Matrox Mojito MAX Installation and User Guide

Matrox Mojito MAX Installation and User Guide
Matrox Mojito MAX
Installation and User Guide
(Windows version)
December 15, 2014
Y11149-201-0771
Trademarks
Matrox Electronic Systems Ltd. ...........................................................................Matrox®, A/V Tools™, Axio™, CompressHD™,
Convert DVI™, DigiSuite™, Matrox MAX™,
Matrox Mojito™, MtxConvert.utils™,
Mtx.utils™, MXO™, RT.X2™
Adobe Systems Inc..............................................................................................Adobe®, After Effects®, Encore®, Flash®,
Photoshop®, Prelude®, Premiere®,
SpeedGrade®, Connect™
Apple Computer, Inc............................................................................................Apple®, iPhone®, iPod®, QuickTime®
Autodesk, Inc. .....................................................................................................Autodesk®, 3ds Max®, Combustion®
Avid Technology, Inc............................................................................................Avid®, Media Composer®, NewsCutter®,
Symphony®
Citrix Systems, Inc. .............................................................................................GoToMeeting™
eyeon Software Inc. ............................................................................................Fusion®
HDMI Licensing LLC. ..........................................................................................HDMI™
Intel Corporation .................................................................................................Intel®, Core™
Livestream LLC ...................................................................................................Livestream™, Procaster™
Microsoft Corporation..........................................................................................Microsoft®, Expression®, Windows®, Skype™
NewTek, Inc. .......................................................................................................LightWave 3D®
NVIDIA Corporation..............................................................................................NVIDIA®, GeForce®
Panasonic (Matsushita Electric Industrial Co.)......................................................Panasonic®, DVCPRO™, DVCPRO50™,
DVCPRO HD™
PCI-SIG ...............................................................................................................PCI-SIG®, PCIe®
Silicon Graphics International ..............................................................................OpenGL®
Sony Corporation ................................................................................................Sony®, XDCAM®, Blu-ray Disc™, DVCAM™,
HDV™, XDCAM EX™
StudioCoast Pty Ltd.............................................................................................vMix®
Telestream, Inc. ..................................................................................................Telestream®, Wirecast®
USB Implementers Forum, Inc. ................................................................ USB ®
Victor Company of Japan, Limited (JVC) ..............................................................JVC™, HDV™
ASIO is a trademark and software of Steinberg Media Technologies GmbH. HDMI, the HDMI logo and High-Definition Multimedia
Interface are trademarks or registered trademarks of HDMI Licensing LLC. All other nationally and internationally recognized
trademarks and tradenames are hereby acknowledged.
Copyright © 2014 Matrox Electronic Systems Ltd. All rights reserved.
Disclaimer Matrox Electronic Systems Ltd. reserves the right to make changes in specifications at any time and without notice.
The information provided by this document is believed to be accurate and reliable. However, no responsibility is assumed by Matrox
Electronic Systems Ltd. for its use; nor for any infringements of patents or other rights of third parties resulting from its use. No
license is granted under any patents or patent rights of Matrox Electronic Systems Ltd.
Unauthorized recording or use of broadcast television programming, video tape, or other copyrighted material may violate copyright
laws. Matrox Electronic Systems Ltd. assumes no responsibility for the illegal duplication, use, or other acts that infringe on the
rights of copyright owners.
Matrox Electronic Systems Ltd.
1055 St. Regis Blvd., Dorval, Quebec, Canada H9P 2T4
Tel: (514) 685-2630 Fax: (514) 685-2853 World Wide Web: www.matrox.com
i
Matrox Limited Warranty
Limited Warranty Statement
1 Matrox* ("Matrox") having its head office at 1055 St-Regis Blvd., Dorval, Quebec Canada tel: (514) 822-6000
warrants that the Matrox hardware products (the "Matrox Product") will be free from defects in materials and
workmanship under normal use for a period of three (3) years from the date of purchase by the original customer
("Customer" or "You") who provides adequate proof of purchase and payment (for example, a copy of your sales
receipt or purchase invoice). The warranties provided by Matrox in this Matrox limited warranty statement apply
only to Matrox Products that the Customer purchases for use, and not for resale. This warranty applies only to the
original Customer and is non-transferable. MATROX DOES NOT WARRANT THAT THE OPERATION OF THE
MATROX PRODUCT WILL BE UNINTERRUPTED OR ERROR-FREE, THAT DEFECTS IN THE MATROX
PRODUCT WILL BE CORRECTED, OR THAT THE MATROX PRODUCT WILL MEET THE CUSTOMER'S
REQUIREMENTS OR PERFORM WITH ANY HARDWARE OR SOFTWARE PROVIDED BY THIRD
PARTIES. Conditions and limitations of Matrox's warranty are stated below.
