Newtek Tricaster Studio Manual

Total Page:16

File Type:pdf, Size:1020Kb

Newtek Tricaster Studio Manual Revised – Oct. 22, 2010 TriCaster TCXD850, TriCaster TCXD300, TriCaster TCSD330, TriCaster DUO, TriCaster, TriCaster PRO, TriCaster PRO FX, TriCaster STUDIO, TriCaster BROADCAST, 3Play, SpeedEDIT, DataLink, LiveText, LiveControl, VT, VT[3], VT[4], VT[5], Video Toaster, Toaster, Inspire 3D, 3D Arsenal and Aura are trademarks of NEWTEK. LightWave and LightWave 3D are registered trademarks of NEWTEK. All other brand names, product names, or trademarks belong to their respective holders. TRICASTER™ TABLE OF CONTENTS 1 Software License and Limited Warranty .............................................................................. xi 2 About This Manual ................................................................................................................3 3 Introduction ..........................................................................................................................5 3.1 Overview ........................................................................................................................5 3.2 Meet the Family .............................................................................................................5 3.2.1 Shared Features .....................................................................................................6 3.2.2 Distinctive Features ................................................................................................7 3.3 Manual Conventions ......................................................................................................9 4 Setting Up ...........................................................................................................................11 4.1 Command and Control .................................................................................................11 4.2 Activating & Authorizing Windows™ ............................................................................12 4.3 TriCaster License and Registration ................................................................................13 4.3.1 Online Registration ...............................................................................................14 4.3.2 Registering by Telephone .....................................................................................14 4.4 Front Connections ........................................................................................................15 4.4.1 Connect A/V Devices ............................................................................................15 4.5 Genlock Connection......................................................................................................16 4.5.1 Genlock Connection .............................................................................................16 4.5.2 VGA Output (Video Projection) .............................................................................16 4.6 Tally Lights ...................................................................................................................17 4.7 Network Connection .....................................................................................................18 5 Live Production Walkthrough .............................................................................................19 5.1 Product Mode Options ..............................................................................................19 5.1.1 6-Camera mode ....................................................................................................20 5.1.2 3-Camera mode ....................................................................................................21 Page | i 5.2 The LIVE Production tab ...............................................................................................23 5.2.1 Input Setup and Switching ....................................................................................23 5.2.2 External ................................................................................................................25 5.2.3 Playing Video Clips ...............................................................................................28 5.2.4 Text and Titles ......................................................................................................30 5.2.5 Color Backgrounds ...............................................................................................31 5.2.6 LiveMatte .............................................................................................................33 5.2.7 Audio....................................................................................................................35 5.2.8 Internet Streaming ...............................................................................................37 5.3 Capture Media .............................................................................................................39 5.4 Edit Media....................................................................................................................43 5.4.1 Storyboard ...........................................................................................................44 5.4.2 Timeline ...............................................................................................................45 5.4.3 Controls................................................................................................................46 5.5 Edit Text .......................................................................................................................50 6 LIVE Production Tools .........................................................................................................53 6.1 Monitoring ...................................................................................................................53 6.1.1 3-Camera Mode ...................................................................................................54 6.1.2 6-Camera Mode ...................................................................................................56 6.1.3 Preview and LIVE Output ......................................................................................56 6.2 Live Control ..................................................................................................................57 6.2.1 The Switcher and T-Bar ........................................................................................58 6.2.2 The Transition Bank ..............................................................................................59 6.2.3 