MOTU V4HD
™
User’s Guide for Mac OS X
1280 Massachusetts Avenue
Cambridge, MA 02138
Business voice: (617) 576-2760
Business fax: (617) 576-3609
Web site: www.motu.com
Tech support: www.motu.com/support
SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS
CAUTION! READ THIS SAFETY GUIDE BEFORE YOU BEGIN INSTALLATION OR OPERATION. FAILURE TO COMPLY WITH SAFETY INSTRUCTIONS
COULD RESULT IN BODILY INJURY OR EQUIPMENT DAMAGE.
HAZARDOUS VOLAGES: CONTACT MAY CAUSE ELECTRIC SHOCK OR BURN. TURN OFF UNIT BEFORE SERVICING.
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR OTHER MOISTURE.
CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
WARNING: DO NOT PERMIT FINGERS TO TOUCH THE TERMINALS OF PLUGS WHEN INSTALLING OR REMOVING THE PLUG TO OR FROM THE OUTLET.
WARNING: IF NOT PROPERLY GROUNDED THE MOTU V4HD COULD CAUSE AN ELECTRICAL SHOCK.
The MOTU V4HD is equipped with a three-conductor cord and grounding type plug which has a grounding prong, approved by Underwriters' Laboratories and the Canadian Standards Association.
This plug requires a mating three-conductor grounded type outlet as shown in Figure A below. If the outlet you are planning to use for the MOTU V4HD is of the two prong type, DO NOT REMOVE OR
ALTER THE GROUNDING PRONG IN ANY MANNER. Use an adapter as shown below and always connect the grounding lug to a known ground. It is recommended that you have a qualified
electrician replace the TWO prong outlet with a properly grounded THREE prong outlet. An adapter as illustrated below in Figure B is available for connecting plugs to two-prong receptacles.
Figure A
Figure B
Grounding lug
Screw
3-prong plug
Make sure this is connected to
a known ground.
3-prong plug
Grounding prong
Two-prong receptacle
Properly grounded 3-prong outlet
Adapter
WARNING: THE GREEN GROUNDING LUG EXTENDING FROM THE ADAPTER MUST BE CONNECTED TO A PERMANENT GROUND SUCH AS TO A
PROPERLY GROUNDED OUTLET BOX. NOT ALL OUTLET BOXES ARE PROPERLY GROUNDED.
If you are not sure that your outlet box is properly grounded, have it checked by a qualified electrician. NOTE: The adapter illustrated is for use only if you already have a properly grounded two-prong
receptacle. Adapter is not allowed in Canada by the Canadian Electrical Code. Use only three wire extension cords which have three-prong grounding type plugs and three-prong receptacles which
will accept the MOTU V4HD plug.
IMPORTANT SAFEGUARDS
1. Read these instructions. All the safety and operating instructions should be read before operating the V4HD.
2. Keep these instructions.These safety instructions and the V4HD owner’s manual should be retained for future reference.
3. Heed all warnings. All warnings on the V4HD and in the owner’s manual should be adhered to.
4. Follow all Instructions. All operating and use instructions should be followed.
5. Do not use the V4HD near water.
6. Cleaning - Unplug the V4HD from the computer and clean only with a dry cloth. Do not use liquid or aerosol cleaners.
7. Ventilation - Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
8. Heat - Do not install the V4HD near any heat sources such as radiators, heat registers, stoves, or another apparatus (including an amplifier) that produces heat.
9. Overloading - Do not overload wall outlets and extension cords as this can result in a risk of fire or electrical shock.
10. Grounding - Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong.The wide blade
or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult and electrician for replacement of the obsolete outlet.
11. Power cord - Protect the V4HD power cord from being walked on or pinched by items placed upon or against them. Pay particular attention to cords and plugs, convenience receptacles, and the point where they exit from the V4HD.
12. Power switch - Install the V4HD so that the power switch can be accessed and operated at all times.
13. Disconnect - The main plug is considered to be the disconnect device for the V4HD and shall remain readily operable.
14. Accessories - Only use attachments/accessories specified by the manufacturer.
15. Placement - Use only with the cart, stand, tripod, bracket or table specified by the manufacturer, or sold with the V4HD.When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
16. Surge protection - Unplug the V4HD during lightning storms or when unused for long periods of time.
17. Servicing - Refer all servicing to qualified service personnel. Servicing is required when the V4HD has been damaged in any way, such as when a power-supply cord or plug is damaged, liquid has been spilled or objects have fallen
into the V4HD, the V4HD has been exposed to rain or moisture, does not operate normally, or has been dropped.
18. Power Sources - Refer to the manufacturer’s operating instructions for power requirements. Be advised that different operating voltages may require the use of a different line cord and/or attachment plug.
19. Installation - Do not install the V4HD in an unventilated rack, or directly above heat-producing equipment such as power amplifiers. Observe the maximum ambient operating temperature listed below.
20. Power amplifiers- Never attach audio power amplifier outputs directly to any of the unit’s connectors.
21. Replacement Parts - When replacement parts are required, be sure the service technician has used replacement parts specified by the manufacturer or have the same characteristics as the original part. Unauthorized substitutions
may result in fire, electric shock or other hazards.
22. Safety Check - Upon completion of any service or repairs to this MOTU V4HD, ask the service technician to perform safety checks to determine that the product is in safe operating conditions.
ENVIRONMENT
Operating Temperature: 10°C to 40°C (50°F to 104°)
TO REDUCE THE RISK OF ELECTRICAL SHOCK OR FIRE
Do not handle the power cord with wet hands. Do not pull on the power cord when disconnecting it from an AC wall outlet. Grasp it by the plug. Do not expose this apparatus to rain or moisture. Do not place objects containing liquids on it.
AC INPUT
100 - 240VAC ~ • 50 / 60Hz • 45 Watts.
Contents
Part 1: Getting Started
7
Quick Reference: V4HD Front Panel
8
Quick Reference: V4HD Rear Panel
9
Quick Reference: MOTU Video Setup
11
Quick Reference: MOTU Audio Setup
13
About the V4HD
17
Packing List and Mac System Requirements
19
Installing the V4HD Hardware
33
Installing the V4HD Mac OS X Software
Part 2: Video Operation
37
V4HD Basics
41
MOTU Video Setup
57
Final Cut Pro
Part 3: Audio Operation
71
MOTU Audio Setup
79
CueMix FX
87
MOTU SMPTE Setup
Part 4: Standalone Operation
93
Standalone Operation
95
Front Panel LCD Programming
Part 5: Appendices
105
Troubleshooting
107
Video Formats
109
V4HD Specifications
111
DB25 to XLR Pin Outs
113
Index
III
About the Mark of the Unicorn License Agreement and
Limited Warranty on Software
TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the
terms and conditions of the “click-wrap” license agreement presented to you when
you install the software. Using the software or this documentation indicates your
acceptance of the terms and conditions of that license agreement.
Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation.
Both the program and the documentation are protected under applicable copyright,
trademark, and trade-secret laws.Your right to use the program and the
documentation are limited to the terms and conditions described in the license
agreement.
Reminder of the terms of your license
This summary is not your license agreement, just a reminder of its terms.The actual
license can be read and printed by running the installation program for the software.
That license agreement is a contract, and clicking “Accept” binds you and MOTU to
all its terms and conditions. In the event anything contained in this summary is
incomplete or in conflict with the actual click-wrap license agreement, the terms of the
click-wrap agreement prevail.
YOU MAY: (a) use the enclosed program on a single computer; (b) physically transfer
the program from one computer to another provided that the program is used on only
one computer at a time and that you remove any copies of the program from the
computer from which the program is being transferred; (c) make copies of the
program solely for backup purposes.You must reproduce and include the copyright
notice on a label on any backup copy.
YOU MAY NOT: (a) distribute copies of the program or the documentation to others;
(b) rent, lease or grant sublicenses or other rights to the program; (c) provide use of
the program in a computer service business, network, time-sharing, multiple CPU or
multiple user arrangement without the prior written consent of MOTU; (d) translate,
adapt, reverse engineer, decompile, disassemble, or otherwise alter the program or
related documentation without the prior written consent of MOTU.
MOTU warrants to the original licensee that the disk(s) on which the program is
recorded be free from defects in materials and workmanship under normal use for a
period of ninety (90) days from the date of purchase as evidenced by a copy of your
receipt. If failure of the disk has resulted from accident, abuse or misapplication of the
product, then MOTU shall have no responsibility to replace the disk(s) under this
Limited Warranty.
THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF,
AND YOU HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH
EXPRESS AND IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES
OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE
LIABILITY OF MOTU PURSUANT TO THIS LIMITED WARRANTY SHALL BE
LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK(S), AND IN NO
EVENT SHALL MOTU OR ITS SUPPLIERS, LICENSORS, OR AFFILIATES BE
LIABLE FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, INCLUDING
BUT NOT LIMITED TO LOSS OF USE, LOSS OF PROFITS, LOSS OF DATA OR
DATA BEING RENDERED INACCURATE, OR LOSSES SUSTAINED BY THIRD
PARTIES EVEN IF MOTU HAS BEEN ADVISED OF THE POSSIBILITY OF
SUCH DAMAGES. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS
WHICH MAY VARY FROM STATE TO STATE. SOME STATES DO NOT ALLOW
THE LIMITATION OR EXCLUSION OF LIABILITY FOR CONSEQUENTIAL
DAMAGES, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU.
Update Policy
In order to be eligible to obtain updates of the program, you must complete and return
the attached Mark of the Unicorn Purchaser Registration Card to MOTU.
Copyright Notice
Copyright © 2008, 2007 by Mark of the Unicorn, Inc. All rights reserved. No part of
this publication may be reproduced, transmitted, transcribed, stored in a retrieval
system, or translated into any human or computer language, in any form or by any
means whatsoever, without express written permission of Mark of the Unicorn, Inc.,
1280 Massachusetts Avenue, Cambridge, MA, 02138, U.S.A.
Limited Warranty on Hardware
Mark of the Unicorn, Inc. and S&S Research (“MOTU/S&S”) warrant this equipment
against defects in materials and workmanship for a period of TWO (2) YEARS from
the date of original retail purchase. This warranty applies only to hardware products;
MOTU software is licensed and warranted pursuant to separate written statements.
If you discover a defect, first write or call Mark of the Unicorn at (617) 576-2760 to
obtain a Return Merchandise Authorization Number. No service will be performed on
any product returned without prior authorization. MOTU will, at its option, repair or
replace the product at no charge to you, provided you return it during the warranty
period, with transportation charges prepaid, to Mark of the Unicorn, Inc., 1280
Massachusetts Avenue, MA 02138.You must use the product’s original packing
material for in shipment, and insure the shipment for the value of the product. Please
include your name, address, telephone number, a description of the problem, and
the original, dated bill of sale with the returned unit and print the Return Merchandise
Authorization Number on the outside of the box below the shipping address.
This warranty does not apply if the equipment has been damaged by accident,
abuse, misuse, or misapplication; has been modified without the written permission
of MOTU, or if the product serial number has been removed or defaced.
ALL IMPLIED WARRANTIES, INCLUDING IMPLIED WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE
LIMITED IN DURATION TO TWO (2) YEARS FROM THE DATE OF THE
ORIGINAL RETAIL PURCHASE OF THIS PRODUCT.
THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE
AND IN LIEU OF ALL OTHERS, ORAL OR WRITTEN, EXPRESS OR IMPLIED.
No MOTU/S&S dealer, agent, or employee is authorized to make any modification,
extension, or addition to this warranty.
MOTU/S&S ARE NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR
CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF
WARRANTY, OR UNDER ANY LEGAL THEORY, INCLUDING LOST PROFITS,
DOWNTIME, GOODWILL, DAMAGE OR REPLACEMENT OF EQUIPMENT
AND PROPERTY AND COST OF RECOVERING REPROGRAMMING, OR
REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH
MOTU/S&S PRODUCTS.
Some states do not allow the exclusion or limitation of implied warranties or liability for
incidental or consequential damages, so the above limitation or exclusion may not
apply to you. This warranty gives you specific legal rights, and you may have other
rights which vary from state to state.
MOTU, Mark of the Unicorn and the unicorn silhouette logo are trademarks of Mark
of the Unicorn, Inc. Apple, the Apple Logo and Final Cut Pro are registered
trademarks of Apple, Inc. All other trademarks are the property of their respective
owners.
This equipment has been type tested and found to comply with the limits for a Class A digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with the instruction manual,
may cause harmful interference to radio communications or television reception. However, there is no
guarantee that interference will not occur in a particular installation. If this equipment does cause
interference to radio or television equipment reception, which can be determined by turning the
equipment off and on, the user is encouraged to try to correct the interference by any combination of the
following measures:
• Relocate or re-orient the receiving antenna
• Increase the separation between the equipment and the receiver
• Plug the equipment into an outlet on a circuit different from that to which the receiver is connected
If necessary, consult a dealer or experienced radio/television technician for additional assistance.
PLEASE NOTE: only equipment certified to comply with Class A (computer input/output devices,
terminals, printers, etc.) should be attached to this equipment, and it must have shielded interface
cables in order to comply with the Class A FCC limits on RF emissions.
WARNING: changes or modifications to this unit not expressly approved by the party
responsible for compliance could void the user's authority to operate the equipment.
Part 1
Getting Started
4. Internally, the V4HD is divided into four 8-channel banks
of audio I/O: analog, AES/EBU, optical and embedded
(SDI or HDMI). This section shows input and output
activity for the three digital banks. The SRC light
indicates that sample rate conversion is being applied to
an input or output bank.
3. This bank of level meters can be programmed (via the
LCD or software) to display one of four different banks:
analog, AES/EBU, optical or embedded. The LEDs to the
left show which bank you are currently monitoring.
2. The light that is illuminated here tells you which
8-channel audio bank (analog, AES/EBU, optical or
embedded) you are monitoring with the programmable
meter bank to the right. You can monitor input or output
for any bank. Use the LCD or software to choose the
desired bank.
1. These 10-segment level meters are dedicated to the
V4HD’s eight analog audio inputs. The top red ‘over’ LED
illuminates when the signal reaches full scale—for even
just one sample. The second ‘over’ LED below only illuminates momentarily so that you can continue to adjust
level even after clipping has just occurred.
6
1
7. The VIDEO STATUS section provides quick feedback
regarding the V4HD’s current video operation. Repeatedly press the STATUS button (9) to cycle through the
various modes. See “Video Status” on page 96 for
details.
6. The Time Code Display rolls whenever the V4HD is
converting time code, either from the time code input or
perhaps from SDI-embedded time code. It also rolls
during playback from host software (Final Cut Pro) and
reflects the position of the play head on the time line.
5. The CLOCK LEDs indicate the global audio sample rate at
which the V4HD is operating. Use the MOTU Audio Setup
software to set the sample rate or to choose an external
clock source, from which the sample rate will be set.
When no sample clock is currently present, these lights
flash. For example, if you’ve set the V4HD to slave to an
external clock, such as AES/EBU, but there is no clock
signal currently being detected, these lights will flash.
The Time Code Lock LED illuminates when the V4HD is
converting time code.
7
2
3
9
11. This is a standard quarter-inch stereo headphone jack.
From the factory, its output matches analog outputs 1-2
on the rear panel. But it can be programmed to mirror
any other output pair. Use the volume knob above to
control its level.
10. Use these buttons and knob to navigate the settings in
the programmable LCD. For complete details, see “MultiFunction LCD display” on page 97.
9. Repeatedly press the MENU button to cycle through the
main menus in the programmable LCD. Repeatedly press
the STATUS button to cycle through the various video
status modes in the VIDEO STATUS section.
8. The V4HD LCD provides direct access to most of its
settings. Repeatedly press the MENU button (9) to cycle
through the main menus, and then use the PAGE and
CURSOR buttons, along with the VALUE/ENTER knob, to
choose and make settings. For complete details, see
“Multi-Function LCD display” on page 97.
8
11
5
12
13
Push in the knob (so that it clicks) and then turn it to
adjust the volume of the analog outputs 1-2. Again,
the LCD provides temporary feedback as you turn. By
default, the knob controls analog outputs 1-2, but you
can program the knob (via the LCD) to control any
combination of the V4HD’s 32 outputs.
Turn it to adjust headphone volume. The LCD provides
temporary feedback for the headphone level as you
turn the knob.
13. FireWire is a “plug-and-play” protocol. That means that
you can turn off the V4HD and turn it back on (or even
unplug it) without restarting your computer. Keep in
mind, however, that if you wish to change the V4HD’s
settings with the console software, the V4HD needs to be
plugged in and switched on.
■
■
12. The PHONES knob is a rotary encoder that can be pushed
as well as turned:
4
10
Quick Reference: V4HD Front Panel
13
4. Connect blackburst or another video reference to the
VIDEO REF IN. If the V4HD is at the end of the video
sync daisy chain, flip the THRU/TERM switch to the
75Ω TERM position. If you are daisy-chaining another
device, flip it to THRU. This jack also supports
HD Tri-level sync.
3. Connect time code input and output here, to the LTC IN
and LTC OUT. The V4HD supports all standard time
code formats.
2. The V4HD is packed full of state-of-the-art technology
mounted on no less than six separate circuit boards. It
gets hot in there. Be sure to leave plenty of room for
the fan to move air through the V4HD enclosure.Try to
avoid placing the V4HD above other heat sources.
1. The analog video I/O section of the V4HD is equipped
with 12-bit converters that deliver 10-bit capture and
playback, with support for both RGB or YPbPr color
space. Once you’ve connected your SD and HD video
device(s) to the appropriate jacks, you can choose any
input (analog or digital) as a source (from the LCD or
software console) and the V4HD converts to all SD and
HD output formats simultaneously, including the
digital outputs discussed below.
14
1
11
10
3
8. Connect a plasma, LCD, DLP or other HDMI-equipped
monitor here. Alternately, you can connect a DVIequipped device with an adapter cable. The V4HD
supports 8-channel PCM (uncompressed) embedded
7. If you need more than 4 channels of AES/EBU input/
output and/or analog input/output, connect an
8-channel DB25 to XLR breakout cable to these DB25
connectors. When you do so, the rear panel XLR jacks
become disabled. In other words, you can use either
the XLRs or the breakout, but not both at the same
time (8 channels maximum for each bank).
6. If you only need 1 to 4 channels of analog audio input
and output, connect them to these 4 XLR input and
output jacks. If you need 8 channels, connect a breakout cable to the DB25 connectors below. These analog
inputs and outputs are equipped with 24-bit converters that support sample rates from 44.1 kHz up to
192kHz.
5. If you only need 2 or 4 channels of AES/EBU digital
audio I/O, connect them to these XLR jacks. If you
need 8 channels, connect a breakout cable to the
DB25 connector below.
12
2
9
8
5
10. Connect the V4HD to the computer here using any
standard FireWire A (1394a) or FireWire B (1394b)
cable. If you plan to use Apple ProRes 422 HQ (High
Quality) as your HD codec of choice in Final Cut, you
must use FireWire B. If you plan to use DVCProHD, or if
you are working in SD (any supported format), you
can use either FireWire A or B: it doesn’t matter. You
can use the two FireWire B ports to daisy-chain the
V4HD and other FireWire 800 devices to the computer,
with the computer serving as the Firewire host. But be
careful not to overload the FireWire bus with too much
I/O bandwidth.
9. The two ADAT optical (“lightpipe”) ports labeled IN/
OUT provide 8 channels of digital audio input and
output at 44.1 and 48 kHz. At the 2x sample rates
(88.2 or 96 kHz), they provide channels 1-4 (in and
out) and the second set (labeled in blue) provides
channels 5-8 (in and out).When operating the optical
ports at a 2x sample rate, be sure to choose either Type
I or Type II operation, as explained in “ADAT Type” on
page 99.
audio over HDMI, so you could also connect this
output to an HDMI-equipped home theater receiver to
deliver both picture and multi-channel audio.
4
7
6
14. The V4HD has an internal, international, auto-switching power supply. Connect any AC power source from
100V to 240V.
13. Make audio WORD CLOCK connections here. The V4HD
supports word clock sample rates up to 192kHz. If you
need to daisy chain another word clock-equipped
device from the V4HD, connect it to the middle BNC
connector and flip the THRU/OUT switch to THRU.
12. In the event that a firmware update becomes available for the V4HD, you would connect this USB port to
your computer and then use software to download
the new firmware into the V4HD hardware.
11. For 9-pin machine control over an RS-422 equipped
device, such as a VTR or camera, connect it here. This
allows you to control the transport of the device from
Final Cut Pro and use features such as Batch Capture
and Edit to Tape.
Quick Reference: V4HD Rear Panel
Quick Reference: MOTU Video Setup
CHAPTER
This is the video source menu. The V4HD has two video modes:
In Capture/Convert mode, use this menu to choose the source video input on
the V4HD’s rear panel. This is the input that the V4HD routes to all outputs
and the computer. In Playback mode, the Signal Path Diagram displays the
playback signal path (from the computer to the V4HD outputs).
Indicates when the V4HD has
successfully achieved lockup to
the currently selected input or,
in Playback mode, clock source,
which could be the V4HD’s internal clock or the video REF IN jack.
This column shows the various HD
and SD destinations, including HD
and SD outputs on the V4HD itself,
the HDMI output (which can alternately be used for DVI output), and
FireWire Capture (in Final Cut Pro).
This area of MOTU Video Console provides a signal path
diagram (from left to right) for Playback mode or
Capture/Convert mode. The upper path shows HD output and
the lower path shows SD output. As indicated by arrows, some
items are menus from which you can choose settings.
Click a tab to view its settings to the right. The
SETUP tab has global settings, such as the
Playback Only mode button. For complete
details on the settings in these tabs, see
chapter 6,“MOTU Video Setup” (page 41).
Click a tab on the left to
view its settings here.
9
10
Quick Reference: MOTU Audio Setup
CHAPTER
Click the General tab to access these settings.
Check this option if you would like the MOTU
Audio Setup icon to appear in the application
dock as soon as a MOTU interface is detected
(switched on, plugged in, etc.)
If the video features of the V4HD are enabled
(see “Enable Video” on page 50), the only
choice in the Clock Source menu is Video
Clock, and audio always remains resolved to
video. When the V4HD is in Audio Only mode,
this clock source setting determines the clock
source for your V4HD while it operates as an
audio interface. If no digital audio devices
are connected, set this to Internal. The other
settings are for digital transfers (via AES/EBU
or optical) or external synchronization to
other systems.
Click the tabs to access general
MOTU interface settings or
settings specific to the V4HD (or
other connected interface, such as
the Traveler, as shown here.)
This button opens another dialog
that lets you assign your own
customized names to each V4HD
input and output. For example, if
you have a camera plugged into
inputs 1-2, you could name it
Camera Input. Your customized
names then appear in your host
audio application (if it supports
Core Audio input naming).
Choose the global sample rate
for the system here.
Specifies the stereo input and
output pair when the V4HD is
chosen for Mac OS X audio I/O.
This menu lets you choose what you will
hear from the headphone jack.
These menus let you individually
enable or disable the V4HD’s eight
8-channel audio input and output
banks. Disabling unused banks
helps conserve FireWire bus
bandwidth. For details, see “V4HD
tab Settings” on page 73.
The V4HD has a built-in 32-channel, 16-bus
monitor mixer called CueMix. This option
automatically ensures that live audio input
patched through CueMix remains in sync
with the V4HD’s video output. For example, if
there is video conversion delay, CueMix will
also be delayed to match it.
Engages sample rate conversion
on the digital input or output bank
that you choose. See “Sample rate
conversion” on page 31.
Adds delay during playback from
Final Cut so you can align audio
with connected monitors that
have inherent video delay.
Lets you choose the audio bank
you wish to see on the bank of
front panel programmable meters.
Word clock output can either
match the current V4HD system
clock (up to 192kHz) or you can
force it to output the corresponding 1x rate (either 44.1 or 48kHz).
MOTU Audio Setup appears in the dock when you launch it. If the Launch MOTU Audio Setup when hardware becomes
available option is checked (as shown above), the icon appears as soon as you switch on your V4HD interface. If you click
and hold on the dock icon (instead of clicking it) or control-click, you can directly access settings, as shown to the left.
11
12
CHAPTER 1
About the V4HD
OVERVIEW
The V4HD is a FireWire video interface that can
operate in two modes: as a video capture and
playback device for a Mac or as a stand-alone video
converter/distribution hub.
As a video interface, the V4HD connects directly to
a computer via a standard FireWire cable and turns
a Mac desktop or laptop computer into a powerful
HD/SD video production workstation equipped
with all the video and audio I/O needed to produce
broadcast quality HD and SD video material.
In Final Cut Pro, the V4HD supports full-raster
1920 x 1080 HD capture and playback using
Apple’s ProRes 422 codec in both standard and HQ
modes. The V4HD is the ideal all-in-one video
capture solution for any ProRes workflow.
TheV4HD also provides hardware-accelerated
capture and playback of DVCProHD, DVCPro50
and DVCPro25 video streams, plus 8- and 10-bit
uncompressed SD — all with convenient plugand-play FireWire connectivity and CPU-efficient
intra-frame editing.
The V4HD is ideal for a DVCProHD/P2 workflow
because you can immediately play back P2 clips
(either imported or ingested) with no transcoding
necessary. Conversely, you can connect any SD or
HD video source such as an HDV camera, legacy
video deck or DVD player and then capture it
directly as a DVCProHD clip in Final Cut. Many
cameras now feed their uncompressed SDI or
component output directly from the camera’s
optics and image sensor, before compression, for
the best-possible picture quality during capture
with the V4HD.
The V4HD provides hardware-accelerated SD-toHD up conversion for capturing SD sources in
ProRes or DVCProHD format. It also provides
hardware-accelerated HD-to-SD down
conversion.
When the V4HD is not connected to a computer
via FireWire, it operates as stand-alone video
converter/distribution hub, or as a stand-alone
audio mixer.
A wide range of video equipment can be connected
to the V4HD, from legacy SD camcorders and CRT
monitors to the latest HD cameras, video decks,
LCD reference monitors and plasmas — all at the
same time, with no cable swapping.
In all modes, the V4HD dynamically converts the
currently chosen input source to all outputs simultaneously. This allows you to connect all of your
HD and SD gear, choose any source from your
computer desktop and then monitor the source
material in multiple formats simultaneously as you
convert and capture. You can even monitor
material in both HD and SD simultaneously with
hardware-accelerated up/down conversion with
pull-down insertion or removal.
The V4HD provides advanced synchronization
and machine control features, including support
for time code, 9-pin machine control, video
reference and audio word clock. For audio
synchronization, the V4HD employs Direct Digital
Synthesis (DDS), a DSP-driven phase lock engine
that delivers fast lockup times and sub-frame
accuracy.
13
The V4HD is housed in a rugged aluminum alloy
chassis with a standard 19-inch, two-space, rackmountable form factor. Included rack mounting
brackets can easily be removed for convenient
desktop operation.
The V4HD is designed to streamline your video
production workflow, with unified control over all
your video gear from the convenience of your
computer desktop.
FEATURE HIGHLIGHTS
HD/SD FireWire video interface — provides
HD and SD capture and playback for any currentgeneration FireWire equipped computer.
■
■ Plug-and-play connectivity via FireWire 400 or
800 — connects to either a desktop tower or a
portable laptop.
■ Supports Apple Final Cut Pro (Mac) and Adobe
Premiere Pro (Windows).
■ Captures and plays all standard HD and SD
formats up to and including 1080p30 (720p, 1080i,
1080p and 1080PsF).