2 Matrox's limited warranty applies only to the Matrox Product entirely manufactured by or for Matrox. The limited
warranty does not apply to any non-Matrox hardware products or any software, even if packaged or sold with the
Matrox Product. Manufacturers, suppliers or publishers other than Matrox may provide their own warranties to the
Customer, but Matrox, insofar as permitted by law, provides their products "as is." Software provided by Matrox is
not covered under this limited warranty (please refer to the licensing agreement accompanying the software for
details of the terms applicable to such).
3 Matrox's limited warranty covers only those defects which arise as a result of normal use of the Matrox Product
and does not apply to any damage which arises from:
a improper or inadequate maintenance;
b incompatibilities due to the Customer's hardware or software applications, including non-Matrox products,
with or in which the Matrox Product interfaces;
c Matrox Product of a special or custom-made nature;
d unauthorized modification or misuse, including physical damage to the Matrox Product caused by the
Customer or due to transportation of the product;
e improper installation, abuse, misapplication or negligence;
f failure to follow instructions relating to Matrox Product's use;
g operation outside the Matrox Product's environmental specifications;
h improper site preparation or maintenance;
i software;
j service performed by anyone who is not a representative of Matrox;
k other causes that do not relate to a Matrox Product defect;
l defects or damage suffered as a result of force majeure (including theft);
m defects or damage suffered as a result of normal wear and tear or otherwise due to the normal aging of the
Matrox Product, and/or
n stolen goods.
The warranty is voided by removal or alteration of identification labels on the Matrox Product or its parts.
4 In the event of a defect in a Matrox Product during the applicable warranty period, Matrox shall at its sole option,
either i) repair the defect using new or refurbished parts and return the repaired Matrox Product within a
reasonable delay; or ii) replace the Matrox Product with a Matrox Product that is new or which has been
manufactured from new or serviceable used parts and is at least functionally equivalent to the original Matrox
Product and send such replacement Matrox Product within a reasonable delay.
*
Matrox is Matrox Electronic Systems Ltd, Matrox Graphics Inc. or Matrox Europe Limited. Head office at
1055 St-Regis Blvd. Dorval, Quebec, Canada H9P 2T4 Telephone (514) 822-6000.
Matrox Limited Warranty
ii
5 A replacement Matrox Product or part assumes the remaining warranty of the original Matrox Product.
When a Matrox Product or part is replaced, any replacement item becomes the Customer's property and the
replaced item becomes Matrox's property.
6 This warranty is valid in any country where Matrox Products are distributed by Matrox and/or its authorized
resellers, dealers or distributors.
7 This limited warranty gives the Customer specific legal rights. The Customer may also have other
rights which vary from state to state in the United States, from province to province in Canada, and
from country to country elsewhere in the world.
8 For Australian Consumers: The rights described in this warranty are in addition to the statutory rights to
which You may be entitled under the Competition and Consumer Act 2010 and other applicable Australian
consumer protection laws and regulations. Our Matrox Products come with guarantees that cannot be
excluded under the Australian Consumer Law. You are entitled to a replacement or refund for a major failure
and compensation for any other reasonably foreseeable loss or damage. You are entitled to have the goods
repaired or replaced if the goods fail to be of acceptable quality and the failure does not amount to a major
failure. Goods presented for repair may be replaced by refurbished goods of the same type rather than being
repaired. Refurbished parts may be used to repair the goods.
