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FreedomFX
User Guide
Instructions for Configuring and Using the
FreedomFX
Version 3.11
Newsroom Solutions, LLC
FreedomFX User Guide
Instructions for Configuring and Using the FreedomFX
Version 3.11
Last Revised: May, 2004
© 1998-2004 Newsroom Solutions, LLC. All rights reserved.
This document covers the use of version 3.11 of the FreedomFX. If
you don’t see a version number on the splash screen when the VServer
loads, you are using a version previous to 3.11.
All brands, product names, company names, trademarks, and service
marks used herein are the property of their respective owners.
This document is for the use of licensed users only. Any
unauthorized copying, distribution, or disclosure of information is a
violation of copyright law and of the terms agreed to in the
NewsTicker License Agreement.
While every effort has been made to ensure technical accuracy,
information in this document is subject to change without notice
and does not represent a commitment on the part of
Newsroom Solutions, LLC.
Newsroom Solutions, LLC
Tel: (336) 784-0686
support@newsroomsolutions.com
www.newsroomsolutions.com
3
Table of Contents
Introduction.......................................................................................... 5
Overview.............................................................................................5
External Graphics .................................................................................5
Font Support........................................................................................6
Transitions and Effects..........................................................................6
Templates and Storage..........................................................................6
Inputs and Outputs...............................................................................6
System Support ....................................................................................7
Installation ........................................................................................... 8
Unpacking and Mounting ....................................................................8
Operating System Configurations .........................................................8
Installing Third-Party Software.............................................................9
Input Video Requirements...................................................................9
Analog Video Connection..................................................................10
Digital Video Connection ..................................................................11
Setting I/O Mode ..............................................................................12
FX Console .......................................................................................... 14
VServer Overview .............................................................................14
Starting and Stopping .........................................................................14
Status .................................................................................................15
Setup..................................................................................................15
Setup Status Information ....................................................................17
Video Output Modes .........................................................................18
Editor Basics ....................................................................................... 20
Overview...........................................................................................20
Templates vs. Objects.........................................................................21
Template Hierarchy ...........................................................................22
Object Hierarchy ...............................................................................23
Hierarchy Editing...............................................................................24
Text Objects ......................................................................................24
Graphic Objects .................................................................................26
Fill Objects.........................................................................................29
DVE Objects......................................................................................29
Understanding Blending.....................................................................31
Editor Reference ................................................................................ 37
Basic ..................................................................................................37
Advanced ...........................................................................................39
Text ...................................................................................................40
Cell....................................................................................................43
4
DVE .................................................................................................. 44
Template Tutorials .............................................................................48
Using the Tutorials ............................................................................ 48
Tutorial 1: One-line headline with black bar...................................... 48
Tutorial 2: Forecasts using graphical background and multiple text fields
.......................................................................................................... 53
Tutorial 3: A crawl using a time/temp/ID bug and sponsor logo........ 57
Tutorial 4: Performing a DVE effect .................................................. 60
Automation Interface ........................................................................62
Introduction ...................................................................................... 62
Format Files, Templates, and Runlevels ............................................. 63
B ....................................................................................................... 64
D ....................................................................................................... 66
E........................................................................................................ 67
K ....................................................................................................... 67
M ...................................................................................................... 67
N....................................................................................................... 67
Q....................................................................................................... 68
V ....................................................................................................... 68
W ...................................................................................................... 70
X ....................................................................................................... 73
Y ....................................................................................................... 74
Z ....................................................................................................... 75
Sample Wiring Diagrams...................................................................76
FreedomFX with DVE Upstream of Master Control.......................... 78
FreedomFX with DVE Downstream of Master Control ..................... 79
FreedomFX as a Key Source for Master Control ................................ 80
Creating Alpha Channels...................................................................81
®
®
Using Adobe Photoshop ................................................................. 81
Using Other Third-Party Software..................................................... 83
Automating Cropping of Cell Animations in Photoshop® ............85
Tutorial ............................................................................................. 85
Specifications......................................................................................88
Analog Video Input Signals................................................................ 88
Analog Video Output Signals............................................................. 89
Digital Video Input/Output............................................................... 89
Analog Video Measurements.............................................................. 89
Digital Video Measurements .............................................................. 90
5
1
Introduction
This section provides a quick overview of your
FreedomFX, introducing you to some of its major features.
Overview
Congratulations on purchasing one of the most sophisticated display
devices exclusively for lower-fifths. The FreedomFX provides broadcast
quality I/O, in either analog or digital, with an unrivalled feature set. You
can get real-time DVE transitions, in addition to full 32-bit alpha key
graphics. Crawl, cut, or dissolve your NewsTickerTM information over a
static or animated background. Take advantage of automatic word
wrapping for two-line displays so that your headlines will always fit
without a producer needing to manually break the second line of text.
Easily integrate the FX into your existing operation with full support for
Targa® and Bitmap files, as well as TrueType® fonts. With its 4RU form
factor, the FreedomFX is the most popular choice for lower-fifth display
needs.
External Graphics
The FX’s preferred graphic format is the industry-standard 32-bit Targa®
file, in either RLE or non-RLE format. This provides for full 24-bit
graphics creation, utilizing an additional 8-bit alpha channel. Using this
format, you can take advantage of imbedded transparency utilizing the full
16.7-million color spectrum.
®
The Windows -based Bitmap and JPEG graphic formats are also supported,
although not recommended due to its inability to support a per-pixel alpha
key. Bitmaps and JPEGs utilize a 100% alpha key.
6
The FreedomFX has the ability to playback uncompressed cell animations
in real time. This is done by using your own 3D animation package, and
®
simply rendering it to a series of Targa images (32-bit) using sequential file
numbering. Popular graphics packages, such as Adobe® After Effects®,
support this formatting ability. The FX can play animations in a loop for a
continuous background, or as single-play on-demand sequences as
transitions or snipes.
Font Support
Since the FX is built on a Windows® platform, you have full access to any
®
®
TrueType font installed on the system. TrueType is the most universally
supported font format for screen display.
Within the FX’s template editor, you can change the color of the font, as
well as the size, color, shadow, and kerning.
Transitions and Effects
As a system optimized for the generation and display of lower-fifths, the
FX has several built-in effects commonly used in these types of displays.
Text data can be crawled or remain static in either single-line or multipleline wrapped fields. Elements can be pushed on or off. And, you can cut
or dissolve between each instance of data. For more advanced effects, you
may wish to use a rendered cell animation using your own 3D graphics
package, or work with an approved FreedomFX Professional Services
vendor.
Templates and Storage
Every page you create is saved as a template. Templates get called up by
NewsTickerTM, where real-time data gets filled in, and then presented to
air. You can create an unlimited number of templates to accommodate all
of your uses for NewsTickerTM. Everything is stored on the FX’s hard
®
drive in a standard Windows environment, so that you may increase
capacity if your demand ever warrants it.
Inputs and Outputs
The FreedomFX supports either analog or digital I/O. A daughterboard is
used to provide digital support and may be purchased as an add-on at a
later time. All processing in the FX is done digitally, so analog signals will
be converted to 10-bit digital, then reconverted to analog, whereas the
digital I/O provides a complete 10-bit path through the box.
7
In an analog environment, the FX provides Y/C connections (S-Video and
composite), as well as a standard composite connection. In a digital
environment, one 10-bit 4:2:2 serial digital input is provided as well as a
serial digital main output and a serial digital key output in 4:2:2:4 format.
For analog, the frequency response is ±.70 dB (typically ±.15) to 4.2 MHz,
following NTSC-M spec (ITU-R BT 470-4). The digital I/O follows
SMTP 259M spec and does not band limit the signal.
If you are an analog station desiring frequency response above NTSC spec,
then we recommend you use the digital I/O on the FX connected to
appropriate A/D and D/A converters. Newsroom Solutions is a reseller
for AJA converters that provide a response of ±.15 to 5.5 Mhz.
Each video processing unit is individually scoped prior to shipment to
insure the highest level of performance upon reaching our clients.
System Support
Support for your FX is provided under the terms of your NewsTickerTM
License Agreement and includes software patches, standard telephone and
e-mail support during regular business hours, and 24-hour emergency
support for system failures.
8
2
Installation
Installing and configuring your FreedomFX including
networking and video I/O.
Unpacking and Mounting
Your FreedomFX CG has been fully tested prior to arriving at your
location. The chassis used for the FreedomFX has been certified to
provide the highest amount of forced air ventilation to keep your system
operating under the most demanding conditions. All of the internal
components have been installed in the system so that you may rackmount
the FX immediately.*
Connect the keyboard, monitor, and mouse to the FX prior to booting.
At the same time, plug an ethernet cable into the network card, connecting
it to your LAN.
Operating System Configurations
Use the standard Networking control panel to place the FX onto your
network. It is highly recommended that you keep the FX within your
internal network to prevent intrusion. If you wish to create a firewall, you
will want to make sure that the NewsTickerTM server can access the
FreedomFX, and that the FX can make outbound TCP and UDP
TM
connections. The NewsTicker server is the only network device that has
to have inbound access to the FX.
It is not recommended that you install random service pack updates to the
operating system. It is also not recommended that you use Windows®
*
While the chassis supports them, the FX does not ship with side rails.
9
Update in an automated fashion. The video card drivers have only been
tested with certain Microsoft® patch levels, and may behave erratically
under untested conditions. It is preferred to rely on isolating the FX via a
firewall, and using regularly updated anti-virus software, to prevent
intrusions and infections.*
Installing Third-Party Software
Please note that no anti-virus software is shipped with the FX. Most
stations or station groups have already purchased a site license for
Windows® anti-virus software, and have a preferred product. This device
®
should be secured like any other Windows device on your network in
terms of firewalls and anti-virus, with the exception that it is not
recommended that you perform a virus scan while the FX is being used on
air as it will interfere with its performance. Any “auto protect” feature
should be disabled and virus scans should be run when you are offline.
Anti-virus software, FTP client software, and archive decompression
software (i.e. WinZip®), are the only third-party software permitted to be
installed on the FX. Newsroom Solutions will not support your
FreedomFX if other software is installed. In particular, VNC is
found to have conflicts with the video processor unit and can cause
dropped frames on DVEs.
PCAnywhere® is installed on your FX for the purpose of Newsroom
Solutions to provide support. Do not run PCAnywhere® while the
FX is online. Leaving it active or waiting for a connection while the FX
is in production will cause dropped frames and video noise.
Because of the need for the reporting section of NewsTicker’s broadcast
screen to constantly send data to the browser, you should not use the web
browser on the FX to broadcast in a production environment. Use either a
separate workstation or the intelliCommander to air your runlevel.
Broadcasting from Internet Explorer on the FX may consume too many
CPU cycles and degrade the overall performance of the unit.
Input Video Requirements
If you are planning on using the FreedomFX as a keyer, or take advantage
of the DVE capabilities, you will be running video into the FX. Once
genlocked, the FreedomFX expects consistent video on its input. If the
incoming video floats, or is removed and returned, the unit may have
difficulty maintaining sync. Artifacts of this condition include random
*
Here’s an idea – use router restrictions to only allow in-bound access from the
NewsTicker server, and no other IP address. Then, you shouldn’t need to worry about
attacks and operating system updates every few days, as seems to be the norm.
10
dropping of frames, video tearing, or color shifts. In this case, you should
either reboot the FX or restart the VServer application.
Analog Video Connection
The analog video input/output cable supports analog component,
composite, and Y/C video. If you are using analog signals to tie your FX
into your system, then connect the analog cable into the proper bracket
connector. As shown in the following diagram, pin position 15 has been
blocked off with a key plug on the FX video bracket connector. The
corresponding pin on the analog video cable connector is missing.
Avoid twisting the cable or placing it in
such a way as to create sharp, right-angled
bends. This may damage the input/output
cable, or the card itself. Never unplug any
cable by pulling on the wire itself. Always
unplug by firmly grasping the plug body
and pulling directly outward.
The FreedomFX analog cable supports any
of these combinations of video
connections: two Y/C (S-Video)
connections; two composite connections,
one Y/C and one composite connection;
Figure 2.1: Analog connectors.
one analog component and one composite
connection. The exact connections available are shown in figure 2.2.
11
Figure 2.2: Analog connection diagram.
Warning: Simultaneous Y/C (S-Video) and analog component input and
output connections are not supported on the FreedomFX. IN Y/C 2
should never be connected at the same time as IN Y2/Y/COMPS and/or
IN C2/R-Y, as this will short-circuit your hardware and damage your
equipment. Similarly, do not attempt to connect PROGRAM Y/C at the
same time as PROGRAM Y and/or PROGRAM R-Y/C, as this will lead to the
double termination of your signals. If you wish to use Y/C and analog
component equipment simultaneously, you must disconnect the Y/C
connector before you connect the BNC connectors, and vice versa.
Digital Video Connection
The FreedomFX can be configured with an optional SDI daughterboard
that adds support for one 10-bit 4:2:2 serial digital input as well as one 10bit 4:2:2 serial digital main output and one 8-bit serial digital key output.
Figure 2.3 illustrates the connections available.
Figure 2.3: Digital connection diagram.
Warning: Make sure you do not attempt to plug the analog cable adapter
into the digital video card connection. Similarly, do not attempt to plug
the digital cable adapter into the analog video card connection.
Attempting to do so may destroy components of your FreedomFX and/or
render the video cable useless.*
*
Actually, the ends are fairly different on the two cables so this would be difficult to do,
but somebody with enough muscle and determination could sure make a mess trying.
12
Installing the SDI Card
To install the SDI daughterboard, power down the FX and open its chassis.
Locate the CG2000 card, the full-length video processor card. Place the
SDI card onto the CG2000 pin header, and run the cables for the SDI card
to the card slot connector plugs. Use a spare four-pin drive power
connection to power the daughterboard. Do not change the slot location
of the CG2000 card, and be sure it is properly seated before proceeding.
You may close the chassis.