■ Full-raster Apple ProRes workflow — supports
full-raster capture and playback (1920 x 1080 and
1280 x 720) in Apple’s ProRes 422 HD codec in
both standard and HQ modes. Work with ProRes
clips pixel for pixel in full 10-bit 4:2:2 resolution.
■ Hardware-accelerated DVCPro capture/
playback — provides hardware-accelerated
capture and playback of industry standard
DVCProHD/P2, DVCPro50 and DVCPro25 video
streams to/from Final Cut Pro.
Pristine HD quality and efficient editing —
ProRes and DVCProHD formats provide 10-bit
4:2:2 broadcast quality color and CPU-efficient,
intra-frame native editing.
■
Captures and plays uncompressed SD — 8-bit or
10-bit NTSC or PAL.
■
■ HDMI monitoring — connect a large-format
HD plasma, reference LCD, consumer DLP or
other flatscreen for flexible and affordable “pixel for
pixel” HD monitoring.
■ Broadcast quality hardware-based real time
SD-to-HD up-convert — capture SD while
working in HD; monitor HD when working in SD.
Broadcast quality hardware-based real time
HD-to-SD down-convert — capture HD while
working in SD; monitor SD when working in HD.
■
■ Hardware-accelerated 2:3 or 2:3:3:2 pull-down
insertion and removal — go between film and
NTSC rates in real time, with no rendering
required.
■ Comprehensive up/down conversion formatting
— anamorphic, pillar box, letterbox, 14:9
pillarbox, 14:9 letterbox and full screen.
■ Simultaneous HD/SD operation — connect
multiple HD and SD sources and destinations
simultaneously. Switch HD/SD sources on the fly
while converting to multiple HD/SD destinations.
All outputs are “hot”, regardless of source format.
■ Two rack space form factor with dedicated
connectors — no cable swapping or gangly,
inconvenient breakout cables.
■ Stand-alone operation — converts and
distributes selected input source to all supported
output formats with SD-to-HD up-convert,
HD-to-SD down-convert and pull-down
insertion/removal.
VIDEO I/O
1 x HD-SDI in and out (4:2:2 10-bit) on
independent BNC connectors
■
■ 1 x SD-SDI in and out (4:2:2 10-bit) on
independent BNC connectors
■
1 x extra HD-SDI output connector
■
1 x extra SD-SDI output connector
14
ABOUT THE V4HD
■
1 x HDMI output (4:2:2 10-bit, YCbCr or RGB)
■ Support for DVI output with HDMI-to-DVI
adapter (sold separately)
■ 1 x HD component in and out (10-bit, YPbPr or
RGB) on independent BNCs
■ 1 x SD component in and out (10-bit, YPbPr or
RGB) on independent BNCs
■
1 x composite in and out (10-bit)
■
1 x S-video in and out (10-bit)
■ 12-bit A/D and D/A converters on all analog
video in/out with up to 8x oversampling
VIDEO FORMATS
SD — 576i25 (PAL), 480i29.97 and 486i29.97
(NTSC)
■
■ HD — 720p23.976, 720p24, 720p25, 720p29.97,
720p30, 720p50, 720p59.94, 720p60, 1080p23.976,
1080p24, 1080p25, 1080p29.97, 1080p30,
1080PsF23.976, 1080PsF24, 1080PsF25,
1080PsF29.97, 1080PsF30, 1080i25, 1080i29.97,
1080i30
■ Supported Final Cut Pro HD formats — Apple
ProRes or DVCProHD 720p at all eight frame rates
listed above, plus full-raster (1920 x 1080) ProRes
or DVCProHD 1080 (1280 and 1440 rasters) at all
1080 frame rates listed above
Supported Final Cut SD formats —
Uncompressed 8-bit and 10-bit, DVCPro and
DVCPro 50 at 480p23.976, 480i29.97 and 576i25
■
■ 480p23.976 SD capture and playback with
hardware pull-down insertion/removal
AUDIO I/O
32 channels of simultaneous audio input and
output
■
■ 8 channels of analog in/out at all standard
sample rates from 44.1 to 192kHz
■ 4 x XLR analog in/out — 4-channel direct
connection without a breakout cable
■ 8 channels of AES/EBU digital in/out at sample
rates up to 96kHz
■ 2 x AES/EBU connectors — 4-channel direct
connection without a breakout cable
■ 8-channel HD-SDI and SD-SDI embedded
audio in/out, 24-bit at 44.1 or 48kHz
■ 8-channel HDMI embedded audio output,
24-bit at 44.1 or 48kHz
■ Embeds SDI and HDMI multi-channel audio
streams; de-embeds SDI audio input
■ 8-channel ADAT optical digital audio in/out —
includes a second bank of optical connectors for
8-channel operation at sample rates up to 96kHz
■ Flexible 8-channel sample rate conversion —
apply rate conversion to any 8-channel digital
input or output bank, including AES/EBU,
embedded and optical
■ Front panel headphone jack with dedicated
volume control
■ Programmable front panel volume control for
up to 32 audio outputs — control output level for
any/all outputs, from stereo main outs to 7.1
surround to all 32 outs
■ CueMix FX built-in monitor mixer —
32-channel, 16-bus mixer for monitoring live
inputs from cameras, mic preamps or other audio
sources with virtually no delay.
■ Set up send/return loops to digital mixers and
outboard audio processing.
Multiple CueMix FX mixes — create 16 separate
stereo monitor mixes (4 stereo at 176.4 or 192kHz)
for main outs, headphones, outboard gear send/
return loops, etc.
■
15
ABOUT THE V4HD
■ Audio delay compensation — both fully
automated and programmable controls ensure that
audio always remains perfectly in sync with picture
■ 8 dedicated 10-segment ladder LEDs with clip
indicators for all 8 analog audio ins
■
Audio only mode — operates as a 24 channel
cross-platform audio interface
■ 8 programmable 10-segment ladder LEDs with
clip indicators for displaying any 8-channel bank
(analog, AES/EBU, optical or embedded) in or out
■ Stand-alone operation — mix and monitor with
no computer connected
■ Video status LEDs — quick access to capture/
playback settings for each video format
SYNC AND DEVICE CONTROL
■ Video reference in and thru — resolve to
blackburst, composite or HD Tri-level sync
■ Time code in and out — generate and resolve to
time code (LTC, SD VITC or embedded)
■ RS-422 machine control — control the
transports of a connected camera or video deck
using Final Cut Pro or other machine control host
via standard 9-pin protocol
■ Word clock in, out and thru — continuously
resolve to audio word clock from a digital mixer,
distribution box or other source at sample rates
from 44.1 to 192K
■ Direct Digital Synthesis — DSP-driven phase
lock engine provides ultra-low jitter
■
■ Time code display — provides frame-accurate
time code readout when converting or generating
time code, or during playback from host software
POWER
■ International auto-switching internal power
supply
INCLUDED SOFTWARE AND
COMPATIBILITY
■ Includes MOTU Video Setup software —
graphically displays HD and SD signal path and
provides complete control of all programmable
features and settings
■ Includes CueMix FX software — provides onscreen mixing of all 32 audio channels of analog
and digital audio input and output via graphic
mixer with 32 faders
Field upgradable firmware via USB
■
Supports Final Cut Pro 5.1 or later
FRONT PANEL PROGRAMMING AND
MONITORING
■ Access to most settings directly from the front
panel backlit LCD
16
ABOUT THE V4HD
CHAPTER 2
Packing List and Mac System
Requirements
PACKING LIST
PLEASE REGISTER TODAY!
The V4HD ships with the items listed below. If any
of these items are not present in your V4HD box
when you first open it, please immediately contact
your dealer or MOTU.
Please register your V4HD today. There are two
ways to register.
■
One V4HD with removable rack ears
■
One FireWire 400 cable
■
One FireWire 800 cable
■
One power cord
■
One V4HD Mac/Windows manual
■
One software installer CD
■
Product registration card
MAC SYSTEM REQUIREMENTS
The V4HD system requires the following Mac
system:
■ Visit www.motu.com/registration to register
online
OR
■ Fill out and mail the included product
registration card
As a registered user, you will be eligible to receive
technical support and announcements about
product enhancements as soon as they become
available. Only registered users receive these
special update notices, so please register today.
Thank you for taking the time to register your new
MOTU products!
■ A G5 Power Mac or faster equipped with at least
one FireWire port; a multi-processor Intel Mac is
recommended
■ At least 1 GB (gigabyte) of RAM (2 GB or more
is recommended)
■
Mac OS X (version 10.4.9 or later)
■
A large hard drive (preferably at least 500 GB)
17
18
PACKING LIST AND MAC SYSTEM REQUIREMENTS
CHAPTER 3
Installing the V4HD Hardware
OVERVIEW
Here’s an overview for installing the V4HD:
SD and HD video over FireWire . . . . . . . . . . . . . . . . . . . . . .
Connect the V4HD to your computer . . . . . . . . . . . . . . . .
Connect video inputs and outputs. . . . . . . . . . . . . . . . . . .
Example V4HD video connections. . . . . . . . . . . . . . . . . . .
Connect audio inputs and outputs . . . . . . . . . . . . . . . . . .
Example V4HD audio connections. . . . . . . . . . . . . . . . . . .
Video sync connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Time code connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Audio word clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
RS-422 machine control . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Syncing digital audio devices . . . . . . . . . . . . . . . . . . . . . . . .
19
20
21
23
24
26
27
27
27
28
29
SD AND HD VIDEO OVER FIREWIRE
The V4HD connects to your computer via a single
FireWire connection. Two FireWire formats are
provided on the V4HD rear panel:
FireWire format
Technical name
Bit rate
FireWire A
IEEE 1394a
400 Mb/sec
FireWire B
IEEE 1394b
800 Mb/sec
FireWire A operates at 400 Megabits per second
(Mb/sec) and FireWire B operates at 800 Mb/sec. If
you are working with uncompressed SD or any
form of DVCPro, you can use either FireWire A
(400) or B (800). If you are working with Apple
ProRes 422, especially in HQ (High Quality)
mode, you should use FireWire B (800) for best
results. If you are working with Apple ProRes 422
in standard mode, you can use FireWire A or B. For
further details about working with ProRes (and
other codecs), see “Choosing a workflow” on
page 59.
Daisy-chaining FireWire devices
With the exception of ProRes HQ, FireWire A
provides enough bandwidth for the V4HD to
operate by itself. FireWire A does not, however,
provide enough bandwidth for additional devices
connected to the same bus. So if you connect the
V4HD to the computer via FireWire A, do not
daisy-chain other devices to its FireWire bus.
If you are working with Apple ProRes and the
V4HD’s full raster mode via FireWire B, it is best
not to daisy-chain other FireWire devices on the
same bus, as this could cause bus bandwidth
conflicts and performance issues.
If you are working with uncompressed SD or
DVCPro, FireWire B has enough bandwidth to
allow for the possibility of a second device to share
the bus with the V4HD, which at most requires
approximately half of the bus. However, caution is
advised. Performance will depend on how much
maximum bandwidth the other device requires,
either sustained bandwidth or in bursts. If you have
a very high-performance FireWire B hard drive, for
example, you will likely be better off connecting it
to a separate FireWire bus, either supplied by the
motherboard of your computer or by a 3rd-party
add-on PCI card adaptor.
Multiple FireWire ports
If your computer supplies multiple FireWire ports,
that doesn’t necessarily mean they operate on
completely separate FireWire busses. In fact,
chances are good that they share the same bus,
even FireWire A and B ports. The final generation
of PowerPC G5 computers, along with all current
generation Intel-based Macs (Mac Pro, MacBook,
MacBook Pro, etc.), provide multiple FireWire
ports in both FireWire A and B formats, but in each
19
case, all ports (both A and B) share the same
internal FireWire bus. So plan accordingly for your
FireWire resources. In addition, keep in mind that
if you connect a FireWire A device, it can slow the
entire bus to whenever the device is active on the
bus, so any connected FireWire B devices may not
be able to operate at their full performance levels at
all times. (If the FireWire A device is not active,
however, it won’t affect the bus.)
CONNECT THE V4HD TO YOUR COMPUTER
1 Plug one end of the V4HD FireWire cable into
the FireWire socket on the computer as shown
below in Figure 3-1. If you plan to use Apple’s
ProRes HQ (High Quality) codec with Final Cut
Pro, you must use the FireWire B connection.
2 Plug the other end of the FireWire cable into the
V4HD I/O as shown below in Figure 3-1.
FireWire is for computer connection only
The V4HD does not serve as a FireWire host: it
only operates as a FireWire client to a host
computer. This means that you cannot connect
cameras, hard drives or other client FireWire
devices to the V4HD when it is operating as a
stand-alone converter (with no computer
connected). When the V4HD is operating in standalone mode, the only way to connect a camera to
the V4HD is through the standard video
connectors (analog, SDI, etc.) For more
information about stand-alone operation, see
chapter 11, “Standalone Operation” (page 93).
Figure 3-1: Connecting the V4HD to the computer.
☛
Only make ONE FireWire connection to the
computer: either FireWire A or B, but NOT both.
20
INSTALLING THE V4HD HARDWARE
CONNECT VIDEO INPUTS AND OUTPUTS
The V4HD provides a wealth of video input and
output connectivity, from consumer analog
formats such as S-video and composite to
broadcast formats such as HD-SDI. Internally, the
V4HD has been designed to support all video
input and output simultaneously, allowing you to
choose any input as the current source signal while
the V4HD simultaneously converts that signal to
all output formats, including real-time encoding
for transfer over FireWire to the computer for
capture in Final Cut Pro.
Keep this in mind as you make your video
connections. For example, you can connect both
SD and HD gear to their respective inputs and
outputs during installation, and simply choose
among them from your computer desktop during
routine operation. In the case of the SD- and
HD-SDI connectors, two outputs are provided,
allowing you to connect four SDI destinations (two
SD and two HD) that share the same output signal.
Support for both NTSC and PAL
The V4HD supports both NTSC and PAL formats
on all inputs and outputs. It does not, however,
convert between NTSC and PAL. Instead, it
operates all inputs and outputs in one format or the
other, as determined by the chosen video source.
For details about choosing a video source, see
“Video Source menu” on page 44.
S-video (Y/C)
Connect any S-video source or destination,
including consumer or prosumer camcorders,
desktop video converters, VTRs, or monitors. For
best results, use standard, high-quality shielded
4-pin mini-DIN S-video cables. You can connect
the same device to both the input and output, or
you can connect two separate devices (one to the
input and the other to the output).
Composite
Connect any composite source or destination,
including consumer or prosumer camcorders,
desktop video converters, VTRs, or monitors. For
best results, use standard, high-quality shielded
video RCA cables. You can connect the same device
to both the input and output, or you can connect
two separate devices (one to the input and the
other to the output).
Component
The component video section provides
simultaneous connection to both HD and SD
component inputs and outputs. The V4HD
provides 10-bit analog performance with 12-bit
A/D and D/A converters. In general, component
video signals tend to be higher quality than
composite or S-video, so to take full advantage of
the component format, be sure to use high quality
shielded BNC cables.
Figure 3-2: The V4HD video connectors.
21
INSTALLING THE V4HD HARDWARE
YPbPr or RGB
The V4HD SD and HD component input and
output sections support YPbPr or RGB operation,
as shown by the color legend on the rear panel.
Pr/R
Y/G
Pb/B
Pr/R
Y/G
Pb/B
Legend
Figure 3-3: The V4HD supports both RGB and YPbPr component
video.
Each of the four banks (SD in, SD out, HD in and
HD out) can be independently configured for
either RGB or YPbPr operation. This setting is
made in the MOTU Video Setup software. For the
component inputs, see “Video Source menu” on
page 44. For the component outputs, see “SD
Component Output Color Mode” on page 51 and
“HD Component Output Color Mode” on page 51.
Be sure that the mode you choose for each bank
matches the component video source or
destination to which it is connected. If the device
you are connecting supports both RGB and YPbPr,
use YPbPr, as it is the standard for broadcast video.
It is also the native color space for DVCPro
compression.
☛
Analog YPbPr component video is sometimes
referred to by other names, such as YUV,
Y/R-Y/B-Y or YCbCr.
SD (480i) component formats
The V4HD supports four different SD component
formats: SMPTE/EBU N10, Sony Beta, Sony Beta
Japan and Panasonic MII. This setting is made in
the MOTU Video Setup software. See “480i
Component Analog Format” on page 49 and “480i
Setup” on page 50. For PAL (576i) and HD
component operation, the V4HD supports the
industry standard SMPTE/EBU N10 specification.
HD-SDI and SD-SDI
The V4HD provides HD-SDI input and output,
together with independent SD-SDI input and
output, in professional, broadcast quality 10-bit
4:2:2 resolution. For both HD- and SD-SDI, a
second output is provided, allowing you to connect
a second SDI output device. For example, you
could connect an HD monitor, HD video deck, SD
monitor and SD video deck, all at the same time,
via the four SDI outputs.
For best results, be sure to use cables that are
designed for SDI use (such as Belden part number
8281, or similar). The V4HD has been designed to
support SDI cable lengths up 500 feet with SDI
rated cables.
HDMI / DVI Output
The V4HD provides an HDMI output, which lets
you connect any device equipped with an HDMI
input. This connector is ideal for connecting a
plasma screen, LCD screen or even a home theater
receiver. The V4HD supports up to 8 channels of
PCM (uncompressed) audio output via the HDMI
connection for devices that can receive digital
audio via HDMI.
DVI Output
Using a HDMI-to-DVI cable, or a female HDMIto-male DVI plug adaptor connected to one end of
an HDMI-to-HDMI cable, you can connect the
V4HD’s HDMI output to the DVI input of another
device, such as a computer monitor. In addition to
the cable connection, you also need to make a
software setting that changes the V4HD’s HDMI
output signal to the DVI format. See “HDMI/DVI”
on page 46.
22
INSTALLING THE V4HD HARDWARE
EXAMPLE V4HD VIDEO CONNECTIONS
and match HD and SD sources and destinations,
connect them all, and then choose the desired
source from the MOTU Video Setup software.
Here is an example of the types of video devices
that you can connect to the V4HD. You can mix
SD TV (LCD or plasma)
HD computer monitor
SD TV (CRT)
SD Component IN
SD camcorder
S-Video IN
HD camera
HD Component IN
HD VTR
DVD Player
HD-SDI IN
SD Component OUT
S-Video OUT
SD Composite OUT/IN
HD Component OUT
HD-SDI IN
SD-SDI IN
SD VTR (VHS, SVHS, etc.)
SD broadcast monitor
HD reference monitor
SD-SDI SD-SDI
OUT
IN
HDMI IN
HD-SDI OUT
SD broadcast VTR
HD camera
Figure 3-4: V4HD video connections.
Large format
consumer plasma or LCD
monitor
23
INSTALLING THE V4HD HARDWARE
CONNECT AUDIO INPUTS AND OUTPUTS
The V4HD provides 32 channels of simultaneous
audio input and output (Figure 3-5), grouped in
four banks of eight channels each: analog,
AES/EBU, optical and embedded (for SDI and
HDMI out). For connecting the first three banks,
see the following sections. For embedded, make
the SDI and/or HDMI connections as described
earlier and then enable embedded audio. See “SDI
Input and SDI/HDMI Output” on page 75.
Analog audio I/O
The V4HD provides eight channels of analog audio
input and output at standard sample rates from
44.1kHz up to 192kHz.
4-channel operation
As shown in Figure 3-5, the Analog Input section
and Analog output section each supply four XLR
connectors directly on the rear panel. These input
and output jacks provide four channels each of
analog input and output via direct connection to
the V4HD rear panel using standard XLR cables.
8-channel operation
If you need eight channels of analog input or
output, a DB25-to-XLR breakout cable
(Figure 3-6) is required (sold separately).
AES/EBU digital I/O
For eight channels of analog input, the breakout
cable requires a male DB25 connector on one end
and eight female XLR connectors on the other end.
For eight channels of analog output, the breakout
cable requires a female DB25 connector on one end
and eight male XLR connectors on the other end.
Female XLRs (for V4HD input)
Male XLRs (for V4HD output)
Figure 3-6: Examples of DB25-to-XLR breakout cables (sold
separately). The cable shown on the left has eight female XLR connectors for eight channels of analog input. For output, you would need a
cable with eight male XLR connectors instead. See Appendix D, “DB25
to XLR Pin Outs” page (111) for pin out information.
Within each section (analog in and analog out),
XLR and breakout cable operation are mutually
exclusive. You cannot use both the XLR jacks and
the breakout cable at the same time.
☛
For best performance (and to avoid issues
with termination and impedance levels), do not
connect cables to the rear panel XLR jacks and the
DB25 cable in the same section at the same time.
Analog Inputs
Analog Outputs
Optical digital I/O
Figure 3-5: The V4HD audio connectors.
24
INSTALLING THE V4HD HARDWARE
AES/EBU digital audio I/O
The V4HD provides eight channels of 24-bit
AES/EBU digital audio input and output at
standard sample rates from 44.1 kHz up to 96 kHz.
4-channel vs. 8-channel operation
As shown in Figure 3-5, the AES/EBU section
supplies four XLR connectors directly on the rear
panel. These input and output jacks provide four
channels each of AES/EBU digital input and output
via direct connection to the V4HD rear panel using
standard AES/EBU-grade cables.
Similar to the analog section, as explained in
“8-channel operation” on page 24, the V4HD
provides eight channels of AES/EBU input or
output using a DB25-to-XLR breakout cable (sold
separately). However, the requirements for this
cable are different than those for the analog
section. The AES/EBU breakout cable supplies 8
channels of AES/EBU input on four female XLR
connectors and 8 channels of AES/EBU output on
four male XLR connectors, as shown in Figure 3-7.
Figure 3-7: An example of a DB25-to-XLR breakout cable (sold
separately) for 8-channel AES/EBU input and output. This cable has
four female XLR connectors and four male XLR connectors. See
Appendix D, “DB25 to XLR Pin Outs” page (111) for pin out details.
Similar to the analog section, XLR and breakout
cable operation in the AES/EBU section are
mutually exclusive. You cannot use both the XLR
jacks and the breakout cable at the same time.
☛
For best performance (and to avoid issues
with termination and impedance levels), do not
connect cables to the rear panel XLR jacks and the
DB25 cable in the same section at the same time.
Synchronization and sample rate conversion
When making AES/EBU digital audio transfers to
and from the V4HD, the two devices must be
synchronized with one another, or you must
employ the V4HD’s sample rate conversion. See
“Syncing digital audio devices” on page 29.
ADAT optical digital I/O
The V4HD provides 8-channel ADAT optical
digital input and output at 44.1, 48, 88.2 and 96
kHz. The V4HD rear panel provides two sets of
ADAT optical (“lightpipe”) connectors to support
8-channel operation even at the 2x sample rates
(88.2 or 96 kHz).
Reminder: optical goes OUT to IN and IN to OUT.
Input and output are independent. For example,
you could connect ADAT optical input from your
digital mixer and connect the output to another
optical-equipped device.
Optical operation at 44.1 or 48 kHz
When connected to an ADAT “lightpipe”
compatible device, the two optical connectors
marked IN and OUT provide eight channels of
digital input and output at 44.1 and 48 kHz.
In addition, when operating the V4HD at a 1x
sample rate (either 44.1 or 48 kHz), optical output
is duplicated on the second optical output marked
5-8@96K. This lets you send the V4HD’s 8-channel
ADAT optical output to two separate destinations
in your studio, if needed.
Optical operation at 88.2 or 96 kHz
When operating the V4HD at the 2x sample rates
(88.2 or 96 kHz), the two optical connectors
marked IN and OUT provide channels 1-4 (in and
out) and the second set of optical connectors
marked 5-8@96K provide channels 5-8 (in and
out) when connected to another optical device that
supports 88.2/96 kHz optical sample rates.
25
INSTALLING THE V4HD HARDWARE
When operating the optical ports at a 2x sample
rate, be sure to choose either Type I or Type II
operation, as explained in “ADAT Type” on
page 99.
Synchronization and sample rate conversion
When making optical digital audio transfers to and
from the V4HD, the two devices must be
synchronized with one another, or you must
employ the V4HD’s sample rate conversion. See
“Syncing digital audio devices” on page 29.
EXAMPLE V4HD AUDIO CONNECTIONS
Figure 3-8 shows an example of the types of audio
connections you can make between other devices
and the V4HD. You can mix and match analog and
digital sources and destinations, connect them all,
and then mix them using the CueMix FX software.
The 8-channel banks of optical and AES/EBU
digital I/O are ideal for connection to a digital
mixer.
Powered monitors
Camera
16 channels of digital audio I/O
(8 channels of optical plus
8 channels of AES/EBU)
Digital mixer
VTR
Figure 3-8: V4HD audio connections.
26
INSTALLING THE V4HD HARDWARE
VIDEO SYNC CONNECTIONS
AUDIO WORD CLOCK
Connect a video sync source, such as blackburst, to
the VIDEO REF IN jack (Figure 3-9). This input
accepts either a Bi-level (SD) sync source or a
Tri-level (HD) sync source. The V4HD can resolve
to a VIDEO REF IN signal only when it is in
Playback mode. When it is in Capture or Convert
mode, it genlocks to the current video source. For
further information, see “Playback Clock Source”
on page 53.
The V4HD word clock connectors (Figure 3-10)
allow you to synchronize it with any other word
clock-equipped device.
Video ref termination and “thru”
The V4HD lets you daisy-chain the VIDEO REF
signal to another video device using the THRU
jack below the VIDEO REF jack. If you connect a
device to the THRU jack, set the termination
switch (Figure 3-9) to the THRU position.
If the V4HD is the only device (or the last device in
a daisy-chain), set the termination switch to the
75Ω TERM position. This is crucial for successful
genlock.
Figure 3-10: Audio word clock connectors.
For standard word clock sync, you need to choose
an audio clock master. In the simplest case, you
have two devices and one is the word clock master
and the other is the slave as shown in Figure 3-15.
When the video features of the V4HD are disabled
(see “Enable Video” on page 50) and the V4HD is
operating as an audio interface, you can resolve the
V4HD to another device: connect its word clock
output to the V4HD’s WORD IN jack
(Figure 3-11).
Digital audio synchronizer
Audio
clock
Master
Figure 3-9: Video sync connectors.
TIME CODE CONNECTIONS
Connect any time code source, such as the time
code output from a camera or VTR, to the LTC IN
jack (Figure 3-9). If you wish to transmit time code
from the V4HD to another device, connect the
V4HD LTC OUT to the time code input on the
other device. See chapter 10, “MOTU SMPTE
Setup” (page 87) for information about managing
the V4HD’s time code features.
Word clock OUT
Word clock IN
Slave
V4HD
Figure 3-11: Slaving the V4HD to word clock. For the V4HD clock
source, choose ‘Word Clock In’. This configuration is only supported
when the V4HD is running in Audio Only mode (video features are
disabled).
27
INSTALLING THE V4HD HARDWARE
To resolve another device to the V4HD (even when
video is enabled), connect the V4HD’s WORD
OUT jack to the word clock input on the other
device (Figure 3-12).
Master
V4HD
Word clock OUT
Word clock IN
Slave
Forcing a 1x word out rate
When the V4HD is operating at a 2x or 4x sample
rate, it can generate a word clock output signal that
either matches the current system clock rate (any
rate between 88.2 and 192kHz) or the
corresponding 1x rate. For example, if the V4HD is
operating at 192kHz, you can choose to generate a
word out rate of 48kHz. For details on how to make
this word clock output setting, see “Word Out” on
page 77.
