2 Selecting Content ..............................129 11.4.3 Buffers Menu ................................130 11.4.4 Animation Features ..............................
  • Page 8 14.2.1 Mix Mode ................................. 144 14.2.2 Effect Mode ................................145 Section 14.3 The T-Bar ................................145 Section 14.4 Input Position Controls ............................146 Section 14.5 Default Effects ..............................146 Section 14.6 Virtual Sets ................................149 14.6.1 Holographic LiveSets ..............................151 Section 14.7 Key Channels ...............................
  • Page 9 15.8.2 Stream ..................................168 Section 15.9 MEMs .................................. 168 CHAPTER 16 MACROS, AUTOMATION AND REMOTE CONTROL ............169 Section 16.1 Recording Macros ............................... 170 16.1.1 Snapshot Mode ................................ 170 16.1.2 Triggers ..................................170 Section 16.2 Managing Macros ............................... 171 16.2.1 Session Macros ................................. 171 Section 16.3 Automation .................................
  • Page 10 Section 18.2 Export Menu ............................... 189 18.2.1 Preset List ................................. 189 18.2.2 New Preset ................................190 18.2.3 Social Media Sites ..............................190 18.2.4 Transcode and FTP ..............................190 18.2.5 Watermarking................................190 Section 18.3 Export Bin ................................190 18.3.1 Metadata .................................. 191 18.3.2 Presets ..................................
  • Page 11 21.3.6 Managing Comps ..............................218 21.3.7 PREVIZ..................................219 21.3.8 MEDIA PLAYERS ................................ 219 21.3.9 Record Group ................................220 21.3.10 Special Buttons ............................... 221 21.3.11 MACRO ................................... 221 21.3.12 T-Bar Illumination ..............................221 21.3.13 M/E TRANSITION – Lighting ............................ 221 21.3.14 MAIN TRANSITION ..............................222 21.3.15 PTZ Control ................................
  • Page 12 21.7.7 Level Control................................255 21.7.8 Knob Set Selectors ..............................255 21.7.9 Pan Control ................................255 21.7.10 Talk ..................................256 21.7.11 Solo & Mute ................................256 21.7.12 Follow ..................................257 21.7.13 EQ Control ................................257 21.7.14 Compressor/Limiter ............................... 258 21.7.15 CHAN Mode ................................258 21.7.16 FLIP Mode ................................
  • Page 13 A.3.3 Set up the ‘Nightly Show A’ LiveSet? ........................276 A.3.4 Set up the ‘Night Beat 3D’ LiveSet? ........................277 A.3.5 Set up the ‘Metropolis A’ LiveSet? ......................... 278 A.3.6 Initiate Streaming? ..............................279 A.3.7 Find my Captured Stream file? ..........................280 A.3.8 Record my Program? ..............................
  • Page 14 A.8.2 Why is my power supply beeping? ......................... 292 A.8.3 Why Do Some Thumbnail Icons Look Wrong? ....................... 292 PERFORMANCE CONSIDERATIONS ....................293 Testing, One Two … ..............................293 iVGA™ and Performance ............................293 IMAG and Latency............................... 293 B.3.1 Relativity and the Speed of Light..........................293 B.3.2 Latency and Your Audience ............................
  • Page 15 DIMENSIONS AND MOUNTING ....................... 309 Section 21.10 TriCaster Mini and Mini SDI ..........................309 Section 21.11 TriCaster 460 and 410 ............................309 Section 21.12 TriCaster 8000 and 860 ............................. 310 Section 21.13 TriCaster 8000 CS .............................. 311 Section 21.14 TriCaster 860 CS ..............................312 Section 21.15 TriCaster 460 CS ..............................
  • Page 17 P A R T I ( G E T T I N G S T A R T E D ) Introducing TriCaster Advanced Edition – connections and registration, a top-level overview of primary features, and a hands-on tour to get you started.

  • Page 19: Chapter 1 About This Manual

    TriCaster operations and features.  PART II – REFERENCE This section covers every arcane detail related to using TriCaster Advanced Edition (for those who need it, and those who just like to know everything).  PART III – APPENDICES Leads off with a handy section titled “How do I …?“, a helpful question and answer section with its own brief index.

  • Page 21: Chapter 2 Introduction

    ® tools you can use to create, broadcast, web stream and project your production. TriCaster even includes NewTek’s latest edition of the famous LiveSet™ virtual set system to provide you with network quality ‘bigger than life’ production capabilities. TriCaster continues to raise the bar for live production systems. Simply put, it represents the most complete, reliable and efficient integrated system available for live production and web streaming.

  • Page 22: Section 2.4 Startup Screen

    STARTUP SCREEN SECTION 2.4 The Startup Screen appears shortly after you power up you TriCaster . This is the command center where ® most other operations are initiated. FIGURE 2-1 The Home page of the Startup Screen allows you to create (and re-open) sessions. Session are essentially custom presets for individual productions or other purposes.

  • Page 23: Section 2.6 Features

    Dashboard Monitoring Live Control Tabbed Modules FIGURE 2-2  The top-most band contains TriCaster’s convenient and powerful Dashboard.  The area just below the Dashboard is *normally devoted to a multi-pane monitoring display, providing source and output views. * This area can be re-sized, and even completely hidden when outboard monitoring is in use; or the display can be customized to complement the external Multiview or for numerous other purposes.

  • Page 24: Multi-Tier Failsafe

    Apple Macintosh computers on the same network as Switcher inputs ® ® for your live productions using NewTek NDI™ Scan Converter.  Update still Buffers in ‘watch folders’ from networked graphic workstations, even when these are displayed live. Page | 8...

  • Page 25: Alpha Channel I/O

     Transmit NDI output to another TriCaster across the local network.  Create complex M/E effects and compositions using multiple sources and versatile virtual sets with live (virtual) camera moves.  TriCaster 8000, 860 and 460 M/Es are reentrant, allowing you to cascade unbelievable effects in endless creative ways.

  • Page 26: Video Processing

     External Multiview Workspaces offer many alternatives, including numerous multi-bridge layouts, overlays and Event Clocks.  Monitor sources on both Live Desktop and Multiview are user-configurable, and include Media Player clip timecode counters, and custom logo display.  Waveform and Vectorscope monitors help you calibrate your signal to ensure your output meets broadcast standards and looks great.

  • Page 27: M/Es

     Use any of the hundreds of transitions supplied to reveal either Background or DSK/Key channels with animated wipes, trajectories and dissolves, or select colorful and dynamic Animation Store transitions with overlays, sound and TransWarp™ effects.  Create an unlimited number of custom transition effects with embedded sounds, dynamic cloth effects, and full color overlays using the integrated Animation Store Creator application.

  • Page 28: Virtual Sets

    Convenient MEMs allow instant access to pre-configured M/E setups. VIRTUAL SETS 2.6.10  Achieve the look of large, sophisticated studio sets in a very small space with NewTek’s astonishing LiveSet™ virtual set technology.  Virtual sets support up to four keyable video sources (TriCaster 8000, 860 and 460).

  • Page 29: Media Export

     Perform instant replays with custom transitions and playback speed with just one button press.  Or use NewTek’s TimeWarp™ instant replay control surface to mark, replay and manage highlights. MEDIA EXPORT 2.6.12 Export support makes it easy to distribute content to multiple targets in one pass. TriCaster even stores credentials for social media and upload sites, and provides a queue for uploading and file conversion.

  • Page 30: Audio Mixer

    AUDIO MIXER 2.6.16 TriCaster provides extensive multi-channel audio control and management.  Adjust individual audio sources (internal and external) and introduce them into your program manually or automatically.  Control output levels for program, headphones, auxiliary outputs, recording, and stream separately. ...

  • Page 31: Buffers

     Store playlists MEM slots for easy recall.  Flexible playback controls include variable Speed and Loop options.  Each Media Player has corresponding volume and other advanced audio controls in the Audio Mixer.  Convenient ‘per clip’ audio level and playback Speed control is provided. ...

  • Page 32: Titles And Graphics

    Once you get your hands on one you’ll never want to let go. Beyond this primary control surface, NewTek offers an optional instant replay control surface called TimeWarp™. Talk to your local reseller for a demonstration of this powerful add-on for your TriCaster.

  • Page 33: Chapter 3 Setting Up

    Chapter 3 SETTING UP This chapter explains how to connect power, monitors and audio visual sources, and external control devices to your NewTek TriCaster system. It also reviews the ® registration process. After completing this short section, you’ll be all set to begin using TriCaster.

  • Page 34: Section 3.2 License And Registration

    REGISTERING BY TELEPHONE 3.2.1 NewTek’s Customer Support center can also handle registration requests by telephone, if that is more convenient (when opportunity permits, you should still visit the website as discussed above to gain access to software updates).

  • Page 35: Section 3.3 Rack Mounting Tricaster

    NewTek’s optional ProTek service programs offer renewable (and transferable) coverage and enhanced support service features extending well beyond the standard warranty period. Please see http://www.newtek.com/protek.html or your local authorized NewTek reseller for more details regarding ProTek plan options. RACK MOUNTING TRICASTER SECTION 3.3...
  • Page 36 FIGURE 3-1 – 4RU MODELS FIGURE 3-2 – TRICASTER 460 FIGURE 3-3 – TRICASTER 410 Page | 20...
  • Page 37 FIGURE 3-4 – TRICASTER MINI Note: Hardware details as depicted are subject to change without prior notice. If your equipment supports SDI, this is the best quality option. 1. Connect sources to suitable connectors in the VIDEO IN section: SDI, HDMI (TriCaster Mini only), Component, Y/C (S-Video), or Composite (may require RCA>...

  • Page 38: Connecting A Video Router

    Note: SDI or HDMI video sources with embedded audio do not necessarily require separate analog audio connections. CONNECTING A VIDEO ROUTER 3.4.2 With the appropriate software installed, TriCaster Advanced Edition systems can control and access output from router models supporting the popular Grass Valley Native Protocol, as well as Black Magic Design ®...
  • Page 39 Hint: The router settings can be made to persist from session to session and even after a new install. To do this you will need to copy the router_setup.xml file from its current location. If using TriCaster copy from: C:\ProgramData\NewTek\TriCaster\Configuration If using VMC1 copy from: C:\ProgramData\NewTek\VMC1\Configuration...

  • Page 40: Section 3.5 Genlock Connection

    TIMECODE CONNECTION SECTION 3.6 TriCaster Advanced Edition supports external linear timecode (LTC) input. Connect the cable from your timecode generator to one of the connectors in audio Input 7 (4RU models) or the 1/8” motherboard line input connector (all other models). External timecode is automatically recognized when present, but there are some related settings in the Live Desktop (see also Section 3.14).

  • Page 41: Hd And Sd

    4:3 or 16:9, output is likewise SD 4:3 or 16:9. When the session is HD, output is HD.  TriCaster Advanced Edition supports independent configuration of Output 2 (and Output 3 for 4RU models). The desired format can be selected in the Live Desktop (Output Configuration panel).

  • Page 42: Supplemental Video Outputs

    4RU TriCasters offer two pairs of four audio output connectors: i. Connectors 1a-(1b or 1d) provide sound from the mix assigned to Output 1 (defaults to Master in Output Configuration) ii. Connectors 2a-(2b or 2d) provide sound from the mix assigned to Output 2 (defaults to Aux in Output Configuration) Note: These two output groups are actually treated by TriCaster as four independent stereo outputs, each configured and controlled separately;...

  • Page 43: Section 3.8 Tally Lights

    Note: Tally over SDI, as supported by devices from Blackmagic Design, is natively supported, and requires no special configuration. Please see also: Section 21.9 regrading GPI support to trigger tally (and more); or search among third party tally solutions listed at http://www.newtek.com/solutions/newtek-developer- network/all-partner-list.

  • Page 44: Section 3.9 Starting A Session

    NGINEERING OTES Pins 1-(4 or 8) are ‘hot’ when the LED should be illuminated.  Each LED pin 1 (4 or 8) has a 200 ohm current limiting resistor inside TriCaster.  With no load (open circuit) the LED pins can reach 5V. With a typical LED load, they can be expected to ...
  • Page 45 FIGURE 3-8 (MULTI-STANDARD TRICASTER SHOWN) A link initially containing the text “Enter Session Name” is shown at the top of the right-hand pane when the New icon is selected on the ring. Click in this area to modify the name using the keyboard if you like. (The default name is the current date.) Note: TriCaster supports a variety of optional session configurations for live production.
  • Page 46 ESKTOP FIGURE 3-10 (TRICASTER 8000 SHOWN) INITIALLY, AS YOU HAVE YET TO CONFIGURE INPUT DEVICES OR ADD CONTENT, THE LIVE DESKTOP WILL LOOK A BIT BARREN ( Figure 3-10). Take a quick look around, but then let’s continue to configure your devices. (We had a brief glimpse at the Live Desktop back in Section 2.5, but we’ll examine it more closely in Chapter 4, Basic –...

