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Extron electronics RGB 404 User manual
MEDIA SERVER
User Manual
Patents
This product may use one or more of the following patents:
US 4,392,187; US 4,602,321; US 4,688,161; US 4,701,833; US 4,709,311; US 4,779,176;
US 4,800,474; US 4,962,687; US 4,972,306; US 4,980,806; US 5,010,459; US 5,031,078;
US 5,073,847; US 5,078,039; US 5,186,536; US 5,209,560; US 5,278,742; US 5,282,121;
US 5,307,295; US 5,329,431; US 5,331,822; US 5,367,444; US 5,402,326; US 5,430,629;
US 5,432,691; US 5,454,477; US 5,455,748; US 5,506,762; US 5,515,254; US 5,537,303;
US 5,545,951; US 5,580,164; US 5,590,954; US 5,590,955; US 5,640,061; US 5,647,662;
US 5,665,305; US 5,691,886; US 5,728,994; US 5,758,955; US 5,758,956; US 5,769,527;
US 5,774,273; US 5,798,619; US 5,806,951; US 5,823,661; US 5,825,548; US 5,828,485;
US 5,829,868; US 5,857,768; US 5,882,107; US 5,934,794; US 5,940,204; US 5,945,786;
US 5,953,152; US 5,980,066; US 6,048,080; US 6,327,103; US 6,048,081; US 6,057,958;
US 6,054,816; US 6,126,288; US 6,142,652; US 6,172,822; US 6,188,933; US 6,208,087;
US 6,219,093; US 6,220,730; US 6,241,366; US 6,255,787; US 6,256,136; US 6,278,542;
US 6,288,828; US 6,327,103; US 6,421,165; US 6,430,934; US 6,466,357; US 6,502,961;
US D347,113; US D350,408; US D359,574; US D360,404; US D365,165; US D366,712;
US D370,080; US D372,550; US D377,338; US D381,740; US D409,771; US 6693392;
US 6719433; EP 0662275; EP 0767398; DE 621495; DE 655144; DE 797503; EP 0475082;
GB 2 043 769 B; GB 2 055 842 B; GB 2 283 808 B; GB 2 290 134 B; GB 2 291 814 B; GB 2
292 530 B; GB 2 292 896 B; GB 2 294 909 B; GB 2 295 058 B; GB 2 303 203 B; GB 2 306 887
B; GB 2 307 036 B; GB 2 316 477 B; MR0862-1996; M9,604,224.9
®
Media Server
User Manual
Copyright ©2004 High End Systems, Inc. All rights reserved.
Information and specifications in this document are subject to change without notice.
High End Systems, Inc. assumes no responsibility or liability for any errors or
inaccuracies that may appear in this manual.
Trademarks used in this text: High End Systems, Catalyst, the Catalyst Logo, Wholehog
III, Dataflash, Intellabeam, and LithoPatterns are registered trademarks; and Talkback,
the High End Systems globe logo, and the Hog logo are trademarks of High End Systems,
Inc. or High End Systems Europe Ltd. Belden is a registered trademark of Belden, Inc.
Apple, Final Cut Pro, Finder, FireWire, Mac, Mac OS, MacPaint, PowerMac, and
QuickTime are trademarks of Apple Computer, Inc., registered in the United States and
other countries. Adobe, Photoshop, and Premiere are registered trademarks of Adobe
Systems, Inc. Extron is a registered trademark of Extron Electronics. Leitch is a registered
trademark of Leitch Technology Corporation. Sony is a registered trademark of Sony.
Radeon is a registered trademarks of ATI Corporation in the United States and /or other
countries. Macromedia is a registered trademark and Flash is a trademark of
Macromedia, Inc. ETL and C-ETL are registered trademarks of Intertek Testing Services.
Omega Deck is a trademark of Fast Forward Video, Inc.
Other trademarks and trade names may be used in this document to refer to either the
entities claiming the marks and names or their products. High End Systems disclaims any
proprietary interest in trademarks and trade names owned by others.
Catalyst Media Server User Manual
Rev 081604
Printed in the USA
Catalyst® V3 Media Server User Manual
i
Contacting High End Systems®
US and the Americas
Sales Department:
High End Systems, Inc.
2105 Gracy Farms Lane
Austin, TX 78758 USA
voice:
512.836.2242
fax:
512.837.5290
Customer Service:
High End Systems, Inc.
2105 Gracy Farms Lane
Austin, TX 78758 USA
voice:
800.890.8989
24-hour fax:
512.834.9195
24-hour voice mail: 512.837.3063 or 800.890.8989
U.S. New York
High End Systems, Inc. New York
311 W. 43rd Street
New York, NY 10036
voice:
210.957.6840
fax:
212.957.4466
U.S. Los Angeles:
High End Systems, Inc.
8200 Haskell Avenue
Van Nuys, CA 91406 US
voice:
818.947.0550
fax:
818.908.8975
Orlando
voice:
352.241.8567
Europe Headquarters: High End Systems Europe LTD.
53 Northfield Road
London W13
voice:
+44 20.8579.5665
fax:
+44 20.8579.8469
Singapore:
High End Systems Singapore Pte. Ltd.
1 Tannery Road 06-05
Cencon 1
Singapore 1334
voice:
+65 6742 8266
FAX:
+65 6743 9322
World Wide Web:
http://www.highend.com
ii
Catalyst® V3 Media Server User Manual
Declaration of Conformity
according to ISO/IEC Guide 22 and EN45104
Manufacturer's name:High End Systems
2105 Gracy Farms Lane
Austin, TX, 78758 USA
Distributor's name:
High End Systems, Inc
Distributor's address: 2105 Gracy Farms Lane
Austin, TX, 78758 USA
Declares that the product:
Product Name: Catalyst
Product Number: All
Product Options: All
Conforms to the following EEC directives:
73/23/EEC, as amended by 93/68/EEC
89/336/EEC, as amended by 92/31/EEC and 93/68/EEC
Equipment referred to in this declaration of conformity was first manufactured in
compliance with the following standards in 2002:
Catalyst Interface Box
EMC:
Safety:
EN55103-1:1996 (E2)
EN55103-2:1996 (E2)
EN60950:2000
I, the undersigned, hereby declare that the equipment specified above conforms to the
above Directives and Standards.
Kenneth Hansen
22 June 2003
Catalyst® V3 Media Server User Manual
iii
Important Safety Information
Instructions pertaining to continued protection against fire, electric shock, and injury to
persons are found in Appendix B. Please read all instructions prior to assembling,
mounting, and operating this equipment.
Important: Informations De Sécurité. Les instructions se rapportant à la
protection permanente contre les incendies, l’électrocution, excessif et aux blessures
corporelles se trouvent dans l’Annexe B. Veuillez lire toutes les instructions avant
d’assembler, de monter ou d’utiliser cet équipement.
Wichtige Sicherheitshinweise. Sicherheitsanleitungen zum Schutz gegen Feuer,
elektrischen Schlag, und Verletzung von Personen finden Sie in Anhang B. Vor der
Montage, dem Zusammenbau und der Intbetriebnahme dieses Geräts alle Anleitungen
sorgfältig durchlesen.
Informazioni Importanti Di Sicurezza. Le istruzioni sulla protezione da incendi,
folgorazione, e infortuni sono contenute nell’appendice B. Si prega di leggere tutte le
istruzioni prima di assemblare, montare e azionare l’apparecchiatura.
Informacion Importante De Seguridad. En el Apéndice B se encuentran
instrucciones sobre protección continua contra incendios, descarga eléctrica, y lesiones
personales. Lea, por favor, todas las instrucciones antes del ensamblaje, montaje y
operación de este equipo.
Warning Labels
The following international caution and warning symbols appear throughout this manual
to highlight messages.
CAUTION!
This symbol appears adjacent to Caution messages.
Not heeding these messages could result in personal
injury or damage to the equipment.
WARNING!
This symbol appears adjacent to high voltage warning
messages. Not heeding these messages could result in
serious personal injury.
iv
Catalyst® V3 Media Server User Manual
Introduction
The High End Systems Catalyst® Media Server allows simultaneous preview and play
back of multiple still images or movie files, adding effects such as crossfading (dissolves),
montages, masking, strobing, color changes, and 3D geometry—all rendered in real time,
and triggered from a lighting console using DMX-512 protocol.
The Media Server plays many types of content—Quicktime video files, JPEG and GIF still
images, and any other industry-standard format supported by Apple’s Quicktime player.
The Catalyst system package includes a wide variety of still and movie files. In addition,
custom content can be easily added to the system.
Independent video signals can be sent to LED walls, DL1 digital lights, or digital media
projectors, each controlled and operated independently.
High End Systems currently offers two Catalyst Media Server products.
•
Catalyst Pro offers 6-layers with twin outputs—two separate video feeds from one
server.
•
Catalyst DV is a single digital output solution with three cross-fadable layers.
Catalyst® V3 Media Server User Manual
0
i
Catalyst® V3 Media Server User Manual
Table of Contents
Contacting High End Systems® ........................................................................................ii
Important Safety Information .......................................................................................... iv
Warning Labels ................................................................................................................. iv
Introduction ....................................................................................................... v
System Overview ...............................................................................................1
Selecting Media for Playback ............................................................................................ 1
Working with Layers .......................................................................................................... 2
Software Security ............................................................................................................... 2
QuickStart ..........................................................................................................3
Inspecting Your Catalyst Media Server ............................................................................ 3
Unpacking the Roadcase ............................................................................................... 3
Setting up the Server Rack ............................................................................................ 4
Hardware Connections ...................................................................................................... 5
Connecting Preview Monitors and Outputs ................................................................. 5
Catalyst Pro Dual Output Versions ........................................................................... 5
Catalyst DV Single Output Versions ......................................................................... 6
Connecting the Media Server to a DMX-512 Link ....................................................... 6
Catalyst Software Application Setup ................................................................................ 7
Launching the Application ............................................................................................. 7
Configuring the Catalyst Software ................................................................................ 8
Choose Output Options .............................................................................................. 8
Set DMX Start Channels for Layers ......................................................................... 8
Projecting Images Using Full Screen Mode ................................................................. 9
System Shutdown .............................................................................................................. 9
Tutorials ...........................................................................................................11
Lesson 1: Still Logo on Moving Background ................................................................. 11
Set up Layer 1 ............................................................................................................... 11
Add the Logo ................................................................................................................. 12
Turn Layer 2 Background Transparent ...................................................................... 12
Lesson 2: Crossfading Between Layers .......................................................................... 13
Set Up First Cue ........................................................................................................... 13
Setup the Second Cue and Playback .......................................................................... 14
Lesson 3: Image Color and Scale .................................................................................... 15
Set up Layer 1 ............................................................................................................... 15
Set Layer 1 Rotation, Position, and Scale ................................................................... 15
Playback ........................................................................................................................ 16
Lesson 4: Trails ................................................................................................................ 17
Understanding Trails ................................................................................................... 17
Applying Trails to Layer 1 ........................................................................................... 17
Catalyst® Media Server User Manual
1
Table of Contents
Adding Trails to Layer 2 .............................................................................................. 18
Lesson 5: Shutters ........................................................................................................... 19
Understanding Shutters .............................................................................................. 19
Set up Layer 1 .............................................................................................................. 19
Add Shutters with Layer 2 ........................................................................................... 19
Output Displays ...............................................................................................21
DV1 Video Distribution Amplifier .................................................................................. 21
Catalyst Interface Box (CIB) ........................................................................................... 21
Configuring Output Displays .......................................................................................... 22
Output Configurations .................................................................................................... 24
Single Output with Redundant Monitor ..................................................................... 24
Dual Output Device With Preview Monitor ............................................................... 25
Dual Outputs with Emulation Monitors ..................................................................... 26
Dual Outputs with DL1 Dimming Control ................................................................. 27
Dual Outputs Widescreen Layers ............................................................................... 28
Custom Content ..............................................................................................29
Content Requirements ..................................................................................................... 29
Maximum Image Size .................................................................................................. 29
Interlaced Images ......................................................................................................... 29
Rendering Content ....................................................................................................... 30
The Basics of Content Creation .............................................................................. 30
Recommended CODECs .......................................................................................... 30
Perceived Brightness ............................................................................................... 31
Installing Libraries and Files .......................................................................................... 32
Creating a New Library Folder ................................................................................... 33
Adding New Files to a Library Folder ........................................................................ 33
Media Playback ...............................................................................................35
Libraries and Files ........................................................................................................... 35
Preloaded Library Folders ........................................................................................... 35
Referencing Content with the Use Layer ............................................................... 36
In Frame and Out Frame ............................................................................................. 36
Play Mode ......................................................................................................................... 37
Playback Speed ................................................................................................................ 38
Movement and Size .........................................................................................39
X, Y, and Z Rotation ........................................................................................................ 39
X Position ......................................................................................................................... 41
Y Position ......................................................................................................................... 42
Scale ................................................................................................................................. 43
Image Movement Time .................................................................................................... 44
Aspect Ratio ..................................................................................................................... 45
Intensity and Color ..........................................................................................47
Intensity ............................................................................................................................ 47
2
Catalyst® Media Server User Manual
Table of Contents
Red, Green, and Blue ....................................................................................................... 48
Color Effects ..................................................................................................................... 49
0 RGB Subtract ............................................................................................................. 49
1 RGB Subtract High Contrast .................................................................................... 50
2 RGB Subtract V High Contrast ................................................................................. 50
3 Transparent Blacks ................................................................................................... 51
4 Transparent Whites ................................................................................................... 52
10 RGB Subtract Inverted Color .................................................................................. 53
11 RGB Subtract High Contrast Inverted Color ......................................................... 53
12 RGB Subtract Super High Contrast Inverted Color .............................................. 54
13 Invert Whatever ....................................................................................................... 54
14 RGB Subtract Inverted Color CMY ........................................................................ 55
15 RGB Subtract High Contrast Inverted Color CMY ............................................... 55
16 RGB Subtract Super High Contrast Inverted Color CMY .................................... 56
20 Black and White ...................................................................................................... 56
21 Black and White High Contrast .............................................................................. 57
22 Black and White Super High Contrast ................................................................... 57
23 Black and White Variable Super High Contrast ................................................... 58
24 Invert Black and White ........................................................................................... 58
30 Mask ......................................................................................................................... 59
31 Invert Mask 1 ........................................................................................................... 59
32 Invert Mask 2 ........................................................................................................... 60
35 Mask Fading ............................................................................................................ 60
36 Invert Mask 1 Fading .............................................................................................. 60
37 Invert Mask 2 Fading .............................................................................................. 60
40 Alpha Invert as Red ................................................................................................. 61
41 Alpha Invert as Green ............................................................................................. 61
42 Alpha Invert as Blue ................................................................................................ 62
43 Alpha Invert as Color .............................................................................................. 62
44 Alpha as Red ............................................................................................................ 63
45 Alpha as Green ........................................................................................................ 63
46 Alpha as Blue ........................................................................................................... 64
47 Alpha as Color ......................................................................................................... 64
50 Lookup 1 Color Wheel ............................................................................................ 65
51 Lookup 2 False Color .............................................................................................. 65
52 Lookup 3 Black and White Solarize Highlights .................................................... 66
60 Gamma Black and White ........................................................................................ 66
61 Gamma Color ........................................................................................................... 67
62 Gamma Color Separate Channels .......................................................................... 68
63 Gain Color Separate Channels ............................................................................... 69
65 Quantize Color Separate Channels ........................................................................ 70
70 Convert to YUV ........................................................................................................ 71
71 Saturation ................................................................................................................. 71
72 Mega Saturation ...................................................................................................... 72
73 Solarize .................................................................................................................... 72
Catalyst® Media Server User Manual
3
Table of Contents
74 Solarize Invert ......................................................................................................... 73
80 RGB Layer Blend 1 ................................................................................................. 73
81 RGB Layer Blend 2 ................................................................................................. 74
82 RGB Layer Blend 3 ................................................................................................. 74
83 RGB Layer Blend 4 ................................................................................................. 75
84 RGB Layer Blend 5 ................................................................................................. 75
85 RGB Layer Blend 6 Add .......................................................................................... 76
86 RGB Layer Blend 7 Subtract .................................................................................. 76
89 RGB Layer Blend 10 Maximum ............................................................................. 77
90 RGB Layer Blend 11 Add 2 ..................................................................................... 77
100 Tint ......................................................................................................................... 78
101 Tint Inverse ........................................................................................................... 78
102 Fade to Hue ........................................................................................................... 79
103 RGB > GBR ........................................................................................................... 79
104 RGB > BGR ........................................................................................................... 80
105 RGB > GRB ........................................................................................................... 80
Strobing and Trails ..........................................................................................81
Strobing ............................................................................................................................ 81
Trails ................................................................................................................................. 82
Visual Effects ...................................................................................................83
0 Movie on Non-Infinite Plane .................................................................................... 83
1 Movie on Infinite Plane with Black Border ............................................................. 84
2 Movie Unity Scaling .................................................................................................. 85
5 Movie Keystone 1 ...................................................................................................... 86
9 Setup Image Keystone 1 ........................................................................................... 87
10 Movie on Sphere Filled ........................................................................................... 87
11 Movie on Sphere Wireframe .................................................................................. 88
12 Movie on Sphere Points .......................................................................................... 88
13 Movie on Sphere Lit ................................................................................................ 89
14 Movie on Disc Filled ............................................................................................... 89
15 Movie on Disc Wireframe ....................................................................................... 90
16 Movie on Disc Points .............................................................................................. 90
17 Movie on Disc Silhouette ........................................................................................ 91
20 Movie on Kaleidoscope ........................................................................................... 91
21 Movie on Magic Lantern ........................................................................................ 92
22 Movie Stretched ...................................................................................................... 93
23 Movie Panorama Slices .......................................................................................... 94
24 Movie on Magic Lantern 2 ..................................................................................... 95
30 Movie on Cube 4 Sides ........................................................................................... 96
31 Movie on Cube 6 Sides ........................................................................................... 96
32 Movie on Colored Cube 6 Sides ............................................................................. 97
33 Movies First Four Layers on Cube ......................................................................... 97
40 Movie on NxN Simultaneous ................................................................................. 98
41 Movie on NxN Simultaneous Random Color ........................................................ 99
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Catalyst® Media Server User Manual
Table of Contents
42 Movie on NxN Consecutive .................................................................................... 99
43 Movie on NxN Consecutive Random Color ........................................................... 99
44 Movie on NxN Consecutive Random Frame ......................................................... 99
45 Movie on Random Flicker ..................................................................................... 100
46 Movie on Random Color Flicker .......................................................................... 100
60 Rectangle Shuttered .............................................................................................. 101
61 Rectangle Graduated Color Shuttered ................................................................. 102
62 N Sided Shape Shuttered Black ........................................................................... 103
70 Shutter Shuttered Black ........................................................................................ 104
71 Shutter Shuttered Color ........................................................................................ 105
72 Iris Shutter Black ................................................................................................... 106
100 Movie on Teapot Filled ....................................................................................... 107
120 Colored Sphere .................................................................................................... 107
123 Spectrograph ....................................................................................................... 108
Keystone and Shutters ..................................................................................109
Keystone Correction ...................................................................................................... 109
Shutter Effects ................................................................................................................ 110
Keystone Correction and Shutter Shape Preview ................................................ 110
Library Window .............................................................................................111
Files Tab .......................................................................................................................... 111
Folders Tab ..................................................................................................................... 112
Colour FX Tab ................................................................................................................ 114
Geometry FX Tab ........................................................................................................... 115
Monitoring Information .................................................................................117
General Layer Panel Information ................................................................................. 117
Layer Panel: File Tab ..................................................................................................... 118
Layer Panel: Position Tab .............................................................................................. 118
Layer Panel: Colour Tab ................................................................................................ 119
Layer Panel: FX Tab ...................................................................................................... 120
Diagnostic Displays ......................................................................................121
Hotkeys ........................................................................................................................... 121
Displays ........................................................................................................................... 121
Catalyst Version .......................................................................................................... 121
This Computer ............................................................................................................ 122
DMX Input Channels ................................................................................................. 122
USB CIB DMX Input .................................................................................................. 123
ArtNet DMX Input ...................................................................................................... 124
Statistics ...................................................................................................................... 125
Playbacks .................................................................................................................... 126
Color FX Preview ....................................................................................................... 127
Geometry FX Preview ................................................................................................ 128
File Preview Library ................................................................................................... 129
This Machine .............................................................................................................. 130
Catalyst® Media Server User Manual
5
Table of Contents
Remote Machines ....................................................................................................... 131
Multiple Servers ............................................................................................133
Synchronizing Multiple Servers ................................................................................... 134
Assigning Master Sync ID Numbers ........................................................................ 135
Synchronizing Content .............................................................................................. 135
Set Master Layer .................................................................................................... 135
Set Slave Layer ....................................................................................................... 135
Monitoring Remote Servers .......................................................................................... 136
Broadcast Remote Preview ....................................................................................... 136
Using the Remote Machines Diagnostic Display ..................................................... 137
Sending Remote Commands to Servers ...................................................................... 138
Audio Input ....................................................................................................139
Configuring the Audio Feed .......................................................................................... 139
Activating the Audio Input ........................................................................................ 140
Waveform Type Selection ......................................................................................... 140
Video Input ....................................................................................................141
Connecting the Video Feed ....................................................................................... 141
Configuring the Video Input ..................................................................................... 141
Serial Control ................................................................................................143
Connecting RS-232 Devices .......................................................................................... 143
Assigning a DMX Channel ............................................................................................ 143
Assigning the Interface and Data Format .................................................................... 144
Setting the Serial Commands ....................................................................................... 145
Custom String Command .......................................................................................... 146
Sample Strings ........................................................................................................... 146
Triggering Serial Devices from DMX .......................................................................... 147
MIDI Timecode ..............................................................................................149
Connecting MIDI Timecode Devices ............................................................................ 149
Assign the MIDI Device ................................................................................................ 149
Synchronizing a Layer with MIDI Timecode ............................................................... 149
Sony 9-pin RS422 ..........................................................................................151
Assigning the Interface and Data Format .................................................................... 152
Assigning a DMX Channel ............................................................................................ 154
Triggering a Sony 9-pin Device from DMX ................................................................. 154
Synchronizing to the Deck’s Timecode ....................................................................... 155
Example 1 ................................................................................................................... 155
Example 2 ................................................................................................................... 156
Art-Net™ Protocol ..........................................................................................157
Assigning a DMX In Panel to Art-Net .......................................................................... 157
6
Catalyst® Media Server User Manual
Table of Contents
Understanding DMX-512 ...............................................................................159
8-bit vs. 16-bit DMX ....................................................................................................... 159
Lighting Consoles ........................................................................................................... 159
Catalyst DMX Protocol ..................................................................................161
Copyrighted Materials FAQ ..........................................................................169
Product and Safety Information ...................................................................171
Product Information ....................................................................................................... 171
Computer Specifications ............................................................................................ 171
Electrical Specifications ............................................................................................. 171
Environmental Specifications .................................................................................... 171
Installing Power Cord Caps ....................................................................................... 172
Installing a Power Cord Cap – UK Only ............................................................... 172
Vatic Fitter Heads Information – Danmark .......................................................... 172
Catalyst Accessories ...................................................................................................... 173
Product Modification Warning ...................................................................................... 173
FCC Information ............................................................................................................ 174
Warranty Information .................................................................................................... 175
Safety Information ......................................................................................................... 176
Index ..............................................................................................................175
Catalyst® Media Server User Manual
7
Table of Contents
8
Catalyst® Media Server User Manual
Chapter 1:
System Overview
Catalyst Media Server Layers are designed for control from a DMX-512 lighting console,
and the software’s user interface is used only for configuration and diagnostic purposes.