RS-422 MACHINE CONTROL
Other device
Figure 3-12: Slaving another digital audio device to the V4HD via
word clock. For the V4HD clock source, choose ‘Video Clock’ or, if the
V4HD is in Audio Only mode, any other clock source besides word
clock.
If you have a VTR or other device equipped with
Sony 9-pin compatible machine control, and you
would like to control it using Final Cut Pro’s
machine control features, connect its RS-422 port
to the V4HD’s RS-422 port (Figure 3-13). Also see
“Device control” on page 66.
Word clock out/thru
The V4HD provides a third word clock output that
can function either as a second output or as a word
clock thru jack. Just set the accompanying switch
as desired. In Thru mode, termination is disabled
so that you can daisy chain another word clock
device. Make sure the device has its own proper
termination for the end of the word clock chain.
Slaving to a 2x and 1/2x word clock
The V4HD has the ability to slave to a word clock
signal running at either twice or half their current
clock rate. For example, the V4HD could be
running at 96 kHz while slaving to a 48 kHz word
clock signal from another device. Similarly, the
V4HD could run at 88.2 kHz and slave to 44.1 kHz
word clock. Conversely, the V4HD could run at
48 kHz and slave to a 96 kHz word clock signal.
RS-422 IN
VTR or other device equipped
with machine control
Figure 3-13: RS-422 machine control.
Remember, the word clock signal must be one of
the following:
■
the same as the V4HD clock
■
twice the V4HD clock
■
half of the V4HD clock
28
INSTALLING THE V4HD HARDWARE
SYNCING DIGITAL AUDIO DEVICES
Master
If you would like to transfer audio digitally between
the V4HD and another device that has AES/EBU or
ADAT optical digital I/O, there are three basic
scenarios in which the V4HD could make a digital
audio transfer:
The V4HD video features are enabled and it is
therefore resolved to its video clock.
■
■ The V4HD video features are disabled, and you
are running the V4HD as an audio interface (see
“Audio only” on page 39).
Regardless of the V4HD’s current operational
mode, you would like to use the V4HD’s digital
audio sample rate conversion feature.
■
Slave
Master
Slave
Slave
Figure 3-15: Without sample rate conversion, you need to choose a
clock master to which all other devices slave. Each slaved device
remains continuously resolved to the master, meaning that there will
be no drift over time.
Audio phase lock as shown above in Figure 3-15
can be achieved independently of time code
(location). For example, one device can be the time
code master while another is the clock master. But
only one device can be the audio clock master.
The audio clock synchronization requirements for
these three scenarios are described in the following
sections, starting with a general discussion of
digital audio phase lock, and why it is essential for
clean and successful digital audio transfers.
Another benefit of direct master/slave clocking
(without sample rate conversion) is that each
slaved device remains continuously resolved to the
master, which means that there will be no gradual
drift over time. This form of synchronization is
best for audio that must remain resolved to picture.
Digital audio phase lock
Without sample rate conversion, when you transfer
digital audio between two devices, their audio
clocks must be in phase with one another — or
phase-locked — as demonstrated below in
Figure 3-14. Otherwise, you’ll hear clicks, pops,
and distortion in the audio, or perhaps no audio at
all.
Audio synchronization when capturing,
converting or playing video
When the V4HD is capturing, converting or
playing video (as further explained later in “Five
modes” on page 37), its audio clock (see “Clock
Source” on page 73) resolves to its video clock. The
V4HD has three possible sources for video clock:
Not phase-locked
Phase-locked
Device A
Device B
Figure 3-14: When transferring audio without sample rate conversion, two devices must have phased-locked audio clocks to prevent
clicks, pops or other artifacts.
Without sample rate conversion, there are two ways
to achieve phase lock: slave one device to the other,
or slave both devices to a third master clock. If you
have three or more digital audio devices, you need
to slave them all to a single master audio clock.
■ The currently chosen video source (Figure 6-3
on page 43 and Figure 6-5 on page 44)
■
The VIDEO REF IN jack
■ The V4HD’s own internal video clock, when it is
playing from the computer, or in Playback only
mode (page 38)
Resolving to the current video source
If the V4HD is transmitting or receiving digital
audio from the current video source, the video
genlock between the two devices ensures that their
digital audio clocks remain resolved and phase
locked, as demonstrated in Figure 3-16:
29
INSTALLING THE V4HD HARDWARE
Resolving a digital mixer to the V4HD
If the V4HD is currently operating as a video
interface (i.e. Audio only mode is not enabled), and
you would like to connect a digital mixer via ADAT
optical or AES/EBU (or both), resolve the digital
mixer to the V4HD, either via its optical or
AES/EBU connection, or via word clock, similar to
what is shown in Figure 3-17.
Camera
Video out
AES/EBU out
Video in
AES/EBU in
Figure 3-16: When capturing digital audio from the current video
source, the V4HD genlocks to the source input, which keeps the
digital audio clock properly resolved to the video source audio clock.
Resolving a third device to the V4HD
If you need to make digital audio transfers between
the V4HD and third device (that is not the current
video source), you must resolve the third device to
the V4HD, as demonstrated in Figure 3-17. In this
example, the third device, a field recorder, is being
resolved to the V4HD via word clock. Alternately, it
could be resolved via AES/EBU or ADAT optical
input.
Camera
Video in
Word clock
in
Digital audio transfers in Playback only mode
When the V4HD is in Playback only mode (see
“Playback / Playback only” on page 38), resolve
other digital audio devices to the V4HD, either via
their optical or AES/EBU connection, or via word
clock, similar to what is shown in Figure 3-17.
Audio synchronization in ‘Audio only’ mode
If the V4HD video features are disabled with
“Audio only” mode (page 39), then the V4HD
operates as an audio interface with a variety of
options for digital audio clocking (without
requiring sample rate conversion). You can resolve
other digital audio devices to the V4HD or vice
versa, using word clock or their digital audio
connections (ADAT optical or AES/EBU).
Video out
Word clock
out
Resolving to the VIDEO REF IN
If the V4HD is currently resolved to its VIDEO
REF IN, you can either resolve the other digital
audio device to the V4HD (Figure 3-17), or you
can resolve the other device to the same genlock
source that is feeding the V4HD’s VIDEO REF IN.
In this scenario, the genlock source serves as a
master clock to which both the V4HD and the
other device are resolved (Figure 3-15).
AES/EBU in
If you choose the V4HD as the clock master, set its
audio clock source (“Clock Source” on page 73) to
Internal and resolve the other device to its word
clock or digital audio connection to the V4HD.
AES/EBU out
Field audio recorder resolved
to its word clock input
Figure 3-17: Capturing digital audio from a third device that is not
the current video source. In this case, the third device must resolve to
the V4HD via word clock in, AES/EBU input or ADAT optical input.
30
INSTALLING THE V4HD HARDWARE
If you choose the other device, such as a digital
mixer, as the clock master, resolve the V4HD to it
via word clock in, AES/EBU in or ADAT optical in,
as demonstrated below in Figure 3-18.
Master
Sample rate conversion
The V4HD is equipped with one 8-channel bank of
real-time sample rate conversion that can be
assigned to any individual input or output bank
using the “Sample Rate Convert” software option
(page 75). This feature provides a great deal of
flexibility in making digital transfers. For example,
you can:
Other device
AES/EBU OUT
AES/EBU IN
V4HD clock source
setting: AES/EBU
V4HD
V4HD Sample Rate
Conversion setting: None
Slave
Figure 3-18: Slaving the V4HD to an AES/EBU device. For the V4HD’s
clock source, choose ‘AES/EBU’.
Or you can resolve both the mixer and the V4HD
to a third clock master device.
‘House’ word clock master
■ Transfer digital audio into the V4HD at a sample
rate that is completely different than the V4HD
system clock rate.
■ Transfer digital audio into the V4HD without the
need for any external synchronization
arrangements.
■ Transfer digital audio out of the V4HD at double
or half the V4HD system clock rate.
■ Transfer digital audio running at a 1x or 2x
sample rate (from 44.1 kHz to 96 kHz) in or out of
the V4HD while the V4HD is running at a
corresponding 4x sample rate (176.4 or 192 kHz)
Rate conversion does not add any appreciable noise
to the audio signal (under -120 dB).
(Slave)
Word clock IN
Other device
AES/EBU OUT/IN
(Slave)
V4HD
Word clock IN
AES/EBU IN/OUT
V4HD clock source:
Word Clock In
V4HD Sample Rate
Conversion setting:
None
Figure 3-19: In this scenario, the V4HD and other AES/EBU device are
both resolved to one another via a third master word clock source.
With sample rate conversion (SRC), an extra level
of master/slave clocking is added to the equation,
as demonstrated below in Figure 3-20, which
shows the clocking going on when you transfer
digital audio from the V4HD(AES/EBU out) to a
video deck (AES/EBU in) using SRC. Notice that
with SRC, the video deck is not slaved to the
V4HD’s system clock. Instead, their clocks are
running completely independently of one another.
But also notice that the video deck must still slave
to the sample-rate-converted output from the
V4HD for a clean digital audio transfer (unless it
has its own sample rate converter on its AES/EBU
input).
31
INSTALLING THE V4HD HARDWARE
Camera
V4HD master clock
V4HD Sample
Rate converter
(master)
Input
clock
(slaves to V4HD master clock)
Output
clock
Video out
Video in
(master*)
ADAT optical in
Video deck
V4HD clock source
setting: Video Clock
V4HD Sample Rate
Conversion setting:
ADAT Optical in
(slaves to V4HD SRC output clock)
Figure 3-20: Clock relationships when sending audio from the V4HD
to a video deck using sample rate conversion. The video deck needs to
be slaving to its AES/EBU input. *Note: the V4HD AES/EBU output can
be clocked from a number of different sources. In this example, it is
resolved to the V4HD system clock. For details about other possible
clock sources, see “Rate convert options for digital audio output”
below.
ADAT optical out
Digital mixer running under
its own digital audio clock
Here are a few examples:
Figure 3-22: Capturing digital audio from a device that is not resolved
with the V4HD. In this case, sample rate conversion is used.
Other device
Master
AES/EBU OUT
AES/EBU IN
V4HD
Slave
Figure 3-21: Rate-converting AES/EBU input.
V4HD clock source
setting: Internal
V4HD Sample Rate
Conversion setting:
AES In
A caution about using rate conversion
Rate conversion can be a life saver in situations
where resolving digital audio clocks is difficult or
impossible. However, when you do so, you run the
risk of the audio drifting apart from picture over
time. If the audio clip being captured is short, this
may not be an issue. But for longer record/playback
passes (more than a few minutes), you are much
better off resolving the V4HD to picture during the
digital audio transfer.
Most devices employ a clock crystal that has an
accuracy of ±50 parts per million, which produces
drift that amounts to approximately one frame
every five minutes at 60 fps.
Rate convert options for digital audio output
The V4HD digital audio output banks can also
employ sample rate conversion. For details see
“Sample Rate Convert” on page 75.
32
INSTALLING THE V4HD HARDWARE
CHAPTER 4
Installing the V4HD Mac OS X
Software
SOFTWARE INSTALLATION FOR MAC OS X
Install the V4HD software as follows:
1 Insert the V4HD Installer CD and launch the
installer.
2 Follow the installer’s directions.
What does the OS X installer do?
The installer checks the computer to make sure it
satisfies the minimum system requirements for
your MOTU video interface. If so, the installer
proceeds with the OS X installation. Drivers are
installed, along with Final Cut Pro Easy Setups and
several support applications, summarized in the
table below.
V4HD Easy Setups for Final Cut Pro
Easy Setups are a convenient way to universally
configure all of the crucial settings for the V4HD in
Final Cut Pro, according to video format you
choose for your project. The V4HD Easy Install
option installs dozens of Easy Setups for your
convenience.
Software component
Location
Purpose
For more information
MOTUFireWireVideoConfig.kext
/System/Library/
Extensions
Provides V4HD video input and output for
Final Cut Pro via FireWire.
-
MOTUFirewireAudio.kext
/System/Library/
Extensions
Provides V4HD multi-channel audio input
and output for Final Cut Pro via FireWire.
-
MOTUVOut.component
/Library/Quicktime
Provides support for the V4HD’s video features.
-
FCP MOTU RT Enabler.txt
Library/Application
Support/Final Cut
Pro System Support/
Plugins
Provides real time output to the V4HD’s video
outputs.
-
MOTU V4HD Easy Setups
Library/Application
Support/Final Cut
Pro System Support/
Custom Settings/
Provides over 60 Easy Setups for Final Cut
Pro’s Easy Setup feature. These help you
quickly configure Final Cut for the V4HD.
See “Easy setups” on page 58
MOTU Video Setup
Applications folder
Provides access to all of the V4HD’s video settings.
See chapter 6, “MOTU
Video Setup” (page 41)
MOTU Audio Setup
Applications folder
Provides access to all of the audio settings in
the V4HD and other MOTU interfaces connected to the computer.
See chapter 8, “MOTU
Audio Setup” (page 71)
MOTU SMPTE Setup
Applications folder
Provides access to the V4HD’s time code sync
features.
See chapter 10, “MOTU
SMPTE Setup” (page 87)
CueMix FX
Applications folder
Gives you complete control over the V4HD’s
CueMix mixing feature, which provides nolatency monitoring and mixing of live inputs
through your V4HD system.
See chapter 9, “CueMix FX”
(page 79)
33
34
INSTALLING THE V4HD MAC OS X SOFTWARE
Part 2
Video Operation
CHAPTER 5
V4HD Basics
ONE INPUT TO ALL OUTPUTS
The basic design concept of the V4HD is that you
choose a video input and the V4HD sends the
signal to all outputs, converting the signal where
necessary to conform to the output format,
regardless of the input signal format. Most
common conversions are supported, although not
all. In those few cases, the corresponding output
does not produce a signal.
This allows you to simultaneously connect a
number of input devices, such as cameras, video
decks, DVD players, etc., along with a number of
output devices, such as monitors, video decks and
other destinations. Then choose the desired input
device and the V4HD will feed that signal to all
output destinations simultaneously.
The settings in the MOTU Video Setup software let
you conveniently manage the V4HD’s many
routing and conversion features.
Think of FireWire as another input or output
FireWire is, of course, the V4HD’s connection to
the computer. However, it might be useful to think
of the FireWire cable as another video input and
output. It can be disabled or chosen as the current
video source, just like one of the video connectors
on the rear panel of the V4HD.
Audio I/O and monitoring
On the audio side of things, the V4HD feeds audio
input to the computer and plays audio back from
the computer, so that you can easily capture and
playback audio in Final Cut Pro. But the V4HD also
has a powerful mixer that lets you route inputs to
outputs, independently of what is going on with
capture and playback on the computer. This
powerful audio monitor mixer is managed from
the CueMix FX software (page 79).
FIVE MODES
The V4HD provides five modes of operation:
■
Capture
■
Convert
■
Playback / Playback only
■
Audio only
■
Standalone (video or audio only)
The current mode is clearly indicated by the
MODE LEDs in the VIDEO STATUS section of the
front panel (Figure 5-1). In some cases, multiple
LEDs may illuminate, such as the Standalone and
Audio only LEDs, to indicate Standalone/audio
only mode.
Mode LEDs
Choosing the current video source
The MOTU Video Setup software lets you choose
the current video source (input). For details, see
“Video Source menu” on page 44. This can also be
done from the front panel LCD. See “Video menu”
on page 98.
Figure 5-1: The MODE bank of LEDs in the VIDEO STATUS section.
37
Capture
The V4HD is in Capture mode when it is connected
to the computer and video software has actively
taken control of the V4HD hardware for the
purposes of capturing video and audio from the
V4HD via the FireWire connection. Here are some
examples of when video software would put the
V4HD into Capture mode:
■ You open the Log and Capture window in Final
Cut Pro. Or you use any Final Cut Pro feature, such
as Edit to Tape, that involves capturing or
previewing the live video input from the V4HD.
■ You run the MOTU Video Setup software and
click the Preview tab (Figure 6-1 on page 41,
Figure 6-26 on page 52). This causes MOTU Video
Setup to “take over” the FireWire video signal
being supplied by the V4HD and display it in the
preview window.
In capture mode, only one software application has
access to the V4HD at a time. For example, when
the Video Setup is the active application and the
Preview tab is selected, Final Cut Pro will not see
the V4HD hardware at all. To give control to Final
Cut Pro, simply switch to Final Cut Pro. For further
information, see “Preview” on page 52.
Even though the primary purpose of Capture
mode is to feed video to the computer via FireWire,
the V4HD continues to simultaneously convert the
source video signal and send it to all video outputs
as well. This allows you to simultaneously monitor
what you are capturing using any combination of
the V4HD’s video outputs. You could even dub the
source signal to a video deck or other video
recorder during capture.
Convert
Convert mode is almost identical to Capture mode
(above), except that the V4HD does not feed video
to FireWire and the computer. However, the
currently selected video source is still fed to all
other V4HD video outputs. Convert mode serves
as a “default” mode for the V4HD, when none of the
other modes are currently engaged.
Playback / Playback only
The V4HD goes into Playback mode when an
application is sending video to it. For example,
Final Cut Pro puts the V4HD into playback mode
when All Frames or Single Frames is selected in the
External Video sub-menu or when using Print to
Video. Otherwise, the V4HD reverts to Convert
mode, or Capture mode when you go into the Log
and Capture window.
Mode
Description
Video
Inputs
active
Video
Outputs
active
FireWire
capture
Capture
FireWire video capture, with all outputs active.
Yes
Yes
Yes
Clock source
Video source
Convert
All outputs active, no FireWire capture.
Yes
Yes
No
Video source
Playback / Playback only
Inputs disabled, playback from Final Cut Pro.
No
Yes
No
V4HD video
clock
Audio only
Video I/O is disabled. V4HD operates as a
FireWire audio interface.
No
No
Audio
only
Audio clock
source (page 73)
Standalone video
V4HD is disconnected from the computer and
operates as a standalone video converter and audio
mixer.
Yes
Yes
No
Video source
Standalone audio
V4HD is disconnected from the computer and
operates as a standalone audio mixer only.
No
No
No
Audio clock
source (page 73)
Figure 5-2: Summary of V4HD modes.
38
V4HD BASICS
The Playback Only (disable inputs) option in the
MOTU Video Setup software Setup tab
(Figure 6-19 on page 48) lets you force the V4HD
to stay in playback mode. Playback Only mode is
useful when you are at a point in your workflow
where you are not doing any capturing. For
example, you may have no inputs connected to the
V4HD hardware, or you may have inputs
connected, but you are not currently using them.
Playback Only mode keeps the V4HD hardware
from switching back and forth unnecessarily
between Playback and Convert (or Capture)
modes.
Audio only
In Audio only mode, all of the V4HD video features
are disabled and the V4HD operates as a
24-channel FireWire audio interface, which
provides three 8-channel banks of analog, AES/
EBU and ADAT optical I/O. (The fourth bank,
embedded audio, is disabled in this mode since
there is no video signal in which the audio could be
embedded.) To engage Audio only mode, go to the
Setup tab in the MOTU Video Setup software
(Figure 6-1 on page 41) and disable the Enable
Video option (Figure 6-19 on page 48).
You must use Audio Only mode if you want to
resolve the V4HD’s digital audio clock to an
external source, such as word clock, ADAT optical
or AES/EBU. For further information, see “Syncing
digital audio devices” on page 29.
Standalone
To put the V4HD in Standalone mode, unplug its
FireWire cable connection to the computer, or turn
off the computer. Standalone mode is very similar
to Convert mode: no video goes to FireWire and
the computer because it is disconnected, but the
currently selected video source is fed to all other
V4HD video outputs.
In standalone mode, you can use the front panel
LCD to put the V4HD into Audio only mode (see
“AV Mode” on page 102). Doing so turns the
V4HD into a standalone 24-channel, 12-bus audio
mixer. You can control the mixer from the front
panel LCD. See “CueMix Menu” on page 99.
39
V4HD BASICS
40
V4HD BASICS
CHAPTER 6
MOTU Video Setup
MOTU Video Setup (Figure 6-1) is installed in
your Mac’s Applications folder and provides
convenient access to all V4HD settings from your
computer desktop.
Genlock LED
Signal path diagram. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Tabbed settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Convert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
The Genlock LED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
The Devices menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Signal path diagram
Tabs
Settings
Figure 6-1: MOTU Video Setup.
41
SIGNAL PATH DIAGRAM
The Signal Path Diagram (Figure 6-2, Figure 6-3)
lets you view and control the V4HD’s hardwarebased video conversion features and signal flow
settings. The Signal path Diagram lets you preconfigure and store independent settings for five
common operational scenarios:
■
Convert and Capture
■
480 playback
■
576 playback
■
720 playback
■
1080 playback
The Signal Path Diagram shows one set of settings
at a time, allowing you to pre-configure and save
unique settings for each of the five situations listed
above. In the case of the four playback formats, the
settings you make for each format will go into effect
when you play back material in that format from
Final Cut Pro.
Playback settings
HD output
signal path
Format
conversion
diagram
In most situations, the Signal Path Diagram lets
you access the settings for a mode, even when the
hardware is not currently in that mode. Displaying
the settings for a mode doesn’t put the V4HD in
that mode. For information about controlling what
mode the V4HD is in, see chapter 5, “V4HD
Basics” (page 37).
Signal path layout
The signal path diagram proceeds from left to
right, with the source menu on the left,
destinations on the right, and controls for each
format placed along the signal path in the form of
informational blocks or menus that let you view
and modify settings. The upper path represents the
V4HD hardware’s HD signal path and the lower
path represents the V4HD hardware’s SD signal
path.
Playback signal path
To view the Playback Signal Path settings, put the
V4HD in Playback only mode (as explained in
chapter 5, “V4HD Basics”), or click the Playback
tab (Figure 6-1). In either case, the signal path
diagram shows the Playback Signal Path
(Figure 6-2).
HD output format
HD destinations
HDMI / DVI
menu
SD output
signal path
HD to SD pullFormat
down format Conversion
menu
SD output
format
SD destinations
Figure 6-2: Playback Signal Path.
42
MOTU VIDEO SETUP
Playback settings menu
The Playback Settings menu (Figure 6-2) lets you
choose one of four sets of playback settings to view
in the signal path diagram. There are separate
settings for 480, 576, 720 and 1080 playback
(Figure 6-4). When you choose a format from this
menu, the settings for the format are displayed in
the Playback Signal Path diagram. When Final Cut
Pro is running, this menu becomes inactive and
simply displays the Final Cut Pro timeline format
and frame rate.
Playback formats
according to the settings you’ve made for that
format. Whenever playback starts, the MOTU
Video Setup software automatically switches to the
Playback tab to show the settings for the format
being played.
Playback frame rate
Choose the desired playback frame rate
(Figure 6-4) you wish to work with in the Playback
Signal Path diagram. The frame rate you choose
here should match what you intend to use in Final
Cut Pro, and it determines what other hardware
settings you’ll see in the Playback Signal Path
diagram, such as up or down conversion formats,
pull-down insertion, etc.
Playback frame rate
Figure 6-4: The Playback Settings menu.
When you play back video from Final Cut Pro, the
V4HD hardware detects the video format being
output by Final Cut Pro and distributes it to the
V4HD hardware HD and SD destinations
Video Source menu
HD output
signal path
Format
conversion
diagram
Convert/Capture signal path
If the V4HD is not in Playback Only mode (as
explained in chapter 5, “V4HD Basics”), click any
other tab besides the Playback tab (Figure 6-1) to
view the Conversion/Capture Signal Path settings in
the signal path diagram (Figure 6-3). Unlike the
four sets of playback settings, there is only one set
of conversion/capture settings. Changing
Conversion/Capture settings in the signal path
diagram changes these settings immediately in the
hardware.
HD output format
HD destinations
HDMI / DVI
menu
Source
format
SD output
signal path
Format
Conversion
menu
SD output
format
SD destinations
Figure 6-3: Convert/Capture Signal Path.
43
MOTU VIDEO SETUP
Video Source menu
The Video Source menu (Figure 6-3) is important
because this is where you choose the video input
from which the V4HD will convert and capture.
Choose any SD or HD source (Figure 6-5), and the
V4HD converts it to all output formats and sends it
over Firewire to the computer.
Letterbox (HD to SD)
Letterboxing is the standard practice of
conforming widescreen film images such as film or
HD to an SD video frame while preserving the
original aspect ratio. Since the SD video frame is
more square than the widescreen frame, the
resulting image has “black bars” or mattes above
and below the image (Figure 6-7).
Source HD image (color bars)
SD frame
Figure 6-5: The Video Source menu.
When you choose a source, the V4HD can autodetect the frame rate and format of the incoming
video (see “Auto Detect Input Format” on page 48).
Format Conversion menu
The Format Conversion menu (Figure 6-3) lets you
choose the formatting for SD to HD up conversion
or HD to SD down conversion. The format
conversion color bar diagram (Figure 6-3)
provides a thumbnail illustrating the resulting
formatting. The color bars represent the original
source signal and the boxed boundary represents
the destination frame.
HD to SD down conversion formats
When an HD source is chosen in the Video Source
menu (Figure 6-5), the format conversion menu
appears along the SD signal path, as demonstrated
in Figure 6-3. The menu provides the following
HD to SD down conversion formatting options:
Figure 6-7: Letterbox formatting.
The Letterbox option (Figure 6-6) preserves the
aspect ratio of the HD source signal while filling
the SD frame edge to edge (left to right). Black bars
are added to fill the unused portion of the frame
above and below (Figure 6-7). No cropping occurs
and the full image is preserved.
14:9 Letterbox (HD to SD)
With the 14:9 Letterbox option (Figure 6-6), aspect
ratio is preserved (Figure 6-8) and some cropping
occurs on the left and right edge, but not as much
as in Full Screen mode (explained below). In
addition, the letterbox bars are smaller. In essence,
this mode scales the image larger than letterbox
mode, but not as much as Full Screen mode, with
less left- and right-edge cropping than Full Screen
mode and smaller letterbox bars.
Figure 6-8: 14:9 letterbox formatting.
Figure 6-6: HD to SD down conversion formatting options.
44
MOTU VIDEO SETUP
Full Screen (HD to SD)
The Full Screen option (Figure 6-6) also preserves
the aspect ratio of the HD image but scales it
proportionally to fill the full height of the SD frame
(Figure 6-9). As a result, the portions of the HD
image that fall outside the frame (along the lefthand and right-hand edges) are cropped. But the
full height of the SD frame is used.
SD to HD up conversion formats
When an SD source is chosen from the Video
Source menu (Figure 6-5), the Format Conversion
menu appears in the HD signal path, as shown
below in Figure 6-11:
Figure 6-11: SD to HD Format Conversion.
Figure 6-9: Full Screen formatting.
Anamorphic (HD to SD)
The Anamorphic option (Figure 6-6) does not
preserve the aspect ratio of the HD image. Instead,
it scales the image to fill the full height of the SD
frame, but it also distorts the HD image
horizontally so it squeezes into the SD frame
(Figure 6-10). As a result, the entire HD image is
preserved, but it appears horizontally compressed.
This option is good for SD material that will be
displayed on a widescreen TV, where it can be
horizontally expanded back to an aspect ratio that
is close to the aspect ratio of the original HD image.
The menu provides the following SD to HD up
conversion formatting options:
Figure 6-12: SD to HD up conversion formatting options.
Pillar Box (SD to HD)
Pillar box formatting is a method for conforming
SD video to an HD video frame while preserving
the original aspect ratio. Since the HD video frame
is more rectangular than SD video, the resulting
image has “black bars” or mattes on either side of
the image (Figure 6-13).