Limitations of Warranty
1 TO THE EXTENT PERMITTED BY LAW, THIS WARRANTY AND THE REMEDIES SET FORTH
ABOVE ARE EXCLUSIVE AND IN LIEU OF ALL OTHER WARRANTIES, REMEDIES AND
CONDITIONS. NEITHER MATROX NOR ANY OF ITS THIRD PARTY SUPPLIERS MAKES ANY
OTHER WARRANTY OF ANY KIND, WHETHER EXPRESSED OR IMPLIED, WITH RESPECT TO
MATROX PRODUCTS. MATROX SPECIFICALLY DISCLAIMS (AND THE CUSTOMER, BY
ACCEPTING THE MATROX PRODUCT, SPECIFICALLY ACCEPTS SUCH DISCLAIMER AND
WAIVES) ALL OTHER WARRANTIES, EITHER EXPRESSED OR IMPLIED, ORAL OR WRITTEN,
INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND
FITNESS FOR A PARTICULAR OR INTENDED PURPOSE OR USE AND THE WARRANTY AGAINST
LATENT DEFECTS, WITH RESPECT TO THE HARDWARE AND/OR SOFTWARE. MATROX
FURTHER DISCLAIMS ANY WARRANTY THAT MATROX PRODUCTS, IN WHOLE OR IN PART,
WILL BE FREE FROM INFRINGEMENT OF ANY THIRD PARTY INTELLECTUAL PROPERTY,
INCLUDING, WITHOUT LIMITATION, ANY PATENTS, OR PROPRIETARY RIGHTS.
2 To the extent that this limited warranty is inconsistent with the law of the locality where the Customer
purchases the Matrox Product, this limited warranty shall be deemed modified to be consistent with such
local law. Under such local law, certain limitations of this limited warranty may not apply to the consumer. If
Matrox cannot lawfully disclaim statutory or implied warranties, then to the extent permitted by law, all such
warranties shall be limited in duration to the duration of this express warranty and to repair or replacement
service as determined by Matrox at its sole discretion.
3 Matrox disclaims any representation that it will be able to repair any Matrox Product under this warranty or
make a Matrox Product exchange without risk to or loss of the programs or data.
4 To the extent allowed by local law, the remedies provided in this limited warranty are the Customer's sole
and exclusive remedies.
Limitations of Liability
1 EXCEPT FOR THE OBLIGATIONS SPECIFICALLY SET FORTH IN THE LIMITED WARRANTY, IN
NO EVENT SHALL MATROX BE LIABLE FOR:
a any direct, indirect, special, incidental, consequential, foreseeable or unforeseeable, or punitive
damages, whether based on contract, tort, delict or any other legal theory and whether advised of the
possibility of such damages; and/or
Matrox Limited Warranty
iii
b damages arising from the loss of use, data, Matrox Production revenue, use of money, anticipated savings,
procurement of substitute goods, business, opportunity, goodwill, reputation and/or profit in connection with
the Matrox Product or any business interruption.
c Matrox disclaims and shall have no obligation to indemnify or defend You or any third party in respect of any
actual or alleged infringement of any actual or pending patents, copyright or other intellectual property rights.
Matrox shall have no liability arising out of any such actual or alleged intellectual property infringement.
2 Without prejudice to the foregoing, any liability of Matrox for any breach of warranty shall be limited to the actual
amount paid by the Customer for the defective hardware in question.
3 To the extent allowed by local law, Matrox's entire liability and the Customer's exclusive remedy shall be the
repair or replacement of any defective Matrox Product during the warranty period. Matrox does not offer any other
warranty with respect to Matrox hardware or software or any other hardware or software.
4 Customer shall be responsible for all applicable taxes, duties and customs fees on any replacement unit, as well as
all transport, insurance, storage and other charges incurred on all returned Matrox Products.
5 Matrox reserves the right to change its warranties at any time and without notice, at its sole discretion, with
respect to future sales and deliveries.
