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High End Systems CATALYST Series User Manual

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MEDIA SERVER
User Manual
Software Version 3.3

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Summary of Contents for High End Systems CATALYST Series

  • Page 1 MEDIA SERVER User Manual Software Version 3.3...
  • Page 2 Patents This product may use one or more of the following patents: US 4,392,187; US 4,602,321; US 4,688,161; US 4,701,833; US 4,709,311; US 4,779,176; US 4,800,474; US 4,962,687; US 4,972,306; US 4,980,806; US 5,010,459; US 5,031,078; US 5,073,847; US 5,078,039; US 5,186,536; US 5,209,560; US 5,278,742; US 5,282,121; US 5,307,295;...
  • Page 3 III, and LithoPatterns are registered trademarks; and Talkback, the High End Systems globe logo, and the Hog logo are trademarks of High End Systems, Inc. or High End Systems Europe Ltd. Belden is a registered trademark of Belden, Inc. Apple, Final Cut Pro, Finder, FireWire, Mac, Mac OS, MacPaint, PowerMac, and QuickTime are trademarks of Apple Computer, Inc., registered in the United States and other countries.

  • Page 4: Contacting High End Systems

    U.S. Los Angeles: High End Systems, Inc. 8200 Haskell Avenue Van Nuys, CA 91406 US voice: 818.947.0550 fax: 818.908.8975 Europe Headquarters: High End Systems Europe LTD. 53 Northfield Road London W13 voice: +44 20.8579.5665 fax: +44 20.8579.8469 Asia: High End Systems Singapore Pte. Ltd.
  • Page 5 Declaration of Conformity according to ISO/IEC Guide 22 and EN45104 Manufacturer's name: High End Systems 2105 Gracy Farms Lane Austin, TX, 78758 USA Distributor's name: High End Systems, Inc. Distributor's address: 2105 Gracy Farms Lane Austin, TX, 78758 USA Declares that the product:...

  • Page 6: Important Safety Information

    Important Safety Information Instructions pertaining to continued protection against fire, electric shock, and injury to persons are found in Appendix D. Please read all instructions prior to assembling, mounting, and operating this equipment. Important: Informations De Sécurité. Les instructions se rapportant à la protection permanente contre les incendies, l’électrocution, excessif et aux blessures corporelles se trouvent dans l’Annexe D.

  • Page 7: Introduction

    Catalyst Media Servers are available in a turnkey system with fully configured hardware and software. Information on configuring a hardware system to run Catalyst software only projects can be found in the Digital Lighting Support section of the High End Systems website.

  • Page 8: This Manual

    Catalyst Version 3.3. If you are using another Software version, some of the features described in this manual may not be available. Support pages with manual downloads are available for previous versions at the High End Systems website: (http://www.highend.com/support/digital_lighting)

  • Page 9: Table Of Contents

    Table of Contents Contacting High End Systems® ..................ii Important Safety Information ..................iv Warning Labels ......................... iv Introduction ....................... v Catalyst Software Versions ....................v This Manual ........................vi Chapter 1: System Overview ................1 Selecting Media for Playback .................... 2 Working with Layers ......................
  • Page 10 Table of Contents Lesson 3: Image Color and Scale ................... 15 Set up Layer 1 ......................15 Set Layer 1 Rotation, Position, and Scale ..............15 Playback ........................16 Lesson 4: Trails ........................ 17 Understanding Trails ....................17 Applying Trails to Layer 1 ................... 17 Adding Trails to Layer 2 ....................
  • Page 11 Table of Contents Dual Outputs Widescreen Layers ................40 Chapter 6: Media Playback ................41 Libraries and Files ......................41 Preloaded Library Folders ................... 41 Referencing Content with the Use Layer ..............42 In Frame and Out Frame ..................... 42 Video Playback ......................... 43 Play Mode ........................
  • Page 12 Table of Contents 32 Invert Mask 2 ......................68 35 Mask Fading ......................68 36 Invert Mask 1 Fading ....................68 37 Invert Mask 2 Fading ....................68 40 Alpha Invert as Red ....................69 41 Alpha Invert as Green ..................... 69 42 Alpha Invert as Blue ....................
  • Page 13 Table of Contents Chapter 10: Visual Effects ................91 0 Movie on Non-Infinite Plane ..................91 1 Movie on Infinite Plane with Black Border ............. 92 2 Movie Unity Scaling ....................93 4 Full Screen ......................... 93 5 Movie Keystone 1 ...................... 94 9 Setup Image Keystone 1 ...................
  • Page 14 Table of Contents Chapter 12: Art-Net™ Protocol ..............119 Setting Up the Server for Artnet .................. 119 Assigning a DMX In Panel to Art-Net ................121 Chapter 13: Audio ..................123 Audio Input ........................123 Configuring the Audio Feed ..................123 Activating the Audio Input ..................124 Waveform Type Selection ..................
  • Page 15 Table of Contents Chapter 18: Presets ..................143 Creating a Preset ......................144 Catalyst Control Window ................... 144 Editing DMX Values in the Layer Panels ..............144 File Tab Settings ..................... 145 Position Tab Settings ..................... 146 Color Tab Settings ....................147 FX Tab Settings ......................
  • Page 16 Table of Contents This Machine ......................172 Remote Machines ....................... 173 Chapter 21: Multiple Servers ...............175 Synchronizing Multiple Servers ................... 176 Assigning Master Sync ID Numbers ................ 177 Synchronizing Content ....................177 Set Master Layer ....................177 Set Slave Layer ....................... 177 Monitoring Remote Servers ..................

  • Page 17: Chapter 1: System Overview

    Chapter 1: System Overview Catalyst Media Server Layers are designed to be controlled in a DMX-512 environment, The software’s user interface is used for configuration and diagnostic purposes and can also define presets for standalone operation. Media selections and manipulations can be accomplished by and recorded to a lighting controller.

  • Page 18: Selecting Media For Playback

    Note: Different versions of Catalyst software support a different number of layers. Software Security High End Systems uses a USB dongle to prevent unauthorized copying of Catalyst software. Factory configured Catalyst Media Servers have a dongle internally installed. Software only versions of the application require a USB dongle plugged into one of the PowerMac USB ports.

  • Page 19: Chapter 2: Quickstart

    Before returning merchandise, contact your High End Systems dealer/distributor for a Return Material Authorization (RMA) number. The factory cannot accept goods shipped without an RMA number. Return a damaged product for repair in its original roadcase. High End Systems assumes no responsibility for products damaged during transport.

  • Page 20: Setting Up The Server Rack

    QuickStart See “Product and Safety Information” for more information on warranties provided by High End Systems for your product. Setting up the Server Rack 1. Position the server rack upright on a platform constructed by latching the lid and the roadcase base together.

  • Page 21: Hardware Connections

    CHAPTER 2 QuickStart Hardware Connections Catalyst Media Server models feature Dual or Single Output capability. Use the hardware setup for your model. Connecting Preview Monitors and Outputs Catalyst Pro Dual Output Versions 1. Locate the DV1 (VDA) on the back of Catalyst Media Server rack. P1 and P2 Monitor Ports 2.

  • Page 22: Catalyst Dv Single Output Versions

    CHAPTER 2 QuickStart Catalyst DV Single Output Versions 1. Locate the Extron Video Distribution Amplifier (VDA) on the back of Catalyst Media Server rack. 2. Plug the PowerMac LCD monitor data cable into the local monitor port on the VDA. 3.

  • Page 23: Catalyst Software Application Setup

    BACK UP THE CONTENT DRIVE High End Systems recommends that you back up your content drive to a firewire drive or other media. The drive contains over35GB of content files. As an option, you can purchase Content backup on DVDs from High End Systems by contacting Customer Service at 800.890.8989.

  • Page 24: Configuring The Catalyst Software

    CHAPTER 2 QuickStart Configuring the Catalyst Software The following steps give you a basic default startup configuration for the Catalyst Pro 8- layer software version. Your version may have fewer layers or fewer outputs, but the general steps are the same for all Media Server Software. Choose Output Options Catalyst Pro Media Servers can display independent views of the Layer content on each output.

  • Page 25: Projecting Images Using Full Screen Mode

    CHAPTER 2 QuickStart 4. Click in the number field to type in the start channel. Remember that each layer requires an uninterrupted range of 40 channels for independent DMX control. 5. Patch each layer to your lighting console using the DMX Start Channels assigned with the Catalyst DMX In panels.
  • Page 26 CHAPTER 2 QuickStart Catalyst® V3 Media Server User Manual...

  • Page 27: Chapter 3: Tutorials

    Lesson 1: Still Logo on Moving Background In this lesson you will set a movie playing on Layer 1; then, using Layer 2, superimpose a still image of the High End Systems logo over the movie playing onLayer 1. Set up Layer 1 On your lighting console, select Layer 1.

  • Page 28: Add The Logo

    Set the File parameter to a DMX value of 71 (HES-logo-color). This selects the movie file numbered 71 in Library folder 0. You should see the High End Systems logo on the Output 1 window. Turn Layer 2 Background Transparent Now you’ll apply a color effect that turns the...

