New Tricaster Scopes-Why and How.Pdf

New Scopes: Why and How? by Allan Tépper Table of Contents

1. What are scopes?...... 1 2. What is a vectorscope?...... 2 3. What is a video waveform monitor?...... 3 4. Original video waveform monitor labeling...... 4 5. Digital video levels...... 5 6. Challenges to match black levels between analog and digital...... 5 7. Traditional labeling in a hybrid environment ...... 7 8. Presenting the NewTek new graticule...... 7 9. Best camera connection and basic settings ...... 8 10. How to match cameras with new scopes from NewTek...... 9 11. About the author...... 9 12. FTC disclosure/Trademarks...... 9

New Scopes: Why and How?

Preface

Why I proposed this White Paper to NewTek

and readers about the challenges of maintaining proper black video levels, especially when transferring video between the analog and digital video worlds. In the palindromic year of 2002, I published an article related to this topic called Los negros todavía no tienen igualdad in Producción y Distribución, a leading Latin American magazine. Ten years later in 2012, I published another article called Why you should use Japanese NTSC with a TriCaster if you use SD cameras in ProVideo Coalition magazine, which made reference to the original article of 2002. Now, over a decade later, this issue is still as important as ever, and the same confusion still arises when measuring black video levels. I am so happy that NewTek has now implemented a unique method of displaying video levels, and that’s why I proposed this White Paper.

In this White Paper, you’ll discover what all of this means. You’ll not only learn how to read the NewTek waveform monitor, but also to appreciate its importance — together with the NewTek vectorscope — to create and deliver proper and consistent video images; how to use them to adjust your cameras in a system; and how to make them match, as well as possible.

1: What are scopes?

As you read this chapter, you’ll realize that scope is used more often than you might initially have thought. Although all uses share a common theme of vision, they vary tremendously in application.

The etymology of the word Scope 2. space for movement or activity; opportunity for operation: to give one’s fancy full scope. 3. extent in space; a tract or area. 4. length: a scope of cable. 5. aim or purpose. Source:http://dictionary.reference.com/browse/scope

The pop culture use of the term “scope” In general popular use, the term scope also refers to a telescope sight, which is a device that is based on an optical refracting telescope. They are equipped with some form of graphic image pattern

system to give an accurate aiming point. Telescopic sights are used with all types of systems that require accurate aiming but are most commonly found

(Public domain image courtesy of JelloCube27.)

1 New Scopes: Why and How?

2: What is a vectorscope?

A video vectorscope is a special type of oscilloscope. Traditionally, manufacturers of vectorscopes have included: All of the brands/manufacturers listed above have used inboard CRTs in at least some of their products.

All but Compuvideo apparently manufacture them from scratch,

Example of a traditional standalone video vectorscope

too. Other manufacturers of professional video monitors have also added vectorscope capabilities. There are also software-based vectorscopes, either built into video editing and grading applications, or standalone software like ScopeBox from Divergent Media. Many of the above vectorscopes also include waveform monitor capabilities, which are covered in the next chapter of this White Paper.

How is a vectorscope used in video production? ahead in this White Paper. However, here are some ways that a vectorscope is used in video production:

SDI, since they don’t use any subcarrier. Although it is better to genlock when possible, this is optional with all current TriCaster models according to the video system used.

2 New Scopes: Why and How?

expense and complication of purchasing one separately. You also save the extra cables, extra power consumption, and the extra heat generated with an external standalone vectorscope.

3: What’s a video waveform monitor?

A video waveform monitor is a special type of oscilloscope. Traditionally, both oscilloscopes and video waveform monitors have included:

All of the brands/manufacturers listed above have used inboard CRTs in at least some of their products. All but Compuvideo apparently manufacturer them from scratch oscilloscopes that are already built for general use for video made standalone video waveform monitors exclusively with Example of a traditional standalone waveform monitor (Creative Commons Attribution-Share Alike 3.0 Unported license)

models too. Some manufacturers of professional video monitors have also added video waveform monitor capabilities to them. There are also software-based video waveform monitors, either built into video editing and grading applications, or standalone capabilities, which were covered in the prior chapter of this White Paper.