  • Page 47: Section 3.10 Configure Video Output

    CONFIGURE VIDEO OUTPUT SECTION 3.10 TriCaster provides complete video input monitoring right on the Live Desktop. This allows you to operate it without even connecting downstream video monitors or devices. (You might do just that in the case of productions intended primarily for live streaming.) Often, though, you will want to connect external monitors or other downstream devices to the...

  • Page 48: Output Channel Options

     For hardware video outputs, which connection type will be used – SDI, Component, Y/C or Composite? And so on … * Resolution and color adjustments for devices connected to the two Display ports are located in the Display Settings panel, accessible from the Workspaces menu found in the main Dashboard. OUTPUT CHANNEL OPTIONS 3.10.1 Let’s review Video source selection first.

  • Page 49: Section 3.11 Configure Video Inputs

    It’s worth mentioning that, for TriCasters with analog outputs, SD formats offer different Analog Out options than HD. HD is always presented on SDI and Component connectors, but in addition to these, Composite and Y/C connections are still in common use for SD. Composite and Y/C can even be used simultaneously, allowing three different devices to be connected to outputs in one row for SD output formats –...
  • Page 50 For NDI sources, simply making a selection completes the connection. If you choose a local hardware source, further selections may be required on some models. These inputs default to Auto-detect SDI (or HDMI) on models with those input connectors only. In such a case, or if your connected source type matches, you’ll be all set.

  • Page 51: Configure A Video Router Input

    Note: TriCaster Advanced Edition provides an Auto-detect (SDI) connection option. This will automatically configure HD-SDI sources in an HD session, or SD-SDI sources in an SD session. However, mismatches between source and session format require manual Connection type selection. 7. Close the Hardware Configuration panel for now (note that you can click the Close button or simply ‘click outside’...
  • Page 52 Click the source menu at the top of the panel to display connection options for an input (Figure 3-18). Audio options are similar to video, in that you will see local hardware inputs (shown as “IN 1”, “IN 2”, etc.) along with network sources, including both NDI audio and (Audinate™) Dante sources.

  • Page 53: Section 3.13 Configure Genlock

    Hint: Most numeric controls in TriCaster can be reset to their defaults using Shift + double-click on the control knob. The default value for Gain sliders is 0dBVU. UDIO EADROOM In digital audio systems, levels exceeding ‘legal’ values are ‘clipped’ (uniformly assigned the maximum value). This results in audible issues that cannot be easily corrected later.

  • Page 54: Section 3.14 Configure Timecode

    NETWORKING SECTION 3.15 Of course, one of the great advantages of TriCaster Advanced Edition is its native support for NDI a/v sources. Few will be surprised to find utilizing this next generation feature requires that your TriCaster be connected to the network. ...
  • Page 55 Generally, simply connecting a suitable cable from the Ethernet port on TriCaster’s backplate to your local network is all that is required to add TriCaster to a local area network (LAN). In some settings, additional steps may be required. You can access the system Network and Sharing control panel to accomplish more extensive configuration tasks –...

  • Page 57: Chapter 4 Basic Training

    Chapter 4 BASIC TRAINING This chapter provides a little information designed to guide you to other resources that will introduce the major components and functions of your NewTek TriCaster . This ® includes extensive online training resources, friendly and helpful online communities, and more.

  • Page 58: Valuable Content

    FIGURE 4-2 The TriCaster Resources webpage is served directly from your TriCaster Advanced Edition system, and thus is always available. Not only does this mean its content is always up to date and relevant to your installed software, it also means that you can view it on a convenient mobile device alongside your TriCaster.

  • Page 59: Section 4.2 Video Training

    VIDEO TRAINING SECTION 4.2 NewTek is in the video production business, and it couldn’t seem any more appropriate to us that we would provide your introductory TriCaster lessons using that easy to understand and follow medium. The link to online videos mentioned in the previous section takes you to a long list of TriCaster tutorials designed for all users from novice to adept.
  • Page 61 P A R T I I ( R E F E R E N C E ) A thorough examination of the various aspects of TriCaster: every button, menu item, feature and control is considered in this section, so you can take full advantage of your system.

  • Page 63: Chapter 5 The Startup Screen

    Chapter 5 THE STARTUP SCREEN The TriCaster Startup Screen is the gateway to a suite of applications as well as ® maintenance and management features for both sessions and the system. We’ll discuss each of these in the pages that follow, beginning with a review of the concept of sessions.
  • Page 64  How are cameras connected (are you using component or SDI connections, something else, or a mixture of several connection types)? As you continue, you may make other adjustments relevant to your current production requirements:  You might calibrate your cameras individually using the Proc Amp settings in the Input Configuration panels.

  • Page 65: Section 5.2 The Home Page

    THE HOME PAGE SECTION 5.2 Having discussed sessions, let’s go on to consider how sessions are created, and how you choose which one to work on. These items, along with a few other top level functions, are found in the TriCaster’s Home Page. This primary screen is the first thing you encounter on launching TriCaster.
  • Page 66 FIGURE 5-4 EMPLATE The Template drop-down menu (Figure 5-4) lists all sessions currently available on the system. If you select an entry, the session you create subsequently retains all settings of the source session, including the content from its Media Player playlists. OLUME A control labeled Volume appears just beneath the Session name.

  • Page 67: Open (Session)

    JECT FIGURE 5-5 An Eject button at the top right corner of the page allows you to safely disconnect external drives. (Drives can also be ejected from the Live Desktop.) Note: Media configured as Read Only is not shown for the New or Open (session) features, since they cannot be used for sessions.

  • Page 68: Shutdown

    ESTORE ESSION ACKUP In another section of the Startup Screen (Session Page>Manage) there is a feature that allows you to back up the current session to another storage volume. The Restore Session Backup link at the bottom of the Session List (for each drive) is provided to compliment this feature.
  • Page 69 Register TriCaster – TriCaster shows a watermark on output before registration, so we encourage you to register early. Among other reasons, doing so will serve to identify the unit to NewTek as yours in case of theft, and will also allow you to check for software updates that may have been recently released.
  • Page 70 How much better it would be to slide the remaining books closer together, combining all the free space first. Unfortunately, computers are ‘foolish librarians’. They tend to want to fill in all the gaps in their storage areas, even if this requires literally shredding your ‘book’ (in reality large video files from your TriCaster sessions) into tiny fragments.

  • Page 71: Help

    FIGURE 5-11 ADD-ONS 5.2.5 NewTek offers additional software tools to expand the power of your TriCaster. The icon labeled Add-Ons on the Home Page provides access to some of these tools. FIGURE 5-12 When you select the Add-Ons icon, links are displayed at right for installed software applications, allowing you to launch them.

  • Page 72: Live

    GRAPHICS 5.3.2 TriCaster includes an integrated variant of LiveText™, NewTek’s standalone titling and CG application. This version gives you the ability to create title pages with text entries and images that can be updated (even from using sources) when displayed from TriCaster Media Players or Buffers during live production in TriCaster.

  • Page 73: Manage

    CG server. A number of excellent third-party offerings, as well as the standalone version of LiveText (available from NewTek as a separate purchase) are listed and described in the accompanying Automation and Integration Guide.
  • Page 74 Various TriCaster components provide filebins to permit you to manually administer files related to their projects, playlists, and so on. The Manage icon in the Session Page provides an alternative approach to file management. At times you may find it useful to be able to quickly access the various files associated with specific sessions. Selecting Manage refreshes the options pane on the right-hand side of the Session Page with a number of convenient items.
  • Page 75 ONFIGURE FIGURE 5-19 DataLink™ is an astonishingly useful TriCaster Advanced Edition exclusive, allowing the handling and updating of text and image data from both internal and external source for use in title pages in realtime, as well as other purposes. Briefly, DataLink tracks variables, called DataLink keys, and their values, and updates these values on-the-fly when keys are used in title pages.

  • Page 77: Chapter 6 Live Desktop: Overview

    Chapter 6 LIVE DESKTOP: OVERVIEW The TriCaster Live Desktop is the control center for all your live production work. It ® provides control over switching, transitions and overlays, titles and graphics, audio mixing, playback of digitized content, and much more. In addition, streaming and recording features are located here, along with keying and virtual set tools.

  • Page 78: Section 6.3 Control Types

    From top to bottom, these are: 1 - Dashboard • Quick access to interface options and important tools, including Publish and Macros along with Record, Stream, Workspace and Timecode options. 2 - Monitors User configurable layouts – monitor live inputs along with internal sources (such as DDRs, M/Es, •...

  • Page 79: Section 6.4 Customizing The Live Desktop

    Rotary slider Position, Drag up-down to adjust one value, left-right to Size, adjust the other value, diagonally to adjust two Rotate different values simultaneously. Hold down Alt while dragging vertically to modify the third value (Z) when provided. Rotary Knob Audio Gain Drag left-right to adjust the current value.

  • Page 80: Workspaces And Min/Maximize

    To do so, simply right-click on one of the following items and select “Configure …” to open the configuration dialog (Figure 6-2):  Any monitor in the Live Desktop or external Multiview  Any Switcher source button The dialog contains several editable text fields under the label Input Names, including Video (the label shown under monitors), a shorter Switcher Button label and the longer Comment field.
  • Page 81 Click the Mix Effects label or an M/E tab between the Monitor and Switcher sections to toggle display of the M/E pane – or press the keyboard shortcut “m”. A number of further workflow and interface options that can be very valuable are found in the TriCaster Options menu, discussed shortly (Section 7.1).

  • Page 83: Chapter 7 The Dashboard

    Chapter 7 THE DASHBOARD TriCaster’s Dashboard groups important production features and system display controls in one convenient place for quick access and review. As well, the Dashboard serves to provide information on the current session, status updates and storage usage, along with timecode and the TriCaster Options menu. TriCaster’s Dashboard is home to a number of important displays, tools and controls.

  • Page 84: Section 7.2 Options Menu

     Import – easily add media files from external sources to the appropriate session folders, automatically transcoding them to friendly formats for optimal playback if necessary. (The Import Bin’s features are similar to those of the Publish Bin.)  Share Media Folders and Buffers (see Section 11.4) ...

  • Page 85: Section 7.3 Macros

     The Hotspots menu offers Disable All Hotspots and Disable Hotspots for Sources Not on Output options to prevent macros from being triggered inadvertently.  Enabling Lock Mouse to Primary Monitor prevents the mouse from traveling into the external Multiview display. ...

  • Page 87: Chapter 8 I/O Configuration

    Chapter 8 I/O CONFIGURATION TriCaster provides extensive control over your video sources, along with related ® creative features. Each video source (internal and external) has its own Proc Amp, keyer (LiveMatte™) and Crop (‘garbage matte’) features. Input Configuration panels are also home to TriCaster’s powerful realtime Hotspot and Tracker features.

  • Page 88: Frame Sync

    To help you overcome these problems, TriCaster Advanced Edition provides Auto Color, a unique feature capable of dynamically adapting the color characteristics of your video sources as lighting conditions vary.
  • Page 89 ULTICAM By default, each camera with Auto Color enabled is processed uniquely – without reference to other sources. Often, though, even greater consistency can be achieved by treating sources in similar illumination environments as a group. Enable Multicam for several cameras causes Auto Color to evaluate and adjust these cameras in unison.

  • Page 90: Livematte

    Hint: Proc Amp adjustments are also applied after LiveMatte is processed, which can help when composing greenscreen shots to match a background or LiveSet. White Balance – to automatically white balance, click and hold the mouse button on the Color well, and then slide the ‘eyedropper’...

  • Page 91: Edges

    FIGURE 8-6 The process involves eliminating a portion of the image (effectively cutting a digital ‘keyhole’ in it) to reveal a user-defined background scene. It also plays an important role in the workflow of LiveSet, TriCaster’s powerful virtual set technology. LiveMatte’s controls are deceptively simple, making a great deal of complex digital manipulations easy to use.

  • Page 92: Automation

    AUTOMATION 8.1.5 Automation is one of those wonderful things that really set TriCaster Advanced Edition apart from the mundane. The Automation tab, located in the Input Configuration panels for all video sources is one of several places where related features can be found. Macros, discussed to a degree in Chapter 16, might be viewed as the basic building blocks of automation.
  • Page 93 For example, the accompanying images depict macros that control the volume level of TriCaster’s SOUND player. Whenever Camera 6 is newly selected on the Switcher’s PGM row, the Active macro will run. Conversely, replacing Camera 6 with a different PGM row selection will execute the Inactive macro. Hint: The “E”...

  • Page 94: Tracker

    TRACKER 8.1.6 (TriCaster 8000, 860 and 460 only) The Tracker tab provides control over TriCaster’s realtime motion tracking features. This feature allows you to choose a colored region of the video frame using tools similar to those found in the LiveMatte tab (Section 8.1.3). The tracked region is defined by choosing a primary Color using the color picker tool.