  • Page 29: Lesson 2: Crossfading Between Layers

    CHAPTER 3 Tutorials Lesson 2: Crossfading Between Layers Once you display content on different Catalyst layers, you can fade the layers in and out using the Intensity parameter. This creates a crossfading or dissolving effect between layers. In this lesson, you’ll play a movie on Layer 1 and record it in your lighting console as a cue or look.

  • Page 30: Setup The Second Cue And Playback

    CHAPTER 3 Tutorials Setup the Second Cue and Playback On your lighting console, select Layer 2. Change the Intensity parameter to a DMX value of 255 (100%). 10. Use your lighting console’s cue timing options to assign a 3 second time value to the Intensity parameter.

  • Page 31: Lesson 3: Image Color And Scale

    CHAPTER 3 Tutorials Lesson 3: Image Color and Scale In this lesson, you’ll use a Layer’s Position Controls to make an image appear to zoom away into the distance. In addition the Layer’s Color Controls are used to color the image. Set up Layer 1 Clear or remove any information in your console’s programmer or editor.

  • Page 32: Playback

    CHAPTER 3 Tutorials Adjust the DMX value of the Scale parameter to the midpoint of its 16-bit DMX value range. This shrinks the Layer’s image to a tiny point. On a Wholehog console, the 16-bit DMX values of the Scale parameter are displayed are in terms of percentage.

  • Page 33: Lesson 4: Trails

    CHAPTER 3 Tutorials Lesson 4: Trails The Trails parameter creates an afterimage that follows an image as it moves, then slowly fades away. Understanding Trails Unlike other Catalyst 3 effects, you can apply Trails only to Layer 1, the bottom Layer in the Layer stack.

  • Page 34: Adding Trails To Layer 2

    CHAPTER 3 Tutorials Adding Trails to Layer 2 On your lighting console, select Layer 2. Set the Intensity parameter to a DMX value of 255(100%). Select Library 0 (HES lithos) and File 28 (comet). Using the preloaded Catalyst content, you should now see a greyscale pinwheel image on Output 1.

  • Page 35: Lesson 5: Shutters

    CHAPTER 3 Tutorials Lesson 5: Shutters Any Layer can be used to shutter or crop content on underlying layers using the Shutter settings of the Visual Effects parameter. Understanding Shutters When a shutter Visual Effect is activated on a layer, that layer changes to a shutter only layer.
  • Page 36 CHAPTER 3 Tutorials 18. Adjust the eight Keystone Correction parameters to change the shape of the shutters. 19. Adjust the Z Rotation parameter to rotate the shutters. 20. When finished, clear or remove any information in your lighting console’s programmer or editor. Catalyst®...

  • Page 37: Chapter 4: Windows Menus

    Chapter 4: Windows Menus The Catalyst Interface The Catalyst Graphical User Interface is composed of the Catalyst Control, Library, and Two Output windows (One Output window for the Xpress version).They are accessed through the Windows Menu at the top of the screen. The user interface provides configuration, command and preview functions.

  • Page 38: Catalyst Control Window

    CHAPTER 4 Windows Menus Catalyst Control Window Components The Catalyst Control Window contains the following panels: CIB Panel displays status of the CIB connection and switches sync functions. Output Control panels sets the output display. Catalyst Pro and Catalyst DV have dual outputs, Catalyst Xpress has one output available.

  • Page 39: Cib Panel

    CHAPTER 4 Windows Menus CIB Panel Turnkey Catalyst systems utilize a Catalyst Interface Board (CIB) to connect to a DMX console. User configured systems utilizing Catalyst Software only versions may substitute an ArtNet box, see the High End Website for additional configuration information at http://www.highend.com/support/digital_lighting/catalystsupportguide/index.asp When a (CIB) is connected properly to the media server, the mini display window will say No CIB...

  • Page 40: Layer Panel

    CHAPTER 4 Windows Menus Full Screen Display On/Off turns the full screen display mode on and off. The hot key to turn on full screen display for Output 1 is A, and the hot key to turn it off is S. The small monitor image displays the current resolution, screen refresh, and bit depth of No Screen the attached monitor is.

  • Page 41: Dmx In Panel

    CHAPTER 4 Windows Menus DMX In Panel Use the DMX In panels to patch layers as well as other inputs for DMX control. There are multiple DMX In panels in each Catalyst Software Version to allow setting DMX start channel values for one of the following Devices: •...

  • Page 42: Custom Serial Inputs

    CHAPTER 4 Windows Menus Custom Serial Inputs The Catalyst Media Server can control peripheral devices such as video switchers or projector shutters through the PowerMac’s Universal Serial Bus (USB) ports. This feature lets non-DMX controlled devices coordinate automatically with events and images in your show.

  • Page 43: Library Window

    CHAPTER 4 Windows Menus Library Window On the top of the PowerMac monitor, Click on Library within the Windows menu to open the Library window. The Library window of the Catalyst Media Server has the following functions. • Lists and describes content files and folders available to the server •...

  • Page 44: Folders Tab

    CHAPTER 4 Windows Menus Folders Tab Clicking on the Folders tab on the top of the Library window displays the folders currently assigned as Library Folders. Additional folders from internal or external drives, as well as network sources, can be assigned to Catalyst. Any properly labeled folders and files in an assigned Library Folder become available content.
  • Page 45 CHAPTER 4 Windows Menus The Folders tab of the Library Window now displays the newly assigned folder. Press the Scan Files... button to begin a scan of all available media files. The scanning window will open and display the scan progress. When the scan is complete the scanning window will close and the new media becomes available to the Catalyst Media Server.

  • Page 46: Color Fx Tab

    CHAPTER 4 Windows Menus Color FX Tab Clicking on the Color FX tab on the top of the Library window displays reference information for the Color Effects parameter. Colored fields indicate the functionality of other parameters associated with each effect. For more information, see Color Effects on page 57.

  • Page 47: Presets Tab

    CHAPTER 4 Windows Menus Presets Tab The preset tab contains fields that allow the programmer to name, edit and store preset created for programming without a DMX console. For detailed information, see Chapter 18: Presets on page 143. Catalyst® V3 Media Server User Manual...

  • Page 48: Output Windows

    CHAPTER 4 Windows Menus Output Windows The output windows (Two for Catalyst Pro and DV versions, and one for Catalyst Xpress software version) allow the programmer to view the content according to the output selection criteria set in the Catalyst Control Window’s Output panel(s).

  • Page 49: Chapter 5: Output Displays

    Chapter 5: Output Displays The Catalyst Media Server supports two output signals. Each signal is split, and can be displayed simulataneously on any output device (DL1 digital light, video projector, LED wall, etc.) and a monitor display. DV1 Video Distribution Amplifier The Catalyst Media Server uses the DV1 dual video distribution amplifier to split and amplify the PowerMac’s two video outputs for display on preview monitors as well as output devices.

  • Page 50: Configuring Output Displays

    Goto Full Screen At Startup. When the Catalyst application is started, the selected output will automatically enter Full Screen mode. Startup Screen. Select screen display size for startup. Note: High End Systems recommends using the “No Anti-Aliasing” option for all display configurations Catalyst® V3 Media Server User Manual...
  • Page 51 CHAPTER 5 Output Displays Click on the Output Settings field of the Output panel to open a pop-up menu and select one of the options. Output Setting Fields All Catalyst Media Server software products contain the following Output Setting fields. •...

  • Page 52: Output Configurations

    CHAPTER 5 Output Displays Output Configurations Single Output with Redundant Monitor Output 1 Monitor Media DMX Console Server Catalyst DV Single Output configuration With Single Output versions, the monitor can only display whatever signal is being sent to the output. Catalyst®...

  • Page 53: Dual Output Device With Preview Monitor

    CHAPTER 5 Output Displays Dual Output Device With Preview Monitor Output 2 Monitor DMX Console Output 1 Media Server Dual Output with Preview Monitor In this example, Output 1 displays all layers combined, and Output 2 displays each layer individually for preview purposes. Catalyst®...

  • Page 54: Dual Outputs With Emulation Monitors

    CHAPTER 5 Output Displays Dual Outputs with Emulation Monitors Output 2 P1 and P2 Monitors DMX Console Media Output 1 Server Dual Output with Redundant Monitors Output 1 and Output 2 each display individually assigned layers. Each monitor displays the same image as its respective output. Catalyst®...

  • Page 55: Dual Outputs With Dl1 Dimming Control

    CHAPTER 5 Output Displays Dual Outputs with DL1 Dimming Control Output 2 P1 and P2 Monitors DMX Console Media Output 1 Server Dual Output with DL1 output dimmer at 0 Output 1 and Output 2 each display individually assigned layers. Each monitor displays the same image as its respective output.

  • Page 56: Dual Outputs Widescreen Layers

    CHAPTER 5 Output Displays Dual Outputs Widescreen Layers Output 1 and Output 2 each display one half of the images from all assigned layers. Layer selections are automatically split and assigned to an output. Output 2 P1 and P2 Monitors DMX Console Media Output 1...

