MOTU HDX-SDI
™
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 VOLTAGES: 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 HDX-SDI COULD CAUSE AN ELECTRICAL SHOCK.
The MOTU HDX-SDI 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 HDX-SDI 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 HDX-SDI plug.
IMPORTANT SAFEGUARDS
1. Read these instructions. All the safety and operating instructions should be read before operating the HDX-SDI.
2. Keep these instructions.These safety instructions and the HDX-SDI owner’s manual should be retained for future reference.
3. Heed all warnings. All warnings on the HDX-SDI 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 HDX-SDI near water.
6. Cleaning - Unplug the HDX-SDI 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 HDX-SDI 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 HDX-SDI 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
HDX-SDI.
12. Power switch - Install the HDX-SDI 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 HDX-SDI 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 HDX-SDI.When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
16. Surge protection - Unplug the HDX-SDI 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 HDX-SDI 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 HDX-SDI, the HDX-SDI 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 HDX-SDI 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 HDX-SDI, 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 • 20 Watts.
Contents
5
Quick Reference: HDX-SDI Front Panel
6
Quick Reference: HDX-SDI Rear Panel
7
Quick Reference: MOTU Video Setup
9
About the HDX-SDI
13
Packing List and Mac System Requirements
15
Installing the HDX-SDI Hardware
29
Installing the HDX-SDI Mac OS X Software
31
HDX-SDI Basics
33
MOTU Video Setup
43
Final Cut Pro
51
Troubleshooting
53
Video Formats
55
HDX-SDI Specifications
57
DB25 to XLR Pin Outs
59
Index
3
About the Mark of the Unicorn License Agreement and
Limited Warranty on Software
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against defects in materials and workmanship for a period of TWO (2) YEARS from
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• Increase the separation between the equipment and the receiver
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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,
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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.
5
6
4. Keep this switch in the down position to enable AUTO ON
mode. When AUTO ON mode is enabled, you can leave
the main power switch (item #12) on and the HDX-SDI
powers up when you switch on your computer and
powers down when you switch off your computer.
3. This is a standard quarter-inch stereo headphone jack.
Its output always matches analog outputs 1-2 on the
rear panel. Use the volume knob to control its level.
8. This bank of audio level meters is for Bank A (channels
1-8). The four-segment meters above show input; the
round activity LEDs in the bottom row show output. The
HDX-SDI provides several 8-channel banks of audio input
and output, which you can assign to either Bank A or
7. The Time Code Display rolls whenever the HDX-SDI 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.
6. The GENLOCK light glows when the HDX-SDI has successfully locked to the currently selected clock source. The
CAPTURE light glows when the HDX-SDI is capturing or
previewing video; the MONITOR light glows when the
HDX-SDI is playing back (whether still-framed or not).
4
2. Connect an HDMI source here, such as a camcorder, DVD
player, set-top box, video game console, AV receiver or
other HDMI device. Note that many consumer HDMI
sources (such as DVD players) implement HDCP (High
Bandwidth Digital Content Protection), which does not
allow video capture of copy-protected signals via I/O
devices like the HDX-SDI.
3
5. The HOST light illuminates when the HDX-SDI interface
successfully establishes communication with the
computer via the PCIe card or ExpressCard.
2
1. Connect an SD source here, such as a camcorder, DVD
player, VHS deck or any other composite or S-Video
source.
1
8
10. The Time Code Lock LED illuminates when the HDX-SDI is
converting time code. The Video Ref LED flashes when
the Video ref input has been activated in the MOTU Video
Setup software, and it glows solid when genlock has
been successfully achieved.
9. This bank of audio activity meters can be programmed
(via the MOTU Video Setup software) to display a second
bank of audio channels (9-16).
Bank B (channels 9-16). Formats include Analog, HDMI
embedded, SDI embedded and AES/EBU digital. For
input, there is also a mixed bank of stereo RCA and BNC
AES/EBU. Use MOTU Video Setup to make audio bank
assignments. See “Audio tab” on page 41. NOTE: these
meters and activity LEDs only operate when audio is
actually being sent to/from the computer. For example,
if audio is being fed to HDX-SDI inputs, but no host application is running on the computer to receive the audio,
the meters won’t reflect the audio input.
7
9
10
11
12
When using the PCIe card adapter on a desktop machine,
the HDX-SDI rack-mount interface must be connected
and switched on before starting up the computer.
Similarly, you must shut down the computer before
switching it off and/or disconnecting it. If the interface
gets disconnected or switched off before computer shutdown, you’ll need to restart the computer to bring the
interface back on line.
When using the HDX-SDI rack-mount interface with the
laptop ExpressCard adapter, operation is plug-and-play:
you can disconnect and reconnect the interface, and
freely switch it on or off as desired.
12. With AUTO ON mode enabled (see item #4) and this
main power switch flipped to the on position, the
HDX-SDI will power on and off with your computer.
11. The VIDEO STATUS section indicates which HDX-SDI video
input is chosen as the current video source.This setting is
made in the MOTU Video Setup software.
Quick Reference: HDX-SDI Front Panel
2
3. If you only need two channels of AES/EBU digital
audio I/O, connect them to these BNC jacks. If you
need eight channels, connect a breakout cable to the
DB25 connector to the right.
2. Connect time code input and output here, to the LTC IN
and LTC OUT. The HDX-SDI supports all standard time
code formats.
1. Connect blackburst or another video reference signal
to the VIDEO REF IN. If the HDX-SDI 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.
11
1
4
6. Connect HD-SDI or SD-SDI devices here. The SDI
outputs provide the same (duplicated) signal on both
outputs, so you can route SDI output to both a monitor
and a deck, for example.
5. If you need more than stereo AES/EBU input/output,
connect an 8-channel DB25 to XLR breakout cable to
this DB25 connector. When you do so, the BNC
AES/EBU output jack mirrors DB25 channels 1-2. The
BNC inputs, however, are mutually exclusive from the
DB25 inputs, and you must choose one input or the
other in MOTU Video Setup. See “Audio tab” on
page 41.
4. These eight gold-plated, balanced +4 dB TRS
(tip/ring/sleeve) quarter-inch analog inputs and
outputs are equipped with 24-bit converters that
support sample rates from 44.1 kHz up to 96 kHz.
These connectors can also accept an unbalanced plug.
3
9
8. Connect a plasma, LCD, DLP or other HDMI-equipped
monitor here. Alternately, you can connect a
DVI-equipped device with an adapter cable. The
HDX-SDI supports 8-channel PCM (uncompressed)
embedded audio over HDMI, so you could also
connect this output to an HDMI-equipped home
theater receiver to deliver both picture and multichannel audio.
7. Connect component HD or SD input and output here.
The analog video I/O section of the HDX-SDI is
equipped with 12-bit converters that deliver 10-bit
capture and playback, with support for either RGB or
YPbPr component color space. Alternately, you can
connect a composite video (CVBS) input or output
signal to the Y connectors or an S-Video input or
output signal to the Y/C connectors.
10
5
6
8
7
11. The HDX-SDI has an internal, international, autoswitching power supply. Connect any AC power source
from 100V to 240V.
10. 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.
9. Connect the HDX-SDI to the computer here using any
standard HDMI cable. If you are connecting the interface to an ExpressCard adapter for laptop operation,
use a standard HDMI-to-mini-HDMI cable. In either
case, it is recommended that you use the supplied
cable. If you use another cable, the length should not
exceed six feet, and use a high-quality cable.
Quick Reference: HDX-SDI Rear Panel
Quick Reference: MOTU Video Setup
CHAPTER
Choose the video format that you
wish to capture or play back.
Click a tab to view its settings
above. For complete details on
the settings in these tabs, see
chapter 6,“MOTU Video Setup”
(page 33).
The status area tells you what mode
the HDX-SDI hardware is in. It also
provides helpful troubleshooting info.
When capturing video, choose the
input source here. Also determines the clock source for
playback, if the Playback Clock
Source is set to Input Source.
Indicates when the HDX-SDI has
successfully achieved lockup to the
currently selected clock source, which
could be the HDX-SDI’s internal clock,
the video REF IN jack or the current
video input source.
Indicates the video format detected on the
currently chosen video Input Source (above).
7
8
CHAPTER 1
About the HDX-SDI
OVERVIEW
The HDX-SDI is a PCI Express video interface for
Mac that provides broadcast-quality video capture
and monitoring for Apple Final Cut Pro.
The HDX-SDI connects to a Mac desktop
computer via a standard PCI Express card or a Mac
laptop via an ExpressCard adapter and turns the
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 HDX-SDI supports full-raster
1920 x 1080 HD capture and playback using any
video format supported natively by Final Cut Pro,
including uncompressed, P2 (DVCProHD), XD
CAM, HDV, and Apple’s ProRes 422 codec in both
standard and HQ modes. The HDX-SDI is the
ideal all-in-one video capture solution for any
ProRes workflow.
The HDX-SDI is ideal for any natively supported
workflow because you can immediately play back
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 in the format of your
choice 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 HDX-SDI.
A wide range of video equipment can be connected
to the HDX-SDI, from legacy SD camcorders and
CRT monitors to the latest HD cameras, video
decks, LCD reference monitors and plasmas.
The HDX-SDI provides advanced synchronization
and machine control features, including support
for time code, 9-pin machine control, and video
reference. For audio synchronization, the
HDX-SDI employs Direct Digital Synthesis (DDS),
a DSP-driven phase lock engine that delivers fast
lockup times and sub-frame accuracy.
The HDX-SDI is housed in a rugged aluminum
alloy chassis with a standard 19-inch, single-space,
rack-mountable form factor. Included rack
mounting brackets can easily be removed for
convenient desktop operation.
The HDX-SDI 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 PCI Express video interface for Mac and
Windows — provides HD and SD capture and
playback for any current-generation PCI- or
ExpressCard-equipped computer.
■ Tower or laptop operation — connects to a Mac
or PC tower via PCI Express for ultra-fast
operation, or connect to a laptop via ExpressCard
connectivity for mobile operation.
■ Comprehensive video capture & monitoring —
captures and plays uncompressed video in all
standard SD and HD video formats up to and
including 1080p30 (720p, 1080i, 1080p &
1080PsF).
■
Supports Apple Final Cut Pro.
9
■ Captures and plays uncompressed HD and SD
— 10-bit 4:2:2 color depth and 1920 x 1080
resolution, all standard HD and SD formats up to
and including 1080p30 (720p, 1080i, 1080p and
1080PsF).
■ Support for ProRes and other popular codecs —
capture and monitor full-raster (1920 x 1080 or
1280 x 720) Apple ProRes, ProRes HQ or other
popular host-based codecs supported by Apple
Final Cut Pro.
■ Support for file-based workflows — lets you edit
and monitor file-based workflow codecs supported
natively in Final Cut Pro, including HDV, XD
CAM, P2/DVCPro, and others with no
transcoding needed.
Broadcast quality — 10-bit 4:2:2 signal path
throughout.