  • Page 95: Hardware Configuration

     Lock Scale to prevent the Tracker from automatically compensating when the scale of the tracked region grows or shrinks during motion.  Likewise, when Rotation is locked, the orientation of Tracker output is constrained.  The Aspect Ratio lock forces the Tracker to conform to a square (1:1), or rectangular (4:3 or 16:9) shape.
  • Page 96 (SDI) DETECT TriCaster Advanced Edition’s Auto Detect (SDI) feature makes configuring SDI sources easy. Generally, you can simply connect a camera and see the signal from their SDI sources immediately, without any need to set resolution and framerate options. (Note that this feature requires that the source is supplied in an HD format for HD sessions or an SD format for SD sessions.
  • Page 97 1080i (SDI) • Digital source, high definition, interlaced • 1080/60i or 1080/50i • 1920x1080 pixels, 16:9 picture aspect • Connected to TriCaster by SDI input connectors • Optionally carries embedded audio 1080/30p (SDI), 1080/30PsF (SDI), 1080/24p (SDI), 1080/24p Telecine (SDI), 1080/25p (SDI), 1080/25PsF (SDI) •...
  • Page 98 480/30i (Y/C) • NTSC (S-Video) analog format , standard definition, interlaced • 720x480 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect • Connected to TriCaster by Y and Pb input connectors 480/30i (Composite) • NTSC analog format , standard definition, interlaced •...
  • Page 99 CT AS LPHA TriCaster 860 band 8000 optionally allow one or more neighboring pairs of video inputs to be combined as a single ‘video + alpha’ channel (sometimes also referred to as “fill and matte”). The ability to configure one input as the alpha channel source for another is invaluable for installations employing traditional video feeds from high end external CG and chromakeying systems (some third-party systems now provide NDI output with embedded alpha channel, making this older...

  • Page 100: Section 8.2 Output Configuration

    OUTPUT CONFIGURATION SECTION 8.2 FIGURE 8-17 Roll the mouse pointer over the Program monitor to reveal a Configure button (Figure 8-17) at right in the titlebar below the display. Click it to open the Hardware Configuration panel. FIGURE 8-18 Note: The features shown in this panel vary by model. OUTPUT TAB 8.2.1 The Output tab in the Hardware Configuration panel contains controls governing TriCaster’s outputs.
  • Page 101 Uniquely, Output 2 can be tasked with sending an alpha channel matte to downstream systems. Let’s consider the optional settings provided by primary outputs:  Video menu – assign any source from the following list to either Output 1 or Output 2: o Program o Program (Clean) o Preview (look ahead)
  • Page 102  Analog Out menu (not present on TriCaster 410 or TriCaster Mini) – select the video connection type for downstream devices you intend to connect to the corresponding output: o Component o Composite + Y/C Note: The only analog connection type suitable for HD video is Component. The Analog Out menu for primary outputs are automatically set to Component when the selected Resolution is HD.
  • Page 103 ‘output’ an M/E, and then send that M/E to the Network output (which is not normally able to output an M/E directly). TREAM These outputs (provided on certain models) independently offer a subset of the options available for Outputs 1 and 2. Video menu options include: ...

  • Page 104: Failsafe

    FAILSAFE 8.2.2 FIGURE 8-21 For TriCaster rack mount units, multi-tiered ‘Always on Air’ hardware and software failsafe systems provide confidence that – short of a complete power failure – the show will go on. Video pass-through ensures that as long there is AC power, audio and video from Input 8 (on 4RU models) or Input 4 (2RU models) are routed to Output 1 in a case of catastrophic software condition.
  • Page 105  Supplying the same sync source to TriCaster’s Genlock input ensures a match between TriCaster output and any downstream video devices required to handle both it and other (genlocked) sources. Note: Digital audio is less tolerant in certain respects than analog. Some devices require SDI sources to be genlocked when mixing digital audio (whether for recording or live production).

  • Page 106: Center Frequency

    Thus, the Vert Position, Horiz Position and Phase settings allow you to tweak synchronization to arrive at an optimum match between devices. Typically, these settings are fine-tuned with the aid of a downstream Vectorscope and Waveform Monitor. (A discussion of these adjustments goes beyond the scope of this manual, but a quick online search for the keywords “genlock”...
  • Page 107 Generally, remote control of PTZ cameras involves sending instructions to the camera across either serial (RS232, RS422 or RS485) or network connections. TriCaster support for both types (see note below). Connection settings shown in the PTZ tab (Input Settings tab) update depending on which Camera type you select.

  • Page 108: Section 8.3 Timecode Configuration

    TIMECODE CONFIGURATION SECTION 8.3 TriCaster can supply event time values based on the system clock, when necessary. To access timecode options, click the small gear icon next to the timecode display at right in Live Desktop’s Dashboard. FIGURE 8-25 Hint: You can set TriCaster’s system clock as for any computer by exiting to the Windows®...

  • Page 109: Ltc Timecode

    TriCaster 460, 860 and 8000 support ‘LTC’. FIGURE 8-29 4RU TriCaster Advanced Edition models use Audio Input 7 for timecode input. Sound from audio input 7 on these models is automatically muted for recording and output purposes, but you can un-mute it briefly in the Audio Mixer to let you adjust input levels.

  • Page 111: Chapter 9 Switcher, Transitions And Overlay

    Chapter 9 SWITCHER, TRANSITIONS AND OV ERLAY TriCaster’s Live Desktop replicates traditional video switcher controls in easy to comprehend and use fashion. It provides numerous transitions that you can use to add interest when changing scenes, four independent downstream overlay channels, and some very useful automation.

  • Page 112: Section 9.2 Program And Preview

    Hint: The main Switcher (and M/Es with transition effects assigned) are able to show ‘selection hints’ beneath their rows when the active selection is in the opposite bank. PROGRAM AND PREVIEW SECTION 9.2 Optional video source selections for the Program and Preview rows include all external (Camera and Network) inputs, including video router sources;...

  • Page 113: Selecting Sources

     FTB (Fade to Black) constitutes a final overlay layer – one that obscures all other layers when applied. • Program Program BKGD DSK 2 DSK 3 • Preview • Program Program BKGD DSK 1 DSK 2 • Preview * TriCasters 8000, 860 and 460 only Recall, too, that the BKGD layer itself is often a composite of sub-layers: It may include mixed video from both the Program or Preview rows.

  • Page 114: Section 9.4 Transitions And Effects

    FIGURE 9-4 TRANSITIONS AND EFFECTS SECTION 9.4 We discussed video layers in Section 9.3. With this in mind, it’s easy to comprehend the layout and use of TriCaster’s Transition controls. At left in this group are the main Transition controls, including the T-bar. The larger portion at right provides solo control and configuration options individually for the DSK layers.

  • Page 115: Dsk Controls

    Let’s consider the individual DSK Layer Controls first. DSK CONTROLS 9.4.1 Pressing the local TAKE button for any DSK displays or hides the corresponding video layer (shown on top of the BKGD layer). Local AUTO buttons beneath each DSK’s thumbnail icon perform similarly, but apply the currently selected transition (i.e., the effect represented by the small icon shown above TAKE).
  • Page 116 DSK P OSITIONING Each DSK layer has its own Position button and settings. Click the ‘diamond’ button to for the associated DSK are active. FIGURE 9-8 OSITION Positioning panel settings are organized into tabs. The first tab, Position, hosts one or two control groups, by model: 1.
  • Page 117 RIORITY Normally, KEY and DSK layers appear in numeric order from ‘back’ (furthest from the viewer) to ‘front’. This if DSK 1 and DSK 2 are both displayed and occupy the same position in the frame, the content in DSK 2 will occlude DSK 1.
  • Page 118 ORDERS FIGURE 9-12 The Edges tab for TriCaster Advanced Edition systems also provides each DSK, KEY and M/E layer with quick access Border preset slots (Figure 9-12) to supplement the scale, rotation, edge and other controls. These powerful border effects can include full color overlays, backgrounds, matte layers for ‘keyhole’...

  • Page 119: Main Controls

    DSK T RANSPARENCY Sources assigned to DSKs are often partially transparent. This might be because they are drawn from a Media Player (DDR or Graphics) file that includes an embedded alpha channel, because LiveMatte or Crop options are enabled for the source, because a Network source includes an alpha channel, or all of these factors operating together.
  • Page 120  Ping Pong – when enabled, this option causes the direction of the transition to be automatically swapped after each time it is applied. RANSITION ELEGATES An executive maxim suggests “Don’t do anything yourself when you can delegate it”. In TriCaster Advanced Edition, each video layer has its own small ‘confidence monitor.

  • Page 121: Section 9.5 Previz

    Let’s discuss the final button in the Transition group – FTB. The acronym FTB stands for Fade to Black. The result of clicking FTB will not likely surprise you very much. FTB offers a convenient method of doing precisely what its name implies –...

  • Page 122: Section 9.6 Undo/Redo

    M/Es to add different angles that match the original perfectly. UNDO/REDO SECTION 9.6 The Undo/Redo feature is unique to TriCaster Advanced Edition. This very useful innovation stores multiple undo/redo states. You can easily revert to a prior Switcher state, providing another important ‘failsafe’ feature.

  • Page 123: Chapter 10 Monitoring Your Video

    Chapter 10 MONITORING YOUR VIDEO The word “monitor” comes from the Latin “monēre” – meaning ‘to warn’. The word has taken on additional meaning since Roman times. As a verb, these include such connotations as ‘keeping an eye’ on something, and ‘checking continually’. As a noun, we understand it to mean devices that permit one to do just that.

  • Page 124: Workspace Presets

    WORKSPACE PRESETS 10.1.1 TriCaster provides powerful Workspace options. Freely switch from preset A to B to C to D for either Interface or Multiview, customize the display shown, recall it at a moment’s notice, or reset it to a default layout using Load Default. Each viewport in any layout offers diverse input or output source options, and can be further modified to produce just what you need.
  • Page 125 Long-standing practice when using color bars to calibrate video signal color attributes requires special video monitors with ‘blue only’ (or ‘blue-gun’) displays. TriCaster Advanced Edition’s Blue Only viewport option means you can now use any color monitor for this purpose.

  • Page 126: Section 10.3 Program Monitor

    Note: Certain Overlay menu options are not suitable for all monitor sources, hence are not listed when inappropriate. Two final items complete the monitor viewport options:  Rename – allows you to supply a custom name to be shown for the monitor viewport (as well as the associated Switcher row button) for sources.

  • Page 127: Section 10.4 Look Ahead Preview

    LOOK AHEAD PREVIEW SECTION 10.4 FIGURE 10-9 Again, by default, the Live Desktop also prominently displays the Look Ahead Preview monitor (labeled simply Preview). The Look Ahead Preview is versatile and powerful. Instead of showing just one video source (the Preview row selection), it displays the composite result of a Take operation applied to all currently delegated video layers (see the sub-heading Transition Delegates in Section 9.4.2).
  • Page 128 FIGURE 10-10 Complementing this feature, TriCaster provides Look Ahead Preview monitoring capability for M/Es as well (Figure 10-10). The Viewport Options menu group Outputs lists a special M/E Preview option for this purpose. Hint: All viewports assigned as M/E Previews show output from the same M/E. Making an M/E tab selection updates all viewports when Tabs Follow all Delegates is enabled.

  • Page 129: Chapter 11 Media Players & Buffers

    Chapter 11 MEDIA PLAYERS & BUFFERS TriCaster’s Media Players permit you to integrate video, stills and title pages into your live presentation with simplicity and style. Preload content and display it sequentially as a playlist, or call up individual items on demand. Media Players can even play, stop and advance automatically in response to your Switcher operations.

  • Page 130: Section 11.2 Shared Features

    SHARED FEATURES SECTION 11.2 Media Players of different types are accessed using tabs in the lower section of TriCaster’s Live Desktop. PLAYLISTS 11.2.1 The dominant feature of all of TriCaster’s Media Players is a storyboard-style playlist, used to organize content for use during live productions. FIGURE 11-2 This arrangement offers easily visible thumbnail icons for each entry.
  • Page 131 Hint: Double-clicking elsewhere in the playlist pane opens the Media Browser (hold down shift when clicking to open a system file explorer instead of the custom Media Browser). Note that even still images and static title pages added to the playlist are given a play duration. The default duration for these items is five seconds.
  • Page 132  Un-playable (missing, corrupt, or unsupported) file icons are dimmed. Hint: Multi-selection is supported for most operations, including Set Duration (applies to Still and Title only). Most of the clip context menu items are self-explanatory, but let’s talk about a couple of them in just a bit more detail.
  • Page 133 RIMMING LIPS AND THE CRUB Just beneath the playlist pane is a full-width Scrub-Bar (Figure 11-4). The width of the scrub-bar represents the full run time of the current clip or other media file. Drag the knob left or right to change time position in the current playlist item.