  • Page 57: Chapter 6: Media Playback

    003 HES-Oils Digitally simulated psychedelic oil projections 004 HES- 005 HES Lithos 2 More still images from High End Systems Lithopattern library 006 HES Reserved 4 007 My Custom Content 1 008 My Custom Content 2 009 A Luna Blue Digital animations.

  • Page 58: Referencing Content With The Use Layer

    CHAPTER 6 Media Playback Referencing Content with the Use Layer By setting a layer’s Library parameter DMX value to 254, you can then use the File parameter’s DMX value to select another layer’s content to use in place of an actual file. The DMX value of the File parameter directly corresponds to the layer number (1-4 for example).

  • Page 59: Video Playback

    CHAPTER 6 Media Playback Video Playback Play Mode The Play Mode parameter controls how movie files will playback. By assigning a corresponding DMX value to this parameter, you can play a movie file or segment in the following ways: Play Mode Description Value In Frame...
  • Page 60 CHAPTER 6 Media Playback Play Mode Description Value Plays the movie in a continuous loop starting at the In frame and repeating Play Loop Forward when it reaches the Out frame. Playback pauses whenever Intensity = 0 when Intensity >0 and resumes when intensity is >...

  • Page 61: Playback Speed

    CHAPTER 6 Media Playback Playback Speed The Playback Speed parameter controls the speed of the selected movie file’s Play Mode. A DMX value of zero plays back movie files at the original recorded speed. A value of 1 pauses playback. DMX values from 2 to 255 represent increasing speed, from 1 percent to double the original recorded speed.
  • Page 62 CHAPTER 6 Media Playback Catalyst® V3 Media Server User Manual...

  • Page 63: Chapter 7: Movement And Size

    Chapter 7: Movement and Size X, Y, and Z Rotation The Rotation parameters provide image rotation with 16-bit precision in forward and reverse directions around the selected axis. X-axis rotation produces the effect of a top-to-bottom flip. Y-axis rotation produces a left-to-right flip. Z-axis rotation spins the image in a circle.
  • Page 64 CHAPTER 7 Movement and Size The layer’s image can be rotated on each axis by adjusting the DMX value of the appropriate X, Y, and Z Rotation parameters. The suggested default value for each channel is the midpoint of the parameter’s 16-bit DMX range, which is equal to no rotation.

  • Page 65: Position

    CHAPTER 7 Movement and Size X Position The X Position parameter adjusts the layer’s image horizontally along the X-axis. The midpoint of the 16-bit DMX value range centers the image on the X-axis. X Position parameter DMX values below the DMX midpoint move the image left, and values above the DMX midpoint move the image right.

  • Page 66: Y Position

    CHAPTER 7 Movement and Size Y Position The Y Position parameter adjusts the layer’s image vertically along the Y-axis. The midpoint of the 16-bit DMX value range, centers the image on the Y-axis. Y Position parameter DMX values below the DMX midpoint move the image down, and values above the DMX midpoint move the image up.

  • Page 67: Scale

    CHAPTER 7 Movement and Size Scale The Scale parameter adjusts the size of the layer’s image up to 8x its original size. When the midpoint of the 16-bit DMX value range equals 0x, the image shrinks to invisibility). When the DMX value is increased from the midpoint, the image is enlarged.

  • Page 68: Image Movement Time

    CHAPTER 7 Movement and Size Image Movement Time The Movement Speed parameter provides smoothing of movements created with the Catalyst application. Sometimes the transmission speed of DMX-512 can result in choppy image movements during slow Layer position movements. The Movement Speed parameter provides a variable smoothing of movements with DMX values from 0- 255—the higher the DMX value, the...

  • Page 69: Aspect Ratio

    CHAPTER 7 Movement and Size Aspect Ratio The Aspect Ratio parameter allows horizontal or vertical image compression from full image size to a thin line (1-4 pixels). The Aspect Ratio function compensates for dissimilar aspect ratios encountered in various video formats. For example, a movie created with a 16:9 aspect ratio can be changed to a 4:3 aspect ratio.
  • Page 70 CHAPTER 7 Movement and Size Catalyst® V3 Media Server User Manual...

  • Page 71: Chapter 8: Intensity And Color

    Chapter 8: Intensity and Color Intensity The Intensity parameter adjusts layer brightness levels from black (DMX = 0) to full intensity (DMX = 255). By crossfading the Intensity parameter of layers, a dissolve between layers can be created. Layer 1 with full Intensity Layer 2 with full Intensity Layer 1 with full Intensity and Layer 2 with Intensity set at the...

  • Page 72: Red, Green, And Blue

    CHAPTER 8 Intensity and Color Red, Green, and Blue The Catalyst Media Server uses an additive RGB color mixing system that modifies image color by filtering specific percentages of red, green, and blue. With the Red, Green, and Blue parameter DMX channels, a DMX value of 0 filters out all of a color, and a value of 255 filters none of it.

  • Page 73: Color Effects

    CHAPTER 8 Intensity and Color Color Effects The Color Effects parameter alters a layer’s content by applying variations to the image’s colors. In addition, some Color Effects change the behavior of the Red, Green, and Blue parameters. This chapter describes the Color Effects and their capabilities. 0 RGB Subtract When the Color Effects parameter is assigned a DMX value of 0, the Layer’s image can be tinted.

  • Page 74: Rgb Subtract High Contrast

    CHAPTER 8 Intensity and Color 1 RGB Subtract High Contrast When the Color Effects parameter is assigned a DMX value of 1, the Layer’s image can be tinted. This is a higher contrast version of the RGB Subtract Color Effect. The Red, Green, and Blue parameters can remove existing color from the layer’s image.

  • Page 75: Transparent Blacks

    CHAPTER 8 Intensity and Color 3 Transparent Blacks When the Color Effects parameter is assigned a DMX value of 3, any black in a Layer’s image becomes transparent, revealing underlying Layers. The Red, Green, and Blue parameters can remove existing color from the layer’s image. Layer 1 Layer 2 Transparent Blacks applied to...

  • Page 76: Transparent Whites

    CHAPTER 8 Intensity and Color 4 Transparent Whites When the Color Effects parameter is assigned a DMX value of 4, any white in a Layer’s image becomes transparent, revealing underlying Layers. The Red, Green, and Blue parameters can remove existing color from the layer’s image. Layer 1 Layer 2 Transparent Whites applied to...

  • Page 77: Rgb Subtract Inverted Color

    CHAPTER 8 Intensity and Color 10 RGB Subtract Inverted Color When the Color Effects parameter is assigned a DMX value of 10, the colors in a Layer’s image are inverted. The Red, Green, and Blue parameters can remove existing color from the layer’s image.

  • Page 78: Rgb Subtract Super High Contrast Inverted Color

    CHAPTER 8 Intensity and Color 12 RGB Subtract Super High Contrast Inverted Color When the Color Effects parameter is assigned a DMX value of 12, the colors in a Layer’s image are inverted. This is a super higher contrast version of the RGB Subtract Inverted Color Effect.

  • Page 79: Rgb Subtract Inverted Color Cmy

    CHAPTER 8 Intensity and Color 14 RGB Subtract Inverted Color CMY When the Color Effects parameter is assigned a DMX value of 10, the colors in a Layer’s image are inverted and converted to CMY. The Red, Green, and Blue parameters can remove existing color from the layer’s image.

  • Page 80: Rgb Subtract Super High Contrast Inverted Color Cmy

    CHAPTER 8 Intensity and Color 16 RGB Subtract Super High Contrast Inverted Color CMY When the Color Effects parameter is assigned a DMX value of 16, the colors in a Layer’s image are inverted and converted to CMY. This is the highest contrast version of the RGB Subtract Inverted Color CMY Effect.

  • Page 81: Black And White High Contrast

    CHAPTER 8 Intensity and Color 21 Black and White High Contrast When the Color Effects parameter is assigned a DMX value of 21, the Layer’s image becomes black and white and can not be tinted. This high contrast version of the Black and White Color Effect is transparent, revealing underlying layers.

  • Page 82: Black And White Variable Super High Contrast

    CHAPTER 8 Intensity and Color 23 Black and White Variable Super High Contrast When the Color Effects parameter is assigned a DMX value of 23, the Layer’s image becomes black and white and can not be tinted. This super high contrast version of the Black and White Color Effect is transparent, revealing underlying layers.

  • Page 83: Mask

    CHAPTER 8 Intensity and Color 30 Mask When the Color Effects parameter is assigned a DMX value of 30, the Layer’s image becomes black and white and can not be tinted. Any black in a Layer’s image becomes transparent, revealing underlying Layers. The Red parameter adjusts the Layer’s percentage of transparency to vary mask softness.

  • Page 84: Invert Mask 2

    CHAPTER 8 Intensity and Color 32 Invert Mask 2 When the Color Effects parameter is assigned a DMX value of 32, the Layer’s image becomes black and white and can not be tinted. Any white in a Layer’s image becomes transparent, revealing underlying Layers.