VIDEO I/O
The HDX-SDI provides comprehensive video
input and output connectivity. The SDI section
supplies two mirrored outputs so that you can
connect both a deck and a monitor simultaneously.
The front panel provides convenient inputs for
legacy SD capture and full 10-bit uncompressed
HDMI capture from today’s latest HD camcorders.
The component section provides both RGB and
YPbPr, but can alternately serve as CVBS
(composite) in/out or even Y/C (S-Video) in/out.
1 x HD/SD-SDI in and out (4:2:2 10-bit) on BNC
connectors
■
■
1 x extra HD/SD-SDI output BNC connector
■
■ HDMI capture and monitoring — provides
both HDMI in and out.
Color lookup tables (CLUT) — provides
flexible, industry-standard color adjustment with
separate color lookup tables for capture and
playback.
■ 1 x HDMI in and out (4:2:2 10-bit, YCbCr or
RGB)
■ Support for DVI output with HDMI-to-DVI
adapter (sold separately)
■
Sync and machine control — advanced sync
features include time code, large front panel time
code display, video ref input and 9-pin machine
control.
■
Comprehensive audio — capture or monitor up
to 16 channels of audio via any two 8-channel
banks of TRS analog, AES/EBU digital or
embedded (SDI or HDMI) at sample rates up to
96kHz.
■
Single rack space form factor with dedicated
connectors — no cable swapping or gangly,
inconvenient breakout cables.
■
International auto-switching internal power
supply with powersave mode.
■
■ 1 x HD/SD component in and out (10-bit, YPbPr
or RGB) on BNCs
■
1 x composite in (10-bit) on RCA
■
1 x S-Video in (10-bit) on 4-pin mini-DIN
■ 1 x composite in and out (10-bit CVBS) on
shared BNC
■ 1 x S-Video in and out (10-bit Y/C) on shared
BNC
VIDEO FORMATS
■
SD — 576i25 (PAL) 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
■
10
ABOUT THE HDX-SDI
■ Supported Final Cut Pro HD formats —
Uncompressed HD (8-bit and 10-bit), 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, Apple ProRes or
DVCPro and DVCPro 50 at 486i29.97 and 576i25
AUDIO I/O
The HDX-SDI delivers comprehensive audio
capture and monitoring in stereo or full surround
with support for both 5.1 or 7.1 configurations.
The HDX-SDI provides four 8-channels banks of
audio output: analog, AES/EBU digital, SDI
embedded, and HDMI embedded. All four banks
can be active at once, and each can be
independently assigned to either channels 1-8
(Bank A) or 9-16 (Bank B).
The HDX-SDI also provides four banks of audio
input: analog, AES/EBU on DB25 breakout,
SDI/HDMI embedded, and one mixed bank of
stereo AES/EBU on BNC connectors plus stereo
analog on RCA connectors. Any two banks can be
active at one time, except for the mixed bank,
which cannot be active at the same time as either
the analog bank or the AES/EBU DB25 bank.
The HDX-SDI’s bank of quarter-inch analog TRS
connectors makes it a snap to connect cameras and
a wide range of video and audio gear up to eight
channels at a time.
16 channels of simultaneous audio input and
output
■
Supports all standard audio sample rates from
44.1 to 96kHz
■
■ 8 x quarter-inch TRS analog in and out via direct
connection (no breakout cable)
■ 2 x RCA analog input on the front panel for SD
Composite/S-Video capture
■ 2 x AES/EBU digital in and out on BNC
connectors
■ 8 x AES/EBU digital in and out on standard
DB25 breakout cable (purchased separately)
■
8 x HD/SD-SDI embedded audio in and out
■
8 x HDMI embedded audio in and out
■ Front panel headphone jack with dedicated
volume control
■ Front panel audio channel metering — two
8-channel banks of status LEDs
SYNC AND DEVICE CONTROL
The HDX-SDI provides comprehensive video and
audio synchronization features, including time
code I/O, video ref with loop through, large front
panel time code readout and RS-422 (Sony 9-pin)
machine control.
Synchronize your HDX-SDI system with reliable
performance and fast lock-up times. Perform
batch capture and edit/export to tape operations in
Final Cut or Premiere with a 9-pin compatible
camera or deck connected to the HDX-SDI.
■ 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).
Front panel time code display — provides
frame-accurate time code readout when
converting time code, or during playback from
host software.
■
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.
■
11
ABOUT THE HDX-SDI
■ Direct Digital Synthesis — DSP-driven phase
lock engine provides ultra-low jitter.
POWER
International auto-switching internal power
supply
■
12
ABOUT THE HDX-SDI
CHAPTER 2
Packing List and Mac System
Requirements
PACKING LIST
PLEASE REGISTER TODAY!
The HDX-SDI ships with the items listed below. If
any of these items are not present in your
HDX-SDI box when you first open it, please
immediately contact your dealer or MOTU.
Please register your HDX-SDI today. There are two
ways to register.
■
One HDX-SDI with removable rack ears
■
One HDMI cable
■
One PCI card or ExpressCard adapter
■
One power cord
■
One HDX-SDI Mac/Windows manual
■
One software installer CD
■
Product registration card
MAC SYSTEM REQUIREMENTS
The HDX-SDI 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 multi-processor Intel-based Mac equipped
with at least one PCI Express slot or ExpressCard
slot
■ At least 1 GB (gigabyte) of RAM (2 GB or more
is recommended)
■
Mac OS X (version 10.5 or later)
■
A large hard drive (preferably at least 500 GB)
13
14
PACKING LIST AND MAC SYSTEM REQUIREMENTS
CHAPTER 3
Installing the HDX-SDI Hardware
OVERVIEW
■ Before you begin, turn off the computer and
unplug it from any power source. Do the same for
any connected components (hard drives, etc.)
Here’s an overview for installing the HDX-SDI:
Precautions before you begin . . . . . . . . . . . . . . . . . . . . . . .
Installing the PCI card adapter . . . . . . . . . . . . . . . . . . . . . . .
Installing the ExpressCard adapter . . . . . . . . . . . . . . . . . .
Connect the HDX-SDI to your computer . . . . . . . . . . . . .
Power-up/power-down sequence . . . . . . . . . . . . . . . . . . .
Connect video inputs and outputs. . . . . . . . . . . . . . . . . . .
Example HDX-SDI video connections. . . . . . . . . . . . . . . .
Connect audio inputs and outputs . . . . . . . . . . . . . . . . . .
Example HDX-SDI audio connections. . . . . . . . . . . . . . . .
Video sync connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Time code connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
RS-422 machine control . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Syncing digital audio devices . . . . . . . . . . . . . . . . . . . . . . . .
15
15
16
17
17
18
20
21
23
24
24
24
25
PRECAUTIONS BEFORE YOU BEGIN
Installing the HDX-SDI hardware requires the
handling of sensitive electronic components that
can be easily damaged by static electricity, even in
the very small amounts generated by our bodies
every time we move. Please take these basic
precautions before and during installation to avoid
permanently damaging your HDX-SDI hardware:
Completely review the installation procedure on
the following pages before you begin the
installation.
■
■ When handling the HDX-SDI PCI card adapter,
hold it by the silver bulkhead, or by the edges of the
circuit board. Be careful not to touch the
components on the circuit board or the metal
contacts on the insert tab.
INSTALLING THE PCI CARD ADAPTER
If you have a PCI Express card for the HDX-SDI,
install it as follows:
1 Switch off and unplug your computer.
☛
Failure to do so may result in serious shock or
injury.
2 Open your computer.
3 Find an available PCI slot.
4 Remove the slot cover, if necessary.
5 Before removing the HDX-SDI PCI card from
it’s anti-static bag, touch the power supply inside
your computer to discharge any static electricity
that may have built up on you.
■ Avoid wool or synthetic clothing, which tends to
generate much more static electricity than cotton.
■ Static electricity occurs much more readily in
dry climate conditions. If you can, perform the
installation with a relative humidity of at least 50%.
■ Leave the HDX-SDI PCIe host adapter in its
antistatic bag until you are ready to install it.
■ When you are ready to begin installation, have
the PCIe adapter, still in its anti-static bag, close by
so it is in within easy reach during installation.
15
6 Remove the HDX-SDI PCI card from its antistatic bag.
7 Gently but firmly insert the card into any
available PCI slot.
INSTALLING THE EXPRESSCARD ADAPTER
If you have a laptop ExpressCard adapter for the
HDX-SDI, you can install it as follows, with your
laptop computer turned on or off:
1 Before removing the ExpressCard adapter from
it’s anti-static bag, touch the metal chassis of your
laptop computer to discharge any static electricity
that may have built up on you.
2 Remove the ExpressCard adapter from its antistatic bag.
3 Insert the adapter into the ExpressCard slot on
your laptop computer with the top of the
ExpressCard (the side with the label on it) facing
up and the mini-HDMI connector (the smaller of
the two connectors) facing out.
8 Secure the bulkhead of the card to the computer
chassis with the bolt from the slot cover.
☛
We strongly recommend securing the
HDX-SDI PCI card in this manner. Doing so
allows you to ensure secure connections to the card
later on in the installation.
4 Push the adapter into the slot until it clicks into
place.
9 Place the cover back on your computer.
☛
10 Reconnect the power cord to the computer
before proceeding.
Do not force the ExpressCard into the slot. If it
does not easily slide into place, remove it and try
again.
When the card is properly seated in the slot, it
should be flush with the side of your laptop.
16
INSTALLING THE HDX-SDI HARDWARE
Removing the ExpressCard
To safely removing the ExpressCard adapter, first
disconnect the HDMI cable, and then push the
adapter inwards until you hear and feel it click.
This releases it from its installed position and it
should pop out of the slot far enough for you to
grasp it and gently remove it. Immediately place it
in its anti-static bag.
2 Plug the other end of the HDMI cable into the
HDX-SDI I/O “PCIe CARD” jack as shown below
in Figure 3-2.
CONNECT THE HDX-SDI TO YOUR
COMPUTER
1 Plug one end of the supplied HDMI cable into
the HDMI socket on the PCI card or ExpressCard
adapter as shown below in Figure 3-1.
Figure 3-2: Making the connection from the computer to the
HDX-SDI.
☛When making the connection from
Figure 3-1: Connecting the HDX-SDI to the computer.
the computer (Figure 3-1) to the
interface (Figure 3-2), be sure to plug
the HDMI cable into the jack labeled
PCIe CARD, as shown in Figure 3-2. DO NOT plug
it into the HDMI OUT jack. The computer must be
connected to the PCIe CARD jack for proper
operation.
☛
POWER-UP/POWER-DOWN SEQUENCE
If you purchased the HDX-SDI with an
ExpressCard adapter, the included HDMI cable
has a regular HDMI plug at one end and a smaller,
mini-HDMI plug at the other end. Plug the miniHDMI plug into the ExpressCard adapter.