Boot the FX, responding OK to any error messages that may appear. If the
system suggests a reboot, proceed with rebooting. Upon boot, open the
VServer dialog and change the Video Input choice list from Composite 1
to SDI 1.
The cable pigtail used for the SDI card is hidden beneath foam in the
daughterboard’s packaging.
Uninstalling the SDI Card
To remove the SDI daughterboard, and return the FX to analog operation,
power down the FX and open its chassis. Remove the SDI daughterboard
and the cable that connects it to the CG2000 card. Note that the
daughterboard must be pulled out of the system completely. It is not
enough to remove the cable linking it to the CG2000 – it must be
physically removed.
After removing the board, be sure that the CG2000 card is seated correctly
in its existing slot, and close the chassis. Reboot the system and reinstall
®
the Matrox drivers. You will also need to change the video input from
the dropdown box from SDI 1 to composite or S-Video.
Setting I/O Mode
Once you have the FX mounted with video running through it, you need
to tell it which video inputs and outputs you would like to use. Perform a
clean reboot before proceeding.
®
At boot time, the VServer should have loaded. This Windows application
controls the input and output of the FX, as well as listens for commands
from NewsTickerTM. Look for the
VServer’s icon in either the task bar or
system tray. It will look like a little
monitor with red, green, and blue color bars. Maximize the VServer by
clicking on the icon.
13
The main VServer window appears showing the status of current
connections, and providing special setup information, as illustrated in figure
2.5.
Figure 2.5: VServer main interface.
Choose the correct interface from the Video Input dropdown box.
Pushing Adjust Video Input brings up a second screen where you can
adjust the procamp settings of the input video such as gain, chroma, hue,
and setup.
Once the input has been chosen, the Status section should provide
indication that both your input and reference signals are valid.
On the output side, turn External Genlock on to time the FX with the
reference input, and enable or disable the Component Output depending
on your specific configuration. Selecting Color Bars will confirm your
video output.* Seeing your input video on your output device when
choosing Live Pass Thru will confirm that the FX is receiving your
video source.
You may also push the Adjust Video Timing button to bring up a
second screen that lets you adjust the timing of the video output, including
horizontal and subcarrier phasing.
*
The Color Bars option turns the bars on at the analog output chip. Therefore, it
will not produce bars on the digital output. Contact support for more details.
14
3
FX Console
Starting, stopping, and configuring the main FreedomFX
video and graphics application.
VServer Overview
The main FX console, called the VServer, handles three important
functions: it controls the graphics and video processing, it provides a
method for you to create and modify templates, and it processes requests
from the NewsTickerTM server.
This chapter will deal primarily with the first part of the VServer’s
function. Chapters four, five, and six handle the second part, the template
editor. The last part is really a behind-the-scenes action and is covered in
chapter seven.
Starting and Stopping
At boot time, the VServer should load automatically. Look for the
VServer’s icon in either the task bar or system tray. It will look like a little
monitor with red, green, and blue color
bars. If it is loaded, you can maximize
the application by clicking on the icon. If
it isn’t loaded, you can open it by double-clicking the VServer icon on the
FX’s desktop. After a few seconds, it will initialize and load. At this point,
assuming your settings are correct and the FX is networked, it is ready for
activity from the NewsTickerTM server.
As long as the VServer application is maximized, or is minimized in either
the task bar or the system tray where you will see its icon along the bottom
of your screen, the VServer is running.
15
To shutdown the VServer, be sure NewsTickerTM is not currently
broadcasting to it, maximize the application, and click the Shutdown
button. NewsTickerTM isn’t broadcasting if the number of current
connections listed is zero. After a few seconds, the application will quit
and NewsTickerTM will no longer be able to speak to the FreedomFX until
you restart it.* Note that closing the VServer by pressing the X in the top
right corner of the window only minimizes the application and does not
shut it down.
Status
The status section contains information about the current state of the FX,
TM
including whether NewsTicker is currently connected to it.
Current Connections This displays the number of remote connections from
the NewsTickerTM server that are currently established with the FX. This
number will typically either be 0 or 1.
Client Address If a connection currently exists, the IP address of the
NewsTickerTM server will be visible here.
Status All error messages, as well as debug messages, will appear in this
window.
Setup
The setup section allows you to adjust the input and output sources of the
FX.
Video Input The source video you would like to use.
Adjust Video Input Pushing this brings up a second screen where you can
adjust the procamp settings of the input video such as gain, chroma, hue,
and setup.
*
Remember that earlier part about how the VServer controls the video signal? Guess
what happens when you shut the VServer down. Needless to say, it would be undesirable
to do this if it is currently routed into your broadcast chain.
16
Video Output This determines what kind of processing the FreedomFX
provides, and what the program output will display. You can choose one
of the following:
No Mixing
This will provide the output of video (DVE)
and graphical processing. It is the only mode
that supports a DVE, and incurs an immediate 7
frame audio delay when selected. It is also the
mode that should be used to provide a clean
key and fill signal when using an outboard
linear keyer.
Internal Mixing
This provides the output of the graphics keyed
over the video, without any extra video
processing. It assumes you are using unshaped
graphics
Shaped Internal
This performs the same function as the internal
Mixer
mixer, but uses a different algorithm to key the
video to avoid halo effects on some dithered
graphics. It assumes you are using shaped
graphics.
Live Pass Thru
The input video will be sent to the program
output with no processing, and no graphics will
be displayed.
Color Bars
SMTP color bars are sent to the analog
program output so that you can properly time
the FX with your system. This is only
supported using analog outputs.
17
This can also be illustrated as follows:
Adjust Video Timing Pushing this
button brings up a second screen
that lets you adjust the timing of
the video output, including
horizontal and subcarrier phasing,
as well as the key delay.
External Genlock Checking this
box will time the FX display with
the reference input. In most
setups, it would be highly unusual
if this were turned off.
Component Output By default, the
component output is turned off. To turn it on, check this box.
Full Video on Startup By default, when in No Mixing mode, the FX will
not pass any video. This is useful if you are using an outboard keyer. But,
if you wish to have video passing through the FX by default when in No
Mixing, toggle on Full Video on Startup.
Screen Snapshot This button will generate a fullscreen bitmap file of the
current video output of the FX. It will prompt you for a storage location.
This feature should not be used while broadcasting as it may incur a slight
delay during the actual snapshot.
Setup Status Information
Most of the information in this box is useful when first setting up your
FreedomFX, but can also be used for potentially debugging future
problems. The first two messages will tell you whether or not your input
signal and reference signal are valid. The render load is a measurement of
the amount of work the video processor is performing given the video
memory located physically on the processor card (and listed last in the
status information).
18
The FreedomFX is equipped with a
temperature gauge at both the front and
back of the main processing card to let
you monitor the operating temperature
at these locations. The front is typically
higher than the back of the card. The
average FX temperature should not
exceed 56° C on the front of the card,
and 52° C on the rear. The maximum temperature of the FX should
never exceed 65° C for the front, and 61° C for the back. A warning will
be displayed whenever the card’s maximum operating temperature exceeds
the recommended limit.
Video Output Modes
Can DVE
Program In
Can Key Over
Program In
Can Provide
External Key
No Mixing
Internal Mixing
Shaped Internal Mixing
Live Pass Thru
Audio Delay
(in frames)
There seems to be a fair amount of confusion among engineers about when
to use which output mode, and what to expect from each. The following
illustration shows the modes to use depending on the desired function.
7
1
1
1
Yes
No
No
No
Yes
Yes
Yes
No
Yes
No
No
No
As you can see, the No Mixing mode is capable of doing everything. But,
if all you are doing is using the FX as an internal keyer and not performing
any DVEs, then you would be in the unfortunate position of having a
multi-frame audio delay just to perform a key. Hence, Internal Mixing
and Shaped Internal Mixing were created to allow for internal keying
with the same delay as a typical frame sync. Note, though, these modes are
only available for internal keying.
If you are performing an external key, thus not using the FX’s incoming
video, then you must use No Mixing to provide valid key and fill signals*.
Your keyer must be capable of performing a linear key. This is not a matte
key, a hard key, or a luminance key – it’s a linear key. Unlike other keys,
a true, honest to goodness linear key does not require super black since the
*
Program Out is Fill Out, in this instance.
19
information used to determine what gets keyed is on its own independent
input (Key In).
When only one source is used for both key cut and key fill, the key is
called a Self Key or Video Key. The same key source signal is multiplied by
the key cut signal to create the key fill, and then the signals are summed.
In this mode, the keyer must use the levels within the graphic itself to
decide what gets keyed out. Because black is usually the color that became
transparent, using black within your graphic is difficult. Hence, the notion
of super black, in which 0 IRE is keyed out but 7.5 keys correctly. A
linear key is very much like a luminance key, except luminance keys do
not use a separate key input – it must derive the key information from
within the fill input.
With a linear key, you have one input for the fill and another input that
just carries the instructions of what gets keyed. Not only isn’t there any
logical need for super black (if you want black to key, then your fill input
will show black and your key input will show white), most linear keyers
*
actually expect the input contains proper setup. Thus, the standard
Program Out, at the normal setup levels used when keying internally, will
work. If you find that it doesn’t, then that is a pretty big clue that you
aren’t using a linear keyer, or aren’t in a linear key mode on your switcher.
While we are on the subject, because the levels of the key signal are
important to perform a proper key, be sure that your switcher is taking a
line-level input. We’ve seen situations where a station, a long, long time
ago, increased the gain in one of their key inputs and forgot about it. Of
course, this isn’t easy to do which means it isn’t easy to fix, but virtually all
†
switchers allow for that type of adjustment . Keep in mind that we are
talking about the input adjustments, not just the clip adjustments. And
since we are on the subject of clip, just because you have key and fill inputs
does not mean that the transparency will be properly reflected on air. You
may still need to perform clip adjustments on your keyer. A fixed linear
key, which uses unity gain, should work correctly for most applications
(Clip 50%, Unity gain; or Clip High 100%, Clip Low 0%).
Note that fill signals are not necessarily meant to look pretty when viewed
directly. They will often show harsh edge artifacts due to being divided by
a small number. This is normal and expected as it is a linear key (not a
luminance key) and you are only looking at half of the equation. Keying
the signal will clean up its appearance.
For more details on keying, see Understanding Blending in Chapter Four.
*
That is, the blacks you key should be 7.5 IRE and not 0 IRE.
This is usually in a menu or inside of a panel. Just because it isn’t on the main console
doesn’t mean it can’t do it – it is usually explained in your switcher’s manual.
†
20
4
Editor Basics
A general overview of some of the main concepts of the
FreedomFX and basic instructions on its use.
Overview
The FX's Template Editor provides all of the functionality necessary to
create the look and feel of your ticker. It is optimized for quick creation of
lower-fifth displays, without sacrificing
any features.
The editor uses the video sources
connected to the FX when creating
templates. This means that you cannot
be editing a template while another is
airing, and you should make sure that
the FX is not currently in your video
path when you go to make edits.
The essence of an FX template is an
*
XML file. That is what the VServer
actually reads when loading and
displaying your template. The editor
merely gives you a more friendly way
to make changes to this XML file. As
you may have guessed, each template
gets its own XML file, so if you want
*
eXtensible Markup Language, or “really cool, highly-respected, somewhat intuitive to
edit by hand, file”
21
to make a backup copy of it, you have only one file to deal with.*
As you are designing your templates, keep in mind that some things will be
TM
activated through NewsTicker at the time your template gets married
with data in the broadcast sequence, and some things you do directly
within the template. A good rule of thumb is that your template is
responsible for the positioning and characteristics of all elements, and
NewsTickerTM is responsible for the timing of it.
Templates vs. Objects
A template is the highest designation of organization within the FX. It
holds all of the information necessary to display a page (or pages) of
information. Each page that requires different tab positions is typically
contained within its own template. The only hard requirement for using
two different templates is if you wish to display time and temp during a
crawl. Once a crawl has started, NewsTickerTM cannot update any fields
within the template containing the crawl until the crawl has completed, or
data is appended. Therefore, a separate time and temperature template
must be used in this case.
Unlike some other character generators, templates are not mutually
exclusive. That is, you don’t have to replace one template with another.
You can have a sponsor template displaying on top of a sports template,
which are both on top of a background template.
Within each template are multiple objects named frame, text, graphic, cell,
and DVE.
Frame
A frame is an object that is used as a container for other objects. This
could be thought of as a folder, but it is more powerful because the frame
itself can have attributes that affect the objects contained within the frame.
®
®
Graphic designers used to Adobe Photoshop can think of a frame as a
“set”. Moving the position of a set also moves all of the objects within the
set, in tandem. Therefore, it can be said that objects within a frame are
positioned relative to the position of the frame.† In most cases, using a
frame is optional, and is provided more as a convenience for the operator
in creating better organized templates.
*
Except, of course, for all of your graphics files and any special fonts you may have
loaded.
†
It can also be said that a frame that contains no other objects is useless.
22
Text
An object that contains text, whether it be static or dynamically updated by
NewsTickerTM, is a text object. This includes crawls. Static text is text that
isn’t updated by NewsTickerTM during a broadcast, such as the words
“High” and “Low” in a forecast template. Obviously, the actual high and
low temperature is an example of text that is dynamically updated.
Graphic
An object that contains a single graphic, such as a background, sponsor
logo, or crawl separator, is a graphic. This may be either a Bitmap, JPEG,
or Targa® image file. Graphics are typically loaded and positioned into a
template before they are used.* For instance, if you are using weather
icons, you would load each individually into the template, and make sure
they are positioned accordingly.†
Cell
An object that contains a cell animation, such as animated backgrounds,
snipes, or icons is appropriately named cell. These animations consist of a
®
series of 32-bit Targa files that are named sequentially, and can be played
back in either a looping fashion, or on demand in forward or reverse.
DVE
Information about a digital video effect is contained within a DVE object.
Two key frames are used to determine start and end positioning of the
video, along with a transition time.