6 UNAUTHORIZED USE. THE MATROX PRODUCT AND ANY DOCUMENTATION RELATED THERETO
ARE NOT DESIGNED, INTENDED, AUTHORIZED OR WARRANTED TO BE SUITABLE FOR USE OR
RESALE IN ANY TYPE OF SYSTEM OR OTHER APPLICATIONS RELATED TO, HAZARDOUS OR
POTENTIALLY HAZARDOUS ENVIRONMENTS OR APPLICATIONS REQUIRING
HIGH-AVAILABILITY OR FAIL-SAFE PERFORMANCE, WHERE PERSONAL INJURY OR DEATH MAY
OCCUR, SUCH AS MEDICAL SYSTEMS, LIFE SUSTAINING, LIFE SAVING SYSTEMS, OPERATION OF
NUCLEAR FACILITIES, AIRCRAFT NAVIGATION OR COMMUNICATION SYSTEMS, AIR TRAFFIC
CONTROL, PUBLIC WORKS, WEAPONS SYSTEMS, OR ANY OTHER APPLICATION IN WHICH THE
FAILURE OF A MATROX PRODUCT COULD LEAD TO PROPERTY DAMAGE, ENVIRONMENTAL
DAMAGE, OR PERSONAL INJURY. CUSTOMER WILL NOT USE, OR PERMIT TO BE USED, THE
MATROX PRODUCTS FOR SUCH HIGH-AVAILABILITY, FAIL-SAFE OR CRITICAL APPLICATIONS
AND FURTHER AGREES TO INDEMNIFY, DEFEND AND HOLD HARMLESS MATROX AND ITS
MANAGERS, DIRECTORS, OFFICERS, EMPLOYEES, AGENTS, AFFILIATES, SUCCESSORS, AND
ASSIGNS FROM AND AGAINST ANY ACTION, SUIT, PROCEEDING, COST, EXPENSE, DAMAGES,
AND LIABILITY (INCLUDING, BUT NOT LIMITED TO, REASONABLE ATTORNEYS' FEES) ARISING
OUT OF, OR RELATED TO, THE BREACH OF CUSTOMER'S OBLIGATIONS RELATED HERETO, EVEN
IF SUCH CLAIM ALLEGES THAT MATROX WAS NEGLIGENT REGARDING THE DESIGN OR
MANUFACTURE OF THE MATROX PRODUCT.
Obtaining Service (whether in or out of warranty)
1 Verify that your Matrox Product was installed and configured according to the information in its accompanying
documentation or at the web site referenced therein.
2 Read the "Troubleshooting" information included with the Matrox Product or at the web site referenced therein, to
verify if the problem can be easily solved.
3 If You are still experiencing difficulties, please contact your dealer or distributor where You purchased your
Matrox Product. Please go to http://www.matrox.com/hr/en/company/legal/en/warranty, to find the list of Matrox
authorized dealers and/or distributors in your area.
4 Alternatively, if this first option is unavailable to You and you are still experiencing problems or if you believe that
your product is defective, please contact the Matrox Support team. We will help you troubleshoot your issue and
process a replacement if it is found to be defective. Matrox support team can be reached at
http://www.matrox.com/hr/en/company/legal/en/warranty.
5 Before returning the Matrox Product, please back up any and all information or data thereon, including, without
limitation, confidential, proprietary, personal or other information. All data and information on the Matrox
Product will be lost given that the persistent storage device(s) will be reformatted to factory default during testing;
Matrox Limited Warranty
iv
and Matrox cannot, and does not, accept any responsibility for any information that may be lost, corrupted,
damaged or otherwise rendered inaccessible.
6 When returning a Matrox Product, leave the configuration as it was when You were using it, and leave all
identification stickers on the Matrox Product. Pack the Matrox Product in its original box and return it to
your Matrox dealer or distributor where the Matrox Product was purchased, together with your proof of
purchase. Your Matrox dealer or distributor will return the Matrox Product for You. Alternatively, You may
proceed by returning your Matrox Product by following the guidelines referred to at the following address
http://www.matrox.com/hr/en/company/legal/en/warranty, and follow the link to Customer Support, where a
Return Merchandise Authorization (RMA) number will be issued, upon receipt of adequate proof of
purchase, and shipping instructions will be given to you. Customer will be responsible in paying the freight
to send the Matrox Product for service. Please ensure that the product is in Electrostatic discharge (ESD)
packaging before shipping it back to Matrox or else the warranty shall be void.
DO NOT RETURN THE MATROX PRODUCT TO MATROX WITHOUT MATROX'S RMA NUMBER
AND EXPRESS AUTHORIZATION.
Once an RMA number is issued, the Matrox Product must be returned to Matrox within thirty (30) days.
NON-WARRANTY product will be shipped back to You collect or on your courier account number, if one is
provided.
General
1 This limited warranty shall be governed by the laws of the Province of Quebec, Canada and the federal laws
of Canada applicable therein and the courts of the Province of Quebec shall have exclusive jurisdiction to hear
and decide any dispute instituted by the Customer in connection with this limited warranty; the Customer
waives, by accepting the Matrox Product, its rights to institute proceedings in connection with this warranty
against Matrox in any jurisdiction other than Quebec. Customer hereby agrees to all terms of this warranty in
the English language. The United Nations Convention on Contracts for the International Sale of Goods does
not apply to this warranty and is strictly excluded.