HD frame
Source SD image (color bars)
Figure 6-10: Anamorphic formatting.
Figure 6-13: Pillar Box formatting.
The Pillar Box option (Figure 6-12) preserves the
aspect ratio of the SD source signal while filling the
HD frame top to bottom. Black bars are added to
45
MOTU VIDEO SETUP
fill the unused portion of the frame on either side
(Figure 6-13). No cropping occurs and the full
image is preserved.
14:9 Pillar Box (SD to HD)
With the 14:9 Pillar Box option (Figure 6-12),
aspect ratio is preserved (Figure 6-14) and some
cropping occurs on the top and bottom edge, but
not as much as in Full Screen mode (explained
below). In addition, the pillar box bars are smaller.
In essence, this mode scales the image larger than
Pillar box mode, but not as much as Full Screen
mode, with less top- and bottom-edge cropping
than Full Screen mode and smaller pillar box bars.
Figure 6-14: 14:9 Pillar Box formatting.
Full Screen (SD to HD)
The Full Screen option (Figure 6-12) preserves the
aspect ratio of the SD image, but it scales it proportionally to fill the full width of the HD frame
(Figure 6-15). As a result, the portions of the SD
image that fall outside the frame (along the top and
bottom edges) are cropped. But the full width of
the HD frame is used.
that expands to fill the HD frame (Figure 6-16). As
a result, the entire SD image is preserved, but it
appears horizontally expanded.
Figure 6-16: Anamorphic formatting.
SD/HD output format
The SD output format and HD output format blocks
in the signal path diagram (Figure 6-3) indicate the
specific format and frame rate that the V4HD is
currently converting and sending to its SD and HD
outputs. If the “Auto Detect Input Format” option
(page 48) is set to Manual or Genlock, these blocks
turn into menus from which you can specify the
format being captured and converted from the
source currently chosen in the Video Source menu
(Figure 6-3). When the “Auto Detect Input
Format” is set to Format and Genlock, depending
on the situation, these menus will let you choose
the output format for the non-source path. For
example, if you currently have an SD source, this
menu will let you choose the HD output format.
☛
SD output is disabled when the HD frame rate
is set to 24, 30, or 60 (as opposed to 23.976, 29.97,
or 59.94).
Destinations
The Destinations on the far right of the signal path
diagram (Figure 6-3) display where the HD and SD
video signals go.
Figure 6-15: Full Screen formatting.
Anamorphic (SD to HD)
The Anamorphic option (Figure 6-12) does not
preserve the aspect ratio of the SD image. Instead,
it scales the image to fill the full width of the HD
frame, but it also distorts the SD image vertically so
HDMI/DVI
The HDMI/DVI menu (Figure 6-3) lets you choose
the output format for the HDMI output on the rear
panel of the V4HD. If you choose DVI, you’ll need
an HDMI-to-DVI cable or adapter.
46
MOTU VIDEO SETUP
The V4HD’s HDMI/DVI output can send either
the SD or HD video signal. Use the “HDMI Output
Source” setting (page 51) in the Output tab to
specify either SD or HD. If you choose HD, the
HDMI/DVI block in the signal path diagram
connects to the HD signal path, as shown in
Figure 6-3. If you choose SD, it connects to the SD
signal path, as shown in Figure 6-25.
FireWire
Your host software running on the computer is
represented by the block labeled with the FireWire
icon (Figure 6-3). Notice that this block can be fed
by either the HD or the SD signal path, depending
on the Preview Format setting (Figure 6-26 on
page 52). This block is not present in the Playback
Signal Path diagram (Figure 6-2), since the V4HD
does not feed a signal to the computer in this mode.
The pull-down menu
Pull-down is a process used to convert 23.976 fps
film footage to 29.97 interlaced video. Reverse pulldown, or pull-down removal, can be used to
restore the original film frame rate. These
processes involve the addition or removal of
interlaced video fields. For a complete explanation,
refer to the Final Cut Pro User Manual.
Pull-down insertion is supported in the following
cases:
■ Converting any 23.976 fps HD signal to
480i29.97 (This can be done in any mode: capture,
convert, or playback.)
■ Playing back 480p23.976, converting to
480i29.97 and 23.976 fps HD (720p23.976,
1080p23.976 or 1080PsF 23.976)
■ Playing back 1080p23.976, converting to
1080i29.97 and 480i29.97
■ Playing back 720p23.976, converting to
720p59.94 and 480i29.97
■ Playing back 1080p24, converting to 1080i30
(SD is disabled in this case.)
■ Playing back 720p24, converting to 720p60 (SD
is disabled in this case.)
Pull-down detection and removal
The V4HD automatically detects and removes
pull-down in the following conversion situations:
■ Convert 480i29.97 to 23.976 fps HD (720 or
1080)
Convert 480i29.97 to 23.976 fps HD (720 or
1080) and capture as 480p23.976
■
If the V4HD video source is running at 23.976 or 24
fps, and it is being sent to an output at a different
frame rate (29.97, 30, 59.94 or 60), the signal path
diagram displays a pull-down menu (Figure 6-17)
that lets you choose which cadence of pull-down
will be inserted: either 2:3 or 2:3:3:2 pull-down.
Figure 6-17: Pull-down menu.
If pull-down is detected in the source signal, and
the “Detect Pull-down” option (page 55) is
selected, the V4HD displays the cadence in the
signal path display as shown in Figure 6-18:
Figure 6-18: Pull-down detection.
47
MOTU VIDEO SETUP
TABBED SETTINGS
Use the tabs (Figure 6-1) to view settings for each
tab in the lower right area of the window. Each tab
is discussed in the following sections.
SETUP
The Setup tab (Figure 6-19) has the following
settings.
Auto Detect Input Format
The Auto Detect Input Format option (Figure 6-19)
lets you choose the degree to which the V4HD will
automatically detect the video format for the input
currently chosen in the Video Source menu
(Figure 6-3).
Manual
Choose Manual to specify the format by hand from
the HD and SD output format menus in the signal
path diagram.
Most of the time, you will probably use the Genlock
and Format and Genlock modes discussed below,
which automatically detect the incoming video
signal. However, there may be times when it is
useful for you to be able to manually determine
format. For example, if you are feeding a
compromised video signal to the V4HD, setting the
format manually might produce the best results in
terms of capturing the degraded signal, as the
V4HD may be able to better maintain genlock.
Manual Refresh button
When you choose Manual mode from the Auto
Detect Input Formant menu, the Manual Refresh
button appears in the Setup tab (Figure 6-21).
Click this button to force the V4HD to relock to the
incoming video signal. This may be necessary after
restarting the signal, swapping cables, etc.
Figure 6-21: Manual Refresh button.
Genlock
The Genlock option causes the V4HD to
automatically genlock to the incoming video
signal, but you can still specify the video format,
according to what makes sense, given the
genlocked signal. For example, there is no way for
the V4HD to differentiate 1080i29.97 input from
Figure 6-20: Manually specifying the input format.
Figure 6-19: The Setup tab settings.
48
MOTU VIDEO SETUP
1080PsF29.97 input. The signals are identical but
will be interpreted differently by the V4HD’s down
converter, so in a case like this, you can choose
Genlock and then specify the incoming format
manually in the HD and SD Output Format menus
(Figure 6-3), as explained in “SD/HD output
format” on page 46.
Format and Genlock
The Format and Genlock option (Figure 6-19)
causes the V4HD to fully detect both genlock and
the video format for the current video source.
SDI Output Timecode Format
Use the SDI Output Timecode Format menu
(Figure 6-19) to specify the form of embedded
time code to include in the V4HD SDI output
signal. Choices are LTC, VITC 1 and VITC 2.
480i Component Analog Format
The 480i Component Analog Format option lets
you specify the voltage level standard for the
V4HD’s SD component inputs and outputs when
running at 480i (NTSC). Choices are: EBU N10,
Sony Beta, Sony Beta Japan and Panasonic MII.
Choose the format that best matches the device(s)
connected to the SD component input and output.
Full Raster mode
The V4HD goes into Full Raster mode when you
specify Apple ProRes as the video format for your
Final Cut Pro project. More specifically, the V4HD
goes into Full Raster mode when you choose a
ProRes sequence, capture or playback preset, or
when you specify V4HD (or MOTU) Full Raster
for video input or output (as demonstrated in
Figure 7-4 on page 60). When you are working
with full-raster video, make sure the Full Raster
mode (Figure 6-19) matches the FireWire
connection you are using between the V4HD and
the computer.
FireWire 800 HQ
If you are using FireWire B, choose the FireWire
800 HQ setting. This option is only present in the
menu when the V4HD is connected to the Mac via
FireWire B operating at 800 Mb/s. It is not available
when FireWire A (400) is being used. This option
produces the best possible video quality for full
raster capture and playback with ProRes or any
other other high-quality HD codec with
compression characteristics similar to ProRes HQ
(a compression ratio of approximately 6:1).
FireWire 400 HQ
If you are using a FireWire A connection, choose
FireWire 400 HQ. This setting provides highquality full raster video capture and playback over
a FireWire A, along with at least eight channels of
48 kHz audio. This setting produces the best
possible video quality when circumstances require
the use of a FireWire 400 (FireWire A) connection.
This setting is also permitted when using FireWire
800, and could be used to free up FireWire
bandwidth for other daisy-chained devices or
additional banks of audio.
FireWire 400
The FireWire 400 setting is similar to the
FireWire 400 HQ setting above, except that it allows
for up to three 8-channel banks of 48 kHz audio (or
one 8-channel bank of 96 kHz audio) over a
FireWire 400 connection.
Timecode Source
The Timecode Source menu (Figure 6-19) lets you
specify which time code source you would like the
V4HD to resolve to: Sony 9-pin (via the RS-422
port), the LTC jack on the rear panel of the V4HD,
SDI (embedded) time code from the SDI input
currently chosen in the Video Source menu
(Figure 6-3 on page 43), or SD VITC (vertical
interval time code) from the currently chosen SD
source input.
49
MOTU VIDEO SETUP
480i Setup
The 480i Setup option (Figure 6-19) lets you
choose between USA (7.5%) and Japan (0.0%) for
NTSC composite and S-video input and output.
also allows you to resolve the V4HD to another
digital audio device via its word clock input, AES/
EBU input or ADAT optical input. See “Syncing
digital audio devices” on page 29.
Timecode Destination
The Timecode Destination menu (Figure 6-19) lets
you specify the video destination for timecode
generated or regenerated by the V4HD. You can
choose None, SD VITC (vertical interval time
code), SD-SDI or HD-SDI. For the SDI options, the
time code is encoded as standard embedded time
code in the chosen SDI stream. This setting also
determines the time code format to be transmitted
from the V4HD’s LTC output jack on the rear
panel. For example, if you choose SD-SDI, then the
LTC output will generate pull-down time code
aligned to the SD outputs. This distinction is
important, for instance, when converting 23.976
fps HD video to 29.97 fps SD video. In this case,
this setting determines whether the LTC output
consists of 30 frame or 24 frame timecode.
Playback Only (disable inputs)
The Playback Only (disable inputs) option
(Figure 6-19) lets you disable the video inputs on
the V4HD. When this option is enabled, the
FireWire capture portion of the signal path
(Figure 6-3) disappears, as no capturing or
converting is possible. This mode is useful at times
during your workflow when you are playing back
video from your host software (during editing,
etc.) but you are not actively capturing or
converting. For example, this mode is
recommended when you have no video inputs
connected to the V4HD.
Enable Video
The Enable Video option (Figure 6-19) enables or
disables all of the V4HD’s video features. When
they are disabled, the V4HD operates as a
24-channel audio interface and mixer, or as a
stand-alone mixer. Disabling the video features
Figure 6-22: The Output tab settings.
50
MOTU VIDEO SETUP
OUTPUT
The Output tab (Figure 6-22) provides settings for
the V4HD video outputs.
480i Broadcast Legalizer
Video with highly saturated colors may result in a
composite signal which is too “hot” to broadcast.
The 480i Broadcast Legalizer menu (Figure 6-22,
Figure 6-23) controls the V4HD’s SD Broadcast
Legalizer module, which desaturates any overly
saturated pixels to bring the composite signal
within the specified limit. For example, selecting
120 IRE guarantees the output will never exceed
120 IRE units. Only pixels that exceed the chosen
limit are affected and brought within range.
The Soft options provide a more gentle slope to the
filter, adjusting pixels above and below the chosen
limit to produce better results, but in the end still
capping all pixels to the chosen limit.
576i Broadcast Legalizer
The 576i Broadcast Legalizer menu (Figure 6-22,
Figure 6-24) controls limiting the PAL composite
output in a similar manner as discussed above for
NTSC composite output, except that the levels for
PAL are expressed in millivolts (mV).
Figure 6-24: 576i Broadcast Legalizer menu.
SD Component Output Color Mode
Choose either the RGB or YPbPr color space
(Figure 6-22) for SD Component output.
HD Component Output Color Mode
Choose either the RGB or YPbPr color space
(Figure 6-22) for HD Component output.
Composite video consists of both a chroma and a
luma component. The < 50 options further restrict
V4HD composite output by ensuring that the
chroma does not exceed 50 IRE units.
HDMI Output Source
The V4HD always outputs both SD and HD video
signals, converting the currently chosen source as
necessary to produce both formats simultaneously.
The V4HD’s HDMI output jack can output either
the HD or SD signal. Use the HDMI Output Source
setting (Figure 6-22) to choose SD or HD for the
HDMI output. For example, if you choose SD, the
HDMI output destination in the signal path
diagram connects to the SD path as shown below
(Figure 6-25):
Figure 6-23: 480i Broadcast Legalizer menu.
Figure 6-25: Sending SD video to the HDMI output.
51
MOTU VIDEO SETUP
PREVIEW
The Preview tab (Figure 6-26) lets you preview the
video signal being received from the currently
selected input in the Video Source menu
(Figure 6-3). Choose the desired Preview Format
(SD or HD) from the menu provided. If up
conversion or down conversion is being applied,
the “Format Conversion menu” on page 44
determines how the signal is formatted within the
preview frame.
If you don’t see the source video signal
If you have trouble getting the source video signal
to appear in the preview frame, try checking the
“Auto Detect Input Format” setting in the Setup tab
(Figure 6-19) and make sure it is set to Format and
Genlock. Also check the Genlock LED (Figure 6-1).
The Preview tab and Final Cut Pro
Final Cut Pro takes over the V4HD hardware when
it is the front-most (active) application. MOTU
Video Setup does the same. Therefore, the preview
window only works when MOTU Video Setup is
active. In this case, Final Cut Pro releases the
V4HD hardware, so you won’t be able to capture or
play anything in Final Cut Pro while MOTU Video
Setup is the active application.
To reestablish communication with Final Cut Pro,
simply switch back into Final Cut Pro.
Codec Missing
If you see a Codec Missing message in the Preview
frame, this means that MOTU Video Setup cannot
find a software component required to display the
incoming video format. Compatible codecs are
installed with Final Cut Pro.
Figure 6-26: The Preview tab settings.
52
MOTU VIDEO SETUP
PLAYBACK
The Playback tab (Figure 6-27) provides settings
that apply to video playback from Final Cut Pro (as
opposed to capturing). Therefore, these settings
relate to the current settings in Final Cut and its
timeline.
Internal
Choose Internal (Figure 6-28) to make the V4HD
resolve to its own internal clock. This setting is best
when you do not need to resolve the V4HD to
house sync (blackburst).
The playback signal path
When you click the Playback tab, the signal path
diagram displays settings for playback from Final
Cut Pro, as explained earlier in “Playback signal
path” on page 42.
REF in — Bi-level (SD)
Choose REF in — Bi-level (SD) (Figure 6-28) when
you wish to resolve the V4HD to an SD clock
source connected to its VIDEO REF input on the
rear panel. Use this setting to resolve the V4HD to
house sync (blackburst).
Playback Clock Source
In Capture or Convert modes, the V4HD resolves
to the video signal being received from the
currently chosen input in the Video Source menu
(Figure 6-3 and Figure 6-5).
REF in — Tri-level (HD)
Choose REF in — Tri-level (HD) (Figure 6-28)
when you wish to resolve the V4HD to an HD clock
source connected to its VIDEO REF input on the
rear panel.
In Playback mode, you can specify the timing
reference for the V4HD in the Playback Clock
Source menu (Figure 6-27). Four choices are
provided.
Selected Input
Choose Selected Input (Figure 6-28) when you wish
to resolve the V4HD to the video signal being
received from the currently chosen input in the
Video Source menu (Figure 6-3 and Figure 6-5),
even though the V4HD is currently in Playback
mode and you are not capturing or converting the
source video signal.
Figure 6-28: Playback Clock Source menu.
Figure 6-27: The Playback tab settings.
53
MOTU VIDEO SETUP
Playback 29.97 fps Timecode
If your Final Cut Pro time line is currently set to the
29.97 drop-frame format, choose Drop Frame from
the Playback 29.97 fps Timecode menu
(Figure 6-27) so that the V4HD matches Final Cut’s
frame format. If Final Cut is running 29.97
non-drop, choose Non-Drop Frame. (If you are
running Final Cut at any other frame rate besides
29.97, this setting is ignored.)
Playback Timecode Offset
The Playback Timecode Offset options
(Figure 6-27) let you specify the frame format and
timecode offset for timecode generated by the
V4HD during playback. Make sure these settings
match their corresponding settings in your Final
Cut Pro project, so that the V4HD generates
timecode that matches Final Cut Pro’s time line.
Interlace Pause Mode / Interlaced Field When
Paused
If you are working with an interlaced video format,
the Interlace Pause Mode (Figure 6-27) lets you
choose between viewing a full frame or individual
fields when Final Cut Pro parks on a frame. If you
choose the Single Field option, the Interlaced Field
When Paused options let you specify the video field
you wish to see. When the Interlace Pause Mode
option is set to Full Frame, the Field 1 and Field 2
options are grayed out. Clicking on these buttons
will not bring the MOTU Video Setup application
to the front, so you can switch between fields, or
between Full Frame and Single Fields modes, while
Final Cut Pro is the front application.
CONVERT
The Convert tab (Figure 6-29) provides two
settings for SD to HD up conversion during
capture or playback.
Upconversion Deinterlacing
When an SD video signal is upconverted to HD, it
must be deinterlaced (and, depending on the HD
format you are working with, re-interlaced). The
V4HD provides three different settings for
deinterlacing to provide the best possible results
for various types of video material. You can, of
course, experiment with the three options to find
which one produces the best-looking results.
Figure 6-30: Upconversion deinterlacing.
Motion Adaptive Deinterlacing
As its name implies, the Motion Adaptive
Deinterlacing option (Figure 6-30) provides good
results for most standard interlaced SD video
material, including material with a lot of vertical
and horizontal motion in it. If the source footage is
relatively static, you could also try the None/Weave
option below.
Figure 6-29: The Convert tab settings.
54
MOTU VIDEO SETUP
None/Weave
The None/Weave option (Figure 6-30) is the
simplest algorithm, with no processing or
advanced frame/field detection. Instead, it
“weaves” each pair of fields together, treating them
as a progressive frame. This option is best for
material that shouldn’t really be treated as
interlaced, such as SD footage shot in nonstandard, progressive recording modes, such as
the“30p” mode found on some cameras.
Detect Pull-down
Use the Detect Pull-down option (Figure 6-30) if
the source footage already has either 2:3 or 2:3:3:2
pull-down inserted (due to a telecine transfer, the
“24p” record mode of some cameras, etc.) The
V4HD will auto-detect the cadence of the pulldown and assemble frames accordingly.
INPUT
The Input tab (Figure 6-31) provides several
settings for adjusting the Brightness, Contrast and
Hue of the incoming Composite or S-Video (SD)
signal.
THE GENLOCK LED
The genlock LED (Figure 6-1) indicates when the
V4HD has successfully genlocked to one of the
following sources:
■ the video signal being received from the
currently chosen input in the Video Source menu
(Figure 6-3 and Figure 6-5)
the Playback Clock Source (Figure 6-27 and
Figure 6-28)
■
■ the Video REF input (see “Video sync
connections” on page 27)
Upconversion deinterlacing and 23.976 frame
rates
The Upconversion Deinterlacing mode is ignored
if the HD frame rate is 23.976. In this case, the
V4HD attempts to detect and remove pull-down.
If the Auto Detect Input Format option (page 48) is
set to Manual, the genlock LED will always be
illuminated.
Upconversion Sharpness
Adjust Upconversion Sharpness (Figure 6-29) to
further improve the deinterlaced HD image. This
control determines the amount (in arbitrary units
from 0.00 to 1.00) of an unsharp mask applied to
the image while upconverting.
The Devices menu provides a shortcut for
launching the MOTU Audio Setup application. If
you have multiple MOTU video interfaces
connected, it also lets you choose which interface
you are currently controlling with the MOTU
Video Setup software.
THE DEVICES MENU
Figure 6-31: The Input tab settings.
55
MOTU VIDEO SETUP
56
MOTU VIDEO SETUP
CHAPTER 7
Final Cut Pro
OVERVIEW
BEFORE YOU LAUNCH FINAL CUT PRO
The V4HD serves as a powerful video capture and
playback device for Apple Final Cut Pro. Operation
is straightforward and follows the general
workflow prescribed by Final Cut Pro. In addition
to standard log and capture procedures and
straightforward timeline playback, the V4HD also
provides presets for Easy Setup, Sequences,
Capture and Device Control.
Before you launch Final Cut Pro, be sure to:
■ Insert the V4HD Installer CD and run the Easy
Install option.
■ Connect the V4HD to the computer via a single
FireWire connection and connect your video
devices to it as explained in chapter 3, “Installing
the V4HD Hardware” (page 19).
The V4HD supports full-raster HD capture to
Apple ProRes or any other similar HD codec of
your choice. It also provides hardware-accelerated
capture directly to DVCPro, DVCPro50 and
DVCProHD.
■ Switch on the V4HD and run MOTU Video
Setup to make sure that installation has been
successful. If MOTU Video Setup launches without
any error messages, then Final Cut Pro should
successfully communicate with the V4HD.
Familiarity with Final Cut Pro . . . . . . . . . . . . . . . . . . . . . . . .
Before you launch Final Cut Pro. . . . . . . . . . . . . . . . . . . . . .
Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Easy setups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Final Cut Pro Audio/Video Settings . . . . . . . . . . . . . . . . . .
Choosing a workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
V4HD hardware settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Log and capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Playback and monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Hardware conversion during capture or playback . . .
V4HD audio settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Audio capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Audio playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Refresh A/V Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Time code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Device control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
FireWire 400 bandwidth . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Final Cut Pro video formats . . . . . . . . . . . . . . . . . . . . . . . . . .
GETTING STARTED
57
57
57
58
58
59
60
61
62
63
64
65
66
66
66
66
67
67
You are now ready to run Final Cut Pro.
1 Launch Final Cut Pro.
2 Create a new project using Final Cut Pro’s Easy
Setup feature in the Final Cut Pro menu. See the
next section for details about Easy Setups.
FAMILIARITY WITH FINAL CUT PRO
This chapter assumes that you have a working
knowledge of basic Final Cut Pro operation.
Figure 7-1: The V4HD ships with over 60 Easy Setups for the many
formats and operating scenarios it supports.
57
EASY SETUPS
FINAL CUT PRO AUDIO/VIDEO SETTINGS
There are five settings in Final Cut Pro that directly
impact V4HD operation:
To set up Final Cut Pro manually, without using an
Easy Setup, or to adjust the settings for an Easy
Setup, simply go to Final Cut Pro’s Audio/Video
Settings window (Figure 7-2) and individually
select the V4HD’s capture, device control and
sequence presets. The V4HD presets are identified
by either V4HD or MOTU in their name. If you
don’t see a preset for the capture or playback
scenario you need, this doesn’t necessarily mean
it’s not supported. It probably is, and you can create
your own. See “Supported conversions” on page 63
and “Creating your own capture/playback presets”
on page 64.
■
Sequence preset
■
Capture preset
■
Device Control Preset
■
Video Playback
■
Audio Playback
Easy Setup (Figure 7-1) is a convenient way to
universally configure all of these settings according
to the video format you have chosen for your Final
Cut Pro project. Once you’ve chosen a V4HD Easy
Setup, you can modify it as needed in Final Cut
Pro’s Audio/Video Settings window (Figure 7-2).
Figure 7-2: V4HD Easy Setup settings can be adjusted in Final Cut Pro’s Audio/Video Settings window.
58
FINAL CUT PRO
CHOOSING A WORKFLOW
The V4HD supports a range of SD and HD
workflows, summarized in Figure 7-3 below. The
V4HD supports every workflow via FireWire 400
or 800, although Apple ProRes 422 HQ should be
used with a FireWire 800 connection whenever
possible. For uncompressed SD, all DVCPro
formats and Apple ProRes, the V4HD provides
sequence and capture presets for all supported
format/frame rate/codec combinations. Other
codecs require that you make your own custom
sequence settings. Refer to the following sections
for further information regarding each workflow.
Also see “Video encoding and CPU performance
during capture” on page 61.
Uncompressed SD
The V4HD supports both 8-bit and 10-bit
uncompressed SD capture and playback via
FireWire 400 or 800. Both NTSC and PAL formats
are supported, as well as 480p 23.976. Choose the
sequence preset and capture preset that
corresponds with the format you need to capture,
edit and play back.
DVCPro25 / DVCPro50 / DVCProHD
The V4HD provides hardware-accelerated
DVCPro25, DVCPro50 or DVCProHD capture and
playback over FireWire 400 or 800. The V4HD
hardware performs DVCPro compression during
capture and decompression during playback.
Video streams over FireWire to and from the
computer as a compressed DVCPro video stream.
Choose the sequence and capture presets that
correspond with the video format, frame rate and
DVCPro format you need to capture, edit and play
back.
Apple ProRes 422
The V4HD provides hardware-assisted Apple
ProRes 422 capture and playback over FireWire
400 or 800. When capturing ProRes, Final Cut Pro
requires an Intel-based multi-processor Mac, and
four or more processor cores are recommended.
For ProRes operation, be sure to choose the V4HD
Full raster presets (for the sequence, capturing and
playback) that correspond with the video format
and frame rate you are working with. For the best
possible video quality, set the V4HD’s Full Raster
mode (Figure 6-19 on page 48) to FireWire 800 HQ.
This setting requires a FireWire 800 connection
between the V4HD and the Mac. See “Full Raster
mode” on page 49 for further information. If your
computer experiences performance issues during
capture or playback, or if circumstances do not
allow for a FireWire 800 connection, you can use
the FireWire 400 settings with excellent results,
especially for ProRes standard quality workflows.
Workflow
FireWire support Sequence preset
Capture preset
Full raster setting
Uncompressed SD
400 or 800
V4HD - Uncompressed
V4HD - Uncompressed
N/A
DVCPro25 / DVCPro50
400 or 800
V4HD - DVCPro / DVCPro50
V4HD - DVCPro / DVCPro50
N/A
DVCProHD
400 or 800
V4HD - DVCProHD
V4HD - DVCProHD
N/A
Apple ProRes 422 standard
400 or 800
V4HD - Apple ProRes 422
V4HD - Full raster
FireWire 800 HQ
recommended
Apple ProRes 422 HQ
800 only
V4HD - Apple ProRes 422 (HQ)
V4HD - Full raster
FireWire 800 HQ
recommended
Other codec
400 or 800
Custom
V4HD - Full raster
FireWire 800 HQ
recommended
Figure 7-3: The V4HD supports these workflows with Final Cut Pro.