Overlay .................................................................................................................61 6.3 Setup and Audio Section ...............................................................................................63 6.3.1 DDR 1 & 2 .............................................................................................................63 6.4 Text ..............................................................................................................................67 6.5 Color Background .........................................................................................................70 6.6 Input Setup...................................................................................................................71 6.6.1 Input Selection .....................................................................................................72 6.6.2 Connection Type ..................................................................................................72 Page | ii 6.6.3 Proc Amp..............................................................................................................73 6.7 LiveMatte .....................................................................................................................75 6.8 LiveSet .........................................................................................................................79 6.8.1 Utilities – MATTE OPTIONS ...................................................................................79 6.8.2 Other Utilities .......................................................................................................80 6.8.3 LiveSet Power .......................................................................................................81 6.8.4 More Liveset ........................................................................................................82 6.9 External........................................................................................................................83 6.9.1 Using iVGA ...........................................................................................................83 6.9.2 Using LiveText ......................................................................................................87 6.9.3 External Source ....................................................................................................87 6.9.4 iVGA Overlay ........................................................................................................88 6.9.5 Output to VGA ......................................................................................................89 6.9.6 VGA Keying ...........................................................................................................89 6.9.7 Positioning ...........................................................................................................90 6.10 Record and Stream .......................................................................................................91
Recommended publications
  • Music K-8 Marketplace 2021 Spring Update Catalog
    A Brand New Resource For Your Music Classroom! GAMES & GROOVES FOR BUCKET BAND, RHYTHM STICKS, AND LOTS OF JOYOUS INSTRUMENTS by John Riggio and Paul Jennings Over the last few years, bucket bands have grown greatly in popularity. Percussion is an ideal way to teach rhythmic concepts and this low-cost percussion ensemble is a great way to feel the joy of group performance without breaking your budget. This unique new product by John Riggio and Paul Jennings is designed for players just beyond beginners, though some or all players can easily adapt the included parts. Unlike some bucket band music, this is written with just one bucket part, intended to be performed on a small to medium-size bucket. If your ensemble has large/bass buckets, they can either play the written part or devise a more bass-like part to add. Every selection features rhythm sticks, though the tracks are designed to work with just buckets, or any combination of the parts provided. These change from tune to tune and include Boomwhackers®, ukulele, cowbell, shaker, guiro, and more. There are two basic types of tunes here, games and game-like tunes, and grooves. The games each stand on their own, and the grooves are short, repetitive, and fun to play, with many repeats. Some songs have multiple tempos to ease learning. And, as you may have learned with other music from Plank Road Publishing and MUSIC K-8, we encourage and permit you to adapt all music to best serve your needs. This unique collection includes: • Grizzly Bear Groove • Buckets Are Forever (A Secret Agent Groove) • Grape Jelly Groove • Divide & Echo • Build-A-Beat • Rhythm Roundabout ...and more! These tracks were produced by John Riggio, who brings you many of Plank Road’s most popular works.
    [Show full text]
  • DKB 2632 32Bit Memory Expansion Board for the Amiga® 2500/030 - CBM A2630 Card
    DKB 2632 32Bit Memory Expansion Board for the Amiga® 2500/030 - CBM A2630 Card Installation and User’s Guide by DKB Software COPYRIGHT This manual is the Copyright © of DKB Software, Inc. All Rights Reserved. This document may not, in whole or in part, be copied, photocopied, reproduced, translated, or reduced to any electron- ic medium or machine readable form, without prior consent, in writing, of DKB Software, Inc. DKB2632, MegAChip 2000, MegAChip 2000/500, MultiStart II, BattDisk, SecureKey, KwikStart, KwikStart II, Insider, and Insider II are trademarks of DKB Software. Amiga is a registered trademark of Commodore-Amiga, Inc. AmigaDos, Kickstart, and Workbench are trademarks of Commodore-Amiga, Inc. Table of Contents 1. Introduction 1 2. Configuring the DKB 2632 2 3. Installation in the Amiga® 2500/030 3 Disassembling your computer 3 Installing the DKB 2632™ 4 Reassembling your computer 4 4. Using the Software 5 5. Installing Additional Memory 7 6. Trouble Shooting Section 9 PN: 00301001-01 1. Introduction. Congratulations on the purchase of your new DKB 2632™ by DKB Software for the Amiga® 2500 and 2000 with the A2630. DKB Software's DKB 2632™ is a 32Bit Memory expansion board that provides many features including: o Expandable up to 112 Megabytes of 32 Bit memory. o State-of-the-Art design breaks the 32Megabyte limit that other accelerator cards have and allows the use of different size memory modules in the same bank. o Using 32 Bit wide SIMM modules enables you to install only one module to add up to 32 Megabytes at a time, (modules are available in 4, 8, 16, and 32 Megabytes.) o The 32 Bit memory on the 2632 fully supports the 68030 burst mode.