  • Page 85: Alpha Invert As Red

    CHAPTER 8 Intensity and Color 40 Alpha Invert as Red When the Color Effects parameter is assigned a DMX value of 40, the portions of a Layer’s image without an alpha channel become red and can not be tinted. Any alpha channel portions of the image become transparent, revealing underlying Layers.

  • Page 86: Alpha Invert As Blue

    CHAPTER 8 Intensity and Color 42 Alpha Invert as Blue When the Color Effects parameter is assigned a DMX value of 42, the portions of a Layer’s image without an alpha channel become blue and can not be tinted. Any alpha channel portions of the image become transparent, revealing underlying Layers.

  • Page 87: Alpha As Red

    CHAPTER 8 Intensity and Color 44 Alpha as Red When the Color Effects parameter is assigned a DMX value of 44, the portions of a Layer’s image with an alpha channel become red and can not be tinted. Non alpha channel portions of the image become transparent, revealing underlying Layers.

  • Page 88: Alpha As Blue

    CHAPTER 8 Intensity and Color 46 Alpha as Blue When the Color Effects parameter is assigned a DMX value of 46, the portions of a Layer’s image with an alpha channel become blue and can not be tinted. Non alpha channel portions of the image become transparent, revealing underlying Layers.

  • Page 89: Lookup 1 Color Wheel

    CHAPTER 8 Intensity and Color 50 Lookup 1 Color Wheel When the Color Effects parameter is assigned a DMX value of 50, a color-wheel based formula is applied to the Layer’s image colors. This effect does not allow tinting. The Red, Green, and Blue parameters do not function with this Color Effect.

  • Page 90: Lookup 3 Black And White Solarize Highlights

    CHAPTER 8 Intensity and Color 52 Lookup 3 Black and White Solarize Highlights When the Color Effects parameter is assigned a DMX value of 52, the Layer’s image becomes magenta and can not be tinted. The Red, Green, and Blue parameters do not function with this Color Effect.

  • Page 91: Gamma Color

    CHAPTER 8 Intensity and Color 61 Gamma Color When the Color Effects parameter is assigned a DMX value of 61, the Layer’s image becomes red and can not be tinted. The Red parameter adjusts the overall gamma of the image. The Green, and Blue parameters do not function with this Color Effect. The Layer’s original image The Layer’s image with the without a Color Effect.

  • Page 92: Gamma Color Separate Channels

    CHAPTER 8 Intensity and Color 62 Gamma Color Separate Channels When the Color Effects parameter is assigned a DMX value of 62, the Layer’s image is displayed with high contrast. The Red, Green, and Blue parameters adjust the corresponding color gamma of the image. The Layer’s original image The Layer’s image with the without a Color Effect.

  • Page 93: Gain Color Separate Channels

    CHAPTER 8 Intensity and Color 63 Gain Color Separate Channels When the Color Effects parameter is assigned a DMX value of 62, the Layer’s image is displayed with high contrast. The Red, Green, and Blue parameters adjust the corresponding color gain of the image. The Layer’s original image The Layer’s image with the without a Color Effect.

  • Page 94: Quantize Color Separate Channels

    CHAPTER 8 Intensity and Color 65 Quantize Color Separate Channels When the Color Effects parameter is assigned a DMX value of 65, the Layer’s image is displayed with a reduced set of representative colors. The Red, Green, and Blue parameters adjust the corresponding color in the image. The Layer’s original image The Layer’s image with the without a Color Effect.

  • Page 95: Convert To Yuv

    CHAPTER 8 Intensity and Color 70 Convert to YUV When the Color Effects parameter is assigned a DMX value of 70, the Layer’s image RGB color information is converted to a different color space. The Red parameter adjusts the illuminance of the image. The Green parameter adjusts the U component and the Blue parameter adjusts the V component.

  • Page 96: Mega Saturation

    CHAPTER 8 Intensity and Color 72 Mega Saturation When the Color Effects parameter is assigned a DMX value of 72, the Layer’s image can not be tinted. The Red parameter adds and subtracts from the color saturation of the image. With no color saturation the image is black and white. The Green, and Blue parameters do not function with this Color Effect.

  • Page 97: Solarize Invert

    CHAPTER 8 Intensity and Color 74 Solarize Invert When the Color Effects parameter is assigned a DMX value of 74, the Layer’s colors are inverted, the image becomes solarized, and it can not be tinted. The Red, Green, and Blue parameters do not function with this Color Effect.

  • Page 98: Rgb Layer Blend 2

    CHAPTER 8 Intensity and Color 81 RGB Layer Blend 2 When the Color Effects parameter is assigned a DMX value of 81, the black portions of the Layer’s image become transparent and the image can be tinted. The Red, Green, and Blue parameters can remove existing color from the layer’s image.

  • Page 99: Rgb Layer Blend 4

    CHAPTER 8 Intensity and Color 83 RGB Layer Blend 4 When the Color Effects parameter is assigned a DMX value of 83, portions of the Layer’s image become transparent and the image can be tinted. The Red, Green, and Blue parameters each remove existing color from the layer’s image.

  • Page 100: Rgb Layer Blend 6 Add

    CHAPTER 8 Intensity and Color 85 RGB Layer Blend 6 Add When the Color Effects parameter is assigned a DMX value of 85, black portions of the Layer’s image become transparent and the image can be tinted. The Red, Green, and Blue parameters each remove existing color from the layer’s image.

  • Page 101: Rgb Layer Blend 10 Maximum

    CHAPTER 8 Intensity and Color 89 RGB Layer Blend 10 Maximum When the Color Effects parameter is assigned a DMX value of 89, dark portions of the Layer’s image become transparent and the image can be tinted. The Red, Green, and Blue parameters each remove existing color from the layer’s image.

  • Page 102: Tint

    CHAPTER 8 Intensity and Color 100 Tint When the Color Effects parameter is assigned a DMX value of 100, the Layer’s image is converted to black and white and the image can be tinted. Black portions of the image become transparent. The Red, Green, and Blue parameters can remove existing color from the layer’s image.

  • Page 103: Fade To Hue

    CHAPTER 8 Intensity and Color 102 Fade to Hue When the Color Effects parameter is assigned a DMX value of 102, the Layer’s the image fades to a color rather than to black. The red control sets the fade percentage (100% = original image;...

  • Page 104: Rgb > Bgr

    CHAPTER 8 Intensity and Color 104 RGB > BGR When the Color Effects parameter is assigned a DMX value of 104, the colors of a Layer’s image are swapped and can be tinted. The Red, Green, and Blue parameters can remove existing color from the Layer’s image.

  • Page 105: Chapter 9: Strobing And Trails

    Chapter 9: Strobing and Trails Strobing The Strobing parameter creates flashing or pulsing of the layer’s image as though it were lit by a strobe light. Each strobing pattern is controlled by a range of 24 DMX values that govern strobing speed of that pattern. The strobe’s speed generally refers to the intervals when the image is turned on.

  • Page 106: Trails

    CHAPTER 9 Strobing and Trails Trails The Trails parameter creates an afterimage that follows a moving image as it moves on layer 1. The DMX value of the Trails parameter varies the length, or duration, of the trails. The suggested default DMX value of 0, creates no trails. A value of 255 creates very long trails.

  • Page 107: Chapter 10: Visual Effects

    Chapter 10: Visual Effects The Visual Effects parameter applies various changes to a layer’s content. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters are linked to selected Visual Effects, and their function changes based on the Visual Effect. This chapter describes uses of the Visual Effects and their capabilities.

  • Page 108: Movie On Infinite Plane With Black Border

    CHAPTER 10 Visual Effects 1 Movie on Infinite Plane with Black Border When the Visual Effects parameter is assigned a DMX value of 1, the Layer’s content plays on a non-transparent black plane. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect.

  • Page 109: Movie Unity Scaling

    CHAPTER 10 Visual Effects 2 Movie Unity Scaling When the Visual Effects parameter is assigned a DMX value of 2, the Layer’s content will be displayed pixel for pixel without any scaling. The Scale parameter is disabled with this selection. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect.

  • Page 110: Movie Keystone 1

    CHAPTER 10 Visual Effects 5 Movie Keystone 1 When the Visual Effects parameter is assigned a DMX value of 5, the Layer’s content plays on an adjustable transparent plane. The Keystone Correction parameters adjust the shape of the Layer. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect.

  • Page 111: Setup Image Keystone 1

    CHAPTER 10 Visual Effects 9 Setup Image Keystone 1 When the Visual Effects parameter is assigned a DMX value of 6, the Layer’s output changes to a grid pattern. This grid pattern is useful for determining the results of Keystone adjustments. The Keystone Correction parameters adjust the shape of the Layer.

  • Page 112: Movie On Sphere Wireframe

    CHAPTER 10 Visual Effects 11 Movie on Sphere Wireframe When the Visual Effects parameter is assigned a DMX value of 11, the Layer’s content is wrapped around a wireframe sphere. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect. A Layer with no Visual Effects A Layer with its layer wrapped around a wireframe sphere.