59
FINAL CUT PRO
Other codecs
The V4HD provides hardware-assisted capture
and playback over FireWire 400 or 800 for any HD
codec supported by Final Cut Pro. The V4HD is
optimized for codecs that are similar in nature to
ProRes HQ (around a 6:1 compression ratio or
higher). To specify a codec other than ProRes or
DVCProHD, choose the V4HD Apple ProRes
preset that most closely matches the video format
and frame rate you wish to use, duplicate it and
then simply modify the duplicate preset, choosing
a different codec from the Compressor menu
(Figure 7-4). For further details about creating
your own presets, see “Creating your own capture/
playback presets” on page 64 and “Supported
conversions” on page 63.
V4HD HARDWARE SETTINGS
Once you’ve chosen a workflow and the
corresponding presets in Final Cut Pro’s Easy Setup
and Audio/Video Settings windows (Figure 7-1
and Figure 7-2), open the MOTU Video Setup
application (Figure 6-1 on page 41) to view the
V4HD’s hardware settings and make any
adjustments, if necessary.
Capture settings
To access the V4HD’s capture settings, click the
Setup tab to view the Capture Signal Path
(Figure 6-3 on page 43) and Setup tab settings
(Figure 6-19 on page 48). In the Setup tab, make
sure that the Enable video option is enabled and the
Playback only (disable inputs) option is disabled.
Choosing a video input
To specify the video input for capture, choose the
desired V4HD video input from the Video Source
menu (Figure 6-3 on page 43).
Other capture settings
To make the V4HD automatically detect the format
of the currently selected video input in the source
menu, choose Format and Genlock from the Auto
Detect Input Format menu.
Figure 7-4: Specifying an HD codec. Be sure the Input menu is set to
‘Full Raster’ (either 1920 x 1080 or 1280 x 720).
Be sure to choose the V4HD Full raster capture
preset that corresponds with the video format and
frame rate you are working with. Like ProRes HQ,
best quality can be achieved over FireWire 800 with
the Full Raster mode option (Figure 6-19 on
page 48) set to FireWire 800 HQ (page 49). A fouror eight-core Intel Mac may also be required,
depending on the performance of the HD codec.
However, excellent results can also be achieved
over FireWire 400 with other codecs that have a
compression ratio similar to (or higher than)
ProRes standard mode (around 140 Mb/s).
If you will be up converting in the V4HD hardware
while capturing, click the Convert tab (Figure 6-29
on page 54) and set the desired deinterlacing
mode.
For details on other Capture settings, review
Chapter 6, “MOTU Video Setup” (page 41).
Playback settings
Click the Playback tab to view the Playback Signal
Path (Figure 6-2 on page 42) and Playback tab
settings (Figure 6-27 on page 53).
In the Playback Signal Path (Figure 6-2 on
page 42), the Playback settings menu displays the
video format you’ve chosen in Final Cut Pro for
60
FINAL CUT PRO
your sequence. When Final Cut Pro is running, this
menu cannot be changed, as the playback format is
specified by your settings in Final Cut Pro.
In the Playback tab, make sure the Playback
Timecode Offset and frame rate match your Final
Cut Pro sequence offset and frame rate. If you are
working with drop frame time code, be sure to
choose Drop frame from the Playback 29.97 fps
Timecode menu (Figure 6-27 on page 53).
If you want Final Cut Pro to resolve to an external
sync source during playback, choose the desired
source from the Playback Clock Source menu
(Figure 6-28 on page 53); otherwise, leave it set to
Internal.
Figure 7-5: The Capture Settings tab with V4HD device control and
codecs chosen.
3 Click the Capture Settings tab (Figure 7-5) and
check the Device Control and Capture/Input
settings.
These two settings are pre-configured if you
created your Final Cut Pro project using a V4HD
Easy Setup.
4 Click the Now button to start the capture.
For interlaced output from the V4HD, use the
Interlace Pause Mode options (Figure 6-27) to
determine what you’ll see when Final Cut Pro is
paused.
If you are at a point in your workflow where you are
not capturing video, or if you have no video inputs
connected to the V4HD, click the Setup tab and
enable the Playback only (disable inputs) option
Figure 6-19 on page 48.
For details on other playback settings, review
Chapter 6, “MOTU Video Setup” (page 41).
LOG AND CAPTURE
Once you’ve decided on a workflow, chosen the
corresponding Easy Setup preset for your Final Cut
Pro project and specified the video input you wish
to capture in MOTU Video Setup, you are ready to
log and capture video from the V4HD:
1 Make sure that the V4HD’s Playback Only
option (Figure 6-19) in MOTU Video Setup is
disabled. See “Playback Only (disable inputs)” on
page 50.
2 Choose Log and Capture from the File menu.
Refer to Part IV of the Final Cut Pro manual for
more information on advanced capture settings
(such as batch capture, logging, etc.)
Figure 7-6: Click the ‘Now’ button to begin capture.
Video encoding and CPU performance during
capture
If you are capturing uncompressed SD, the
uncompressed video stream goes straight to your
hard drive, with no compression or encoding
required along the way.
When capturing any form of DVCPro (DVCPro25,
DVCPro50 or DVCProHD), the V4HD hardware
does the work of compressing the incoming
(uncompressed) video stream into DVCPro. The
V4HD then sends the DVCPro stream over
FireWire to Final Cut, which streams it directly to
the hard drive, with no further encoding necessary
on the computer. In this scenario, there is no
additional computer CPU overhead due to video
compression or encoding, since none is required
by the time the video stream reaches the computer.
61
FINAL CUT PRO
When you are capturing Apple ProRes 422, Final
Cut Pro performs the encoding in real time during
capture. Given today’s Intel processor speeds,
ProRes requires approximately one Intel CPU core
to perform this task, depending on the ProRes
quality mode (standard or HQ), the speed of the
processors, and other related factors. Your
performance will vary, but generally speaking,
ProRes 422 standard quality capture requires a
computer with at least two Intel core processors;
four cores or more are recommended. ProRes 422
HQ quality requires a computer with four Intel
cores or more.
If you have chosen to capture to an HD codec other
than DVCPro or Apple ProRes, the situation is
similar to ProRes capture, described above. Final
Cut Pro does the work of compressing the video
stream, and so the computer’s CPU performance
must be good enough to handle the real-time
encoding. Again, your performance will vary,
depending on the codec you have chosen, core
processor speeds, etc. If you have a four- or eightcore machine, however, you should be able to
readily capture in just about any format you wish.
PLAYBACK AND MONITORING
To play back your Final Cut Pro project and view it
on any monitor or other device connected to the
V4HD’s video outputs:
1 Choose View menu> External Video> and make
sure that the All Frames item (command-F12) is
checked.
an external clock source. See “Playback Clock
Source” on page 53. Be sure to review the other
settings in the Playback tab (page 53).
Video decoding and CPU performance during
playback
If you are playing uncompressed SD from the Final
Cut Pro timeline, the uncompressed video stream
goes straight to the V4HD, with no compression or
encoding required along the way.
When playing back any form of DVCPro
(DVCPro25, DVCPro50 or DVCProHD), the
V4HD hardware does the work of decompressing
the outgoing DVCPro video stream into
uncompressed video for output to its HD-SDI,
HDMI and HD component outputs. In this
scenario, there is no additional computer CPU
overhead required for video decompression or
transcoding, since none is required to transmit the
DVCPro stream from the computer to the V4HD.
When you play back an Apple ProRes 422 Final Cut
Pro sequence, or any other codec, Final Cut Pro
performs real-time transcoding. Given today’s
Intel processor speeds, ProRes requires
approximately one Intel CPU core to perform this
task, depending on the ProRes quality mode
(standard or HQ), the speed of the processors, and
other related factors. Your performance will vary,
but generally speaking, ProRes 422 standard
quality playback requires a computer with at least
two Intel core processors; four cores or more are
recommended. ProRes 422 HQ quality requires a
computer with four Intel cores or more.
2 Start playback.
If you are at a point in your project workflow where
you are no longer capturing clips, you might want
to consider putting the V4HD in Playback Only
mode (Figure 6-19) in MOTU Video Setup. See
“Playback Only (disable inputs)” on page 50. In
this mode, you can either run the V4HD under its
own internal clock, or you can resolve the V4HD to
When you play back a Final Cut Pro timeline with
an HD codec other than DVCPro or Apple ProRes,
the situation is similar to ProRes playback,
described above. Final Cut Pro does the work of
transcoding the video stream, and so the
computer’s CPU performance must be good
enough to handle the real-time transcoding. Again,
your performance will vary, depending on the
62
FINAL CUT PRO
codec you have chosen, core processor speeds, etc.
If you have a four- or eight-core machine, however,
you should be able to play back just about any
video format you wish.
HARDWARE CONVERSION DURING
CAPTURE OR PLAYBACK
The V4HD provides hardware-based conversion
features, which you can employ during capture or
playback in Final Cut Pro. Here are a few examples:
■ During log and capture, you could up-convert
SD to HD in the V4HD hardware and then capture
it in Final Cut Pro as HD. Or you could downconvert HD to SD and capture as SD.
■ If you are capturing or playing back 23.976 fps
source material, you could insert pull-down to
29.97 during capture or playback.
As demonstrated below in Figure 7-7, you could
play back 480p 23.976 material from Final Cut Pro
and view it on SD monitors with pull-down
inserted by the V4HD hardware on output. At the
same time, you could also be converting it to 720p
or 1080p 23.976 with 14:9 pillar box formatting.
■
These are just a few examples. There are hundreds
of possible conversion scenarios. The following
table shows a summary of where to manage
conversion settings:
Hardware
conversion
during...
Final Cut Pro settings V4HD settings
Playback
Video Playback
menu in Audio/
Video settings window (Figure 7-2)
Playback Signal Path
(Figure 6-2) and Convert tab (Figure 6-29)
Capture
Capture Preset
menu in Audio/
Video settings window (Figure 7-2)
Convert/Capture Signal
Path (Figure 6-3) and
Convert tab
(Figure 6-29)
Supported conversions
In general, the menus in the Playback and Capture
Signal Path diagrams provide all applicable settings
that are supported for any given conversion
scenario. Here is a brief summary the forms of realtime, hardware conversion supported (note that
they can be often be combined, too, where
applicable):
■ SD to HD up conversion (from 480 or 576 to 720
or 1080)
■ HD to SD down conversion (from 720 or 1080 to
480 or 576)
■ Up/down conversion reformatting (letterbox,
pillar box, full screen, anamorphic, etc.)
■
2:3 or 2:3:3:2 pull-down insertion or removal
■
Deinterlacing and reinterlacing
Figure 7-7: An example of hardware conversion during playback. Final Cut Pro is playing back 480p23.976. The V4HD
hardware is simultaneously inserting 2:3 pull-down for SD playback and converting to 1080p23.976 with 14:9 pillar
box formatting for HD playback.
63
FINAL CUT PRO
Conversions that are not supported
If the menus in the Playback Signal Path and
Capture Signal Path diagrams don’t provide the
format you are looking for, it means that this form
of conversion either doesn’t apply, or it is not
supported by the V4HD video conversion
hardware. For these forms of conversion,
summarized below, use Final Cut Pro or
Compressor to perform off line transcoding on the
computer:
■ HD to HD cross conversion — use transcoding
to convert 720 to 1080 or vice versa
■ Frame rate conversion — use transcoding to
convert 29.97 fps to 30 fps (or vice versa), 23.976
fps to 24 fps, 59.94 fps to 60 fps, etc.
■
Conversion from NTSC to PAL (or vice versa)
■ Down conversion from 1080p 23.976 or 1080PsF
23.976 to NTSC while doing full raster capture or
playback. (In this case, SD output is black.)
Creating your own capture/playback presets
If the capture or playback preset menus don’t have
the preset you are looking for, you can create your
own presets, as long as they conform to the
guidelines stated earlier in the “Supported
conversions” section.
To create capture presets, go to the Audio/Video
Settings window, click the Capture Presets tab
(Figure 7-2), select an existing V4HD preset (it
doesn’t matter which one) and click the Duplicate
button. Modify the settings as desired. If you
intend to choose a non-V4HD codec, see “Other
codecs” on page 60.
V4HD AUDIO SETTINGS
To access basic V4HD audio settings:
1 Choose Final Cut Pro menu> Audio/Video
Settings.
2 Select the A/V Devices tab.
3 Choose the V4HD for audio playback.
4 Click the Options button to set the number of
channels, sample rate, etc. These settings will
modify the V4HD hardware so that it matches the
setting in Final Cut Pro.
You can verify the V4HD’s audio settings using
MOTU Audio Setup (Figure 8-1 on page 72).
Choosing audio banks
The V4HD provides four 8-channel banks of
simultaneous audio input and output. Each bank
can be enabled or disabled. In Final Cut Pro, the
V4HD’s channels are simply numbered 1, 2, 3, 4,
etc. How do Final Cut Pro’s channel numbers
correspond to the V4HD’s enabled audio banks?
The answer is the order of the 8-channel banks.
The V4HD audio banks always go in the following
order, from lowest channel number to highest:
1. Analog
2. AES/EBU
3. ADAT
4. Embedded (SDI/HDMI)
The procedure for creating sequence/playback
presets (in the Sequence Presets tab) is similar.
64
FINAL CUT PRO
This is the order in which the banks appear in
MOTU Audio Setup:
Figure 7-8: The top to bottom order of the audio banks listed in MOTU
Audio Setup is how they are ordered in Final Cut Pro.
Figure 7-9: Clip Settings tab.
In the above example (Figure 7-8), the analog and
SDI banks are enabled. This means that the V4HD
will supply 16 channels of audio input and output
to Final Cut Pro. Channels 1-8 are the analog ins
and outs; channels 9-16 are the SDI ins and outs. If
the AES/EBU bank is enabled, channels 9-16
would be the AES/EBU channels. It is a good idea
to only enable the audio banks you are using.
The channels in the list (Figure 7-9) correspond to
the V4HD audio banks currently enabled in
MOTU Audio Setup (Figure 7-8), as explained
earlier in “Choosing audio banks”.
AUDIO CAPTURE
4 Disable the Preview check box in the Audio
section (Figure 7-9).
To specify the audio inputs on the V4HD that you
wish to capture from:
1 Enable and disable the V4HD’s four audio banks
as desired (Figure 7-8).
2 In Final Cut Pro’s Log and capture window, click
the Clip Settings tab.
3 Use the arm/disarm buttons next to each
channel number (Figure 7-9) to choose which
V4HD audio inputs to record.
The V4HD has extensive “CueMix” audio
monitoring features, including delay
compensation, so you are better off monitoring
both audio and video through the V4HD
hardware. See the following:
■ Chapter 3, “Installing the V4HD Hardware”
(page 19) for information about the necessary
video and audio connections
65
FINAL CUT PRO
■ Chapter 9, “CueMix FX” (page 79) for complete
information about controlling CueMix monitoring
■ “Sync CueMix audio with video output” on
page 77 and “Additional Audio Delay” on page 76
for details about managing audio latency for
CueMix monitoring
AUDIO PLAYBACK
To play back audio:
1 Choose View menu> Audio Playback> V4HD.
2 In the Sequences window, select your sequence.
3 Choose Sequence menu> Settings.
4 Click the Audio Outputs tab and configure the
outputs as needed. Consult your Final Cut Pro
documentation for details.
5 Go to the Audio Mixer to assign each audio
track to the desired V4HD audio output, or rightclick on the Toggle Auto Select icon next to each
audio track in the track Time Line window.
REFRESH A/V DEVICE
If you switch off the V4HD, or the connection with
the hardware is disrupted for some reason, you can
bring the V4HD back on line by choosing View
menu> Refresh A/V Devices.
TIME CODE
To lock Final Cut Pro to time code during capture,
go to the Setup tab (Figure 6-19 on page 48) in
MOTU Video Setup and choose the Timecode
Source (page 49).
To configure the time code format being output by
the V4HD hardware while Final Cut Pro is playing
back, go to the Playback tab (Figure 6-27 on
page 53) in MOTU video Setup and choose the
Playback Clock Source (page 53). Also check the
following additional Playback tab settings:
■
Playback 29.97 fps Timecode (page 54)
■
Playback Timecode Offset (page 54)
DEVICE CONTROL
The V4HD Easy Install option installs device
control presets for Final Cut Pro that are fine-tuned
to work with a variety of formats during capture,
edit to tape and print to video operations.
To configure V4HD RS-422 (Sony 9-pin) device
control in Final Cut Pro:
1 Connect an RS-422 cable from V4HD to the
video deck or other machine control device.
2 Make sure the video deck is configured properly
for remote operation via RS-422 machine control.
Figure 7-10: Assigning audio tracks to V4HD audio outputs.
See “Additional Audio Delay” on page 76 for details
about compensating for the inherent delay in
external monitors.
3 In MOTU Video Setup, choose Sony 9-Pin from
the Timecode Source menu (Figure 6-19), which is
found in the Setup tab, or choose LTC if your deck
is feeding timecode to the computer via the LTC
input (instead of via 9-pin).
66
FINAL CUT PRO
4 Back in Final Cut Pro, choose the device control
preset that best suits your project and device. This
setting can be accessed in the Audio/Video Settings
window (Final Cut Pro menu) or in the Capture
Settings tab in the Log and Capture window.
You can now use Final Cut Pro’s transport features
to control your deck. Consult the Final Cut Pro
documentation for complete information about
using machine control during capture, edit to tape
and print to video operations.
FIREWIRE 400 BANDWIDTH
If you have connected the V4HD to the computer
via the 400 Mb/sec FireWire A port (page 8), you
may see a warning message (Figure 7-11):
FINAL CUT PRO VIDEO FORMATS
The V4HD can capture and play back the following
video formats from Final Cut Pro:
SD
■ Uncompressed 8-bit and 10-bit at 480p23.976,
480i29.97, 486i29.97 and 576i25
■ DVCPro25 or DVCPro50 at 480p23.976,
480i29.97 and 576i25
Note: the V4HD supports 480p23.976 SD capture
and playback with hardware pull-down insertion/
removal.
HD
■ Apple ProRes 422 in standard or HQ modes. Or
any similar full-raster video format supported by
Final Cut Pro with a 10-bit 4:2:2 color space and a
compression ratio similar to ProRes (approximately 6:1 or greater).
■ DVCProHD 720p at 720p23.976, 720p24,
720p25, 720p29.97, 720p30, 720p50, 720p 59.94
and 720p60
Figure 7-11: FireWire bandwidth warning.
If you see this message, try the following:
■ In MOTU Audio Setup (Figure 8-1 on page 72),
choose a lower sample rate (such as 44.1 or 48
kHz).
■ In MOTU Audio Setup (Figure 8-1 on page 72),
disable audio banks that you are not using.
■ Unplug your FireWire A connection to the
computer and switch to a FireWire B connection.
■ DVCProHD 1080i50 (1440 x 1080 raster) and
1080i60 (1280 x 1080 raster) at all 1080i frame rates
listed on page 107
The V4HD can capture and play back 1080i50 at 30
fps, which provides better resolution (1440 pixels
wide) than 1080i60 (1280 pixels wide). However,
files recorded in the 1080i50 format cannot be
recorded or played by other DVCProHD devices,
such as a DVCProHD compatible video deck or
camera.
67
FINAL CUT PRO
68
FINAL CUT PRO
Part 3
Audio Operation
CHAPTER 8
MOTU Audio Setup
OVERVIEW
ACCESSING MOTU AUDIO SETUP
MOTU Audio Setup gives you access to basic
V4HD audio settings, such as sample rate, clock
source, optical format and more.
There are several ways to access MOTU Audio
Setup settings:
■
Accessing MOTU Audio Setup . . . . . . . . . . . . . . . . . . . . . . . 71
V4HD tab Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Default Stereo Input/Output. . . . . . . . . . . . . . . . . . . . . . . . . 74
Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Analog Input/Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
AES/EBU Input/Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
ADAT Optical Input/Output. . . . . . . . . . . . . . . . . . . . . . . . . . 75
SDI Input and SDI/HDMI Output . . . . . . . . . . . . . . . . . . . . . 75
Sample Rate Convert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Additional Audio Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Programmable Meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Word Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Sync CueMix audio with video output . . . . . . . . . . . . . . . 77
General tab settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Launch MOTU Audio Setup when hardware becomes
available . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Edit Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Click the MOTU Audio Setup icon in the dock
■ Press on the MOTU Audio Setup dock icon to
open the menu shown below, or control-click it to
open the menu immediately
■ From the front panel LCD as explained in
chapter 12, “Front Panel LCD Programming”
(page 95).
71
V4HD tab settings
The V4HD tab (Figure 8-1) provides settings that
apply to a specific V4HD interface. If you have
MOTU audio interfaces connected to your
computer in addition to the V4HD, you’ll see a
separate tab for each interface.
General tab settings
The General tab (Figure 8-1) provides settings that
apply globally to all connected MOTU interfaces.
Figure 8-1: MOTU Audio Setup gives you access to all of the audio settings in the V4HD hardware.
72
MOTU AUDIO SETUP
V4HD TAB SETTINGS
Sample Rate
Choose the desired Sample Rate for recording and
playback. The V4HD can operate at 44.1 (the
standard rate for compact disc audio), 48, 88.2, 96,
176.4 or 192 kHz. Make absolutely sure that all of
the devices connected digitally to the V4HD match
the V4HD’s sample rate.
☛
Mismatched sample rates cause distortion and
crackling. If you hear this sort of thing, check the
sample rate settings in your hardware and here in
MOTU Audio Setup.
Operation at 4x sample rates (176.4 or 192kHz)
At the 4x sample rates (176.4 or 192kHz),
operation of the V4HD audio features is restricted,
due to the higher audio bandwidth demands, as
follows:
■ The V4HD provides 8 channels of analog input
and 8 channels of analog output, simultaneously.
■ Only one 8-channel digital input or output bank
can be used, with sample rate conversion applied,
because the digital I/O banks only operate up to
96 kHz. With sample rate conversion, you can
either capture or play back digital audio via ADAT
optical, AES/EBU, embedded SDI or embedded
HDMI out at any sample rate from 44.1 kHz to
96 kHz.
■
The headphone output is disabled.
Clock Source
The Clock Source determines what the V4HD will
use as its time base for audio. The following
sections briefly discuss each clock source setting.
Video Clock
When video is enabled (see “Enable Video” on
page 50), the V4HD audio clock slaves to video,
and this is the only choice in the Clock Source
menu.
Internal
When video is disabled (see “Enable Video” on
page 50), use the Internal setting when you want
the V4HD to operate under its own digital audio
clock. For example, you may be in a situation
where all you are doing is playing audio from Final
Cut Pro or audio software on the computer. In a
situation like this, you most often don’t need to
reference an external clock of any kind.
ADAT optical
When video is disabled (see “Enable Video” on
page 50), the ADAT optical clock source setting
refers to the clock provided by the V4HD’s optical
input, when it is connected to an ADAT optical
device. This setting can be used to slave the V4HD
directly to the optical input connection. In this
scenario, the ADAT Optical clock source setting lets
you slave the V4HD to the other device via its
digital connection to the V4HD.
☛
The V4HD has two pairs of optical
connectors: a main pair (for 8-channel operation at
44.1 or 48 kHz) and an auxiliary pair (for channels
5-8 at 88.2 or 96 kHz). In ADAT optical clock
mode, the V4HD always resolves to the optical
input in the main pair, even during 88.2 or 96 kHz
operation. So be sure to connect the ADAT optical
clock master to the optical input in the main input
connector.
If the ADAT Optical setting does not appear in the
menu, it means that the V4HD’s optical input is
currently disabled. Choose Enabled from the
ADAT input menu (Figure 8-1 on page 72).
For further details about this setting, see “Syncing
digital audio devices” on page 29.
Word Clock In
When video is disabled (see “Enable Video” on
page 50), the Word Clock In clock source setting
refers to the Word Clock In BNC connector on the
V4HD rear panel. Choosing this setting allows the
73
MOTU AUDIO SETUP
V4HD to slave to an external word clock source,
such as the word clock output from a digital mixer
or a digital audio interface.
AES/EBU
The AES/EBU clock source settings refer to the
AES/EBU input pairs on the V4HD. This setting
allows the V4HD to slave to another device
connected to one of the V4HD’s four
AES/EBU input pairs when video is disabled (see
“Enable Video” on page 50).
Use this setting whenever you are recording input
from a DAT deck or other AES/EBU audio device
into the V4HD. It is not necessary in the opposite
direction (when you are transferring from the
V4HD to the DAT machine).
Other audio devices (drivers)
When video is disabled (see “Enable Video” on
page 50), the MOTU FireWire Audio Driver has
the ability to resolve to other Core Audio drivers.
Doing so will ensure that audio streams playing
back from or recorded by the V4HD will not drift
apart from audio streams simultaneously played or
recorded by the other devices.
Default Stereo Input/Output
In the System Preferences window, Mac OS X lets
you choose third-party hardware such as the
V4HD for your Mac sound input and output. The
system input and output can be used for alert
sounds and general audio I/O for applications like
iTunes, iMovie, etc.
If the AES/EBU settings do not appear in the menu,
it means that the V4HD’s AES/EBU input bank is
currently disabled. Choose Enabled from the
AES/EBU input menu (Figure 8-1 on page 72).
For further details about this setting, see “Syncing
digital audio devices” on page 29.
SMPTE
When video is disabled (see “Enable Video” on
page 50), choose the SMPTE clock source setting
to resolve the V4HD directly to SMPTE time code
(LTC) being received via the LTC input. For details,
see chapter 10, “MOTU SMPTE Setup” (page 87).
Built-in audio
When video is disabled (see “Enable Video” on
page 50), choose this setting to resolve the V4HD
to your Mac’s built-in audio. Doing so will ensure
that audio streams playing back from or recorded
by the V4HD will not drift apart from audio
streams simultaneously played or recorded by the
Mac’s built-in mic, speakers or audio output.
Figure 8-2: The Mac OS X sound preferences let you use the V4HD for
general stereo audio input and output for your Mac.
74
MOTU AUDIO SETUP
The Default Stereo Input and Default Stereo Output
settings in MOTU Audio Setup (Figure 8-1 on
page 72) let you specify the stereo input and output
on the V4HD to be used when it is chosen as the
audio I/O device in the system preferences.
explained below. The options in the menu change,
depending on the V4HD’s current Sample Rate
setting (page 73). For example, if the V4HD is
currently set to 192 kHz, you’ll see “x 4” and “÷ 4”
settings that don’t apply to the lower sample rates.
Phones
The Phones setting (Figure 8-1) lets you choose
what you will hear from the headphone jack. For
example, choose Analog 1-2 if you’d like the
headphone output to match the analog outputs 1
and 2.
When rate conversion is applied to a bank, the
bank’s rate conversion LED in the AUDIO STATUS
section of the V4HD front panel (src) indicate that
rate conversion is occurring.
Analog Input/Output
The Analog Input/Output menus (Figure 8-1) let
you enable or disable the 8-channel analog bank.
Enable a bank to make it available to Final Cut Pro
or the V4HD’s CueMix monitor mixer for audio
input or output. Disable it if you are not using it to
conserve FireWire bus bandwidth for video and
other data. Note that input and output can be
enabled or disabled independently.
AES/EBU Input/Output
The AES/EBU Input/Output menus (Figure 8-1) let
you enable or disable the 8-channel bank of AES/
EBU digital audio I/O, as described above for the
analog banks.