Template Hierarchy
Earlier, we said that templates are not mutually exclusive in that you can
display more than one template at a time. If we left it at that, you would
eventually ask how the FX knows which template to display on top of
another, and when to replace, say, the sports template with the forecasts
template, but leave the sponsor template up for both. The answer lies in
which layer it is on.
There are currently seven available layers, named foreground3,
foreground2, DVE, foreground, background, background2,
background3. Only one template per layer may be displayed at any given
time. So, if you want the forecasts template to replace the sports template,
*
Graphical tab positions can also be created that don’t require you to pre-load the image
individually, but it is generally desirable to load everything in advance in the template.
†
Hmmm, that frame object sure is looking pretty useful right about now – you could put
all of the weather icons in a frame. That way, when you are asked to move the icons up
three pixels (which you know you will be asked to do), you can simply move the frame.
23
then you would assign both of them to the same layer. Then, when the
FX is told to display the forecasts template, it will remove the sports
template at the same time.
The other half of the equation is knowing which template is on top of
another.* When you assign layers to templates, keep in mind that
foreground2 is on top of foreground, which is on top of background,
etc. Also unlike most character generators, the FX has a notion of layers
†
that are physically behind the video image. This let’s you reveal and hide
templates with the DVE effect. If you are doing a straight key without the
DVE, then all layers are visible (i.e. your video would be behind
background3.)
Object Hierarchy
You knew it was coming. If templates can be placed in a hierarchy, so too
can the objects within the template. And, as expected, this hierarchy
determines which layers (or objects) are on top of each other. Also like
Photoshop®, objects at the top of the hierarchy appear visually on top of
objects listed lower in the hierarchy. Where you don’t have the need for
*
†
You wouldn’t want your sports scores on top of your sponsor logo, now would ya?
Not terribly useful if you never perform a DVE, but very cool if you do.
24
objects to be positioned on top of another, then any order you decide will
be fine.
There is one other element of the object hierarchy to understand. For
TM
fields that are dynamically updated by NewsTicker , the order in which
TM
NewsTicker sends the data to your template is determined by the object
hierarchy. So, if the first text object is supposed to be the name of the city,
and the second text object is supposed to be its temperature, you need to
maintain that order within the template.* You can also double check the
order in which to send data via the automation interface by clicking on the
Text tab of the object, and looking at the Tab Number field.
Hierarchy Editing
You can reposition objects by dragging them on top of other objects. You
then must decide what the relationship with that new object will be. If
you wish for the new object to be on the same level as the existing object,
then you would drop it as a sibling. If you want for it to be nested within
the existing object, you would drop it as a child.
These same options are presented when you paste a copied object onto an
existing object.
Text Objects
The FX supports any TrueType® font that is installed directly on your FX.
There is no special conversion software necessary. To install a new
TrueType® font, click on the Windows® Start button, select Settings >
Control Panel, and double-click the Fonts folder. From within the
Fonts folder, select File > Install New Font. Use the Folders and
Drives windows to find the font you wish to install. Highlight the
®
TrueType font from the List of fonts window, make sure the Copy
fonts to folder box is checked, and click OK. The font will be
installed. You do not need to reboot to use the font as it is ready for
immediate use.
Adding a New Text Object
To add a new text block, right click on the frame or template you wish to
add the text block to. From the menu that appears, choose New Text.
This creates a new text layer.
*
Or, change the order from within the NewsTicker format file.
25
Editing a Text Object
Edit the object by double clicking on it. Turn on the outline of the text
block by choosing Highlight in the Basic tab. This helps you in
determining positioning since you can see the full dimensions of the object.
You may now edit it to change its attributes from the default. Most
settings are within the Text tab.
Textbox Size The size of a textbox is determined by the Size value in the
Advanced tab. You can change the size by entering a new value, and
pressing Change Size.
Text Justification Change the behavior of the text justification by choosing
either Left, Center, or Right. Note that the size of the textbox is used
when determining the right edge for the purposes of centering or right
justifying. Text fields do not grow automatically, so if the text is left
justified, make sure the object is wide enough to accommodate the length
of text you will be sending to it.
Font Face All of the actual character settings are in the Text tab. At the
bottom of the window, choose the font you want to use by pushing
Select Font. A dialog box will appear with the fonts currently installed
on your system.
Font and Shadow Color Next to the Select Font option on the bottom
are two buttons used to change the font face and shadow color. Simply
push the appropriate button and choose the color, or enter the RGB value
of the color you wish to use.
Text Size The most common way to get bigger characters is to change the
Font Size to match your requirements. If you want to horizontally
compress or expand the given font, without changing its height, use the
Font Aspect setting. To modify the distance between each character,
adjust the Kerning. Kerning doesn’t change the size or proportion of the
font, just the space between each character displayed. It is a common way
to fit more text on the screen without having to change the font size. On
word-wrapped fields, Line Spacing brings the multiple lines closer
together or further apart.
Shadow Size The size of the shadow is determined by its Offset value.
Currently, the FX only supports a hard drop shadow, which is an exact
duplicate of the actual text, just placed behind the text in a different color,
and offset slightly. Use a negative X value to position the shadow to the
left, and a negative Y value to position the shadow above.
Text Position From within the Basic tab, you can move the text to the left
or right using the X slider, or up and down using the Y slider. The
Advanced tab allows you to apply rotation and perspective.
26
Dynamic Text Scaling In an automated environment, it isn’t always possible
to know exactly how the text will render on air – if it will be too long and
get cut off. By choosing Scale to Fit in the Text tab, the FX will first
try to insert the text in the field given your initial settings. If all of the text
won’t fit, it will reduce the size of the font until all of the text is visible.
While this is good for cases where a small amount of text needs to fit in,
larger amounts of text tends to reduce the font to an unreadable size.
Word Wrap The FX supports word wrapping for multiple line displays.
You can toggle the Word Wrap option in the Text tab.
Deleting a Text Object
To remove an existing text object, simply right click on the object in the
template editor, and choose Delete.
Graphic Objects
The FreedomFX supports two types of graphic objects: static and
animated. A static graphic is one single image whereas an animated object
contains multiple images played back in sequence. Each file within an
animated object contains one frame of the animation, and is typically
played back at 30 frames per second. At this time, the FreedomFX does
not support compressed animations, such as QuickTime®.
®
Graphics may be either an RLE or non-RLE Targa , JPEG, or Bitmap
image, but alpha channels are only supported using 32-bit Targa® files.
Every major graphics package allows you to create your own alpha
channel, which tells the FX what parts of the image to key out and at what
transparency levels. Consult the documentation of your graphics package
for help with how to create an alpha key, or review Appendix B of this
®
®
manual for instructions using Adobe Photoshop .
It is important to make sure you size your graphics appropriately. Every
graphic you load should not be 720 x 486. In fact, unless you are doing a
DVE, no graphic you load should be full-screen. The FreedomFX is
optimized for lower-fifth operation. You will quickly eat up all available
pixel bandwidth if you use too many fullscreen images. Crop everything
down to the smallest usable size, especially cell animations. For cells, this
can be expedited using Adobe® Photoshop’s automation functions, as
described in Appendix C.
It is possible that colors you use in your image are outside of the color
®
space used by television. Photoshop provides a filter to bring illegal colors
into a safe range for reproduction on NTSC video systems. Select the
layer you wish to bring within NTSC range, and choose Video > NTSC
27
®
Colors from the Filter menu within Photoshop . Keep in mind that
you will need to do this to each layer as appropriate.
Adding a New Static Graphic Object
To add a new graphic, right click on the frame you wish to add the graphic
to. From the menu that appears, choose New Graphic. A Windows® file
browser pops up allowing you to find the Targa® or Bitmap image you
wish to use.
Adding a New Cell Graphic Object
To add a new cell animation, right click on the frame you wish to add it
to. From the menu that appears, choose New Cell. A prompt pops up
allowing you to find the first image in your animation.
The name of each file is important so that the FreedomFX properly
assembles the animation. The first part of the filename may contain any
characters you like. The last part of each filename must contain an
uninterrupted zero-padded sequence of numbers. The following are valid
examples of file names for Cell Page animations: snipe_001.tga,
snipe_002.tga, snipe_003.tga, etc. Any break in the sequence will
end the animation, and if you don’t zero-pad the numbers, it won’t work,
as in: brkgnnews9.tga, brkgnnews10.tga, brkgnnews11.tga.
Editing a Static Graphic Object
Edit a graphic object by clicking on the object within the editor to bring
up the object properties dialog.
Graphic Position From within the Basic tab, you can move the graphic to
the left or right using the X slider, or up and down using the Y slider. The
Transparency Use the Opacity slider from within the Basic tab to apply
an overall transparency to the image. This is irrespective of the image’s
own alpha channel. It applies transparency to the parts of the image
marked as visible within the alpha channel, essentially creating a second
alpha channel control.
Alpha Channel With Use Alpha Channel off, you are requesting that the
object not be blended. The graphic color channels and key channel are
copied directly to the on screen region. If your prepared graphic is shaped,
your CG output will be shaped. If your prepared graphic is unshaped, the
CG output will also be unshaped. With Use Alpha Channel set to on,
the FX will use alpha aware blending. The graphic color and key channels
are blended with the current values of the on screen region. This operation
will attenuate the color channels, unless there is a graphic already in the
28
screen region, in which case it will just blend the graphics together for a
shaped result.
Editing a Cell Graphic Object
Edit a cell animation by clicking on the object within the editor to bring
up the object properties dialog. Most of the controls are within the Cell
tab.
Trimming Using the Trim In and Trim Out sliders, you can change the
start and end positions of the cell animation. Those frames before the Trim
In position and those frames after the Trim Out position will be discarded
when playing the animation.
Speed By default, an animation is run at 100%, which is 30 frames per
second. To change the speed at which the animation is played, adjust the
Speed slider.
Single Play/Looping If Repeat is set, the animation will continuously loop
while it is visible. This is useful for snipes or seamless backgrounds. If it is
turned off, the animation will run once and freeze on the final frame. This
setting may be overridden from within the format file.
Graphic Position From within the Basic tab, you can move the animation
to the left or right using the X slider, or up and down using the Y slider.
The Advanced tab allows you to apply rotation and perspective.
Previewing To preview a cell animation, first make sure that the first image
is loaded using the Advanced tab. The Cell tab will then allow you to
move the slider to jump to a specific part of the animation. Pushing Play
let's you view the animation in realtime.
an overall transparency to the cell animation.
Alpha Channel With Use Alpha Channel off, you are requesting that the
object not be blended. The graphic color channels and key channel are
copied directly to the on screen region. If your prepared graphic is shaped,
your CG output will be shaped. If your prepared graphic is unshaped, the
CG output will also be unshaped. With Use Alpha Channel set to on,
the FX will use alpha aware blending. The graphic color and key channels
are blended with the current values of the on screen region. This operation
will attenuate the color channels, unless there is a graphic already in the
screen region, in which case it will just blend the graphics together for a
shaped result.
29
Deleting a Graphic Object
To remove an existing graphic object, simply right click on the object in
the template editor, and choose Delete.
Fill Objects
A fill is a non-gradient square or rectangle, typically used to create a
background bar behind a crawl. Fills may have transparency applied to
them and can be any solid color.
Adding a New Fill Object
To add a new fill object, right click on the frame or template you wish to
add the fill to. From the menu that appears, choose New Fill. This
creates a new fill object.
Editing a Fill Object
Edit the new object by double clicking on it. Virtually all of the attributes
of a fill are the same as other objects.
Fill Color From within the Basic tab, you can choose Fill Color, and
use the standard Windows® color picker to choose a color.
an overall transparency to the fill.
Fill Size The size of a fill is determined by the Size value in the Advanced
tab. You can change the size by entering a new value, and pressing
Change.
Fill Position From within the Basic tab, you can move the fill to the left
or right using the X slider, or up and down using the Y slider. The
Deleting a Fill Object
To remove an existing fill object, simply right click on the object in the
DVE Objects
DVE objects contain information about digital video effects, typically used
to perform a squeeze. Two key frames are used to establish the start and
end points of the DVE, and a user-defined time value determines the speed
of the transition.
30
Adding a New DVE Object
DVE objects must be contained in special templates. The template should
contain the letters DVE in all caps, and the name of the template must not
contain any spaces. If you attempt to add a new DVE object to a template
that does not match this criteria, an alert will be presented informing you
to do this.
Once you have created the new template, right click on the template icon
from within the template editor and choose New DVE.
You should be sure the FX is in No Mixing mode. This is the only mode
that supports a DVE.
Editing a DVE Object
Edit the new object by double clicking on it. All of the attributes are
contained within the DVE tab.
Changing Key Frame From within the DVE tab, you set the start and end
position for the DVE using the same controls. To change between the
Start Key Frame and End Key Frame, press the Switch To… button.
Image Crop Use the slider bars to adjust the physical image crop from
within the visible region. To assist in cropping, toggle the Lock Aspect
Ratio button on to maintain the 4:3 (or 16:9) ratio. To automatically
remove overscan, click the Trim Overscan button.
Destination Region These settings affect the size of the video image.
Toggle the Lock Aspect Ratio button to make the X values move in
sync with the Y values.
Speed To change the speed of the DVE transition from the start key frame
to the end key frame, change the Duration value. This value must be
represented in seconds or tenths of a second.*
Previewing the DVE To preview a DVE's timing and location beginning
with the Start Key Frame and concluding with the End Key Frame,
push the Test DVE In button. This option will then toggle to Test DVE
Out and perform the transition from End Key Frame to Start Key
Frame.
Deleting a DVE Object
To remove an existing DVE object, simply right click on the object in the
*
10 frames = .33, 15 frames = .5, 30 frames = 1, 45 frames = 1.5, etc.
31
Understanding Blending
In an ideal world, engineers and graphic artists would know the fine details
of how character generators interact with switchers, especially when it
comes to the blending of graphical objects onto video. But, unfortunately,
it isn’t well documented nor fully understood. We make a brave attempt
in this section to provide an explanation so that, in the end, your keys
come out perfectly.