  • Page 113: Movie On Sphere Lit

    CHAPTER 10 Visual Effects 13 Movie on Sphere Lit When the Visual Effects parameter is assigned a DMX value of 13, the Layer’s content is wrapped around a solid sphere with an illumination effect. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect. A Layer with no Visual Effects A Layer with its image wrapped around a solid sphere with illumination.

  • Page 114: Movie On Disc Wireframe

    CHAPTER 10 Visual Effects 15 Movie on Disc Wireframe When the Visual Effects parameter is assigned a DMX value of 15, the Layer’s content is wrapped around a wireframe disc. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect. A Layer with no Visual Effects A Layer with its image wrapped around a wireframe disc.

  • Page 115: Movie On Disc Silhouette

    CHAPTER 10 Visual Effects 17 Movie on Disc Silhouette When the Visual Effects parameter is assigned a DMX value of 17, the Layer’s content is wrapped around the edges of disc. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect. A Layer with no Visual Effects A Layer with its image wrapped around a the edges of disc...

  • Page 116: Movie On Magic Lantern

    CHAPTER 10 Visual Effects 21 Movie on Magic Lantern When the Visual Effects parameter is assigned a DMX value of 21, the Layer’s content is wrapped around hollow cylinder. The Parameter 1 (FX1) parameter adjusts the size of the cylinder and the Parameter 2 (FX2) parameter adjusts the number of times the content is repeated on the cylinder.

  • Page 117: Movie Stretched

    CHAPTER 10 Visual Effects 22 Movie Stretched When the Visual Effects parameter is assigned a DMX value of 22, the Layer’s content is stretched into vertical slices. The Parameter 1 (FX1) parameter adjusts positioning of the stretch within the content, and the Parameter 2 (FX2) parameter adjusts the length of the stretched slices.

  • Page 118: Movie Panorama Slices

    CHAPTER 10 Visual Effects 23 Movie Panorama Slices When the Visual Effects parameter is assigned a DMX value of 23, the Layer’s content is sliced into strips and placed side by side. The Parameter 1 (FX1) parameter adjusts the number of slices. The Parameter 2 (FX2) parameter does not function with this Visual Effect.

  • Page 119: Movie On Magic Lantern 2

    CHAPTER 10 Visual Effects 24 Movie on Magic Lantern 2 When the Visual Effects parameter is assigned a DMX value of 24, the Layer’s content is wrapped around solid cylinder. The Parameter 1 (FX1) parameter adjusts the size of the cylinder and the Parameter 2 (FX2) parameter adjusts the number of times the content is repeated on the cylinder.

  • Page 120: Movie On Cube 4 Sides

    CHAPTER 10 Visual Effects 30 Movie on Cube 4 Sides When the Visual Effects parameter is assigned a DMX value of 30, the Layer’s content is wrapped around four sides of a cube. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect The Layer’s image on four sides A Layer with no Visual Effects...

  • Page 121: Movie On Colored Cube 6 Sides

    CHAPTER 10 Visual Effects 32 Movie on Colored Cube 6 Sides When the Visual Effects parameter is assigned a DMX value of 32, the Layer’s content is wrapped around six sides of a cube. Each side of the cube is tinted with a different color. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect The Layer’s image on six...

  • Page 122: Movie On Nxn Simultaneous

    CHAPTER 10 Visual Effects 40 Movie on NxN Simultaneous When the Visual Effects parameter is assigned a DMX value of 40, the Layer’s content can be tiled in both the horizontal X-axis and the vertical Y-axis. The Parameter 1 (FX1) parameter adjusts the number of tiles on the horizontal X-axis.

  • Page 123: Movie On Nxn Simultaneous Random Color

    CHAPTER 10 Visual Effects 41 Movie on NxN Simultaneous Random Color When the Visual Effects parameter is assigned a DMX value of 41, the Layer’s content can be tiled in both the horizontal X-axis and the vertical Y-axis. Each tile of the image will randomly change color.

  • Page 124: Movie On Random Flicker

    CHAPTER 10 Visual Effects number of tiles on the horizontal X-axis. The Parameter 2 (FX2) parameter adjusts the number of tiles on the vertical Y-axis. 45 Movie on Random Flicker When the Visual Effects parameter is assigned a DMX value of 45, the Layer’s content randomly turns on and off with a result similar to the Strobe parameter effect.

  • Page 125: Rectangle Shuttered

    CHAPTER 10 Visual Effects 60 Rectangle Shuttered When the Visual Effects parameter is assigned a DMX value of 60, the Layer’s content is replaced with a non-transparent white rectangular image. This effect mimics a rectangular shuttered light. Keystone Correction parameters adjust the shutter sides and the color parameters let you mix the color.

  • Page 126: Rectangle Graduated Color Shuttered

    CHAPTER 10 Visual Effects 61 Rectangle Graduated Color Shuttered When the Visual Effects parameter is assigned a DMX value of 61, the Layer’s content is replaced with a non-transparent white rectangular image. The Parameter 1 (FX1) parameter selects graduated color from the top of the rectangle. The Parameter 2 (FX2) parameter selects graduated color from the bottom of the rectangle.

  • Page 127: Sided Shape Shuttered Black

    CHAPTER 10 Visual Effects 62 N Sided Shape Shuttered Black When the Visual Effects parameter is assigned a DMX value of 62, the Layer’s content is replaced with a transparent polygon on a black plane. The Parameter 1 (FX1) parameter adjusts polygon’s number of sides.

  • Page 128: Shutter Shuttered Black

    CHAPTER 10 Visual Effects 70 Shutter Shuttered Black When the Visual Effects parameter is assigned a DMX value of 70, the Layer’s content is replaced with a transparent rectangular image on a black plane. The Keystone Correction parameters adjust the shape of the image. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect.

  • Page 129: Shutter Shuttered Color

    CHAPTER 10 Visual Effects 71 Shutter Shuttered Color When the Visual Effects parameter is assigned a DMX value of 71, the Layer’s content is replaced with a transparent rectangular image on a white plane. The Keystone Correction parameters adjust the shape of the image. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect.

  • Page 130: Iris Shutter Black

    CHAPTER 10 Visual Effects 72 Iris Shutter Black When the Visual Effects parameter is assigned a DMX value of 72, the Layer’s content is replaced with a transparent circular image on a black plane. The Parameter 1 (FX1) parameter adjusts the softness of the circle’s edge. The Parameter 2 (FX2) parameter does not function with this Visual Effect.

  • Page 131: Movie On Teapot Filled

    CHAPTER 10 Visual Effects 100 Movie on Teapot Filled When the Visual Effects parameter is assigned a DMX value of 100, the Layer’s content is wrapped around a solid teapot. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect Layer with no visual effect A Layer with its image wrapped around a solid teapot.

  • Page 132: Spectrograph

    CHAPTER 10 Visual Effects 123 Spectrograph When the Visual Effects parameter is assigned a DMX value of 123, the Layer’s content is replaced with a waveform of the audio input. The Parameter 1 (FX1) selects different types of audio waveforms. The Parameter 2 (FX2) parameter does not function with this Visual Effect.

  • Page 133: Chapter 11: Keystone And Shutters

    Chapter 11: Keystone and Shutters Keystone Correction The shape of a projected image is affected by the angle of projection. A rectangular image may appear on a wall as a trapezoidal shape. Keystone correction compensates for this effect by allowing adjustments to the geometry of the layer’s image. The eight Keystone Correction parameters each adjust one corner of the layer’s image horizontally along the X-axis or vertically along the Y-axis.

  • Page 134: Shutter Effects

    CHAPTER 11 Keystone and Shutters Shutter Effects The eight Keystone Correction parameters also adjust the shape of shutter effects on a layer. To activate the shutter affects of the Keystone Correction parameters, the Visual Effects parameter must be assigned to a DMX value between 60 and 72. A DMX value of 70 (Shuttered Black) is the most commonly used.

  • Page 135: Chapter 12: Art-Net™ Protocol

    Chapter 12: Art-Net Protocol ™ As an alternative to using standard DMX connections through the CIB, Catalyst Media Servers can receive DMX-512 over an Ethernet network using Art-Net™ protocol. Artnet is an open protocol developed by Artistic Licence to distribute DMX over Ethernet. Catalyst software is compatible with Artnet, and a suitable Artnet DMX Input device can be used to send DMX into Catalyst from a lighting console.
  • Page 136 CHAPTER 12 Art-Net™ Protocol Note: Consult your manufacturers instruction manual for the correct IP settings, which may be different to the ones described. The default IP address setting is 2.0.0.x, where x is an integer value from 0 - 255. Some ArtNet boxes can use an alternative IP address, which is 10.0.0.x.