When using the HDX-SDI rack-mount interface
with the laptop ExpressCard adapter, operation is
plug-and-play: you can disconnect and reconnect
the interface, and freely switch it on or off as
desired.
However, when using the PCIe card adapter on a
desktop machine, the HDX-SDI rack-mount
interface must be connected and switched on
before starting up the computer. Similarly, you
must shut down the computer before switching it
off and/or disconnecting it. If the interface gets
disconnected or switched off before computer
shut-down, you’ll need to restart the computer to
bring the interface back on line.
17
INSTALLING THE HDX-SDI HARDWARE
CONNECT VIDEO INPUTS AND OUTPUTS
The HDX-SDI 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.
Support for both NTSC and PAL
The HDX-SDI 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 “Input Source” on page 34.
S-video (Y/C) input
You have two choices for connecting S-video (Y/C)
input: you can use the 4-pin mini-DIN jack on the
HDX-SDI front panel, or you can use the two BNC
inputs on the rear panel labeled “Y” and “C”. Either
way, be sure to make the corresponding Input
Source setting in the software. See “Input Source”
on page 34.
Connect any S-video source, including consumer
or prosumer camcorders, desktop video
converters, VTRs, etc. For best results, use
standard, high-quality shielded BNC or 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).
S-video (Y/C) output
Connect a monitor or other S-video output device
to the BNC Y/C connectors on the rear panel. Be
sure to make the necessary settings in the software
to change the output of these connectors from
component (the factory default format) to S-video.
See “Analog Output Mode” on page 37 for details.
Composite (CVBS) input
You have two choices for connecting composite
(CVBS) input: you can use the RCA jack on the
HDX-SDI front panel labeled VIDEO, or you can
use the BNC input on the rear panel labeled CVBS.
Either way, be sure to make the corresponding
Input Source setting in the software. See “Input
Source” on page 34.
Connect any composite source, including
consumer or prosumer camcorders, desktop video
converters, VTRs, etc. For best results, use a
standard, high-quality shielded video RCA or BNC
cable. 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 (CVBS) output
Connect a monitor or other composite output
destination to the BNC CVBS connector on the
rear panel. Be sure to make the necessary settings
in the software to change the output of these
connectors from component (the factory default
format) to composite. See “Analog Output Mode”
on page 37 for details.
Figure 3-3: The HDX-SDI video connectors.
18
INSTALLING THE HDX-SDI HARDWARE
Component
The HD/SD Analog Video Section (Figure 3-3)
provides either HD or SD component input and
output. The HDX-SDI 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.
Configuring the analog video section
The HDX-SDI component input and output
supports YPbPr or RGB operation, as shown by the
labeling below the connectors in the Analog Video
section. Accordingly, the input and output jacks in
this section can be independently configured for
one of three different analog video formats:
■
Component RGB
■
Component YPbPr
■
Composite + S-video
This setting is made in the MOTU Video Setup
software. For the component inputs, see “Input
Source” on page 34. For the component outputs,
see “Analog Output Mode” on page 37. 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.
☛
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 HDX-SDI 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 Levels” on page 37 and “480i
Setup” on page 37. For PAL (576i) and HD
component operation, the HDX-SDI supports the
industry standard SMPTE/EBU N10 specification.
HD-SDI and SD-SDI
The HDX-SDI provides HD-SDI or SD-SDI input
and output in professional, broadcast quality
10-bit 4:2:2 resolution. A second, duplicate SDI
output is provided, allowing you to connect a
second SDI output device. For example, you could
connect both an HD monitor and an HD video
deck.
For best results, be sure to use cables that are
designed for SDI use (such as Belden part number
8281, or similar). The HDX-SDI has been designed
to support SDI cable lengths up 500 feet with SDI
rated cables.
HDMI
The HDX-SDI provides HDMI input and output in
professional, broadcast quality 10-bit 4:2:2
resolution. The input is ideal for capturing video
from HDMI-equipped cameras, many of which
send the video signal to their HDMI output before
it is compressed in the camera.
The HDMI output can be connected to any device
equipped with an HDMI input, such as a plasma
screen, LCD screen or even a home theater receiver.
The HDX-SDI 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
HDX-SDI’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
19
INSTALLING THE HDX-SDI HARDWARE
EXAMPLE HDX-SDI VIDEO CONNECTIONS
make a software setting that changes the
HDX-SDI’s HDMI output signal to the DVI
format. See “HDMI format” on page 37.
Here is an example of the types of video devices
that you can connect to the HDX-SDI. You can mix
and match HD and SD sources and destinations,
connect them all, and then choose the desired
source from the MOTU Video Setup software.
HD camera
HD camera
DVD Player
HD-SDI OUT
HD Component OUT
Composite OUT
HD-SDI IN
SD Composite IN
S-Video OUT
HDMI out
SD VTR (VHS, SVHS, etc.)
SD camcorder
HDMI IN
HD reference monitor
HD camera
S-video IN
HD-SDI
IN
HD broadcast VTR
Large format
consumer plasma or LCD
monitor
SD TV (LCD or plasma)
Figure 3-4: HDX-SDI video connections.
20
INSTALLING THE HDX-SDI HARDWARE
CONNECT AUDIO INPUTS AND OUTPUTS
The HDX-SDI provides the following audio input
and output:
Audio format
Input
channels
Output
channels
96 kHz quarter-inch TRS analog
8
8
96 kHz AES/EBU on DB25 breakout
8
8
48 kHz embedded SDI
8
8
96 kHz embedded HDMI*
8
8
Stereo AES/EBU on BNC + stereo
analog on RCA
2+2
2 (AES/EBU
only)
*HDMI audio is stereo at sample rates above 48kHz when playing or
capturing SD video.
Up to two 8-channel banks can be enabled at a
time, for a total of sixteen channels of simultaneous
audio input and output.
Analog audio I/O
The eight quarter-inch analog inputs and outputs
(Figure 3-5) are balanced (TRS) connectors that
can also accept an unbalanced plug.
The quarter-inch outputs are calibrated to produce
a +4 dBu line level output signal.
Quarter-inch analog input trims
The quarter-inch inputs are calibrated to
accommodate either +4 or -10 dBu signals and are
equipped with digitally controlled analog trims
that provide +22 dB of gain and -12 dB of cut. To
adjust these trims, see “Analog input trims” on
page 42.
AES/EBU digital audio I/O
The HDX-SDI 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.
Stereo AES/EBU with sample rate conversion
As shown in Figure 3-5, there are two sets of
AES/EBU connectors: stereo BNC and 8-channel
DB25. The BNC input and output jacks provide
stereo AES/EBU digital audio input and output via
direct connection to the HDX-SDI rear panel using
standard broadcast-grade BNC cables.
Stereo RCA 8-channel HDMI
analog in
embedded in
Stereo AES/EBU
Analog audio outputs
Headphones
8-channel AES/EBU
8-channel SDI 8-channel HDMI
embedded embedded out
Analog audio inputs
Figure 3-5: The HDX-SDI audio connectors.
21
INSTALLING THE HDX-SDI HARDWARE
The stereo BNC AES/EBU input in the HDX-SDI is
sample-rate converted, so you do not need to
worry about digital audio clocking issues when
using BNC AES/EBU input. Simply set the
HDX-SDI clock source as desired (see “Capture
Clock Source” on page 35), and any AES/EBU
digital audio transfers will be clean and troublefree. Just make sure that the AES/EBU device is
resolved to the video in some way to prevent drift.
See “Syncing digital audio devices” on page 25.
8-channel AES/EBU
The HDX-SDI provides eight channels of
AES/EBU digital audio input or output using a
DB25-to-XLR breakout cable (sold separately).
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 3-6.
Figure 3-6: 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 (57) for pin out details.
For AES/EBU input, BNC and breakout cable
operation in the AES/EBU section are mutually
exclusive. You cannot capture from both the BNC
inputs and the breakout cable inputs at the same
time.
For AES/EBU output, the stereo BNC outputs
mirror the DB25 breakout cable output channels
1-2.
Synchronization and sample rate conversion
When making AES/EBU digital audio transfers to
and from the HDX-SDI via the 8-channel DB25
breakout cable, the two devices must be
synchronized with one another. See “Syncing
digital audio devices” on page 25.
22
INSTALLING THE HDX-SDI HARDWARE
EXAMPLE HDX-SDI AUDIO CONNECTIONS
Figure 3-7 shows an example of the types of audio
connections you can make between other devices
and the HDX-SDI. You can mix and match analog
SD camcorder
and digital sources and destinations, connect them
all. The 8-channel banks of AES/EBU digital I/O
are ideal for connection to a digital mixer.
HD camera
Game console
OR
Digital mixer
Camera
Powered 5.1 or 7.1 surround monitors
8 channels of AES/EBU
digital audio I/O
Stereo
embedded
Stereo
embedded
Stereo AES/EBU
digital audio in/out
VTR
Broadcast VTR
8 channel
embedded
Home theater receiver
Multi-channel surround
field recorder
Figure 3-7: HDX-SDI audio connections.
23
INSTALLING THE HDX-SDI HARDWARE
VIDEO SYNC CONNECTIONS
RS-422 MACHINE CONTROL
Connect a video sync source, such as blackburst, to
the VIDEO REF IN jack (Figure 3-8). This input
accepts either a Bi-level (SD) sync source or a
Tri-level (HD) sync source. The HDX-SDI can
resolve to a VIDEO REF IN signal only when it is in
Playback mode, or when it is capturing SDI. When
capturing other sources, it genlocks to the current
video source, or its own Master (Internal) clock.
For further information, see “Capture Clock
Source” on page 35.
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 HDX-SDI’s RS-422 port (Figure 3-9). Also
see “Device control” on page 49.
Video ref termination and “thru”
The HDX-SDI 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 3-8) to the THRU
position.
If the HDX-SDI 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.
RS-422 IN
VTR or other device equipped
with machine control
Figure 3-9: RS-422 machine control.
Figure 3-8: 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 3-8). If you wish to transmit time code
from the HDX-SDI to another device, connect the
HDX-SDI LTC OUT to the time code input on the
other device. See “Setup tab” on page 35 and
“Playback tab” on page 38 for information about
managing the HDX-SDI’s time code features.
24
INSTALLING THE HDX-SDI HARDWARE
SYNCING DIGITAL AUDIO DEVICES
The HDX-SDI’s stereo BNC AES/EBU input is
equipped with sample rate converters (SRC). This
allows the digital audio data to be transferred
cleanly, with no dropped samples, clicks, or pops ,
even when the two devices are not resolved to one
another. However, it is still a good idea to resolve
digital audio devices with the HDX-SDI during
digital audio transfers to prevent audio from
drifting out of sync with picture.
The 8-channel DB25 AES/EBU connection is not
equipped with sample rate conversion and
therefore requires that the HDX-SDI is
synchronized with the connected digital audio
device.
Audio clock synchronization is 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.
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 3-10. Otherwise, you’ll hear clicks, pops,
and distortion in the audio, or perhaps no audio at
all.