  • Page 134: Media Browser

    TriCaster’s Media Players. Premultiplied files will not give the correct results when overlaid on other imagery. Hint: Monitors can optionally show a checkerboard pattern behind transparent content. TriCaster Advanced Edition Media Players likewise support alpha channels. See Section 11.2.3 for a tip on using this ability. MEDIA BROWSER 11.2.2...
  • Page 135 ESSION ECORDINGS AND RABS FIGURE 11-7 In addition to locations named for your stored sessions, the Location List includes two special entries worth noting. The Session Recordings location shows you all files captured in the current session, saving you time hunting through a hierarchy to find them.

  • Page 136: Player Controls

    An additional filter appears above the File Pane. This filter quickly locates files matching criteria you enter, doing so even as you type. For example, if you enter “wav” into the filter field, the File Pane displays all content at the current location with that string as part of its filename. This would include any file with the extension “.wav”...
  • Page 137 RESENTATIONS FIGURE 11-12 It’s extremely useful to realize that, since TriCaster Advanced Edition supports transitions between playlist items, pressing Previous or Next likewise employs transitions. Whether playback is underway or stopped, and whether the items are clips or stills, you can use Previous and Next to transition backward and forward between items.

  • Page 138: Show On (...)

    Second, if player output is displayed on Program the reverse Switcher transition occurs automatically as the end of play approaches, whether the Out Point of the current item for Single play or the end of the playlist. (This behavior is optional for M/Es – see Options in Section 14.2 and Section 7.1.) Note: Unlike Switcher transitions, the DSK ‘out’...

  • Page 139: Mems

     Swap the current BG transition for the main Switcher or a designated M/E out for a custom animatino store (such as "Replay!")  Transition the current DDR selection in on the main Switcher’s PGM row, or the A row of an M/E ...

  • Page 140: Network Sharing

    TriCaster application folder are also shared. This allows applications possible. such as NewTek’s Virtual Set Editor, etc., running on external systems to export directly to TriCaster. These network shares are unaffected by the Share Media Folders and Buffers setting.

  • Page 141: Section 11.3 Editing Title

    EDITING TITLE PAGES SECTION 11.3 On mouse-over, title page icons (Figure 11-17) display a configuration (gear) icon in their lower-right corner. Clicking this button (or selecting Edit Title in the icon context menu) opens the pop-up Title Page Editor. Opening the pop-up Title Page Editor during playback is permitted, meaning FIGURE 11-17 Title Page content can be edited during both play and display (changes are detected and shown immediately).

  • Page 142: Footer Tools

    FOOTER TOOLS 11.3.2 FIGURE 11-20 The Prev and Next Title buttons let you store your changes and move to another title page in the playlist without the tedium of closing the Title Edit pane. You can click Close when finished with the current edit, but often you’ll find the Save and Duplicate feature handy.

  • Page 143: Datalink

    We’ll mention here, though, that both text and images on title pages accept DataLink keys as input. TriCaster Advanced Edition tells you which entry boxes accept DataLink keys by showing a custom mouse pointer, in the form of %DL, as shown in Figure 11-22.

  • Page 144: Buffer Types

    M/E KEY source menus. For TriCaster 8000, 860 and 460, the top ten buffer slots (or the top five, for other TriCaster Advanced Edition models) support both compiled animation effects and graphics – still image files or TriCaster title pages.

  • Page 145: Selecting Content

    FIGURE 11-25 The remaining buffer slots are restricted to graphics content, including popular image formats along with TriCaster title pages (i.e., .cgxml files). FIGURE 11-26 SELECTING CONTENT 11.4.2 FIGURE 11-27 Clicking an icon reveals a palette of nine buffer presets (Figure 11-27). When you move the mouse over one of these icons a [+] (Add Media) button appears.

  • Page 146: Buffers Menu

    (Naturally, if an image or title has previously been previously assigned to the active preset for the designated buffer, the new file will replace the current one.) Note: Generally, Buffers are linked to the original source file on disk. Having added a file to a buffer using the “Send to (Buffer x)”...

  • Page 147: Sharing Buffers

    Loading either class of animation effect into a buffer results in a time control being displayed at right in the buffer label (Figure 11-29). Hint: Select a Slow, Medium or Fast preset value from the drop-down menu, drag the mouse left or right over the time to change the current value, or click to enter a number directly using the keyboard.

  • Page 148: Using Buffers

     Specific filenames are not important in the buffer workflow. Actually, multiple media files with different names can reside in buffer folders. TriCaster always shows the ‘newest’ file – that is, the one with the most recent modification date. USING BUFFERS 11.4.7 Creative uses for buffers abound.

  • Page 149: Chapter 12 Ptz Control

    Chapter 12 PTZ CONTROL Once primarily used in security applications, robotic or ‘PTZ’ (pan, tilt, zoom) cameras are appearing on the production scene in ever increasing numbers. Not only do they offer dramatic potential savings, robotic camera installations also offer both creative possibilities and, in certain environments, safety benefits.

  • Page 150: Ptz Presets

    The Camera Bin (Figure 12-2), located across the bottom of the PTZ tab contains icons for each camera. A camera currently being controlled is denoted by a blue outline. The icons update to show the thumbnail for the preset icon selected above. Hint: Cameras whose PTZ switches are disabled in their respective Input Configuration panels (Section 8.2.5) show dimmed icons in the Camera Bin, but may still be selected.

  • Page 151: Ptz And The Control Surface

    PTZ AND THE CONTROL SURFACE 12.1.4 Pan, tilt, zoom control, and several settings for connected robotic cameras are also directly supported on several NewTek control surfaces. See Chapter 21, Control Surfaces for details. Page | 135...

  • Page 153: Chapter 13 Livematte

    Chapter 13 LIVEMATTE Although its controls are deceptively simple, TriCaster’s LiveMatte™ employs powerful chromakeying technology capable of extremely high quality results. Used alone or in conjunction with TriCaster’s DSKs, M/E Overlays and LiveSet features, you will find LiveMatte can play a ‘key’ role in your live productions. As we mentioned earlier, chromakeying –...

  • Page 154: Section 13.2 Matte

    Of course, if you choose poor settings, foreground areas may inadvertently be cut away as well. Good keying often requires judicious balance between ‘too much’ and ‘too little’. Let’s consider the tools TriCaster provides to help you achieve a great result. MATTE SECTION 13.2 The term Matte refers to a black and white representation...

  • Page 155: Smoothness

    On the other hand, it may be that there is (usually unplanned for) detail in the foreground that is somewhat similar to the key color. Reducing Tolerance may allow you to prevent unwanted holes appearing when the subject opts to wear his St. Patrick’s Day tie. SMOOTHNESS 13.2.3 Smoothness defines a further tolerance factor, and a very useful one.

  • Page 156: Section 13.4 Compositing

    COMPOSITING SECTION 13.4 When you enable (and configure) LiveMatte for an input, the onscreen monitor for that input shows the source keyed over a checkerboard pattern (when the Checkerboard option is selected in Overlays for the monitor.) If you select the (LiveMatte-enabled) input as Input A in an M/E tab in LiveMatte mode, the keyed source is overlaid on sources in lower input rows.

  • Page 157: Connection Considerations

    for clean keying. (It is not how much light you have on the key wall, but how evenly lit that wall is.) Naturally, you want to keep your green (or blue) screen clean and free of wrinkles, ripples, folds, tears, or other blemishes, as well.
  • Page 158 Page | 142...

  • Page 159: Chapter 14 Mix/Effect (M/E) Tools

    Chapter 14 MIX/EFFECT (M/E) TOOLS M/E banks provide truly awesome production power and convenience. Pre-configure multi-layered compositions and switch them as easily as you would to any single input, or use an M/E to control a special purpose sub-mix. This is also where TriCaster’s potent realtime virtual set technology, called LiveSet™, is applied.

  • Page 160: Mix Mode

    ‘Auto out’ transitions. FIGURE 14-2 In TriCaster Advanced Edition, the M/E mode is automatically established by the type of effect you assign as its Background effect. Effect selection is done in the usual way using the Media Browser. Click the + sign gadget that appears at upper right when the mouse is over the thumbnail icon for the Background effect.

  • Page 161: Effect Mode

    EFFECT MODE 14.2.2 FIGURE 14-4 – 2RU TRICASTER Careful scrutiny reveals some (outwardly) subtle differences in the controls when a LiveSet is loaded as the Background effect selection (Figure 14-4):  The Take and Auto buttons normally located beneath the T-bar and Transition icon are replaced by a large Position button.

  • Page 162: Section 14.4 Input Position Controls

    1. Click the label above the Effect icon, and use the Media Browser to select the Advanced Tracking effect from the Default group. FIGURE 14-6 2. Add the clip named Tracking Example.mov (NewTek>Green Screen group) to the playlist for DDR 1. 3. Enable Loop mode for DDR 1.
  • Page 163 4. Add the clip named “Bumper Cars.mov” (NewTek>Clips group) to DDR 2, set it to Loop as well. 5. Add an attractive full frame graphic to the GFX 1 player. 6. Select M/E 1 on the main Switcher’s Program row, to make it easy to view the result of the following steps.
  • Page 164 17. Select DDR 1 in the Use source Tracker menu. FIGURE 14-8 18. Enable Follow Tracker (Figure 14-8). The result on your Program monitor should look much like Figure 14-9; full motion video appears wherever the orange card appears in the foreground clip. This is the standard setup for the Advanced Tracking effect, though it’s possible to use it in different ways too.

  • Page 165: Section 14.6 Virtual Sets

    Applying this effect immediately causes the display on the Program monitor to update, showing the content of the alpha channel for input A (Input B is ignored). The current input A source is keyed, so the effect displays black on Program out wherever transparency exists in the foreground, white for full opacity, and shades of gray for in-between blends.
  • Page 166 FIGURE 14-13 FIGURE 14-14 LiveSet is one of TriCaster’s most powerful tools, and can dramatically enhance a production. With it you can achieve the look of a large, sophisticated studio setting (Figure 14-14) within a very small studio space (Figure 14-13), all without the need for external equipment. Broadly speaking, setup of a LiveSet effect is much like the Default effects previously considered (see Default Effects, Section 14.2.2).

  • Page 167: Holographic Livesets

    The Location List of the Media Browser lists any installed LiveSet groups under the heading “LiveSets”. Select an entry beneath to show thumbnail icons in the Browser’s File Pane (Figure 14-15 shows the content of the NewTek location under the LiveSets heading). NPUT...

  • Page 168: Section 14.7 Key Channels

    KEY CHANNELS SECTION 14.7 In almost all respects, the KEY channels in M/E panes match the DSK channels found in the Switcher’s main Transition section. Unlike the DSKs, though, they constitute a ‘pre-main Switcher’ sub-layer. This means that KEY channels are applied before the composition is sent to the Switcher (or another M/E). Thus content in a KEY channel appears beneath anything displayed via the (Switcher) DSK channels.

  • Page 169: Section 14.8 Comps

    Any KEY layer with the Augmented Reality switch enabled is treated differently from a normal KEY layer in several respects:  First, it does not merely appear above the main M/E layer composition you configure at left, as a typical KEY channel would. Instead, it is treated like another main layer added above the standard M/E layer rows.

  • Page 170: Managing Comps

    In particular, T-Bar and most Positioner attributes for all layers in the module are stored in a Comp, and are re-applied when you click the Comp icon later. This includes such things as cropping and edge-feathering performed using Positioner settings (layer source selections are not stored, nor are Border or Tracking settings.
  • Page 171 Hint: The main Switcher also hosts a Comp Bin. However, LiveSet effects are not supported in this case. It’s worth noting that, since T-Bar states are stored and applied by Comps, TriCaster’s transition effects can be applied by selecting a Comp. Let’s discuss an example: ...
  • Page 172 IMING We should mention again that the duration of the animation from the current state/position of a layer to the one stored in a Comp is controlled by the effect duration controls for each layer. This means that each layer can be animated more quickly or slowly according to your wish.

  • Page 173: Chapter 15 Audio

    Chapter 15 AUDIO Less than 100 years ago, movies were silent. We’ve come a very long way since “The Jazz Singer” (1927, Warner Bros.), and great audio now plays a huge role in video production. TriCaster provides an extensive set of professional quality audio tools, which we’ll ®...

  • Page 174: Section 15.1 Audio Specifications

    AUDIO SPECIFICATIONS SECTION 15.1 TriCaster’s analog audio conforms to SMPTE RP-155. The maximum input/output level is +24 dBu. Nominal input level is +4 dBu (-20dBFS), and the sample rate is 96 kHz. Levels above 0dBVU are shown in red in the VU meters, to caution you that overly high levels can result in clipping in recordings.