    [Show full text]
  • REFERENCE GUIDE for OPTICAL MEDIA Terence O’Kelly Content Links
    REFERENCE GUIDE FOR OPTICAL MEDIA Terence O’Kelly Content Links 1. Frequently Asked Questions (FAQs) a. Digital audio b. CD-R recording c. CD-RW d. DVD and Recordable DVD 2. Introduction to the Reference Guide A. Memorex history A. Differences between analogue and digital recordings B. Binary number system C. Digital audio 3. Compact Disc and how it works A. Book Standards B. Error correction—CIRC 4. CD-R A. Recording dyes B. Music CD-R C. Reflective surface D. Capacity E. Speed ratings a. CLV and Z-CLV b. CAV and P-CAV c. Comparison of speeds vs. time savings 5. CD-RW A. Stability B. Speed ratings 6. Mini-Disc A. Magneto-optical recording C. ATRAC compression D. Hi-MD 7. DVD A. DVD Numbering B. Recordable DVD C. DVD Capacities 8. Recordable DVD Formats A. DVD-R a. Data addresses b. Land Pre-pits B. DVD-RW C. DVD-RAM a. Data addresses b. Cartridge types D. DVD+R a. Data addresses b. ADIP E. DVD+RW 9. Recording onto DVD discs A. VR Recording onto DVD--+VR and –VR B. CPRM C. Capacities of recordable DVD discs a. Capacities in terms of time b. Set-top recorder time chart D. Double-Layer Discs E. Recording Speeds 10. Blue Laser Recording A. High Definition Video B. Blu-ray versus HD DVD C. Laser wavelengths a. Numerical aperture b. Comparison of High Definition Proposals 11. Life-time Expectations of Optical Media 12. Care and Handling of Optical Media 2 FAQs about Optical Media There is a great deal of misinformation, hype, and misunderstanding in the field of optical media.
    [Show full text]
  • Database of Amiga Software Manuals for SACC
    Database of Amiga Software Manuals for SACC Disks 1 - MUSIC & SOUND Description Notes Copies available? A-Sound Elite sound sampler / editor manual 1 yes ADRUM - The Drum Machine digital sound creation manual and box 1 - Aegis Sonix music editor / synthesizer manual 2 yes Amiga Music and FX Guide music guide - not a software manual book 1 Deluxe Music Construction Set music composition / editing manual and DISK 1 yes Dr. T's Caged Artist's K-5 Editor sound editor for Kawai synthesizers manual 1 - Soundprobe digital sampler manual 1 - Soundscape Sound Sampler sound sampling software manual and box 1 - Synthia 8-bit synthesizer / effects editor manual 2 yes Synthia II 8-bit synthesizer / effects editor manual 1 yes The Music Studio music composition / editing manual 1 yes Disks 2 - WORD PROCESSING Description Notes Copies available? Final Writer word processor manual 8 yes Final Writer version 3 word processor manual addendum 1 yes Final Writer 97 word processor manual addendum 1 - Final Copy word processor manual 2 yes Final Copy II word processor manual 2 yes Word Perfect word processor manual 2 yes Scribble! word processor manual 1 yes TransWrite word processor manual 1 yes TxEd Plus word processor manual 1 - ProWrite 3.0 word processor manual 6 yes ProWrite 3.2 Supplement word processor manual addendum 3 yes ProWrite 3.3 Supplement word processor manual addendum 2 yes ProWrite 2.0 word processor manual 3 yes Flow 2.0 (with 3.0 addendum) outlining program manual 1 yes ProFonts font collection (for ProWrite) manual 1 - Disks 3 - GAMES
    [Show full text]
  • Troubleshooting Video Toaster [2] Revised October 15, 2002
    Troubleshooting Video Toaster [2] Revised October 15, 2002 1. Hardware 1.1 Controllers Adaptec 19160 if using the internal connections don’t use the SCSI160 port next to the old 50 pin connector, it is limited to the old speed. Hook up the SCSI cable to the other port that is by itself. Further, the external connector on the back of this controller is NOT LVD capable, so if using an external drive case, hook the external ribbon up to the 19160's internal connector. You can also buy an L-connector that connects to the card and provides for a slot connector using an empty PCI slot. IDE RAIDs Contributed by Ryan McClure: I just wanted to let you know that the RAID I built with four Western Digital HDDs works with Toaster successfully. The Western Digital drives are 120 GB in size with 8 MB data buffers. They are connected to a Promise Technologies SuperTRAK SX6000 RAID card. This gives me about 36.0 MB/sec. 1.2 Drives 3Ware Controller 3Ware says It is very important to set the cluster size to 64k on the Escalade's video drives. Setting it to 1024 will cause heavy fragmentation and quickly choke the system. Creating a Stripe Set To create a stripe set for Windows 2000 1 Double click on the following icons: My Computer, Control Panel, Administrative Tools, Computer Management, Storage, and Disk Management. This will open the W2000, Disk Management window which list all of the removeable, CD-Rom, and hard drives on your system. 2 Scroll down the drive list to locate the drives you want to include in your striped set.