All selections and manipulations of media are accomplished by and recorded to a lighting
controller; the Media Server is simply a playback device.
Figure 1: Catalyst Pro Software User Interface Display Screens
Catalyst® V3 Media Server User Manual
1
System Overview
Selecting Media for Playback
Any content to be played back from the Catalyst Media Server is stored within computer
folders accessible from the application. The folder names begin with a three-digit number
from 000-253. This is known as the folder’s index number and corresponds directly to a
DMX value for the Library parameter. For example, when the DMX value of the Library
parameter is 11, the selected folder is the 011 Artbeats folder.
Similarly, the files in each Library file folder have names beginning with a three-digit
index number from 000 to 255. Each file’s index number corresponds directly to a DMX
value for the File parameter DMX channel. Adjusting the DMX value of the File
parameter on a lighting console selects a file from the active folder for playback.
Working with Layers
Catalyst layers have a fixed priority order of
visibility, similar to sheets stacked back-to-front. A
layer with higher priority is in front of those with
lower priority. Layer 1 is at the back of the stack
(lowest priority), and all other available layers are
stacked in front of it in numerical order. Reducing a
layer’s Intensity parameter DMX value reveals the
layer behind it in the stack.
Note: Different versions of Catalyst software
support a different number of layers.
Software Security
High End Systems uses a USB dongle to prevent
unauthorized copying of Catalyst software. Factory
configured Catalyst Media Servers have a dongle
internally installed. Software only versions of the
application require a USB dongle plugged into one
of the PowerMac USB ports.
When the USB dongle is not detected by the
Catalyst software, blue bars will appear at the top
and bottom of both outputs.
Reconnecting the USB dongle will remove the blue
bars.
2
Catalyst® V3 Media Server User Manual
Chapter 2:
QuickStart
This Chapter describes the steps to quickly setup and begin using a Catalyst Media Server.
These instructions also ship with your product as a Startup Sheet for the model you
purchased.
Inspecting Your Catalyst Media Server
The Catalyst Media Server is contained in a roadcased equipment rack designed to protect
the product during transport. As you unpack the Media Server rack, verify that it is
undamaged. If the product is damaged or parts are missing, notify both the shipping
company and your sales agent immediately.
Before returning merchandise, contact your High End Systems dealer/distributor for a
Return Material Authorization (RMA) number. The factory cannot accept goods shipped
without an RMA number. Return a damaged product for repair in its original roadcase. High
End Systems assumes no responsibility for products damaged during transport.
See “Appendix D: Product and Safety Information” for more information on warranties
provided by HighEnd Systems for your product.
Unpacking the Roadcase
Unlatch and remove the top lid from the roadcase.Verify that the following contents are
stored in the lid and remove any you need for your application:
•
LCD monitor
•
Keyboard
•
Mouse
•
IEC TO 110v Adapter to attach an additional
monitor or device like a firewire drive to the power
conditioner in the server rack
•
IEC 220v power cord optional for 220v applications
•
USB Serial Adapters: One RS232 for serial devices
and One RS422 for Deck Control
•
A Mac G5 power cord and phone cable (only
needed if you upgrade your G5 computer in the
future)
•
Documentation for the G5, Power Conditioner, VDA, USB PCI CD, and a Catalyst
Software CD-ROM
Catalyst® V3 Media Server User Manual
Top Lid
Server Rack
Base
3
CHAPTER 2
QuickStart
Setting up the Server Rack
1.
Position the server rack upright on a platform constructed by latching the lid and the
roadcase base together.
2.
The server rack contains a PowerMac® G5, the Catalyst Interface Box (CIB) a power
conditioner and a Digital Video Amplifier (VDA).
•
The Catalyst DV model utilizes an Extron® VDA
•
The Catalyst Pro version contains a DV1 Dual VDA
3.
Set the LCD monitor on top of the server rack with the screen facing front and plug
the monitor power cord from the rack into the back of the monitor.
4.
At the front of the server rack, pull the keyboard shelf out until it stops.
5.
Plug the keyboard into the white USB connector port attached to the keyboard shelf.
6.
Plug the mouse's USB plug into either of the two USB ports on the keyboard's back
edge.
TIP: For better performance, use the optical mouse on a non-reflective
surface instead of the keyboard tray.
Monitor Cable
CIB
CATALYST
Power
Cord
USB
DV1
MacG5
Start Button
REAR
FRONT
Catalyst Pro Media Server Rack Setup
4
Catalyst® V3 Media Server User Manual
CHAPTER 2
QuickStart
Hardware Connections
Catalyst Media Server models feature Dual or Single Output capability. Use the hardware
setup for your model.
Connecting Preview Monitors and Outputs
Catalyst Pro Dual Output Versions
1.
Locate the DV1 (VDA) on the back of Catalyst Media Server rack.
P1 and P2 Monitor Ports
2.
Plug the PowerMac LCD monitor data cable to the P1 monitor port on the DV1. If you
are using two preview monitors, connect the second monitor to the P2 monitor port.
3.
Connect the device you want to designate as Output 1 to the RGBHV connectors on
the DV1.
4.
Connect a second Output device to the RGBHV connectors on the CIB
CIB
Output 2
DV1
Monitors
DMX
Console
G5
Output 1
Catalyst Pro connected to two output devices and utilizing two monitors
Catalyst® V3 Media Server User Manual
5
CHAPTER 2
QuickStart
Catalyst DV Single Output Versions
1.
Locate the Extron Video Distribution Amplifier (VDA) on the back of Catalyst Media
Server rack.
2.
Plug the PowerMac LCD monitor data cable into the local monitor port on the VDA.
3.
Connect an Output device to the RGBHV connectors on the CIB.
VDA
Output 1
Monitor
Media
Server
CIB
DMX Console
Catalyst DV Connected to a DL1 digital light for output and utilizing an emulation monitor
Connecting the Media Server to a DMX-512 Link
1.
Connect the male XLR connector of a DMX data cable to the lighting controller’s
“DMX out” connector.
2.
Connect the data cable’s female XLR connector to the “DMX in” connector of the
Catalyst Interface Box (CIB).
6
Catalyst® V3 Media Server User Manual
CHAPTER 2
QuickStart
Catalyst Software Application Setup
At the front of the Catalyst
Media Server rack, press the
PowerMac G5power button to
turn on the computer. The
desktop appears with icons for
theMacintosh HD, the Content
drive and the User Manual (in
.pdf format).
1.
2.
Move the mouse pointer to
the bottom of the screen. A
strip of iconsforming the
Dock will pop up that
includes three Catalyst
icons. Each Catalyst icon is
connected to a content
format optimized for
specific applications
(Lighting, NTSC or PAL).
Dock
Icons for Catalyst Software versions
Move the mouse over the
version you want to select
and click once to launch
the application.
The application ships from the
factory set to open the Catalyst
windows upon launch. If the
windows aren’t open on your
desktop, you can access them
via the Windows pull down
menu at the top of the monitor
display.
BACK UP THE CONTENT DRIVE
High End Systems recommends that you back up your contentdrive to a firewire drive or
other media. The drive contains over35GB of content files. As an option, you can purchase
Contentbackup on DVDs from High End Systems by contactingCustomer Service at
800.890.8989.
Catalyst® V3 Media Server User Manual
7
CHAPTER 2
QuickStart
Configuring the Catalyst Software
The following steps give you a basic default startup configuration for the Catalyst Pro 6layer software version. Your version may have fewer layers or fewer outputs, but the
general steps are the same for all Media Server Software.
Choose Output Options
Catalyst Pro Media Servers can display independent views of the Layer content on each
output. Catalyst DV software has single output capability and the monitor emulates what
is being projected from the output device.
To configue Dual Outputs:
1.
Locate the Output 1 panel
in the Catalyst Control
Window. Click the top
field in of the Output 1
panel as shown to pop up
a menu. Highlight Mixed
All Layers with FX and
click to select.
2.
Locate the Output 2 panel
in the Catalyst Control
Window and select
Separate Outputs with
FX.
Set DMX Start Channels for Layers
To assign a DMX start channel to a Media Server layer:
1.
Scroll down the Catalyst Control Window until the first DMX In panel is visible.
2.
Turn on the DMX In panel by clicking the On button on the left side of the panel. The
center circle and outside edge of the button turn yellow.
3.
Select a layer or serial device for that DMX In panel.
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QuickStart
4.
Click in the number field to type in the start channel. Remember that each layer
requires an uninterrupted range of 40 channels for independent DMX control.
5.
Patch each layer to your lighting console using the DMX Start Channels assigned with
the Catalyst DMX In panels.
TIP:
Each layer's DMX patch within the lighting console must match the
corresponding layer's DMX Start Channel in the DMX In panel. For more
information on setting DMX Start channels, see “Appendix A:
Understanding DMX-512”.
Now you are ready to use your lighting console to select and manipulate content on the
computer's hard drive. “Chapter 3:” on page 11 contains tutorials that you will find helpful
if you are new to Catalyst Media Servers.
Projecting Images Using Full Screen Mode
Selecting Full Screen Mode lets you view the output on the monitor as it is displayed
through the output device you are using. With Full Screen mode off, your output device
projects the desktop display.
Press A on the keyboard to assign Output 1 to Full Screen mode.
Press S on the keyboard to leave full screen mode.
Once you select Full Screen mode, the output remains a black screen until the Catalyst
Media server receives DMX values from a lighting console.
System Shutdown
1.
If you are in Full Screen mode, press S to disable.
2.
Close the Catalyst application by clicking on the File menu at the top
of the desktop and selecting quit.
3.
Click on the
menu option and choose Shut Down.
Catalyst® V3 Media Server User Manual
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CHAPTER 2
QuickStart
10
Catalyst® V3 Media Server User Manual
Chapter 3:
Tutorials
The following lessons provide a quick introduction to programming Catalyst with a
lighting console. General knowledge of your lighting console is required to complete these
tutorials.
The sample content files in these tutorial lessons were selected from content shipping May
1, 2004.
Lesson 1: Still Logo on Moving Background
In this lesson you will set a movie playing on Layer 1; then, using Layer 2, superimpose a
still image of the High End Systems logo over the movie playing onLayer 1.
Set up Layer 1
1.
On your lighting console, select Layer 1. Set
the Intensity parameter for Layer 1 to a DMX
value of 255(100%).
2.
Set the Library parameter to a DMX value of
11. This should select the preloaded Catalyst
Library folder 011 Artbeats.
3.
Set the File parameter to a DMX value of 3.
This selects the movie file numbered 003 in
Library folder 011. On the Catalyst Output 1
display you should see the first frame of movie
file 003WA 114, a pale blue image of rippling water.
4.
On your lighting console, set the Play Mode parameter to a DMX value of 2 or Play
Loop Forward. The movie file will begin playing and the water will appear to be
rippling.
The Wholehog II uses eight character alpha-numeric labels to
describe values of the Play Mode parameter. For this exercise,
select plloopfw.
The Wholehog III has a Mode menu with the Play Mode parameter
options on the slotted toolbar. Select Play Loop Forward.
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Tutorials
Add the Logo
5.
On the lighting console, select Layer 2. Set the
Intensity parameter for Layer 2 to a DMX
value of 255(100%). The Catalyst Output 1
screen should change to solid white.
6.
Set the Library parameter to a DMX value of
0. This should select the preloaded Catalyst
Library folder 000 (HES Lithos).
7.
Set the File parameter to a DMX value of 71
(HES-logo-color). This selects the movie file
numbered 71 in Library folder 0. You should
see the High End Systems logo on the Output 1 window.
Turn Layer 2 Background Transparent
Now you’ll apply a color effect that turns the
black background of the Layer 2 logo transparent,
revealing the movie file playing on the underlying
Layer 1.
8.
With Layer 2 still selected on your lighting
console, set the Color Effects parameter to a
DMX value of 3 (the color effect named
Transparent Blacks). The black background
of the High End Systems logo will become
transparent and reveal the rippling water
movie playing on Layer 1.
9.
Now change the Color Effects parameter to
a DMX value of 4 (the color effect named
Transparent Whites). The non-black
portions of the High End Systems logo
should become transparent and reveal the
rippling water movie playing on Layer 1.
12 Catalyst® V3 Media Server User Manual
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Tutorials
Lesson 2: Crossfading Between Layers
Once you display content on different Catalyst layers, you can fade the layers in and out
using the Intensity parameter. This creates a crossfading or dissolving effect between
layers.
In this lesson, you’ll play a movie on Layer 1 and record it in your lighting console as a cue
or look. Then you’ll build and record another cue with a three-second crossfade to a
colorful movie playing on Layer 2.
Set Up First Cue
1.
Clear or remove any information from Lesson
1 in your console’s programmer or editor.
2.
On your lighting console, select Layer 1. Set
the Intensity parameter to a DMX value of
255(100%).
3.
Setting DMX values in the Library and File
parameters as in Lesson 1, select Library 12
(Beacon DigiGobos), File 7 (loopedroseA).
4.
Set the Play Mode parameter to a DMX value
of 2 (Play Loop Forward). The movie starts
playing.
5.
On your lighting console, select Layer 2. Set
the Intensity parameter to a DMX value of
255(100%). The Output 1 screen changes to
solid white.
6.
Using the preloaded Catalyst content, select
Library 14 (Beacon DigiGobos), File 4
(swirlstars2). Set the Play Mode parameter to
a DMX value of 2 (Play Loop Forward). The
animation will begin playing on Output 1.
7.
Still on Layer 2, change the Intensity parameter to a DMX value of 0 (0%). Layer 2
will disappear, revealing the movie playing on Layer 1.
8.
Using your lighting console’s method of recording cues or looks, record the above
DMX settings as Cue 1 on your lighting console.
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Tutorials
Setup the Second Cue and Playback
9.
On your lighting console, select Layer 2. Change the Intensity parameter to a DMX
value of 255 (100%).
10. Use your lighting console’s cue timing options to assign a 3 second time value to the
Intensity parameter.
11. Record these DMX settings and timing information as Cue 2 on your lighting console.
12. Clear your lighting console’s programmer or
editor. The Catalyst Output 1 screen should
change to all black.
13. Using your lighting console, playback the Cue
1 created above. The first movie plays on the
Output 1 window of the Catalyst system.
14. Using your lighting console, playback the Cue
2 created above. Output 1 shows Layer 1
crossfading to Layer 2 over a 3-second interval.
15. When finished, follow your lighting console’s
procedure to turn off or release any cues that
are playing back.
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Tutorials
Lesson 3: Image Color and Scale
In this lesson, you’ll use a Layer’s Position Controls
to make an image appear to zoom away into the
distance. In addition the Layer’s Color Controls are
used to color the image.
Set up Layer 1
1.
Clear or remove any information in your
console’s programmer or editor.
2.
On your lighting console, select Layer 1. Set
the Intensity parameter to a DMX value of
255(100%).
3.
Select Library 0 (HES lithos) and File 5
(comets). The image will be displayed on the
Output 1 window.
4.
Change the Red parameter to a DMX value of
255, and the Blue and Green parameters to a
DMX value of 0. This changes the image to a
red spiral galaxy
5.
Using your lighting console’s method of
recording cues or looks, record the above DMX
settings as Cue 1 on your lighting console.
On a Wholehog console the Red, Green, and Blue parameters
are labeled as Cyan, Magenta, and Yellow. The parameter values
dis-played are in terms of percentage where 0% equals a DMX
value of 255 and 100% equals a DMX value of 0. On a Wholehog
console, set the Cyan parameter to 0% and the Magenta and
Yellow to 100% to create a red color.
Set Layer 1 Rotation, Position, and Scale
6.
Adjust the DMX value of the Z Rotation parameter so the Layer image starts spinning
slowly—say 10 rotations per minute.
7.
Adjust the DMX value of the X Position parameter (not the X Rotation parameter) to
move the image to the left edge of the Output 1 window, so it is barely visible.
8.
Adjust the DMX value of the Y Position parameter to move the image straight up to
the top left corner of the Output 1 window, so only the corner is visible.
Catalyst® V3 Media Server User Manual 15
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Tutorials
9.
Adjust the DMX value of the Scale parameter to the midpoint of its 16-bit DMX value
range. This shrinks the Layer’s image to a tiny point.
On a Wholehog console, the 16-bit DMX values of the
Scale parameter are displayed are in terms of
percentage. 50% is equal to the midpoint of the 16-bit
DMX range.
10. Use your lighting console’s cue timing options to assign a 3-second time value to the
Z-axis Rotation, Y position, and Scale parameters. Record the above DMX settings
and timing information as Cue 2 on your lighting console.
Playback
11. Clear your lighting console’s programmer or editor. The Catalyst Output 1 window
should change to all black.
12. Using your lighting console, playback the Cue 1 created above. The red spiral galaxy
appears on the Output 1 window of the Catalyst system.
13. Using your lighting console, playback the Cue 2 created above. The red spiral galaxy
will spin and shrink away on the Output 1 window.
14. When finished, follow your lighting console’s procedure to turn off or release any
cues that are playing back.
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Tutorials
Lesson 4: Trails
The Trails parameter creates an afterimage that follows an image as it moves, then slowly
fades away.
Understanding Trails
Unlike other Catalyst 3 effects, you can apply Trails only to Layer 1, the bottom Layer in
the Layer stack. However, the Layer 1 Trails effect can also encompass content from
higher layers, as long as Layer 1 is visible beneath them. For example assigning
transparency to Layer 2 makes it subject to Layer 1’s Trails effect
Trails parameter settings for layers other than Layer 1 are ignored and do
not alter layers.
Applying Trails to Layer 1
15. Clear or remove any information in your
console’s programmer or editor.
16. On your lighting console, select Layer 1. Set
the Intensity parameter to a DMX value of
255(100%).
17. Select Library 2 (HES Digital Arials 2)and File
124 (threaded X). Set the Play Mode parameter
to a DMX value of 0 (In Frame). Using the
preloaded Catalyst content, you should now
see an animation with two rotating squares
playing in the Output 1 window.
18. Assign the DMX value of the Color Effect
parameter to 3 (transparent blacks).
19. Adjust the DMX value of the Trails parameter
to 255(100%). As the movie plays, each frame
will leave an afterimage that slowly fades
away.
Catalyst® V3 Media Server User Manual 17
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Tutorials
Adding Trails to Layer 2
20. On your lighting console, select Layer 2. Set
the Intensity parameter to a DMX value of
255(100%).
21. Select Library 0 (HES lithos) and File 28
(comet). Using the preloaded Catalyst content,
you should now see a greyscale pinwheel
image on Output 1.
22. Adjust the DMX value of the Z Rotation
parameter so the Layer 1 image starts
spinning slowly— 20 rotations per minute, for
example.
23. Assign the DMX value of the Color Effects
parameter to 3 (transparent blacks). You will
now see the Trails effect from Layer 1 is
applied to Layer 2.
24. When finished, clear or remove any
information from the above lesson in your
lighting console’s programmer or editor.
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Tutorials
Lesson 5: Shutters
Any Layer can be used to shutter or crop content on underlying layers using the Shutter
settings of the Visual Effects parameter.
Understanding Shutters
When a shutter Visual Effect is activated on a layer, that layer changes to a shutter only
layer. Any assigned content for the layer will not be displayed. Instead, an adjustable
transparent frame is displayed above underlying layers. A shutter Visual Effect will not
function on Layer 1.
Once a layer becomes a shutter only layer, the Keystone Correction parameters can be
used to adjust the frame’s shape. In addition the X, Y, and Z Rotation, X and Y Position,
and Scale parameters modify the appearance of the shutters.
Set up Layer 1
25. Clear or remove any information in your
console’s programmer or editor.
26. On your lighting console, select Layer 1. Set the
Intensity parameter to a DMX value of
255(100%).
27. Adjust the Library and File parameters on your
console to select Library 12 (Sean Bridwell
Textures), File 8 (loopedsnakes1).
28. Set the Play Mode parameter to a DMX value of
3 (Play Loop Reverse).
Add Shutters with Layer 2
29. On your lighting console, select Layer 2. Set the
Intensity parameter to a DMX value of
255(100%).
30. Set the Visual Effects parameter to a DMX
value of 70 (Shutter -Black).
31. Adjust the Scale parameter until the Output 1
window displays a transparent square in a
black background.
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Tutorials
32. Adjust the eight Keystone Correction
parameters to change the shape of the shutters.