  • Page 137: Assigning A Dmx In Panel To Art-Net

    CHAPTER 12 Art-Net™ Protocol Assigning a DMX In Panel to Art-Net Assigning Catalyst DMX In panels to respond to Art-Net instead of standard DMX is a simple process. Next to the On/Off button in each DMX In panel is a field used to assign the DMX source. Click on the field to open a pop up window with available sources.
  • Page 138 CHAPTER 12 Art-Net™ Protocol Catalyst® V3 Media Server User Manual...

  • Page 139: Chapter 13: Audio

    Chapter 13: Audio Audio Input Audio Inputs to the Media server can be displayed on any layer by choosing a Visual Effects parameter DMX value of 123. This effect changes the Layer’s output to a waveform display of the audio input. The waveform can be manipulated with the Layer’s parameters in the same manner as other content played back from the hard drive.

  • Page 140: Activating The Audio Input

    CHAPTER 13 Audio Activating the Audio Input Use the Audio Input panel on the Catalyst Control window to activate Audio Input. Click on the round On/Off button to activate the Video Input panel When the Visual Effects parameter is assigned a DMX value of 123, the Layer’s content is replaced with a waveform of the audio input.

  • Page 141: Audio Output

    CHAPTER 13 Audio Audio Output Audio Playback In normal video only operation, Catalyst software will ignore audio tracks in a movie. Catalyst software uses video acceleration algorithms to get the best possible performance from the Macintosh computer. When using the audio playback feature, Catalyst software prioritizes the playback of the audio in a movie, over the playback of video.

  • Page 142: Setting Up Dmx With Audio

    CHAPTER 13 Audio have a video input card like a Blackmagic Decklink Extreme installed, you can use the card to output audio. You can also use other Core Audio compatible audio devices, including Firewire and USB devices. By clicking on the Input tab, you can also configure the Audio Input device...

  • Page 143: Chapter 14: Video Input

    The Catalyst Media Server supports a wide variety of video input cards from most major manufacturers. To determine whether the Catalyst Media Server supports a particular card, contact High End Systems customer support.
  • Page 144 CHAPTER 14 Video Input Click on the small monitor icon to toggle on and off a live preview of the Video Input. This preview is for test purposes only and should be switched off during normal Catalyst use.Click on the Settings... field to pop up a menu of display options for the Video Input.

  • Page 145: Chapter 15: Serial Control

    Many aftermarket companies manufacture USB to Serial devices for use with the PowerMac computer. Typically these devices consist of a USB connector on one end and a DB9 on the other. Contact High End Systems technical support for recommended USB to serial devices.

  • Page 146: Assigning The Interface And Data Format

    CHAPTER 15 Serial Control panels in the Catalyst Control window. Trigger 1 uses the top Custom Serial panel. Trigger 2 uses the bottom Custom Serial panel. Click the field showing the DMX start channel number. Type the value of the channel to assign to the serial device.

  • Page 147: Setting The Serial Commands

    CHAPTER 15 Serial Control OSX Serial Ports. •Any USB to Serial devices plugged into the computer will appear in this menu section. Select the RS-232 driver for the attached serial device. The No Output status changes to show the selected serial driver. Next, set the serial device’s baud rate (transmission speed) and data format (the method the device uses to encode its RS-232 messages).

  • Page 148: Custom String Command

    CHAPTER 15 Serial Control For the command string itself, you will define your own string command as required by the triggered device. In addition, the Catalyst software includes several pre-defined strings as examples. If you choose a built-in string, you can use it as is, or customize it as needed.

  • Page 149: Triggering Serial Devices From Dmx

    CHAPTER 15 Serial Control After defining the desired action, click Send Now to test this string on your serial device. Close the Edit General Serial Preset window by clicking the O.K. button. Repeat with the other Custom Serial panel buttons until you have entered all the command strings needed.
  • Page 150 CHAPTER 15 Serial Control Catalyst® V3 Media Server User Manual...

  • Page 151: Chapter 16: Midi Timecode

    Many aftermarket companies manufacture USB to MIDI devices for use with the PowerMac computer. Typically these devices consist of a USB connector on one end and a number of MIDI connections on the other. Contact High End Systems technical support for recommended USB to MIDI devices.
  • Page 152 CHAPTER 16 MIDI Timecode Catalyst® V3 Media Server User Manual...

  • Page 153: Chapter 17: Sony 9-Pin Rs422

    The Sony 9-pin RS422 protocol requires a serial output device for the PowerMac that is capable of transmitting RS422. Alternately an RS-232 to RS422 converter capable of oper- ating at 38400 baud can be used. High End Systems recommends the SXPro Serial Card or the USB Twin Serial Adapter, both manufactured by Keyspan (www.keyspan.com).

  • Page 154: Assigning The Interface And Data Format

    CHAPTER 17 Sony 9-pin RS422 Assigning the Interface and Data Format Click on the Device field to pop up a menu of serial devices: Device field Click on OSX Serial Setup... to open the Serial Port Setup window. Select the Sony 9pin38400 baud preset and click OK to close the window: Catalyst®...
  • Page 155 CHAPTER 17 Sony 9-pin RS422 Click on the Device field to pop up the menu of devices and click on the properly configured device: Click on the properly configured device. When properly configured and connected, the Sony 9-pin device panel displays green and blue Transmit and Receive indicators transmit and receive lights.

  • Page 156: Assigning A Dmx Value

    CHAPTER 17 Sony 9-pin RS422 Assigning a DMX Value In an unused DMX In panel, click the left button to turn on the panel. The button’s center and edge turn from gray to yellow Click the description of the layer, to the right of the channel number. On the pop-up menu, select Sony 9Pin RS422 1.

  • Page 157: Synchronizing To The Deck's Timecode

    CHAPTER 17 Sony 9-pin RS422 The 3rd channel is timecode Hours. The 4th channel is timecode Minutes. The 5th channel is timecode Seconds. The 6th channel is timecode Frames. Each of the above timecode parameters uses the following DMX protocol: Time Time Time...

  • Page 158: Example 2

    CHAPTER 17 Sony 9-pin RS422 When the Play Mode parameter is se t to Sync to Sony 1 and the deck is played, the Layer’s movie should play and stay in sync with the deck. When the video deck is played or stopped, the Layer’s movie will do the same. Example 2 To sync to something with a timecode of 1hr 45 min 0 sec 0 fr: Use the Out Frame to set a positive offset.

  • Page 159: Chapter 18: Presets

    Chapter 18: Presets Presets are lighting console style cues set up within the Catalyst application. Presets are available in Pro, DV and Express versions and can control all layers and every parameter within Catalyst. The Presets programming screens are located in the Library window. Select Library from the Windows pull down Menu, and click on the Presets tab in the library window.

  • Page 160: Creating A Preset

    CHAPTER 18 Presets Creating a Preset Note: Before programming Presets without a DMX desk, check that DMX is turned OFF in the Catalyst Control Window DMX In panel for every affected layer. A Yellow ring designates that DMX In is ON Catalyst Control Window Each layer has a panel in the Catalyst Control window with File, Position, Color and FX (Visual effects) tabs.

  • Page 161: File Tab Settings

    CHAPTER 18 Presets File Tab Settings Library File Name Current frame File Info Out frame Playback mode Sync Options Playback speed In frame Visual Segment Size Reference Volume Control File tab on Layer panel Library Select from the drop-down list of available library folders. Note the following special reserved libraries: •...

  • Page 162: Position Tab Settings

    CHAPTER 18 Presets Position Tab Settings The Position tab displays image size and position, and provides previews of advanced positioning features like Smooth and Rotation. Numerical values to the right of the sliders display the precise coordinates of the image. For more detailed information about these parameters, see Movement and Size on page 47.

  • Page 163: Color Tab Settings

    CHAPTER 18 Presets Color Tab Settings The Color Tab displays color settings for the selected image. For more information on these parameters, see Chapter 8: Intensity and Color on page 55 and Chapter 9: Strobing and Trails on page 89. Color Effects Color Setting Trails...

  • Page 164: Fx Tab Settings

    CHAPTER 18 Presets FX Tab Settings The FX tab lets you preview geometric (visual) effects applied to the image and adjust aspect ratio and keystone correction. Visual effect Shutter/ Aspect Ratio Keystone Parameter 1 Correction Parameter 2 FX tab on Layer panel Visual Effects These selections are made from the pop-up menu.

  • Page 165: Naming The Preset

    CHAPTER 18 Presets Naming the Preset To assign a preset name: 1. Open the Library window and select the preset tab. 2. Scroll through to pick the preset you wish to program. 3. Click on no name next to the Preset number and type the name.

  • Page 166: Storing A Preset

    CHAPTER 18 Presets Storing a Preset After selecting and manipulating content on layers, use the Command Options to store the preset. Load and Run Preset ctrl +<preset number> This tells you how to trigger the preset from the Mac keyboard. Run Layer <layer number>...

  • Page 167: Preset Window Buttons

    CHAPTER 18 Presets Preset Window Buttons The Preset Editor window also features buttons at the bottom of the window: Run This runs the currently selected layer. Snapshot This snapshots the currently selected layer. Clear To Off This clears all programming from the currently selected layer and sets the parameters back to their default values.