Not phase-locked
Master
Slave
Device B
Figure 3-10: 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.
Slave
Slave
Figure 3-11: 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 3-11
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.
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.
Audio synchronization when capturing or
playing video
The HDX-SDI audio clock always resolves to its
video clock. The HDX-SDI has three possible
sources for video clock:
■ The currently chosen video input source
(Figure 6-3 on page 34)
■
The VIDEO REF IN jack
■
The HDX-SDI’s own internal video clock
Phase-locked
Device A
Master
Resolving to the current video source
If the HDX-SDI 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.
25
INSTALLING THE HDX-SDI HARDWARE
Resolving a third device to the HDX-SDI
If you need to make digital audio transfers between
the HDX-SDI and third device (that is not the
current video source), you must resolve the third
device to the HDX-SDI, as demonstrated in
Figure 3-12. In this example, the third device, a
field recorder, is being resolved to the HDX-SDI
via AES/EBU input.
Camera
■ Transfer digital audio into the HDX-SDI without
the need for any external synchronization
arrangements.
Video in
AES/EBU
in
AES/EBU
in
AES/EBU
out
Sample rate conversion
The HDX-SDI BNC AES/EBU input is equipped
with stereo real-time sample rate conversion. This
feature provides a great deal of flexibility in making
digital transfers. For example, you can:
■ Transfer digital audio into the HDX-SDI at a
sample rate that is completely different than the
HDX-SDI system clock rate.
Video out
AES/EBU
out
IN. In this scenario, the genlock source serves as a
master clock to which both the HDX-SDI and the
other device are resolved (Figure 3-11).
Rate conversion does not add any appreciable noise
or distortion to the audio signal (under -120 dB).
Here are a few examples:
Other device
Master
AES/EBU OUT
Field audio recorder resolved
to its AES/EBU input
Figure 3-12: Capturing digital audio from a third device that is not
the current video source. In this case, the third device must resolve to
the HDX-SDI via its AES/EBU input.
AES/EBU IN
HDX-SDI
Slave
HDX-SDI clock source
setting: Internal
Figure 3-13: Rate-converting AES/EBU input.
Resolving a digital mixer to the HDX-SDI
If you would like to connect a digital mixer via the
8-channel AES/EBU DB25 connector, resolve the
digital mixer to the HDX-SDI, either via its
AES/EBU connection, similar to what is shown in
Figure 3-12.
Resolving to the VIDEO REF IN
If the HDX-SDI is currently resolved to its VIDEO
REF IN, you can either resolve the other digital
audio device to the HDX-SDI (Figure 3-12), or you
can resolve the other device to the same genlock
source that is feeding the HDX-SDI’s VIDEO REF
26
INSTALLING THE HDX-SDI HARDWARE
Camera
Video out
Video in
HDX-SDI clock source
setting: Input Source
AES/EBU BNC in
AES/EBU out
Digital mixer running under
its own digital audio clock
Figure 3-14: Capturing digital audio from a device that is not resolved
with the HDX-SDI. In this case, sample rate conversion is used.
A caution about using rate conversion
Rate conversion can be a life saver in situations
where resolving digital audio clocks is difficult or
impossible. As long as you are capturing audio and
video together, audio will remain perfectly in sync
with picture.
However, if you use sample rate conversion when
capturing audio separately from its corresponding
video, 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
HDX-SDI to picture during the digital audio
transfer.
As a general rule of thumb, most devices employ a
clock crystal that has an accuracy of about ±50
parts per million, which produces drift that
amounts to approximately one frame every five
minutes at 60 fps.
27
INSTALLING THE HDX-SDI HARDWARE
28
INSTALLING THE HDX-SDI HARDWARE
CHAPTER 4
Installing the HDX-SDI Mac OS X
Software
SOFTWARE INSTALLATION FOR MAC OS X
Install the HDX-SDI software as follows:
1 Insert the HDX-SDI Installer CD and launch
the installer.
2 Follow the installer’s directions.
HDX-SDI Easy Setups for Final Cut Pro
Easy Setups are a convenient way to universally
configure all of the crucial settings for the
HDX-SDI in Final Cut Pro, according to video
format you choose for your project. The HDX-SDI
Easy Install option installs dozens of Easy Setups
for your convenience.
What does the OS X installer do?
The installer checks the computer to make sure it
satisfies the minimum system requirements for
your MOTU PCI 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.
Software component
Location
Purpose
For more information
MOTUPCIVideo.kext
/System/Library/
Extensions
Driver for the HDX-SDI. Provides support for
video, audio and machine control.
-
MOTUVOut.component
/Library/Quicktime
Provides support for the HDX-SDI’s video
features for QuickTime applications such as
Final Cut Pro.
-
FCP MOTU RT Enabler.txt
/Library/Application Support/Final
Cut Pro System Support/Plugins
Provides real time output to the HDX-SDI’s
video outputs.
-
MOTU HDX-SDI Easy Setups
Library/Application
Support/Final Cut
Pro System Support/
Custom Settings/
Provides over 100 Easy Setups for Final Cut
Pro’s Easy Setup feature. These help you
quickly configure Final Cut for the HDX-SDI.
See “Easy setups” on page 44
MOTU Video Setup
Applications folder
Provides access to all of the HDX-SDI’s video
and audio settings.
See chapter 6, “MOTU
Video Setup” (page 33)
29
30
INSTALLING THE HDX-SDI MAC OS X SOFTWARE
CHAPTER 5
HDX-SDI Basics
TWO MODES
The HDX-SDI provides two basic modes of
operation:
■
Capture
■
Playback (monitor)
The current mode is clearly indicated by the Status
area in MOTU Video Setup (Figure 6-1 on
page 33), unless there is no genlock, in which case
it will display a message explaining why not.
The HDX-SDI is always either in Capture mode or
Playback mode. If no application is actively
capturing, previewing or playing back, the Default
Mode setting (“Default Mode” on page 35)
determines which mode the box is in.
CAPTURE
The HDX-SDI is in Capture mode when it is
successfully communicating with the computer
(the HOST LED is illuminated) and video software
has actively taken control of the HDX-SDI
hardware for the purposes of capturing video and
audio from the HDX-SDI. Here are some examples
of when video software would put the HDX-SDI
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
HDX-SDI.
■ You run the MOTU Video Setup software and
click the Preview tab (Figure 6-1 on page 33,
Figure 6-10 on page 40). This causes MOTU Video
Setup to “take over” the video signal being supplied
by the HDX-SDI and display it in the preview
window.
In capture mode, only one software application has
access to the HDX-SDI at a time. For example, you
might use the MOTU Video Setup Preview tab to
confirm that you have a good input signal, but
when you then switch to Final Cut Pro and open its
Log and Capture window, the Preview tab in
MOTU Video Setup becomes inactive and will no
longer display the input signal because Final Cut
Pro has taken over video input. Closing Final Cut
Pro’s Log and Capture window will re-activate the
Preview tab. For further information, see “Preview
tab” on page 40.
In Capture mode, the HDX-SDI uses the Capture
Clock Source setting (“Capture Clock Source” on
page 35), and if it is set to Input Source, the input
signal is passed through to the video outputs (SD
in to SD out or HD in to HD out).
Even though the primary purpose of Capture
mode is to feed video to the computer, the
HDX-SDI continues to send the source video
signal to any video outputs that match the source
format (HD or SD). This allows you to simultaneously monitor what you are capturing via the
HDX-SDI’s video outputs. You could even dub the
source signal to a video deck or other video
recorder during capture.
Live monitoring is only active when the Capture
Clock Source setting (“Capture Clock Source” on
page 35) is set to Input Source. When it is set to
Master or REF In, the HDX-SDI outputs a black
image (i.e. black burst) on all video outputs.
PLAYBACK (MONITOR)
The HDX-SDI goes into Playback mode when an
application is sending video to it. For example,
Final Cut Pro puts the HDX-SDI into playback
31
mode when All Frames or Single Frames is selected
in the External Video sub-menu or when using
Print to Video. When not playing or capturing, the
HDX-SDI reverts to the Default Mode setting
(“Default Mode” on page 35).
In Playback mode, the HDX-SDI uses the Playback
Clock Source setting (“Playback Clock Source” on
page 36), and if no application is playing back, will
output black.
ONE SOURCE TO MANY OUTPUTS
The design of the HDX-SDI allows you to choose a
video input and the HDX-SDI sends the signal to
any outputs that match the input format (HD or
SD). 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 HDX-SDI will feed that signal to all
matching output destinations simultaneously.
Choosing the current video source
The MOTU Video Setup software lets you choose
the current video source (input). For details, see
“Input Source” on page 34.
Audio I/O and monitoring
On the audio side, the HDX-SDI 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.
The HDX-SDI supports Final Cut Pro’s Preview
feature (in the Clip Settings tab in the Capture
window). When the Preview option is checked,
incoming audio is “patched through” to the
HDX-SDI audio outputs. Make sure that the Mac
system sound output device setting is set to the
HDX-SDI.
If you are capturing multi-channel audio and wish
to monitor all channels on stereo headphones ore
speakers, you can enable the HDX-SDI’s
“Downmix to Output 1-2 on Capture” option
(page 41).
32
H DX - SDI B ASI C S
CHAPTER 6
MOTU Video Setup
Video format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Input Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Status area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Input status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Genlock status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Setup tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Playback tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Preview tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Audio tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
MOTU Video Setup (Figure 6-1) is installed in
your Mac’s Applications folder and provides
convenient access to all HDX-SDI settings from
your computer desktop.
Status
Input status
Tabs
Tab settings
Genlock status
Figure 6-1: MOTU Video Setup.
33
VIDEO FORMAT
INPUT SOURCE
The Video Format setting (Figure 6-1 on page 33)
shows the format in which the HDX-SDI is
capturing or playing back video, and allows you to
change the format manually. When capturing or
playing video from Final Cut Pro, this setting will
be changed automatically by the host application.
The Input Source menu (Figure 6-1) is important
because this is where you choose the video input
from which the HDX-SDI will capture. This input
may also be used as the clock source for playback
(see “Playback Clock Source” on page 36).
Figure 6-3: The Input Source menu.
The menu choices with front or BNC in their names
(Figure 6-3) refer to the video inputs on the front
panel of the HDX-SDI or the BNC video input
connectors on the rear panel.
STATUS AREA
The Status area (Figure 6-1) displays what mode
the HDX-SDI is in. It also provides helpful status
information and troubleshooting suggestions. For
example, if there is no video signal because of a
wrong setting, the Status area will tell you which
setting(s) to check.
Figure 6-2: The Video Format menu.
INPUT STATUS
The Input Status (Figure 6-1) indicates the video
format detected on the currently chosen video
Input Source.
GENLOCK STATUS
The Genlock Status (Figure 6-1) indicates when the
HDX-SDI has successfully achieved lockup to the
currently selected clock source, which could be the
HDX-SDI’s internal clock, the video REF IN jack
or the current video input source.