2 Except as may be expressly agreed to the contrary in a signed written agreement between Customer and
Matrox, i) any written or oral information or advice given by Matrox's distributors, agents or employees will
in no way increase the scope of the limited warranty contained in this limited warranty; and ii) this limited
warranty states the only warranty made to You by Matrox with respect to the units of Matrox Product that
You have purchased, and the terms of this limited warranty shall override the terms of any purchase orders
and any other terms and understandings You may seek to apply in respect thereof.
3 This limited warranty is personal to You and cannot be assigned or transferred without Matrox's prior written
agreement.
4 The failure by Matrox to enforce any of the provisions of this limited warranty shall not constitute a waiver
of Matrox's rights to enforce such provision or any other provision of this limited warranty in the future.
5 If any clause in this limited warranty is held by a court of law to be illegal or unenforceable the remaining
provisions of this limited warranty shall not be affected thereby.
Matrox Limited Warranty
v
Matrox Software License Agreement
THIS IS A LEGAL AGREEMENT BETWEEN THE LICENSEE AND MATROX ELECTRONIC SYSTEMS LTD.
("MATROX") CONCERNING THE USAGE OF THE MATROX SOFTWARE. BY DOWNLOADING,
INSTALLING, COPYING, ACCESSING, CLICKING ON AN "ACCEPT" BUTTON, OR OTHERWISE USING
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ACCEPTING THESE TERMS ON BEHALF OF YOUR COMPANY, ORGANIZATION, EDUCATIONAL
INSTITUTION, OR AGENCY, INSTRUMENTALITY, OR DEPARTMENT OF THE FEDERAL GOVERNMENT
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If you are an original equipment manufacturer (OEM), the "OEM License" shall apply to you.
END USER LICENSE
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Matrox Software License Agreement
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OEM LICENSE
Licensee may reproduce and distribute the Software only as an integral part of or incorporated in Licensee's
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engineer any Software in any manner whatsoever is hereby given, except as provided in this Agreement.
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extent possible;
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the same degree of care Licensee uses to protect Licensee's own confidential information, but no less than a
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the purpose of installation, service integration and/or support of said Software within Licensee's product. In
such event, Licensee may only disclose the relevant and necessary parts of the Software to permit the third
party to accomplish his work provided that all such disclosures shall be subject to the terms and conditions
of this Agreement;
6 Notwithstanding any other provision in this License, if Licensee provides any ideas, suggestions or
recommendations to Matrox regarding the Licensed Software and/or Licensee's product ("Feedback"),
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other consideration to Licensee.
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Documentation is provided "AS IS" AND WITHOUT WARRANTY OF ANY KIND AND MATROX
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OPERATION OF THE SOFTWARE OR DOCUMENTATION WILL BE UNINTERRUPTED OR
ERROR-FREE. THE ENTIRE RISK ASSOCIATED WITH THE USE OF THE SOFTWARE AND
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DOCUMENTATION IS ASSUMED BY LICENSEE. FURTHERMORE, MATROX DOES NOT WARRANT OR
MAKE ANY REPRESENTATIONS REGARDING THE USE OR THE RESULTS OF THE USE OF THE
SOFTWARE OR DOCUMENTATION IN TERMS OF ITS CORRECTNESS, ACCURACY, RELIABILITY,
CURRENTNESS, OR OTHERWISE. SHOULD THE CONTENTS OF THE SOFTWARE OR DOCUMENTATION
PROVE DEFECTIVE, LICENSEE ASSUMES THE ENTIRE COST OF ALL NECESSARY SERVICING, REPAIR
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DETERMINING WHETHER ANY THIRD PARTY PATENT OR COPYRIGHT LICENSES, INCLUDING BUT
NOT LIMITED TO VARIOUS AUDIO AND VISUAL STANDARDS, ARE NECESSARY TO USE, IMPLEMENT
OR DISTRIBUTE THIS PRODUCT, WHICH INCLUDES ANY OR ALL SOFTWARE OR HARDWARE.