33. Adjust the Z Rotation parameter to rotate the
shutters.
34. When finished, clear or remove any
information in your lighting console’s
programmer or editor.
20 Catalyst® V3 Media Server User Manual
Chapter 4:
Output Displays
The Catalyst Media Server supports two output signals. Each signal is split, and can be
displayed simulataneously on any output device (DL1 digital light, video projector, LED
wall, etc.) and a monitor display.
DV1 Video Distribution Amplifier
The Catalyst Media Server uses the DV1 dual video distribution amplifier to split and
amplify the PowerMac’s two video outputs for display on preview monitors as well as
output devices. In addition, five BNC video connectors labeled R, G, B, H, and V (RedGreen-Blue-Horizontal sync-Vertical sync) are provided to send Output 1 to a device using
high-quality 75-ohm video cable.
RGBHV BNC connectors
P1 and P2 Monitor Ports
CAUTION!
Using a video cable longer than 250 feet (80 meters) can
degrade video performance.
Catalyst Interface Box (CIB)
The Catalyst Interface Box is an interface between the DMX console and the computer’s
Universal Serial Bus (USB) port. In addition, five RGBHV connections are provided to
send Output 2 to a device using high-quality 75-ohm video cable.
RGBHV BNC connectors
Catalyst® V3 Media Server User Manual
21
CHAPTER 4
Output Displays
Configuring Output Displays
The Catalyst Control window contains the Output panels. Each panel can be activated
with the On/Off button in the top right corner of the panel.
On/Off button
1.
Click on the monitor icon to pop up a menu of resolution settings for the output. The
display settings should match those configured on the display device. Consult the
display device’s documentation for the recommended resolution and refresh rate
settings.
Monitor icon
2.
Click on the Full Screen button to pop up a menu containing output screen settings.
Full Screen Button
•
Full Screen ON: The selected output fills the entire screen on the output display.
•
Full Screen OFF: The selected output appears in a small window on the output
display.
•
Goto Full Screen At Startup: When the Catalyst application is started, the
selected output will automatically enter Full Screen mode.
Note: High End Systems recommends using the “No Anti-Aliasing” option for all
display configurations
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Catalyst® V3 Media Server User Manual
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Output Displays
3.
Click on the Output Settings field of the Output panel to open a pop-up menu and
select one of the options.
Output Setting Fields
All Catalyst Media Server software products contain the following Output Setting fields.
•
No Output
•
Separate outputs No FX displays all configured Layers simultaneously in a grid. Each
Layer displays only its content playback, and ignores all other DMX parameters.
•
Separate outputs With FX displays all configured Layers simultaneously in a grid.
Each Layer displays its content with all DMX parameter settings applied.
•
Mixed All Layers No FX displays all configured Layers stacked on top of each other.
•
Mixed 1 & 2 with FX displays configured Layers one and two stacked together.
Depending on the number of layers for the Catalyst version, more layer combinations will
be available settings.
Catalyst® V3 Media Server User Manual
23
CHAPTER 4
Output Displays
Output Configurations
Single Output with Redundant Monitor
VDA
Output 1
Monitor
Media
Server
CIB
DMX Console
Catalyst DV Single Output configuration
With Single Output versions, the monitor can only display whatever signal is being sent to
the output.
24
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Output Displays
Dual Output Device With Preview Monitor
CIB
DV1
Output 2
Monitor
Media
Server
Output 1
DMX Console
Dual Output with Preview Monitor
In this example, Output 1 displays all layers combined, and Output 2 displays each layer
individually for preview purposes.
Catalyst® V3 Media Server User Manual
25
CHAPTER 4
Output Displays
Dual Outputs with Emulation Monitors
Output 2
CIB
DV1
P1 and P2
Monitors
DMX Console
Media
Server
Output 1
Dual Output with Redundant Monitors
Output 1 and Output 2 each display individually assigned layers. Each monitor displays
the same image as its respective output. Configure the Output panels as follows:
•
Mix 1 & 2 with FX for Output 1 displays Layers 1 and 2 stacked on top of each other.
•
Mix 3 & 4 with FX for Output 2 displays Layers 3 and 4 stacked on top of each other.
26
Catalyst® V3 Media Server User Manual
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Output Displays
Dual Outputs with DL1 Dimming Control
Output 2
CIB
P1 and P2
Monitors
DV1
DMX Console
Media
Server
Output 1
Dual Output with DL1 output dimmer at 0
Output 1 and Output 2 each display individually assigned layers. Each monitor displays
the same image as its respective output. Using a DL1 digital lighting fixture or a projector
with remote shuttering controls, the output displays can be hidden from view. When this
occurs the P1 and P2 monitors behave as preview screens. Configure the Output panels
the same as Dual Outputs with Redundant Monitors.
Catalyst® V3 Media Server User Manual
27
CHAPTER 4
Output Displays
Dual Outputs Widescreen Layers
Output 1 and Output 2 each display one half of the images from all assigned layers. Layer
selections are automatically split and assigned to an output.
CIB
Output 2
DV1
P1 and P2
Monitors
Media
Server
DMX Console
Output 1
Combined outputs
Configure the Output panels as follows:
•
Widescreen Layers Left for Output 1 displays the left half of assigned layers.
•
Widescreen Layers Right for Output 2 displays the right half of assigned layers.
28
Catalyst® V3 Media Server User Manual
Chapter 5:
Custom Content
The preloaded Catalyst Media Server content includes hundreds of still images and movie
files. You can also easily install your own files.
Content Requirements
The Media Server software supports all file formats supported by Apple Quicktime—
Quicktime itself, many other video codecs such as DV camcorder, and every major image
file format. A complete list of supported formats is on Apple’s Web site at http://
www.apple.com/quicktime/products/qt/specifications.html.
Maximum Image Size
Maximum image size for content files is 2048x2048 pixels. The Media Server will not load
an image that measures more than 2048 pixels in either height or width.
Interlaced Images
For best display results, use only non-interlaced images with the Catalyst software.
Interlaced images can show visible scan lines.
Interlaced image
De-interlaced image
When preparing content for the Catalyst Media Server, render interlaced images and
movies using de-interlacing.
Catalyst® V3 Media Server User Manual 29
CHAPTER 5
Custom Content
Rendering Content
The Basics of Content Creation
1.
Start with the highest quality source content possible. This gives you more options
later, such as when you are color or gamma correcting the file, or scaling it for a
different sized output, or other manipulation options.
2.
Master to high quality source rather that directly out of the compositing application,
or a 3D program. Instead, render out to an uncompressed DM (Digital Master file).
Or, if space is a concern, to a very high quality QuickTime PhotoJPEG file, with the
quality at 95-98% (Control click 'n drag to get it that high on Mac, Alt click 'n drag on
PC).
3.
Use Batch Capable Tools When Possible. Whenever you have a group of files to work
with, use a tool capable of batch processing the results. Discreet's Cleaner or Apple's
Compressor are good choices. For single files, QuickTime Player Pro works well. You
just can't batch or save settings for future use.
4.
Know Where You're Going Beforehand. Know what you're planning on doing with the
footage, and plan accordingly. If you know it's going to be a DV file, for instance,
avoid strongly saturated colors. If you're destined for video output, avoid fine
horizontal lines and broadcast illegal colors. If you're going to DVD, don't work with
720x486 footage unless you know how you're going to crop it.
Recommended CODECs
DV & PhotoJPEG are recommended as the best codecs for developing Catalyst content.
QuickTime DV codec plays back best under heavy load and is highly recommended if you
want to play several movies concurrently. Apple has coded it to use dual processors at the
same time for each movie, so it scales well.
If you are NOT trying to play the maximum number of movies at the same time, try the
PhotoJPEG codec at medium (50%) quality. These movies tend to look better than the DV
files, but are more processor intensive than DV, and are NOT coded to use dual
processors for each movie (the code isn't multi-threaded and multi-processor).
If image quality is of paramount importance, try PhotoJPEG first and see if it will play
back as many movies simultaneously as you need. If it works at medium (50%) quality, try
bumping up the quality until you find the highest level that can be recompressed.
TIP: Since the PhotoJPEG compressor cannot set a fixed data rate, each movie
compressed with the PhotoJPEG codec will have a different file size. It can
even have different data rates within the same movie. So test your files, let
the entire movie play back in case one part has a higher data rate than
another, and make no assumptions about what will work without testing it.
30 Catalyst® V3 Media Server User Manual
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Custom Content
DV ALWAYS has the same data rate, and our tests indicate that one DV file plays back as
well as any other, so it is much more predictable than PhotoJPEG.
Other QuickTime codecs can be recommended in specific applications
CODEC
DV-PAL
Recommended Use
DV/DVCPRO NTSC TV bound
footage or anything
-NTSC
that requires a
720x480, 29.97 fps
movie
DVCPRO50NTSC
Cons
Heavy compression, doesn't handle
strongly saturated colors well
Heavy color downsampling (strong
reds look bad, for instance).
It cannot be used with any other pixel
size and frame rate.
Same as DV-PAL
Same as DV-PAL
Better color sampling
Worse playback than DV-NTSC and
(4:2:2 rather than 4:1:1) PhotoJPEG.
Twice the datarate for
It cannot be used with any other pixel
better images
size and frame rate.
Same as DVCPRO50- Same as DVCPRO50-NTSC
DVCPRO50PAL
Motion JPEG
A and Motion
JPEG B:
Photo JPEG
Pro
PAL TV bound footage Plays back very well,
or anything that
even multiple movies
requires a 720x576,
simultaneously.
25 fps movie.
NTSC
Playback is acceptable
Only option other than
DV that can handle
fields (interlaced
material) when properly
configured.
Single layer playback
Can use arbitrary frame
sizes and frame rates.
Adequate between 50
and 80% quality
Perceived Brightness
How an image is rendered can greatly influence the perceived brightness of a projected
image. By rendering content for light output, the performance of the output device can be
dramatically improved. Optimization for DL1 projection of the following content samples
were accomplished by:
1) Applying gain to the RGB values of the original content
Catalyst® V3 Media Server User Manual 31
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Custom Content
2) Applying an offset to the RGB values of the original content.
Installing Libraries and Files
Content can be added to the Catalyst Media Server from internal and external hard drives,
CD-Roms and DVD-roms, as well as over an Ethernet network. The process consists of
placing properly named and formatted files within correctly named folders.
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Custom Content
Creating a New Library Folder
1.
Quit the Catalyst application by selecting File>Quit on the menu bar.
2.
Double-click the Macintosh HD icon on the desktop of the PowerMac
G5. The Finder screen launches, displaying the directories and files on
the root folder of the Catalyst Media Server.
3.
Browse to Applications>Catalyst v3>Library Files. A new window opens showing
the Library folders currently in the Library Files folder. Each folder with a name that
starts with a three-digit number between 000 and 255, is a valid Catalyst Library
folder accessible from DMX using the Library parameter.
4.
With the Library Files folder selected, click File>New
Folder on the menu bar at the top of the screen.
5.
Type a name for a new Library folder. The folder name
must begin with the number of a non-existent Library
folder in the ### format (000-253).
When naming folders ensure no existing folders share
the same three digit number. In addition, folders 254 and
255 are reserved and cannot be used for content.
Adding New Files to a Library Folder
1.
Double click on the newly created folder to open it.
2.
From the Finder menu at the top of the screen, select File > New Finder Window. A
new Finder window is displayed.
3.
Browse to the drive and folder that holds your new file(s).
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CHAPTER 5
Custom Content
4.
Select the file(s) you wish to add to your newly created Library folder.
5.
Drag the new file(s) from the first folder into the desired Library folder.
6.
Confirm all files are named so that the name begins with the ### format (000-255).
For example, “051SeascapeBlue.”
When adding content to folders with existing content, ensure no image files
share the same three digit number.
7.
Restart the Catalyst application by clicking the Catalyst icon in the Dock at the
bottom of the monitor screen.
8.
When Catalyst starts, the new Folders and Files are accessible from DMX using the
Library and File parameters.
34 Catalyst® V3 Media Server User Manual
Chapter 6:
Media Playback
Libraries and Files
Choosing content from a lighting console for a Catalyst Layer is a simple process of
assigning DMX values for the Library and File parameters. These DMX values directly
correspond to the desired Folder and File index numbers on the hard drive.
Preloaded Library Folders
The table below describes the preloaded content Library folders that ship with the
Catalyst Media Server. (Note: Content included is subject to change.)
Folder Name
Content Description
000 High End Lithos
High End Systems Lithopattern® still images.
001 Digital Aerials 1
Digital still images and animations, designed specifically for aerial
effects.
002 Digital Aerials 2
Additional aerial still images and animations.
003 HES Reserved 1-Oils
Digitally simulated psychedelic oil projections
004 HES Reserved 2
005 HES Reserved 3
006 HES Reserved 4
007 My Custom Content 1
008 My Custom Content 2
009 A Luna Blue
Digital animations.
010 Feedback Video
Digital animations.
011 Artbeats
Video clips and digital animations.
012 Sean Bridwell Textures
Digital textures.
013 Amorphous Digi-gobos
Digital animations.
014 Beacon DigiGobos
Digital animations.
015-InLight_C3
Digital animations
016 Apollo Glass 1
Digital Images
017 DHA TopMac
Digital Images
018 - 252
Available for additional content collections.
253 Setup and Test
Color bars and other diagnostic tests.
254 Use Layer (DO NOT ALTER)
References one layer’s content to other layer(s).
255 Video Input (DO NOT ALTER) Reserved for Video input.
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CHAPTER 6
Media Playback
Referencing Content with the Use Layer
By setting a layer’s Library parameter DMX value to 254, you can then use the File
parameter’s DMX value to select another layer’s content to use in place of an actual file.
The DMX value of the File parameter directly corresponds to the layer number (1-4 for
example). This turns the first layer into a reference layer, an “alias” of the selected layer’s
file—that is, a duplicate instance of the file playing on the selected layer. You can
reposition and apply different effects to either instance, but playback controls work only
on the reference layer, not the selected layer.
For example, suppose you want layers 1 and 2 to
contain the same image positioned differently on
the screen. First, you would select the image and
assign it to Layer 1 normally, then you would
assignLayer 2 to reference Layer 1. Each layer
shows the same image, but you can move each
instance on the screen independently.
Reference layers lighten system load, especially
hard disk access. Though you manipulate the
referenced file in different ways on different
layers, the Catalyst system needs to read that file
from the hard drive only once. If you were to assign the same movie file independently to
each layer, the Catalyst system has to read the file multiple times.
In Frame and Out Frame
You can select a segment of a movie file for playback by assigning an In Frame as a start
point and an Out Frame as an end point.
The In Frame parameter corresponds to a 16-bit DMX value equal to a starting frame of
the selected movie file. Similarly, The Out Frame parameter corresponds to a 16-bit DMX
value equal to an ending frame of the selected movie file. Assigning the In Frame and Out
Frame parameter DMX values to 0 will playback the entire movie file.
Movie
beginning
frame
36
In Frame
parameter
setting
Movie segment
Out Frame
parameter
setting
Movie
ending
frame
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CHAPTER 6
Media Playback
Play Mode
The Play Mode parameter controls how movie files will playback. By assigning a
corresponding DMX value to this parameter, you can play a movie file or segment in the
following ways:s
DMX
Value
Play Mode
Description
0
1
In Frame
Out Frame
Displays the frame selected by the In Frame parameter.
Displays the frame selected by the Out Frame parameter.
2
Play Loop Forward Plays the movie in a continuous loop starting at the In frame and repeating
when it reaches the Out frame.
DMX value = 2
3
Play Loop Reverse
Plays the movie in a continuous loop starting at the Out frame and
repeating when it reaches the In frame.
4
Play Once Forward
Plays the movie once, starting at the In frame point and stopping when it
reaches the Out frame.
5
Play Once Reverse
Plays the movie once, starting at the Out frame and stopping when it
reaches the In frame.
6
7
Stop
Random
8
PlaySine
10
Plays the movie in a continuous loop starting at the In frame and repeating
Play Loop Forward when it reaches the Out frame. Playback pauses whenever Intensity = 0
and resumes when intensity is > 0 again.
Stops the movie playback, displaying a still image of the last frame played.
Continuously displays random frames between the In frame and Out frame.
Plays the movie forward from the In frame to the Out Frame, then backward
from the Out frame to the In frame.
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Media Playback
DMX
Value
11
12
13
14
15
40
41
42
43
44
80-99
100
101
103105
Play Mode
Description
Plays the movie in a continuous loop starting at the Out frame and repeatPlay Loop Reverse
ing when it reaches the In frame.Playback pauses whenever Intensity = 0
when Intensity >0
and resumes when intensity is > 0 again.
Plays the movie once, starting at the In frame point and stopping when it
Play Once Forward
reaches the Out frame. Playback pauses whenever Intensity = 0 and
when Intensity >0
resumes when intensity is > 0 again.
Plays the movie once, starting at the Out frame and stopping when it
Play Once Reverse
reaches the In frame. Playback pauses whenever Intensity = 0 and
when Intensity >0
resumes when intensity is > 0 again.
Continuously displays random frames between the In frame and Out frame.
Random
Playback pauses when Intensity = 0 and resumes whenever intensity is > 0
when Intensity >0
again.
Plays the movie forward from the In frame to the Out Frame, then backward
PlaySine
from the Out frame to the In frame. Playback pauses whenever Intensity =
when Intensity >0
0 and resumes when intensity is > 0 again.
Play Loop Forward Plays the movie in a continuous loop starting at the In frame and repeating
retrigger when
when it reaches the Out frame. Playback pauses whenever Intensity = 0
Intensity >0
and starts playing from the InFrame when intensity is > 0 again.
Play Loop Reverse Plays the movie in a continuous loop starting at the Out frame and repeatretrigger when
ing when it reaches the In frame.Playback pauses whenever Intensity = 0
Intensity >0
and starts playing from the InFrame when intensity is > 0 again.
Play Once Forward Plays the movie once, starting at the In frame point and stopping when it
retrigger when
reaches the Out frame. Playback pauses whenever Intensity = 0 and starts
Intensity >0
playing from the InFrame when intensity is > 0 again.
Play Once Reverse Plays the movie once, starting at the Out frame and stopping when it
retrigger when
reaches the In frame. Playback pauses whenever Intensity = 0 and starts
Intensity >0
playing from the InFrame when intensity is > 0 again.
Plays the movie forward from the In frame to the Out Frame, then backward
PlaySine retrigger
from the Out frame to the In frame. Playback pauses whenever Intensity = 0
when Intensity >0
and starts playing from the InFrame when intensity is > 0 again.
Synchronize to
Synchronizes this layer’s movie with another layer’s frame rate.
master
Synchronize to
Synchronizes this layer’s movie with MIDI timecode.
MIDI Timecode
Synchronize to
Synchronizes this layer’s movie with a remote deck’s timecode.
deck Timecode
Synchronize to
Synchronizes this layer’s movie with a Sony 9-pin device.
Sony
Playback Speed
The Playback Speed parameter controls the speed of the selected movie file’s Play Mode.
A DMX value of zero plays back movie files at the original recorded speed. A value of 1
pauses playback. DMX values from 2 to 255 represent increasing speed, from 1 percent to
double the original recorded speed.
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Chapter 7:
Movement and Size
X, Y, and Z Rotation
The Rotation parameters provide image rotation with 16-bit
precision in forward and reverse directions around the
selected axis.
X-axis rotation produces the effect of a top-to-bottom flip.
Y-axis rotation produces a left-to-right flip. Z-axis rotation
spins the image in a circle.
X-Axis Rotation
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Y-Axis Rotation
Y-Axis Rotation
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Movement and Size
The layer’s image can be rotated on each axis by adjusting the DMX value of the
appropriate X, Y, and Z Rotation parameters. The suggested default value for each
channel is the midpoint of the parameter’s 16-bit DMX range, which is equal to no
rotation. Increasing the DMX value from the midpoint indexes the image clockwise; as
reducing the DMX value below the midpoint, indexes the image counterclockwise.
X, Y, and Z Rotation parameter DMX values greater than the 720° limit in either direction,
will start the image rotating continuously. Further adjustments to the DMX values will
increase the speed of continuous rotation
.
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Movement and Size
X Position
The X Position parameter adjusts the layer’s image horizontally along the X-axis. The
midpoint of the 16-bit DMX value range centers the image on the X-axis.
X Position parameter DMX values below the DMX midpoint move the image left, and
values above the DMX midpoint move the image right.
Image with an X Position value
at the DMX midpoint
Image with an X Position value
less than the DMX midpoint
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Image with an X Position value
greater than the DMX midpoint
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Movement and Size
Y Position
The Y Position parameter adjusts the layer’s image vertically along the Y-axis. The
midpoint of the 16-bit DMX value range, centers the image on the Y-axis.
Y Position parameter DMX values below the DMX midpoint move the image down, and
values above the DMX midpoint move the image up.
Image with a Y Position value
at the DMX midpoint
Image with a Y Position value
less than the DMX midpoint
42
Image with a Y Position value
greater than the DMX midpoint
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Movement and Size
Scale
The Scale parameter
adjusts the size of
the layer’s image
up to 8x its original
size. When the
midpoint of the
16-bit DMX value
range equals 0x, the
image shrinks to invisibility). When the DMX value is increased from the midpoint, the
image is enlarged. In addition, when the DMX value is reduced below the midpoint, an
inverted image is enlarged.
Image with the suggested
default DMX value
Image with a value
less than the DMX midpoint
Image with a value
greater than the DMX midpoint
Image with a value
near the DMX midpoint
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Movement and Size
Image Movement Time
The Movement Speed parameter
provides smoothing of movements
created with the Catalyst application.
Sometimes the transmission speed of
DMX-512 can result in choppy image
movements during slow Layer position
movements.
The Movement Speed parameter
provides a variable smoothing of
movements with DMX values from 0255—the higher the DMX value, the
slower the movement speed. Settings of
the Movement Speed parameter affect
changes to the X and Y Position, X, Y,
and Z Rotation, and Scale parameters.
44
The red arrow indicates movement with the
X Position parameter.