    [Show full text]
  • E-Business Technologies
    E-Business Technologies Blu-Ray Technology Professor: Prof. Dr. Eduard Heindl By: George Kodjo Anni Student No. 230406 BCM1 28-May-08 DECLARATION OF AUTHORSHIP I declare in lieu of an oath that the Term Paper submitted has been produced by me without illegal help from other persons. I state that all passages which have been taken out of publications of all means or unpublished material either whole or in part, in words or ideas, have been marked as quotations in the relevant passage. I also confirm that the quotes included show the extent of the original quotes and are marked as such. I know that a false declaration will have legal consequences. ____________ May 28, 2008 E-Business Technologies Blu-Ray Technology Page 2 of 14 Prof. Dr. Eduard Heindl By: George Kodjo Anni TABLE OF CONTENT DECLARATION OF AUTHORSHIP ................................................................................ 2 TABLE OF CONTENT ...................................................................................................... 3 TABLE OF FIGURES…………………………………………………………………….3 1. HISTORY ................................................................................................................... 4 1.1. Introduction ......................................................................................................... 4 1.2. Compact Disk (CD) ............................................................................................ 4 1.3. Digital Versatile Disc (DVD) ............................................................................
    [Show full text]
  • The Makeover from DVD to Blu-Ray Disc
    Praise for Blu-ray Disc Demystified “BD Demystified is an essential reference for designers and developers building with- in Blu-ray’s unique framework and provides them with the knowledge to deliver a compelling user experience with seamlessly integrated multimedia.” — Lee Evans, Ambient Digital Media, Inc., Marina del Rey, CA “Jim’s Demystified books are the definitive resource for anyone wishing to learn about optical media technologies.” — Bram Wessel, CTO and Co-Founder, Metabeam Corporation “As he did with such clarity for DVD, Jim Taylor (along with his team of experts) again lights the way for both professionals and consumers, pointing out the sights, warning us of the obstacles and giving us the lay of the land on our journey to a new high-definition disc format.” — Van Ling, Blu-ray/DVD Producer, Los Angeles, CA “Blu-ray Disc Demystified is an excellent reference for those at all levels of BD pro- duction. Everyone from novices to veterans will find useful information contained within. The authors have done a great job making difficult subjects like AACS encryption, BD-Java, and authoring for Blu-ray easy to understand.” — Jess Bowers, Director, Technical Services, 1K Studios, Burbank, CA “Like its red-laser predecessor, Blu-ray Disc Demystified will immediately take its rightful place as the definitive reference book on producing BD. No authoring house should undertake a Blu-ray project without this book on the author’s desk. If you are new to Blu-ray, this book will save you time, money, and heartache as it guides the DVD author through the new spec and production details of producing for Blu-ray.” — Denny Breitenfeld, CTO, NetBlender, Inc., Alexandria, VA “An all in one encyclopedia of all things BD.” — Robert Gekchyan, Lead Programmer/BD Technical Manager Technicolor Creative Services, Burbank, CA About the Authors Jim Taylor is chief technologist and general manager of the Advanced Technology Group at Sonic Solutions, the leading developer of BD, DVD, and CD creation software.