  • Page 175: Connection Type

    CONNECTION TYPE 15.4.1 Individual sub-panel panels for external sources govern a group of physical audio connections including variously (depending on TriCaster model) two XLR inputs, an AES/EBU (AES3) BNC connector, and HDMI or SDI Embedded digital audio sources. In addition, NDI and Dante™ audio sources can be assigned to any control group.

  • Page 176: Section 15.5 Common Controls

    Note: On TriCaster 410, Mini SDI and Mini, only the first two inputs support analog audio.  Microphone – low impedance microphones and other common professional audio sources.  Microphone (Phantom) – microphones (typically condenser mics) requiring supplementary DC power; not supported by TriCaster Mini. ...

  • Page 177: Solo

    SOLO 15.5.3 Solo implementations and options vary widely in the audio industry, but broadly speaking, they provide several very useful functions. TriCaster’s Solo feature offers remarkable flexibility without overly confusing complexity. Consider a few basic design concepts:  The Solo switch state has no impact on the audio mix (es) sent to other outputs. ...

  • Page 178: Section 15.7 Advanced Configuration

    The remaining control groups in the Audio Mixer are dedicated to TriCaster’s various audio outputs. We’ll come back to them in Section 15.8, but before we do so, let’s drill further down into more advanced audio options and tools. ADVANCED CONFIGURATION SECTION 15.7 The controls for all inputs (including internal audio sources) as well as the Effects, Stream, Aux and Master...

  • Page 179: Routing

     Sliding Pan for channel 1 all the way to the right results in that source only being audible on channel 2, removing it completely from its original channel. Pan also modulates the sound levels on the left and right channels so that the overall volume neither rises nor drops as a result of adjustments.

  • Page 180: Processing

    Program output. Also important, independent control and signal processing is provided for each part of the pipeline. Hint: TriCaster Advanced Edition provides full 4x4 matrix routing for each source, allowing for much more sophisticated mixes than the simple example above.
  • Page 181 Compressor … Limiter – what’s the difference, anyway? Compression and limiting are not really different processes, but rather a matter of degree perceived effect. FIGURE 15-10 Compression, ideally, takes the The effect applied falls off gradually as sound draws closer to form subtle, almost...

  • Page 182: Automation

    ATIO A Ratio of 4:1 means that if input level is 4 dB over the threshold, the output signal level after compression will be just 1 dB over the threshold. The gain (level) is reduced by 3dB. Very high ratio settings are the reason the word “limiter”...

  • Page 183: Section 15.8 Output And Primary Bus Controls

    ACRO AT The nearby Run Macro at (value in dB VU) is part of TriCaster Advanced Edition’s powerful automation toolset. Click the E (Event) button to assign macros to run when the sound level for the input passes the threshold audio level (transients such as a brief cough are filtered out).

  • Page 184: Stream

    The main point to remember from all of this is that for digital audio recording “less is often more”. When it comes to levels, by all means go as high as necessary – but it’s equally practical to go no higher than necessary. Hint: The Audio Mixer also provides Compressor/Limiters for each input and output.

  • Page 185: Chapter 16 Macros, Automation And Remote Control

    Chapter 16 MACROS, AUTOMATION AND REMOTE CONTROL Macros smooth out your workflow, reduce complex operations to a single button press, and make it easier to produce sophisticated programs. They provide many opportunities for both workflow streamlining and creative applications. (As well, macros can reduce or eliminate embarrassing operator errors.) This chapter also covers Remote Control, which allows TriCaster operations to be synchronized for various purposes.

  • Page 186: Section 16.1 Recording Macros

    RECORDING MACROS SECTION 16.1 Creating a new macro is simple. Buttons at upper right let you add folders and macros. Click the first to add a folder and name it. Selecting a folder in the list (other than the System Macros folder) enables the Add Macro button (Figure 16-3). Click this button to add a new macro entry.

  • Page 187: Section 16.2 Managing Macros

    Macro Editor. AUTOMATION SECTION 16.3 We have discussed TriCaster Advanced Edition’s automation features elsewhere in this Guide, notably in Sections 8.1.5, 11.2.1, and 15.7.5. Please refer to the accompanying Automation and Integration Guide for additional discussion of these powerful features.
  • Page 188 o Create a new session in the desired format. o Go on to configure cameras, Proc Amps, media content, Audio Inputs and Mixer settings, M/E configurations, etc., just the way you want for your production. 2. Exit the session, and use TriCaster’s Backup Session feature (see 5.3.3) to back it up, gathering all media assets in the process.

  • Page 189: Chapter 17 Stream

    Chapter 17 STREAM Live webcasting has dramatically altered the broadcast landscape. Information can now be shared among audiences around the world with very small transmission costs. The live streaming market provides many creative and profitable opportunities. When it comes to taking advantage of this new medium, TriCaster places you in the forefront of all the ®...

  • Page 190: Custom Connections

    LEGACY 17.3.2 For backwards compatibility reasons, the Legacy menu point in TriCaster Advanced Edition’s STREAM menu provides access to older Connection configuration options. These include the following: FIGURE 17-3 ...

  • Page 191: Act As Webcam

    Generally, though, they are pretty simple, and providers offer step by step information and support through their sites. And, of course, NewTek’s own TriCaster forum membership can often offer helpful hands-on experience and advice.

  • Page 192: Section 17.4 Audio Level

    Once configured on the remote site, you can audition your streaming broadcast using the Stream button in the Dashboard at the top of the Live Desktop panel. If you do not wish to archive your stream, disable the Archive File switch beforehand. Hint: Some services may show you what they are receiving from TriCaster when you press Stream, but do not actually broadcast that stream until you indicate that you are ready to go ‘on air’, using controls on the website.

  • Page 193: On Demand Or Live Streaming

    ON DEMAND OR LIVE STREAMING? 17.6.1 Not all ‘streaming’ is ‘live streaming.’ The difference is similar to i) watching a television program you previously recorded at a time convenient for you, or ii) watching a live event. On demand streams are stored on a server (often supplied by an external service provider), ready to be transmitted whenever a viewer wishes.
  • Page 194 flowing through a hose. You control the ‘faucet’, because you get to choose the streaming Profile setting in TriCaster’s Configuration panels. However, you don’t own the ‘hose’ – or, at least, not the entire hose. Once the stream leaves your immediate environment, even if you can supply good throughput locally, bandwidth may be constricted elsewhere along the transmission path.
  • Page 195  Disadvantages: o Requires either a public IP address or requires users to be on the same network. Facilities such as hotels or convention centers will usually not provide a public IP address. Even if they do, getting them to open holes in their firewall is next to impossible. o If TriCaster is behind a router, your router must be configured to ‘port forward’.

  • Page 196: Streaming Media Providers

    If you’re still struggling with the differences between Push and Pull streaming methods, you can find lots of online resources (in addition to excellent information available in NewTek’s user forums!) The popular web resource Wikipedia® hosts many articles on the subject, notably these two: http://en.wikipedia.org/wiki/Push_technology...

  • Page 197: Section 17.7 Production And Capture Considerations

    PRODUCTION AND CAPTURE CONSIDERATIONS SECTION 17.7 If you’re not intent on live streaming, but wish to capture a live switching session, you would likely record at full resolution using the Record button (rather than Stream). The high quality captured files can then be used later in TriCaster’s DDR, or perhaps be transferred to another computer (even on a different platform) for external processing or editing.
  • Page 198 devices (there’s no shame in having a VCR backing up your digital record – ‘low tech’ still has a place in the grand scheme.) But you also need to perform onsite testing, to ensure your live stream is working well before ‘zero hour.’ No-one will thank you for excuses, no matter how brilliantly they point the finger at forces beyond your control.
  • Page 199 3. In the command shell that opens, type “ipconfig” (without the quotation marks) and press Enter again. 4. The IP Address for the system will be reported in the window (listed next to “IPv4 Address”), along with other data. To find the IP Address for a system running OS X ®...
  • Page 200 FIGURE 17-5 FIGURE 17-6 Apple OS X ® For a system running Apple’s OS X ® 1. Double-click Terminal in the Applications\Utilities folder. 2. Type the following command into the Terminal (without quotations) and then add the IP number, and press Enter: “ping –c 4 ipnumber.”...
  • Page 201 Port forwarding permits a sort of ‘blind hand-off’ between external clients (your viewers) and a local transaction port which you manually specify. (The router will pass requests to view the stream through to the TriCaster, without exposing the internal IP routing.) To enable port forwarding, you need three pieces of information: ...

  • Page 202: Is It Really A Tricaster Issue

    7. Checkmark Enable. Some routers may have other security settings that need to be modified for your Pull stream to be visible from the outside. For example, the Linksys® router shown above has a setting in the Security page named Block Anonymous Internet Requests.
  • Page 203 seen in this file. On the other hand (if the file looks good), then the issue has to be up-stream of the TriCaster.  Dropped Frames To really confirm that TriCaster is outputting the frame-rate you chose (i.e., not dropping frames) you can edit a profile inside Flash®...

  • Page 205: Chapter 18 Export

    Chapter 18 EXPORT TriCaster’s Export features allow broadcasters to publish clips and stills from events like syndicated sports, entertainment or news programming to social media sites even while the live action and capture continues. Networks, corporate users and others with sophisticated website and distribution needs can deliver content moments after events occur for all manner of timely applications.

  • Page 206: New Preset

    NEW PRESET 18.2.2 Let’s skip over Auto Queue for a moment, and jump to the New Preset menu item. Click this to display a sub- menu listing various supported Export targets (such as Twitter, or Facebook). Select an item here to open a dialog that lets you create a custom preset that will then appear in the list discussed just above.

  • Page 207: Metadata

    FIGURE 18-2 The features of the Export Bin are powerful, but not hard to grasp. Click the Add button in the footer to open a Media Browser, which you can then use to select (and multi-select) content you wish to export. You can choose items from your current session or another location.

  • Page 208: Presets

    The Comment column allows you to add remarks that will be sent along with the upload to sites that support this. Click in this column to enable keyboard entry, or navigate to it and simply start typing. Press Enter or click elsewhere to end editing.

  • Page 209: The Export Button

     Click the Trim button in the footer to open a trimmer pane (Figure 18-7) that allows you to set the In and Out Points for clips you plan to share (some file formats do not support trimming). Clips that are added while still being captured can be re-trimmed to take advantage of file ‘growth’. Hint: Checkmark the Still Frame switch to select a frame and convert it to a JPEG image file on upload.

  • Page 210: The Queue Switch

    THE QUEUE SWITCH 18.4.1 The switch in the Queue column (Figure 18-9) for each item in the Bin serves as a local ‘go/no-go’ decision for the Export processor. Thus, even when an item is otherwise fully configured and the Export switch is lit (meaning that the Export processor is hungrily looking for items it can consume), if the Queue switch for an item is not checked, the processor will bypass that item.

  • Page 211: Other 'Add To' Methods

    OTHER ‘ADD TO’ METHODS 18.4.3 Let’s handle the final details you need to become a social media maestro. It seems obvious that manually managing the minutiae of exporting could intrude into the already hectic life of a switcher operator. Live production already demands a lot of attention.

  • Page 213: Chapter 19 Record And Grab

    Chapter 19 RECORD AND GRAB You will often want to capture video clips from external sources, as well as to record your own live TriCaster® productions. Similarly, it can be quite useful to be able to grab stills from Program output for use in the current production. This chapter will provide everything you need to know about this topic.

  • Page 214: Capture Tab

    TriCaster records a high quality Quicktime file. The Transcode function in Export makes it possible to supply files in a wide number of different formats, when necessary. ® ® Hint: Download free NewTek codec packs for Windows and Apple computer platforms from the Downloads page on NewTek’s Support website.

  • Page 215: Replay Tab

    REPLAY TAB 19.1.3 In TriCaster Advanced Edition, features related to instant replay have been gathered into the Replay tab. FIGURE 19-5 Let’s examine these controls one by one, beginning with the Add to menu options. CTION Choose an Add to option from the Action menu to automatically send newly-created clips to the target(s) you choose in the menu that opens when you click the gear at right.
  • Page 216 FIGURE 19-7 TriCaster Advanced Edition makes it easy to send clips from any recorder defined in the Capture tab to a DDR or to the Publish module. Notice the two buttons (labeled “Out 1” and “Out 2”) just left of the configuration gear in Figure 18-10.

  • Page 217: Section 19.2 Grab

    GRAB SECTION 19.2 At times, all you really want to capture is a still image from the current Program Output video stream (or perhaps, an input). This is the purpose of TriCaster’s Grab function. UTPUT Click the Configure button (gear) next to Grab in the Dashboard at the top of the Live Desktop to open the Grab Still Configuration panel.

  • Page 219: Chapter 20 Authoring Title

    Media Players of your TriCaster ® TriCaster Advanced Edition includes an integrated version of LiveText, which retains offline the page authoring capabilities you need to create title pages with ‘live-editable’ text and image elements for use in the Media Players.