Blending is important to understand because the FX is powerful enough to
switch its modes depending on how you wish to prepare graphics and what
your specific application is. Indeed, if you don’t understand these
concepts, we do give you just enough rope to hang yourself, and perhaps a
little left over for whoever comes in the room next and tries to figure out
why you are dangling there.
When an image has alpha transparency, there are two different forms it can
take: shaped* and unshaped.
Shaped The color channels of the graphic have been modified by the
alpha channel percent mixture. That is, if the alpha channel has a 50%
value, the color channels have been reduced 50% by mixing with some
other color. For typical broadcast applications this color is constant across
the image and is usually
black. The typical
operation of Photoshop® is
to prepare graphics in this
manner. You can confirm
this by lowering the
opacity of the layer within
®
Photoshop , and then
viewing the intensity of the channel from within the Channels tab. This
method is also known as pre-multiplied for reasons that will become
obvious shortly.
Unshaped The color channels of the graphic have not been disturbed by
the alpha percentage. Graphics are usually put in this form when the user is
expecting to blend the graphic with some background in the future. And,
since the background it will be blending into (your video) is likely not
going to be 100% black, you can imagine that this will yield the most
accurate key over live video.
This is important because the switcher or keyer needs to know whether
you have already shaped the graphics, in which case the keyer shouldn’t, or
*
Sometimes called pre-shaped
32
if you expect the keyer to do that operation for you. Somebody has to
shape them, and both parties involved (the FX and the keyer) need to
know who that is going to be. Switchers will usually let you do it
whichever way you like, but they expect you to tell it the method you
chose by the switcher setting you use.
Below is an illustration of how a typical switcher would key unshaped
graphics. The mathematical equation for this is simply:
(Key In x Fill In) + (Pgm In x (1 – Key In)) = Pgm Out
Simple, eh?
Now remember, the switcher is expecting unshaped graphics, therefore it
will internally lower the color channels of the Fill In by the amount of
the Key In. Imagine for a second that you accidentally provided the keyer
with Shaped Fill in this mode.
((Key In x Fill In) x Key In) + (Pgm In x (1 – Key In)) = Pgm Out
Oops. For those who
can’t visualize this, your
graphic just got doubly
multiplied and will have
black edges with
translucent areas, and the
graphic will likely look
muddy. If the FX then
dissolves the graphics off
(vs. the keyer performing
the dissolve), the graphics
will appear to dissolve to
black before becoming
invisible – the dead
33
giveaway that you are in the wrong mode. This is usually the point where
our support desk gets a phone call saying that we are not outputting things
correctly. This is all a matter of the mode in which you have your keyer or
switcher – that’s why they have more than one linear key mode.
But, getting back to our example … As character generators matured and
began performing more complex layering and transitioning, it became
more common for a graphics device to create each object with
shaped/anti-aliased edges and translucency. Why? Because when objects
overlap, it is just easier for the CG to figure out what the output should
look like if it combines the Fill and Key. So, professor, the keyer does not
need to multiply Key In and Fill In:
(Key In x Fill In) + (Pgm In x (1 – Key In)) = Pgm Out
Let’s say that you fed an
Unshaped graphic to the
switcher when it was
expecting a Shaped
graphic. Well, the
intensity of the color
channels will be 100%
because it never got
multiplied with the key
channel, which would
make your graphics
appear to have light
edges and translucent
areas. Recognizing these
potential areas allows
you to fix the problem
by redefining the source
34
or modifying the key processing.
Most production switchers allow for Shaped Fill in their set-up menus,
though each manufacturer calls it something different. Sony refers to it as
Clean Mode in the DVS9000. It is in the menu structure after you select
what kind of key you want to use, linear key in this case. Thomson
refers to it as Additive Key Mode in the XtenDD, and it is selected with
the Add button in the key type area of the keyer control panel. In the
GVG Kalypso, a source is specified as being Shaped Video in the Source
®
Definition menus. Most Chyron CGs use this mode, including the
Duet.
If you are keying graphics internally with the FX, then you can change
between shaped and unshaped pretty simply – the Video Output mode
Internal Mixer is for unshaped graphics, and the Shaped Internal
Mixer is for shaped graphics.
Now that you (hopefully) understand the way blending works, you need to
choose the way in which you will use your FX. When deciding which
mode, there are a couple of ways you can go.
1 You can build your graphics unshaped, let the FX output shaped, then
correct with shaped mixing in the switcher.
2 You can build graphics unshaped, build FX templates for unshaped, and
use normal switcher settings.
3 You could do option one, but run the switcher normal and live with the
attenuation.
4 Or, you could build shaped graphics, let the FX output shaped video,
use normal switcher settings, and live with double attenuation.
®
Chyron , almost exclusively, uses method one, although many stations end
up doing method three because looking through a two-thousand page
manual to try and figure out how to change the key type doesn’t always
make it to the top of the priority list. I think most folks would probably
rule out number four – if you ever saw it, you would know why. Because
number two yields the truest key, we tend to lean toward that method
whenever we do custom work.
With the Duet, if your switcher does not support shaped video, it is
necessary to purchase a separate video unshaper to modify the fill signal
before it enters the switcher. But, to maintain the highest quality, you
should really avoid having to unshape incoming video just to reshape it
again afterwards. The FX let’s you make this choice yourself to match
your production environment.
35
Now that you are in the correct mode, you have to prepare your graphics
and templates with that mode in mind. From within the Basic tab of each
object’s property, you can toggle Use Alpha Channel.
With Use Alpha Channel off, you are requesting that the object not be
blended. The graphic color channels and key channel are copied directly to
the on screen region. If your prepared graphic is shaped, your CG output
will be shaped. If your prepared graphic is unshaped, the CG output will
also be unshaped. It is also useful to use this mode for clipping type effects
since it inherently erases anything already in the onscreen region where the
object is drawn.
With Use Alpha Channel set to on, the FX will use alpha aware
blending. The graphic color and key channels are blended with the
current values of the on screen region. This operation will attenuate the
color channels, unless there is a graphic already in the onscreen region, in
which case it will just blend the graphics together for a shaped result.
To produce a pure unshaped key, you would turn Use Alpha Channel
off for the background object, and turn it on for all objects on top, as
illustrated below. This would produce a proper unshaped key.
You may be wondering what happens in the event that part of a
foreground object overlaps the background and the video. The FX can
handle this, although it is rare in lower-fifth applications. That explanation
is outside of the scope of this document. Please contact Newsroom
Solutions support if you need assistance with this.
Since we are on the subject of keys and fills, note that fill signals are not
necessarily meant to look pretty when viewed directly. They will often
show harsh edge artifacts due to dividing by a small number. This is
normal and expected as it is a linear key (not a luminance key) and you are
36
only looking at half of the equation. Keying this signal will clean up its
appearance. So, don’t just look at the fill output, see that it looks awful,
and assume your FX needs to be returned.
37
5
Editor Reference
Quick reference of each of the tabs in the template editor’s
object properties dialog box, and the function of each
option.
Basic
The Basic tab is used by all objects for naming the object, positioning it,
and providing opacity.
Label For ease of organization, you can name each object, such as “Home
team”, “Sponsor”, etc. From within the Basic tab, click on the object's
label and type a new name. These labels are also used through the
automation interface to specify the use of certain graphics or cell
animations.
38
Layer This assigns the physical layer that the template is to reside on. Only
one template per layer may be displayed at any given time, so loading a
second template on a layer where there is an existing template, replaces the
previous one. There are currently seven available layers, named
foreground3, foreground2, DVE, foreground, background,
background2, background3. This also visually represents the layers from
top to bottom.
Position You can move the physical location of the object by adjusting its
Position from within the Basic tab. Object positions are always relative
to their parent objects. That is, if you create a frame and place multiple
objects within the frame, moving that parent frame will also move its
sibling objects.
Visibility By toggling the Visible option, you can turn the default
visibility of objects on and off. This is useful for loading graphics that are
to be used in the template but shouldn't appear when the template is
displayed until it is specifically called for by NewsTickerTM. For example,
crawl separators, weather icons, or multiple sponsor logos.
Alpha Channel If Use Alpha Channel is selected, the FX will treat the
image as pre-shaped. If turned off, it will assume the image is unshaped.
Highlight To help in placing objects, you can turn on highlighting. The
Highlight option places a wireframe around the object. This is especially
useful when editing text objects to see what the boundaries are of the tab
field. Multiple objects may be highlighted at the same time to help in
arranging them on screen.
Note: Highlighting is only available when editing a template. Regardless
of the status of this option, the FX will never show highlighting when
TM
running a NewsTicker runlevel through the automation interface.
Opacity By adjusting the Opacity slider, you can make the entire object
more or less transparent. This is done by multiplying the graphic’s alpha
channel with the slider setting to produce a new alpha level.
Fill Color To change the color of a Fill object, such as a solid background
bar, choose Select Fill Color from within the Basic tab, and use the
Windows® picker to choose the color you wish to use. You can use the
Opacity slider to create a transparency on the fill object.
Only solid fills are supported at this time. If you wish to use a gradient,
you must create an image.
39
Advanced
The Advanced tab let's you rotate, scale, size, and assign a transition for all
objects. For graphics and cell animations, it also let's you pick or reload the
graphic files.
Rotation By adjusting the X, Y, and Z values, you can alter the physical
rotation of the object. Rotating a parent object, such as a frame or an
object with siblings, will cause all sibling objects to rotate as well.
Scale Scaling makes an object larger or smaller. Adjust the size of the
object, or of a specific axis, by adjusting the X, Y and Z slider bars.
Transitions Transitions are
animations that affect a specific
object or set of objects. You can
set a different transition for what
happens when the object is first
loaded (NewPage), when the FX
reloads the same page again
(SamePage), and just before
loading a different page
(EndPage). To change the transition associated with the object, choose the
transition you wish to change, click Change and select the animation you
want to use. By leaving the transition undefined, a simple cut will be used.
To create a text crawl field, you must assign the transition to Standard
Crawl Effect. If you wish for the previous crawl to completely finish
before recrawling on the same template, then you must set the SamePage
transition to also be Standard Crawl Effect. Otherwise, only set the
SamePage transition, and you can continue to append to the same crawl.
40
Object Size To change or set the size of an object, enter the width and
height into the Size field, and click Change. Unless Scale to Fit is set,
loading a new graphic will automatically resize the object to the size of that
graphic. For text objects, the size determines the visible amount of text
that will appear on screen, word-wrap boundaries, and positioning for left,
right, and center justifications.
Graphical Tab Field By enabling the Tab Field checkbox in the Advanced
tab, the physical graphic image can be changed through the automation
protocol. For example, if you create a graphical tab field for a sponsor
logo, NewsTickerTM can change the sponsor graphic on the fly if this
option is enabled.
Loading Graphics To load, or reload an image, choose Reload Bitmap
from the Advanced tab. A standard Windows® dialog box appears allowing
you to choose either a Bitmap (BMP), JPEG, or 32-bit Targa® image
(TGA), which contains a 24-bit image with an 8-bit alpha channel. If
Scale to Fit is not selected, the size of the object will be changed to
match the physical size of the image. If Scale to Fit is set before
loading the image, then the tab position will not be resized. Instead, the
image will be reduced or stretched to match the size of the tab field. If the
object size is not in proportion to the graphic, and Scale to Fit is set,
the image will likely appear distorted.
Text
The Text tab controls the primary properties of a text object. Text objects
include static text, dynamic text updated by NewsTickerTM, and crawls.
Scale to Fit This option will scale the text in the tab field to insure that the
entire text appears within the defined width. It does this by reducing the
size of the font until everything appears. When you are only trying to
41
squeeze in a few characters, this works well. But, as a general way of
handling long titles, it may reduce the font to a size too small to read.
Word Wrap Making a text field word wrap behaves just like word wrapping
in any text editor. It will naturally break the inputted text to the next line
within the tab position, except it will not hyphenate. If the tab position
doesn't have enough room vertically to accommodate the next line, then
that line of text will not be visible on screen. Line Spacing should be
adjusted to bring the distance between the lines closer together or further
apart.
Enable Kern Pair Every font has provisions for how to handle certain letter
combinations that typically produce too much space between them. For
instance, the letter combination "Ya" typically has extra space between the
letters Y and A than if you were manually spacing out each letter of a
sentence. The designer of a font takes into account the most common
letter combinations where this is the case, and provides alternative spacing
that is tighter and more readable. When this feature is set, the FX will
attempt to use the font kerning table to bring letter pairs closer together.
This will usually produce a more desirable on-air look, as well as provide
for more space on a line.
Locked Text A text field that is locked uses what is typed in the Text field
and prevents itself from being a valid tab field for updating. If you want to
TM
put static text on screen, and don't want NewsTicker to change it,
locking the object achieves this.
Force Upper Case This will make all characters in the tab field display in
upper case, regardless of the case that is sent to it.
Italic, Bold and Underline These options change the styling of the font and
behave as expected.
Font Size You can change the physical size of the font within the tab
position by adjusting the Font Size. The arrows will move the size in
single digit increments.
Font Aspect This controls the horizontal scale of the font. By increasing
the aspect, the font will appear to get wider by stretching itself out. By
decreasing the aspect, you can make an ordinarily wider font condensed.
Character Kerning Kerning is the act of affecting the space between each
character in a line, typically to make it more readable. By lowering the
character kerning value, you can reduce the amount of space between each
character, thus allowing more characters to fit on a line. If you increase the
character kerning, you will add more space between each character.
42
Line Spacing When performing Word Wrap within a text field, the Line
Spacing setting provides control over the amount of space between each
line of text. A lower value moves the second line closer to the first line
whereas a higher setting provides more space.
®
Select Font Clicking on this option provides a standard Windows dialog
allowing you to choose from the installed system fonts on your FX, its
built-in style, and size. The FX can use any TrueType® font installed on
your system.
®
®
To install a new TrueType font, click on the Windows Start button,
select Settings > Control Panel, and double-click the Fonts folder.
From within the Fonts folder, select File > Install New Font. Use
the Folders and Drives windows to find the font you wish to install.