    [Show full text]
  • Random Access Montage. How Online Access Has Changed Amateur Video Editing Benjamin Eugster :ßrich5NIVERSITY E-Mail: [email protected]
    ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 9 (2014) 107–124 10.1515/ausfm-2015-0005 Random Access Montage. How Online Access Has Changed Amateur Video Editing Benjamin Eugster :ßRICH5NIVERSITY E-mail: [email protected] Abstract. Digital technology has often been discussed in relation to how it changed either the production or the reception of audiovisual cultures. This paper will consider a combination of both as a crucial part in understanding strategies of inter- and transmedial amateur creativity. "ASED ON AN EXPERIMENTAL ETHNOGRAPHY OF THE ONLINE VIDEO SUBGENRE subculture “YouTubePoop,” the paper will elaborate on the connection between the individual experience and the creation of digital media. The loose collective of independent amateurs behind the YouTubePoop videos makes use of already existing audiovisual material ranging from television shows to videos of other YouTube users. The re-created remixes and mash- ups are characterized by their random selection of original material and their nonsensical humour. Hence, the rapid montage of this heterogeneous CONTENTISJUSTASMUCHPARTOFTHEINTENSIlEDAESTHETICEXPRESSIVENESSAS are the applied special effects available in the digital video editing software. Both aspects highlight the strong interdependence of the rapid accessibility of online content and digital technology and the new aesthetic expressions they are fostering. The paper will show how the experience and navigation of digital interfaces (editing software, media players, or homepages) affect the design and practice of these video-remixes. This will open the discussion about intertextual strategies of media appropriation to an aesthetic and praxeological analysis of media interaction. Keywords: Amateur culture, montage and video editing, online video, YouTubePoop, software studies. How Does Digital Technology Affect Cultural Production? Intermediality is a central aesthetic feature of new media technologies.
    [Show full text]
  • Commodore Enters in the Play “Business Is War, I Don't Believe in Compromising, I Believe in Winning” - Jack Tramiel
    Commodore enters in the play “Business is war, I don't believe in compromising, I believe in winning” - Jack_Tramiel Commodore_International Logo Commodore International was an American home computer and electronics manufacturer founded by Jack Tramiel. Commodore International (CI), along with its subsidiary Commodore Business Machines (CBM), participated in the development of the home personal computer industry in the 1970s and 1980s. CBM developed and marketed the world's best-selling desktop computer, the Commodore 64 (1982), and released its Amiga computer line in July 1985. With quarterly sales ending 1983 of $49 million (equivalent to $106 million in 2018), Commodore was one of the world's largest personal computer manufacturers. Commodore: the beginnings The company that would become Commodore Business Machines, Inc. was founded in 1954 in Toronto as the Commodore Portable Typewriter Company by Polish-Jewish immigrant and Auschwitz survivor Jack Tramiel. By the late 1950s a wave of Japanese machines forced most North American typewriter companies to cease business, but Tramiel instead turned to adding machines. In 1955, the company was formally incorporated as Commodore Business Machines, Inc. (CBM) in Canada. In 1962 Commodore went public on the New York Stock Exchange (NYSE), under the name of Commodore International Limited. Commodore soon had a profitable calculator line and was one of the more popular brands in the early 1970s, producing both consumer as well as scientific/programmable calculators. However, in 1975, Texas Instruments, the main supplier of calculator parts, entered the market directly and put out a line of machines priced at less than Commodore's cost for the parts.