LICENSEE IS RESPONSIBLE TO ADVISE LICENSEE'S CUSTOMERS OF THE LIMITATIONS PROVIDED
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LIMITATION OF LIABILITY
UNDER NO CIRCUMSTANCES SHALL MATROX, ITS SISTER COMPANIES AND ITS SUBSIDIARIES BE
LIABLE FOR ANY DIRECT, INDIRECT, PUNITIVE, INCIDENTAL, SPECIAL, OR CONSEQUENTIAL
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THE POSSIBILITY OF SUCH DAMAGE. BECAUSE SOME JURISDICTIONS DO NOT ALLOW THE
EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, MATROX'S LIABILITY
IN SUCH JURISDICTIONS SHALL BE LIMITED TO THE MINIMUM REQUIRED BY LAW.
UNAUTHORIZED USE. THIS SOFTWARE AND ANY DOCUMENTATION RELATED THERETO ARE NOT
DESIGNED, INTENDED, AUTHORIZED OR WARRANTED TO BE SUITABLE FOR USE OR RESALE IN ANY
TYPE OF SYSTEM OR OTHER APPLICATIONS RELATED TO, HAZARDOUS OR POTENTIALLY
HAZARDOUS ENVIRONMENTS OR APPLICATIONS REQUIRING HIGH-AVAILABILITY OR FAIL-SAFE
PERFORMANCE, WHERE PERSONAL INJURY OR DEATH MAY OCCUR, SUCH AS MEDICAL SYSTEMS,
LIFE SUSTAINING, LIFE SAVING SYSTEMS, OPERATION OF NUCLEAR FACILITIES, AIRCRAFT
NAVIGATION OR COMMUNICATION SYSTEMS, AIR TRAFFIC CONTROL, PUBLIC WORKS, WEAPONS
SYSTEMS, OR ANY OTHER APPLICATION IN WHICH THE FAILURE OF A PRODUCT COULD LEAD TO
PROPERTY DAMAGE, ENVIRONMENTAL DAMAGE, OR PERSONAL INJURY. LICENSEE WILL NOT USE,
OR PERMIT TO BE USED, THE PRODUCTS FOR SUCH HIGH-AVAILABILITY, FAIL-SAFE OR CRITICAL
APPLICATIONS AND FURTHER, LICENSEE AGREES TO INDEMNIFY, DEFEND AND HOLD HARMLESS
MATROX AND ITS MANAGERS, DIRECTORS, OFFICERS, EMPLOYEES, AGENTS, AFFILIATES,
SUCCESSORS, AND ASSIGNS FROM AND AGAINST ANY ACTION, SUIT , PROCEEDING, COST,
EXPENSE, DAMAGES, AND LIABILITY (INCLUDING, BUT NOT LIMITED TO, REASONABLE
ATTORNEYS' FEES) ARISING OUT OF , OR RELATED TO, THE BREACH OF LICENSEE'S OBLIGATIONS
RELATED HERETO, EVEN IF SUCH CLAIM ALLEGES THAT MATROX WAS NEGLIGENT REGARDING
THE DESIGN OR MANUFACTURE OF THE SOFTWARE.
TERMINATION
This License will automatically terminate if Licensee fails to comply with any of the terms and conditions hereof. In
such event, Licensee must destroy all copies of the Software and all of its component parts. Matrox reserves the right
to terminate this License without prejudice to any additional recourses Matrox may have against Licensee if Licensee
violates any of this Licenses' terms and conditions.
Matrox will not, by reason of the termination of this Agreement, be liable for compensation, reimbursement or
damages on account of the loss of prospective profits on anticipated sales, or on account of expenditures, investments,
leases, or commitments in connection with the Licensee's business or goodwill or otherwise.
Matrox Software License Agreement
viii
If Licensee commences or participates in any legal proceeding against Matrox then Matrox may, in its sole
discretion, suspend or terminate all license grants and any other rights provided under this License during the
pendency of such legal proceedings.
MISCELLANEOUS
If any provision of this License is inconsistent with, or cannot be fully enforced under, the law, such provision
will be construed as limited to the extent necessary to be consistent with and fully enforceable under the law.
This License is the final, complete and exclusive agreement between the parties relating to the subject matter
hereof, and supersedes all prior or contemporaneous understandings and agreements relating to such subject
matter, whether oral or written. This License may only be modified in writing signed by an authorized officer of
Matrox. Licensee agrees that it will not ship, transfer or export the Software into any country, or use the Software
in any manner, prohibited by the United States Bureau of Industry and Security or any export laws, restrictions or
regulations.