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Movement and Size
Aspect Ratio
The Aspect Ratio parameter allows horizontal or vertical image compression from full
image size to a thin line (1-4 pixels). The Aspect Ratio function compensates for dissimilar
aspect ratios encountered in various video formats. For example, a movie created with a
16:9 aspect ratio can be changed to a 4:3 aspect ratio. DMX values from 0 to 128 squeeze
the image horizontally, and DMX values greater than 128 compress the image vertically.
Image with the midpoint DMX
value default
Image with a value
less than the DMX midpoint
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Image with a value
greater than the DMX midpoint
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Movement and Size
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Catalyst® V3 Media Server User Manual
Chapter 8:
Intensity and Color
Intensity
The Intensity parameter adjusts layer brightness levels from black (DMX = 0) to full
intensity (DMX = 255). By crossfading the Intensity parameter of layers, a dissolve
between layers can be created.
Layer 1 with full Intensity
Layer 2 with full Intensity
Layer 1 with full Intensity
and Layer 2 with Intensity set at the
DMX midpoint value
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Intensity and Color
Red, Green, and Blue
The Catalyst Media Server uses an additive RGB color mixing system that modifies image
color by filtering specific percentages of red, green, and blue. With the Red, Green, and
Blue parameter DMX channels, a DMX value of 0 filters out all of a color, and a value of
255 filters none of it. If each channel’s DMX value is set to 0, all color is filtered out and
the result is black. With a DMX value of 255 in each channel, no color is filtered, which
means the image has no color adjustment. Some settings of the Color Effects parameter
change the functionality of the Red, Green, and Blue parameters.
48
Red parameter = 255
Green parameter = 255
Blue parameter = 255
Red parameter = 255
Green parameter = 0
Blue parameter = 0
Red parameter = 0
Green parameter = 255
Blue parameter = 255
Red parameter = 0
Green parameter = 0
Blue parameter =255
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Intensity and Color
Color Effects
The Color Effects parameter alters a layer’s content by applying variations to the image’s
colors. In addition, some Color Effects change the behavior of the Red, Green, and Blue
parameters. This chapter describes the Color Effects and their capabilities.
0 RGB Subtract
When the Color Effects parameter is assigned a DMX value of 0, the Layer’s image can be
tinted. The Red, Green, and Blue parameters each remove existing color from the layer’s
image.
The Layer’s image without tinting
The Layer’s image tinted with the
Green, and Blue parameters.
The Layer’s image tinted with the
Blue parameter.
The Layer’s image tinted with the
Red parameter.
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Intensity and Color
1 RGB Subtract High Contrast
When the Color Effects parameter is assigned a DMX value of 1, the Layer’s image can be
tinted. This is a higher contrast version of the RGB Subtract Color Effect. The Red, Green,
and Blue parameters can remove existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the RGB
Subtract High Contrast Effect.
2 RGB Subtract V High Contrast
When the Color Effects parameter is assigned a DMX value of 2, the Layer’s image can be
tinted. This is a super high contrast version of the RGB Subtract Color Effect. The Red,
Green, and Blue parameters can remove existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
50
The Layer’s image with the RGB Subtract V High Contrast Effect.
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Intensity and Color
3 Transparent Blacks
When the Color Effects parameter is assigned a DMX value of 3, any black in a Layer’s
image becomes transparent, revealing underlying Layers. The Red, Green, and Blue
parameters can remove existing color from the layer’s image.
Layer 1
Layer 2
Transparent Blacks applied to
Layer 2 reveals Layer 1 image.
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Intensity and Color
4 Transparent Whites
When the Color Effects parameter is assigned a DMX value of 4, any white in a Layer’s
image becomes transparent, revealing underlying Layers. The Red, Green, and Blue
parameters can remove existing color from the layer’s image.
Layer 1
Layer 2
Transparent Whites applied to
Layer 2 reveals Layer 1 image.
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10 RGB Subtract Inverted Color
When the Color Effects parameter is assigned a DMX value of 10, the colors in a Layer’s
image are inverted. The Red, Green, and Blue parameters can remove existing color from
the layer’s image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the RGB
Subtract Inverted Color Effect.
11 RGB Subtract High Contrast Inverted Color
When the Color Effects parameter is assigned a DMX value of 11, the colors in a Layer’s
image are inverted. This is a higher contrast version of the RGB Subtract Inverted Color
Effect. The Red, Green, and Blue parameters can remove existing color from the layer’s
image.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the RGB
Subtract High Contrast Inverted Effect.
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Intensity and Color
12 RGB Subtract Super High Contrast Inverted
Color
When the Color Effects parameter is assigned a DMX value of 12, the colors in a Layer’s
image are inverted. This is a super higher contrast version of the RGB Subtract Inverted
Color Effect. The Red, Green, and Blue parameters can remove existing color from the
layer’s image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
RGB Subtract Color Effect.
13 Invert Whatever
When the Color Effects parameter is assigned a DMX value of 13, the colors in a Layer’s
image are inverted. This Color Effect is a unique combination of transparency and color
modification. The Red, Green, and Blue parameters can remove existing color from the
layer’s image.
The Layer’s original image
without a Color Effect.
54
The Layer’s image with the
Invert Whatever Color Effect.
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Intensity and Color
14 RGB Subtract Inverted Color CMY
When the Color Effects parameter is assigned a DMX value of 10, the colors in a Layer’s
image are inverted and converted to CMY. The Red, Green, and Blue parameters can
remove existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the RGB
Subtract Inverted Color CMY Effect.
15 RGB Subtract High Contrast Inverted Color CMY
When the Color Effects parameter is assigned a DMX value of 15, the colors in a Layer’s
image are inverted and converted to CMY. This is a higher contrast version of the RGB
Subtract Inverted Color CMY Effect. The Red, Green, and Blue parameters can remove
existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the RGB
Subtract High Contrast Inverted
CMY Effect.
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Intensity and Color
16 RGB Subtract Super High Contrast Inverted
Color CMY
When the Color Effects parameter is assigned a DMX value of 16, the colors in a Layer’s
image are inverted and converted to CMY. This is the highest contrast version of the RGB
Subtract Inverted Color CMY Effect. The Red, Green, and Blue parameters can remove
existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
RGB Subtract Super High Contrast
Inverted CMY Effect.
20 Black and White
When the Color Effects parameter is assigned a DMX value of 20, the Layer’s image
becomes black and white and can not be tinted. The Red, Green, and Blue parameters do
not function with this Color Effect.
The Layer’s original image
without a Color Effect.
56
The Layer’s image with the
Black and White Effect.
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Intensity and Color
21 Black and White High Contrast
When the Color Effects parameter is assigned a DMX value of 21, the Layer’s image
becomes black and white and can not be tinted. This high contrast version of the Black
and White Color Effect is transparent, revealing underlying layers. The Red, Green, and
Blue parameters do not function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with the Black and
White High Contrast Effect.
22 Black and White Super High Contrast
When the Color Effects parameter is assigned a DMX value of 22, the Layer’s image
becomes black and white and can not be tinted. This super high contrast version of the
Black and White Color Effect is transparent, revealing underlying layers. The Red, Green,
and Blue parameters do not function with this Color Effect.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the Black and
White Super High Contrast Effect.
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Intensity and Color
23 Black and White Variable Super High Contrast
When the Color Effects parameter is assigned a DMX value of 23, the Layer’s image
becomes black and white and can not be tinted. This super high contrast version of the
Black and White Color Effect is transparent, revealing underlying layers. The Red, Green,
and Blue parameters each adjust the amount of the related color making up the final
value of the black and white image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the Black
and White Variable Super
High Contrast Effect.
24 Invert Black and White
When the Color Effects parameter is assigned a DMX value of 24, the Layer’s image
becomes black and white and can not be tinted. This is an inverted version of the Black
and White Color Effect. The Red, Green, and Blue parameters do not function with this
Color Effect.
The Layer’s original image
without a Color Effect.
58
The Layer’s image with the Invert Black
and White Effect.
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Intensity and Color
30 Mask
When the Color Effects parameter is assigned a DMX value of 30, the Layer’s image
becomes black and white and can not be tinted. Any black in a Layer’s image becomes
transparent, revealing underlying Layers. The Red parameter adjusts the Layer’s
percentage of transparency to vary mask softness. The Green, and Blue parameters do
not function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
Mask Effect.
31 Invert Mask 1
When the Color Effects parameter is assigned a DMX value of 31, the Layer’s image
becomes black and white and can not be tinted. Any black in a Layer’s image becomes
transparent, revealing underlying Layers. White areas within the Layer’s image become
black. The Red parameter adjusts the Layer’s percentage of transparency to vary mask
softness. The Green, and Blue parameters do not function with this Color Effect.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the
Invert Mask 1 Effect.
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Intensity and Color
32 Invert Mask 2
When the Color Effects parameter is assigned a DMX value of 32, the Layer’s image
becomes black and white and can not be tinted. Any white in a Layer’s image becomes
transparent, revealing underlying Layers. The Red parameter adjusts the Layer’s
percentage of transparency to vary mask softness. The Green, and Blue parameters do
not function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
Invert Mask 2 Effect.
35 Mask Fading
A DMX Color Effects parameter value of 35 operates the same as a DMX value of 30 with
the addition of fading. The Layer’s image becomes black and white and can not be tinted.
Any black in a Layer’s image becomes transparent, revealing underlying Layers. The Red
parameter adjusts the mask percentage to vary mask softness. Green, and Blue parameters do not function with this Color Effect. The intensity channel adjusts mask fading.
36 Invert Mask 1 Fading
A DMX Color Effects parameter value of 36 operates the same as a DMX value of 31 with
the addition of fading. The Layer’s image becomes black and white and can not be tinted.
Any black in a Layer’s image becomes transparent, revealing underlying Layers. White
areas within the Layer’s image become black. The Red parameter adjusts the mask
percentage to vary mask softness. The Green, and Blue parameters do not function with
this Color Effect. The intensity channel adjusts mask fading.
37 Invert Mask 2 Fading
A DMX Color Effects parameter value of 37 operates the same as a DMX value of 32 with
the addition of fading. The Layer’s image becomes black and white and can not be tinted.
Any white in a Layer’s image becomes transparent, revealing underlying Layers. The Red
parameter adjusts the mask percent to vary the softness. The Green, and Blue parameters
do not function with this Color Effect. The intensity channel adjusts mask fading.
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40 Alpha Invert as Red
When the Color Effects parameter is assigned a DMX value of 40, the portions of a
Layer’s image without an alpha channel become red and can not be tinted. Any alpha
channel portions of the image become transparent, revealing underlying Layers. The Red,
Green, and Blue parameters do not function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with an
Alpha Invert as Red Effect.
Note: An alpha channel is embedded into content when the media file is created.
41 Alpha Invert as Green
When the Color Effects parameter is assigned a DMX value of 41, the portions of a
Layer’s image without an alpha channel become green and can not be tinted. Any alpha
channel portions of the image become transparent, revealing underlying Layers. The Red,
Green, and Blue parameters do not function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with an
Alpha Invert as Green Effect.
Note: An alpha channel is embedded into content when the media file is created.
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42 Alpha Invert as Blue
When the Color Effects parameter is assigned a DMX value of 42, the portions of a
Layer’s image without an alpha channel become blue and can not be tinted. Any alpha
channel portions of the image become transparent, revealing underlying Layers. The Red,
Green, and Blue parameters do not function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with an
Alpha Invert as Blue Effect.
Note: An alpha channel is embedded into content when the media file is created.
43 Alpha Invert as Color
When the Color Effects parameter is assigned a DMX value of 43, the portions of a
Layer’s image without an alpha channel become white and can be tinted. Any alpha
channel portions of the image become transparent, revealing underlying Layers. The Red,
Green, and Blue parameters are used to select an alpha channel color.
The Layer’s original image
without a Color Effect.
The Layer’s image with an
Alpha Invert as Color Effect.
Note: An alpha channel is embedded into content when the media file is created.
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44 Alpha as Red
When the Color Effects parameter is assigned a DMX value of 44, the portions of a
Layer’s image with an alpha channel become red and can not be tinted. Non alpha
channel portions of the image become transparent, revealing underlying Layers. The Red,
Green, and Blue parameters do not function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with
Alpha as Red Effect.
Note: An alpha channel is embedded into content when the media file is created.
45 Alpha as Green
When the Color Effects parameter is assigned a DMX value of 45, the portions of a
Layer’s image with an alpha channel become green and can not be tinted. Non alpha
channel portions of the image become transparent, revealing underlying Layers. The Red,
Green, and Blue parameters do not function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with
Alpha as Green Effect.
Note: An alpha channel is embedded into content when the media file is created.
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46 Alpha as Blue
When the Color Effects parameter is assigned a DMX value of 46, the portions of a
Layer’s image with an alpha channel become blue and can not be tinted. Non alpha
channel portions of the image become transparent, revealing underlying Layers. The Red,
Green, and Blue parameters do not function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with
Alpha as Blue Effect.
Note: An alpha channel is embedded into content when the media file is created.
47 Alpha as Color
When the Color Effects parameter is assigned a DMX value of 47, the portions of a
Layer’s image with an alpha channel become white and can be tinted. Non alpha channel
portions of the image become transparent, revealing underlying Layers. The Red, Green,
and Blue parameters are used to select an alpha channel color.
The Layer’s original image
without a Color Effect.
The Layer’s tinted image
with an Alpha as Color Effect.
Note: An alpha channel is embedded into content when the media file is created.
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50 Lookup 1 Color Wheel
When the Color Effects parameter is assigned a DMX value of 50, a color-wheel based
formula is applied to the Layer’s image colors. This effect does not allow tinting. The Red,
Green, and Blue parameters do not function with this Color Effect.
Original image.
Image with the
Invert Lookup 1 Color Effect.
51 Lookup 2 False Color
When the Color Effects parameter is assigned a DMX value of 51, the Layer’s image
becomes mutated can not be tinted. The Red, Green, and Blue parameters do not function
with this Color Effect.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the
Invert Lookup 2 Effect.
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52 Lookup 3 Black and White Solarize Highlights
When the Color Effects parameter is assigned a DMX value of 52, the Layer’s image
becomes magenta and can not be tinted. The Red, Green, and Blue parameters do not
function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
Lookup 3 Effect.
60 Gamma Black and White
When the Color Effects parameter is assigned a DMX value of 60, the Layer’s image
becomes black and white and can not be tinted. The Red parameter adjusts the contrast of
the image. The Green, and Blue parameters do not function with this Color Effect.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the
Gamma Black and White Effect.
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Intensity and Color
61 Gamma Color
When the Color Effects parameter is assigned a DMX value of 61, the Layer’s image
becomes red and can not be tinted. The Red parameter adjusts the overall gamma of the
image. The Green, and Blue parameters do not function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
Gamma Color Effect applied.
The Layer’s image with the
Gamma Color adjustment.
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62 Gamma Color Separate Channels
When the Color Effects parameter is assigned a DMX value of 62, the Layer’s image is
displayed with high contrast. The Red, Green, and Blue parameters adjust the
corresponding color gamma of the image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
Gamma Color Separate Effect.
The Layer’s image with the Gamma Color
Separate Effect Green channel adjustment.
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Intensity and Color
63 Gain Color Separate Channels
When the Color Effects parameter is assigned a DMX value of 62, the Layer’s image is
displayed with high contrast. The Red, Green, and Blue parameters adjust the
corresponding color gain of the image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
Gain Color Separate Channels Effect.
The Layer’s image with the Gain Color Separate
Channels Effect and Blue channel adjustment.
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65 Quantize Color Separate Channels
When the Color Effects parameter is assigned a DMX value of 65, the Layer’s image is
displayed with a reduced set of representative colors. The Red, Green, and Blue
parameters adjust the corresponding color in the image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
Quantize Color Separate Channels Effect.
The Layer’s image with the Quantize Color Separate
Channels Effect and Red channel adjustment.
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70 Convert to YUV
When the Color Effects parameter is assigned a DMX value of 70, the Layer’s image RGB
color information is converted to a different color space. The Red parameter adjusts the
illuminance of the image. The Green parameter adjusts the U component and the Blue
parameter adjusts the V component.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
Convert to YUV Effect.
71 Saturation
When the Color Effects parameter is assigned a DMX value of 71, the Layer’s image can
not be tinted. The Red parameter reduces the color saturation of the image. When the Red
parameter is set to 0, the image is black and white. The Green, and Blue parameters do
not function with this Color Effect.
The Layer’s original image
without a Color Effect.
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The Layer’s image with a
50% Saturation Effect.
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72 Mega Saturation
When the Color Effects parameter is assigned a DMX value of 72, the Layer’s image can
not be tinted. The Red parameter adds and subtracts from the color saturation of the
image. With no color saturation the image is black and white. The Green, and Blue
parameters do not function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with a Mega
Saturation Effect.
73 Solarize
When the Color Effects parameter is assigned a DMX value of 73, the Layer’s image
becomes solarized and can not be tinted. The Red, Green, and Blue parameters do not
function with this Color Effect.
The Layer’s original image
without a Color Effect.
72
The Layer’s image with the
Solarize Effect.
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Intensity and Color
74 Solarize Invert
When the Color Effects parameter is assigned a DMX value of 74, the Layer’s colors are
inverted, the image becomes solarized, and it can not be tinted. The Red, Green, and Blue
parameters do not function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
Solarize Invert Effect.
80 RGB Layer Blend 1
When the Color Effects parameter is assigned a DMX value of 80, the white portions of
the Layer’s image become transparent and the image can be tinted. The Red, Green, and
Blue parameters each remove existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the
RGB Layer Blend 1 Effect.
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81 RGB Layer Blend 2
When the Color Effects parameter is assigned a DMX value of 81, the black portions of
the Layer’s image become transparent and the image can be tinted. The Red, Green, and
Blue parameters can remove existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
RGB Layer Blend 2 Effect.
82 RGB Layer Blend 3
When the Color Effects parameter is assigned a DMX value of 82, the white portions of
the Layer’s image become semi-transparent and the image can be tinted. The Red, Green,
and Blue parameters each remove existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the
RGB Layer Blend 3 Effect.
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Intensity and Color
83 RGB Layer Blend 4
When the Color Effects parameter is assigned a DMX value of 83, portions of the Layer’s
image become transparent and the image can be tinted. The Red, Green, and Blue
parameters each remove existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
RGB Layer Blend 4 Effect.
84 RGB Layer Blend 5
When the Color Effects parameter is assigned a DMX value of 84, portions of the Layer’s
image become semi-transparent and the image can be tinted. The Red, Green, and Blue
parameters each remove existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the
RGB Layer Blend 5 Effect.
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85 RGB Layer Blend 6 Add
When the Color Effects parameter is assigned a DMX value of 85, black portions of the
Layer’s image become transparent and the image can be tinted. The Red, Green, and Blue
parameters each remove existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
RGB Layer Blend 6 Effect.
86 RGB Layer Blend 7 Subtract
When the Color Effects parameter is assigned a DMX value of 86, white portions of the
Layer’s image become semi-transparent and the image can be tinted. The Red, Green,
and Blue parameters each remove existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the
RGB Layer Blend 7 Effect.
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Intensity and Color
89 RGB Layer Blend 10 Maximum
When the Color Effects parameter is assigned a DMX value of 89, dark portions of the
Layer’s image become transparent and the image can be tinted. The Red, Green, and Blue
parameters each remove existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
RGB Layer Blend 10 Effect.
90 RGB Layer Blend 11 Add 2
When the Color Effects parameter is assigned a DMX value of 90, dark portions of the
Layer’s image become semi-transparent and the image can be tinted. The Red, Green, and
Blue parameters can remove existing color from the layer’s image.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the RGB Layer
Blend 11 Effect.
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100 Tint
When the Color Effects parameter is assigned a DMX value of 100, the Layer’s image is
converted to black and white and the image can be tinted. Black portions of the image
become transparent. The Red, Green, and Blue parameters can remove existing color
from the layer’s image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
Tint Effect.
101 Tint Inverse
When the Color Effects parameter is assigned a DMX value of 101, the Layer’s inverted
image is converted to black and white and the image can be tinted. Black portions of the
image become transparent. The Red, Green, and Blue parameters can remove existing
color from the layer’s image.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the
Tint Invert Effect.
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102 Fade to Hue
When the Color Effects parameter is assigned a DMX value of 102, the Layer’s the image
fades to a color rather than to black. The red control sets the fade percentage (100% =
original image; 0% = only the color remains). Tthe image will fade to the hue selected by
the Green parameter, based on a spectrum wheel (red-violetindigo-blue-green-yelloworange-red). The Blue parameter does not function with this Color Effect.
The Layer’s original image
without a Color Effect.
The Layer’s image with the Fade to
Hue Effect.
103 RGB > GBR
When the Color Effects parameter is assigned a DMX value of 103, the colors of a Layer’s
image are swapped and can be tinted. The Red, Green, and Blue parameters can remove
existing color from the Layer’s image.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the
RGB > GBR Effect.
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104 RGB > BGR
When the Color Effects parameter is assigned a DMX value of 104, the colors of a Layer’s
image are swapped and can be tinted. The Red, Green, and Blue parameters can remove
existing color from the Layer’s image.
The Layer’s original image
without a Color Effect.
The Layer’s image with the
RGB > BGR Effect.
105 RGB > GRB
When the Color Effects parameter is assigned a DMX value of 105, the colors of a Layer’s
image are swapped and can be tinted. The Red, Green, and Blue parameters can remove
existing color from the Layer’s image.
The Layer’s original image
without a Color Effect.
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The Layer’s image with the
RGB > GRB Effect.
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Chapter 9:
Strobing and Trails
Strobing
The Strobing parameter creates flashing or pulsing of the layer’s image as though it were
lit by a strobe light. Each strobing pattern is controlled by a range of 24 DMX values that
govern strobing speed of that pattern. The strobe’s speed generally refers to the intervals
when the image is turned on.