34
MOTU VIDEO SETUP
SETUP TAB
The Setup tab (Figure 6-4) provides several general
settings for HDX-SDI operation.
Default Mode
The HDX-SDI has two modes of operation:
Capture and Playback. Your host video software
determines the mode, depending on what you are
doing (i.e. capturing or playing back the timeline).
The Default Mode setting (Figure 6-1) lets you
choose which mode the HDX-SDI enters when the
host relinquishes control over the HDX-SDI
hardware, such as when you quit or switch out of
your host software. If you spend most of your time
just monitoring or just capturing, operation will be
faster if you set this to the mode you expect to use
most.
Capture Clock Source
The Capture Clock Source setting (Figure 6-4) lets
you specify the timing reference for the HDX-SDI
when it is in Capture mode. Three choices are
provided in the menu, as shown below in
Figure 6-5:
Figure 6-5: Capture Clock Source menu.
Input Source
Choose Input Source (Figure 6-5) when you wish to
resolve the HDX-SDI to the video signal being
received on the currently chosen input in the Input
Source menu (Figure 6-3).
Figure 6-4: Setup tab.
35
MOTU VIDEO SETUP
Master (Internal)
Choose Master (Internal) (Figure 6-5) to make the
HDX-SDI resolve to its own internal clock when
capturing from a device (such as a deck) that is
resolved to the HDX-SDI’s output. For example,
when using RS-422 machine control to drive a
video deck connected to the HDX-SDI, the
HDX-SDI serves as the clock master and drives the
video deck. Because the deck is resolved to the
HDX-SDI, the video signal being captured from
the deck is genlocked.
REF In (SDI only)
Choose REF In (SDI only) (Figure 6-5) when you
wish to resolve the HDX-SDI to house sync
(blackburst) or another clock source connected to
its VIDEO REF input while capturing video from
the SDI input. The REF IN can only be used when
capturing SDI input and cannot be used when
capturing other video formats. For other formats,
use the Input Source or Master (Internal) setting
instead.
When capturing HD, the REF In option supports
both Bi-Level and Tri-Level sync. When capturing
SD, the reference input must be bi-level.
Clock source during capture
If the input source is SDI, you can choose any of the
three available clock source options. For other
input formats, use either the Input Source or Master
(Internal) Capture Clock Source setting.
Playback Clock Source
The Playback Clock Source setting (Figure 6-1) lets
you specify the timing reference for the HDX-SDI
when it is in Playback mode. Three choices are
provided in the menu, as shown in Figure 6-6:
Input Source
Choose Input Source (Figure 6-6) when you wish to
resolve the HDX-SDI to the video signal being
received on the currently chosen input in the Input
Source menu (Figure 6-3) during playback.
Internal
Choose Internal (Figure 6-6) when you wish to
resolve the HDX-SDI to its own internal clock
during playback.
REF In
Choose REF In (Figure 6-6) when you wish to
resolve the HDX-SDI to house sync (blackburst) or
another clock source connected to its VIDEO REF
input while playing video.
When playing back HD, the REF In option
supports both Bi-Level and Tri-Level sync. When
playing back SD, the reference input must be
bi-level.
Clock source when switching between Capture
and Playback modes
When the HDX-SDI switches its clock source, it
may take a brief moment for it to resolve to the new
source. If you need to frequently switch between
Capture and Playback modes, set the capture and
playback clock sources to one of the combinations
listed below:
Capture
Playback
Input Source
Input Source
Master (Internal)
Internal
REF In (SDI only)
REF In
With any of these combinations, you can switch
back and forth between capture and playback
without losing genlock. This ensures a smooth,
quick, seamless transition when switching modes.
Figure 6-6: Playback Clock Source menu.
36
MOTU VIDEO SETUP
HDMI format
The HDMI Format menu (Figure 6-4) lets you
choose the output format for the HDMI output on
the rear panel of the HDX-SDI. If you choose DVI,
you’ll need an HDMI-to-DVI cable or adapter.
SDI Loop Thru Mode
The SDI Loop Thru Mode (Figure 6-4) setting
controls the routing of audio and time code to the
SDI output during SDI capture.
If set to Direct, audio and timecode from the SDI
source are passed through to the SDI output, as if
the output was just connected directly to the input.
You could use this mode to make a dub of an SDI
source including audio and timecode.
If set to Indirect, audio from the computer and
timecode from the selected timecode source are
inserted into the SDI output. In this case, the SDI
output is acting in the same way as the other audio
outputs and timecode outputs.
Timecode Source
The Timecode Source menu (Figure 6-4) lets you
specify which time code source you would like the
HDX-SDI to resolve to: Sony 9-pin (via the RS-422
port), the LTC jack on the rear panel of the
HDX-SDI, SD VITC (vertical interval time code)
from the currently chosen SD source input, or SDI
Embedded time code from the SDI input currently
chosen in the Input Source menu (Figure 6-3 on
page 34).
Timecode Destination
The Timecode Destination menu (Figure 6-4) lets
you specify the video destination for timecode
generated or regenerated by the HDX-SDI. You can
choose None, SD VITC, LTC (vertical interval time
code plus longitudinal time code), or SDI
Embedded, LTC. For the SDI option, 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
HDX-SDI’s LTC output jack on the rear panel.
SDI Output Timecode Format
Use the SDI Output Timecode Format menu
(Figure 6-4) to specify the form of embedded time
code to include in the HDX-SDI SDI output signal.
Choices are LTC, VITC 1 and VITC 2.
Analog Output Mode
The Analog Output Mode menu (Figure 6-4) lets
you configure the analog outputs as Composite and
S-Video (CVBS + S-Video Y/C), Component
YPbPr, or Component RGB.
Figure 6-7: Analog Output Mode menu.
480i Setup
The 480i Setup option (Figure 6-4) lets you choose
between USA (7.5%) and Japan (0%) for NTSC
composite and S-video input and output.
480i Component Levels
The 480i Component Levels option (Figure 6-4) lets
you specify the voltage level standard for the
HDX-SDI’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.
Reset to Defaults
The Reset to Defaults button (Figure 6-4) restores
all settings in the HDX-SDI hardware to their
original (factory) values.
37
MOTU VIDEO SETUP
PLAYBACK TAB
The Playback tab (Figure 6-8) 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 Pro and its
timeline.
Interlace Pause Mode
If you are working with an interlaced video format,
the Interlace Pause Mode (Figure 6-8) lets you
choose between viewing a Full Frame or individual
Fields (1 or 2) when Final Cut Pro parks on a frame.
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.
Playback Timecode Offset
The Playback Timecode Offset options (Figure 6-8)
let you specify the frame format and timecode
offset for timecode generated by the HDX-SDI
during playback. Make sure these settings match
their corresponding settings in your Final Cut Pro
project, so that the HDX-SDI generates timecode
that matches Final Cut Pro’s time line.
Playback 29.97 fps Timecode
If your Final Cut Pro timeline is currently set to the
29.97 drop-frame format, choose Drop Frame from
the Playback 29.97 fps Timecode menu (Figure 6-8)
so that the HDX-SDI matches Final Cut Pro’s frame
format. If Final Cut is running 29.97 non-drop,
choose Non-Drop Frame. (If you are running Final
Cut Pro at any other frame rate besides 29.97, this
setting is ignored.)
Color
Lookup
Table
(CLUT) for
playback
Figure 6-8: The Playback tab settings.
38
MOTU VIDEO SETUP
Color lookup table (CLUT)
In the Color Lookup Table (CLUT) section
(Figure 6-8), there are ten parameters which define
a color transfer function, as defined by the
American Society of Cinematographers Color
Decision List (ASC CDL) specification.
The CLUT controls in the Playback tab
(Figure 6-8) define a transfer function which
applies to the output on playback. The controls in
the Preview pane (Figure 6-10) define a transfer
function which applies to the input on capture. In
this case, it affects pass through as well as capture.
The power switch icon (Figure 6-9) is an enable/
bypass control. Click it to turn the CLUT on or off.
monochrome image. Values greater than 1.0
increases saturation. The maximum legal value is
10.0, which produces extreme results.
The Slope, Offset, and Power parameters for each
component define a transfer function for that
component, as per the ASC CDL specification.
Offset ranges from -1 to +1, with a default of 0.
Power and Slope range from 0.10 to 10.00, with a
default of 1.0.
Each of the numeric controls may be modified in
three ways:
If the console window is in front, click on a
control to select it, and type a new value
■
■
Click and drag up or down
■
Use the mouse wheel
Enable/disable CLUT
Figure 6-9: Color lookup table controls.
The Reset button resets the transfer function to its
default, which passes through each pixel
unchanged, and also switches to bypass mode.
Changing any control automatically enables the
transfer function, but you can also toggle between
Enabled and Bypassed by clicking on the enable/
bypass control.
The Sat parameter is ASC CDL Saturation. A value
of 1.0 passes each pixel through unchanged. Values
below 1.0 will desaturate, with 0.0 resulting in a
The latter two methods will work even if the
window is not in front (which is useful for
adjusting playback controls, because it can be done
while another application such as Final Cut
remains the front-most application).
The capture color correction controls (in the
Preview tab) only appear over the preview when
the mouse is over the preview. The panel holding
the capture color correction controls can be
dragged around within the preview pane, allowing
you to see any part of the preview while adjusting
the controls. To drag it, click on any part of the
panel other than one of the buttons or numeric
controls.
39
MOTU VIDEO SETUP
PREVIEW TAB
The Preview tab (Figure 6-10) lets you preview the
video signal being received from the currently
selected input in the Input Source menu
(Figure 6-3 on page 34).
If you don’t see the source video signal
If you have trouble getting the source video signal
to appear in the preview frame, make sure the Final
Cut Pro Capture window isn’t open in the
background. If so, the Status area (Figure 6-1 on
page 33) will alert you to the fact that the host
application is currently capturing or previewing.
The Preview tab and Final Cut Pro
Final Cut Pro takes over the HDX-SDI hardware
when it is the front-most (active) application.
Therefore, the preview window only works when
MOTU Video Setup is active. In this case, Final Cut
Pro releases the HDX-SDI 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.
Color lookup table (CLUT)
See “Color lookup table (CLUT)” on page 40.
Brightness, Contrast and Hue
When previewing a Composite or S-Video signal,
the Preview tab provides several settings for
adjusting the Brightness, Contrast and Hue, as
shown in Figure 6-10 below.
Composite
and S-Video
image
adjustment
Color
Lookup
Table
(CLUT) for
capturing
Figure 6-10: The Preview tab.
40
MOTU VIDEO SETUP
AUDIO TAB
The Audio tab (Figure 6-11) provides access to the
HDX-SDI’s audio features. The HDX-SDI provides
16 channels (two 8-channel banks) of
simultaneous audio input and output. For a
summary of audio bank formats, see “Connect
audio inputs and outputs” on page 21.