How is a waveform monitor used in video production?

very common to do this manually, except when calibrating a camera whose

Example of a chip chart, courtesy of KozCo Collection.

3 New Scopes: Why and How?

Although it is better to genlock when possible, this is optional with all current TriCaster models since all have a built-in frame synchronizer assure that they are within legal range, but to have them match, in order to maintain a pleasing consistent look within a set or studio.

When you use a TriCaster, the video waveform monitor is already included, so you save the expense and complication of purchasing one separately. You also save the extra cables, extra power consumption, and the extra heat generated with an external standalone waveform monitor.

4: Original video waveform monitor labeling

Original video waveform monitors were designed to measure analog video. As such, they have been labeled on their graticule as IRE units. IRE is a unit used in the measurement of analog video signals. Its name originally came from the initials of the Institute of Radio

voltage value during the blanking period. The sync pulse is normally 40 IRE below the zero value, so, peak to peak, an all white signal systems. You probably know that for over a decade, video camcorders have recorded digital, not analog. You also probably know that those who got temporary exceptions will have to cease analog transmissions by September 1, 2015.

calibrated with the standard black at 7.5 IRE.

waveform monitors have a special setup marker in the graticule at 7.5 IRE to remind and help engineers and operators to set standard black level. The issue of 7.5 setup began to haunt us later in the history of television, as you’ll see ahead in this White Paper.

Relatively minor confusion so far Before the dawn of digital video, the situation wasn’t so confusing yet, and most video camera operators in the NTSC American countries learned that standard black was to be at 7.5 IRE. Before the dawn of digital video recording, there was seldom confusion, versa. Fortunately, professional camcorders were easily re-adjustable to work properly with either Pan-American NTSC or Japanese NTSC.

Things became much more complex with the arrival of computer graphic systems for video, digital recording and digital broadcasting, as you’ll see ahead in this White Paper.

4 New Scopes: Why and How?

5: Digital video levels

depending upon whether an 8-bit or 10-bit system is used.

10-bit video you live in a region which uses long scale, that rounded number would be written and spoken as 1,07 thousand million. Video códecs In any digital 10-bit system, the standard black level must be at level 64. This is true whether dealing with SD or HD, regardless of where the camera is/was sold or delivered anywhere in the world.

8-bit video consumer, prosumer, and pro camcorders.

For all of the above 8-bit delivery systems/formats, they must have the same standard black level at digital level 16, which will match

The rest of this White Paper will cover challenges for matching black levels, together with solutions.

The fact that the standard black level varies in the following conditions:

5 New Scopes: Why and How?

and/or with inconsistent black levels within a single project.

responsibility to map the black level properly at the time of conversion. In the late 1980s were the TARGA and the AT-Vista. These cards had RGB analog outputs, and were often of the external transcoders and encoders had a switch which would optionally add 7.5 setup to the output for NTSC users in the from manufacturers like AJA, Blackmagic Design, Matrox, or MOTU, it could be either level 16 or level 64, depending upon whether the analog video used. If you are in the Americas and typically deal with analog videotapes with 7.5 setup, then you will typically leave the while capturing that particular analog videotape.

DV25 cameras manufactured by Panasonic and Sony improperly recorded standard black at digital level 32 instead of 16 when their

were independently inspired to publish magazine articles to help users resolve the associated problems. In fact, this happened before Adam Wilt and I had ever met personally, and several years before we both began to publish in the same US publication, ProVideo Coalition magazine. The article I wrote in the palindromic year of 2002 is called Los negros todavía no tienen igualdad for publication in Producción y Distribución, a leading Latin American magazine. Adam Wilt’s article is called We’ve been set up! and he published it in DV magazine.