  • Page 168: Setting Crossfade Path And Fade Time

    CHAPTER 18 Presets Setting Crossfade Path and Fade Time After setting values for a layer’s parameters, crossfade path and fade time can be set for each relevant parameter. You can also adjust pro- gramming from this screen too. A crossfade path determines how a parameter fades from one value to another, and a fade time determines how quickly a parameter fades from...

  • Page 169: Triggering Presets

    CHAPTER 18 Presets Triggering Presets Presents can be triggered from the keyboard, by using a mouse or touchscreen, using a single DMX channel or by using Midi Show Control. Triggering with a Keyboard, Mouse or Touchscreen Triggering Presets with a keyboard, mouse or a touchscreen requires the same approach. Go to full screen and hit the appropriate key to bring up the diagnostic screens –...

  • Page 170: Triggering Presets With A Single Dmx Channel

    CHAPTER 18 Presets Preset Keyboard Mapping (UK and US Keyboards) Preset 1 Preset 11 Preset 21 Preset 31 Preset 2 Preset 12 Preset 22 Preset 32 Preset 3 Preset 13 Preset 23 Preset 33 Preset 4 Preset 14 Preset 24 Preset 34 Preset 5 Preset 15...
  • Page 171 CHAPTER 18 Presets Different control platforms, particularly lighting desks, implement Midi Show Control in different ways. Catalyst allows any platform that supports Midi Show Control to trigger presets. Please see your control platform documentation to further details on how Midi Show Control has been implemented.
  • Page 172 CHAPTER 18 Presets Catalyst® V3 Media Server User Manual...

  • Page 173: Chapter 19: Custom Content

    Chapter 19: Custom Content The preloaded Catalyst Media Server content includes hundreds of still images and movie files. You can also easily install your own files. Content Requirements The Media Server software supports all file formats supported by Apple Quicktime— Quicktime itself, many other video codecs such as DV camcorder, and every major image file format.

  • Page 174: Rendering Content

    CHAPTER 19 Custom Content Rendering Content The Basics of Content Creation Start with the highest quality source content possible. This gives you more options later, such as when you are color or gamma correcting the file, or scaling it for a different sized output, or other manipulation options.
  • Page 175 CHAPTER 19 Custom Content DV ALWAYS has the same data rate, and our tests indicate that one DV file plays back as well as any other, so it is much more predictable than PhotoJPEG. Other QuickTime codecs can be recommended in specific applications CODEC Recommended Use Cons...

  • Page 176: Perceived Brightness

    CHAPTER 19 Custom Content Perceived Brightness How an image is rendered can greatly influence the perceived brightness of a projected image. By rendering content for light output, the performance of the output device can be dramatically improved. Optimization for DL1 projection of the following content samples were accomplished by: 1) Applying gain to the RGB values of the original content 2) Applying an offset to the RGB values of the original content.

  • Page 177: Installing Libraries And Files

    CHAPTER 19 Custom Content Installing Libraries and Files Content can be added to the Catalyst Media Server from internal and external hard drives, CD-Roms and DVD-roms, as well as over an Ethernet network. The process consists of placing properly named and formatted files within correctly named folders. Creating a New Library Folder Quit the Catalyst application by selecting File>Quit on the menu bar.

  • Page 178: Adding New Files To A Library Folder

    CHAPTER 19 Custom Content Adding New Files to a Library Folder Double click on the newly created folder to open it. From the Finder menu at the top of the screen, select File > New Finder Window. A new Finder window is displayed. Browse to the drive and folder that holds your new file(s).

  • Page 179: Chapter 20: Diagnostic Displays

    Chapter 20: Diagnostic Displays The Catalyst Media Server offers twelve diagnostic displays accessible from keyboard hotkeys. Hotkeys The following keyboard shortcuts provide quick access and manipulation of the diagnostic displays: Hotkey Output Action Exits diagnostic display mode Enters diagnostic display mode Scrolls forward through diagnostic displays Scrolls backward through diagnostic displays Full screen on...

  • Page 180: This Computer

    CHAPTER 20 Diagnostic Displays This Computer This screen displays the assigned name of the Catalyst Media Server, the Output on which the information is being displayed, and the resolution of that Output. It also shows the current gamma transfer function across both displays. Use this to verify that all displays are using the same output gamma when overlap is...

  • Page 181: Dmx Input Channels

    CHAPTER 20 Diagnostic Displays DMX Input Channels This screen displays DMX values for the parameters of each activated DMX In panel. USB CIB DMX Input This screen displays DMX values coming into the Catalyst Media Server from the Catalyst Interface Box (CIB). Actively changing DMX values are highlighted in blue. Catalyst®...

  • Page 182: Artnet Dmx Input

    CHAPTER 20 Diagnostic Displays ArtNet DMX Input This screen displays DMX values coming into the Catalyst Media Server from an Art-Net Network. Actively changing DMX values are highlighted in blue. Use hotkeys T and Y (Output 1) or B and N (Output 2) to move forward and backward through the Art-Net Inputs.

  • Page 183: Statistics

    CHAPTER 20 Diagnostic Displays Statistics This screen displays the amount of CPU time selected Media Server processes are using. Intended for internal diagnostics and technical support only. Catalyst® V3 Media Server User Manual...

  • Page 184: Playbacks

    CHAPTER 20 Diagnostic Displays Playbacks This screen displays playback parameter information and thumbnails for all enabled layers. Playback In and Out Library Option Frame File Info DMX # Playback File Name Speed File DMX # Frame Rate Playback Diagnostic Screen for Catalyst Pro 8-layer Version. Catalyst®...

  • Page 185: Color Fx Preview

    CHAPTER 20 Diagnostic Displays Color FX Preview This screen displays thumbnail previews of Layer 1 with each Color Effect applied to the current content for a designated layer along with all other selected parameter values. Numbered tabs move through layers. The << and >> tabs move you through the range of color effects.

  • Page 186: Geometry Fx Preview

    CHAPTER 20 Diagnostic Displays Geometry FX Preview This screen displays thumbnail previews of Layer 1 with each Visual Effect applied to the current content for a designated layer with all it’s parameter adjustments. Numbered tabs move through layers. The << and >> tabs move you through the range of visual effects. The example below shows the color effects 0 - 23 applied to layer five content with current adjustments for position, and scale.

  • Page 187: File Preview Library

    CHAPTER 20 Diagnostic Displays File Preview Library This screen displays which Files in a Library Folder have content, indicated with a thumbnail preview or a green square. The << and >> tabs move you through the available library folders. Catalyst® V3 Media Server User Manual...

  • Page 188: This Machine

    CHAPTER 20 Diagnostic Displays This Machine This screen displays details of each layer’s parameters on this Catalyst Media Server. Thumbnail previews of this server’s individual layer outputs appear along the bottom. Catalyst® V3 Media Server User Manual...

  • Page 189: Remote Machines

    CHAPTER 20 Diagnostic Displays Remote Machines This screen displays DMX values for Catalyst Media Servers connected through an Ethernet network. Remote servers are identified by the named entered in the CIB panel of the Catalyst Window, see CIB Panel on page 23. Mimic.
  • Page 190 CHAPTER 20 Diagnostic Displays Catalyst® V3 Media Server User Manual...

  • Page 191: Chapter 21: Multiple Servers

    Chapter 21: Multiple Servers Catalyst Media Servers can communicate with one another over an Ethernet network. This function allows the capabilities of synchronizing content across multiple servers, monitoring remote servers, and sending remote commands to multiple machines. To connect several servers, power off all servers and run Ethernet cable from each server to a shared Ethernet hub.

  • Page 192: Synchronizing Multiple Servers

    CHAPTER 21 Multiple Servers Synchronizing Multiple Servers Synchronized playback allows two or more Media Servers to play media with accurate frame-by-frame synchronization over an Ethernet network connection. This applies to either simultaneous playback of the same media file on multiple servers, or to playback of coordinated clips utilizing different media files.

  • Page 193: Assigning Master Sync Id Numbers

    CHAPTER 21 Multiple Servers Assigning Master Sync ID Numbers The network can have up to 20 master layers at once, each with its own unique Sync ID number. Any layer can be synchronized to a master layer. All servers on the same network share the same set of 20 Sync ID values. Don’t assign the same ID value to two master layers, even if they’re on different servers.

  • Page 194: Monitoring Remote Servers

    CHAPTER 21 Multiple Servers Using the DMX Folder and File parameters, select a folder and movie file for playback. It does not have to be the same movie as on the master layer. With this slave layer, adjust the DMX value of the Play Mode parameter to a DMX value between 80 and 99.

  • Page 195: Using The Remote Machines Diagnostic Display

    CHAPTER 21 Multiple Servers Click on the Name field of the CIB Connection panel and type in a desired name for the server. Name field Using the Remote Machines Diagnostic Display Accessing the Remote Machines Display Screen Using the keyboard, press “W” (Output 1) or “X” (Output 2) to activate the Diagnostic Displays.