ADAT Optical Input/Output
The ADAT Input/Output menus (Figure 8-1) let
you enable or disable the 8-channel bank of ADAT
optical digital audio I/O, as described above for the
analog banks.
SDI Input and SDI/HDMI Output
These two menus (Figure 8-1) let you enable or
disable the 8-channel bank of embedded digital
audio I/O, as described above for the analog banks.
Sample Rate Convert
The Sample Rate Convert menu (Figure 8-1) lets
you control the V4HD’s sample rate conversion.
Sample rate conversion can be applied to any
8-channel digital input or output bank, as
Figure 8-3: The Sample Rate Convert menu gives you access to a
variety of input and output clock options.
None
No sample rate conversion occurs. Digital input
and output match the sample rate of the V4HD’s
system clock.
AES/EBU In
The AES/EBU input locks to the sample rate of the
input signal (whatever it happens to be) and
converts it to the V4HD system clock rate.
x2/÷2
Choose one of these sample rate conversion
options when the rate for the chosen digital I/O
bank needs to be twice the V4HD system clock rate
or half the system clock rate. Either way, the digital
I/O bank remains resolved to the V4HD system
clock. For further details about this option, see
“Syncing digital audio devices” on page 29.
75
MOTU AUDIO SETUP
x4/÷4
Choose one of these sample rate conversion
options when the rate for the chosen digital I/O
bank needs to be four times the V4HD system
clock rate or one quarter of the system clock rate.
Either way, the digital I/O bank remains resolved to
the V4HD system clock.
ADAT In 44.1/48 versus ADAT In 88.2/96
The V4HD provides two sets of ADAT optical
digital I/O connectors, which together provide 8
channels at 44.1 or 48 kHz or 8 channels at 88.2 or
96 kHz. These options let you specify the sample
rate being received by the V4HD on its optical
input(s), from the other optical device. The
received signal will then be sample rate converted
to the V4HD’s system clock rate, which can be any
supported rate, even 176.4 or 192 kHz.
Additional Audio Delay
The Additional Audio Delay option (Figure 8-1)
lets you add a certain amount of delay, specified in
fractions of a video frame, to the V4HD’s audio
output.
The main purpose for this feature is to allow you to
compensate for any inherent delay in a video
monitor connected to the V4HD. For example,
LCD displays often have a small delay in them —
from the time they receive a video frame to the
time at which they actually display it on their
screen. Depending on how you are monitoring the
accompanying audio signal, the audio will likely
not have this same delay. As a result, the audio will
be heard slightly ahead of the delayed video signal.
This option lets you delay the audio signal by the
same amount as the video display, so that audio
and video are properly aligned with one another.
This option affects audio passing through the
V4HD in two scenarios:
■
Playback from Final Cut Pro
■
V4HD CueMix monitoring
Playback from Final Cut Pro
The Additional Audio Delay option can be applied
to audio being played back from Final Cut Pro to
align it to Final Cut Pro’s video output.
For example, let’s say you are viewing Final Cut Pro
output on a plasma monitor connected to one of
the video outputs on the V4HD. This plasma
monitor has an inherent one-frame delay (from the
time it receives a frame to the time it displays it). In
addition, you are listening to Final Cut Pro’s audio
output — in 5.1 surround — via studio monitors
connected to the V4HD’s analog audio outputs.
Even though audio and video depart the V4HD
outputs completely in sync with one another, the
image on the plasma will be running one frame
behind the audio you hear from the surround
monitors. Use the Additional Audio Delay option
(Figure 8-1) to delay the V4HD’s audio output by
one frame to match the image on the plasma.
V4HD CueMix monitoring
The Sync CueMix audio with video output option
(shown in Figure 8-1 and described below) ensures
that audio and video remain perfectly in sync with
each other when they pass through the V4HD from
its inputs to its outputs. However, you may still
need to compensate for the inherent video signal
delay in external devices connected to the V4HD.
Therefore, when the Sync CueMix audio with video
output option is checked, the Additional Audio
Delay option can be applied for exactly that
purpose.
For example, let’s say you are capturing some SD
footage from a camcorder connected to a V4HD
SD video input, and you are monitoring it on an
HD plasma monitor connected to an HD video
output on the V4HD. This plasma monitor has an
inherent one-frame delay (from the time it receives
a frame to the time it displays it). In addition, the
camcorder stereo audio output is connected to a
pair of V4HD audio inputs, and you are listening to
the camcorder’s audio output via studio monitors
76
MOTU AUDIO SETUP
connected to the V4HD’s analog audio outputs.
Even though audio and video depart the V4HD
outputs completely in sync with one another, the
image on the plasma will be running one frame
behind the audio you hear from the studio
monitors. Use the Additional Audio Delay option
(Figure 8-1) to delay the V4HD’s audio output by
one frame to match the image on the plasma.
So, if the V4HD’s CueMix audio doesn’t sound in
sync with the current video signal being
monitored, try checking this option. If it still
doesn’t seem in sync, the most likely culprit is an
inherent delay in your video monitor. The V4HD
allows you to further compensate for external delay
such as this. See “Additional Audio Delay” on
page 76.
Programmable Meters
This option lets you choose which bank you wish
to monitor with the eight programmable meters on
the V4HD front panel. Choices are: analog out
(analog in has its own dedicated bank of meters),
ADAT Optical in/out, AES/EBU in/out, SDI in and
SDI/HDMI out.
GENERAL TAB SETTINGS
Word Out
The Word Out menu (Figure 8-1) appears when the
V4HD is operating at a 2x sample rate (88.2 or
96kHz) or 4x sample rate (176.4 or 192kHz). This
menu lets you set the word clock output either to
match the current sample rate (System Clock) or
force it to the corresponding 1x rate (either 44.1 or
48kHz). For example, if the V4HD were operating
at 176.4kHz, choosing the Force 44.1/48kHz option
would produce word clock output at 44.1kHz.
Sync CueMix audio with video output
When the V4HD passes video and audio signal
from its inputs to its outputs, there is a small delay
in the video signal, while it is being processed and
converted. Audio has almost no delay at all (less
than a millisecond), which means that it will play a
little bit ahead of the video signal. When you check
the Sync CueMix audio with video output option
(Figure 8-1), the V4HD precisely calculates the
difference in the two signals (down to one audio
sample) and delays the audio by exactly the correct
number of samples to bring the audio signal back
in sync with video when the two signals leave the
V4HD outputs.
Launch MOTU Audio Setup when hardware
becomes available
Check this option if you would like the MOTU
Audio Setup icon to appear in the application dock
as soon as a MOTU interface is detected (switched
on, plugged in, etc.)
Edit Channel Names
Click the Edit Channel Names button to open the
Channel Names window (Figure 8-4). This
window lets you edit the names of the V4HD inputs
and outputs, as they might appear in your host
software (if it supports channel names). For
example, when you click on a menu that displays
the V4HD inputs (or outputs), you will see the
names you specify in this window (e.g. “camera
input”, “VTR input”, etc.), instead of the default
generic names (“Analog 1”, “Analog 2”, etc.)
☛
Not all Mac OS X audio software supports
channel names. If not, you’ll see generic port
names in your host audio software, or no names at
all.
77
MOTU AUDIO SETUP
Figure 8-4: The Edit Channel Names window.
78
MOTU AUDIO SETUP
CHAPTER 9
CueMix FX
OVERVIEW
CueMix FX provides access to the flexible audio
mixing and monitoring features of the V4HD,
which are fully functional under video operation
(capture, convert and playback) and the V4HD’s
audio only mode.
CueMix lets you route any combination of audio
inputs to any stereo output pair. CueMix allows
you to set up a separate mix configuration for every
stereo output pair on the V4HD — a total of 16
stereo buses (or 4 stereo busses at 176.4 or 192
kHz). You can also save and load mix configurations.
CueMix monitoring can be set up to support your
work in Final Cut Pro, or it can be set up
independently of Final Cut Pro.
CueMix monitoring benefits . . . . . . . . . . . . . . . . . . . . . . . . . 80
CueMix FX installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
CueMix FX basic operation . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Working with a mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Message center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Solo light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Talkback and listenback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
File menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Devices menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Configurations menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Talkback menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Phones menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Control Surfaces menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Message center
Input mono/stereo
Input name
Input scroll bar
Mix output
Solo indicator
Input pan
Talk/listen channels
Talk/listen enable
Master fader
Input mute/solo
Master mute
Mix bus menu
Input volume
Output level meter
Grow box
Input section
Figure 9-1: CueMix FX is a virtual mixer that gives you control over the V4HD’s on-board mixing features.
79
CUEMIX MONITORING BENEFITS
CueMix FX provides several major benefits to your
video post-production workflow:
CueMix has no buffer latency. Thanks to the
V4HD’s hardware-based mixing, CueMix provides
the same throughput performance as a digital
mixer, so you can monitor audio as well as video
during log and capture.
■
■ CueMix imposes absolutely no processor drain
on the computer’s CPU.
■ CueMix routing can be maintained
independently of individual software applications
or projects. So you can use it even when you are not
working in Final Cut Pro.
CUEMIX FX INSTALLATION
CueMix FX is installed with the rest of your V4HD
software.
Viewing one mix at a time
CueMix FX displays one mix at a time. To select
which mix you are viewing, choose the desired mix
bus from the Mix bus menu (Figure 9-1). Doubleclick the name to change it.
Each mix is completely independent
Each mix has its own settings. Settings in one mix
will not affect another. For example, if an input is
used in one mix, it will still be available in other
mixes. In addition, inputs can have a different
volume, pan, mute and solo setting in each mix.
Widening the CueMix FX window
To view more input faders at once, drag the grow
box (Figure 9-1) to the right.
WORKING WITH A MIX
Each mix has the following components:
■
A stereo output with master fader
CUEMIX FX BASIC OPERATION
■
Name
The CueMix FX is simple to operate, once you
know these basic concepts.
■
Master mute (to enable/disable the entire mix)
■
Any number of mono or stereo inputs
■
Pan, volume, mute and solo for each input
A separate mix for each output pair
CueMix provides a separate mix bus for every
physical audio output pair on the V4HD — a total
of 16 stereo buses (or 4 stereo busses at 176.4 or 192
kHz). Each mix can have any number of inputs
mixed down to the output pair. For example, you
could send your camera’s stereo audio output to the
V4HD headphones while mixing eight digital
inputs to analog outputs 1-2 for monitoring on
speakers.
Viewing a mix
To view a mix, choose it from the Mix bus menu
(Figure 9-1). The menu shows all mixes by name,
followed by the V4HD output pair that it
corresponds to.
Many inputs to one output pair
It might be useful to think of each mix as some
number of inputs all mixed down to a stereo output
pair. CueMix FX lets you choose which inputs to
include in the mix, and it lets you specify the level
and pan for each input being fed into the mix.
Master fader
The master fader (Figure 9-1) controls the overall
level of the mix (its volume on its stereo output).
Use the individual input faders to the left to control
individual input levels.
Naming a mix
Click the mix name to edit its text.
80
CUEMIX FX
Master mute
The master mute button (Figure 9-1) temporarily
disables (silences) the mix.
Output level meter
The Output level meter (Figure 9-1) shows you the
output for the mix’s physical output, which may
include audio from your host audio software. The
clip indicators clear themselves after a few seconds.
Input section
The channel strips to the left of the master fader
represent each input in your V4HD. Use the input
scroll bar (Figure 9-1) to view additional inputs.
Mono/stereo pairing
Click the Mono button (Figure 9-1) if you would
like an input to be treated as a mono channel. If you
would like to work with it as one channel of a
linked stereo pair, click the Stereo button. Inputs
are grouped in odd/even pairs (Analog 1-2, 3-4,
etc.) Stereo pairs appear as a single channel strip in
the CueMix FX mixer.
Naming an input
Click the input name at the top of the input channel
strip (Figure 9-1) to edit the name. Input names are
global across all mixes. This name also appears in
host audio software on the computer (if the
software supports channel names).
Input pan
The input pan knob (Figure 9-1) pans the input
across the bus stereo outputs. If the input itself is
grouped as a stereo pair, two forms of panning
control are provided:
Balance
Balance works like the balance knob on some
radios: turn it left and the right channel dims, turn
it right and left channel dims. But the left channel
always stays left and the right channel stays right.
Width
Width spreads the left and right channels across the
stereo image, depending on the knob position.
Minimum value (turning the pan knob all the way
down) maintains the original stereo image: the left
channel goes entirely left and right goes entirely
right, without attenuation. The maximum value
(turning the knob all the way up) inverts the signal,
where the left channel goes all the way to the right
and vice versa. In between, the left out is a mixture
of the left input and some of the right input (and
vice-versa) with the effect of narrowing the field. At
zero, both the left and right outputs are an equal
mixture of left and right.
Input mute/solo
To add an input to a mix, or remove it, click its
MUTE button (Figure 9-1). To solo it, use its SOLO
button. To toggle these buttons for a stereo pair,
hold down the command key while clicking either
channel. The Solo indicator LED (Figure 9-1)
lights up when any input is soloed (including
inputs that may currently be scrolled off-screen).
Input fader
Use the input fader (Figure 9-1) to adjust the level
for the input in the mix. Note that an input can have
different level, pan, mute and solo settings for
different mixes. Input channel level meters are
post-fader.
SHORTCUTS
Hold down the following modifier keys as
shortcuts:
Shortcut
Result
Shift key
Applies your action to all inputs in the mix.
Shift-Option
Applies your action to all inputs and mixes.
Command key
Applies your action to the stereo input pair.
Option key
Applies your action to all busses.
Double-click
Returns the control to its default value (pan
center, unity gain, etc.)
81
CUEMIX FX
MESSAGE CENTER
The Message Center displays fly-over help for items
in the CueMix FX window.
Talkback / Listenback mic input
Choose the audio input to which your Talkback
and/or Listenback mic is connected, as shown
below:
SOLO LIGHT
The Solo light (Figure 9-1) illuminates when any
input in the current (active) mix bus is soloed
(even if it is currently scrolled off-screen).
Talkback
mic input
Listenback
mic input
TALKBACK AND LISTENBACK
CueMix FX provides Talkback and Listenback
buttons. Talkback allows an engineer in the control
room to temporarily dim all audio and talk to
musicians in the live room. Conversely, Listenback
allows talent to talk to the control room.
Hardware setup
Figure 9-2 below shows a typical hardware setup
for Talkback and Listenback. For Talkback, set up a
dedicated mic (with a preamp) in your control
room and connect it to an input on the V4HD. For
Listenback, set up a dedicated listenback mic in the
live room for the talent and connect it to another
mic input. For talkback output, set up a headphone
distribution amp or set of speakers in the live
room, and connect it to the V4HD’s analog out 7-8,
as demonstrated below in Figure 9-2.
Control room
Talkback
mic
Mic preamp
Analog In 1
Analog out 1-2
Analog out 7-8
Analog In 3
Mic preamp
Listenback
mic
Live room
Headphone distribution amp
Figure 9-2: Typical hardware setup for Talkback and Listenback.
Talk / listen routing
Listen dim
Talk dim
Figure 9-3: Specifying the talkback and listenback mic inputs. Use the
input fader for the chosen input to control the mic volume.
Talkback / Listenback monitor dim
Use the Talk/Listen dim knobs (Figure 9-3) to set
the amount of attenuation you would like to apply
to all other audio signals (besides the talkback/
listenback volume) when Talkback and/or
Listenback is engaged. To completely silence all
other CueMix audio, turn them all the way down.
Audio playing back from disk (your host software)
is not affected.
Talk / Listen signal routing
Click the Talk/Listen routing button (Figure 9-3) to
open the routing dialog (Figure 9-4). Check the
boxes next to the outputs on which you’d like to
hear the Talkback mic and/or Listenback mic. For
example, as demonstrated in the diagram in
Figure 9-2, to hear the Talkback mic on the
headphones in the live room, check the Analog 7-8
check box in the Talk column as demonstrated in
Figure 9-4. To hear the Listenback mic on the main
monitors in the control room, check the Analog 1-2
check box in the Listen column, also demonstrated
in Figure 9-4.
82
CUEMIX FX
FILE MENU
Saving and loading hardware presets
The V4HD can store up to four presets in its onboard memory. A preset includes of all CueMix FX
settings for all for mix busses, but it excludes global
settings like clock source and sample rate.
The Load Hardware Preset and Save Hardware
Preset commands in the CueMix FX File menu let
you name, save and load presets in the V4HD.
Figure 9-4: Routing the Talkback and Listenback mics to outputs.
Engaging/disengaging Talkback and
Listenback
To engage Talkback or Listenback, press on the
Talk or Listen buttons (Figure 9-3) and then release
to disengage. Talkback and/or Listenback is
engaged for as long as you hold down the mouse
button. Option-click to make the buttons “sticky”
(stay engaged until you click them again — so you
don’t have to hold down the mouse). Or use the
Talkback menu items.
If you would like to engage both Talkback and
Listenback at the same time, enable the Link button
(Figure 9-3).
Controlling Talkback and Listenback volume
To control the volume of the Talkback and/or
Listenback mics, adjust their input fader in CueMix
FX. This fader controls the volume of the input,
regardless of which bus mix is being displayed in
the CueMix FX window. In other words, once an
input has been designated as a Talkback or
Listenback input, its fader becomes global for all
CueMix buses.
Peak/hold time
In CueMix FX, a peak indicator is a line
(representing a virtual LED) displayed in a level
meter that indicates the maximum signal level
registered by the meter. The Peak/hold time setting
(File menu) determines how long this indicator
remains visible before it disappears (or begins to
drop). To disable peak/hold indicators altogether,
choose Off from this sub-menu.
Mix1 Return Includes Computer
The Mix1 return includes computer output item in
the CueMix FX File menu refers to a feature that is
available in other MOTU audio interface products.
Therefore, this menu item is grayed out when you
are working with the V4HD.
Hardware follows CueMix Stereo Settings
The File menu has a checkable item called
Hardware follows CueMix stereo settings. When this
menu item is unchecked, you can make
adjustments to stereo pairing using the front panel
LCD on the V4HD itself.
EDIT MENU
Undo/Redo
CueMix FX supports multiple undo/redo. This
allows you to step backwards and forwards
through your actions in the software.
83
CUEMIX FX
Copying & pasting (duplicating) entire mixes
To copy and paste the settings from one mix to
another:
1 Select the source mix (Figure 9-1) and choose
Copy from the Edit menu (or press command-C).
2 Choose the destination mix and choose Paste
from the Edit menu (or press command-V).
Clear Peaks
Choose Clear Peaks from the Edit menu to clear all
peak indicators in all CueMix FX meters.
Here is a summary of Configurations menu
operations:
Configurations
Menu item
What it does
Create New
Lets you name and save a new configuration,
which appears at the bottom of the Configurations menu.
Save
Overwrites the current configuration
(checked in the list at the bottom of the menu)
with the current settings in CueMix FX.
Save To
Same as Save above, except that it lets you first
choose the configuration you wish to save to
(instead of the current one).
Delete
Lets you choose a configuration to permanently remove from the menu.
Import
Loads all configurations from a configuration
file on disk.
Export
Saves all current configurations as a file on
disk.
Configuration
list
Choose any configuration to load it. The current (last loaded or saved) configuration has a
check mark next to it.
DEVICES MENU
If you are working with more than one MOTU
audio interface product, this menu displays all
interfaces that are currently on line. Choose any
device from the menu to edit its settings using the
CueMix FX software.
CONFIGURATIONS MENU
A configuration is just like a hardware preset (a
“snapshot” of all settings in CueMix FX and
therefore the V4HD hardware itself), except that it
can be created and managed using the CueMix FX
software on your computer, completely
independently of the V4HD hardware. The
commands in the Configurations menu let you
create, save, load, import, export and otherwise
manage as many configurations as you wish.
Modifying a configuration
The name of the current configuration is displayed
in the CueMix FX window title bar. If you make any
changes to the settings in CueMix FX, an asterisk
appears in front of the name to remind you that the
current state of CueMix FX doesn’t match the saved
configuration. If you wish to update the saved
configuration with the new changes, use the Save
command. To save the current state of CueMix FX
to another configuration, use Save To. To save as a
new, separate configuration, use Create New.
Saving a CueMix FX configuration as a
hardware preset
To save a CueMix FX configuration as a hardware
preset:
1 Choose the configuration from the
Configurations menu to make it the current active
configuration.
2 Choose File menu> Save Hardware Preset.
84
CUEMIX FX
3 Type in a name, choose a preset slot and click
OK.
Saving a hardware preset as a CueMix FX
configuration
To save a hardware preset as a CueMix FX configuration:
1 Choose File menu> Load Hardware Preset to
make it the current active preset.
2 Choose Configuration menu> Create New (or
Save To) to save it as a configuration.
TALKBACK MENU
Choose the commands in the Talkback menu to
engage or disengage Talkback or Listenback. Use
the Configure Talkback/Listenback menu item to
access the routing dialog shown in Figure 9-4 on
page 83.
not visible when you begin adjusting it. The same is
true for the displayed mix: if you adjust a control in
a bus that is not currently being displayed, CueMix
FX will jump to the appropriate mix to display the
control you are adjusting.
Share surfaces with other applications
When the Share surfaces with other applications
menu command is checked, CueMix FX releases
the control surface when you switch to another
application. This allows you to control your other
software with the control surface. Here’s a simple
way to understand this mode: the control surface
will always control the front-most application. Just
bring the desired application to the front (make it
the active application), and your control surface
will control it. When you’d like to make changes to
CueMix FX from the control surface, just bring
CueMix FX to the front (make it the active
application).
PHONES MENU
The Phones menu allows you to choose what you
will hear on the headphone output, just like the
Phones setting in MOTU Audio Setup. However,
this menu provides one extra option that is
exclusive to CueMix FX: Follow Active Mix. This
menu item, when checked, causes the headphone
output to mirror the output of the current mix
being viewed in CueMix FX. For example, if you
are currently viewing mix bus 3, the headphones
will mirror the mix bus 3 output (whatever it is
assigned to).
CONTROL SURFACES MENU
CueMix FX can be controlled from an automated
control surface such as the Mackie Control™. Use
the commands in the Control Surfaces menu to
enable and configure this feature.
Application follows control surface
When checked, the Application follows control
surface menu command makes the CueMix FX
window scroll to the channel you are currently
adjusting with the control surface, if the channel is
When this menu item is unchecked, your control
surface will affect CueMix FX all the time, even
when CueMix FX is not the front-most application.
In addition, you will not be able to control other
host software with the control surface at any time
(because CueMix FX retains control over it at all
times). This mode is useful when you do not need
to use the control surface with any other software.
Mackie Control Surfaces
CueMix FX includes support for the following
control surface products:
■
Mackie Control™
■
Mackie HUI™
■
Mackie Baby HUI™
Use the sub-menu commands in the Mackie
Control Surfaces menu item to turn on and
configure control surface support, as described
briefly below.
85
CUEMIX FX
Enabled
Check this menu item to turn on control surface
operation of CueMix FX. Uncheck it to turn off
control surface support.
Configure…
Choose this menu item to configure your control
surface product. Launch the on-line help for
specific, detailed instructions for configuring
CueMix FX for operation with your control surface
product.
Other HUI-compatible control surfaces
Any control surface that has the ability to emulate a
HUI should be compatible with CueMix FX. Just
add a Mackie HUI to Audio MIDI Setup and put
the control surface hardware into HUI emulation
mode. Consult the control surface manual for
details about how put it into HUI emulation mode.
Other control surface hardware products
If you install other control surface drivers written
for CueMix FX, they will appear as separate menu
items at the bottom of the Control Surfaces menu,
with the same sub-menu items described above.
Figure 9-5: Refer to the extensive on-line help for details about configuring CueMix FX for operation with your control surface product.
86
CUEMIX FX
CHAPTER 10
MOTU SMPTE Setup
OVERVIEW
MOTU SMPTE Setup gives you access to the
V4HD’s time code synchronization and generation
features when it is operating in Audio only mode,
(when the “Enable Video” on page 50 is disabled).
When the V4HD’s video features are enabled, you
manage time code synchronization within the
context of Final Cut Pro. See chapter 7, “Final Cut
Pro” (page 57).
MOTU SMPTE Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Clock/Address. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Reader section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Generator section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
When operating in Audio only mode (“Audio only”
on page 39), the V4HD can resolve directly to
SMPTE time code via its LTC input (or any analog
input), without a separate synchronizer. The
V4HD can also generate time code from its LTC
output. The V4HD provides a DSP-driven phaselock engine with sophisticated filtering that
provides fast lockup times and very high accuracy.
87
MOTU SMPTE SETUP
The included MOTU SMPTE Setup™ software
provides a complete set of tools to generate SMPTE
for striping, regenerating or slaving other devices
to the computer when the V4HD is operating in
Audio Only mode (see “Enable Video” on page 50).
CLOCK/ADDRESS
The Clock/Address menu (Figure 10-1) provides
the same global Clock Source setting as in MOTU
Audio Setup (“Clock Source” on page 73), but it
includes additional information: each setting
shows both the clock and the address (time code or
sample location), separated by a forward slash ( / ).
To resolve the V4HD to SMPTE time code under
normal operation, choose the SMPTE / SMPTE
setting in the Clock/Address menu. This means
that the system will use time code as both the time
base and the address.
FRAME RATE
This setting should be made to match the SMPTE
time code frame rate of the time code that the
system will be receiving. The V4HD can autodetect and switch to the incoming frame rate,
except that it cannot distinguish between 30 fps
The Reader section provides settings for
resolving to video and/or SMPTE time code.
and 29.97 fps time code, or 23.976 fps and 24 fps.
So if you are working with either of these rates,
make sure you choose the correct rate from this
menu.
READER SECTION
The Reader section (on the left-hand side of the
window in Figure 10-1) provides settings for
synchronizing the V4HD to SMPTE time code.
Status lights
The four status lights (Tach, Clock, Address and
Freewheel) give you feedback as follows.
Tach
The Tach light blinks once per second when the
V4HD has successfully achieved lockup to SMPTE
time code and SMPTE frame locations are being
read.
Clock
The Clock light glows continuously when the
V4HD has successfully achieved lockup to an
external time base, such as SMPTE time code.
The Generator section provides settings
for striping SMPTE time code.
Figure 10-1: SMPTE Setup gives you access to your V4HD’s on-board SMPTE time code synchronization features.
88
MOTU SMPTE SETUP
Address
The Address light glows continuously when the
V4HD has successfully achieved lockup to SMPTE
time code.
Freewheel
The Freewheel light illuminates when the V4HD is
freewheeling address (time code), clock or both.
For details about Freewheeling, see “Freewheel
Address” and “Freewheel clock” below.
SMPTE source
Choose SMPTE, or the analog input to which the
SMPTE time code source is connected. This is the
input that the V4HD “listens” to for time code.
Freewheel Address
Freewheeling occurs when there is a glitch or
drop-out in the incoming time code for some
reason. The V4HD can freewheel past the drop-out
and then resume lockup again as soon as it receives
readable time code. Choose the amount of time
you would like the V4HD to freewheel before it
gives up and stops altogether.
The V4HD cannot freewheel address without
clock. Therefore, the Freewheel Address setting will
always be lower than or equal to the Freewheel
Clock setting, and both menus will update as
needed, depending on what you choose.
Keep in mind that freewheeling causes the system
to keep going for as long as the duration you choose
from this menu, even when you stop time code
intentionally. Therefore, if you are starting and
stopping time code frequently (such as from the
transports of a video deck), shorter freewheel
times are better. On the other hand, if you are
doing a one-pass transfer from tape that has bad
time code, longer freewheel times will help you get
past the problems in the time code.