The suggested default DMX value of the Strobing parameter is 0, which produces no
strobe effect. Other DMX values for the parameter determine the strobing pattern. The
available strobe patterns are:
Strobe Pattern
Description
(DMX value = 0)
Strobe Off
OnOff
(DMX values 1-24)
Blinks the entire image repeatedly with equal on and off amounts of time.
Value 1 is the fastest setting (the image is turned on longest); 24 is the slowest
setting.
Pulse 1
(DMX values 25-49)
Pulse length is always 1 frame long. Time between pulses varies. Value 25 is
the slowest setting; 49 is the fastest setting.
Pulse 2
(DMX values 50-74)
Time between pulses is 25 frames. Pulse length varies. Value 50 is the longest
setting; 74 is the shortest setting.
Pulse Train
(DMX values 75-99)
Time between pulses is 25 frames.The number of pulses varies. Value 75 is
the fastest setting with the most pulses; 99 has a single pulse.
Random 1
Equal on and off amounts of time. Pulse length varies randomly.
(DMX values 100-124)
Random 2
Pulse length is always 1 frame. Time between pulses varies randomly.
(DMX values 125-149)
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Trails
The Trails parameter creates an afterimage that follows a moving image as it moves on
layer 1. The DMX value of the Trails parameter varies the length, or duration, of the trails.
The suggested default DMX value of 0, creates no trails. A value of 255 creates very long
trails.
The Trails effect is available only on Layer 1. However, trails are also applied to all
content on other layers that become visible on Layer 1. For instance, if other layers are
masked or turned partly transparent to reveal Layer 1 beneath, the Layer 1 Trails effect
then applies to those layer’s visible content as well.
The Trails effect requires transparency of the layer, either from the Color
Effects parameter, or by reducing the Intensity parameter of the layer.
Trails Off
Small Trails
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Full Trails
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Chapter 10:
Visual Effects
The Visual Effects parameter applies various changes to a layer’s content. The Parameter
1 (FX1) and Parameter 2 (FX2) parameters are linked to selected Visual Effects, and their
function changes based on the Visual Effect. This chapter describes uses of the Visual
Effects and their capabilities.
0 Movie on Non-Infinite Plane
When the Visual Effects parameter is assigned a DMX value of 0, the Layer’s content
plays on a transparent plane. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters
do not function with this Visual Effect.
Layer 1 with no Visual Effects
Layer 2 with no Visual Effects
Layer 2 with a Transparent plane
scaled in over Layer 1
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1 Movie on Infinite Plane with Black Border
When the Visual Effects parameter is assigned a DMX value of 1, the Layer’s content
plays on a non-transparent black plane. The Parameter 1 (FX1) and Parameter 2 (FX2)
parameters do not function with this Visual Effect.
Layer 1 with no Visual Effects
Layer 2 with no Visual Effects
Layer 2 with a non-transparent plane
scaled in over Layer 1
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2 Movie Unity Scaling
When the Visual Effects parameter is assigned a DMX value of 2, the Layer’s content will
be displayed pixel for pixel without any scaling. The Scale parameter is disabled with this
selection. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function
with this Visual Effect.
Layer with the default Scale setting
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Layer with the
Unity Scaling Visual Effect
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5 Movie Keystone 1
When the Visual Effects parameter is assigned a DMX value of 5, the Layer’s content
plays on an adjustable transparent plane. The Keystone Correction parameters adjust the
shape of the Layer. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not
function with this Visual Effect.
Layer 1 with no Visual Effects
Layer 2 with no Visual Effects
Layer 2 with Keystone adjustments
over Layer 1.
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9 Setup Image Keystone 1
When the Visual Effects parameter is assigned a DMX value of 6, the Layer’s output
changes to a grid pattern. This grid pattern is useful for determining the results of
Keystone adjustments. The Keystone Correction parameters adjust the shape of the
Layer. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with
this Visual Effect
A Layer with no Visual Effects
A Layer displaying a grid with
Keystone adjustments
10 Movie on Sphere Filled
When the Visual Effects parameter is assigned a DMX value of 10, the Layer’s content is
wrapped around a solid sphere. The Parameter 1 (FX1) and Parameter 2 (FX2)
parameters do not function with this Visual Effect.
A Layer with its image wrapped
around a solid sphere.
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11 Movie on Sphere Wireframe
When the Visual Effects parameter is assigned a DMX value of 11, the Layer’s content is
wrapped around a wireframe sphere. The Parameter 1 (FX1) and Parameter 2 (FX2)
parameters do not function with this Visual Effect.
A Layer with no Visual Effects
A Layer with its layer wrapped
around a wireframe sphere.
12 Movie on Sphere Points
When the Visual Effects parameter is assigned a DMX value of 12, the Layer’s content is
wrapped around the points of a wireframe sphere. The Parameter 1 (FX1) and Parameter
2 (FX2) parameters do not function with this Visual Effect.
A Layer with its output wrapped
around a points of a wireframe sphere.
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13 Movie on Sphere Lit
When the Visual Effects parameter is assigned a DMX value of 13, the Layer’s content is
wrapped around a solid sphere with an illumination effect. The Parameter 1 (FX1) and
Parameter 2 (FX2) parameters do not function with this Visual Effect.
A Layer with no Visual Effects
A Layer with its image wrapped around
a solid sphere with illumination.
14 Movie on Disc Filled
When the Visual Effects parameter is assigned a DMX value of 14, the Layer’s content is
wrapped around a solid disc. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters
do not function with this Visual Effect.
A Layer with its image wrapped
around a solid disc
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15 Movie on Disc Wireframe
When the Visual Effects parameter is assigned a DMX value of 15, the Layer’s content is
wrapped around a wireframe disc. The Parameter 1 (FX1) and Parameter 2 (FX2)
parameters do not function with this Visual Effect.
A Layer with no Visual Effects
A Layer with its image wrapped around
a wireframe disc.
16 Movie on Disc Points
When the Visual Effects parameter is assigned a DMX value of 16, the Layer’s content is
wrapped around the points of a wireframe disc. The Parameter 1 (FX1) and Parameter 2
(FX2) parameters do not function with this Visual Effect.
A Layer with its image wrapped around
a points of a wireframe disc.
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17 Movie on Disc Silhouette
When the Visual Effects parameter is assigned a DMX value of 17, the Layer’s content is
wrapped around the edges of disc. The Parameter 1 (FX1) and Parameter 2 (FX2)
parameters do not function with this Visual Effect.
A Layer with no Visual Effects
A Layer with its image wrapped around
a the edges of disc
20 Movie on Kaleidoscope
When the Visual Effects parameter is assigned a DMX value of 20, the Layer’s content is
repeated within a kaleidoscope tunnel. The Layer’s image can be rotated using the X
Rotation parameter, and the entire kaleidoscope tunnel can be rotated with the Z
Rotation parameter. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not
function with this Visual Effect.
A Layer with its image repeated within
a kaleidoscope tunnel
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21 Movie on Magic Lantern
When the Visual Effects parameter is assigned a DMX value of 21, the Layer’s content is
wrapped around hollow cylinder. The Parameter 1 (FX1) parameter adjusts the size of
the cylinder and the Parameter 2 (FX2) parameter adjusts the number of times the
content is repeated on the cylinder.
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A Layer with no Visual Effects
A Layer with its image wrapped
around hollow cylinder
The hollow cylinder with its size
adjusted by Parameter 1 (FX1)
The hollow cylinder with its image
repeated by Parameter 2 (FX2)
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22 Movie Stretched
When the Visual Effects parameter is assigned a DMX value of 22, the Layer’s content is
stretched into vertical slices. The Parameter 1 (FX1) parameter adjusts positioning of the
stretch within the content, and the Parameter 2 (FX2) parameter adjusts the length of the
stretched slices.
A Layer with no Visual Effects
A Layer with its output stretched
into vertical slices
The stretched image with its location
adjusted by Parameter 1 (FX1)
The image with the stretch length
reduced by Parameter 2 (FX2)
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23 Movie Panorama Slices
When the Visual Effects parameter is assigned a DMX value of 23, the Layer’s content is
sliced into strips and placed side by side. The Parameter 1 (FX1) parameter adjusts the
number of slices. The Parameter 2 (FX2) parameter does not function with this Visual
Effect.
The Layer’s original image.
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The Layer’s image sliced into
strips placed side by side.
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24 Movie on Magic Lantern 2
When the Visual Effects parameter is assigned a DMX value of 24, the Layer’s content is
wrapped around solid cylinder. The Parameter 1 (FX1) parameter adjusts the size of the
cylinder and the Parameter 2 (FX2) parameter adjusts the number of times the content is
repeated on the cylinder.
A Layer with no Visual Effects
A Layer with its output wrapped
around a solid cylinder
The solid cylinder with its size
adjusted by Parameter 1 (FX1)
The solid cylinder with its image
repeated by Parameter 2 (FX2)
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30 Movie on Cube 4 Sides
When the Visual Effects parameter is assigned a DMX value of 30, the Layer’s content is
wrapped around four sides of a cube. The Parameter 1 (FX1) and Parameter 2 (FX2)
parameters do not function with this Visual Effect
A Layer with no Visual Effects
The Layer’s image on four sides
of a cube
31 Movie on Cube 6 Sides
When the Visual Effects parameter is assigned a DMX value of 31, the Layer’s content is
wrapped around six sides of a cube. The Parameter 1 (FX1) and Parameter 2 (FX2)
parameters do not function with this Visual Effect
The Layer’s image on six sides
of a cube
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32 Movie on Colored Cube 6 Sides
When the Visual Effects parameter is assigned a DMX value of 32, the Layer’s content is
wrapped around six sides of a cube. Each side of the cube is tinted with a different color.
The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this
Visual Effect
The Layer’s image on six
different colored sides
33 Movies First Four Layers on Cube
When the Visual Effects parameter is assigned a DMX value of 33, the content from each
Layer of the Catalyst system is applied to one side of a cube. The Parameter 1 (FX1) and
Parameter 2 (FX2) parameters do not function with this Visual Effect
A cube with a different Layer’s
content on each side.
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40 Movie on NxN Simultaneous
When the Visual Effects parameter is assigned a DMX value of 40, the Layer’s content
can be tiled in both the horizontal X-axis and the vertical Y-axis. The Parameter 1 (FX1)
parameter adjusts the number of tiles on the horizontal X-axis. The Parameter 2 (FX2)
parameter adjusts the number of tiles on the vertical Y-axis.
A Layer’s content tiled on the
horizontal X-axis
A Layer’s content tiled on the
vertical Y-axis
A Layer’s content tiled on both
the horizontal X-axis and
the vertical Y-axis
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41 Movie on NxN Simultaneous Random Color
When the Visual Effects parameter is assigned a DMX value of 41, the Layer’s content can
be tiled in both the horizontal X-axis and the vertical Y-axis. Each tile of the image will
randomly change color. The Parameter 1 (FX1) parameter adjusts the number of tiles on
the horizontal X-axis. The Parameter 2 (FX2) parameter adjusts the number of tiles on
the vertical Y-axis.
A Layer’s content tiled on both the horizontal X-axis
and the vertical Y-axis with randomly changing colors
42 Movie on NxN Consecutive
When the Visual Effects parameter is assigned a DMX value of 42, the Layer’s content can
be tiled in both the horizontal X-axis and the vertical Y-axis. Each tile of the image will
appear one at a time in a linear order. The Parameter 1 (FX1) parameter adjusts the
number of tiles on the horizontal X-axis. The Parameter 2 (FX2) parameter adjusts the
number of tiles on the vertical Y-axis.
43 Movie on NxN Consecutive Random Color
When the Visual Effects parameter is assigned a DMX value of 43, the Layer’s content can
be tiled in both the horizontal X-axis and the vertical Y-axis. Each tile of the image will
appear one at a time with a randomly changing color. The Parameter 1 (FX1) parameter
adjusts the number of tiles on the horizontal X-axis. The Parameter 2 (FX2) parameter
adjusts the number of tiles on the vertical Y-axis.
44 Movie on NxN Consecutive Random Frame
When the Visual Effects parameter is assigned a DMX value of 44, the Layer’s content can
be tiled in both the horizontal X-axis and the vertical Y-axis. Each tile of the image will
appear one at a time in a random order. The Parameter 1 (FX1) parameter adjusts the
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number of tiles on the horizontal X-axis. The Parameter 2 (FX2) parameter adjusts the
number of tiles on the vertical Y-axis.
45 Movie on Random Flicker
When the Visual Effects parameter is assigned a DMX value of 45, the Layer’s content
randomly turns on and off with a result similar to the Strobe parameter effect. The
Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual
Effect.
46 Movie on Random Color Flicker
When the Visual Effects parameter is assigned a DMX value of 46, the Layer’s content
randomly turns on and off. In addition, the image randomly changes colors. The Parameter 1 (FX1) and Parameter 2 (FX2) parameters do not function with this Visual Effect.
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60 Rectangle Shuttered
When the Visual Effects parameter is assigned a DMX value of 60, the Layer’s content is
replaced with a non-transparent white rectangular image. This effect mimics a
rectangular shuttered light. Keystone Correction parameters adjust the shutter sides and
the color parameters let you mix the color. All the position, rotation and scale and strobe
parameters adjustments can be used with this effect. The Parameter 1 (FX1) and
Parameter 2 (FX2) parameters do not function with this Visual Effect.
Layer 1 with no visual effect
Layer 1 with Rectangle Shuttered
visual effect.
Shuttered effect with Keystone Correction,
Scale, Rotation and Color parameter
adjustments applied.
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61 Rectangle Graduated Color Shuttered
When the Visual Effects parameter is assigned a DMX value of 61, the Layer’s content is
replaced with a non-transparent white rectangular image. The Parameter 1 (FX1)
parameter selects graduated color from the top of the rectangle. The Parameter 2 (FX2)
parameter selects graduated color from the bottom of the rectangle. The Keystone
Correction parameters adjust the shape of the image. All the position, rotation and scale
and strobe parameters can be used with this effect.
Effect with graduated color selected
by Parameter 1 (FX1).
Color mixed combination of Parameter 1
and Parameter 2 adjustments.
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Effect with graduated color selected
by Parameter 2 (FX2).
Keystone Correction and Z Rotation
parameter adjustments applied to the effect.
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62 N Sided Shape Shuttered Black
When the Visual Effects parameter is assigned a DMX value of 62, the Layer’s content is
replaced with a transparent polygon on a black plane. The Parameter 1 (FX1) parameter
adjusts polygon’s number of sides. The Parameter 2 (FX2) parameter does not function
with this Visual Effect. All the position, rotation and scale and strobe parameters can be
used with this effect.
Examples of various sized polygons
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70 Shutter Shuttered Black
When the Visual Effects parameter is assigned a DMX value of 70, the Layer’s content is
replaced with a transparent rectangular image on a black plane. The Keystone Correction
parameters adjust the shape of the image. The Parameter 1 (FX1) and Parameter 2 (FX2)
parameters do not function with this Visual Effect.
Layer 1with no visual effect
Layer 2 with no visual effect
Layer 2 with Keystone Correction
parameter adjustments over Layer 1
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71 Shutter Shuttered Color
When the Visual Effects parameter is assigned a DMX value of 71, the Layer’s content is
replaced with a transparent rectangular image on a white plane. The Keystone Correction
parameters adjust the shape of the image. The Parameter 1 (FX1) and Parameter 2 (FX2)
parameters do not function with this Visual Effect.
Layer 1with no visual effect
Layer 2 with no visual effect
Layer 2 with Keystone Correction
and Color parameter adjustments over Layer 1
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Visual Effects
72 Iris Shutter Black
When the Visual Effects parameter is assigned a DMX value of 72, the Layer’s content is
replaced with a transparent circular image on a black plane. The Parameter 1 (FX1)
parameter adjusts the softness of the circle’s edge. The Parameter 2 (FX2) parameter
does not function with this Visual Effect.
106
Layer 1with no visual effect
Layer 2 with no visual effect
Layer 2 with no Parameter 1 (FX1)
parameter adjustments over Layer 1.
Layer 2 with Parameter 1 (FX1)
parameter adjustments over Layer 1.
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Visual Effects
100 Movie on Teapot Filled
When the Visual Effects parameter is assigned a DMX value of 100, the Layer’s content is
wrapped around a solid teapot. The Parameter 1 (FX1) and Parameter 2 (FX2)
parameters do not function with this Visual Effect
Layer with no visual effect
A Layer with its image wrapped
around a solid teapot.
120 Colored Sphere
When the Visual Effects parameter is assigned a DMX value of 120, the Layer’s content is
replaced by a colored sphere. All position parameters can be applied.
Colored Sphere effect applied to layer
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Scale, x, y and z Rotation parameters
applied to Colored Sphere effect.
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123 Spectrograph
When the Visual Effects parameter is assigned a DMX value of 123, the Layer’s content is
replaced with a waveform of the audio input. The Parameter 1 (FX1) selects different
types of audio waveforms. The Parameter 2 (FX2) parameter does not function with this
Visual Effect. Waveforms can also be modified by Color, position, scale and aspect ratio
parameters.
Several Variations of Waveforms are Available in the Spectrograph Parameter.
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Chapter 11:
Keystone and Shutters
Keystone Correction
The shape of a projected image is affected by the angle of projection. A rectangular image
may appear on a wall as a trapezoidal shape. Keystone correction compensates for this
effect by allowing adjustments to the geometry of the layer’s image.
The eight Keystone Correction parameters each adjust one corner of the layer’s image
horizontally along the X-axis or vertically along the Y-axis.
x4
x1
y1
y4
Layer Image
y2
y3
x2
x3
The suggested default DMX value for each parameter is 128, which equals no geometric
correction. Values less than 128 move the selected corner left or up; values greater than
128 move it right or down.
To activate the affects of the Keystone Correction parameters, the Visual Effects
parameter must be assigned to a DMX value of 5 (Keystone 1).
Image with no Keystone correction
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Keystone and Shutters
Shutter Effects
The eight Keystone Correction parameters also adjust the shape of shutter effects on a
layer.
To activate the shutter affects of the Keystone Correction parameters, the Visual Effects
parameter must be assigned to a DMX value between 60 and 72. A DMX value of 70
(Shuttered Black) is the most commonly used.
When a shutter Visual Effect is activated on a layer, that layer changes to a shutter only
layer. Any assigned content for the layer will not be displayed. Instead, an adjustable
transparent frame is displayed above underlying layers. A shutter Visual Effect will not
function on Layer 1.
Once a layer becomes a shutter only layer, the Keystone Correction parameters can be
used to adjust the frame’s shape. In addition the X, Y, and Z Rotation, X and Y Position,
and Scale parameters modify the appearance of the shutters.
Image on Layer 1
Shutters on Layer 2 overlaying Layer 1
Keystone Correction and Shutter Shape Preview
You can also preview shapes created by the Keystone Correction parameters in the
Catalyst Control interface window on the PowerMac monitor. This field will display the
Keystone correction shape or shutter shape regardless of the active Visual Effect.
Keystone
correction
Preview
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Chapter 12:
Library Window
The Library window of the Catalyst Media Server is primarily used as a reference screen.
It lists and describes content available to the server as well as details about the Color and
Visual Effects. In addition the screen is used to configure Library folder assignments.
On the top of the PowerMac monitor, Click on Library within the
Windows menu to open the Library window.
Files Tab
Clicking on the Files tab on the top of the Library window displays the content currently
available to the server.
Thumbnail
Folder Number
File Number
Folder
Assignment
File Name
File Statistics
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Library Window
Folders Tab
Clicking on the Folders tab on the top of the Library window displays the folders
currently assigned as Library Folders. Additional folders from internal or external drives,
as well as network sources, can be assigned to Catalyst. Any properly labeled folders and
files in an assigned Library Folder become available content.
Folder
Assignment
Number
Click on a Folder assignment number to open the Choose a Folder window.
Browse to the drive and folder containing the content files and click Open.
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Library Window
The Folders tab of the Library Window now displays the newly assigned folder.
Press the Scan Files... button to begin a scan of all available media files. The scanning
window will open and display the scan progress.
When the scan is complete the scanning window will close and the new media becomes
available to the Catalyst Media Server.
Note:Pressing Shift during a scan will perform a quickscan where no thumbnails
will be created.
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Library Window
Colour FX Tab
Clicking on the Colour FX tab on the top of the Library window displays reference
information for the Color Effects parameter.
Colored fields indicate the functionality of other parameters associated with each effect.
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Library Window
Geometry FX Tab
Clicking on the Geometry FX tab on the top of the Library window displays reference
information for the Visual Effects parameter.
Colored fields indicate the functionality of other parameters associated with each effect.
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Chapter 13:
Monitoring Information
When using DMX to control a Catalyst Layer, all settings within the Layer panel will
automatically adjust in real time to reflect the current DMX values sent from a lighting
console. The information displayed on the Layer panels is intended for reference only
and can not be recorded directly to the Media Server.
General Layer Panel Information
Layer Panels are displayed in the Catalyst Control window on the PowerMac monitor. The
Solo function allows activates only the selected layer and all others are ignored. This test
function can be used to issolate one Layer from the others. Clicking the Solo button will
activate or de-activate the Solo function
The far left portion of the Layer Panel displays a thumbnail (if available) of the currently
selected media for the layer.
Each Layer can be named by clicking on the Layer Name field and typing in a name. This
function is primarly for personal organization purposes..
Solo Button
Media Thumbnail
Layer Name field
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Layer Panel: File Tab
Click the File tab to display the fields shown in below:
File
Library
Out fra
Playback Mode
Playback speed
In frame
Current frame
Library. Indicates the currently selected Library Folder and its DMX value.
File. Indicates the currently selected File name and its DMX value.
Playback Type. Indicates the currently selected Playback mode and its DMX value.
Playback Speed. Indicates the currently selected playback speed, expressed as a
percentage from 0 to 200%.
In Frame. Indicates the currently selected In Frame number.
Current Frame. Indicates the current Frame number of the movie. When a movie
file is playing this value will continuously change.
Out Frame. Indicates the currently selected Out Frame number.