®
Highlight the TrueType font from the List of fonts window, make
sure the Copy fonts to folder box is checked, and click OK. The font
will be installed. You do not need to reboot to use the font as it is ready
for immediate use.
Select Face Color The face color is the actual color the text will appear as.
When you select this option, a standard Windows® color picker dialog
appears allowing you to either choose a default color, mix a new color, or
enter the RGB value of the desired color.
Tab Number NewsTicker
TM
sends data to text objects, also known as “tab
fields”, starting with the first object. To determine the order of your text
objects, use the Tab Number of each of the objects.
Font Justification You can change the position of the text within a tab field
by choosing Left, Center, or Right. If you choose Left, it uses the left
edge of the tab field as the starting point of the text. If you choose Right,
the text will be positioned flush to the right edge of the tab field and grow
to the left as more characters are entered which is typically used in stock
and election displays. Finally, choosing Center will always horizontally
align the text equally between both edges.
Shadow To perform a hard drop shadow, click on Enable Shadow.
You can change the location of the shadow by adjusting the Shadow
Offset. The first box represents the horizontal (X) location relative to the
text. A positive value places the shadow to the right, and a negative value
puts it to the left. The second box represents the vertical (Y) position
relative to the text. A positive number puts it below the text, and a
negative number puts the shadow above the text. Finally, you may change
the color of the shadow by clicking Select Shadow Color.
At this time, the FX does not support soft drop shadows.
43
Text The Text field within the Text tab lets you test your settings for the
specified tab field. If you have chosen Locked Text, then the actual
characters you enter here will appear on screen. If the text is not locked,
then it will automatically be replaced with actual NewsTickerTM content
during a broadcast. You do not need to clear the text to have it work
correctly with NewsTickerTM -- you can leave sample text here for
modification later.
Cell
A Cell object is a graphical animation provided on file. Each file contains
one frame of the animation, and is typically played back at 30 frames per
second. At this time, the FreedomFX does not support compressed
animations, such as QuickTime®.
The physical size of each graphic is very important. If you use full-size
images (720 x 486), then you will quickly reach the upper limit of the FX.
Instead, you should determine the largest size necessary to perform the
entire animation, and crop each individual image to that size. For instance,
if the visible portion of your animation is 228 x 176, then making each
image 230 x 180 will maximize the memory on your FX. See Appendix C,
®
Automating Cropping of Cell Animations in Photoshop .
Since the FX contains full support for alpha-keying, each image in your
animation should contain an alpha channel.
You load the animation from within the Advanced tab. The name of each
file is important so that the FreedomFX properly assembles the animation.
The first part of the filename may contain any characters you like. The last
part of each filename must contain an uninterrupted zero-padded sequence
of numbers. The following are valid examples of file names for cell
animations:
fox2bug-001.tga
fox2bug-002.tga
fox2bug-003.tga
brkgnnews000.tga
brkgnnews001.tga
brkgnnews002.tga
The following is invalid because there is a break in the number sequence:
fox2bug-001.tga
fox2bug-003.tga
fox2bug-004.tga
The following is invalid because it is not zero-padded:
brkgnnews9.tga
brkgnnews10.tga
44
brkgnnews11.tga
To preview a cell animation:
Make sure that the first image is loaded using the Advanced tab. The Cell
Page tab will then allow you to move the slider to jump to a specific part
of the animation. Pushing Play let's you view the animation in real time.
Animation Repeat If Repeat is set, the animation will continuously loop
while it is visible. This is useful for snipes or seamless backgrounds. If it is
turned off, the animation will run once and freeze on the final frame.
Animation Reverse Selecting Reverse will show the selected animation
backwards, beginning with the last frame and ending with the first frame.
If Repeat is also set, the animation will continuously run in reverse.
Trim Using the Trim In and Trim Out sliders, you can change the start
and end positions of the cell animation. Those frames before the Trim In
position and those frames after the Trim Out position will be discarded
when playing the animation.
Speed By default, an animation is run at 100%, which is 30 frames per
second. To change the speed at which the animation is played, adjust the
Speed slider.
DVE
The DVE tab allows you to control the input video of the FX. You must
be in No Mixing mode to perform a DVE. DVE objects must be
contained in special templates whose name contains the letters DVE in all
caps and no spaces. If you attempt to add a new DVE object to a template
that does not match this criteria, an alert will be presented informing you
to do this.
45
DVE transitions use a Start Key Frame and an End Key Frame to
determine the motion path. Typically, the start frame will be full screen
video, and the end frame is your crop. Be sure you are on the Start Key
Frame when you save your DVE or each time it is loaded it will be in an
incorrect position.
There are two main controls for each keyframe: Source Crop and
Destination Region. Cropping does not alter the outer dimensions of
the DVE, it merely masks the edges of the video by resizing the video
contained within the DVE. This is usually done to hide the lines of video
not normally seen that do not contain normal video. Trim Overscan will
do this for you quickly by removing 5% of the original video. Altering the
Destination Region physically resizes the video.
In general, it is better to begin creating your DVE by first adjusting the
Destination Region to the proper width and height and then position
the resized video. The Width and Height sliders adjust the physical size of
the box containing the video whereas the X and Y sliders move the box
horizontally and vertically. Once you have it in position, you next adjust
the Source Crop. This is usually done last since the amount of crop
necessary could vary depending on the type of squeeze you have
performed. When you adjust the Width and Height sliders, the image will
increase or decrease in size within the DVE box to properly fill the space
using your desired crop settings. The X and Y sliders may then be used to
pan the image within the frame.
For those trying to create a DVE template on the FX to match a mockup
provided by a graphic artist, we recommend that your artist provide you
the comp as a fullsize (720 x 486) Targa file. You can then temporarily
load this image into the FX as the background. Before adjusting your
DVE settings, use the Opacity setting in the Basic tab of your DVE
template to allow for seeing both the mockup and the actual DVE at the
46
same time. You may need to temporarily turn on Use Alpha Channel on
the DVE object from within the Basic tab for it to respect the opacity.
Now it should be easier to match the dimensions and position of the DVE
as specified by your graphic artist. The last step would be to remove the
mockup and restore the opacity (and alpha setting) of the DVE object.
Alternatively, you could measure the size and offset of the DVE directly off
the comp from within a graphics application. Assuming the image is 720 x
486, the width and height of the DVE would be entered into the Width
and Height values of the Destination Region, the number of pixels
from the left edge of the screen to the left edge of the DVE would be the X
value, and the number of pixels from the top edge of the screen to the top
edge of the DVE would be the Y value. You would still need to adjust the
Source Crop appropriately.
(Rectangular pixels of 720 x 486 assumed for direct readings)
Change Key Frame Use the Switch to… button at the bottom of the tab to
toggle between these two key frames. The name of the frame you are
editing is listed at the top of the tab. The Start Key Frame represents the
beginning position (usually full screen) and the End Key Frame represents
the final position (usually squeezed).
Crop Use the slider bars to adjust the physical image crop from within the
visible region. The Width and Height sliders will resize the image within
the DVE box and the X and Y slider will pan the image. To assist in
cropping, toggle the Lock Aspect Ratio button on to maintain the 4:3
(or 16:9) ratio. To automatically remove overscan (5% of the video image
when full), click the Trim Overscan button.
47
Destination Region Adjusting these slider bars resizes the physical video
and defines where the video will be placed. The Width and Height
adjustments provide control for the size of the image. The X and Y
controls then provide positioning of the squeezed video. Source Crop
settings would then adjust the size and positioning of the video within the
DVE box.
Speed To change the speed of the DVE transition from the Start Key
Frame to the End Key Frame, change the Duration value. This value
must be represented in seconds or tenths of a second. A value of .10 will
cut to the next key frame.
Preview To preview a DVE's timing and location beginning with the
Start Key Frame and concluding with the End Key Frame, push the
Test DVE In button. The option will then toggle to Test DVE Out and
perform the transition from End Key Frame to Start Key Frame.
48
6
Template Tutorials
Step-by-step instructions for building some of the most
common FreedomFX templates.
Using the Tutorials
This section provides complete step-by-step instructions for building FX
templates. It is assumed that you will perform these tutorials in sequence as
some of the knowledge you gain on a previous tutorial may be used in
subsequent ones.
Tutorial 1: One-line headline with black bar
In this tutorial, you will create a template with a partly-transparent black
bar suitable for a single-line headline display. You will learn how to begin
working with a template, how to create new objects, how to create a
simple bar with some opacity, how to name, resize, and position objects,
and how to change the characteristics of a text field.
49
1. Bring up the editor
Maximize the VServer by clicking on its icon, the little TV with color
bars, in the taskbar or system tray. On the left, you will see the main
controls for the VServer, and on the right is the template editor. Be sure it
is in Internal Mixer mode and that Full Video on Startup is toggled
off. If you see templates listed within the editor, press Shutdown to close
the application, and then restart it using the VServer shortcut on the
desktop. This will clear out all of the templates currently loaded into
memory, allowing you a clean slate to begin working. (Note: If the
VServer restarted minimized to the system tray, you will need to click on it
to maximize it.)
2. Create new template
To help us in positioning the elements of the template, click on Show
Safe Title from within the template editor. This will place two boxes
on the FX’s output – safe title (the inside box) and safe action (the outside
box).
®
Next, click on New Template. A familiar Windows dialog appears,
prompting you for a place to store the new template. All FX templates get
stored in c:\Templates where you can create your own folders to help
organize your pages.
For this exercise, navigate into the c:\Templates\Tutorials folder and
enter the filename of Headlines (with a capital H) and click Save.
3. Create background bar
In the template editor, you will see a green template icon with the name of
your new template, Headlines. The green icon indicates the template is
50
currently active, or visible*. If it were gray, it would indicate it is not
active.
†
You add new objects by right clicking on the parent object you wish to
associate it with. In this case, it would be the main template. Right click
on the green template icon and choose New Fill. The object properties
box appears and the label field says New Fill. So that we may remember
what this object is, we will rename it background by typing the new name
into the Label field. Also, check to make sure the Visible box is
checked.
As a side note, most everything you will ever need to do with an object,
you will do using the object properties popup. While you can close this
window, it will keep popping up as you go to edit a new object. Instead,
you may wish to position the VServer application and the object properties
box so that you may easily access both. Then, leave the properties dialog
open – clicking new objects to edit will just change the active object in the
properties popup.
*
We use “visible” here loosely. It is visible if there is something to see and if it isn’t
blocked by another element on top of it. But, you’ll see that later.
†
…or elements, or fields, or tab positions…
51
4. Position the background bar
From within the background object’s properties popup, click the
Advanced tab. On the bottom right, you can change the size of the fill.
Resize it to be 720 pixels wide
by 80 pixels high, and click
Change. Click back to the
Basic tab and change the Y position to -234 to move the background to
the bottom of the screen, with the top of the bar at safe title. Also within
the same tab, move the Opacity slider to 117 to provide semitransparency.
5. Create the text field
Right click on the green template icon and choose New Text. A text
object appears in the template editor and New Text appears on the FX
output. Rename the object the same way you renamed the background –
by clicking on the object’s icon and changing the Label within the Basic
tab. Name it headline. Within the same tab, turn the Highlight
checkbox on. This feature places a white box around the entire text object
to make it easier to resize and position.
Move to the Text tab and switch the font by clicking Select Font.
Choose Tahoma, make it Bold and size 24, and click OK. From within the
Text tab, click Enable Shadow and make the offset 2 x 2.
At the bottom of the properties dialog is a place where you can enter a
sample headline. By default, it says New Text. As a sample headline,
change it to say Man Walks on the Moon. Film at 11:00.
52
6. Size and position the text field
From the Advanced tab, change the size of the text object to be 576 pixels
wide by 30 pixels tall, and click Change. The white highlight around the
text object will now update to reflect the new size.
Finally, go to the Basic tab and position the object by moving the Y
position to -206. In this example, it should be sitting on top of the semitransparent black bar between safe title and safe action.
53
Click Save Template from the editor’s main screen to record your
template. If you create a runlevel from within NewsTickerTM that uses
Headlines, and use the Tutorial1.fmt format file (with no initialization
file), the FX will display your currently active headlines using this new
template.
Tutorial 2: Forecasts using graphical background
and multiple text fields
In this tutorial, you will create a template with a background from a
graphic, with text fields for the city name, high temperature, and low
temperature. You will learn how to import a graphic respecting its alpha
channel, how to use frames to group objects together, and how to create
static text fields that don’t get overwritten by NewsTickerTM.
1. Create a new template
Maximize the VServer by clicking on its icon
and make sure that all other templates are
inactive. A template is active if the template
object icon is green. To deactivate it, simply
click on the template’s icon, and choose
Hide Template.
Click on New Template, place it within the
c:\Templates\Tutorials directory and
name it Forecasts.
2. Add the graphical background bar
Right click on the Forecasts template icon,
54
which should be green, and choose New Graphic. From within the
c:\Templates\Tutorials directory, choose background.tga. The
image will load on the screen.
Click on the New Graphic icon to open the object properties dialog, and
rename the image background bar. Also from within the Basic tab,
change the Y position of the image to -180. The X value of 0, which it
will default to, is correct.
3. Add a text object for the city name
Right click on the template icon and choose New Text, and rename it
City Name. From within the text tab of the object, change the font to
Tahoma, Bold, 24. Add a drop shadow by clicking Enable Shadow, and
make it 2 x 2. Change the font color to yellow by clicking Choose Face
Color and picking yellow from the color picker.
Within the text field, change New Text to Los Angeles. Position the
field along the bottom left by clicking on the Basic tab, and changing the
X position to be -184 and the Y position to -218.
55
4. Create a new frame for the high temperature value
Right click on the template icon and choose New Frame, and rename it
high temp. A frame is merely a container for other objects. It allows you
to logically group multiple objects and position them together.