  • Page 196: Mimic Feature

    CHAPTER 21 Multiple Servers Exit the Diagnostic Display by pressing “Q” (Output 1) or “Z” (Output 2). Mimic Feature When the Mimic Button is selected, this machine will display a remote server’s multilayer content. This is useful when an operator cannot directly view the output of a remote server.

  • Page 197: Appendix A: Understanding Dmx-512

    CHAPTER 21 Multiple Servers Click on any of the following commands to send it to all enabled machines on the network: Send Goto Fullscreens for All Connected. All Media Servers on the network that are set to Accept Remote Commands enter full screen mode on all outputs. Send Shutdown to All Connected.
  • Page 198 CHAPTER 21 Multiple Servers Catalyst® V3 Media Server User Manual...
  • Page 199 Appendix A Understanding DMX-512 A lighting console typically utilizes a protocol called DMX-512 to communicate with automated lighting fixtures and conventional dimmers. This protocol consists of 512 unique channels of control per output link (universe). Each channel is capable of producing 256 values ranging from 0 to 255.
  • Page 200 Many lighting consoles define default DMX values for a fixture within the fixture’s library or with a default scene or cue. High End Systems has recommended a set of defaults to create consistent and predictable profiles across consoles.
  • Page 201 Appendix B: DMX Protocol Chap Value Default Function Description dec. Value Content Selection and Playback Selects folder to access from hard drive 0-253 Library Use Layer Video Input Selects image file from the selected folder File Selects layer when Channel 1 value equals 254 0-255 Selects video input when Channel 1 value equals 255 In Frame Coarse...
  • Page 202 Appendix B DMX Protocol Chap Value Default Function Description dec. Value Playback at 100% recorded speed Playback Speed Pause playback Playback at 0–200% recorded speed 2-255 Position Control Continuous variable-speed counterclockwise image rotation around the X-axis (fast to slow) 16382 X-axis Rotate (vertical flip) Continuous rotation stop...
  • Page 203 Appendix B DMX Protocol Chap Value Default Function Description dec. Value Actual size 36864 Scale 32769- Fine adjustment Adjusts normal image size from 0 to 8x actual size 65535 X Position Moves image left from center of display 0-32767 Coarse adjustment Centers image left-to-right in display 32768 32768...
  • Page 204 Appendix B DMX Protocol Chap Value Default Function Description dec. Value RGB Subtract RGB Subtract High Contrast RGB Subtract Very High Contrast Transparent Blacks Transparent Whites RGB Subtract Inverted Color RGB Subtract High Contrast Inverted Color RGB Subtract Super High Contrast Inverted Color Invert Whatever RGB Subtract Inverted Color CMY RGB Subtract High Contrast Inverted Color CMY...

  • Page 205: Appendix C: Copyrighted Materials Faq

    Appendix B DMX Protocol Chap Value Default Function Description dec. Value Mega Saturation Solarize Solarize Invert RGB Layer Blend 1 RGB Layer Blend 2 RGB Layer Blend 3 RGB Layer Blend 4 RGB Layer Blend 5 RGB Layer Blend 6 Add Color Effects RGB Layer Blend 7 Subtract (continued)
  • Page 206 Appendix B DMX Protocol Chap Value Default Function Description dec. Value Movie on Non-infinite Plane Movie on Infinite Plane Black Unity Scale Movie on Keystone Setup Keystone Movie on Sphere—Filled Movie on Sphere—Wireframe Movie on Sphere—Points Movie on Sphere—Lit Movie on Disc—Filled Movie on Disc—Wireframe Movie on Disc—Points Movie on Disc—Silhouette...
  • Page 207 Appendix B DMX Protocol Chap Value Default Function Description dec. Value Keystone Correction 0-127 Moves image’s upper left-hand corner left along X-axis Keystone x1 No correction Moves upper left-hand corner right along X-axis 129-255 Moves upper left-hand corner down along Y-axis 0-127 Keystone y1 No correction...
  • Page 208 Appendix B DMX Protocol Catalyst® V3 Media Server User Manual...
  • Page 209 What about High End Systems material included with the Catalyst? Do I have to clear that? Catalyst® V3 Media Server User Manual...
  • Page 210 Appendix C Copyrighted Materials FAQ No. High End Systems has worked to provide clearance for the content that is provided with the Catalyst system. Any materials you received directly from High End Systems with the purchase of a new Catalyst system have already been properly licensed for your use in shows and presentations.
  • Page 211 Appendix D Product and Safety Information Product Information Computer Specifications The following specifications apply to currently shipping Catalyst Media Servers; earlier G4-based systems upgraded to the Catalyst Media Server will have different specifications. • Dual 2GHz PowerMac G5 (or higher) •...
  • Page 212 Different locations (even within the same country) may require a different power cord cap to connect the fixture to a power outlet. Because of the variety of power cord caps used worldwide, High End Systems, Inc. cannot make specific recommendations for the power cord cap.
  • Page 213 Sicherheitsnormen verstoßen. Avvertenza Sulla Modifica Del Prodotto Prodotti di High End Systems sono stati progettati e fabbricati per soddisfare i requisiti delle normative di sicurezza statunitensi ed internazionali. Qualsiasi modifica al prodotto potrebbe pregiudicare la sicurezza e rendere il prodotto non conforme agli standard di sicurezza pertinenti.
  • Page 214 Product and Safety Information Advertencia De Modificación Del Producto Los productos de High End Systems están diseñados y fabricados para cumplir los requisitos de las reglamentaciones de seguridad de los Estados Unidos e internacionales. Las modificaciones al producto podrían afectar la seguridad y dejar al producto fuera de conformidad con las normas de seguridad relevantes.
  • Page 215 Any Product unit or parts returned to High End Systems must be packaged in a suitable manner to ensure the protection of such Product unit or parts, and such package shall be clearly and prominently marked to indicate that the package contains returned Product units or parts and with an RMA number.
  • Page 216 Appendix D Product and Safety Information Safety Information Warning: For Continued Protection Against Fire This equipment for connection to branch circuit having a maximum overload protection of 20 A. Warning: For Continued Protection Against Electric Shock If this equipment was received without a line cord plug, attach the appropriate line cord plug according to the following code: •...
  • Page 217 Appendix D Product and Safety Information Importantes Informations Sur La Sécurité Mise En Garde: Pour Une Protection Permanente Contre Les Incendies Cet appareil de connection au circuit comporte une protection contre les surcharges de 20 A. Mise En Garde: Pour Une Protection Permanente Contre Les Chocs Électriques Si cet équipement est livré...
  • Page 218 Appendix D Product and Safety Information Información Importante De Seguridad Advertencia: Para Protección Continua Contra Incendios Este equipo debe conectarse a un circuito que tenga una protección máxima contra una sobrecargas de 20 A. Advertencia: Para La Protección Continua Contra Electrocuciones Si se recibió...
  • Page 219 Appendix D Product and Safety Information Vigtig Sikkerhedsinformation Advarsel: Beskyttelse mod elektrisk chock. VIGTIGT! LEDEREN MED GUL/GROEN ISOLATION MAA KUN TILSLUTTES KLEMME MAERKET ELLER Catalyst® V3 Media Server User Manual...
  • Page 220 Appendix D Product and Safety Information Catalyst® V3 Media Server User Manual...
  • Page 221 Index Index Color FX Preview Screen: 164 color mixing: 56 Colour FX Tab: 30 content: 25, 27, 28, 123, 153, 173 contrast: 74 Symbols Copyright: 189 16-bit DMX: 179, 180 copyright: 190 crossfade: 13, 55 Cube: 104, 105 cue: 13, 14, 15, 16, 179 Accessories: 193 Custom Serial panel: 125, 126, 127, 129 Alpha: 69...
  • Page 222 Index File Preview Library Screen: 167 95, 109, 110, 112, 113, 117, 118 DMX protocol: 187 File Tab: 24, 141, 173 Files Tab: 27 FireWire: 123 library 255 reserved for input from: 141 Layer Panel: 23 Fixture Library: 179 Layer panel: 24, 173 Flicker: 108 Layer Priorities: 2 Folders Tab: 28, 29...
  • Page 223 Index Parameter 2 (FX2) parameter: 91 Scan Files: 29 DMX protocol: 186 Sean Bridwell Textures: 41 Play Mode parameter: 11, 13, 17, 19, 43, 131, segment: 42 172, 173 Separate outputs No FX: 35 DMX protocol: 181 Separate outputs with FX: 35 Playback Speed: 141 Serial: 125, 126, 127, 129, 133 Playback Speed parameter: 45...
  • Page 224 Index 71, 72, 81, 82, 83, 84, 85, 86, 90, 91, 94, 114 Uptime: 159 USB: 2, 26, 33, 125, 126, 131, 133 Use Layer: 42 use layer: 172 video feed: 22, 123 Video Input: 123 Video Input panel: 123 video switcher: 26, 125, 128 Visual Effects parameter: 19, 30, 91, 117, 118, Warranty: 195...

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