Layer Panel: Position Tab
Click the Position tab to display the fields shown below:
X position
Y Position
Scale
Z Rotation
X Rotation
Y Rotation
Smooth
X Pos. The slider and numeric value indicate the right and left positioning of the
image along the X-axis.
Y Pos. The slider and numeric value indicate the up and down positioning of the
image along the Y-axis.
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Scale. The slider and numeric value indicate the sizing of the image.
Z Rot. The slider and numeric value indicate the rotation of the image around the
Z-axis.
X Rot. The slider and numeric value indicate the rotation of the image around the
X-axis.
Y Rot (Y Rotation). The slider indicates the rotation of the image around the Yaxis.
Smooth. Indicates the DMX value of the Movement Speed parameter.
Layer Panel: Colour Tab
Click the Colour tab to display the fields shown below:
Red
Green
Colour
Effects
Blue
Intensity
Strobe
Trails
Colour Effects. IField shows the name of the currently selected Color Effect and
its DMX value.
Intensity. The slider indicates the intensity of the image and the value indicates its
DMX value.
Red. Indicates the DMX value of the Red parameter.
Green. Indicates the DMX value of the Green parameter.
Blue. Indicates the DMX value of the Blue parameter.
Trails. Indicates the DMX value of the Trails parameter.
Strobe. Indicates the name of the currently selected strobing effect.
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Layer Panel: FX Tab
Click the FX tab to display the fields shown below:
Visual
Effect
Keystone
correction
Numerical
fields
Visual Effects. Indicates the name of the currently selected Visual Effect and its
DMX value.
Aspect. Indicates the DMX value of the Aspect Ratio parameter.
FX 1. Indicates the DMX value of the Parameter 1 (FX1) parameter.
FX 2. Indicates the DMX value of the Parameter 2 (FX2) parameter.
Keystone Correction Preview. Displays the current keystone or shutter shape of the
image as assigned by the eight Keystone Correction parameters.
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Chapter 14:
Diagnostic Displays
The Catalyst Media Server offers twelve diagnostic displays accessible from keyboard
hotkeys.
Hotkeys
The following keyboard shortcuts provide quick access and manipulation of the diagnostic
displays:
Hotkey
Output
Action
Q
1
Exits diagnostic display mode
W
1
Enters diagnostic display mode
E
1
Scrolls forward through diagnostic displays
R
1
Scrolls backward through diagnostic displays
A
1
Full screen on
S
1
Full screen off
Z
2
Exits diagnostic display mode
X
2
Enters diagnostic display mode
C
2
Scrolls forward through diagnostic displays
V
2
Scrolls backward through diagnostic displays
Displays
Catalyst Version
This screen displays the following information about the system:
•
Software version name
•
Build date
•
Operating system and processor information
•
Quicktime version
•
Video card manufacturer
•
Video card version
•
Uptime (elapsed since the program was launched)
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Diagnostic Displays
This Computer
This screen displays the assigned name of the Catalyst Media Server, the Output on which
the information is being displayed, and the resolution of that Output. It also shows the
current gamma trasfer function across both displays. Use this to verify that all displays
are using the same output gamma when overlap is critical.
DMX Input Channels
This screen displays DMX values for the parameters of each activated DMX In panel.
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Diagnostic Displays
USB CIB DMX Input
This screen displays DMX values coming into the Catalyst Media Server from the Catalyst
Interface Box (CIB). Actively changing DMX values are highlighted in blue.
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Diagnostic Displays
ArtNet DMX Input
This screen displays DMX values coming into the Catalyst Media Server from an Art-Net
Network. Actively changing DMX values are highlighted in blue. Use hotkeys T and Y
(Output 1) or B and N (Output 2) to move forward and backward through the Art-Net
Inputs.
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Diagnostic Displays
Statistics
This screen displays the amount of CPU time selected Media Server processes are using.
Intended for internal diagnostics and technical support only.
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Diagnostic Displays
Playbacks
This screen displays playback parameter information and thumbnails for all enabled
layers.
Playback In and Out
Library
Option
Frame
File Info
DMX #
Playback
File Name
Speed
File DMX #
Frame Rate
Playback Diagostic Screen for Catalyst Pro 6-layer Version.
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Diagnostic Displays
Color FX Preview
This screen displays thumbnail previews of Layer 1 with each Color Effect applied to the
current content for a designated layer along with all other selected parameter values.
Numbered tabs move through layers. The << and >> tabs move you through the range of
color effects.
The example below shows the color effects 0 - 23 applied to layer five content with its
current adjustments to position, scale and visual effects.
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Geometry FX Preview
This screen displays thumbnail previews of Layer 1 with each Visual Effect applied to the
current content for a designated layer with all it’s parameter adjustments. Numbered tabs
move through layers. The << and >> tabs move you through the range of visual effects.
The example below shows the color effects 0 - 23 applied to layer five content with current
adjustments for position, and scale.
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File Preview Library
This screen displays which Files in a Library Folder have content, indicated with a
thumbnail preview or a green square. The << and >> tabs move you through the
available library folders..
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Diagnostic Displays
This Machine
This screen displays details of each layer’s parameters on this Catalyst Media Server.
Thumbnail previews of this server’s individual layer outputs appear along the bottom.
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Diagnostic Displays
Remote Machines
This screen displays information about Catalyst Media Servers connected together over
an Ethernet network. .
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Chapter 15:
Multiple Servers
Catalyst Media Servers can communicate with one another over an Ethernet network.
This function allows the capabilities of synchronizing content across multiple servers,
monitoring remote servers, and sending remote commands to multiple machines.
To connect several servers, power off all servers and run Ethernet cable from each server
to a shared Ethernet hub. To connect only two Media Servers, use a single Ethernet cable
between the Ethernet ports of each system’s PowerMac; no crossover cable is needed.
Ethernet Cable
Media
Server 2
CIB
DV1
Output 1
Output 2
Monitor
CIB
Media
Server 1
DV1
Output 1
Output 2
Monitor
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DMX
Console
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Synchronizing Multiple Servers
Synchronized playback allows two or more Media Servers to play media with accurate
frame-by-frame synchronization over an Ethernet network connection. This applies to
either simultaneous playback of the same media file on multiple servers, or to playback of
coordinated clips utilizing different media files.
Synchronizing only affects server playback rates, not the Layer’s content. Each layer
could be playing different movies; only their playback timing will be the same. To
duplicate a movie on different layers, use the Play Mode parameter’s use layer setting.
When synchronizing multiple servers, assign one layer of one server to provide the
“master” timing for the other servers. This master layer has a unique Sync ID value, a
number from 1 to 20. Other linked layers, on the same server or other servers, act as
“slaves”, taking their playback timings, or frame rate, from the designated master layer.
Synchronization occurs frame by frame, so each layer’s movie files may be different
lengths, sizes, and formats. If the master layer is playing the 50th frame of a movie, the
layers slaved to it will play the 50th frame of whatever movie file is selected on those
systems. The master may be assigned to any of the Play Mode parameters (Play Loop
Forward, Play Loop Reverse, etc.) available from DMX. When assigned to synchronize,
the slave system’s layer matches the master system’s layer playback frame number by
frame number.
If the master layer plays a frame number that does not exist in the slaved layer’s movie,
the slaved layer displays the last available frame of its movie. Therefore, if the master
layer’s movie is longer than the slaved layer’s movie, the slaved layer will effectively
freeze on its last frame until the master’s layer loops.
Both movies
beginning
frame
Slave movie Master movie
ending
ending frame
frame
If the slaved layer’s movie is longer than the master layer’s total movie, the slaved layer
will loop at the same frame as the master’s layer, and the slaved layer will never reach the
end of its movie file.
Both movies
beginning
frame
128
Master
movie
ending
Slave movie
frames not
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Assigning Master Sync ID Numbers
The network can have up to 20 master layers at once, each with its own unique Sync ID
number. Any layer can be synchronized to a master layer.
All servers on the same network share the same set of 20 Sync ID values.
Don’t assign the same ID value to two master layers, even if they’re on
different servers.
Using the Catalyst Control window on the PowerMac, you can assign unique Sync ID
values to selected layers:
1.
On the appropriate Layer panel, click the File tab.
2.
At the layer panel’s lower right, click the SyncID field and a pop up menu will open.
File tab
Sync ID
3.
On the pop-up menu, click the SyncID value you want to assign to that layer.
Synchronizing Content
After a layer has been assigned a unique Sync ID, any other layer can be synchronized to
it using the Play Mode parameter. Synchronization can be switch on and off at any time
using a lighting control and is selected in the same manner as any other DMX parameter
function.
Set Master Layer
1.
On your lighting console, select the layer to be used as the master layer (other layers
will synchronize their frames with this layer).
2.
Using the DMX Library and File parameters, select a folder and movie file for
playback.
3.
Assign the Play Mode parameter of this layer to a DMX value of 2 (Play Loop
Forward)
Set Slave Layer
4.
On your lighting console, select a layer of another server to synchronize to the master
layer.
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5.
Using the DMX Folder and File parameters, select a folder and movie file for
playback. It does not have to be the same movie as on the master layer.
6.
With this slave layer, adjust the DMX value of the Play Mode parameter to a DMX
value between 80 and 99. The exact value determines which SyncID is used for
synchronization. For example, a DMX value of 80 synchronizes to SyncID number 1.
The Wholehog II uses alpha-numeric labels to describe
values of the Play Mode parameter. SyncID modes
appear as SyncID#, where # equals the numeric value
of the assigned SyncID.
The Wholehog III has a toolbar menu with the Play
Mode parameter SyncID numbers. Select the desired
SyncID.
The two layers on separate servers will now synchronize their frame-by-frame playback.
You can disable synchronization at any time by changing the slave layer’s Play Mode
parameter DMX value.
Monitoring Remote Servers
When multiple Catalyst Media Servers are connected with Ethernet connections, you can
view information about any server on the network from any other server on the network.
Broadcast Remote Preview
1.
To set up a server to broadcast remote preview information to other servers, locate
the CIB Connection panel at the top of the Catalyst Control window on the
PowerMac.
Remote field
2.
Click on the Remote field in the bottom right corner of the CIB Connection panel to
open a pop-up menu.
3.
In the pop-up menu, select “Broadcast to Remote Preview On”. The menu will close
and the Remote Field will read “Remote ON”.
4.
Repeat this process for all servers on the network that you wish to remotely monitor.
Each server on the network can be assigned a custom name to assist with personal
organization.
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5.
Click on the Name field of the CIB Connection panel and type in a desired name for
the server.
Name field
Using the Remote Machines Diagnostic Display
1.
Using the keyboard, press “W” (Output 1) or “X” (Output 2) to activate the Diagnostic
Displays.
2.
Using the keyboard, press “E” (Output 1) or “C” (Output 2) to scroll through the
Diagnostic Displays until the Remote Machines diagnostic display appears.
3.
Within the Remote Machines diagnostic display, all the Catalyst Media Servers on the
network are displayed in a numbered list. Their name, IP address and other
information is also displayed.
4.
To display parameter information for all layers of a particular Catalyst Media Server,
click on the number to the left of the server name. The bottom portion of the
information screen will display continually updated information about the parameters
for each layer of the selected server.
5.
Exit the Diagnostic Display by pressing “Q” (Output 1) or “Z” (Output 2).
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Sending Remote Commands to Servers
In addition to synchronizing and monitoring other Catalyst Media Servers on an Ethernet
network, you can send remote commands to networked servers.
1.
To set up a server to accept remote commands from another server, locate the CIB
Connection panel at the top of the Catalyst Control window on the PowerMac.
2.
Click on the Remote field in the bottom right corner of the CIB Connection panel to
open a pop-up menu.
Remote setup
for slave servers
3.
In the pop-up menu, select “Accept Remote Commands”. A check mark will be placed
next to the option and the menu will close.
4.
Repeat this process for all servers on the network that you wish to accept remote
commands.
5.
From any Media Server on the network, open the pop-up menu in the Remote field of
the CIB Connection panel.
6.
Click on any of the following commands to send it to all enabled machines on the
network:
Send Goto Fullscreens for All Connected. All Media Servers on the network that
are set to Accept Remote Commands enter full screen mode on all outputs.
Send Shutdown to All Connected. All Media Servers on the network that are set to
Accept Remote Commands shut down.
Send Restart to All Connected. All Media Servers on the network that are set to
Accept Remote Commands reboot. Once the servers have rebooted, you must
manually restart the Catalyst application on each server.
Send Sleep to All Connected. All Media Servers on the network that are set to
Accept Remote Commands enter sleep mode. You can wake sleeping Media
Servers by sending them a Broadcast to Remote Preview On or Goto FullScreen
command.
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Chapter 17:
Audio Input
On any layer, choosing a Visual Effects parameter DMX value of 123 changes the Layer’s
output a waveform display of an audio input into the Catalyst Media Server. The
waveform can then be manipulated with the Layer’s parameters in the same manner as
content played back from the hard drive. The audio feed is input into the Catalyst Media
Server via the PowerMac’s audio in connection.
Configuring the Audio Feed
1.
On the back of the PowerMac computer, connect your audio feed
to the PowerMac’s audio input port using a 3.5mm miniphone
jack.
2.
Quit the Catalyst
application.
3.
Using the PowerMac
Finder, locate the
Audio MIDI Setup
application in the
Applications>Utilities
folder. Click to open the
file.
4.
Assign the Default
Input to Built-In Audio.
5.
Assign the Source to
Line In
6.
Close the Audio MIDI
Setup window and
launch the Catalyst
application.
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Activating the Audio Input
7.
Use the Audio Input panel on the Catalyst Control window to activate Audio Input.
Click on the round On/Off button to activate the Video Input panel
When the Visual Effects parameter is
assigned a DMX value of 123, the Layer’s
content is replaced with a waveform of the
audio input.
The Parameter 1 (FX1) selects different types
of audio waveforms. The Parameter 2 (FX2)
parameter does not function with this Visual
Effect.
Waveform Type Selection
A Layer displaying an
audio input waveform.
The following chart lists the waveform types available by
adjusting the Parameter 1 (FX1) parameter:
Waveform Type
DMX
Value
Mono Sound Waveform with Solid Outline
0
Mono Sound Envelope with Solid Outline
1
Mono Sound Single Waveform with Solid
Outline
2
Mono Sound Single Waveform with Dashed
Outline
3
Stereo Sound Dual Envelope with Solid
Outline
4
Spectral Analysis by Frequency
5
Phase Vector Scope drawn as Solid Lines
6
Phase Vector Scope drawn as Solid Lines
7
Phase Vector Scope drawn as Dots
8
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Chapter 16:
Video Input
Choosing a Library parameter DMX value of 255 for any layer switches that layer's
content source from the Media Server hard drive to a video feed input. The video feed can
then be manipulated with the Layer’s parameters in the same manner as content played
back from the hard drive.
Connecting the Video Feed
Video feeds are input into the Catalyst Media Server via the PowerMac’s FireWire
connection or with an optional video input card. The Catalyst Media Server supports a
wide variety of video input cards from most major manufacturers. To determine whether
the Catalyst Media Server supports a particular card, contact High End Systems customer
support.
1.
Shutdown the PowerMac computer.
2.
On the back of the computer, connect your video feed to a FireWire port or video
input card.
3.
Reboot the computer and launch the Catalyst application.
Configuring the Video Input
Use the Video Input panel on the Catalyst Control window to configure Video Input.
1.
Click on the round On/Off button to activate the Video Input pane. .l
Outlines turn
yellow when
activated
2.
Click on the Video Input selection field to select a Video Input device. A popup menu
will display any devices found by the Catalyst application.
Video Input
Field
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3.
Click on the small monitor icon to toggle on and off a live preview of the Video Input.
This preview is for test purposes only and should be switched off during normal
Catalyst use.Click on the Settings... field to pop up a menu of display options for the
Video Input.
Monitor Icon
4.
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Choose the desired setting and click to select..
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Chapter 18:
Serial Control
The Catalyst Media Server can control peripheral devices such as video switchers or
projector shutters through the PowerMac’s Universal Serial Bus (USB) ports. Using the
RS-232 serial communications protocol, the Catalyst Control window’s Custom Serial
panel transmits RS-232 control commands to the peripherals as a response to changed
DMX values. This feature lets non-DMX controlled devices coordinate automatically with
events and images in your show.
Each RS-232-enabled serial device is configured through one DMX In panel in the
Catalyst Control window. The serial device then uses one DMX channel for control from a
lighting console.
Connecting RS-232 Devices
Many aftermarket companies manufacture USB to Serial devices for use with the
PowerMac computer. Typically these devices consist of a USB connector on one end and a
DB9 on the other. Contact High End Systems technical support for recommended USB to
serial devices.
Connect the RS-232 device’s USB plug to the USB port on the PowerMac G5 computer.
CAUTION!
RS-232 signal strength can degrade sharply over cables longer
than 45-50 feet (15 meters). Consult the manufacturer’s
documentation to determine maximum practical cable length.
Assigning a DMX Channel
1.
In an unused DMX In panel, click the left button to turn on the panel. The button’s
center and edge turn from gray to yellow.
2.
Click the description of the layer, to the right of the channel number. On the pop-up
menu, select Custom Serial Trigger 1 or 2. These triggers use the two Custom Serial
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Serial Control
panels in the Catalyst Control window. Trigger 1 uses the top Custom Serial panel.
Trigger 2 uses the bottom Custom Serial panel.
3.
Click the field showing the DMX start channel number. Type the value of the channel
to assign to the serial device. Each serial device uses one DMX channel.
Assigning the Interface and Data Format
The RS-232 standard specifies several different data drivers for the PowerMac computer.
The Media Server can send commands using any of these drivers. Check the USB to
Serial device’s documentation to determine the driver used by your serial device, then set
the interface using this procedure:
1.
In the Catalyst Control window’s Custom Serial panel, click the field labeled No
Output to bring up a pop-up menu.
2.
When an RS-232 device is attached to one of the PowerMac USB ports, its driver
appears in this pop-up menu. By default the menu also includes several PowerMac
system options:
OSX Midi. This choice is unavailable. You cannot send RS-232 serial control
commands over MIDI.
Apple IAC Device IAC Driver IAC Bus 1. The Inter-Application Communications
driver lets multiple software applications communicate with one another.
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Serial Control
OSX Serial Ports. •Any USB to Serial devices plugged into the computer will
appear in this menu section.
3.
Select the RS-232 driver for the attached serial device. The No Output status changes
to show the selected serial driver.
Next, set the serial device’s baud rate (transmission speed) and data format (the method
the device uses to encode its RS-232 messages). This information should be available in
the serial device’s documentation; the data format is usually described in terms of data
bits, stop bits, and parity.
4.
Click the same field you clicked in Step 1 to access the pop-up menu again.
5.
Select OSX Serial Ports.
6.
Select the baud rate and data format used by the attached serial device.
Setting the Serial Commands
Each DMX channel assigned to a serial device can trigger up to 10 strings, based on the
DMX values the lighting console sends to the Catalyst Media Server. You can define each
string sent to the peripheral device, or customize the sample inbuilt strings that are keyed
to specific manufacturers’ equipment.
1.
In the Custom Serial panel, click one of the ten numbered buttons to create a serial
command string that will be sent to the peripheral device. The Edit General Serial
Preset dialog box appears.
2.
In the Name field, type a description of the string’s function or purpose.
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Serial Control
3.
For the command string itself, you will define your own string command as required
by the triggered device. In addition, the Catalyst software includes several pre-defined
strings as examples. If you choose a built-in string, you can use it as is, or customize it
as needed.
Custom String Command
In the Serial String box type the string itself. A string can be text, a hexadecimal value, or
a combination of both. Consult the serial controlled device’s manual for exact serial
strings required.
Text. • Enclose a text
string in quotation
marks.
Hexadecimal. •Enclose
a base-16 hex value in
[brackets].
Combination. •Chain
together an indefinite
numbers of text and
hexadecimal strings in
the Serial String box.
Sample Strings
The Catalyst application offers many sample string
commands. Click the Inbuilt Strings field to open a
pop-up menu. From the pop-up menu select a function.
The selected string populates the Serial String box.
Note: The Extron commands refer to video switching
equipment made by Extron Electronics.
The “Open shutter” and “Close shutter,” “Power
on/off,” and “Picture mute on/off” commands
work with NEC projectors.
The “1 to 2” and “1 to 3” commands refer to the
Leitch video switcher.
The “midi notes” and “midi note 48 on off”
commands are used for internal testing only
and not available.
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Serial Control
4.
After defining the desired action, click Send Now to test this string on your serial
device.
5.
Close the Edit General Serial Preset window by clicking the O.K. button.
6.
Repeat with the other Custom Serial panel buttons until you have entered all the
command strings needed.
Triggering Serial Devices from DMX
When the Media Server receives a DMX channel
value allocated to a particular button on the Custom
Serial panel, the software transmits the associated
string to the connected serial device. The Media
Server sends the string once each time it receives the
associated DMX value.
Catalyst® V3 Media Server User Manual
Serial Button DMX values
Serial
Button
DMX
Value
OFF
0
1
6
2
31
3
56
4
81
5
106
6
131
7
156
8
181
9
206
10
231
141
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Serial Control
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Catalyst® V3 Media Server User Manual
Chapter 19:
MIDI Timecode
Catalyst Media Servers can receive MIDI timecode and a Layer’s playback can
synchronize to the timecode.
Connecting MIDI Timecode Devices
Many aftermarket companies manufacture USB to MIDI devices for use with the
PowerMac computer. Typically these devices consist of a USB connector on one end and a
number of MIDI connections on the other. Contact High End Systems technical support
for recommended USB to MIDI devices.
Connect the MIDI device’s USB plug to the USB port on the PowerMac computer.
Assign the MIDI Device
Click on the Device field of the Midi Time Code Input panel in the Catalyst Control
window. Click on the installed MIDI device to select it.
Device field
Synchronizing a Layer with MIDI Timecode
Assign the Play Mode parameter of a Layer to a DMX value of 100(Sync to MTC 0hr) to
read the current frame from the MIDI device. The Layers content will playback according
to the values of the MIDI timecode. Additional Play Mode values synchronize to different
times. For example, a Play Mode parameter value of 101 synchronizes to MTC 1hr and a
value of 102 to 2hr.