Controlling Law. The validity, performance and construction hereof shall be governed by and interpreted in
accordance with the laws of the Province of Quebec. Both parties hereby irrevocably submit to the exclusive
jurisdiction of the Courts of the district of Montreal, Province of Quebec, Canada with regard to any dispute
arising out of or in connection with this Agreement.
Additional information may be available on the Matrox website. If used, this site may contain other proprietary
notices and copyright information, the terms of which must also be observed and followed.
The failure of Matrox to enforce at any time any of the provisions of this Agreement, or the failure to require at
any time performance by the Licensee of any of the provisions of this Agreement, shall in no way be construed to
be a present or future waiver of such provisions, nor in any way affect the right of Matrox to enforce each and
every such provision thereafter.
All rights reserved by Matrox.
Matrox reserves the right to change Software specification without notice. All intellectual property, including
without limitation, trademarks and copyrights are the property of their respective owners and any unauthorized
use thereof is strictly prohibited.
COPYRIGHT © 2012 Matrox is a trademark of Matrox Electronic Systems Ltd.
Matrox Software License Agreement
ix
Matrox End-User VFW Software Codec License Agreement ("Agreement")
IMPORTANT - PLEASE READ THIS LICENSE AGREEMENT CAREFULLY BEFORE INSTALLING,
COPYING OR USING THE SOFTWARE. THIS IS A LEGAL AGREEMENT BETWEEN YOU THE END USER
("END USER") AND MATROX ELECTRONIC SYSTEMS LTD. ("MATROX") CONCERNING THE MATROX
VIDEO FOR WINDOWS SOFTWARE CODEC PACKAGE (COLLECTIVELY, THE "SOFTWARE") WHICH END
USER WISHES TO USE FOR PERSONAL USE. END USER ACKNOWLEDGES AND AGREES THAT IT WILL
BE LEGALLY BOUND BY THE TERMS OF THIS AGREEMENT.
Supported formats: DV/DVCAM, DVCPRO, DVCPRO50, DVCPRO HD, MPEG-2 I-frame SD, MPEG-2 I-frame
HD (includes 720p, full-size 1080i/p, and 1440x1080i/p), MPEG-2 I-frame SD + Alpha, MPEG-2 I-frame HD +
Alpha, Offline HD, HDV and EZ-HDV (playback only), Uncompressed 8-bit and 10-bit SD, Uncompressed 8-bit and
10-bit HD, Uncompressed 8-bit and 10-bit SD + Alpha, Uncompressed 8-bit and 10-bit HD + Alpha, EZ-MXF
(playback only), and Motion-JPEG (playback only).
1. LICENSE
Matrox hereby grants the End User a non-exclusive, non-transferable, royalty-free, right to use and copy in object code
form the Software for internal purposes in conjunction with a Matrox product only (the "Purpose"), subject to the
terms and conditions of this Agreement. End user shall only use the Software on a single computer at a time. End User
must maintain all copyright notices on all copies of the Software. Matrox may make changes to the Software at any
time without prior notice. In addition, Matrox is under no obligation whatsoever to update, maintain, or provide new
versions of the Software or to provide any support in connection with the Software.
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contained herein to any other party; (b) adapt, alter, modify, prepare derivative works from, merge or transfer the
Software; (c) break or attempt to break the protection algorithm, reverse engineer, reverse assemble, reverse compile or
otherwise translate the Software or any portion thereof, even if permitted under any provision of any applicable laws;
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Software in whole or in part other than for the Purpose.
End User may not use the Software for any unlawful purpose, including infringement of the copyrights or other
propriety rights of others, or in any illegal manner or for creation or distribution of unlawful content. End User agrees
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End User acknowledges that the Software is subject to export laws and agrees to comply with all applicable
international and national laws that apply to these products.
3. COPYRIGHT AND OWNERSHIP
End User acknowledges and agrees that the Software and all associated documentation, including logos, names and
other support materials furnished in this package are exclusively owned by Matrox and/or its suppliers. The Software
codes, structure and organization are the valuable trade secrets of Matrox. The Software and all associated
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use the Software in accordance with the terms of this Agreement. The Software is licensed to End User and not sold.