    [Show full text]
  • Sale of Amiga Trademarks and Intellectual Property Assets
    SALE OF AMIGA TRADEMARKS AND INTELLECTUAL PROPERTY ASSETS Copyright ©2010 Pluritas, LLC. 1 “The Amiga was one of the greatest computers ever made– and for my money , it was the greatest cult computer, period” - Harry McCracken of Technologizer (July, 2010) Copyright ©2010 Pluritas, LLC. 2 KEY INVESTMENT CONSIDERATIONS Copyright ©2010 Pluritas, LLC. 3 Opportunity Overview Amiga IP Acquisition Opportunity Assets Available for Purchase • 702 registered and pending trademarks • Trademarks • Foreign coverage in over 100 countries including • “Powered By Amiga” Registered US Trademark Argentina, Australia, Brazil, Canada, Chile, China, with “Boing Ball” Logo European Union, India, Indonesia, Israel, Japan, • Registered and Pending Trademarks for “Amiga” Mexico, Singapore, South Africa, South Korea, and Logos throughout the world Switzerland, Taiwan, Thailand, and Vietnam • Amiga Stylistic Trademark Application • Seller requires a license back, and encumbrance • URLs details will be disclosed upon execution of an NDA • www.amiga.com, www.amiga.de, and other related • NDA material is available domains • Other Amiga Intellectual Property including: • Hardware Designs • Software • Operating Systems Market Application and Strategic Opportunity • Gaming: In May 2010, DFC Intelligence estimated that the total global gaming market was $60.4 billion. • PC: Gartner Research reported that global 2010 PC shipments and revenue would increase 19.7% and 12.2% respectively, year over year . This amounts to 366 .1 million units and $245 billion . • Smartphone: Gartner Research reported that Android increased its global market share by 3.5 percentage points in 2009, while Apple’s global market share grew by 6.2 percentage points in 2009. • Tablet: iSuppli reported that the Apple iPad commanded nearly 84% of the tablet market in 2010.
    [Show full text]
  • A Software Perspective
    Future Product Options A Software Perspective Software Engineering Department Commodore International Services Corporation Confidential Information - For Authorized Distribution Only Table of Contents ᄉ Introduction 3 Objective.........................................................................................................................................................3 Philosophy......................................................................................................................................................3 Market Segments...........................................................................................................................................3 Architectures..................................................................................................................................................4 Recommendations 5 Short-Term Recommendations....................................................................................................................5 Long-Term Recommendations.....................................................................................................................6 Other Long-Term Considerations...............................................................................................................7 System Software 8 Overview.........................................................................................................................................................8 Meme...............................................................................................................................................................9
    [Show full text]
  • EBU/ SMPTE Task Force for Harmonized Standards for The
    Society of Motion Picture and Television Engineers European Broadcasting Union Task Force for Harmonized Standards for the Exchange of Program Material as Bitstreams Final Report: Analyses and Results July 1998 Copyright © 1998 of the European Broadcasting Union (EBU) and the Society of Motion Picture and Television Engineers, Inc. (SMPTE). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means – electronic, mechanical, photocopying, recording, or otherwise – without the prior written permission of one of the copyright holders. Edited and laid out by EBU Technical Review on behalf of the EBU / SMPTE Task Force for Harmonized Standards for the Exchange of Program Material as Bitstreams. Contents Preface 1 Executive summary 3 Systems summary 4 Compression summary 4 Wrappers and Metadata summary 6 Networks and Transfer Protocols summary 6 1. Introduction 8 2. Systems 11 2.1. Introduction 11 2.1.1. Systems of the future will do different things 11 2.1.2. Systems of the future will be quite different 12 2.1.3. New workflows will result from integrated control schemes 12 2.1.4. New types of system design are required 12 2.2. Request for Technology 13 2.3. Object model 14 2.3.1. Why object-oriented technology? 15 2.4. System model 15 2.4.1. Structure of the model 15 2.4.2. Activities 16 2.4.2.1. Pre-production 17 2.4.2.2. Acquisition & Production 17 2.4.2.3. Post-production 17 2.4.2.4.
    [Show full text]