5. Create the high temperature label and data field
Right click on the frame high temp and
choose New Text, rename it high
label and turn Highlight on to see its
size. Click on the Text tab and change
the font to Tahoma, Bold, and 24. Click
Enable Shadow and create a 2 x 2 drop
shadow. Make the text of the field say
High: and turn the Locked Text
checkbox on within the Text tab to
create a fixed field. This will prevent
NewsTickerTM from overwriting this object.
Position the label to the right of the city name in the Basic tab by using
an X position of 59 and a Y position of -218.
Right click on the frame high temp, choose New Text and rename it
high value. From within the Text tab, change the font to Tahoma,
*
Bold, 24 with a drop shadow of 2 x 2. Enter a value of 89°. Change the
*
You can enter the degree symbol by holding down the ALT button and typing 0176
using the numeric keypad.
56
field to be right justified by clicking on the radio button below the word
Justify. The field is too large, so click to the Advanced tab and change
its size to be 70 pixels wide by 50 pixels high, and click the Change
button. Position it to the right of the word High: from within the Basic
tab, using an X position of 52 and a Y position of -218.
6. Create the low temperature label and data field
We could repeat the procedure in step five to create the low temperature
fields, but one of the big values of using a frame is being able to treat it as
one item. So, instead, we will copy it.
Right click on the high temp frame and
choose Copy and then right click on the
Forecasts template and choose Paste.
Another copy of the high temp frame,
along with its value and label objects, will
appear.
Click on the frame and rename it low
temp, and change its X position to 193.
Within the frame, click on high value
and rename it low value and change the
sample temperature to be 68°. Click on
high label and rename it low label,
and change the text from High: to Low:.
Click Save Template from the editor’s
main screen to record your template. If
you create a runlevel from within
NewsTickerTM that uses Forecasts, and use the Tutorial2.fmt format
file (with no initialization file), the FX will display your forecasts using this
new template. You could add this module to the runlevel you used in the
*
first tutorial to loop between headlines and forecasts.
*
It doesn’t look too pretty, but that’s where you come in!
57
Tutorial 3: A crawl using a time/temp/ID bug and
sponsor logo
In this tutorial, you will create two individual templates: one for the crawl
and one for the bug and sponsor logo. These templates will be assigned to
different layers so that they appear simultaneously. You will learn how to
assign templates to layers and create a crawl field.
1. Create the bug and sponsor template
Shutdown and restart the VServer so that no other templates are visible
within the editor. Create a new template named Bug within
c:\Templates\Tutorials.
From within the Basic tab, change the template’s layer to Foreground 3.
In the FreedomFX, the Foreground 3 layer is on top of Foreground 2,
which is on top of Foreground.* By assigning this template to
Foreground 3, it will be on top of the crawl, which we will assign to a
different layer beneath this one. Keep in mind that no two templates can
TM
appear on the same layer. If NewsTicker is displaying one template, and
asks the FX to load a second template which resides on the same layer, the
FX will replace the currently active template with the newly requested
one.
2. Add the graphical bug to the template
Right click on the template named Bug, choose New Graphic, and load
buglogo.tga from within c:\Templates\Tutorials. Rename it
sponsor and use the X and Y sliders to position the graphic along the
*
The actual hierarchy, from top to bottom, is foreground3, foreground2, DVE,
foreground, background, background2, background3.
58
bottom left.* Our sample uses an X position of -263 and a Y position of
-209.
3. Add the time and temp to the template
Right click on the template named Bug, choose New Frame, and rename it
time and temp. This will contain the time and temp data. Now, right
click on the time and temp frame, choose New Text, and rename it
time. Use the font Arial, Bold, size 18, with a drop shadow of 1 x 1.
Enter a sample time of 6:20, change the size in the Advanced tab to 50 x
20, and use the sliders to position it next to your bug. Our sample uses an
X position of -274 and a Y position of -187.
Right click on the time object and choose Copy. Right click on the time
and temp frame object and choose Paste. Rename the newly pasted
object temp and use a sample text value of 54°. Use the sliders in the
Basic tab to move the temperature next to the time value. Our sample
uses an X position of -230 and a Y position of -187.
If you would like to move the time and temp together, reposition them by
changing the X and Y positioning values of the time and temp frame.
Click Save Template from the main editor screen.
4. Create crawl template
Choose New Template and create the template
c:\Templates\Tutorials\Crawl.xml. As you will notice from the
Basic tab, the template defaults to the foreground layer, which is fine
since it is below foreground3, the layer we will use for the sponsor and
bug.
5. Add graphics and text fields
Right click on the Crawl template and choose New Graphic. Use
c:\Templates\Tutorials\crawlback.tga. Rename the object
background and position it appropriately.
*
If the safe action and title grid is not visible, you can turn it on by clicking Show Safe
Title from within the main template editor.
59
Right click on the Crawl template and choose New Text, renaming it
crawl data with Highlight turned on. Click on the Text tab and
choose an appropriate font, color, and shadow. (We used Arial, size 23.)
Use the following sample text: This is sample crawl text for
positioning. From the Advanced tab, adjust the width of the field so
that it is 648 pixels wide and 30 pixels tall. From the Basic tab, move the
field so that the left edge of the object is at safe title. Our sample uses an X
position of 36 and a Y position of -209. Also, from within the Advanced
tab, click on New Page in the Transitions section, and click Change.
Choose Standard
Crawl Effect. By
choosing this
transition, the text
field will act as a crawl
field.
Finally, add a crawl
separator graphic by
right clicking on the
Crawl template and
choosing New
Graphic. Use
c:\Templates\Tutorials\crawllogo.tga. Rename the object crawl
image and position it appropriately vertically over the crawl data text
*
object. From within the Basic tab, turn Visibility off once you have
positioned it. This will prevent the image from suddenly appearing when
the template is called up. Instead, NewsTickerTM will specifically ask for
the crawl image when it wants to use it.
template. If you create a runlevel from within NewsTickerTM that uses
Headlines, and use the Tutorial3.fmt format file, the FX will display
your headlines using these new templates.
*
The position you use here makes no difference since the FX will be placing the image
inline with your crawl text. From within the NewsTicker format files, a vertical offset can
be specified to move it up or down.
60
Tutorial 4: Performing a DVE effect
In this tutorial, you will create a digital video effect. You will learn how to
squeeze and crop your video source back at a user-defined speed. You will
use the template you created in tutorial 1 to perform the text display.
1. Load sample text
From the main VServer console, be sure No Mixing is set in the Video
Output section. This is the only mode that supports a DVE.
We will use the results of the first tutorial as our sample text. Click Load
Template and find Headlines.xml from within the
c:\Templates\Tutorials directory.
2. Create a DVE template
DVEs must be in templates of their own. Choose New Template and
name it SampleDVE without any spaces.* Double click on the template to
open its properties and change the Layer to DVE
from within the Basic tab. If the sample headlines
became inactive (grayed out), then you will need to
right click on the template and choose Show
Template.
Right click on the SampleDVE template icon and
choose New DVE. Now, click on the DVE object to
open the properties dialog. Click on the DVE tab.
*
In order to make a template contain a DVE object, the name of the template must
contain no spaces, and it must have the letters DVE in all caps within the name.
61
3. Determine start and end positions
To perform a DVE transition, you will tell the VServer the position you
want the DVE to start at (typically fullscreen), the position you want the
DVE to end at, and the number of seconds you want it to take to get from
the start to the end. The FreedomFX will automatically determine the
correct positioning between the start and finish. The starting position is
known as the Start Key Frame and the ending position is known as the
End Key Frame. The top of the DVE tab tells you which key frame is
currently being edited. You can toggle between the two by clicking the
Switch to … Key Frame button.
Since we want to start fullscreen, push the Switch to End Key Frame
button to begin editing the position of the DVE once it is squeezed back.
Turn the Lock Aspect Ratio checkboxes on in both the Source Crop
and Destination Region sections. Click Trim Overscan in the Source
Crop section to prevent from seeing usually non-visible areas of video. In
the Destination Region section, change the Height to 436, which
should automatically change the Width to 645, and move the X position to
40.
4. Adjust the transition speed
In the Duration box, set the length of time you wish the effect to take in
tenths of seconds* and press the Test DVE button to preview the transition.
template. You will recall from earlier that foreground, background,
background2 and background3 are the layers behind the DVE. To reveal
templates from behind, you would need to modify those templates and
reassign their layers appropriately.
*
Minimum duration is .10.
62
7
Automation Interface
Reference to the FreedomFX’s automation protocol for use
in building NewsTickerTM format files.
Introduction
The FreedomFX automation interface is used by NewsTicker’s format files
to access, update, and display your templates. It emulates Chyron’s®
original Intelligent Interface for many of its commands, but includes an
expanded syntax set to control some of the FX’s unique features.
TM
NewsTicker accesses the automation interface by making a TCP
connection to port 55 on the FX. No authentication is used, so it is highly
recommended that your FX be placed behind a firewall.
Multiple socket connections may be made to the FX at one time in order
to monitor responses, or to provide independent control. While each
connected session may send commands to the FX, responses are multicast.
Therefore, all connected sessions will see all responses. This is important to
consider when waiting for a particular response to proceed.
All commands must be followed by a carriage return and linefeed. Within
NewsTicker’s format file language, this is done by placing the [% CRLF %]
command after each automation command.
Except where noted, all successful responses will be designated by an
asterisk. Negative responses will be denoted by an error code and,
depending on the nature, may generate an ERROR notation within the
VServer message console.
63
The letter that designates each automation command is case insensitive.
Note, though, that virtually all other parts of the command, such as
template and effects name, are case sensitive.
Format Files, Templates, and Runlevels
An important concept for anybody working with the FreedomFX’s
automation interface, is the relationship between format files, templates,
and runlevels.
Format Files
A format file is a file containing a set of commands that takes information
TM
from a specific NewsTicker module, like Headlines or Sports, and
provides CG-specific instructions to display the data as desired. It is the
interface between NewsTickerTM and your specific character generator. It
tells the FX things like what data items to show, how long to wait after
showing each item before proceeding, what template to use to display the
data, and can even include logic to do different things based on your own
arbitrary criteria. It is what sets NewsTickerTM apart from competitors –
you can change the behavior of each module being shown from within the
format file.
You can have an infinite number of format files, but typically a format file
is only handling the data presentation of one module at a time. You would
use a different format file, for instance, to display current conditions than
forecasts, since they are different NewsTickerTM modules.
By creating several format files, you can have your ticker look different for
your morning show than your late news. For example, your evening
sports display may show game status since some games will still be in
action, whereas your morning show may not display a status since all games
are final.
Templates
Templates are created through the FreedomFX’s template editor, and
provide the main visual layout of the data you are showing. Within the
template, you position graphics, create text fields, and position a DVE.
Format files request that a specific template be used, and fill-in the
TM
template’s text fields with NewsTicker data. Anytime you need text
positioned differently, you typically create another template. So, it is
common to have a template for each NewsTickerTM module you wish to
use.
Multiple templates can be displayed at one time to allow you, for example,
to keep a sponsor logo up on top of all the other NewsTickerTM data.
64
Runlevels
So, if format files are used to take data you have entered into a
NewsTickerTM module and pass it on to a template within the FX, and you
can have an infinite number of format files, then you need some way of
TM
telling NewsTicker which format files you want to display at any given
time.
A runlevel is created
through NewsTicker’s web
interface to determine
which format files will be
used during a specific
broadcast sequence. Think
of it as a macro for saying
“show this format file, then
that format file, then this
other format file.” Instead,
you create the runlevel and
give it a logical name, like
“Morning Show.”
When you create a
runlevel, you are providing
NewsTickerTM with the
order in which you want
information to appear (i.e.
headlines, then forecasts,
then sports), and the
frequency (i.e. currents,
then sports, then currents
again, then headlines). In
most cases, this is performed in a loop.
When you are ready to broadcast NewsTicker,TM you launch a runlevel,
which sets everything else in motion. The runlevel will use the module
order you chose with the data that has been entered, calling upon the
format files you specified. Those format files, in turn, then call upon the
templates you created.
B
b\TRANSITION\PAGE\QUEUE\\
This command blanks pages or layers. It is typically used after a runlevel is
complete to clear the screen. Unlike the D command, the templates do not
get unloaded from memory. Also unlike the D command, the B command
does not wait for the templates to go off-air before blanking.
65
The TRANSITION field is either 0 or 1. If set to 0, then no EndPage
transition will be used when the page is unloaded. If set to 1, the EndPage
transition will be respected.
Similarly, the QUEUE field is used to tell the FX if you want it to delay
execution of the command. If set to 1, the command will not be executed
until a B command is issued where the QUEUE is set to 0.
The PAGE field can be either the storage location of a completed template
(the first argument of a W command) or the template name (the second
argument of a W command). In addition, an entire layer can be blanked by
using the layer name preceded by an asterisk (*).
To immediately blank an individual page without using EndPage transitions:
Use 0 as the TRANSITION and 0 for QUEUE. If you leave the QUEUE field
blank, 0 is assumed.
b\0\timetemp\0\\
b\0\PM Sports\\
To immediately blank an individual page or template using the template’s
EndPage transitions:
Use the same command as before, but with 1 as the TRANSITION.
b\1\timetemp\0\\
b\1\PM Sports\\
To blank three pages frame accurate:
To do this, you must defer the first two blank commands by setting their
QUEUE value to 1. You will then use 0 for the last command.
b\0\timetemp\1\\
b\1\PM Sports\1\\
b\1\PM Sponsor\0\\
To blank all pages on two different layers frame accurate:
Queue the first B command, but not the second. For the PAGE, use one of
the following to represent the layer: *Foreground 3, *Foreground 2,
*Foreground, *Background, *Background 2, *Background 3,
FULL DVE.
b\0\*Foreground\1\\
b\0\*Foreground 2\\
66
To blank all pages:
The command can be issued without any PAGE designation to blank all
pages (except for FULL DVE). This can be done with or without respect to
the EndPage transitions.
b\0\\
b\1\\
To delete them all from memory, you would then issue d\\.