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MIDI Timecode
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Chapter 20:
Sony 9-pin RS422
Some versions of Catalyst software include the ability to control video equipment using
the Sony 9-pin RS422 editing protocol. Devices using this protocol include Omega video
decks, Doremi players, Sony broadcast products, as well as JVC and Panasonic products.
Consult your playback device specifications for further information.
When properly configured. the Catalyst Control win-dow’s Sony 9-pin panel transmits
RS422 control commands to the attached peripherals as a response to changed DMX
values. This allows triggering of video playback decks and devices from you lighting
controller.
The Sony 9-pin panel.
The Sony 9-pin RS422 protocol requires a serial output device for the PowerMac that is
capable of transmitting RS422. Alternately an RS-232 to RS422 converter capable of operating at 38400 baud can be used. High End Systems recommends the SXPro Serial Card
or the USB Twin Serial Adapter, both manufactured by Keyspan (www.keyspan.com).
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Sony 9-pin RS422
Assigning the Interface and Data Format
1.
Click on the Device field to pop up a menu of serial devices:
Device field
2.
146
Click on OSX Serial Setup... to open the Serial Port Setup window. Select the Sony
9pin38400 baud preset and click OK to close the window:
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CHAPTER 20
Sony 9-pin RS422
3.
Click on the Device field to pop up the menu of devices and click on the properly
configured device:
Click on the properly
configured device.
When properly configured and
connected, the Sony 9-pin device
panel displays green and blue
transmit and receive lights.
Transmit and Receive indicators
Manual testing of the device is available by clicking on the playback buttons on the Sony
9-pin device panel. Timecode from the playback device should also appear on the panel:
Playback buttons
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Timecode display
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Sony 9-pin RS422
Assigning a DMX Channel
1.
In an unused DMX In panel, click the left button to turn on the panel. The button’s
center and edge turn from gray to yellowl
2.
Click the description of the layer, to the right of the channel number. On the pop-up
menu, select Sony 9Pin RS422 1.
3.
Click the field showing the DMX start channel number. Type the value of the DMX
start channel to assign to the Sony device. The Sony 9-pin device uses six DMX
channels..
Triggering a Sony 9-pin Device from DMX
Using the six DMX channels assigned to the Sony
device, first setup a command then trigger that
command from your lighting console.
Command
no action
Play
The first channel of the device is the master enable
Pause
channel used for triggering. The second channel is the
Stop
command, and the remaining channels assign the deck
Rewind
position.
The master enable channel only transmits commands
when the channel is changed from 0 to 255.
148
DMX Value
0-9
10-19
20-29
30-39
40-49
Fast Forward
50-59
Cue to time
60-69
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CHAPTER 20
Sony 9-pin RS422
The 3rd channel is timecode Hours. The 4th channel is timecode Minutes. The 5th channel
is timecode Seconds. The 6th channel is timecode Frames.
Each of the above timecode parameters uses the following DMX protocol:
Time
Value
DMX
Value
Time
Value
DMX
Value
Time
Value
DMX
Value
Time
Value
DMX
Value
Time
Value
DMX
Value
0
0
15
59
30
119
45
179
60
240
1
3
16
63
31
123
46
183
2
7
17
67
32
127
47
187
3
11
18
71
33
131
48
191
4
15
19
75
34
135
49
195
5
19
20
79
35
139
50
199
6
23
21
83
36
143
51
203
7
27
22
87
37
147
52
207
8
31
23
91
38
151
53
211
9
35
24
95
39
155
54
215
10
39
25
99
40
159
55
219
11
43
26
103
41
163
56
223
12
47
27
107
42
167
57
227
13
51
28
111
43
171
58
231
14
55
29
115
44
175
59
235
Synchronizing to the Deck’s Timecode
Catalyst Media Server layers can be synchronized with timecode sent from Sony 9-pin
devices.
Assign the Play Mode parameter of a layer to a DMX value of 103(Sync to Sony 1) to read
the current frame from the Sony 9-pin device. To assign a negative offset, use the In
Frame parameter value and for a positive offset use the Out Frame parameter value.
Syncing ignores the hours setting because a 16 bit DMX value is only able to represent 44
minutes at 25 fps
Example 1
To assign the first frame of a Catalyst Layer’s movie to play at a time code of point 0hr 1
min 30 sec 5 frames:
1.
Calculate frame offset:
(1min * 60 * 25) + (30secs * 25) + 5frames = 1500 + 750 + 5 = 2255
2.
Set the In Frame value to 2255 and Out Frame to 0.
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Sony 9-pin RS422
When the Play Mode parameter is se t to Sync to Sony 1 and the deck is played, the
Layer’s movie should play and stay in sync with the deck.
When the video deck is played or stopped, the Layer’s movie will do the same.
Example 2
To sync to something with a timecode of 1hr 45 min 0 sec 0 fr:
Use the Out Frame to set a positive offset. To calculate this value, round up to the nearest
hour. With the above example, the time code is 15 minutes before timecode 2hr.
So our positive offset is (15min * 60 * 25) = 22500
Set the In Frame value to 0 and the Out Frame value to 22500.
Note: The above examples are calculated with PAL settings of 25fps. When using
NTSC 30fps change the frame rate value of the formula from 25 to 30.
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Catalyst® V3 Media Server User Manual
Chapter 21:
Art-Net Protocol
™
Catalyst Media Servers can receive DMX-512 over an Ethernet network using the Artistic
License Art-Net™ protocol. Art-Net is a communications system that allows DMX-512 to
be transmitted over Ethernet. Catalyst Media Servers can directly receive the Art-Net
protocol instead of standard DMX plugged into the CIB.
To connect several servers to an Art-Net network, power off all servers and run Gigabit
Ethernet cable from each server to a shared Gigabit Ethernet hub on the Art-Net network.
Assigning a DMX In Panel to Art-Net
Assigning Catalyst DMX In panels to respond
to Art-Net instead of standard DMX is a simple
process.
Next to the On/Off button in each DMX In
panel is a field used to assign the DMX source.
Click on the field to open a pop up window with
available sources. You can then select CIB
(when standard DMX is used) or one of ten ArtNet channels.
The DMX panel will display its assigned DMX
source:
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Art-Net™ Protocol
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Catalyst® V3 Media Server User Manual
Appendix A
Understanding DMX-512
A lighting console typically utilizes a protocol called DMX-512 to communicate with
automated lighting fixtures and conventional dimmers. This protocol consists of 512
unique channels of control per output link (universe). Each channel is capable of
producing 256 values ranging from 0 to 255. Typically a lighting fixture or device will use
a channel for each parameter of the fixture and the associated values of that channel will
control the various functions of that parameter. The lighting console is then programmed
to transmit a corresponding DMX value for the desired function of each parameter. All
DMX values are stored within in the lighting console, and typically are referred to as cues,
scenes, or presets.
Catalyst Media Server Layers operate in the same manner as lighting fixtures in regards
to DMX control. Each parameter of a layer has one or two DMX channels assigned to it,
which when adjusted from a lighting console provides various manipulations of that
parameter. The total range of DMX channels used by a single Catalyst Layer is known as
the DMX protocol and consists of 40 DMX channels.
8-bit vs. 16-bit DMX
Most parameters of an automated light use one channel of DMX providing 256 values of
control (0-255). This is known as 8-bit DMX. Although several parameters of the Catalyst
Media Server use 8-bit DMX, most require a more accurate range of values than can be
provided with a single DMX channel. By utilizing two DMX channels for a single
parameter, 65535 values become available for controlling and adjusting parameter
functions. This is known at 16-bit DMX. You can adjust 16-bit DMX values in both coarse
and fine increments. The first channel of the pair provides coarse control changes of the
DMX value in increments of 256. The second channel of the pair provides fine control and
changes of the DMX value in increments of 1.
Lighting Consoles
Lighting consoles differ in many aspects and it is important to understand how your
console operates with Catalyst Media Servers.
Fixture Libraries. Many sophisticated lighting consoles utilize pre-made fixture
libraries. A fixture library consists of profiles for various types of lighting fixtures
and devices. Each profile corresponds to the fixture’s DMX protocol and allows
for ease of programming. Depending upon the manufacturer of your lighting
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CHAPTER Appendix A
Understanding DMX-512
console, some Catalyst parameters might have different labels for parameter
names and functions than are listed within this manual. Consult your lighting
console manual for further information.
DMX Output Displays. Although all lighting consoles output the same 512
channels of DMX per link, the on-screen labeling often differs. Parameter
functions are displayed in either alpha-numeric descriptions (strobe 1),
percentage (0-100%) or decimal (0-255 for 8-bit and 0-65535 for 16-bit). Consult
your lighting console manual for further information.
16-bit DMX. Individual access of the two DMX channels used with 16-bit
parameters varies by lighting console. Consult your lighting console manual for
further information.
Default Values. While all Catalyst layer parameters have a range of possible DMX
values starting at zero, not all functions should default to zero. Many lighting
consoles define default DMX values for a fixture within the fixture’s library or
with a default scene or cue. High End Systems has recommended a set of defaults
to create consistent and predictable profiles across consoles.
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Catalyst® V3 Media Server User Manual
Appendix B
Catalyst DMX Protocol
Cha
#
Value
dec.
Default
Value
0-253
254
255
0
0-255
0
Adjusts the In frame point
065535
0
Adjusts the Out frame point
065535
Function
1
Library
2
File
3
4
5
6
In Frame Coarse
In Frame Fine
Out Frame Coarse
Out Frame Fine
7
Play Mode
8
Playback Speed
Description
Content Selection and Playback
Selects folder to access from hard drive
Use Layer
Video Input
Selects image file from the selected folder
Selects layer when Channel 1 value equals 254
Selects video input when Channel 1 value equals 255
Display the In frame
Display the Out frame
Play loop forward
Play loop reverse
Play once forward
Play once reverse
Stop
Random
PlaySine
Play loop forward when intensity is greater than zero
Play loop reverse when intensity is greater than zero
Play once forward when intensity is greater than zero
Play once reverse when intensity is greater than zero
Random when intensity is greater than zero
PlaySine when intensity is greater than zero
Synchronize to master unit (1-20)
Synchronize to MIDI Timecode
Synchronize to Deck Timecode
Synchronize to Sony 1
Synchronize to Sony 2
Synchronize to Sony 3
[Reserved]
Playback at 100% recorded speed
Pause playback
Playback at 0–200% recorded speed
Catalyst® V3 Media Server User Manual
0
1
2
3
4
5
6
7
8
10
11
12
13
14
15
80-99
100
101
103
104
105
106-255
0
1
2-255
0
0
0
155
Appendix B
Catalyst DMX Protocol
Cha
#
9
Function
X-axis Rotate
(vertical flip)
Coarse adjustment
10
X-axis Rotate
(vertical flip)
Fine adjustment
11
Y-axis Rotate
(horizontal flip)
Coarse adjustment
12
13
14
15
16
156
Y-axis Rotate
(horizontal flip)
Fine adjustment
Z-axis Rotate
(circular rotation)
Coarse adjustment
Z-axis Rotate
(circular rotation)
Fine adjustment
Scale
Coarse adjustment
Scale
Fine adjustment
Value
dec.
Description
Position Control
Continuous variable-speed counterclockwise image
rotation around the X-axis (fast to slow)
Continuous rotation stop
Rotates the image counterclockwise around the X-axis
from 720° to 0°
0° rotation about the X-axis
Rotates the image clockwise around the X-axis 0° to
720°
Continuous rotation stop
Continuous variable-speed clockwise image rotation
around the X-axis (slow to fast)
Continuous variable-speed counterclockwise image
rotation around the Y-axis (fast to slow)
Continuous rotation stop
Rotates the image counterclockwise around the Y-axis
from 720° to 0°
0° rotation about the Y-axis
Rotates the image clockwise around the Y-axis 0° to
720°
Continuous rotation stop
Continuous variable-speed clockwise image rotation
around the Y-axis (slow to fast)
Continuous variable-speed counterclockwise image
rotation around the z axis (fast to slow)
Continuous rotation stop
Rotates the image counterclockwise about the z axis
from 720° to 0°
0° rotation about the z axis
Rotates the image clockwise around the z axis 0° to
720°
Continuous rotation stop
Continuous variable-speed clockwise image rotation
around the z axis (slow to fast)
Adjusts size of inverted image from 8x actual size to 0
Image scaled to 0 (vanishes)
Resizes images from 0 to actual size
Actual size
Adjusts normal image size from 0 to 8x actual size
016382
16383
1638432767
32768
3276949152
49153
4915465535
016382
16383
1638432767
32768
3276949152
49153
4915465535
016382
16383
1638432767
32768
3276949152
49153
4915465535
0-32767
32768
3276936863
36864
3276965535
Default
Value
32768
32768
32768
32768
32768
Catalyst® V3 Media Server User Manual
Appendix B
Catalyst DMX Protocol
Cha
#
Function
17
X Position
Coarse adjustment
18
X Position
Fine adjustment
19
Y Position
Coarse adjustment
20
Y Position
Fine adjustment
21
Aspect Ratio
22
Movement Speed
23
Intensity
24
Red
25
Green
26
Blue
Description
Moves image left from center of display
Centers image left-to-right in display
Moves image right from center of display
Moves image down from center of display
Centers image up-and-down in display
Moves image up from center of display
Compresses image horizontally
Compresses image vertically
Image movement speed
Intensity and Color Control
Black
Adjusts intensity from black to full
Full intensity
Filters out all Red in image
Adjusts less to full Red in image
Red in image unaffected
Filters out all Green in image
Adjusts less to full Green in image
Green in image unaffected
Filters out all Blue in image
Adjusts less to full Blue in image
Blue in image unaffected
Value
dec.
Default
Value
0-32767
32768
32768
3276965535
0-32767
32768
3276965535
0-128
129-255
0-255
0
1-254
255
0
1-254
255
0
1-254
255
0
1-254
255
32768
0
0
0
255
255
255
Effects Control
27
Strobing
28
Trails
29
Color Effects
No strobe
Strobe pattern 1
Strobe pattern 2
Strobe pattern 3
Strobe pattern 4
Flicker/Black
Random
No strobe
Creates persistent afterimages with increasing duration
RGB Subtract
RGB Subtract High Contrast
RGB Subtract Very High Contrast
Transparent Blacks
Catalyst® V3 Media Server User Manual
0
1-24
25-49
50-74
75-99
100-124
125-149
150-255
0-255
0
1
2
3
0
0
0
157
Appendix B
Catalyst DMX Protocol
Cha
#
29
158
Description
Value
dec.
Transparent Whites
RGB Subtract Inverted Color
RGB Subtract High Contrast Inverted Color
RGB Subtract Super High Contrast Inverted Color
Invert Whatever
RGB Subtract Inverted Color CMY
RGB Subtract High Contrast Inverted Color CMY
RGB Subtract Super High Contrast Inverted Color CMY
Black White
Black White High Contrast
Black White Super High Contrast
Black White Variable Super High Contrast
Invert Black White
Mask
Inverse Mask 1
Inverse Mask 2
Mask Fading
Invert Mask 1 Fading
Invert Mask 2 Fading
Alpha invert as Red
Alpha invert as Green
Alpha invert as Blue
Alpha invert as Color
Alpha as Red
Alpha as Green
Alpha as Blue
4
10
11
12
13
14
15
16
20
21
22
23
24
30
31
32
35
36
37
40
41
42
43
44
45
46
Alpha as Color
Lookup 2 False Color
Lookup 3 BW Solarize Highlights
47
51
52
Gamma BW (image is greyscale)
Gamma Color
Gamma Color Adjustment on Separate Channels
Color Gain Adjustment on separate channels
60
Quantize Color on Separate Channels
Convert to YUV
Color Saturation (controlled by Red channel)
Mega Saturation
Solarize
65
Solarize Invert
RGB Layer Blend 1
74
80
Function
Color Effects
(continued)
Default
Value
0
61
62
63
70
71
72
73
Catalyst® V3 Media Server User Manual
Appendix B
Catalyst DMX Protocol
Cha
#
29
30
Value
dec.
Default
Value
RGB Layer Blend 2
RGB Layer Blend 3
RGB Layer Blend 4
RGB Layer Blend 5
RGB Layer Blend 6 Add
RGB Layer Blend 7 Subtract
RGB Layer Blend 10 Maximum
RGB Layer Blend 11 Add 2
RGB Layer Blend 12 Inverse Add 2
Tint
Tint Inverse
Fade to hue
RGB > GBR
RGB > BGR
RGB > GRB
81
82
83
84
85
86
89
90
91
100
101
102
103
104
105
0
Movie on Non-infinite Plane
Movie on Infinite Plane Black
Unity Scale
Movie on Keystone
Setup Keystone
Movie on Sphere—Filled
Movie on Sphere—Wireframe
Movie on Sphere—Points
Movie on Sphere—Lit
Movie on Disc—Filled
Movie on Disc—Wireframe
Movie on Disc—Points
Movie on Disc—Silhouette
Movie on Kaleidoscope
0
1
2
5
9
10
11
12
13
14
15
16
17
20
Movie on Magic Lantern
Movie Stretched
Movie Panorama Slices
Movie on Magic Lantern 2
Movie on Cube—Four Sides
Movie on Cube—Six Sides
Movie on Colored Cube—Six Sides
Movie on Cube—First Four Layers
Movie on N x N Simultaneous Tiles
Movie on N x N Simultaneous Tiles—Random Color
Movie on N x N Consecutive Tiles
Movie on N x N Consecutive Tiles—Random Color
21
Function
Color Effects
(continued)
Visual Effects (FX)
Description
Catalyst® V3 Media Server User Manual
0
22
23
24
30
31
32
33
40
41
42
43
159
Appendix B
Catalyst DMX Protocol
Cha
#
Function
Description
30
Visual Effects (FX)
(continued)
Movie on N x N Consecutive Tiles—Random Frame
Movie on Random Flicker
Movie on Random Color Flicker
Rectangle Shuttered Crop Top Bottom
Rectangle Gradient Color Shuttered
N-Sided Shape Shuttered Color
Shutter—Black
Shutter—Color
Iris Shuttered
Movie on Teapot—Filled
Colored Sphere
Spectrograph
31
32
Parameter 1 (FX1)
Parameter 2 (FX2)
Functions depend on Visual Effect (Channel 30) setting
Value
dec.
44
45
46
60
61
62
70
71
72
100
120
123
0-255
0-255
Default
Value
0
0
0
Keystone Correction
33
Keystone x1
34
Keystone y1
35
Keystone x2
36
Keystone y2
37
Keystone x3
38
Keystone y3
39
Keystone x4
40
Keystone y4
160
Moves image’s upper left-hand corner left along X-axis
No correction
Moves upper left-hand corner right along X-axis
Moves upper left-hand corner down along Y-axis
No correction
Moves upper left-hand corner up along Y-axis
Moves lower right-hand corner left along X-axis
No correction
Moves lower right-hand corner right along X-axis
Moves lower right-hand corner down along Y-axis
No correction
Moves lower right-hand corner up along Y-axis
Moves lower right-hand corner left along X-axis
No correction
Moves lower left-hand corner right along X-axis
Moves lower right-hand corner down along Y-axis
No correction
Moves lower right-hand corner up along Y-axis
Moves lower left-hand corner left along X-axis
No correction
Moves lower left-hand corner right along X-axis
Moves lower left-hand corner down along Y-axis
No correction
Moves lower left-hand corner up along Y-axis
0-127
128
129-255
0-127
128
129-255
0-127
128
129-255
0-127
128
129-255
0-127
128
129-255
0-127
128
129-255
0-127
128
129-255
0-127
128
129-255
128
128
128
128
128
128
128
128
Catalyst® V3 Media Server User Manual
Appendix C:
Copyrighted Materials FAQ
The following FAQ, written by Suzy Vaughan Associates for High End Systems, can help
you determine the correct use for materials that may be copyrighted.
I want to use a film clip in a promotional piece advertising my services. What do I have to
do to be able to do that?
First of all, you need to obtain permission to use the clip from its owners. The clip is
considered intellectual property, just as though it were your car or some software code
developed by and belonging to Microsoft. This is because the U.S. Copyright Act gave
creators of literary works [which include books, films, television programs, art works, still
photos and musical compositions and recordings] the right to sell or license these works
and to make money from them for the period of the copyright.
But what about public domain material? I heard that lots of material is in the public domain
and can be used for free.
Once the copyright runs out, the creative work falls into the public domain and can be
used freely by anyone without payment or licensing. If the work is not public domain, it is
considered literary property. The Copyright Act provides substantial penalties for
copyright infringement ranging from $10,000 for accidental infringement to $250,000 for
willful infringement. However, contrary to popular belief, there really is not that much
material in the public domain so this approach will limit you creatively.
What if I want to use a clip in a public performance? It’s not being filmed or taped. Surely I
don’t need permission for that?
Public gatherings require clearance whenever copyrighted data is projected to audiences,
or for any use other than just personal viewing. Concerts, tradeshows, industrial shows,
parties and raves are all examples of public performance and permission must be
obtained.
Suppose I want to use a still photo or a magazine cover or a television clip? Do I have to
obtain permission for them too?
Yes, they are also copyrighted works, whose owners must grant a license for their usage.
Do I need any other permissions to use this material?
In many cases you do. You may need to obtain permission to use the appearance of actors
who appear in the clip as well as pay the writers and directors of the film that your clip
comes from.
What about High End Systems material included with the Catalyst? Do I have to clear that?
Catalyst® V3 Media Server User Manual
161
Appendix C
Copyrighted Materials FAQ
No. High End Systems has worked to provide clearance for the content that is provided
with the Catalyst system. Any materials you received directly from High End Systems
with the purchase of a new Catalyst system have already been properly licensed for your
use in shows and presentations. That does not, however, license you to sell this content
separately from the Catalyst system. Also, please be sure that any new content you obtain
from outside sources is properly cleared for public presentation.