The ‘Infinite’ freewheel setting
The Infinite freewheel setting in the Freewheel
Address menu causes the V4HD to freewheel
indefinitely, until it receives readable time code
again. To make it stop, click the Stop Freewheel
button.
Freewheel clock
Freewheeling occurs when there is a glitch or
drop-out in the incoming SMPTE time code for
some reason. The V4HD can freewheel past the
drop-out and then resume lockup again as soon as
it receives a stable, readable clock signal.
The V4HD cannot freewheel address without
clock. Therefore, the Freewheel Address setting will
always be lower than or equal to the Freewheel
Clock setting, and both menus will update as
needed, depending on what you choose.
The ‘Infinite’ freewheel setting
The Infinite freewheel setting in the Freewheel
Clock menu causes the V4HD to freewheel
indefinitely, until it receives readable time code
again. To make it stop, click the Stop Freewheel
button.
Stop Freewheel
The Stop Freewheel button stops the system if it is
currently freewheeling.
GENERATOR SECTION
The Generator section (on the right-hand side of
the window in Figure 10-1) provides settings for
generating SMPTE time code.
Tach light
The Tach light blinks once per second when the
V4HD is generating SMPTE time code.
Destination
In the Destination menu, choose SMPTE from the
menu to generate time code from the LTC output
on the V4HD rear panel, or choose any other
analog output for LTC output.
89
MOTU SMPTE SETUP
Stripe
Click this button to start or stop time code. To set
the start time, click directly on the SMPTE time
code display in the Generator section and type in
the desired start time. Or drag vertically on the
numbers.
Click here to edit
the start time, or
drag vertically
on the numbers.
Figure 10-2: Setting the time code start time.
Regenerate
This option, when enabled, causes the generator to
generate time code whenever the V4HD is
receiving SMPTE time code.
Generate from sequencer
This option, when enabled, causes the generator to
generate time code whenever you are running an
audio editor such as AudioDesk or Digital
Performer. Time code begins at the time specified
by the AudioDesk or Digital Performer main
transport.
90
MOTU SMPTE SETUP
Part 4
Standalone
Operation
CHAPTER 11
Standalone Operation
The V4HD can operate as a standalone video and
audio distributor and converter. It can also operate
as a standalone digital audio mixer.
Enabling standalone mode . . . . . . . . . . . . . . . . . . . . . . . . . .
Front panel programming . . . . . . . . . . . . . . . . . . . . . . . . . . .
Standalone video conversion. . . . . . . . . . . . . . . . . . . . . . . .
Audio only mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
93
93
94
94
ENABLING STANDALONE MODE
To put the V4HD in Standalone mode, unplug its
FireWire cable connection to the computer, or turn
off the computer. Standalone mode is very similar
to Convert mode: no video goes to FireWire or the
computer because it is disconnected, but the
currently selected video source is converted, if
necessary, and distributed to all other V4HD video
outputs.
FRONT PANEL PROGRAMMING
In standalone mode, use the front panel LCD to
make settings. See the next chapter “Front Panel
LCD Programming” on page 95. Here is a brief
summary of the main settings involved.
Choosing a video source
To choose the video source to be converted and
sent to all outputs:
Other video settings
After choosing the video source above, press the
left/right PAGE buttons to access additional video
settings, such as specifying the HD output format.
Sync and time code settings
To access sync and time code settings:
1 Press the MENU button repeatedly until you see
the V4HD SETUP menu.
2 Press the left/right PAGE buttons to access the
time code settings:
■
“Input Timecode” on page 102
■
“Output Timecode” on page 102
■
“SDI Out TC Format” on page 102
Audio monitoring
To access the audio monitoring features:
1 Press the MENU button repeatedly until you see
the CUEMIX menu.
2 Press the left/right PAGE buttons to access the
CueMix settings. For complete details, see
“CueMix Menu” on page 99.
1 Press the MENU button repeatedly until you see
the VIDEO menu.
2 Press the left/right PAGE buttons until you see
the Video Source setting.
3 Turn the VALUE knob to choose the desired
video source.
4 Push the VALUE knob to confirm your choice.
93
STANDALONE VIDEO CONVERSION
AUDIO ONLY MODE
The V4HD provides hardware-based conversion
features, which you can employ during standalone
operation. Here are a few examples:
To put the V4HD into Audio only mode:
■ You could up-convert SD to HD in the V4HD
hardware and then distribute it to all HD outputs.
Or you could down-convert HD to SD and
distribute it to all SD outputs.
You could connect a 23.976 fps input signal,
insert pull-down to 29.97 fps and send this signal
to all SD and HD outputs.
1 Press the MENU button repeatedly until you see
the V4HD SETUP menu.
2 Press the left/right PAGE buttons to access the
AV Mode setting.
3 Turn the VALUE knob to choose Audio Only.
■
As demonstrated below in Figure 11-1, you
could choose SD component (in YPbPr format) as
your input source and distribute this input signal to
all SD outputs on the V4HD. At the same time, you
could also be converting it to 720p or 1080p 23.976
with 14:9 pillar box formatting on all of the V4HD’s
HD outputs.
■
4 Push the VALUE knob to confirm your choice.
This turns the V4HD into standalone 24-channel,
12-bus audio mixer (16 channels and 4 busses at
the 4x sample rates). To control the mixer from the
front panel LCD, see “CueMix Menu” on page 99.
These are just a few examples. There are many
possible conversion scenarios.
Conversion settings
You can program the V4HD’s conversion settings
using the front panel LCD. You can also use the
Capture/Convert Signal Path settings in the
MOTU Video Setup software beforehand, and then
disconnect the computer. The Capture/Convert
settings you make in the software are remembered
and remain in effect during standalone operation.
Figure 11-1: An example of standalone hardware distribution and conversion. The V4HD source input is set to SD
component YPbPr. The V4HD hardware is distributing this input signal to all outputs and simultaneously converting
it to 1080p23.976 with 14:9 pillar box formatting for HD output.
94
STANDALONE OPERATION
CHAPTER 12
Front Panel LCD Programming
OVERVIEW
The V4HD is the first FireWire video interface to
offer complete front-panel programming via a
2x16 backlit LCD display. Almost all V4HD
settings can be accessed via these front-panel
controls.
Video Status LEDs
Genlock
LEDs
Multi-function LCD
display
Video Status. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Multi-Function LCD display . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Video menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Audio menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
CueMix Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
V4HD Setup menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Video STATUS
button
LCD programming
Figure 12-1: The V4HD front panel controls.
95
VIDEO STATUS
The VIDEO STATUS section (Figure 12-1)
provides quick feedback regarding the V4HD’s
current video operation. It is divided into the
following banks of LEDs: MODE, SIGNAL,
FORMAT, RATE and Genlock (Figure 12-2):
SIGNAL
The LEDs in the SIGNAL bank (Figure 12-2)
represent the various video inputs and outputs on
the V4HD. FireWire is viewed as another input or
output, depending on whether the V4HD is
capturing or playing back.
The STATUS button
Repeatedly press the video STATUS button
(Figure 12-1) to cycle through the input and output
signals in the SIGNAL column to view their current
settings in the FORMAT, RATE and Genlock banks
(Figure 12-2).
Genlock
LEDs
Figure 12-2: The video Status section.
MODE
The MODE bank of LEDs (Figure 12-2) indicates
the current operational mode for the V4HD, as
summarized below. For complete details on these
modes, see chapter 5, “V4HD Basics” (page 37).
MODE LED
What it indicates
Capture
The V4HD is connected to the computer and it
is in Capture mode, i.e. it is under the control of
Final Cut Pro for log and capture, or it is under
control of the MOTU Video Setup software
with the Preview tab selected.
Playback
Final Cut Pro is playing back. Or Playback Only
mode is enabled. See “Playback Only (disable
inputs)” on page 50.
Convert
The V4HD is not in Capture or Playback mode.
Audio only
The Enable Video option is currently disabled
and the V4HD is operating as an audio interface only. See “Enable Video” on page 50.
Standalone
The V4HD is not currently connected to a
computer via FireWire, or the computer is
turned off. See chapter 11, “Standalone Operation” (page 93).
Compressed
Indicates that the currently selected format in
the SIGNAL bank is compressed video.
Uncompressed
Indicates that the currently selected format in
the SIGNAL bank is uncompressed video (SD
only).
All inputs and outputs
As you cycle through the individual formats in the
SIGNAL bank, you eventually come to a setting
that illuminates all inputs and outputs. This status
settings is useful because it tells you, at a glance,
everything that is going on with the V4HD inputs
and outputs. To learn the status of a specific input
or output format, simply keep pressing the
STATUS button until its LED illuminates.
Figure 12-3: Viewing the status of all input and output formats.
FORMAT
The LEDs in the FORMAT bank (Figure 12-2)
represent the various video formats supported by
the V4HD. When you view the status of an input
signal (the Input LED is illuminated in the SIGNAL
bank), this bank indicates the currently selected
input. The RGB or YPbPr LEDs also indicate the
component color space for the currently selected
input or output signal.
96
FRONT PANEL LCD PROGRAMMING
RATE
The LEDs in the RATE bank (Figure 12-2) indicate
the frame rate for the currently selected signal in
the SIGNAL bank.
GENLOCK
The LEDs in the Genlock bank (Figure 12-2)
indicate the input format to which the V4HD has
successfully achieved genlock. It also indicates the
format for the currently selected output in the
SIGNAL bank. If you are viewing all formats in the
SIGNAL bank (Figure 12-3), the Genlock bank
will display the SD and HD formats that the V4HD
is genlocking to and generating.
Flashing LEDs
When LEDs flash in the VIDEO STATUS section, it
means that the V4HD has not yet successfully
established genlock. Once genlock is achieved, the
LEDs stop flashing.
Blinking LEDs
The Auto Detect Input Format menu in the MOTU
Video Setup software Setup tab (Figure 6-19 on
page 48) lets you choose the degree to which the
V4HD will automatically detect the video format
for the currently chosen video source (Figure 6-3).
If you choose the Manual option from this menu,
you specify the format using the menus in the
signal path, as explained in “Manual” on page 48.
In this situation, the Genlock LEDs will blink every
second or so to indicate that no auto-detection is
occurring and than the setting has been specified
manually.
MULTI-FUNCTION LCD DISPLAY
The V4HD’s multi-function LCD display
(Figure 12-1) gives you access to the V4HD’s many
powerful features. You can use the display when the
V4HD is connected to the computer and operating
as a video (or audio) interface, and you can also use
it when the V4HD is not connected to the
computer and is instead operating as a stand-alone
converter (or audio mixer).
Making settings from the LCD versus the
software console
If the V4HD is currently connected to a computer,
some settings must be made from the V4HD’s
console software applications on the computer. In
this case, when you try to make a setting in the
LCD, you’ll see a message that says Please use
computer.
The MENU, PAGE and CURS (cursor) buttons
Use the MENU, PAGE and CURS (cursor) buttons
(Figure 12-1) to navigate the menus in the LCD
display, as explained in the following sections.
Push the MENU button repeatedly to access the
four main menus:
■
V4HD Setup
■
Video
■
Audio
■
CueMix
Use the left/right PAGE buttons to access the
various settings in each menu.
Use the left/right CURSOR buttons navigate
through multiple settings in the LCD, where
available. If there is only a single setting currently
displayed, use the VALUE/ENTER knob (below).
The VALUE/ENTER knob
The VALUE/ENTER knob (Figure 12-1) is a pushbutton digital rotary encoder. Turn it to change the
value of the setting currently displayed. The new
97
FRONT PANEL LCD PROGRAMMING
value chosen will flash. Push the VALUE knob to
confirm your choice; the newly chosen value will
stop flashing.
Video Source
This is the setting described in “Video Source
menu” on page 44.
The PHONES knob
The PHONES knob lets you control the volume of
either the headphone jack or the outputs on the
rear panel that you have designated as the main
outs (see “Main Volume Ctl (Control)” on
page 102). Press the knob to toggle between the
headphones and the main outs. As explained in the
next section, the LCD provides detailed feedback
as you turn the knob. To view the current setting
without changing it, just push the knob (without
turning it).
Auto Detect
This is the setting described in “Auto Detect Input
Format” on page 48.
Parameter “zooming”
For many settings, the LCD temporarily “zooms
in” to display a long-throw meter and alphanumeric display to give you precise, real-time
feedback as you adjust the setting. For example, if
you change the headphone volume, the LCD will
display a level meter and gain reduction reading
that updates as you turn the volume knob. After a
brief time-out, the display returns to its previous
state before you turned the volume knob.
HDMI Source
This is the setting described in “HDMI Output
Source” on page 51.
HD Format
This is the setting described in “Format
Conversion menu” on page 44.
Up Convert/Down Convert
These are the same settings as described in “SD to
HD up conversion formats” on page 45 and “HD to
SD down conversion formats” on page 44.
SD Component Out
This is the setting described in “SD Component
Output Color Mode” on page 51.
HD Component Out
This is the setting described in “HD Component
Output Color Mode” on page 51.
HDMI Mode
This is the setting described in “HDMI/DVI” on
page 46.
NTSC Setup
This is the setting described in “480i Setup” on
page 50.
Figure 12-4: For many settings, the LCD “zooms in” on the setting as
you adjust it.
VIDEO MENU
Press the MENU button repeatedly to access the
Video menu. The Video menu gives you access to
the many video-related settings in the V4HD, as
described briefly below.
480i Component
This is the setting described in “480i Component
Analog Format” on page 49.
Legalizer NTSC (or PAL)
This is the setting described in “480i Broadcast
Legalizer” on page 51 and “576i Broadcast
Legalizer” on page 51.
98
FRONT PANEL LCD PROGRAMMING
AUDIO MENU
Press the MENU button repeatedly to access the
Audio menu. The Audio menu gives you access to
the many audio-related settings in the V4HD, as
described briefly below.
Clock Source
This is the setting described in “Clock Source” on
page 73.
Sample Rate
This is the setting described in “Sample Rate” on
page 73.
Word Clock Out
This is the setting described in “Word Out” on
page 77.
Bank Enable
This is the setting described in “Analog Input/
Output”, “AES/EBU Input/Output”, “ADAT
Optical Input/Output” and “SDI Input and SDI/
HDMI Output” on page 75. Turn the VALUE knob
to scroll through each of the four banks, and push
the knob to toggle the enable state for each bank
(y = yes = enabled; n = no = disabled).
ADAT Type
The ADAT Type settings is a parameter that can
only be made from the V4HD front panel LCD.
This setting lets you change the V4HD’s 2x optical
input and output (88.2 or 96kHz) to Type I (for 2x
optical connection to SMUX-compatible
products) or Type II (for 2x optical connection to
MOTU products). Turn the VALUE knob to switch
between Type I and II, respectively, and then push
the knob to confirm your choice.
Additional Delay
This is the setting described in “Additional Audio
Delay” on page 76.
Sync Cuemix
This is the setting described in “Sync CueMix
audio with video output” on page 77.
CUEMIX MENU
Press the MENU button repeatedly to access the
CueMix menu. The CueMix menu gives you access
to the V4HD’s built-in 32 channel, 16-bus monitor
mixer (or 8 channels and 4 busses at the 4x sample
rates).
☛
Working with the mixer is much more intuitive
using the graphic faders and knobs in the CueMix
FX software described in chapter 9, “CueMix FX”
(page 79). But this menu lets you control these
features in situations where you do not have a
computer connected.
Rate Convert
This is the setting described in “Sample Rate
Convert” on page 75.
For a complete explanation of the V4HD’s CueMix
monitor mixer, see chapter 9, “CueMix FX”
(page 79). Once you have read this chapter, the
controls described below will make a lot more
sense.
This setting can only be changed in the front
panel LCD when the V4HD is in stand-alone mode
(not connected to the computer), as explained in
“Making settings from the LCD versus the software
console” on page 97.
Meter Mode
This is the setting described in “Programmable
Meters” on page 77.
Phones Assign
This is the setting described in “Phones” on
page 75.
99
FRONT PANEL LCD PROGRAMMING
Navigating CueMix parameters in the LCD
The CueMix mixer has the following layout in the
LCD display:
Mix bus
Input Bank
Mix parameter
Channel settings
Figure 12-5: Navigating the CueMix mixer in the LCD display.
Use the left/right PAGE buttons to proceed through
each CueMix parameter as described in the
following sections. When a parameter flashes, use
the VALUE knob to access a different bus,
parameter, etc. Use the CURSOR buttons to
navigate through the eight channel settings
(Figure 12-5).
Choosing a bus to work with
CueMix provides a separate mix bus for each of the
V4HD’s 16 output pairs. Busses are identified by
their output pair destination. To access a mix bus,
press the left/right PAGE buttons until the Mix bus
parameter (Figure 12-5) flashes. Turn the VALUE
knob to choose the desired bus.
Input Bank
To access an input bank, press the left/right PAGE
buttons until the Input Bank (Figure 12-5) flashes
and then turn the VALUE knob to choose the
desired input bank. NOTE: only banks that are
currently enabled (as shown in Figure 8-1 on
page 72) will appear as choices when you turn the
knob. In stand-alone mode, you can enable or
disable banks using the front panel LCD as
explained in “Bank Enable” on page 99.
Mix parameters
Mix parameters are settings such as channel
volume (gain), pan, mute/solo, etc. To access the
mix parameters for the currently displayed bank,
press the left/right PAGE buttons until the Mix
parameter (Figure 12-5) flashes and then turn the
VALUE knob to choose the desired parameter. You
can then modify that setting for each individual
input channel, as explained in the next section.
Channel Settings
A channel setting is an individual input channel’s
setting for volume (gain), pan, mute/solo, etc. To
access a channel’s current setting for the currently
displayed mix parameter, press the left/right PAGE
buttons until one of the Channel Settings
(Figure 12-5) flashes. Use the left/right CURSOR
buttons to move among the 8 displayed channels
(for the currently chosen Input Bank as shown in
Figure 12-5), and then turn the VALUE knob to
adjust the value or setting for the parameter. Mix
parameters are explained briefly below:
Mix
parameter Range
Comments
Gain
OFF,
-84 to 0 dB
Each channel displays a small fader.
Push the VALUE knob to toggle
between OFF and unity gain (0dB).
Pan
-64 to +64
Push the VALUE knob to jump to pan
center. Stereo pairs (explained below)
are panned hard left/right by default.
Zero = pan
center
Solo
“s” or
blank
Push the VALUE knob to toggle
between soloed (S) and not soloed
(blank), or turn the knob to toggle.
Mute
“m” or
blank
Push the VALUE knob to toggle
between muted (m) and unmuted
(blank), or turn the knob to toggle.
Pair
“[ ]” or
blank
This setting applies universally across
ALL mixes. Push the VALUE knob to
toggle a stereo input pair between separate mono inputs (blank) or a stereo
pair (“[ ]”). Or turn the knob to toggle.
When a pair of inputs are linked, all of
their mix settings become linked (gain,
solo, etc.) When the pair is first created,
pan is set to hard left and hard right,
but the channels can then be further
modified independently. When a pair
is unlinked, the channels are set to pancenter.
100
FRONT PANEL LCD PROGRAMMING
Bus level
The bus level is the overall volume for the bus
output pair. To access bus level, press the left/right
PAGE buttons until you see Bus Level displayed in
the top row of the LCD (Figure 12-6). The current
bus is displayed in the bottom row. To choose a
different bus, press the left/right CURSOR buttons.
To adjust the overall output volume for the bus,
turn the VALUE knob.
Figure 12-6: Bus level and additional bus settings.
Additional bus settings
You can adjust additional bus settings using the
same basic technique as described above for bus
level. Additional settings include the following:
Bus Mute
The Bus Mute setting lets you temporarily silence
the bus output pair.
Init Bus Mix
The Init Bus Mix setting lets you reset the current
mix. All inputs get reset to unity gain (0 dB), pan
center, etc.
Copy Bus Mix
Copy Bus Mix lets you copy all of the settings for the
currently displayed mix. Turn the VALUE knob to
choose a mix. Push the VALUE knob to copy it. You
can then paste the settings to another mix as
explained below. The word Copied appears briefly
to confirm that the mix settings have been
successfully copied.
Paste Bus Mix
After you copy mix settings (explained above),
Paste Bus Mix lets you paste the copied mix settings
to another mix. Turn the VALUE knob to choose a
mix. Push VALUE to paste. The word Pasted
appears briefly to confirm the paste. The following
mix parameter are included in the paste operation:
Gain, Pan, Solo, Mute and stereo pairing. The
following mix parameters are not pasted: Bus
output, Bus mute and Bus gain.
Save/Name Preset
The Save/Name Preset setting lets you name and
save up to four separate V4HD presets. A preset
holds all of the current CueMix DSP mix settings
for all 16 mix busses. Setup parameters are not
included. The name can have up to 12 characters.
Here is a summary of how to name and save a
preset:
To do this:
Do this:
To change the currently flashing
character
Turn the VALUE knob
To move to a different character
Press the CURSOR buttons.
To save the preset
Push the VALUE knob. If you
are asked to replace existing preset, push VALUE again to
replace it, or turn it to select a
different preset.
Load preset
After you’ve saved one or more presets, Load Preset
lets you recall them. Turn the VALUE knob to
choose a preset. Push VALUE to load it. The word
Loaded appears briefly to confirm the operation.
101
FRONT PANEL LCD PROGRAMMING
V4HD SETUP MENU
Press the MENU button repeatedly to access the
V4HD Setup menu. This menu gives you access to
several important global settings in the V4HD, as
described briefly below.
AV Mode
This is the setting described in “Enable Video” on
page 50.
LCD Contrast
LCD Contrast lets you adjust the contrast of the
front panel LCD display (Figure 12-1).
Input Timecode
This is the setting described in “Timecode Source”
on page 49.
Output Timecode
This is the setting described in “Timecode
Destination” on page 50.
SDI Out TC Format
This is the setting described in “SDI Output
Timecode Format” on page 49.
Main Volume Ctl (Control)
The Main Volume Control setting can only be
changed from the V4HD front panel LCD. This lets
you choose which audio output pairs on the V4HD
are controlled using the front panel main volume
knob (as explained in “The PHONES knob” on
page 98). For example, you could enable analog
outs 1-2, which might be connected to a pair of
powered speakers. Or you could enable analog outs
1-2, 3-4 and 5-6. This would allow you to have
main out volume control for a 5.1 surround mix,
using the PHONES knob on the front panel of the
V4HD.
The V4HD has 16 output pairs (32 channels total).
Turn the VALUE knob to scroll through all 16
output pairs (four in each 8-channel bank). Push
the VALUE knob to include it (y = yes = include) or
exclude it (n = no = exclude).
Factory Defaults
The Factory Defaults setting can only be accessed
from the V4HD front panel LCD. The Factory
Defaults setting restores the V4HD factory settings.
Push VALUE to initiate the operation. When the
LCD asks “Are you sure?”, push VALUE to complete
the operation.
102
FRONT PANEL LCD PROGRAMMING
Part 5
Appendices
APPENDIX A
Troubleshooting
I see the following error message in Final Cut Pro:
Unable to locate external device. Why?
If you see the error message below when operating
the V4HD with Final Cut Pro, it means that Final
Cut Pro has lost communication with the V4HD
hardware. Check your V4HD hardware and cable
connections.
■ Unplug your FireWire A connection to the
computer and switch to a FireWire B connection.
Connecting or powering gear during operation
It is not recommended that you connect/
disconnect, or power on/off devices connected to
the V4HD while recording or playing back audio.
Doing so may cause a brief glitch in the audio.
When I try to genlock via the V4HD’s VIDEO REF
input, I have problems.
If there is no device connected to the REF THRU
jack, make sure that the termination switch is set to
the 75Ω TERM position. Proper termination is
critical for successful genlock.
Figure A-1: If you see this message check your hardware and cable
connections.
I am seeing a FireWire bandwidth error message.
If you have connected the V4HD to the computer
via the 400 MBit/sec FireWire A port (page 8), you
may see a warning message (Figure A-2):
Figure A-2: FireWire bandwidth warning.
If you see this message, try the following:
■ In the MOTU Audio Setup console (Figure 8-1
on page 72), choose a lower sample rate (such as
44.1 or 48 kHz).
In the MOTU Audio Setup console (Figure 8-1
on page 72), disable audio banks you are not using.
■
The V4HD is having trouble genlocking to my
video deck.
Is the deck connected to a video output from the
V4HD? If so, it could be a clock loop problem,
where the deck is trying to resolve to its video
input, while the V4HD is trying to resolve to video
input from the video deck. Try disconnecting the
output from the V4HD to the video deck. You
could also try choosing the V4HD’s manual
genlock mode. See “Auto Detect Input Format” on
page 48.
I see a message in the MOTU Video Setup preview
window that says “Codec Missing”. Why can’t I see
a preview?
If you see a Codec Missing message in the Preview
frame, this means that MOTU Video Setup cannot
find a software component required to display the
incoming video format. Compatible codecs are
installed with Final Cut Pro. Try installing Final
Cut Pro.
My reference monitor(s) connected to the V4HD
only displays single frames.
Make sure All Frames is selected in the
View>External Video menu in Final Cut Pro.
105
My reference monitor(s) connected to the V4HD
does not output any video.
Make sure the Final Cut Pro MOTU RT Enabler is
properly installed in Library\Application
Support\Final Cut Pro System Support\Plugins.
I’m not seeing any SD output. Why?
SD output is disabled when the HD frame rate is set
to 24, 30, or 60 (as opposed to 23.976, 29.97, or
59.94). Check the HD frame rate.
I can’t get any video input or output at all. Why?
The V4HD’s video features can be temporarily
disabled. Perhaps they are currently turned off. See
“Enable Video” on page 50.
My HDMI output looks unusually blurry and
distorted.
When outputting HD content, go to the Output tab
in MOTU Video Setup and click the HD button for
the HDMI Output Source option.
My HDMI output does not output any video.
Make sure the HDMI/DVI menu in the signal path
diagram is set to HDMI, not DVI.
How can I enable time code when the V4HD is in
Audio & Video mode?
Time code becomes active when the Timecode
Destination option (page 50) gets set to anything
other than None. Choose HD-SDI or SD-SDI to
output the desired time code format from LTC out
of the V4HD.
I hear clicks and pops on audio from an external
SDI device.
Make sure your Video Source is set to SD- or
HD-SDI for V4HD to establish sync.
CUSTOMER SERVICE
We are happy to provide customer service to our
registered users. If you haven’t already done so,
please take a moment to register on line at
motu.com/register, or fill out and mail the
registration card included with your V4HD. Doing
so entitles you to technical support and notices
about new products and software updates.
TECHNICAL SUPPORT
If you are unable, with your dealer’s help, to solve
problems you encounter with the V4HD system,
you may contact our technical support department
in one of the following ways:
■ Tech support hotline: (617) 576-3066 (Monday
through Friday, 9 am to 6 pm EST)
■
Tech support 24-hour fax line: (617) 354-3068
■
Online support: www.motu.com/support
Please provide the following information to help us
solve your problem as quickly as possible:
■ The serial number of the V4HD system. This is
printed on a sticker placed on the bottom of the
V4HD rack unit. You must be able to supply this
number to receive technical support.
■ A brief explanation of the problem, including the
exact sequence of actions which cause it, and the
contents of any error messages which appear on the
screen.
■ The pages in the manual which refer to the parts
of the V4HD with which you are having trouble.
■
Mac OS X version information.