  • Page 220: Files/Filebin

    Note: It is possible to use LiveText’s File menu to open a project that does not correspond to the current session settings. TriCaster will attempt to provide video output, but it’s possible that a given monitor may not display it correctly. FILES/FILEBIN 20.1.1 LiveText’s file dialogs (for File>Open, File>Add, File>Save and Save As) have pre-configured QuickTabs...
  • Page 221 P A R T I I I ( A P P E N D I C E S ) A time-saving question and answer section, followed by an extensive listing of Shortcut Keys, schematic diagram and keyword index …...

  • Page 223: Chapter 21 Control Surfaces

    Chapter 21 CONTROL SURFACES This chapter introduces the different control surfaces offered by NewTek®, helping you to see how they complement your TriCaster and bring added ability to your production ® setup. The section also includes brief notes on connecting TriCaster control surfaces for use with your live production system.

  • Page 224: Convenient Alternatives

    INSTANT REPLAY 21.1.3 NewTek provides potent instant replay solutions in the form of its dedicated 3Play™ systems, but for less demanding installations many have found their TriCaster based TimeWarp™ control surfaces (which take advantage of TriCaster’s integrated recording and playback capabilities) to provide just what they need.

  • Page 225: Section 21.3 Tricaster® 8000 Cs

    The TriCaster 8000 CS control layout closely conforms to the TriCaster ‘standard edition’ user interface, the principle exception being that singular M/E and Position control groups governed by delegate buttons serve the purpose of multiple controls in the UI. For TriCaster Advanced Edition, however, with its additional NDI source options, considerable remapping has been done.
  • Page 226 OURCE ANKS The control surface presents buttons representing various video source selections on its DSK, PROGRAM, PREVIEW and M/E rows. The number of sources available in NDI-enabled TriCasters is so extensive that sources are arranged in two banks, similar to the onscreen user interface. In this arrangement, each button does double duty, depending on which bank is currently being controlled.
  • Page 227 Bank 2 (Press ALT) Button 11 12 GOLD BLUE NA NA NA NA 11 12 GOLD BLUE NA NA NA NA UTIL 11 12 GOLD BLUE NA NA NA NA 11 12 GOLD BLUE NA NA NA NA PREV 11 12 GOLD BLUE NA NA NA NA...

  • Page 228: Main Transition Group

    Bank 2 (Press ALT) Button GOLD BLUE GOLD BLUE UTIL GOLD BLUE GOLD BLUE PREV GOLD BLUE  Buttons marked “NA” are not assigned.  Buttons assigned to FX (Green), Gold, Blue and Red toggle the row’s membership in a color group. MAIN DSK DELEGATE MAIN DSK DELEGATE button selections govern which DSK layer(s) the row is currently controlling (or, as viewed from another perspective, it...
  • Page 229 FIGURE 21-5 Similarly, delegate buttons on the control surface are lit when active. Multiple selections are performed by pressing one or more buttons at the same time. In one departure from the onscreen user interface functionality, note that FTB (Fade to Black), though located near the delegates, is not a delegate button –...

  • Page 230: M/E Controls

    RATE The RATE knob operates in similar fashion to SELECT. Rotate the knob to modify the transition Rate for delegated layers. Or press the knob to cycle through the standard Slow, Medium and Fast presets. Hint: You can assign the A and B rows of M/Es as well as the main PGM and PREV rows to color groups by turning the respective Select and Rate knobs with the Shift button held down.
  • Page 231 FOLLOW PREV (PREVIZ) TriCaster Advanced Edition provides a unique PREVIZ feature which is, in essence, a specialized ninth M/E (albeit one that is never seen on video output). Among other things, PREVIZ serves as a sort of ‘scratch-pad’ where you can try out various Main switcher and M/E configurations without risk.

  • Page 232: Positioner Group

    FIGURE 21-11 LIVESET SHOT In TriCaster Advanced Edition, the LIVESET SHOT buttons labeled provide one way to apply Comps (see Section 21.3.6). For an M/E with a LiveSet effect loaded, the ANIM ZOOM button toggles the CUT (Duration) option for the Background transition duration.
  • Page 233 OYSTICK ELEGATES The type of operation applied to delegated video layers is further modified by button selections in other sections of the control surface. Hint: For finer control, hold down CTRL when operating the joystick. This will increase its sensitivity by a factor of 10. FIGURE 21-14 Two joystick mode buttons are placed separately at left.

  • Page 234: Managing Comps

    MANAGING COMPS 21.3.6 Comps are one of the most exciting features of TriCaster Advanced Edition, and your control surface makes it easy to apply and manage them. The 16 Comps available for the main Switcher or each individual M/E are associated with the first sixteen buttons on the DSK/ KEY rows of your 8000 CS.

  • Page 235: Previz

    For example, to apply ‘Comp 3’ to the main Switcher, press and hold CTRL, then punch the third button on the DSK row, then release CTRL. The same thing goes for a delegated M/E row, save that you will press the appropriate button (from 1-16) in the KEY row.

  • Page 236: Record Group

    These two buttons let you to cycle backwards or forwards respectively through existing presets for the delegated Media Player. MARK IN/OUT Click these buttons to set the in point or out point for the current playlist item in delegated players to the current frame.

  • Page 237: Special Buttons

    SPECIAL BUTTONS 21.3.10 The SHIFT, CTRL and ALT buttons provided on the control surface support extended features and future expansion. To the extent that these buttons are currently assigned, they are described in context. Note: You can disable most 8000 CS buttons to prevent accidental use when this FIGURE 21-18 would be desirable.

  • Page 238: Main Transition

    the effect is complete. At that point, it pops back to full brightness, just as the onscreen T-Bar returns to the top of its stroke. 3. In a mixed delegate situation (BKGD along with one or more KEY layers) the T-Bar is lit it medium blue, and conforms to the BKGD behavior described above.

  • Page 239: Overview

    Hint: Since the expansion of sources available in (NDI-enabled) TriCaster Advanced Edition, some TriCaster 460 operators may prefer the 8000 CS and 860 CS over the 460 CS, given the greater number of Switcher and M/E row buttons.

  • Page 240: Delegates And Synchronization

    MACRO The last button in this group offers spectacular convenience. A TriCaster macro can be assigned to any button on the control surface in much the same manner as it can be assigned to a keyboard button. The steps are as follows: 5.
  • Page 241 FIGURE 21-21 ANKS The number of sources available in NDI-enabled TriCasters is so extensive that sources are arranged in two banks, just as in the onscreen user interface. In this arrangement, each button does double duty, depending on which bank is currently being controlled. FIGURE 21-22 In the user interface, Bank 1 is shown by default.
  • Page 242 UTIL B ELEGATE UTIL BUS DELEGATE (Figure 21-23) button selections govern which FIGURE 21-23 switcher layers the UTIL row is currently controlling; or, from another perspective, which video layers the selected source is assigned to. The AUX OUT button corresponds to the Output 2 source, while FX controls Switcher or M/E rows delegated to the Green (FX) group.
  • Page 243 Bank 2 (Press Shift) Button UTIL GOLD BLUE PREV GOLD BLUE 860 CS 460) ASTER Bank 1 Button BLACK BLACK UTIL BLACK BLACK PREV BLACK Bank 2 (Press Shift) Button GOLD GOLD UTIL GOLD BLUE PREV GOLD BLUE 860 CS 410, M SDI) ASTER...
  • Page 244 Bank 2 Button GOLD BLUE GOLD BLUE UTIL GOLD BLUE GOLD BLUE PREV GOLD BLUE Notes:  Buttons marked “NA” are not assigned.  Buttons assigned to FX (Green), Gold, Blue and Red toggle the row’s membership in a color group. ...
  • Page 245 460 CS 460) ASTER Bank 1 Button UTIL PREV Bank 2 (Press SHIFT) Button BLACK BLACK UTIL BLACK GOLD BLUE PREV BLACK GOLD BLUE 460 CS 410, M SDI) ASTER Bank 1 Button UTIL PREV Bank 2 (Press SHIFT) Button BLACK BLACK UTIL...

  • Page 246: Transition Group

     Buttons marked “NA” are not assigned.  Buttons assigned to FX (Green), Gold, Blue and Red toggle the row’s membership in a color group.  The M/E KEY row provides the ability to change the source for the KEY 1 layer only. TRANSITION GROUP 21.4.5 The controls in this group (Figure 21-25) are analogous to...
  • Page 247 When multiple video layers have been delegated, turning SELECT affects the transitions for all layers as follows:  When all delegated layers are currently on the same transition bin ‘slot’, the selection in the corresponding transition bins simply cycles left or right synchronously. ...

  • Page 248: M/E Control Group

    Hint: When using a 460 CS with a 4RU TriCaster, add SHIFT to extend delegate selections. FOLLOW PVW (PREVIZ) TriCaster Advanced Edition provides a unique PREVIZ feature which is, in essence, a specialized ninth M/E (albeit one that is never seen on video output). Among other things, PREVIZ serves as a sort of ‘scratch-pad’...
  • Page 249  To transfer the current state of an M/E to PREVIZ, press CTRL with the BKGD delegate button (this operation this requires the main Transition control group at front right to be assigned to M/E control). Note that for multi-selected M/Es, the state of the lowest numbered M/E only is sent to PREVIZ.

  • Page 250: Positioner Group

    DIFFERENT CONTROL SURFACE MODELS, A NEW METHOD HAS BEEN PROVIDED TO STORE AND APPLY COMPS/PRESETS, AS DESCRIBED NEXT.  Hold down CTRL, and press one of the buttons on the KEY row (in the M/E section) to apply the corresponding Comp or Preset. ...
  • Page 251 Use the joystick to control Virtual Zoom as follows: o To zoom in: Push the joystick forward (as viewed from above), or twist the joystick clockwise.  o To zoom out: Pull the joystick back (as viewed from above, or twist the joystick counter-clockwise. ...

  • Page 252: Media Player Group

    CROP Except when the POSITIONER DELEGATE selection is VIRTUAL ZOOM or SHUTTLE:  Twist the joystick clockwise (as viewed from above) to crop delegated sources inward on all 4 edges, maintaining the original aspect ratio.  Twist the joystick counter-clockwise to reduce cropping of delegated sources on all 4 edges. ...

  • Page 253: Record Group

    EDIA LAYER ELEGATE The MEDIA PLAYER DELEGATE group contains buttons for TriCaster’s DDR 1, DDR 2, GFX 1, GFX 2 (Press SHIFT with GFX to delegate GFX 2 on the 460 CS), and SOUND modules. This selection determines which Media Player is being controlled at the moment. (Support for multi-selection allows you to do things like start and stop both DDRs at the identical moment.) PREV/NEXT PRESET These two buttons let you to cycle backwards or forwards respectively through existing presets for the...

  • Page 254: Ptz Control

     STREAM – Push to enable or disable TriCaster’s live streaming feature.  GRAB – Push to store one or more still images from one or more outputs (as configured in TriCaster’s Grab Configuration panel). Note: The ‘Add to’ (DDR) feature in the Record Configuration > Replay tab can be triggered by holding down CTRL while pressing the numbered button on the PGM row that corresponds to the specific recorder desired.

  • Page 255: Section 21.5 Tricaster ® 40 Cs & Tricaster Mini Cs

    TRICASTER 40 CS & TRICASTER MINI CS ® SECTION 21.5 FIGURE 21-32 TriCaster 40 CS™ was initially designed for TriCaster 40 (not covered in this Guide), and its physical button labels reflect that layout. TriCaster Mini CS is virtually identical, but has an updated label set designed for TriCaster 40 version 2.
  • Page 256 This delegate group dictates what the FX/OVERLAY, PROGRAM and PREVIEW rows will control, and also affects the transition (TAKE, AUTO and T-Bar) area. The options are mutually exclusive – that is, multiple selections are not supported. Choose one of:  MAIN ...

  • Page 257: Shift & Alt

    SHIFT & ALT 21.5.3 HIFT SHIFT is a ‘qualifier button’ (like ALT), providing access to secondary functions for certain buttons. (For example, ALT + SHIFT + (Preview row selection) toggles the Proc Amp feature for the designated video source.) FIGURE 21-35 FIGURE 21-36 Holding ALT provides access to secondary functions for certain buttons.

  • Page 258: Transitions

    buttons in the row along with ALT to perform the transport/navigation operation assigned, as listed above. Or press NET 1 or NET 2 to select the previous or next playlist preset for the delegated Media Player. SHIFT F UNCTIONS Press ALT along with a button on the PREVIEW row to toggle LiveMatte for the corresponding video source. Add the SHIFT button with ALT button to toggle the source’s Proc Amp instead.