Sample rate
Choose the audio sample rate (Figure 6-11) for
capture or playback. Make sure this setting
matches the rate of the audio being captured or
played back. Sample rates up to 96 kHz are
supported, with the following restrictions:
■ The HDMI input and output are stereo at sample
rates above 48000 Hz when playing SD video.
■ SDI audio output is disabled at sample rates over
48000 Hz.
You can alternately make the sample rate setting in
Final Cut Pro.
Downmix to Output 1-2 on Capture
If Downmix to Output 1-2 on Capture is selected
(Figure 6-11), when capturing video, all audio
output will be mixed down to outputs 1 and 2. This
lets you monitor any inputs being recorded in Final
Cut Pro on headphones or stereo monitors.
Inputs
Choose the desired audio input format for Bank A
(channels 1-8) and Bank B (channels 9-16) from
the menus provided. These banks correspond to
the channel assignments for host software (Final
Cut Pro), as well as the meters and activity LEDs on
the front panel of the HDX-SDI. The menus
provide the following choices:
Figure 6-11: Audio tab.
41
MOTU VIDEO SETUP
Bank A (1-8)
Bank B (9-16)
Figure 6-12: Input bank assignments.
The first three choices are Analog (TRS), SDI/
HDMI and AES/EBU (DB-25). These are all 8channel banks. The fourth choice,
AES/EBU (BNC) + Analog (RCA), is a four channel
bank referring to the stereo AES/EBU BNC input
on the rear panel (channels 1-2 in the bank) and
the stereo RCA analog inputs on the front
(channels 3-4 in the bank).
AES/EBU input
The HDX-SDI provides two different banks of
AES/EBU input:
■
Stereo BNC
■
Eight channels on DB25 breakout
These two banks operate exclusively. For example,
if you choose AES/EBU DB-25 for Bank A, the
AES/EBU (BNC) + Analog (RCA) bank will be
grayed out in the menu for Bank B, since they
cannot both be enabled at the same time.
Analog input
Similar to the AES/EBU banks explained above,
The HDX-SDI provides two different banks of
analog input:
■
Stereo RCA
■
Eight channels of TRS
These two banks operate exclusively. For example,
if you choose Analog (TRS) for Bank A, the
AES/EBU (BNC) + Analog (RCA) bank will be
grayed out in the menu for Bank B, since they
cannot both be enabled at the same time.
Grayed out input menu items
If an item is grayed out in the Bank A or Bank B
input menus, it is disabled. See the previous two
sections for further information.
Analog input trims
Use the analog input trim controls (Figure 6-11 on
page 41) to apply up to +22 dB of gain or -12 dB of
cut to each individual TRS analog input. You can
also apply up to +18 dB of gain or -6 dB of cut to
RCA analog inputs.
Outputs
Use the buttons provided to assign each audio
output format to the desired HDX-SDI output
channel bank (1-8 or 9-16). You can assign two or
more formats to the same bank, in which case the
audio output is mirrored (duplicated) on each
output format.
Mirroring output banks
To make two or more output banks produce the
same audio output, simply assign them to the same
output bank (either 1-8 or 9-16).
Disabling output banks
To disable a bank completely, click its Off button.
Audio banks and front-panel metering
The HDX-SDI front panel provides two banks of
activity LEDs for audio input and output. Bank A
represents channels 1-8 and Bank B represents
channels 9-16. These input meters and output
activity LEDs only operate when at least one bank
is assigned to them. In addition, they are only
active when audio is being sent to/from the
computer (i.e. the HDX-SDI driver is sending
audio to/from a host application).
42
MOTU VIDEO SETUP
CHAPTER 7
Final Cut Pro
OVERVIEW
The HDX-SDI 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
HDX-SDI also provides presets for Easy Setup,
Sequences, Capture and Device Control.
The HDX-SDI supports full-raster HD capture to
uncompressed, Apple ProRes or any other codec of
your choice.
Familiarity with Final Cut Pro . . . . . . . . . . . . . . . . . . . . . . . .
Before you launch Final Cut Pro. . . . . . . . . . . . . . . . . . . . . .
Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Easy setups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Final Cut Pro Audio/Video Settings . . . . . . . . . . . . . . . . . .
Choosing a workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
HDX-SDI hardware settings. . . . . . . . . . . . . . . . . . . . . . . . . .
Log and capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Playback and monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . .
HDX-SDI audio settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Audio capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Audio playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Refresh A/V Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Time code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Device control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
43
43
43
44
44
45
45
46
47
48
48
49
49
49
49
■ Install the HDX-SDI hardware and connect your
video devices to it as explained in chapter 3,
“Installing the HDX-SDI Hardware” (page 15).
■ Switch on the HDX-SDI 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 HDX-SDI. If
you see error messages, refer to Appendix A,
“Troubleshooting” page (51).
GETTING STARTED
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.
BEFORE YOU LAUNCH FINAL CUT PRO
Figure 7-1: The HDX-SDI ships with over 100 Easy Setups for the many
formats and operating scenarios it supports.
Before you launch Final Cut Pro, be sure to:
■ Insert the HDX-SDI Installer CD and run the
Easy Install option.
43
EASY SETUPS
FINAL CUT PRO AUDIO/VIDEO SETTINGS
There are five settings in Final Cut Pro that directly
impact HDX-SDI 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 HDX-SDI’s capture, device control and
sequence presets. The HDX-SDI presets are
identified by either HDX-SDI 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 “Creating
capture/playback presets” on page 47.
■
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 HDX-SDI
Easy Setup, you can modify it as needed in Final
Cut Pro’s Audio/Video Settings window
(Figure 7-2).
Figure 7-2: HDX-SDI Easy Setup settings can be adjusted in Final Cut Pro’s Audio/Video Settings window.
44
FINAL CUT PRO
CHOOSING A WORKFLOW
The HDX-SDI supports a range of SD and HD
workflows. For uncompressed HD or SD, all
DVCPro formats and Apple ProRes, the HDX-SDI
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 46.
Uncompressed HD/SD
The HDX-SDI supports 8-bit and 10-bit
uncompressed HD or SD capture and playback in
all supported HD and SD formats. Choose the
sequence preset and capture preset that
corresponds with the format you need to capture,
edit and play back.
☛
Capture and playback of uncompressed HD
requires a high-performance RAID array.
Apple ProRes 422
The HDX-SDI supports Apple ProRes 422 capture
and playback. 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 HDX-SDI Apple ProRes 422 presets (for
the sequence, capturing and playback) that
correspond with the video format and frame rate
you are working with. If your computer
experiences performance issues during capture or
playback, you may need a faster computer, a faster
hard drive, or a capture drive with less disk
fragmentation.
DVCPro25 / DVCPro50 / DVCProHD
The HDX-SDI provides capture and playback of
DVCPro25, DVCPro50 or DVCProHD. 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. To play
back DVCPro codecs, be sure to select the 8-bit
video playback preset for the corresponding video
format. Or simply use the appropriate HDX-SDI
Easy Setup.
Other codecs
The HDX-SDI supports capture and playback of
any HD or SD codec supported by Final Cut Pro,
including the file-based formats now supported by
Sony, Panasonic and other camera manufacturers.
To specify a codec other than ProRes or
DVCProHD, choose the HDX-SDI 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. For
further details about creating your own presets, see
“Creating capture/playback presets” on page 47.
HDX-SDI 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 33) to view the
HDX-SDI’s hardware settings and make any
adjustments, if necessary.
Basic hardware settings
Check these basic hardware settings:
■
“Video format” on page 34
■
“Input Source” on page 34
■
“Capture Clock Source” on page 35
■
“Playback Clock Source” on page 36
Other input/capture settings
To access the HDX-SDI’s capture settings, click the
Setup tab (Figure 6-4 on page 35) and Preview tab
(Figure 6-10 on page 40).
45
FINAL CUT PRO
Playback settings
Click the Playback tab (Figure 6-8 on page 38) to
view Playback settings.
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 6-8 on page 38).
If you want Final Cut Pro to resolve to an external
sync source during playback, choose the desired
source from the Clock Source menu (Figure 6-5 on
page 35); otherwise, leave it set to Internal.
For details on other playback settings, review
Chapter 6, “MOTU Video Setup” (page 33).
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 HDX-SDI:
1 Choose Log and Capture from the File menu.
Figure 7-3: The Capture Settings tab with HDX-SDI device control and
codecs chosen.
2 Click the Capture Settings tab (Figure 7-3) 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
HDX-SDI Easy Setup.
3 Click the Now button to start the capture.
Refer to Part IV of the Final Cut Pro manual for
more information on advanced capture settings
(such as batch capture, logging, etc.)
Figure 7-4: Click the ‘Now’ button to begin capture.
Video encoding and CPU performance during
capture
If you are capturing uncompressed HD or SD, the
uncompressed video stream goes straight to your
hard drive, with no compression or encoding
required along the way.
☛
The real-time capture of uncompressed HD
requires very fast disk storage, such as a disk RAID
array or fibre-optic drive array.
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 Apple ProRes, such as DVCPro, 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.
46
FINAL CUT PRO
PLAYBACK AND MONITORING
To play back your Final Cut Pro project and view it
on any monitor or other device connected to the
HDX-SDI’s video outputs:
1 Choose View menu> External Video> and make
sure that the All Frames item (command-F12) is
checked.
2 Start playback.
Video decoding and CPU performance during
playback
If you are playing uncompressed HD or SD from
the Final Cut Pro timeline, the uncompressed
video stream goes straight to the HDX-SDI, with
no compression or encoding required along the
way.
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.
When you play back a Final Cut Pro timeline with
an HD codec other than 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 codec you have chosen, core
processor speeds, etc. If you have a four- or eightcore machine, however, you should be able to play
back just about any video format you wish.
CREATING 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.
To create capture presets, go to the Audio/Video
Settings window, click the Capture Presets tab
(Figure 7-2), select an existing HDX-SDI preset (it
doesn’t matter which one) and click the Duplicate
button. Modify the settings as desired.
The procedure for creating sequence/playback
presets (in the Sequence Presets tab) is similar.
47
FINAL CUT PRO
HDX-SDI AUDIO SETTINGS
AUDIO CAPTURE
To access basic HDX-SDI audio settings:
To specify the audio inputs on the HDX-SDI that
you wish to capture from:
1 Choose Final Cut Pro menu> Audio/Video
Settings.
1 Configure the HDX-SDI’s audio banks as
explained in the previous section.
2 Select the A/V Devices tab.
3 Choose the HDX-SDI for audio playback.
2 In Final Cut Pro’s Log and capture window, click
the Clip Settings tab.
4 Click the Options button to set the sample rate.
This setting will modify the HDX-SDI hardware so
that it matches the setting in Final Cut Pro.
You can verify the HDX-SDI’s audio settings in the
Audio tab (Figure 6-11 on page 41).