We’re not able to solve every problem immediately,
but a quick call to us may yield a suggestion for a
problem which you might otherwise spend hours
trying to track down.
If you have features or ideas you would like to see
implemented, we’d like to hear from you. Please
write to the V4HD Development Team, MOTU
Inc., 1280 Massachusetts Avenue, Cambridge, MA
02138.
106
APPENDIX A: TROUBLESHOOTING
APPENDIX B
Video Formats
VIDEO INPUT AND OUTPUT FORMATS
FINAL CUT PRO VIDEO FORMATS
The V4HD supports the following video input and
output formats:
The V4HD can play back the following video
formats from Final Cut Pro:
SD
■ 480i29.97 (NTSC)
SD
■ Uncompressed 8-bit and 10-bit at 480p23.976,
480i29.97, 486i29.97 and 576i25
■
486i29.97
■
576i25 (PAL)
HD
■ 720p23.976
■
720p24
■
720p25
■
720p29.97
■
720p30
■
720p50
■
720p 59.94
■
720p60
■
1080p23.976
■
1080p24
■
1080p25
■
1080p29.97
■
1080p30
■
1080PsF23.976
■
1080PsF24
■
1080PsF25
■
1080PsF29.97
■
1080PsF30
■
1080i25
■
1080i29.97
■
1080i30
■ DVCPro25 and DVCPro50 at 480p23.976,
480i29.97 and 576i25
Note: the V4HD supports 480p23.976 SD capture
and playback with hardware pull-down insertion/
removal.
HD
■ Apple ProRes 422 in standard or HQ modes. Or
any similar full-raster video format supported by
Final Cut Pro with a 10-bit 4:2:2 color space and a
compression ratio similar to ProRes (approximately 6:1 or higher).
DVCProHD 720p at 720p23.976, 720p24,
720p25, 720p29.97, 720p30, 720p50, 720p 59.94,
720p60
■
■ DVCPro HD 1080i50 (1440 x 1080) and 1080i60
(1280 x 1080) at all 1080i frame rates listed on this
page
The V4HD can capture and play back DVCProHD
1080i50 at 30 fps, which provides better resolution
(1440 pixels wide) than 1080i60 (1280 pixels wide).
However, the 1080i50 format is not widely
supported and cannot be recorded or played by
other DVCPro HD compatible devices, such as a
DVCPro HD video deck or camera.
107
108
APPENDIX B: VIDEO FORMATS
APPENDIX C
V4HD Specifications
VIDEO I/O
1 x HD-SDI in and out (4:2:2 10-bit) on
independent BNC connectors
■
1 x SD-SDI in and out (4:2:2 10-bit) on
independent BNC connectors
■
■
1 x extra HD-SDI output connector
■
1 x extra SD-SDI output connector
■
1 x HDMI output (4:2:2 10-bit, YCbCr or RGB)
■ Support for DVI output with HDMI-to-DVI
adapter (sold separately)
■ 2 x AES/EBU connectors — provides 4-channel
direct connection without a breakout cable
■ 8-channel HD-SDI and SD-SDI embedded
audio in/out, 24-bit at 44.1 or 48kHz
■ 8-channel HDMI embedded audio output, 24bit at 44.1 or 48kHz
■ 8-channel ADAT optical digital audio in/out —
includes a second bank of optical connectors for 8channel operation at sample rates up to 96kHz.
■ 1 x HD component in and out (10-bit, YPbPr or
RGB) on independent BNCs
■ Flexible 8-channel sample rate conversion —
apply rate conversion to any 8-channel digital
input or output bank, including AES/EBU,
embedded and optical.
■ 1 x SD component in and out (10-bit, YPbPr or
RGB) on independent BNCs
■ Front panel headphone jack with dedicated
volume control
■
1 x composite in and out (10-bit)
■
1 x S-video in and out (10-bit)
■ 12-bit A/D and D/A converters on all analog
video in/out with up to 8x oversampling
■
1 x 400 Mbit (1394) FireWire A
■
2 x 800 Mbit (1394b) FireWire B
AUDIO I/O
■ 32 channels of simultaneous audio input and
output
■ 8 channels of analog in/out at all standard
sample rates from 44.1 to 192kHz
■ 4 x XLR analog in/out — provides 4-channel
direct connection without a breakout cable
■ Programmable front panel volume control for
up to 32 audio outputs — push the headphone
volume knob and then turn it to control output
level for any/all outputs, from stereo main outs to
7.1 surround to all 32 outs. The LCD provides
visual feedback for the digital rotary encoder as the
user turns it.
■ CueMix FX built-in monitor mixer — 32channel, 16-bus mixer for monitoring live inputs
from cameras, mic preamps or other audio sources
with no delay. Set up send/return loops to digital
mixers and outboard audio processing.
Multiple CueMix FX mixes — create up to 16
separate stereo monitor mixes (four stereo at 176.4
or 192kHz) for main outs, headphones, outboard
gear send/return loops, etc.
■
■ 8 channels of AES/EBU digital in/out at sample
rates up to 96kHz
109
■ Audio delay compensation — both fully
automated and programmable controls ensure that
audio always remains perfectly in sync with
picture.
■ Audio only mode — operates as a 24 channel
cross-platform audio interface.
Stand-alone operation — mix and monitor
audio with no computer connected.
■
SYNC AND DEVICE CONTROL
■ Video reference in and thru — resolves to
blackburst, composite or HD Tri-level sync.
Time code in and out — generates and resolves
to time code (LTC, SD VITC or embedded).
■
■ RS-422 machine control — control the
transport of a connected camera or video deck
using Final Cut Pro or other machine control host
via standard 9-pin protocol.
■ Video status LEDs — provide quick access to
capture/playback settings for each video format.
■ Time code display — provides frame-accurate
time code readout when converting or generating
time code, or during playback from host software.
INCLUDED SOFTWARE AND
COMPATIBILITY
■ Includes MOTU Video Setup software —
graphically displays HD and SD signal path and
provides complete control of all programmable
features and settings.
■ Includes CueMix FX software — provides onscreen mixing of all 32 audio channels of analog
and digital input and output via graphic mixer with
32 faders.
■
Supports Final Cut Pro 5.1 or later
■ Word clock in, out and thru — continuously
resolves to audio word clock from a digital mixer,
distribution box or other source at sample rates
from 44.1 to 192 kHz.
■ Direct Digital Synthesis — DSP-driven phase
lock engine provides ultra-low audio jitter.
Field upgradable firmware via USB — allows
you to download new functionality from a
computer.
■
■ International auto-switching internal power
supply
FRONT PANEL PROGRAMMING AND
MONITORING
■ Front-panel backlit LCD — provides access to
most settings directly from the front panel.
8 dedicated 10-segment ladder LEDs with clip
indicators for all 8 analog audio ins
■
■ 8 programmable 10-segment ladder LEDs with
clip indicators for displaying any 8-channel bank
(analog, AES/EBU, optical or embedded) in or out
110
APPENDIX C: V4HD SPECIFICATIONS
APPENDIX D
DB25 to XLR Pin Outs
DB25 TO 8 FEMALE (IN) OR MALE (OUT) XLR
For balanced V4HD analog input or output
Panasonic/Tascam standard
DB25 TO 4 FEMALE (IN) / 4 MALE (OUT) XLR
For bi-directional V4HD AES/EBU digital I/O
Panasonic/Tascam standard
111
DB25 TO 8 FEMALE (IN) OR MALE (OUT) XLR
DB25 TO 4 FEMALE (IN) / 4 MALE (OUT) XLR
For balanced V4HD analog input or output
Panasonic/Tascam standard
For bi-directional V4HD AES/EBU digital I/O
Panasonic/Tascam standard
Pin
Signal
Pin
Signal
1
Channel 8 (+)
1
Channel 7/8 Out (+)
2
SG (Signal Ground)
2
SG (Signal Ground)
3
Channel 7 (-)
3
Channel 5/6 Out (-)
4
Channel 6 (+)
4
Channel 3/4 Out (+)
5
SG
5
SG
6
Channel 5 (-)
6
Channel 1/2 Out (-)
7
Channel 4 (+)
7
Channel 7/8 In (+)
8
SG
8
SG
9
Channel 3 (-)
9
Channel 5/6 In (-)
10
Channel 2 (+)
10
Channel 3/4 In (+)
11
SG
11
SG
12
Channel 1 (-)
12
Channel 1/2 In (-)
13
Not used
13
Not used
14
Channel 8 (-)
14
Channel 7/8 Out (-)
15
Channel (7 (+)
15
Channel 5/6 Out (+)
16
SG
16
SG
17
Channel 6 (-)
17
Channel 3/4 Out (-)
18
Channel 5 (+)
18
Channel 1/2 Out (+)
19
SG
19
SG
20
Channel 4 (-)
20
Channel 7/8 In (-)
21
Channel 3 (+)
21
Channel 5/6 In (+)
22
SG
22
SG
23
Channel 2 (-)
23
Channel 3/4 In (-)
24
Channel 1 (+)
24
Channel 1/2 In (+)
25
SG
25
SG
112
APPENDIX D: DB25 TO XLR PIN OUTS
Index
÷ 2 75
÷ 4 75, 76
1080
playback settings 42
1080i29.97 48
1080i50 67, 107
1080i60 67, 107
1080PsF29.97 49
1394 connector 8, 19, 20, 21
14:9 letterbox format 44
14:9 pillar box format 46
192kHz operation 73
sample rate conversion 31
2:3 pull-down 47
2:3:3:2 pull-down 47
29.97 drop/non-drop 54
400 M/bit FireWire 8, 19, 20, 21
480i
Broadcast Legalizer menu 51, 98
component 22
Component Analog Format option
49, 98
playback settings 42
Setup option 50, 98
576i
Broadcast Legalizer menu 51, 98
playback settings 42
5-8@96K 25
720p
playback settings 42
75Ω TERM 8, 27
800 M/bit FireWire 8, 19, 20, 21
930/950mV options 51, 98
96kHz operation
ADAT optical 25
AES/EBU 25
sample rate conversion 31
word clock 28
9-pin
connector 8, 28
A
ADAT optical
clock source setting 73
connecting 25
connectors 8
enable/disable 11
Input/Output menus 75, 99
metering 7
synchronization 29, 30, 50
Type I, II optical mode 8, 26, 99
ADAT type 8, 26, 99
Additional Audio Delay option 11, 76, 99
AES In option (sample rate conversion) 75
AES/EBU
breakout cable 25
clock source setting 74
connections 25
connectors 8
enable/disable 11
in/out 1-8 25
Input/Output menus 75, 99
metering 7
synchronization 29, 30, 50
Analog
audio breakout cables 24, 111
audio connectors 24
connectors 8
enable/disable 11
in/out 1-8 24
input meters 7
Input/Output menus 75, 99
metering 7
output metering 7
video connectors 8
Anamorphic format 45, 46
Apple ProRes 13, 19
Apple ProRes 422 49, 59
Application follows control surface 85
Audio
ADAT optical connections 25
AES/EBU connections 25
analog connections 24
bit resolution 73
capture in Final Cut Pro 65
connections 26
connectors 24
delay 76, 99
digital audio sync 29
digital mixer 25
features 37
Final Cut Pro settings 64
latency 76, 99
menu (LCD display) 99
monitoring 26
only LED 96
only mode 37, 39, 94
enabling 50, 73, 102
sync 30
overview 37
playback from Final Cut Pro 66
sample rate conversion 25, 26, 31, 75,
99
word clock 8, 27, 28
Audio Setup software
installing 33
Auto Detect Input Format menu 46, 48, 52,
97, 98
Format and Genlock 49, 52
Genlock 48
Manual 48
B
Balance 81
Bandwidth error 67, 105
Batch Capture 8
Bi-level sync 53
Blackburst 53
BNC cables for SDI 22
Breakout cables 24, 25, 111
Brightness option 55
Broadcast Legalizer menu 51, 98
Broadcast monitor
connecting 23
Built-in audio (clock source setting) 74
Bus Mute 101
C
Cables
breakout 24, 25, 111
Cadence (pull-down) 47
Camcorders
connecting 23
Camera
connecting via HD-SDI 23
Capture
LED 96
supported video formats 67, 107
Capture mode 37, 38
settings 42, 43
signal path 43
Chroma 51, 98
Clear Peaks 84
Clipping 7
Clock
192kHz operation 73
source 11, 53, 73, 99
status LEDs 7
Codec Missing message 52, 105
Codecs
other 60
supported 59
Component 21, 22
analog format options 22, 49, 98
connectors 8
output color mode settings 51, 98
RGB 22
YPbPr 22
Composite
connectors 8, 21
example 23
LED 96
Compressed LED 96
Computer
connecting the V4HD 8, 19, 20, 21
Configurations menu 84
Configure Talkback/Listenback 85
Contrast option 55
Control surface support 85
Conversion
14:9 letterbox format 44
14:9 pillar box format 46
anamorphic format 45, 46
deinterlacing 54
diagram 42, 43
Final Cut Pro 63, 94
full screen format 45, 46
letterbox format 44
menu 42, 43, 44, 45, 98
pillar box format 45
pull-down insertion/removal 47
settings 42, 43
up conversion 45, 98
Convert
LED 96
tab 54
Convert mode 37, 38
settings 42, 43
signal path 43
Copy bus mix 101
113
I N D EX
Copy/Paste 84
CueMix
adjusting bus levels 7
delay compensation 76
menu (LCD display) 99
CueMix FX 79-86
Application follows control surface
85
Configurations menu 84
connections 26
Devices menu 84
Edit Channel Names 11
Edit menu 83
File menu 83
installing 33
Listenback explained 82
Mackie control surfaces 85
Phones menu 85
Share surfaces with other applications 85
Talkback menu 85
talkback settings 82
CURS (cursor) button 7, 97
Customer support 106
D
Daisy-chain 8
FireWire 19
video ref 8, 27
DB25 connectors
AES/EBU 8
analog 8
DB25 XLR cables 24, 25, 111
DDS 13
Default Stereo Input/Output 11, 74
Deinterlacing 54
Detect Pull-down option 55
Device control 66
Devices menu 55, 84
Digital audio
phase lock 29
synchronization 30
Digital mixer
connecting 25
example 26
synchronizing 30
Direct Digital Synthesis 13
DLP display
connecting 8
Dock icon 11
Drivers
installing FireWire drivers 33
DVCPro 13, 59
supported formats 67, 107
DVD Player
connecting 23
DVI
cable requirements 22
connector 8, 22
output 22
output menu 42, 43, 46, 98
E
Easy Setups 58
installing 33
EBU N10 49
Edit Channel Names 11, 77
Edit to Tape 8, 66
Embedded
sync setting 102
time code 49, 102
Embedded audio
HDMI 8, 22
metering 7
SDI input 75, 99
SDI/HDMI output 75, 99
Enable Video option 50, 73, 102
F
Factory Defaults 102
Fan 8
FCP MOTU RT Enabler.txt 33
Field 1/2 options 54
File menu
Clear Peaks 84
Copy/Paste 84
Hardware Follows CueMix Stereo
Settings 83
Load Hardware Preset 83
Peak Hold Time 83
Save Hardware Preset 83
undo/redo 83
Film
14:9 letterbox format 44
14:9 pillar box format 46
anamorphic format 45, 46
full screen format 45, 46
letterbox format 44
pillar box format 45
Final Cut Pro 57-67
audio 37
audio capture 65
audio playback 58, 66
audio settings 64
Audio/Video Settings 58
Batch Capture 8
capture 37, 38
capture presets 58
capture settings 60
conversion 63, 94
device control 66
device control presets 58
easy setups 33, 58
Edit to Tape 8, 66
frame rate 43, 50, 54
installing drivers & easy setups 33
Log and capture 61
machine control 66
machine control connector 8, 28
monitoring 62
playback 37, 38, 62
playback settings in V4HD hardware 53
preparation 57
Print to Video 66
Refresh A/V Devices option 66
Sequence presets 58
supported video formats 67, 107
synchronization during playback 53
time code offset 54
time code settings 66
troubleshooting 105
video playback 58
FireWire 7, 8
400 vs. 800 59
800/400 HQ settings 49
bandwidth error 67, 105
connector 8, 19, 20, 21
daisy-chaining 19
I/O 37
in signal path diagram 47
installing drivers 33
LED 96
PCI adaptors 19
Firmware update 8
Follow Active Mix 85
Force 1x word out rate 28, 77
Format and Genlock option 46, 49, 52
Format conversion
14:9 letterbox format 44
14:9 pillar box format 46
anamorphic format 45, 46
diagram 42, 43
full screen format 45, 46
letterbox format 44
menu 42, 43, 44, 45, 98
pillar box format 45
up conversion 45, 98
FORMAT LEDs 7, 96
Frame rate
playback 43, 50, 54
Freewheel
address 89
clock 89
infinite 89
Front panel 7, 95
programming 39, 93
Full Raster
capture preset 49, 59, 60
mode 49, 59, 60
Full Screen format 45, 46
G
Gain 100
General tab 11, 72
Generate from sequencer 90
Genlock
Auto Detect Input Format menu 46,
48
LED (video Setup software) 9, 41, 52,
53, 55
LEDs (front panel) 7, 97
troubleshooting 105
H
Hardware Follows CueMix Stereo Settings
83
114
I N D E X
HD
14:9 pillar box format 46
anamorphic format 46
camera 23
component connectors 8
Component Output Color Mode
settings 22, 51, 98
destinations 42, 43, 46
full screen format 46
Out LED 96
output format 42, 43, 46, 49
pillar box format 45
pull-down insertion/removal 47
reference monitor 23
reference monitor example 23
signal path 42, 43, 53
supported formats 67, 107
tri-level sync 8, 27, 53
up conversion to 45, 98
HDMI
audio enable/disable 11
connector 8, 22
DVI output 22
embedded audio 22
LED 96
output menu 42, 43, 46, 98
Output Source setting 47, 51, 98
SDI/HDMI Output menu 75, 99
HD-SDI
audio enable/disable 11
audio metering 7
BNC cable specs 22
connectors 8, 22
LED 96
reference monitor 23
time code destination option 50, 102
VTR input 23
Headphone jack 7
Headphones 7
controlling output 75, 99
Heat
controlling 8
House sync 53
Hue option 55
I
iMovie
audio input/output 74
Infinite freewheel 89
Init Bus Mix 101
Input
LED 96
Input level meters 7
Input tab 55
Inputs
naming 81
pan 81
Installation
Easy Setups 33
hardware 19
software 33
Interlace Pause Mode 54
Interlaced Field When Paused options 54
Internal (sync setting) 29, 53, 73
IRE 51, 98
iTunes
audio input/output 74
J
Japan (0.0%) option 50
L
Latency 76, 99
Launch MOTU Audio Setup when hardware becomes available option
11, 77
LCD display 97-102
contrast 102
example 23
programming 97
standalone mode programming 39,
93
Letterbox format 44
Lightpipe
2x mode 8, 26, 99
connections 25
connectors 8
Listenback
button 79, 83
explained 82
Load Hardware Preset 83
Load Preset 101
Log and capture 61
LTC
connectors 8
output format 50, 102
output format option 49, 102
sync setting 49, 102
Luma 51, 98
M
Mac OS X
software installation 33
sound input/output 11, 74
system requirements 17
Machine control 66
connector 8, 28
Mackie control surfaces 85
Main Volume Ctl (Control) setting 102
Manual (Auto Detect Input Format) 46, 48
MENU button 7, 97
Meters
programmable 7
Mix1 return includes computer 83
Mixer
connecting 25
example 26
synchronizing 30
MODE LEDs 7, 37, 96
Monitor Level knob 7
Monitoring
Final Cut Pro 62
Monitors
connecting 26
Mono button 81
Motion Adaptive Deinterlacing option 54
MOTU Audio Setup 71, 71-78
Edit Channel Names 77
installing 33
opening 71, 78
quick reference 11
MOTU Easy Setups 58
installing 33
MOTU SMPTE Setup 87-90
installing 33
MOTU Video Console
Output tab 51
Playback tab 53
MOTU Video Setup 41-55
Convert tab 54
Devices menu 55
Genlock LED 9, 41, 52, 53, 55
Input tab 55
installing 33
Preview tab 52
quick reference 9
Setup tab 48, 51
tabs 48
MOTUFirewireAudio.kext 33
MOTUFireWireVideoConfig.kext 33
MOTUVOut.component 33
Mute 100
N
None/Weave deinterlacing option 55
NTSC 21
broadcast legalizer settings 51, 98
Component Analog Format 49, 98
O
Offset 54
Optical
2x mode 8, 26, 99
connectors 8, 25
Input/Output menus 75, 99
metering 7
Type I, II optical mode 8, 26, 99
Output tab 51
Over LEDs 7
P
Packing list 17
PAGE button 7, 97
Pair 100
PAL 21
broadcast legalizer settings 51, 98
Pan 100
Panasonic MII option 22, 49
Paste 84
Paste Bus Mix 101
Peak Hold Time 83
Phase lock 29
Phones 7, 75, 99
knob 7, 98
menu 85
Pillar box format 45
Pin outs for DB25 XLRs 111
Plasma display
connecting 8
115
I N D EX
example 23
Playback 37, 38
29.97 fps Timecode option 54
audio from Final Cut Pro 66
clock source 53
Clock Source menu 53
Final Cut Pro 62
frame rate 43, 50, 54
LED 96
only mode 37, 38
clock source 53
settings 42, 43
signal path diagram 42, 53
supported video formats 67, 107
tab 53
Timecode Offset options 54
Please use computer 97
Power supply 8
Premiere Pro
audio 37
Preview Format option 47
Preview tab 52
Print to Video 66
Programmable meters 7, 11
option 77, 99
ProRes 13, 19
ProRes 422 49, 59
Pull-down
cadence 47
conversion summary 47
explained 47
insertion 47
menu 42, 47
removal 47
Q
Quick reference
MOTU Audio Setup 11
MOTU Video Setup 9
R
RATE LEDs 7, 97
REF in Bi-level/Tri-level options 53
Reference monitor
connecting 23
Refresh A/V Devices 66
Regenerate 90
Registration 17
Reverse pull-down 47
RGB 22, 51, 98
LEDs 96
RS-422
connector 8, 28
setup in Final Cut Pro 66
sync option 49, 102
S
S/MUX 8, 26, 99
Sample rate 11, 73, 99
192kHz operation 73
LEDs 7
Sample rate conversion 25, 26, 31, 75, 99
Sample Rate Convert menu 11, 75, 99
Save Hardware Preset 83
Save/Name Preset 101
SD
14:9 letterbox format 44
anamorphic format 45
bi-level sync 53
camcorder 23
component 21, 22
component connectors 8
Component Output Color Mode
settings 22, 51, 98
composite 23
deinterlacing 54
destinations 42, 43, 46
disabled 46, 106
down conversion 63, 94
full screen format 45
letterbox format 44
monitor 23
Out LED 96
output format 42, 43, 46, 49
pull-down insertion/removal 47
signal path 42, 43, 53
supported formats 67, 107
uncompressed 67, 107
up conversion 45, 98
video deck 23
VITC timecode dest option 50
VITC timecode source option 49
SDI
audio enable/disable 11
audio metering 7
BNC cable specs 22
connectors 8, 22
HD-SDI example 23
Input menu 75, 99
Output Timecode Format menu 49
SDI/HDMI Output menu 75, 99
SD-SDI example 23
Timecode Output Format menu 102
SD-SDI
audio enable/disable 11
audio metering 7
BNC cable specs 22
connectors 8, 22
example 23
LED 96
time code destination option 50, 102
Selected Input option 53
Setup tab 48, 51
Share surfaces with other applications 85
SIGNAL LEDs 7, 96
Signal path diagram 42, 53
HDMI output source (SD or HD)
51, 98
Single Field option 54
SMPTE
clock source setting 74
Console 87
overview 87
source setting 89
sync 87
time code display 7
SMPTE Setup 87-90
installing 33
SMPTE/EBU N10 22
Soft option (Broadcast Legalizer) 51, 98
Solo 100
light 82
Sony
9-pin connector 8, 28
9-pin setup in Final Cut Pro 66
9-pin sync option 49, 102
Beta Japan option 22, 49
Beta option 22, 49
Source
LEDs 7
Speakers
connecting 26
SRC 25, 26, 31, 75, 99
Standalone
mode 37, 39, 93
LED 96
operation 95
STATUS button 7, 96
Stereo button 81
Stop Freewheel 89
Stripe button 90
S-video
connectors 8, 21
examples 23
LED 96
Sync CueMix audio with video output option 11, 76, 77, 99
Synchronization
digital audio 29, 30
phase lock 29
playback clock source 53
sample rate conversion 25, 26, 31, 75,
99
video 8, 27
System preferences
sound input/output 11, 74
System requirements
minimum 17
recommended computer 17
T
TACH
light (SMPTE Console) 88
Talkback
button 79, 83
explained 82
menu 83, 85
Technical support 106
Termination
video ref 8, 27
Thru
video ref 8, 27
word clock 8, 27, 28
Time code
29.97 drop/non-drop 54
Destination menu 50, 102
display (front panel) 7
Drop-frame 54
Final Cut Pro settings 66
116
I N D E X
lock LED 7
LTC connectors 8
Non-drop 54
offset 54
output format options 49, 102
Source menu 49, 102
sync 87
Toggle Talkback/Listenback 85
Tri-level sync 8, 27, 53
Troubleshooting 105-106
audio problems 24, 25
basic concepts 37
FireWire bandwidth error 67, 105
SD disabled 46, 106
unable to locate external device 105
Type I, II optical mode 8, 26, 99
U
Unable to locate external device 105
Uncompressed LED 96
Uncompressed SD 59, 67, 107
Undo/Redo 83
Up conversion 45, 98
deinterlacing menu 54
Sharpness option 55
USA (7.5%) option 50
V
V4HD
audio only mode 37, 39, 50, 73, 94,
102
basic operation 37
capture mode 37, 38
convert mode 37, 38
frame rate 43, 50
installing 19
playback mode 37, 38
software installation 33
standalone mode 39, 93
summary of features 13
sync during playback 53
tab 11, 72
up conversion 45, 98
Word Clock In setting 73
VALUE/ENTER knob 7, 97
VHS deck
connecting 23
Video
capture mode 37, 38
clock 29
clock setting 73
connections 21, 23
conversion settings 42, 43
convert mode 37, 38
down conversion 63, 94
enabling/disabling video features 50,
73, 102
input (choosing) 37
menu (LCD display) 98
modes 37
output format 46, 49
playback mode 37, 38
clock source 53
pull-down insertion/removal 47
reference during playback 53
source format 43
source menu 22, 37, 43, 44, 98
standalone mode 39, 93
status LEDs 7, 37, 96
supported formats 67, 107
synchronization 8, 27
up conversion 45, 98
VIDEO REF
connectors 8, 27
IN 29, 30
troubleshooting 105
VITC
generating 50
resolving to 49
time code output options 49, 102
W
Widescreen
14:9 letterbox format 44
14:9 pillar box format 46
anamorphic format 45, 46
full screen format 45, 46
letterbox format 44
pillar box format 45
Width 81
Wiring diagrams for DB25 cables 111
Word clock
2x or one-half x 28
connectors 8, 27
In setting 73
sync setting 73
thru 28
Word Out menu 11, 77, 99
X
x 2 75
x 4 75, 76
XLR
AES/EBU 8
analog 8
Y
Y/C connectors 21
Y/R-Y/B 22
YCbCr 22
YPbPr 22, 51, 98
LEDs 96
YUV 22
117
I N D EX
118
I N D E X