  • Page 259: Section 21.6 Timewarp

    Afterward, the T-Bar resumes control over the delegated sources. TIMEWARP™ SECTION 21.6 This chapter discusses the use of two NewTek TimeWarp™ control surfaces in two variants. Both models (TriCaster ® 860TW and its predecessor, TW-42) add convenient slow motion instant replay to the already potent capability of your TriCaster system.

  • Page 260: Configuring Tricaster

    22.5.1 CONFIGURING TRICASTER 21.6.1 Connect a suitable video source to a camera input on your TriCaster live production system. Select that source on the Switcher’s Program row. Open TriCaster’s Record Configuration panel and set the Primary Source (typically to the Program option).

  • Page 261: Ddr Delegate

    For convenience, related controls and buttons are grouped together on the control surface. We will discuss the features and operations supported by each group in the pages that follow. The layout includes the control groups listed below (as shown in Figure 21-38): ...

  • Page 262: Edit Group

    EDIT GROUP 21.6.4 In general, these buttons operate on selected playlist content in the currently delegated DDR (see Section 21.6.3).  Remove – Push to remove currently selected entries from the delegated DDR’s playlist (selected items are not deleted from the hard drive, however). FIGURE 21-40 TW-42 N The Remove button is labeled RMV on TW-42.

  • Page 263: Marking Group

    (If a DDR is already playing, pushing a speed preset button alters the current playback speed immediately.) Hint: If you use an onscreen speed control to change to a new playback speed, the control surface button selection state follows when possible (in cases where no button corresponds exactly to the newly established speed, no preset button will be FIGURE 21-41 illuminated).

  • Page 264: Alt And Qualifiers

    ) OUT Pushing the OUT button likewise performs a short series of several actions:  An Out point is assigned to the primary clip  If the Add to switch is enabled in the Record Configuration panel, the clips is added to any targets configured in the associated destination menu (new clips are added to the end of the playlist) Note: This is a non-destructive operation.

  • Page 265: Record Toggle

    RECORD TOGGLE 21.6.8 It’s probably no surprise at all that pressing the REC (Record) button enables TriCaster’s own Record feature. It’s worth mentioning though, that REC is not a simple toggle button (as it is on the user interface). Simply pressing REC again does not turn Record off.

  • Page 266: Transport (Clip Controls)

    TW-42 N Preset selection is not supported by TW-42. OTES TRANSPORT (CLIP CONTROLS) 21.6.11 This group of controls provides a variety of convenient clip transport and navigation tools. The dominant feature is a large, smoothly operating Jog Wheel. This oversize knob permits you to traverse the current clip in the delegated DDR in frame-accurate increments.

  • Page 267: Section 21.7 Avid ® Artist Mix

     Audio Control – Remember that you can reduce (or Mute) the audio for replays individually using the local playlist pane audio controls in a DDR, or with the DDR level controls provided in TriCaster’s Audio tab(s).  DSKs and LiveSet - TriCaster provides a great deal of creative versatility in connection with instant replays.

  • Page 268: Installing Avid® Artist Mix Software

    INSTALLING AVID® ARTIST MIX SOFTWARE 21.7.1 AVIDI provides a utility called EuControl for use with the Artist Mix control surface. This software runs in the background, and is required for TriCaster to recognize and respond to the control surface. 1. From the TriCaster Startup screen, click the Shutdown icon, and choose Administrator Mode. 2.

  • Page 269: Getting Started

    devices are on the same network) you may need to Exit to Windows, right-click the EuControl icon I shown in the Notification Area of the Windows taskbar, select EuControl Settings and and use the configuration tools provided therein. Refer to the AVID® documentation for further details. 5.

  • Page 270: Nudge

    1. Soft Key navigation buttons 5. SHIFT keys 2. OLED Display 6. Knob Set selectors 3. Power button 7. Fader strips 4. Fader Navigation buttons Of course, Artist Mix can be used with a variety of systems and software applications apart from TriCaster. You may already be familiar with its use for certain other purposes.

  • Page 271: Level Control

    LEVEL CONTROL 21.7.7 As you would expect, adjusting the position of a given fader modifies the volume level of the corresponding control in TriCaster’s Audio Mixer. For example, pushing the control surface fader labeled Audio1 A raises the volume for the source labeled Audio 1 A in TriCaster’s Audio Mixer.

  • Page 272: Talk

    in the same Knob Set group). This lights the button, and re-assigns the PAN control on the surface to the associated channel. Press the button again to restore control over the first channel (the button light will go out. B (M To adjust MIC GAIN for a channel, press the CHAN button.

  • Page 273: Follow

    FOLLOW 21.7.12 Two other small buttons sit just to the left of each fader strip. These are labeled AUTO/REC N . The latter is not normally relevant in (the default) mode, but we are ASSIGN/SEL Y interested in the first – .

  • Page 274: Compressor/Limiter

    COMPRESSOR/LIMITER 21.7.14 To access TriCaster’s Compressor/Limiter controls for the currently selected source, simply hold down a Shift key on the control surface and press the button again (the label for the ‘shifted’ state of this button is DYN). Again, the labels above the little graphs in each control surface slot update to show Compressor/Limiter settings –...

  • Page 275: Insert

    While not particularly useful for most operations, comes into its own in mode, allowing you to use FLIP the much larger faders to provide convenient control over the rather similar sliders in TriCaster’s equalizer (don’t forget to turn flip off when you switch back to normal mode, though).

  • Page 276: Audio Presets

    A small padlock icon appears in the OLED, indicating that MIDI Configuration Add-On: Master is now locked in its current place on the control surface. If you use the navigation buttons to move left or right, Master The Add-On group in TriCaster’s Session stays right where you want it.

  • Page 277: Section 21.9 Gpi Controllers

    ONFIGURATION For an external GPI device to communicate with a NewTek live production system, it must be manually defined by text entries in the file named gpi_setup.xml. This file can be located in the directory shown below as appropriate for your product:...
  • Page 278  C:\TriCaster\Configuration\  C:\3Play\Configuration\ The entry for a given GPI control device must contain an IP address and port, password, and custom name, entered as follows: < device name=”name “ ip=”###.###.###.###” port=”##” password=” “/> At the time of writing, the xml ‘element name’ signified above by the placeholder device should be “jlcooper”, without the quotation marks.
  • Page 279  Value – The shortcut value is the name of the GPI device (defined earlier in gpi_setup.xml) that you want the signal defined on this line to address.  Key # (0 – n) – The value you enter in this field identifies a target pin on the external DVI device to receive a signal defined in the following field.
  • Page 281 The headings that follow list related questions and answers together, along with cross-references and other helpful remarks. Hint: The NewTek website includes a comprehensive FAQ database containing a wealth of useful information on all of its products – please see http://www.newtek.com/faq/ How do I ...
  • Page 282 Restore a session? ................................275 Delete a session (and its content)? ............................. 275 Manage selected content inside a session? ........................275 Rename a session? ................................275 Duplicate a session? ................................275 Live Production ..................................276 Make custom transitions and LiveSets? ..........................276 Restore the default LiveSet? ...............................

  • Page 283: A.1 Connections

    Registration and Tech Support ..............................290 Register TriCaster? ................................290 Access Technical Support? ..............................291 Find TriCaster’s hardware/firmware revision numbers? ....................291 Miscellaneous ..................................291 Access System Administration Features ..........................291 Return to TriCaster from Administrator Mode ........................291 More Questions and Answers ..............................291 Can I do anything to improve latency/audio sync? ......................

  • Page 284: A.1.3 Configure Alpha Matte Output

    4. Click the Live icon on the Session Page of the Startup Screen, and press Enter (or click the Start Live Production link). 5. Roll the mouse pointer over the monitor for the camera you want to set up, and click the Configure (gear) button that appears in its titlebar.
  • Page 285 ULTIVIEW MONITOR OR PROJECTOR TriCaster supports a Multiview output feature by means of the output connector labeled Multiview. 1. Connect the external device to the Multiview output on TriCaster’s backplate using an appropriate cable (and/or adapter, if required). 2. Open a TriCaster session (or create a new one) from the Home Page of the Startup Screen, click the Live icon on the Session Page of the Startup Screen, and press Enter (or click the Start Live Production link).

  • Page 286: A.1.6 Connect A Supported External Control Surface

    IDEO ONITORS EVICES Downstream video monitoring devices must be compatible with the video broadcast standard (such as NTSC or PAL) you intend to use in the TriCaster session. 1. Connect cables between downstream devices (whether monitors or other devices) and appropriately labeled connectors on TriCaster’s backplate (see Section 3.7.1).

  • Page 287: A.1.8 Insert/Remove A Drive From Tricaster's Removable Drive Bay

    UESTION Q: What hard drives are recommended for TriCaster’s removable drive bay(s)? A NewTek supplied storage media has been carefully tested to meet exacting specifications, and can be expected to provide optimal performance and reliability. Of course, you are free to purchase storage media from other sources. Keep in mind that manufacturer specifications and reviews may highlight favorable statistics, focusing on results from ‘typical’...

  • Page 288: A.1.9 Connect An External Hard Drive

    11. Click the Eject gadget at upper right on the screen, and select the hard drive you wish to safely disconnect, or… 12. Open the Live Desktop’s TriCaster Options menu by clicking the label NewTek TriCaster at left in the Dashboard, select Eject and select the desired drive (see Section 7.1).

  • Page 289: A.2 Sessions

    3. At the time of writing, Wirecast does not fully ® support interlaced video, so you must also checkmark De-Interlace at the bottom of the Network video source menu. 4. Next, open the Sources menu in the Wirecast ® interface (Figure 21-68), and select the “New Web Stream”...

  • Page 290: A.2.2 Start An Hd Session

    6. TriCaster Multi-standard only: choose your local Video Standard (NTSC, NTSC-J or PAL) 7. Choose either SD 4:3 or SD 16:9 (widescreen) for Resolution, and click the Start Session link (lower- right). (See also Sections Section 3.9 and Section 5.1.) A.2.2 START AN HD SESSION? 1.

  • Page 291: A.2.5 Restore A Session

    3. Use the system file explorer that opens next to select the location for the backup file, and click OK. This process can take considerable time if the session has a lot of content; in such cases, it’s best not to commence unless time (before a production) permits.

  • Page 292: A.3 Live Production

    1. Click the label button [...] above the current LiveSet name to open the Media Browser. 2. Click the NewTek heading beneath the LiveSets heading in the locations list at left. 3. Select Default (2 Layer) in the Default group in the file pane at right.

  • Page 293: A.3.4 Set Up The 'Night Beat 3D' Liveset

    FIGURE 21-71 FIGURE 21-72 Hint: A template clip (Figure 21-72) is supplied in the Clips>NewTek folder (as are several looping sample clips). You can use the template as a guide to prepare similar clips with content positioned correctly for use with the Nightly Show set, using in the software of your choice.

  • Page 294: A.3.5 Set Up The 'Metropolis A' Liveset

    4. Click the + sign that appears when you move the mouse over the label below the effect thumbnail to open a Media Browser. 5. Click the NewTek label under the LiveSet heading in the Media Browser, and choose “3D Center L.LiveSet” from the “Night Beat” folder in the file pane at right.

  • Page 295: A.3.6 Initiate Streaming

    3. Click the + sign that appears when you move the mouse over the label below the thumbnail to open a Media Browser. 4. Click the NewTek label under the LiveSet heading in the Media Browser, and choose “Metropolis A Wide” from the “Metropolis A” folder in the file pane at right.

  • Page 296: A.3.7 Find My Captured Stream File

    5. Close the panel, and – when ready – click the Stream button. (See Chapter 17 for full details.) A.3.7 FIND MY CAPTURED STREAM FILE? 1. Go to Locate the Home Page of the Startup Screen and click Open. 2. Click the name of the session you streamed at right. 3.

  • Page 297: A.3.11 Deal With Ddr (Media Player) Clips That Seem Blurry

    DDR, please consider converting it to a ‘friendlier’ format. We can recommend NewTek’s own SpeedHQ, or perhaps DV (for Standard Definition clips), M2T or MPG – please continue reading for more information on file conversion.

  • Page 298: A.3.13 Change Colors For An Entire Title Playlist At Once

    You may prefer one of several simpler approaches that can be performed right on your TriCaster. For example, if the clip will play properly in a DDR when the system is not heavily loaded with other tasks, you could simply put the DDR on Program output, click Record, play the clip, and stop recording. With a little trimming of the recorded clip you’ll have a very usable file.

  • Page 299: A.3.14 Get Live Title Pages (.Cgxml) To Respect All Livetext Font Attributes

    A.3.14 GET LIVE TITLE PAGES (.CGXML) TO RESPECT ALL LIVETEXT FONT ATTRIBUTES? TriCaster’s Title Page file format (.cgxml) presently supports almost every attribute that LiveText offers – but there are a few exceptions. For example, multiple font styles on one text line are not supported, which means that different words on a single line cannot be different colors, or use different typefaces.