If you just performed a DVE transition and wish to blank all pages while
leaving video passing through, you must first bring up FULL DVE and then
perform the B command since your DVE template will be blanked at the
time the command is issued.
v\FULL on\\
b\0\\
D
d\[PAGE]\\
You can unload a page or template from the VServer’s memory using the D
command. Unlike the Hide Template button on the editor’s interface,
this will actually free up memory.
When determining what to unload, it first searches for pages that are
currently on air, then pages that are about to air, and finally templates that
are currently loaded. The first match is the only one that gets unloaded. If
it is currently on air at the time the command is issued, then the D
command is automatically queued and will perform its operation as soon as
the page goes off.
The D command does not blank or clear pages – you must use the B
command to do that. Once the pages are blanked, and no longer on air, a
D command can then be issued to free up memory.
If no pages are active, simply sending d\\ will remove all of them from
memory.
Do keep in mind that with a large cell animation, there is a benefit to
having it already loaded in memory when going to use it. You can save
the initial load time which, for a 200 MB animation, could be more than
20 extra seconds.
To unload everything regardless of what was last to air:
Clear the DVE and non-DVE layers, and then perform the D command.
b\\
b\0\FULL DVE\0\\
d\\
67
E
e\TRANSITION NAME\ATTRIBUTE NAME\VALUE\\
The E command changes the attributes of special effects or transitions. At
this time, the only attribute that may be changed is the speed of a crawl. In
this case, the syntax is:
e\main crawl effect\speed\2.5\\
TM
This is typically used when you pause NewsTicker to freeze the crawl so
that it picks up where it left off when you resume the display. A speed of 0
stops the crawl from moving.
K
k\MODE\\
The FX’s Video Output mode can be changed non-synchronously using
the automation interface by issuing a K command, which overrides the
setting currently active on the FX’s console. This is useful if you have
different templates that use the FX in different modes of operation. Don’t
forget that switching into and out of No Mixing will jump in and out of
audio delay.
Note that this is done non-synchronously, which means it should be done
offline as the video will be momentarily disturbed while the signal
resynchs.
Acceptable modes include NoMixing, InternalMixer,
ShapedInternalMixer, LivePassThru, and ColorBars. A description of
each of these modes can be found in Chapter 2.
M
m\FULL DIRECTORY NAME\\
The M command changes the active directory the VServer is currently
using. When loading templates, the VServer will look in the last directory
specified using the M command. It is standard to place all templates and
graphics somewhere within the c:\Templates directory, or in a folder
within this directory.
To prevent confusion with the use of backslashes, change the backslash in
the directory structure to a forward slash, as in m\c:/Templates/Morning
Show\\.
N
n\LABEL ACTION\[PAGE]\\
68
The N command queues a transition animation usually performed by the V
command, until the next V command is issued. This allows you to execute
multiple transitions on different templates frame accurate. Without this
command, you wouldn’t be able to make effects happen at the same time
on multiple templates – they would remain staggered. This is very similar
to using the Z command to queue page writes.
The syntax is the same as the V command, and can only be used for object
transition control.
Q
q\\
The Q command is used to test connectivity with the VServer. Sending
this command returns the current version number of the VServer.
V
v\LABEL ACTION\[PAGE]\\
Transitions, cell animations, and DVE squeezes may be triggered by using
the V command.
Cell Animation Control
For cell animations, you can send commands to play the animation forward
once, play it in reverse once, or loop indefinitely. The cell animation must
exist within the template, and the LABEL is the case-sensitive name you
have given for the cell animation from within the Basic tab. The PAGE
value is the case-sensitive name of the page that contains the cell
animation.
If you are going to selectively trigger the cell animation through the
automation interface, and don’t want it to be visible when the template is
loaded on air, be sure your first and last animation frames produce no key.
Use of the V command for cell animation control is synchronous.
Therefore, the FX will not perform the command until the next X or Y
command is issued. This allows you to build your page with animations,
then have them take place together frame accurate. The only command
that is not synchronous is PlayRev, which will occur immediately.
The options for controlling a cell animation are:
v\LABEL Stop\PAGE\\
Stops the playback of the cell animation.
v\LABEL Play\PAGE\\
Starts playing from the current frame, using the current direction and
repeat setting.
69
v\LABEL PlayOnce\PAGE\\
Resets the clip to the Trim In point, and plays to the Trim Out point
using the current direction, regardless of the repeat setting.
v\LABEL PlayRev\PAGE\\
Jumps to the Trim Out position and plays to the Trim In point in
reverse, using the current repeat setting.
v\LABEL PlayFwd\PAGE\\
Resets the clip to the Trim In point, and plays the clip forward using
the current repeat setting.
Object Transition Control
Another use of the V command is to trigger an effect to bring a template on
or off. This is typically used to tell NewsTickerTM what to do when you
pause or unpause the display. Version 3.10 of the FX supports pushing
objects to the bottom, cutting, or dissolving. The following commands are
supported:
v\CutOn on\PAGE\\
Cut’s PAGE on
Cut’s PAGE off
v\CutOff on\PAGE\\
15-frame fade up
v\FadeUp15 on\PAGE\\
v\FadeDown15 on\PAGE\\
15-frame fade down
30-frame fade up
30-frame fade down
45-frame fade up
45-frame fade down
60-frame fade up
60-frame fade down
Slides in from bottom
v\SlideBottomON on\PAGE\\
Slides off the bottom
v\SlideBottomOFF on\PAGE\\
The PAGE is obviously the name of the page you wish to affect. Those
who have experimented with the V command know that bringing an effect
off is the same as bringing it on, just played in reverse. Hence,
v\FadeDown30 on\PAGE\\ is the same as v\FadeUp30 off\PAGE\\.
Use of the V command for object transition performs an implicit Y
command, which means it will properly trigger StartPage, SamePage,
and EndPage transitions. To suppress these, use the X command.
DVE Transition Control
From within your DVE object, you create two key frames that provide the
start and end locations of your DVE, and a length of time the squeeze
should take. These are user definable using the template editor. Once you
70
have done this, you may trigger the DVE on or off using the name of the
DVE template:
v\MorningShowDVE on\\
v\MorningShowDVE off\\
Note, however, that the FX will perform the special effect beginning with
the start key frame. This means that if you are already squeezed back, and
ask the FX to perform a DVE squeeze back, it will jump to fullscreen (the
start key frame) and perform the DVE. Be sure to keep track of the
current state of effects so that you may avoid this.
Virtual Object Control
There are a couple of virtual objects you can control by using the V
command.
v\ClosedCaption on\\
This passes closed captioning line 21 through to the program output of
the FX. The FX maintains correct captioning, even when performing
a DVE.
v\NoClosedCaption on\\
If you are routing captions around the FreedomFX, re-inserting them
downstream, then you will want to insure that the FX does not also
pass captions. This command prevents line 21 from being passed.
v\FULL on\\
This command turns the DVE layer on, invoking an immediate seven
frame audio delay, and places the incoming video full-screen. (See
“DVE” in illustration of template hierarchy in Chapter Four.) If you are
switching between downstream keying and routing video through the
FX, you can automate the passing of the video using this command.
v\FULL off\\
This does the opposite of the above, turning the DVE layer off.
W
w\WRITE PAGE\TEMPLATE\TAB DATA\TAB DATA…\\
You write a page using the W command. The FX will load the specified
template, fill-in the tab fields as directed, and save it to another location.
The first argument you pass is the name of the page where you wish to
store the completed template.
Those familiar with other CG automation commands may be used to using
four-digit page numbers as template and storage locations. While you may
continue with this convention, it is not necessary with the FX. You may
choose template and storage locations that are physically named for ease in
reading and understanding your format files. Note that the WRITE PAGE is
71
only stored in the VServer’s memory, and not physically on the hard drive.
This also means that only the last page stored for a particular template will
remain in memory. So, in the following scenario, the FX will display Los
Angeles/Portland since it was the last data to write to the sports template:
w\1\sports\Miami\New York\\
w\2\sports\Los Angeles\Portland\\
y\1\\
The second argument is the name of the template you wish to work with.
Be sure you have previously issued an M command so that you are working
in the correct directory.
The remaining arguments are the values you would like to use for each tab
field you created within your template. Text fields that have been flagged
using Locked Text will be skipped over. The order in which each field is
updated is the reverse order in which appears in the template. That is,
fields on the bottom are filled-in first, followed by those on top. The
order of text objects can be verified by looking at the Tab Number value
within the Text tab of the object editor.
Be careful not to send empty fields to the FX or you may terminate the W
command prematurely by unknowingly sending \\, which happens to also
be the command’s termination string.* For instance, the following
command would not produce the desired effect:
w\_wx\Wx\Los Angeles\Sunny\\81\\
It would terminate immediately after Sunny instead of skipping over the
third tab field, as one might have hoped. To prevent this from happening,
you should send an extra space in any field that you think may be blank. If
the field is left justified, adding a space to the end will provide protection
for this without changing your template spacing. If the field is right
justified, you would want to place the space in front of the text being sent
to the field. That command should have been sent as:
w\_wx\Wx\Los Angeles\Sunny\ \81\\
If the tab position being written to is designated as a graphical tab position
from within the template editor’s Advanced tab, then the image file should
be used instead. Unless it is absolute, the path will be relative to the
current directory, as selected using the M command. For example:
w\_wx\Wx\Los Angeles\./icons/sunny.tga\81\\
Note that images recalled using graphical tab fields are not cached, so they
get reloaded everytime they are called. Also, these images do not need to
be loaded into the template in advance, which is the primary reason for the
graphical tab field.
*
This is an unfortunate byproduct of Chyron’s® Intelligent Interface, that sending a null
string in effect sends the command termination sequence.
72
The W command just writes a new page based on the template and data you
pass along. It doesn’t actually display the page. This command usually
precedes a Y or Z command.
You may alter character properties within the W command, and display an
image inline with text, by using the imbedded commands described later in
this section.
Imbedded Commands
There are several commands that can be imbedded within the write
command sent to the FX’s automation interface. While most of these
control the properties of the text being displayed, the image command is
used to display a previously loaded graphic.
Aspect
<aspect VALUE>TEXT</aspect>
This command overrides the Font Aspect value in the Text tab of the
editor. The text will then use VALUE as the aspect ratio, as in <aspect
0.44>.
Bold
<bold true>TEXT</bold>
This command enables bold-styled text. If the font is currently set to be
bold, you can issue <bold false> to turn the bold property off.
Color
<color VALUE>TEXT</color>
The color command changes the face color of the font, using hexadecimal
notation for VALUE. It should start with 0x, followed by the six-character
®
color value. The illustration below shows the Photoshop color picker,
and the location of the hex value.
You would use <color 0xFFFB72> to produce this color.
Font
73
<font NAME>TEXT</font>
Change the font style using the font command, as in:
<font Arial Black>
Image
<image LGUTTER VOFFSET RGUTTER LABEL>
The image command displays a graphic that you have previously loaded
into your template, and named LABEL from within the Basic tab. Only
static images can be inline, not cell animations. When placed with text on
either side, such as a crawl separator, the graphic will provide LGUTTER
amount of pixel spacing on the left side of the image, and RGUTTER pixel
spacing on the right side. You change the vertical position of the image by
changing the VOFFSET value. A negative value moves it up from its
assigned position, and a positive value moves it down. A closing image tag
should not be used. For example:
<image 15 -2 15 CrawlLogo>
Italic
<italic true>TEXT</italic>
This command toggles italic styling on and off. If the font is currently set
to be italic, you can issue <italic false> to turn the italic property off.
Kern
<kern VALUE>TEXT</kern>
The kern command changes per-character spacing, overriding the
Character Kerning value in the Text tab of the editor.
Size
<size VALUE>TEXT</size>
Change the size of a font by changing the size value.
Under
<under true>TEXT</under>
The under command toggles character underlining on and off. If the font
is currently set to be underlined, you can issue <under false> to turn the
underline property off.
X
x\LABEL ACTION\[PAGE]\\
The X command is the same as the V command, except the SamePage
transition is suppressed when the command is used for cell animation
control. This is primarily used to bypass the implicit Y command issued
automatically by the V command, so that SamePage transitions don’t get
triggered while controlling your animations.
The syntax is the same as the V command.
74
Y
y\PAGE\\
You display a previously written page using the Y command. The only
argument you send is the name of the write file you wish to display, which
is usually the first argument used in the W command.
If the previous page displayed was based on the same template, then the
*
SamePage transition will be used when showing this template. If it was
not based on the same template, then the EndPage transition of the
previous template and the StartPage transition of the new template will
be used simultaneously.
If you had queued up the display of other pages using the Z command,
then the FX will also show those pages, frame accurate, when the Y
command is issued.
For compatibility with the Intelligent Interface, Chyron’s® “read”
command, ASCII value 248, may optionally be appended to the first
argument.
When writing to a template that uses a crawl, the standard asterisk will be
returned immediately indicating the command executed successfully. Near
the “low water” mark for the crawl data, which is the last opportunity to
send more data and have it seamlessly append to the current crawl, a “ready
to append” command is returned, containing the name of the object,
crawl label in this example:
RTA crawl label*
The RTA response may be returned a couple of times as the current crawl
nears the low water mark. If subsequent W and Y commands are sent, the
crawl will continue with the appended data, and resend the RTA command
when the new data nears the end of the crawl.
If you ignore the ready to append command, or if your crawl is too short
to trigger the RTA, the crawl will end and an “end of crawl” command is
returned informing you that all crawl data is off of the screen:
EOC crawl label*
If the next screen you will be displaying is a cut, you would want to wait
for the EOC command to know that it is safe to switch to the next page.
Page transitions also generate EOC responses upon completion, passing the
object name for possible matching.