Choosing audio banks
The HDX-SDI provides two 8-channel banks of
simultaneous audio input and output: Bank A
(channels 1-8) and Bank B (channels 9-16). Use
the settings in the Audio tab (Figure 6-11 on
page 41) to assigned the desired audio formats to
each input and output bank.
In Final Cut Pro, the HDX-SDI’s channels are
simply numbered 1, 2, 3, 4, etc. and correspond to
the HDX-SDI channel numbers 1-8 and 9-16. For
example, you might make the following audio bank
assignments in the Audio tab:
Bank A (1-8)
Bank B (9-16)
Input
Analog (TRS)
SDI /HDMI
Output
Analog (TRS)
AES/EBU
HDMI
SDI
Figure 7-5: Clip Settings tab.
In this example, Final Cut Pro input channels 1-8
are assigned to the HDX-SDI TRS analog inputs,
and inputs 9-16 are assigned to SDI or HDMI.
Outputs 1-8 are assigned to analog TRS, and
outputs 9-16 are being mirror on three different
digital banks: AES/EBU, HDMI and SDI.
The channels in the list (Figure 7-5) correspond to
the HDX-SDI audio Bank A (channels 1-8) and
Bank B (channels 9-16).
3 Use the arm/disarm buttons next to each
channel number (Figure 7-5) to choose which
HDX-SDI audio inputs to record.
48
FINAL CUT PRO
4 Enable the Preview check box in the Audio
section (Figure 7-5). When the Preview option is
checked, incoming audio is “patched through” to
the HDX-SDI audio outputs. Make sure that the
Mac system sound output device setting is set to
the HDX-SDI for this to work.
5 If you are capturing multi-channel audio and
wish to monitor all channels on stereo headphones
or speakers, enabled “Downmix to Output 1-2 on
Capture” option (page 41).
Figure 7-6: Assigning audio tracks to HDX-SDI audio outputs.
AUDIO PLAYBACK
REFRESH A/V DEVICE
To play back audio:
1 Choose View menu> Audio Playback>
HDX-SDI.
If the connection with the hardware is disrupted
for some reason, you can bring the HDX-SDI back
on line by choosing View menu> Refresh A/V
Devices.
2 In the Sequences window, select your sequence.
TIME CODE
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 HDX-SDI audio output, or
right-click on the Toggle Auto Select icon next to
each audio track in the track Time Line window.
To lock Final Cut Pro to time code during capture,
go to the Setup tab (Figure 6-4 on page 35) in
MOTU Video Setup and choose the Timecode
Source (page 37).
To configure the time code format being output by
the HDX-SDI hardware while Final Cut Pro is
playing back, go to the Setup tab (Figure 6-4 on
page 35) in MOTU Video Setup and choose the
desired destination from Timecode Destination
menu. Also check the following additional
Playback tab settings:
■
Playback 29.97 fps Timecode (page 38)
■
Playback Timecode Offset (page 38)
DEVICE CONTROL
The HDX-SDI 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 HDX-SDI RS-422 (Sony 9-pin)
device control in Final Cut Pro:
49
FINAL CUT PRO
1 Connect an RS-422 cable from HDX-SDI 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.
3 In MOTU Video Setup, choose Sony 9-Pin from
the Timecode Source menu (Figure 6-4 on
page 35), 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).
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.
50
FINAL CUT PRO
APPENDIX A
Troubleshooting
USE THE STATUS DISPLAY
Use the Status display in MOTU Video Setup
(Figure 6-1 on page 33) for help with various issues
having to do with capture, playback, sync and
other aspects of HDX-SDI operation. MOTU
Video Setup is engineered to detect problems and
report them in the Status area. Most common
issues can be resolved by following the instructions
given by the Status display.
FREQUENTLY ASKED QUESTIONS
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 HDX-SDI with Final Cut Pro, it means that
Final Cut Pro has lost communication with the
HDX-SDI hardware. Check your HDX-SDI
hardware and cable connections, and then restart
your Mac.
Figure A-1: If you see this message check your hardware and cable
connections.
MOTU Video Setup cannot detect the HDX-SDI.
Why not?
Is the HDX-SDI connected to the PCIe card
adapter installed in a desktop computer? If so, did
the HDX-SDI breakout interface get disconnected
or powered off while the computer is still powered
on? In this case, you need to shut down the
computer, plug in the interface, switch it on and
then power up the computer. The breakout
interface must remain connected and powered on
while the computer is running. The HDX-SDI’s
Auto On mode lets you leave the power switch on,
and the interface will power up and power down
with your computer. See page 5 for details on Auto
On mode.
Connecting or powering gear during operation
It is not recommended that you connect,
disconnect, or power on/off devices connected to
the HDX-SDI while recording or playing back
audio. Doing so may cause a brief glitch in the
audio.
When I try to genlock via the HDX-SDI’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.
The HDX-SDI is having trouble genlocking to my
video deck.
Is the deck connected to a video output from the
HDX-SDI? If so, it could be a clock loop problem,
where the deck is trying to resolve to its video
input, while the HDX-SDI is trying to resolve to
video input from the video deck. See “Master
(Internal)” on page 36.
I experience glitching in my video signal when
switching between Capture and Playback.
See “Clock source when switching between
Capture and Playback modes” on page 36.
My reference monitor(s) connected to the
HDX-SDI only displays single frames.
Make sure All Frames is selected in the
View>External Video menu in Final Cut Pro.
My reference monitor(s) connected to the
HDX-SDI 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.
51
My HDMI output does not output any video.
Make sure the HDMI Format setting is set to
HDMI, not DVI.
I hear clicks and pops on audio from an external
SDI device.
Make sure your Capture Clock Source and
Playback Clock Source settings are properly set to
work with an external SDI device. See “Capture
Clock Source” on page 35 and “Playback Clock
Source” on page 36.
The audio meters on the front panel don’t work.
The meters and activity LEDs only operate when
audio is actually being sent to/from the computer.
For example, if audio is being fed to HDX-SDI
inputs, but no host application is running on the
computer to receive the audio, the meters won’t be
active. To activate the meters, run your video host
application or MOTU Video Setup and enable its
audio capture features.
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 HDX-SDI.
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 HDX-SDI
system, you may contact our technical support
department in one of the following ways:
■ Tech support hotline: (617) 576-2760 (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 HDX-SDI system. This
is printed on a sticker placed on the bottom of the
HDX-SDI 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 HDX-SDI 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
visit motu.com/suggestions or write to the
HDX-SDI Development Team, MOTU Inc., 1280
Massachusetts Avenue, Cambridge, MA 02138.
52
APPENDIX A: TROUBLESHOOTING
APPENDIX B
Video Formats
The HDX-SDI supports these video formats:
1080 HD
SD
1080i 25 10-bit (1920 x 1080)
480i 29.97 10-bit (720 x 480)
480i 29.97 8-bit (720 x 480)
486i 29.97 10-bit (720 x 486)
486i 29.97 8-bit (720 x 486)
576i 25 10-bit (720 x 576)
576i 25 8-bit (720 x 576)
1080i 25 8-bit (1920 x 1080)
1080i 29.97 10-bit (1920 x 1080)
1080i 29.97 8-bit (1920 x 1080)
1080i 30 10-bit (1920 x 1080)
1080i 30 8-bit (1920 x 1080)
1080p 23.976 10-bit (1920 x 1080)
1080p 23.976 8-bit (1920 x 1080)
1080p 24 10-bit (1920 x 1080)
720 HD
1080p 24 8-bit (1920 x 1080)
720p 23.976 10-bit (1280 x 720)
1080p 25 10-bit (1920 x 1080)
720p 23.976 8-bit (1280 x 720)
1080p 25 8-bit (1920 x 1080)
720p 24 10-bit (1280 x 720)
1080p 29.97 10-bit (1920 x 1080)
720p 24 8-bit (1280 x 720)
1080p 29.97 8-bit (1920 x 1080)
720p 25 10-bit (1280 x 720)
1080p 30 10-bit (1920 x 1080)
720p 25 8-bit (1280 x 720)
1080p 30 8-bit (1920 x 1080)
720p 29.97 10-bit (1280 x 720)
1080PsF 23.976 10-bit (1920 x 1080)
720p 29.97 8-bit (1280 x 720)
1080PsF 23.976 8-bit (1920 x 1080)
720p 3010-bit (1280 x 720)
1080PsF 24 10-bit (1920 x 1080)
720p 30 8-bit (1280 x 720)
1080PsF 24 8-bit (1920 x 1080)
720p 50 10-bit (1280 x 720)
1080PsF 25 10-bit (1920 x 1080)
720p 50 8-bit (1280 x 720)
1080PsF 25 8-bit (1920 x 1080)
720p 59.94 10-bit (1280 x 720)
1080PsF 29.97 10-bit (1920 x 1080)
720p 59.94 8-bit (1280 x 720)
1080PsF 29.97 8-bit (1920 x 1080)
720p 60 10-bit (1280 x 720)
1080PsF 30 10-bit (1920 x 1080)
720p 60 8-bit (1280 x 720)
1080PsF 30 8-bit (1920 x 1080)
53
54
APPENDIX B: VIDEO FORMATS
APPENDIX C
HDX-SDI Specifications
VIDEO I/O
AUDIO I/O
1 x HD/SD-SDI in and out (4:2:2 10-bit) on BNC
connectors
■ 16 channels of simultaneous audio input and
output
■
■
1 x extra HD/SD-SDI output BNC connector
■ 1 x HDMI in and out (4:2:2 10-bit, YCbCr or
RGB)
■ Support for DVI output with HDMI-to-DVI
adapter (sold separately)
■ 1 x HD/SD component in and out (10-bit, YPbPr
or RGB) on BNCs
■
1 x composite in (10-bit) on RCA
■
1 x S-Video in (10-bit) on 4-pin mini-DIN
■ 1 x composite in and out (10-bit CVBS) on
shared BNC
1 x S-Video in and out (10-bit Y/C) on shared
BNC
■
VIDEO FORMATS
■
SD — 576i25 (PAL) 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 uncompressed HD (8-bit or 10-bit),
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 486i29.97 and 576i25
■ Supports all standard audio sample rates from
44.1 to 96kHz
■ 8 x quarter-inch TRS analog in and out via direct
connection (no breakout cable)
2 x RCA analog input on the front panel for SD
Composite/S-Video capture
■
■ 2 x AES/EBU digital in and out on BNC
connectors
■ 8 x AES/EBU digital in and out on standard
DB25 breakout cable (purchased separately)
■
8 x HD/SD-SDI embedded audio in and out
■
8 x HDMI embedded audio in and out
■ Front panel headphone jack with dedicated
volume control
■ Front panel audio channel metering — two
8-channel banks of status LEDs
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).
■ Front panel time code display — provides
frame-accurate time code readout when
converting time code, or during playback from
host software.
■ 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.
55
■ Direct Digital Synthesis — DSP-driven phase
lock engine provides ultra-low jitter.