  • Page 300: A.4 Files

    A.4 FILES A.4.1 MANAGE FILES? Please refer to the item (How do I) Manage Selected Content inside a Session? (Section A.2.7). A.4.2 IMPORT MEDIA FILES? Importing files implies copying them into the TriCaster session folders, making them local (rather than external).

  • Page 301: A.4.4 Share Files On Youtube

    Probably the best format to use for files with embedded alpha channel for use in TriCaster are those encoded using NewTek’s own SpeedHQ 4:2:2:4 codec. This format can serve for either SD or HD clips, and represents a high quality, moderately compressed alternative. (As a registered NewTek customer, you can download the NewTek TriCaster Codec Pack for either Windows®...

  • Page 302: A.4.8 Export Files To An External Drive

    A.4.8 EXPORT FILES TO AN EXTERNAL DRIVE? There are several approaches to exporting media files from within TriCaster sessions. By far the simplest is to use the Export Media feature – see the sub-heading by that title in Section 5.3.3. A.4.9 IMPORT/EXPORT FILES LARGER THAN 4 GIGABYTES? This question may arise if you are using external media, perhaps portable hard drives or USB ‘thumb’...

  • Page 303: A.5.2 Resolve Serious Instability Or Dropped Frames

    2. In the Administrator Mode screen, click the Defragment Hard Drive link (under the System Utilities heading) and follow directions provided (see also the heading System Utilities in Section 5.2.3). This process can take considerable time, so it’s best not to commence unless time (before a production) permits.

  • Page 304: A.5.5 Install Virus Protection

    A.5.5 INSTALL VIRUS PROTECTION? Virus and malware protection applications can dramatically impact system performance. In general, once additional software or services are enabled on TriCaster, real-time performance cannot be guaranteed. In a perfect world, we’d love to recommend that you do not install virus and/or malware protection software on TriCaster.

  • Page 305: A.5.8 Restore Tricaster Software

    Afterward, the backup drive can be removed and stored, to be used later if necessary to i) restore the internal drive should, or ii) in the case of a catastrophic drive failure, to be connected internally to completely replace the original drive. Note: Since opening TriCaster’s case is a breach of warranty, please call Customer Service to obtain direction before proceeding with an internal drive replacement.

  • Page 306: A.6 Registration And Tech Support

    The clone operation includes: o The existing (factory-prepared) Restore partition o The complete C partition In cases of catastrophic drive failure requiring drive replacement, a service technician can simply connect the User Backup ‘clone’ drive in place of the original internal system drive and you’ll be back in production (prudence would call for creating a new User Backup drive as the first order of business.

  • Page 307: A.6.2 Contact Customer Support

    A.6.2 CONTACT CUSTOMER SUPPORT? Visit the NewTek Website to find the latest support information for your NewTek products, including FAQs and documentation, along with the Customer Support Department’s hours of operation and contact details. A.6.3 FIND TRICASTER’S HARDWARE/FIRMWARE REVISION NUMBERS? Click the Help icon in the Startup Screen’s Home Page, and select About TriCaster.

  • Page 308: A.8.2 Why Is My Power Supply Beeping

    UESTION Q: Where can I obtain replacement or spare Power Supply modules? A: Contact NewTek Customer Support for information on purchasing TriCaster components. A.8.3 WHY DO SOME THUMBNAIL ICONS LOOK WRONG? Some file formats (notably AVI) do not provide embedded aspect ratio information. As a result, their thumbnail image in Media Player icons for may not be properly proportioned.

  • Page 309: B Performance Considerations

    B PERFORMANCE CONSIDERATIONS Your TriCaster has been carefully designed to faithfully execute its duties under any ® reasonable circumstances. Still, your production environment – especially in remote locations – may impose limitations that you are wise to consider. This chapter discusses a few matters that may help you get optimal performance in less than ideal settings.

  • Page 310: B.3.2 Latency And Your Audience

    video image from huge video displays co-located at the front of the auditorium would reach your ears and your retinas at precisely the same moment! This is not the case, however. Sound travels quite slowly – so slow, in fact, that even in relatively small venues it reaches those in the rear of the audience noticeably later than those in the front.

  • Page 311: B.3.4 Other Sources Of Latency

    TriCaster’s portion of the total latency sum is well within acceptable standards for devices of this sort – roughly between 1.5 and 2.5 frames (the actual amount can vary slightly within this range, depending on several factors). For example, suppose a ‘video frame’ supplied by a camera arrives at TriCaster’s inputs one millisecond after a different frame has been sent to the output.

  • Page 313: C Video Calibration

    C VIDEO CALIBRATION An oft-heard expression is “Don’t worry – we’ll fix it in post”. Post-production techniques are invaluable, but they do not invalidate another often repeated axiom – “Garbage in, garbage out.” And, in the case of live production, the results are immediately obvious to your audience …...

  • Page 314: C.2 Calibrating Video Sources

    C.2 CALIBRATING VIDEO SOURCES The obvious disparity between neighboring televisions on display in a store amply demonstrates that even identical (and brand-new) video devices can differ dramatically. When mixing multiple cameras we need to ensure that their output matches. Switching to a camera with obviously different color characteristics will be seen as a glaring error by your viewers.

  • Page 315: C.2.2 Adjusting Color

    Some more professional cameras offer full manual controls for white balance and/or black level. Use these as instructed to ensure your camera is providing the correct white and black levels. If you cannot make source adjustments, or can’t get it quite right by these means alone, you can use the Brightness and Contrast controls in the Proc Amp TriCaster provides for that input to tweak black and white levels.

  • Page 316: C.2.3 Color Metrics

    C.2.3 COLOR METRICS At this point, we’ve assured ourselves that the signal from the camera is neither too bright nor too dark, that its output falls within broadcast legal luminance limits, and that the black & white part of the signal does not have an unwanted color cast.

  • Page 317: C.3 Calibrating Your Monitors

    FIGURE 21-81 If the trace vectors do not line up as they should even after performing a white balance at the camera, you can use TriCaster’s Proc Amp controls to tweak the signal. Adjust the Hue control to rotate the vectors around the center point to line them up correctly on their respective targets.

  • Page 318: C.3.2 Program Output Monitor

    http://www.lagom.nl/lcd-test/ http://www.jasc.com/support/kb/articles/monitor.asp http://www.photofriday.com/calibrate.php http://www.onecomputerguy.com/windows7/windows7_calibrate_color.htm C.3.2 PROGRAM OUTPUT MONITOR Again, a search of the Internet for “video monitor calibration” will yield a large number of resources, both free and commercial. If you have television monitors connected to TriCaster’s outputs, though, you can make further use of the color bars.

  • Page 319: C.4 Further Reading

    C.4 FURTHER READING You may find it helpful to review the white paper, available from NewTek’s website, entitled “NewTek TriCaster Scopes – How and Why”, by Allan Tépper. This document provides many helpful insights into waveform and vectorscope use, as well as the development and application of video standards.

  • Page 321: D Keystroke Shortcuts

    D KEYSTROKE SHORTCUTS D.1 SWITCHER… Program Row, Inputs 1 to 24 (by model) F1 – F12 plus [Shift + F1-12] Preview Row, Inputs 1 to 24 (by model) 1 – 0, -, =, and [Shift + 1-0, -, =,] Transition Delegate – select BKGD [ key (left square bracket) Transition Delegate –...

  • Page 322: D.3 Record, Grab, And Stream

    D.3 RECORD, GRAB, AND STREAM Record on/off r/ Shift + r Grab (still image) Stream Start Ctrl + / Stream Stop Ctrl + Alt + / D.4 TABS Show (DDR, PTZ, Mixer, etc.; varies by model) tab Ctrl + (F1 to Fn) Select M/E 1- 8 Ctrl + Shift + F1-F8 Show M/E pane...

  • Page 323: D.7 General

    D.7 GENERAL D.7.1 EDIT TITLE PANE Save the current title page Ctrl + Shift+ s Save the current title page, and duplicate it in the playlist Ctrl + Shift+ s Save the page and move to the previous playlist item Page Up Save the page and move to the next playlist item Page Down...

  • Page 325: E Dimensions And Mounting

    E DIMENSIONS AND MOUNTING It’s important when planning your installation to provide adequate support for the unit’s weight, and pay particular attention to providing room for both cable access and adequate ventilation. This section provides physical dimensions and recommendations intended to inform and guide you when mounting TriCaster systems and related control surfaces.

  • Page 326: Section 21.12 Tricaster 8000 And 860

    FIGURE 21-84 TRICASTER 8000 AND 860 SECTION 21.12 TriCaster 8000 and TriCaster 860 are encased in similar 4 Rack Unit (RU) chassis supplied with ‘ears’ designed to permit mounting in standard 19” rack architecture (Figure 21-85). As these units weigh in at about 40 pounds (>18 KG), we strongly encourage you to provide a shelf or rear support to distribute the load more evenly if rack-mounting is planned.

  • Page 327: Section 21.13 Tricaster 8000 Cs

    FIGURE 21-85 TRICASTER 8000 CS SECTION 21.13 Normally, the 8000 CS is used in a table-top configuration. Otherwise, the ½” (1.2 cm) rabbet provided at the front and back of the panel (only) permits you to embed the base in a cutout prepared for the purpose. FIGURE 21-86 Page | 311...

  • Page 328: Section 21.14 Tricaster 860 Cs

    If you plan to mount the surface in the latter manner, take care that the thickness of the supporting material does not block access to the AC power connection and USB port at rear left on the control surface body. FIGURE 21-87 TRICASTER 860 CS SECTION 21.14...

  • Page 329: Section 21.15 Tricaster 460 Cs

    FIGURE 21-89 TRICASTER 460 CS SECTION 21.15 FIGURE 21-90 Normally, the 460 CS is used in a table-top configuration. Otherwise, a rabbet on all four sides permits you to embed the base in a cutout prepared for the purpose. At the sides, a ½” (1.2 cm) ledge is formed for this purpose. The overlap provided front and back is narrower, about 5/16”...
  • Page 330 FIGURE 21-91 Page | 314...

  • Page 331: F Reliability Testing

    For this reason, all NewTek products undergo rigorous reliability testing to ensure they meet our exacting test standards. For TriCaster 8000, 860 and 460, the following standards are applicable:...

  • Page 333: Index

    INDEX Connections Cameras, 19, 267, 268 Control Surfaces, 208 3D, 149 External Drive, 272 Genlock, 24 Output, 24, 268, 270 Tally Lights, 27, 272 850 TW Copy, 246 Layout, 245 Crop, 251 CTRL, 221 CTRL, 248 AAC Encoding, 288 Act as Alpha. See I/O Configuration: Video Input Add-Ons, 55 DDR Delegate, 245 Administrator Mode, 39, 52, 286, 289, 291...
  • Page 334 Presets, 123 Speed, 121, 280 Hard Drive Title Pages, 125 Eject, 51, 272 Editing, 125 Hard drive (external), 272 Stand-In Images, 126, 204 Home Page. See Startup Screen Options Menu, 68 Home Page, 28 Remote Control, 171, 270 Hotspots, 13, 69, 77, 109 Tabs Follow Preview Row, 68 Tabs Follow Preview Row for M/E, 68 Overlay...
  • Page 335 Multiview Output Rename Input, 63 Broadcast Clocks, 92 Restart. See Startup Screen:Shutdown System Restore TriCaster, 54, 289 Network Connecting, 175, 181 Session iVGA, 293 Volume (Storage), 51 Ping, 182 Session Page, 29 Port Forwarding, 184 Sessions, 28, 47, 273 Sharing Buffers, 124 Backup/Restore, 52, 57, 59, 274, 275 Sharing Media Folders, 124 Share Media, 189, 285...
  • Page 336 Titlebar, 69 Titling. See LiveText Vectorscope. See Live Desktop Trackers, Tracking, 13, 78, 100, 101, 147 Transition Video Auto, 214, 231, 232 Calibration. See Calibration Delegates, 230 Streaming. See Streaming Fade, 214, 231 Video Standard, 22 Local Controls, 214, 232 Virtual Input, 251 Main Controls, 214, 231 Virtual Inputs...

  • Page 337: Chapter 22 Credits

    Kirk Morger, Mahdi Mohajer, Masaaki Konno, Menghua Wang, Michael Joiner, Michael Watkins, Mike Murphy, Nathan Kovner, Naveen Jayakumar, Ryan Hansberger, Shawn Wisniewski, Steve Bowie, Troy Stevenson, Zack Lounsbury Additional thanks to: NewTek Marketing, Sales, Business Development, Customer Support, Training and Development, and Operations...
  • Page 338 LiveMatte, TimeWarp, VT, VT[3], VT[4], V[T5], Video Toaster, Toaster, Inspire 3D, 3D Arsenal, Aura, LightWave, LightWave 3D and LightWave CORE are trademarks, service marks, and registered trademarks of NewTek. All other brand names, product names, or trademarks belong to their respective holders.

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