This sounds really difficult, and I don’t know how to do it. How do I properly license copyrighted material?
You need to consult with a Content Clearing House or with a properly licensed
Intellectual Property Attorney. Content clearinghouses are typically less expensive to
work with and have well established industry relations that can result in cost savings.
High End Systems uses and highly recommends Suzy Vaughan Associates.
How much does it typically cost to license copyrighted material?
The answer depends entirely on what material you want to use and how you plan to use it.
Prices can range from hundreds of dollars for photography content to thousands of
dollars for a highly desirable film/video clip. Because price is content-sensitive, the best
thing to do is to contact a clearinghouse to assist you.
*
162
Suzy Vaughan Associates has 20 years of experience in clearing clips, talent, and music
for use in any number of venues. Their clients include Barbra Streisand, Michael Jackson, and The Emmys among other others. Contact Suzy Vaughan Associates’ at 818-9885599, info@suzyvaughan.com, or www.suzyvaughan.com .
Catalyst® V3 Media Server User Manual
Appendix D
Product and Safety Information
Product Information
Computer Specifications
The following specifications apply to currently shipping Catalyst Media Servers; earlier
G4-based systems upgraded to the Catalyst Media Server will have different
specifications.
•
Dual 2GHz PowerMac G5 (or higher)
•
ATI Radeon 9800 Pro (or higher)
•
Mac OS 10.3.3 (or higher)
•
Quicktime 6.5 (or higher)
Note for upgrading customers: Though Catalyst software will run on a Dual 1.25 GHz
PowerMac G4 or higher, it is not recommended due to performance problems. High End
Systems recommends that all Catalyst users upgrade to a Dual 2GHz PowerMac G5 or
higher.
Electrical Specifications
Warning!
Class 1 equipment—this equipment must be grounded.
Auto Switching:
•
100-125v AC
•
200-240v AC
Rated Power: 400W
Environmental Specifications
Maximum ambient temperature (Ta): 35°C (95°F)
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163
Appendix D
Product and Safety Information
Installing Power Cord Caps
The Catalyst Media Server control rack may ship without an attached power cord cap.
Different locations (even within the same country) may require a different power cord cap
to connect the fixture to a power outlet.
Because of the variety of power cord caps used worldwide, High End Systems, Inc. cannot
make specific recommendations for the power cord cap.
Contact a local authority for the type of power cord cap needed. When installing the
power cord cap, note that the cores in the mains lead are colored in accordance with the
following code:
•
green and yellow = ground/earth
•
blue = neutral
•
brown = live
Warning!
Class 1 equipment—this equipment must be grounded.
Installing a Power Cord Cap – UK Only
In the United Kingdom, the colours of the cores in the mains lead of this equipment may
not correspond with the coloured markings identifying the terminals in the fixture’s plug.
Therefore, install a line cord cap in accordance with the following code:
•
The core coloured green and yellow must be connected to the plug terminal which is
, or coloured green, or green
marked with the letter “E,” or by the earth symbol
and yellow.
•
The core coloured blue must be connected to the terminal which is marked with the
letter “N”, or coloured black.
•
The core coloured brown must be connected to the terminal which is marked with the
letter “L” or coloured red.
Warning!
Class 1 equipment—this equipment must be earthed.
Vatic Fitter Heads Information – Danmark
Advarsel: Beskyttelse mod elektrisk chock.
Vigtigt!
eller
Lederne med gul/groen isolation maa kun tilsluttes en klemme maerket
164
Catalyst® V3 Media Server User Manual
Appendix D
Product and Safety Information
Catalyst Accessories
The following table lists accessories available for the Catalyst Media Server from your
High End dealer/distributor. For more information, contact your High End Systems
dealer/distributor or see .
Part Description
Part Number
Catalyst Interface Box
Wholehog III lighting console
Media Server control rack roadcase
LCD Monitor
Heavy duty 5-pin XLR cable(10’)
Heavy duty 5-pin XLR cable (25’)
Heavy duty 5-pin XLR cable (50’)
Heavy duty 5-pin XLR cable (100’)
Content Backup DVDs Vol 1
Content Backup DVDs Vol 2
56040004
61020001
56070001
56070009
55050017
55050018
55050019
55050020
56040034
56040039
Product Modification Warning
High End Systems products are designed and manufactured to meet the requirements of
United States and International safety regulations. Modifications to the product could
affect safety and render the product non-compliant to relevant safety standards.
Mise En Garde Contre La Modification Du Produit
Les produits High End Systems sont conçus et fabriqués conformément aux exigences des
règlements internationaux de sécurité. Toute modification du produit peut entraîner sa
non conformité aux normes de sécurité en vigueur.
Produktmodifikationswarnung
Design und Herstellung von High End Systems entsprechen den Anforderungen der U.S.
Amerikanischen und internationalen Sicherheitsvorschriften. Abänderungen dieses
Produktes können dessen Sicherheit beeinträchtigen und unter Umständen gegen die
diesbezüglichen Sicherheitsnormen verstoßen.
Avvertenza Sulla Modifica Del Prodotto
Prodotti di High End Systems sono stati progettati e fabbricati per soddisfare i requisiti
delle normative di sicurezza statunitensi ed internazionali. Qualsiasi modifica al prodotto
potrebbe pregiudicare la sicurezza e rendere il prodotto non conforme agli standard di
sicurezza pertinenti.
Catalyst® V3 Media Server User Manual
165
Appendix D
Product and Safety Information
Advertencia De Modificación Del Producto
Los productos de High End Systems están diseñados y fabricados para cumplir los
requisitos de las reglamentaciones de seguridad de los Estados Unidos e internacionales.
Las modificaciones al producto podrían afectar la seguridad y dejar al producto fuera de
conformidad con las normas de seguridad relevantes.
FCC Information
This equipment has been tested and found to comply with the limits for a Class A digital
device, pursuant to part 15 of the FCC rules. These limits are designed to provide
reasonable protection against harmful interference when the equipment is operated in a
commercial environment. This equipment generates, uses, and can radiate radio
frequency energy and, if not installed and used in accordance with the instruction
manual, may cause harmful interference to radio communications. Operation of this
equipment in a residential area is likely to cause harmful interference, in which case the
user will be required to correct the interference at his own expense.
166
Catalyst® V3 Media Server User Manual
Appendix D
Product and Safety Information
Warranty Information
Limited Warranty. Unless otherwise stated, your product is covered by a one year
parts,labor and technical support limited warranty. It is the owner’s responsibility to
furnish receipts or invoices for verification of purchase, date, and dealer or distributor. If
purchase date cannot be provided, date of manufacture will be used to determine
warranty period.
Returning an Item Under Warranty for Repair. It is necessary to obtain a Return
Material Authorization (RMA) number from your dealer or point of purchase BEFORE
any units are returned for repair. The manufacturer will make the final determination as
to whether or not the unit is covered by warranty.
Any Product unit or parts returned to High End Systems must be packaged in a suitable
manner to ensure the protection of such Product unit or parts, and such package shall be
clearly and prominently marked to indicate that the package contains returned Product
units or parts and with an RMA number. Accompany all returned Product units or parts
with a written explanation of the alleged problem or malfunction. Ship returned Product
units or parts to: 2105 Gracy Farms Lane, Austin, TX, 78758, USA.
Freight Damage Claims are invalid for fixtures shipped in non-factory boxes
and packing materials.
Freight. All shipping will be paid by the purchaser. Items under warranty shall
have return shipping paid by the manufacturer only in the Continental United States.
Under no circumstances will freight collect shipments be accepted. Prepaid shipping does
not include rush expediting such as air freight. Air freight can be sent customer collect in
the Continental United States.
REPAIR OR REPLACEMENT AS PROVIDED FOR UNDER THIS WARRANTY IS THE
EXCLUSIVE REMEDY OF THE CONSUMER. HIGH END SYSTEMS, INC. MAKES NO
WARRANTIES, EXPRESS OR IMPLIED, WITH RESPECT TO ANY PRODUCT, AND
HIGH END SPECIFICALLY DISCLAIMS ANY WARRANTY OF MERCHANTABILITY OR
FITNESS FOR A PARTICULAR PURPOSE. HIGH END SHALL NOT BE LIABLE FOR
ANY INDIRECT, INCIDENTAL OR CONSEQUENTIAL DAMAGE, INCLUDING LOST
PROFITS, SUSTAINED OR INCURRED IN CONNECTION WITH ANY PRODUCT OR
CAUSED BY PRODUCT DEFECTS OR THE PARTIAL OR TOTAL FAILURE OF ANY
PRODUCT REGARDLESS OF THE FORM OF ACTION, WHETHER IN CONTRACT,
TORT (INCLUDING NEGLIGENCE), STRICT LIABILITY OR OTHERWISE, AND
WHETHER OR NOT SUCH DAMAGE WAS FORESEEN OR UNFORESEEN.
Warranty is void if the product is misused, damaged, modified in any way, or for
unauthorized repairs or parts. This warranty gives you specific legal rights, and you may
also have other rights which vary from state to state.
Catalyst® V3 Media Server User Manual
167
Appendix D
Product and Safety Information
Safety Information
Warning: For Continued Protection Against Fire
1. This equipment for connection to branch circuit having a maximum overload
protection of 20 A.
Warning: For Continued Protection Against Electric Shock
1. If this equipment was received without a line cord plug, attach the appropriate line
cord plug according to the following code:
2.
•
brown–live
•
blue–neutral
•
green/yellow–earth
As the colours of the cores in the mains lead of this equipment may not correspond
with the coloured markings identifying the terminals in your plug, proceed as follows:
•
the core which is coloured green and yellow must be connected to the terminal in
the plug which is marked with the letter E or by the earth symbol
, or coloured
green or green and yellow.
•
the core which is coloured blue must be connected to the terminal which is
marked with the letter N or coloured black.
•
the core which is coloured brown must be connected to the terminal which is
marked with the letter L or coloured red.
3.
Class I equipment. This equipment must be earthed.
4.
Equipment suitable for dry locations only. Do not expose this equipment to rain or
moisture.
5.
Refer servicing to qualified personnel; no user serviceable parts inside.
168
Catalyst® V3 Media Server User Manual
Appendix D
Product and Safety Information
Importantes Informations Sur La Sécurité
Mise En Garde: Pour Une Protection Permanente Contre Les Incendies
1. Cet appareil de connection au circuit comporte une protection contre les surcharges
de 20 A.
Mise En Garde: Pour Une Protection Permanente Contre Les Chocs Électriques
1. Si cet équipement est livré sans prise de cable, veuillez connecter la prise de cable
correcte selon le code suivant:
•
marron—phase
•
bleu—neutre
•
vert/jaune—terre
2.
Débrancher le courant avant de changer les lampes ou d'effectuer des réparations.
3.
Cet équipement doit être uniquement utilisé dans des endroits secs. Ne pas l'exposer à
la pluie ou l'humidité.
4.
À l'intérieur de l'équipement il n'y a pas de pièces remplaçables par l' utilisateur.
Confiez l'entretien à un personnel qualifié.
5.
Equipement de Classe I. Cet équipement doit être mis à la terre.
Wichtige Hinweise Für Ihre Sicherheit
Warnung: Zum Schutz Vor Brandgefahr
1. Dieses Gerät darf nur an eine Zweigleitung mit einem Überlastungsschutz von
höchstens 20 A angeschlossen werden.
Warnung: Zum Schutz Gegen Gefährliche Körperströme
1. Wenn dieses Gerät ohne einen Netzkabelstecker erhalten wurde, ist der
entsprechende Netzkabelstecker entsprechend dem folgenden Code anzubringen:
•
Braun—Unter Spannung stehend
•
Blau—Neutral
•
Grün/Gelb—Erde
2.
Vor dem Austauschen von Lampen oder vor Wartungsarbeiten stets den Netzstecker
ziehen.
3.
Diese Geräte sind nur zum Einbau in trockenen Lagen bestimmt und müssen vor
Regen und Feuchtigkeit geschützt werden.
4.
Servicearbeiten sollten nur von Fachpersonal ausgeführt werden. Das Gerät enthält
keine wartungsbedürftigen Teile.
5.
Dieses Gerät gehört zur Klasse I. Dieses Gerät muß geerdet werden.
Catalyst® V3 Media Server User Manual
169
Appendix D
Product and Safety Information
Información Importante De Seguridad
Advertencia: Para Protección Continua Contra Incendios
1. Este equipo debe conectarse a un circuito que tenga una protección máxima contra
una sobrecargas de 20 A.
Advertencia: Para La Protección Continua Contra Electrocuciones
1. Si se recibió este equipo sin el conector de alimentacion, monte usted el conector
correcto según ia clave siguente:
•
moreno—vivo
•
azul—neutral
•
verde/amarillo—tierra
2.
Desconecte el suministro de energía antes de cambiar lámparas o prestar servicio de
reparación.
3.
Este equipo esta disenado para usarce en lugares secos no lo exponga a la lluvia o
humedad.
4.
Derive el servicio de reparación de este equipo al personal calificado. El interior no
contiene repuestos que puedan ser reparados por el usuario.
5.
Equipo de Clase I. Este equipo debe conectarse a tierra.
Importanti Informazioni Di Sicurezza
Avvertenza: Per Prevenire Incendi
1. Questa apparecchiatura e' da collegarsi ad un circuito con una protezione da
sovraccarico massima di 20 ampere.
Avvertenza: Per Prevenire Le Scosse Elettriche
1. Se questa apparecchiatura è stata consegnata senza una spina del cavo di
alimentazione, collegare la spina appropriata del cavo di alimentazione in base ai
seguenti codici:
•
marrone—fase
•
blu—neutro
•
verde/giallo—terra
2.
Disconnettere la corrente prima di cambiare la lampada o prima di eseguire qualsiasi
riparazione.
3.
Questo apparecchio deve essere utilizzato in ambienti secchi. Non deve essere
esposto a pioggia o montato in luoghi umidi.
4.
Per qualsiasi riparazione rivolgersi al personale specializzato. L' utente non deve
riparare nessuna parte dentro l' unita'.
5.
Aparecchio di Classe I. Questa apparecchiatura deve essere messa a terra.
170
Catalyst® V3 Media Server User Manual
Appendix D
Product and Safety Information
Vigtig Sikkerhedsinformation
Advarsel: Beskyttelse mod elektrisk chock.
VIGTIGT! LEDEREN MED GUL/GROEN ISOLATION MAA KUN TILSLUTTES KLEMME
ELLER
.
MAERKET
Catalyst® V3 Media Server User Manual
171
Appendix D
Product and Safety Information
172
Catalyst® V3 Media Server User Manual
Index
Index
Symbols
16-bit DMXAppendix A-159Appendix
A-160
A
AccessoriesAppendix D-173
Alpha8-61
Alpha channel8-618-628-638-64
anti-aliasing4-22
Art-Net21-157
Aspect Ratio parameter7-4513-120
DMX protocolAppendix B-163
Audio Input10-10817-13917-140
Audio Input panel17-140
B
baud rate18-145
Black and White8-568-578-588-668-71
Blue parameter3-158-4813-119
DMX protocolAppendix B-163
BNC4-21
Build Date14-121
C
content5-2912-11112-11215-13516-14
1
contrast8-66
CopyrightAppendix C-169
copyrightAppendix C-170
crossfade3-138-47
Cube10-9610-97
cue3-133-143-153-16Appendix A-159
Current Frame13-118
Custom Serial
panel18-14318-14418-14518-147
cylinder10-9210-95
D
default valueAppendix A-160
de-interlaced5-29
desktop5-33
Disc10-8910-9010-91
dissolve8-47
DL1 digital light4-27
DL1digital light4-21
DMX In pane18-143
DMX In panel18-14320-15421-157
DMX protocolAppendix
A-159Appendix B-161
DMX start channel18-14420-154
dongle1-2
DV14-21
DVD-rom5-32
Catalyst Interface Box4-21Appendix
D-173
CD-Rom5-32
CIB Connection
panel15-13615-13715-138
Color Effects
parameter3-123-188-4912-114
DMX
protocolAppendix
B-164Appendix B-165
Color FX Preview Screen14-126
color mixing8-48
Colour FX Tab12-114
Colour Tab13-119
Catalyst® V3 Media Server User Manual
E
Electrical SpecificationsAppendix D-171
Environmental SpecificationsAppendix
D-171
Ethernet5-3215-13621-157
F
FCC InformationAppendix
File1-213-118
file format5-29
File
D-174
175
Index
parameter3-113-123-133-173-195-346-
356-3615-135
DMX protocolAppendix B-161
File Preview Library Screen14-129
File Tab13-11815-135
Files Tab12-111
FireWire16-141
Fixture LibraryAppendix A-159
Flicker10-100
Folders Tab12-11212-113
Full Screen4-22
Full Screen Mode15-138
FX Tab13-120
invert7-43
Iris10-106
K
Kaleidoscope10-91
Keystone10-8610-8711-10913-120
Keystone Correction
parameters3-193-2010-8610-8710-101
10-10210-10410-10511-10911-11013
-120
DMX protocolAppendix B-167
L
G
Gamma8-668-688-698-70
Geometry FX Tab12-115
Graduated Color10-102
Green13-119
Green parameter3-158-4813-119
DMX protocolAppendix B-163
H
hard drives5-32
HighEnd Lithopatterns6-35
Hotkeys15-137
hotkeys14-12114-124
hue8-79
I
illuminance8-71
image size5-29
In Frame13-118
In Frame parameter6-366-37
DMX protocolAppendix B-161
Intensity
parameter3-113-123-133-173-183-198-
47
DMX protocolAppendix B-163
Interlaced5-29
Invert8-538-548-558-588-598-608-618
-738-78
176
Layer Panel13-117
Layer panel13-11715-135
Layer Priorities1-2
LCD MonitorAppendix D-173
Library Folder5-3312-11213-118
Library
parameter1-23-113-123-133-173-195-3
36-3515-13516-141
DMX protocolAppendix B-161
Library window12-111
lighting
console3-1113-11715-13518-143Appe
ndix A-159
lighting controller2-6
M
Magic Lantern10-9210-95
Mask8-598-60
master15-13415-135
MIDI19-149
Midi Time Code Input panel19-149
MIDI Timecode19-149
Mix 1 & 2 with FX4-26
Mix 3 & 4 with FX4-26
Mixed All Layers with FX4-23
monitor icon4-22
Movement Speed parameter7-4413-119
DMX protocolAppendix B-163
Catalyst® V3 Media Server User Manual
Index
Symbols
NxN10-9810-99
R
O
Out Frame13-118
Out Frame parameter6-366-37
DMX protocolAppendix B-161
Output panel4-224-234-264-274-28
Output Settings4-23
Red parameter3-158-4813-119
DMX protocolAppendix B-163
reference layer6-356-36
Remote field15-13615-138
resolution4-22
RGB8-738-748-758-768-778-798-80
RGBHV4-21
roadcaseAppendix D-173
RS-23218-14318-14420-151
RS42220-151
P
P1 Monitor4-214-27
P2 Monitor4-214-27
Panorama10-94
Parameter 1 (FX1) parameter10-8313-120
DMX protocolAppendix B-166
Parameter 2 (FX2) parameter10-8313-120
DMX protocolAppendix B-166
Play Mode
parameter3-113-133-173-196-3715-13
415-13519-149
DMX protocolAppendix B-161
Playback Speed parameter6-38
DMX protocolAppendix B-162
Playbacks Screen14-126
polygon10-103
Position Tab13-118
Power
ratingAppendix D-171
Power Cord CapAppendix D-172
PowerMac5-3311-11012-11115-13515-
13615-13817-13916-14118-14319-14
9Appendix D-171
specificationsAppendix D-171
Preview Monitor4-25
Q
Quicktime5-29Appendix
D-171
Catalyst® V3 Media Server User Manual
S
Saturation8-71
Scale3-15
Scale
parameter3-163-197-417-437-4410-85
11-110
DMX protocolAppendix B-163
Scan Files12-113
Sean Bridwell Textures6-35
segment6-36
Separate outputs No FX4-23
Separate outputs with FX4-23
Serial18-14318-14418-14518-14720-1
51
Settings16-142
Shape10-103
Shutdown15-138
Shutter3-1910-10110-10210-10310-10
410-10511-110
shutter13-120
Slaves15-134
Solarize8-668-72
Solo13-117
Sony 9-pin20-151
Sony 9-pin panel20-151
Spectrograph10-108
Sphere10-8710-8810-89
Stretch10-93
Strobe9-8113-119
Strobe parameter9-8110-100
177
Index
DMX protocolAppendix
Sync ID15-13415-135
Synchronize15-13415-135
Syncronize
Timecode19-149
B-164
x D-173
Widescreen4-28
Wireframe10-8810-90
X
T
Teapot10-107
Temperature
maximumAppendix D-171
tile10-9810-99
timecode19-149
Tint8-78
Trails3-179-82
Trails parameter3-179-8213-119
DMX protocolAppendix B-164
transparent3-128-518-528-548-578-59
8-608-618-628-638-648-738-748-758
-768-778-789-8210-8310-8610-106
U
X Position
parameter3-157-417-4411-110
DMX protocolAppendix B-163
X Rotation
parameter7-397-4410-9111-110
DMX protocolAppendix B-162
XLR cable2-6Appendix D-173
Y
Y Position
parameter3-157-427-4411-110
DMX protocolAppendix B-163
Y Rotation parameter7-397-4411-110
DMX protocolAppendix B-162
YUV8-71
Uptime14-121
USB1-24-2118-14318-14419-14920-1
Z
Use Layer6-36
use layer15-134
11-110
51
Z Rotation
parameter3-153-183-207-397-4410-91
DMX protocolAppendix
B-162
V
video feed16-141
Video Input16-141
Video Input panel16-141
video switcher18-14318-146
Visual Effects
parameter3-1910-8311-10911-11012-1
1517-139
DMX protocolAppendix
B-166
W
WarrantyAppendix D-175
waveform10-10817-13917-140
Wholehog3-113-153-1615-136Appendi
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Catalyst® V3 Media Server User Manual
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