*
…from the template’s Advanced tab…
75
Z
z\PAGE NAME\\
This command instructs the FX to suppress displaying the designated page
until the next Y command is issued. This allows you to queue multiple
templates and change them frame accurate. Without this command, you
would do something like:
y\_wx\\
w\_ttbug\TimeTemp Bug\8:28\41\\
y\_ttbug\\
w\_sponsor\AM Sponsor\Quality Tires\\
y\_sponsor\\
This would produced a slightly staggered effect as the FX would
sequentially display each of the templates. The weather would appear
several frames before the sponsor would change. Using the Z command,
this would be rewritten as:
z\_wx\\
w\_ttbug\TimeTemp Bug\8:28\41\\
z\_ttbug\\
w\_sponsor\AM Sponsor\Quality Tires\\
y\_sponsor\\
When the FX goes to show the sponsor in the above example, it would
also show the weather and bug at the exact same time.
76
Appendix A
Sample Wiring Diagrams
Examples of how to place the FreedomFX into your
broadcast chain.
In this appendix are the three most common ways to insert the
FreedomFX into your plant. The first way is to place it between your
news production switcher and your master control switcher. This is your
best option if you are only going to use NewsTickerTM during news. If
you need to insert NewsTickerTM over programming, then the second
diagram showing the FX downstream of master control is your best option.
As that drawing illustrates, you will need to provide a bypass for it. Finally,
the third diagram shows using the FX as a keyer. This is useful if you
don’t need any DVE applied to your video, or if you plan on using your
master control switcher (or some other DVE device) to perform that effect.
While not illustrated, you may also use an outboard keyer, taking key and
fill outputs from the FX.
If you plan on using the FreedomFX to perform a DVE, then you must
delay your audio seven frames. You may also prefer to use mix-minus IFB
for your newscasts.
These wiring diagrams are included to provide you a visual representation
of how you might wire the FX into your broadcast chain. By doing this,
however, some engineers have been confused into thinking that we
provide all of the equipment in the diagrams. Indeed we do not. As is
consistent with the invoice, Newsroom Solutions only provides the
NewsTickerTM server, the FreedomFX, a keyboard, monitor, and mouse,
and the intelliCommander. We do not provide an audio delay, video
77
delay, outboard bypass or routing switcher, KVM switch, production
switcher, or master control switcher.
Also note that the FX does not pass any VBI lines below 21. The DVE
effect will properly pass captions, or you may optionally tell the FX to
suppress sending captions if you are reinserting them downstream.
78
FreedomFX with DVE Upstream of Master
Control
This schematic shows the FreedomFX upstream of master control, being
used as both a CG and DVE. In this illustration, the FX is taking the
output of the news switcher, placing the FX just before the master control
switcher.
NewsTicker Remote Commander
NewsTicker Server
O
O
O
TEL ETH
O
SRL
KBD VID MSE SRL
Telco
Keyboard
CRT Display
KBD1 VID1 MSE1 KBD
KVM Switch VID
MSE
KBD2 VID2 MSE2
LAN
VID
Mouse
Production Switcher
ETH
KBD VID
MSE
O
O
O
FREEDOMfx CG
REF
IN
VID
OUT
VID
IN
O
PGM
OUT
PGM
OUT
Blackburst
Ref Signal
Production
Audio Feed
(+7 delay)
AUD IN
Audio Delay
O
AUD OUT
(+7 delay)
VID AUD
IN IN
VID AUD
IN IN
Used as
bypass
Master Control Switcher
Since the FreedomFX does not have a bypass option, a separate input into
your master control switcher that bypasses the FX is highly recommended
(as illustrated) to allow you to perform system maintenance.
O
79
FreedomFX with DVE Downstream of Master
Control
This schematic shows the FreedomFX downstream of master control,
being used as both a CG and DVE. This allows the output of master
control to be squeezed.
NewsTicker Server
O
O
O
TEL ETH
O
SRL
KBD VID MSE SRL SRL
Telco
Keyboard
CRT Display
KBD1 VID1 MSE1 KBD
KVM Switch VID
MSE
KBD2 VID2 MSE2
LAN
VID
Mouse
ETH
To
Transmitter
KBD VID MSE
O
O
VID
OUT
Bypass Unit
O
FREEDOMfx CG
REF
IN
VID
IN
VID
OUT
O
(+7 delay)
Blackburst
Ref Signal
O VID
IN
AUD
IN
(+7 delay)
AUD
OUT
SRL
VID
IN
AUD O
IN
(+7 delay)
AUD OUT
AUD OUT
Audio Delay
O
O
AUD IN
VID VID
OUT OUT
AUD
OUT
(+7 delay)
VID OUT
Video Delay
O
O
VID IN
The FX does not have a bypass option. Since placing it downstream of
master control necessitates it, this configuration shows installing a separate
stand-alone bypass unit. The unit illustrated (not provided) has two inputs
that can manually (and automatically via a GPI trigger) toggle between the
FX and video without the FX. To provide seamless transitions between
the two, a separate video delay unit (not provided) for the non-FX video is
also shown. That unit is used to delay the non-FX video the same amount
as the FX video to match the audio delay. With this configuration, you
can bring the FX in and out without any on-air artifacts. You could also
use a simple routing switcher and live with the audio jump.
80
FreedomFX as a Key Source for Master Control
This schematic shows the FreedomFX as a key input on the master control
switcher. Note that this scenario does not perform any video processing so
DVE effects cannot be applied by the FX when using it to downstream
key.
NewsTicker Server
O
O
O
TEL ETH
O
SRL
KBD VID MSE SRL
Telco
Keyboard
KBD1 VID1 MSE1 KBD
KVM Switch VID
MSE
KBD2 VID2 MSE2
LAN
CRT Display
VID
Mouse
ETH
KBD VID
MSE
O
O
O
FREEDOMfx CG
Blackburst
Ref Signal
REF
IN
KEY
OUT
VID
OUT
O
VID
IN
KEY
IN
81
Appendix B
Creating Alpha Channels
Step-by-step instructions for generating a proper alpha
channel within your graphics.
Using Adobe® Photoshop®
The alpha channel of an image provides the FX with the transparency
levels of each part of the image. Without it, you would only ever be able
to display square or rectangular logos. By using an alpha channel, you can
cut-out the elements of the image you wish to display, and the opacity at
which it will be shown.
Note that in version 7.0 of Photoshop®, Adobe® changed the way in which
they saved alpha channels, actually for the better. In 7.0, as long as you
used a transparent background, the alpha channel was created
automatically. That’s the good news. The bad news is that people
complained and they changed it back. So, as of 7.0.1, it is back to the old
method, which necessitates you follow the steps in this appendix. To
®
“upgrade” from 7.0 to 7.0.1, visit Adobe ’s website at
www.adobe.com/support/downloads.
1. Create image
®
Create a new image in Photoshop , placing your artwork on a transparent
layer of its own, as shown below.
82
If you are using multiple layers, you will need to merge them down so that
you have one background layer that is black, and one layer on top with
your artwork. Do not flatten the image completely as you don’t want the
background merged with your other layers.
2. Select visible parts of image
Hold down the Control key and left click on the name of the layer
containing your artwork from within the Layers window. This will select
all of the visible elements of your artwork.
3. Create alpha channel
From the Select menu, choose Save Selection. The options will
default to creating a new channel from within the current document, using
a new channel. Click OK.
Your alpha channel is now created. You can verify this by clicking on the
Channels tab and seeing the newly created alpha channel, labeled
Alpha 1.
From the File menu, choose Save As, change the Format to Targa, and
choose a location to save the file. Be sure Alpha Channels is toggled on.
83
The FX uses black to represent 100% video, and white to represent 100%
of your image. Using various levels of gray in between, you can apply
transparency. You can do this manually inside of the alpha channel.
Using Other Third-Party Software
A third-party product by fCoder Group International called
ImageConverter Plus can be used to take a native Photoshop® file with
layer transparency and convert it to a 32-bit Targa®, respecting all of the
transparencies. This eliminates having to manually apply gradients within
the alpha channel. As of this writing, the program is $29, works on the
®
Windows operating systems, and is available at
www.imageconverterplus.com.
1. Create image
When using this application, save your artwork as a cropped-down
Photoshop® file, retaining all layers except for the background layer. The
background should be completely transparent. As illustrated below, you
can still keep elements on their own layers and have multiple levels of
transparency. ImageConverter Plus will generate the alpha channel based
on this transparency.
2. Create alpha channel
Right-click on your Photoshop® file. A menu appears with a preview of
the image from within the ImageConverter Plus section. Left-click on the
image to launch the ImageConverter software.
By default, ImageConverter will use white as the
background color representing the video portion
of the image. While this may not seem like an
issue since it will be keyed out, the problem is on
84
soft edges – when creating the alpha channel, some dithering may occur
with the background color in mind. Your graphics will look odd, like
they have a small halo, if white is used. By working with the main
application, we can change the background color used for dithering.
From the program’s menu bar, click on the
icon that looks like a green square. Choose
Custom and pick black. The transparent parts
of your image will now appear black.
Generate the Targa® file by choosing Save
from the File menu. Be sure the Color Depth is set to 32 (RGBA), or
else it won’t create the alpha channel. The other options should be
defaulted correctly to use dithering and not converting to grayscale.
3. Using the shortcut
If you wish to use ImageConverter’s shortcut interface (i.e. using Convert
to TGA from the right-click menu), then you will need to adjust a few
settings. Right-click on the image you wish to convert, and choose
Convert to TGA from the ImageConverter Plus menu.
From within the Script tab, click Add Operation and choose Rotation.
The option will use a 0.0 degree rotation (i.e. no rotation), which is what
we want. Change the background color to be RGB(0,0,0) by clicking the
option and choosing black.
Also, be sure the Color Depth is set for 32.
85
Appendix C
Automating Cropping of Cell
®
Animations in Photoshop
Instructions for using Photoshop’s® automation controls to
batch crop animation cells.
Tutorial
Using Photoshop’s® automation functionality, you can create a macro to
automatically crop fullsize images. This is useful for reducing the physical
size of a cell animation. These instructions are written using version 7.0.1.
1. Backup your images
Be sure all of your images are contained within one directory, and make a
backup copy of the directory in case the batch job has problems.
2. Create macro to perform the crop
Open the first image in your sequence. From the Window menu, choose
Actions to display the floating actions console.
86
Click the Create New Action button on the bottom row of the actions
console, which is the icon that looks like a turning page. A dialog appears.
Name the action Crop and press Record.
At this point, all of your actions will be remembered, and then performed
on each of the individual images. If you make a mistake, you will probably
want to stop the action, delete it, and start over.
3. Perform crop while macro is recording
Choose Canvas Size from the Image menu, and change the width,
height, and anchor position to be the maximum visible size of your image.
This same crop will be performed on all of the other images.
Finally, choose Save from the File menu to record the changes to the
original file. You may now stop the recording by pressing the Stop button
(the red circle) from within the Actions tab.
4. Perform crop on all images
From the File menu, choose Automate > Batch. The following dialog
appears:
87
Chose the new action you just recorded, named Crop. In the Source
dropdown box, select Folder and press the Choose… button. Navigate to
the folder containing your animation images and press OK.
In the Destination dropdown box, choose Save and Close.
In the Errors dropdown, choose Log Errors to File, press Save As…
and determine a location to save the error log.
Press OK and each image will be loaded, cropped, and resaved.
88
Appendix D
Specifications
Analog Video Input Signals
Signal Type
Qty
Voltage
Impedance
Composite Video
2
1.0 V p-p
75 Ω
Y/C Video
Luminance signal
2
1.0 V p-p
75 Ω
75 Ω
Chrominance signal
Component Video
(Y, (B-Y), (R-Y))
1
PAL: 700 mV at 100%
Color Bar
NTSC: 700 mV at 75%
Color Bar
1.0 V p-p
Reference In
1
1.0 V p-p
75 Ω
75 Ω
On = 75 Ω
Off = 200 K Ω
89
Analog Video Output Signals
Signal Type
Program Out
Composite Video
Y/C Video
Luminance signal
Qty
Voltage
Impedance
1
1
1.0 V p-p
75 Ω
1.0 V p-p
75 Ω
75 Ω
1
PAL: 700 mV at
100% Color Bar
NTSC: 700 mV at
75% Color Bar
1.0 V p-p
1
1.0 V p-p
Chrominance signal
Component Video
(Y, (B-Y), (R-Y))
Linear Key Out
75 Ω
75 Ω
75 Ω
no burst
Digital Video Input/Output
Signal Type
Qty
Voltage
Impedance
Reference In
1
2.0 V p-p
Hi Z
Reference Loop
Out
1
1.0 V p-p
75 Ω (terminated)
Hi Z (looped through)
Analog Video Measurements
Test
Minimum
Maximum
Luminance Level
Bar Level (back porch)
Sync Level
Back Tilt
678.58 mV
271.43 mV
-1.00%
750.02 mV
300.01 mV
1.00%
Horizontal Timing
Sync Rise Time
Sync Fall Time
Sync Width
Burst Level
100.00 ns
100.00 ns
4.50 us
274.29 mV
200.00 ns
200.00 ns
4.90 us
297.15 mV
SC/H Phase
SC/H Phase (External Ref.)
SC/H Phase (Internal Sync)
-5.00 Deg
-5.00 Deg
5.00 Deg
5.00 Deg
90
Frequency Response
to 4.2 MHz
-0.70 dB
0.70 dB
S/N Ratio Weighted
50.00 dB rms
N/A
Differential Gain
N/A
1.3% p-p
Differential Phase
N/A
1.00 Deg
2T-K Pulse Factor
N/A
1.00% KF
Component Delay (Y/Cb/Cr)
N/A
15 ns
Color Bars
Amplitude Error
Phase Error
N/A
N/A
3.00%
3.00 Deg
Digital Video Measurements
Test
SDI Eye Diagram
Amplitude
Rise Time
Fall Time
Rise/Fall Difference
Rise Overshoot
Fall Overshoot
DC Offset
Jitter (Internal Genlock)
Minimum
Maximum
688.00 mV p-p
400.00 ps
400.00 ps
-500.00 ps
0.00%
0.00%
-500.00 mV
912.00 mV p-p
1,500.00 ps
1,500.00 ps
500.00 ps
10.00%
10.00%
500 mV
0.040 UI
0.240 UI

FreedomFX - Change your password

Transcription

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