Issues with digital decks (videotape recorders)

Some users had similar problems with decks like the Sony DSR-11, which could handle the consumer DV format, JVC’s Professional DV, and Sony’s DVCAM. However, unlike JVC’s Professional DV decks and higher-priced Sony DVCAM decks, the DSR-11 did not innocently got an analog output of 0 IRE when making a copy to Betacam SP, which was the most popular format to deliver edited 2002 article, I recommended American NTSC users of the DSR-11 deck who needed to make analog copies to purchase an external Details are in that article.

6 New Scopes: Why and How?

when most cameras sold were SD, analog video was frequently being digitized and going back to analog videotape, when some at digital level 32 if the camera operator wasn’t aware and therefore didn’t compensate, and when much over-the-air broadcast in much information in such a short, entertaining video.

7: Traditional labeling in a hybrid environment

made sense because at that time, for most users, the dpsVelocity editing system and the TriCaster were primarily digital accessories in Even though there was no such thing as 7.5 IRE inside of the Velocity or the TriCaster, they were both primarily focused upon their respective analog outputs, which were delivered to the end-user as a hardware-software combination, and operators where therefore

analog video is optional and available by third parties, including AJA, Blackmagic Design, Matrox, and MOTU. It is their responsibility Final Cut Pro’s responsibility, and that’s why there is no 7.5 IRE marker in Final Cut Pro’s graticule.

Unfortunately, even though companies like Apple have done the right thing by not including a 7.5 marker in the waveform monitor

I once asked a developer who manufacturers a software-based waveform monitor why their graticule includes a 7.5 IRE marker when complained that it wasn’t there.” Because of this confusion, misinterpretation, and myths, NewTek has now introduced a new type of graticule which is guaranteed to be foolproof. You’ll learn all about it in the next chapter.

8: Presenting the new graticule from NewTek

As you’ll see in the image to the right, NewTek has completely demolished the confusion. their levels to 7.5 in a digital environment are now forced to wake up and realize that they are no longer in Kansas, and that new rules apply here in the digital video world. The lowest number on the scale is 16, so it’s impossible for them to adjust their black level to 7.5,since there is no number even close to 7.5 on the graticule! These are digital levels, not analog levels. recalled that NewTek was born in Kansas in 1985, though the company now resides in San

7 New Scopes: Why and How?

Why is there a dual scale? starting at 64 and 16 simultaneously. There is a dual scale in order to represent both 8-bit and 10- bit simultaneously, since you could other manufacturers’ waveform monitors, since it makes so much sense.

setup at 7.5 IRE. If your TriCaster session is NTSC-J, PAL, or any HD format, the HD component analog video output will not include 7.5 IRE setup, since those formats don’t use it. The standard black will be output as 0 IRE on the analog output with those sessions.

Yes, TriCasters support superblack and superwhite. However, standard black and standard white should be set as indicated.

9: Best camera connection and basic settings

If you have cameras and a TriCaster with SDI or HD-SDI connections, that is the absolute best

It is better to set your analog SD NTSC camera to Japanese NTSC because you will take better advantage of the full dynamic range from zero to 100 IRE, rather than only using the more limited dynamic range from 7.5 to 100. I began adjusting studios this way many

If you are using consumer analog NTSC cameras, they are likely already using Japanese NTSC, and therefore you have nothing a zero/7.5 option in the menu, set it to zero. Otherwise, just skip to the next chapter of this White Paper to make your adjustments in the TriCaster, if necessary.

If you are using other, higher end analog NTSC cameras, check the manual. In many cameras that I had to adjust, it was a DIP switch is described ahead in this article. I know very well that the SMPTE level is a level that was abandoned in NTSC countries in favor of will have modern, accepted levels.

8 New Scopes: Why and How?

10: How to match cameras with NewTek’s new scopes

to beginning a recording or live broadcast. a color bar chart in front of the further, if necessary.

About the author

are his own.

Endnotes 1. http://en.wikipedia.org/wiki/Scope