POWER
International auto-switching internal power
supply
■
INCLUDED SOFTWARE AND
COMPATIBILITY
■ MOTU Video Setup software — provides
complete control of all programmable features and
settings.
■
Supports Final Cut Pro 6.0.5 or later
56
APPENDIX C: HDX-SDI SPECIFICATIONS
APPENDIX D
DB25 to XLR Pin Outs
DB25 TO 4 FEMALE (IN) / 4 MALE (OUT) XLR
DB25 TO 4 FEMALE (IN) / 4 MALE (OUT) XLR
For bi-directional HDX-SDI AES/EBU digital I/O
Panasonic/Tascam standard
For bi-directional HDX-SDI AES/EBU digital I/O
Panasonic/Tascam standard
Pin
Signal
1
Channel 7/8 Out (+)
2
SG (Signal Ground)
3
Channel 5/6 Out (-)
4
Channel 3/4 Out (+)
5
SG
6
Channel 1/2 Out (-)
7
Channel 7/8 In (+)
8
SG
9
Channel 5/6 In (-)
10
Channel 3/4 In (+)
11
SG
12
Channel 1/2 In (-)
13
Not used
14
Channel 7/8 Out (-)
15
Channel 5/6 Out (+)
16
SG
17
Channel 3/4 Out (-)
18
Channel 1/2 Out (+)
19
SG
20
Channel 7/8 In (-)
21
Channel 5/6 In (+)
22
SG
23
Channel 3/4 In (-)
24
Channel 1/2 In (+)
25
SG
57
58
APPENDIX D: DB25 TO XLR PIN OUTS
Index
29.97 drop/non-drop 38
480i
component 19
Component Levels 37
Setup option 37
75Ω TERM 6, 24
96kHz operation
AES/EBU 21
9-pin connector 6, 24
A
AES/EBU
breakout cable 22
connections 21
connectors 6
DB-25 input 42
in/out 1-8 21
sample rate conversion 26
synchronization 25, 26
Analog
audio connectors 21
connectors 6
input meters 5, 42
input trims 42
video connectors 6
Analog inputs/outputs 6
Analog Output Mode 37
Apple ProRes 422 9, 45
ASC CDL 39
Audio
AES/EBU connections 21
analog connections 21
analog input 42
capture in Final Cut Pro 48
connections 23
connectors 21
digital audio sync 25
disabling banks 42
embedded 6
features 32
Final Cut Pro settings 48
input 41
input trims 42
metering (front panel) 5, 42
mirroring outputs 42
monitoring 23
output 42
overview 32
playback from Final Cut Pro 49
sample rate 41
sample rate conversion 22, 25
tab 41
Auto On 5
B
Batch Capture 6
Bi-level sync 36
BNC
AES/EBU 6
BNC cables for SDI 19
Breakout cables 22
Brightness option 40
C
Cables
breakout 22
PCIe cable length 6
Camcorders
connecting 20, 23
Camera
connecting via HD-SDI 20
Capture
Clock Source setting 35
LED (front panel) 5
supported video formats 53
Capture mode 31, 35
CDL 39
Clipping 5, 42
CLUT 39
Codecs
other 45
supported 45
Color Lookup Table 39
Component 19
analog format options 19
connectors 6
Levels 37
output color mode settings 37
RGB 19
YPbPr 19
Composite
connectors 6, 18
example 20
Computer
connecting the HDX-SDI 17
Contrast option 40
Customer support 52
CVBS
connectors 18
D
Daisy-chain
video ref 6, 24
DB-25
AES/EBU input 42
DB25 connector (AES/EBU) 6
DB25 XLR cables 21, 22
DDS 9
Default Mode 35
Device control 49
Digital audio
phase lock 25
synchronization 26
Digital mixer
example 23
synchronizing 26
Direct (SDI Loop Thru mode) 37
Direct Digital Synthesis 9
DLP display
connecting 6
Downmix to Output 1-2 on Capture 41
DVCPro 45
supported formats 53
DVD Player
connecting 20
DVI
cable requirements 19
connector 6, 19
output 19
output setting 37
E
Easy Setups 44
installing 29
EBU N10 37
Edit to Tape 6, 49
Embedded
time code 37
time code display 5
Embedded audio
HDMI 6, 19
ExpressCard
connecting to HDX-SDI interface 6
installation 16
power-up/power-down 17
removal 17
F
FCP MOTU RT Enabler.txt 29
Field 1/2 options 38
Final Cut Pro 43-50
audio 32
audio capture 48
audio playback 44, 49
audio settings 48
Audio/Video Settings 44
Batch Capture 6
capture 31
capture presets 44
capture settings 45, 46
clock source during capture 35
clock source during playback 36
device control 49
device control presets 44
easy setups 29, 44
Edit to Tape 6, 49
frame rate 38
installing drivers & easy setups 29
Log and capture 46
machine control 49
machine control connector 6, 24
monitoring 47
playback 31, 47
playback settings in HDX-SDI hardware 38
preparation 43
preview feature 32
Print to Video 49
Refresh A/V Devices option 49
Sequence presets 44
supported video formats 53
time code offset 38
time code settings 49
troubleshooting 51
video playback 44
Frame rate
playback 38
Front panel 5, 42
59
I N D EX
G
Genlock
indicator (Video Setup software) 33,
34
LED (front panel) 5
troubleshooting 51
H
Interlace Pause Mode 38
Interlaced Field When Paused options 38
Internal (Playback Clock option) 36
Internal (sync setting) 25
J
Japan (0.0%) option 37
L
HD
Analog Output Mode 37
camera 20
component connectors 6
ExpressCard installation 16
ExpressCard power up/down 17
ExpressCard removal 17
reference monitor 20
supported formats 53
tri-level sync 6, 24, 36
HDCP 5
HDMI
DVI output 19
embedded audio 19
format menu 37
HDCP 5
input 5, 19
output 6, 19
PCIe CARD connector 17
HD-SDI
BNC cable specs 19
connectors 6, 19
reference monitor 20
time code destination option 37
HDX-SDI
basic operation 32
capture clock source 35
capture mode 31
installing 15
playback clock source 36
playback mode 31
software installation 29
summary of features 9
Headphone jack 5
Host LED 5
Hue option 40
I
Indirect (SDI Loop Thru mode) 37
Input
indicator (Video Setup software) 33,
34
source menu 34
Input level meters 5, 42
Input Source (Capture Clock option) 35
Input Source (Playback Clock option) 36
Inputs
analog 6
trims 42
Installation
Easy Setups 29
hardware 15
precautions 15
software 29
LCD display
example 20
Log and capture 46
LTC
connectors 6
output format 37
sync setting 37
M
Mac OS X
software installation 29
system requirements 13
Machine control 49
connector 6, 24
Master (Internal) sync setting 36
Mirroring audio banks 42
Mixer
example 23
synchronizing 26
MODE LEDs 5
Monitor
LED (front panel) 5
Monitoring
Final Cut Pro 47
Monitors
connecting 23
MOTU Easy Setups 44
installing 29
MOTU Video Setup 33-42
Audio tab 41
genlock indicator 33, 34
input indicator 33, 34
input source menu 34
installing 29
Playback tab 38
Preview tab 40
Setup tab 35
status area 34, 51
video format menu 34
MOTUPCIVideo.kext 29
MOTUVOut.component 29
N
NTSC 18
Component Levels 37
O
Offset 38
Offset (color lookup table) 39
Outputs
analog 6
P
Packing list 13
PAL 18
Panasonic MII option 19, 37
PCIe
adapter installation 15
cable length 6
CARD connector 6
operation 17
Phase lock 25
Phones 5
Plasma display
connecting 6
example 20
Playback 31
29.97 fps Timecode option 38
audio from Final Cut Pro 49
Clock Source setting 36
Final Cut Pro 47
frame rate 38
only mode 31
supported video formats 53
tab 38
Timecode Offset options 38
Playback mode 35
Power (color lookup table setting) 39
Power supply 6
Power switch 5, 17
Auto On 5
Preview tab 40
Print to Video 49
ProRes 9
ProRes 422 45
R
REF in (Capture Clock Source option) 36
REF in (Playback Clock Source option) 36
Reference monitor
connecting 20
Refresh A/V Devices 49
Registration 13
Reset (color lookup table) 39
Reset to Defaults 37
RGB 19, 37
RS-422
connector 6, 24
setup in Final Cut Pro 49
sync option 37
S
Sample rate 41
Sample rate conversion 22, 25, 26
Sat (saturation color lookup table) 39
SD
Analog Output Mode settings 37
bi-level sync 36
camcorder 20, 23
capture connectors 5
component 19
component connectors 6
Component Output Color Mode
settings 19
60
I N D E X
composite 20
monitor 20
supported formats 53
uncompressed 53
video deck 20
VITC timecode dest option 37
VITC timecode source option 37
SDI
BNC cable specs 19
connectors 6, 19
HD-SDI example 20
Loop Thru Mode 37
Output Timecode Format menu 37
SD-SDI
BNC cable specs 19
connectors 19
time code destination option 37
Setup tab 35
Single Field option 38
Slope (color lookup table) 39
SMPTE
time code display 5
SMPTE/EBU N10 19
Sony
9-pin connector 6, 24
9-pin setup in Final Cut Pro 49
9-pin sync option 37
Beta Japan option 19, 37
Beta option 19, 37
SOURCE LEDs 5
Speakers
connecting 23
SRC 22, 25, 26
Status 51
S-video
connectors 18
connectors (front panel) 5
connectors (rear panel) 6
SYNC LEDs 5
Sync LEDs 5
Synchronization
digital audio 25, 26
phase lock 25
sample rate conversion 22, 25
video 6, 24
System requirements
minimum 13
recommended computer 13
T
Technical support 52
Termination
video ref 6, 24
Thru
video ref 6, 24
Time code
29.97 drop/non-drop 38
Destination menu 37
display (front panel) 5
Drop-frame 38
Final Cut Pro settings 49
lock LED 5
LTC connectors 6
Non-drop 38
offset 38
output format options 37
Source menu 37
Tri-level sync 6, 24, 36
Trim (audio input) 42
Troubleshooting 51-52
audio metering 5, 42, 52
basic concepts 32
unable to locate external device 51
video glitching 36
U
Unable to locate external device 51
Uncompressed SD 45, 53
USA (7.5%) option 37
V
VHS deck
connecting 20
Video
capture mode 31
clock 25
connections 18, 20
connectors (front panel) 5
format menu 34
input (choosing) 32
modes 31
playback mode 31
Setup application 33, 42
source menu 19, 32
status LEDs 5
supported formats 53
synchronization 6, 24
VIDEO REF
connectors 6, 24
IN 25, 26
LED (front panel) 5
troubleshooting 51
VITC
generating 37
resolving to 37
time code output options 37
X
XLR
analog 6
Y
Y/C connectors 18
Y/R-Y/B 19
YCbCr 19
YPbPr 19, 37
YUV 19
61
I N D EX
62
I N D E X