4. EXCLUSION OF WARRANTY
MATROX PROVIDES TO END USER THE SOFTWARE AND RELATED DOCUMENTATION ON AN "AS IS"
BASIS WITHOUT ANY WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED INCLUDING BUT
NOT LIMITED TO ANY IMPLIED WARRANTY OF MERCHANTABILITY, NON-INFRINGEMENT OR
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DEFECTS, ALL OF WHICH MATROX SPECIFICALLY DISCLAIMS (AND THE CUSTOMER BY ACCEPTING
THE PRODUCT SPECIFICALLY ACCEPTS SUCH DISCLAIMER AND WAIVER) TO THE MAXIMUM
Matrox End-User VFW Software Codec License Agreement ("Agreement")
x
EXTENT PERMITTED BY LAW. THE ENTIRE RISK AS TO THE RESULTS AND PERFORMANCE OF
THE SOFTWARE IS ASSUMED BY END USER. SHOULD THE SOFTWARE PROVE DEFECTIVE, END
USER (AND NOT MATROX, ITS DISTRIBUTORS OR DEALERS) ASSUMES THE ENTIRE COST OF
ALL NECESSARY SERVICING, REPAIR OR CORRECTION.
MATROX DOES NOT WARRANT THAT THE SOFTWARE WILL MEET END USER'S REQUIREMENTS
OR THAT IT'S OPERATION WILL BE ERROR-FREE.
MATROX HAS NO OBLIGATION TO INDEMNIFY, DEFEND OR HOLD END USER HARMLESS FROM
AND AGAINST ANY CLAIM THAT ANY THIRD PARTY SOFTWARE INFRINGES ANY THIRD PARTY
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MATROX HAS NO OBLIGATION TO INDEMNIFY, DEFEND OR HOLD END USER HARMLESS FROM
AND AGAINST ANY CLAIMS OF INFRINGEMENT OF INTELLECTUAL PROPERTY THAT READS
UPON OR IS INFRINGED BY A GENERALLY RECOGNIZED AUDIO, VIDEO, TECHNOLOGY OR
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IEEE 1394, JPEG, JPEG2000, MPEG-1, MPEG-2 AND MPEG-4.
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A Each party as well as any of its officers, employees, suppliers, agents or subcontractors shall under no
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or equity) shall under no circumstance exceed the aggregate of all fees and payments actually received
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B Matrox will have no obligations under this section or otherwise with respect to any infringement claim in
whole or in part based upon any direct, contributory or other infringement related to the licensed Software,
or the use thereof, with respect to (including conformance to) any standards promulgated, revised or
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without limitation, the various standards promulgated by the MPEG Licensing Authority, LLC (or MPEG
LA). Matrox has no obligation to indemnify, defend or hold End User harmless from and against any claims
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video, technology or patent standard or recommendations, including without limitation AVC/H.264, IEEE
1394, JPEG, JPEG2000, MPEG-1, MPEG-2 and MPEG-4.
6. CONFIDENTIALTY
Except as licensed hereunder, End User shall treat the Software and all related information as confidential
information and refrain from making any such information or the Software itself available to any other person.
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apply or shall cease to apply to any information that (a) was known to End User independently of its receipt
hereunder; (b) is or becomes publicly available without breach of this Agreement; or (c) is disclosed by End User
Matrox End-User VFW Software Codec License Agreement ("Agreement")
xi
pursuant to court order or other requirement imposed by law, provided that Matrox is given a reasonable opportunity to
object to or restrict such disclosure requirement to the extent practicable, and then such disclosure shall be permitted
only subject to the terms and conditions of such order or other legal requirement.
7. TERMINATION
This Agreement is effective until terminated. End User may terminate this Agreement at any time by destroying all
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and rights under this Agreement shall terminate. In the event of termination of this Agreement, the provisions of
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8. GENERAL
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including but not limited to acts of God, acts of war, terrorism, riot, fire, flood, or other disaster, acts of government,
strike, lockout, communication line or power failure.
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from Matrox and then only under such conditions as Matrox may reasonably determine.
8.3. If any provision of this Agreement is declared by a body of competent jurisdiction to be invalid, such provision
shall be severed from this Agreement and the other provisions shall remain in full force and effect.
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performed, and either party may invoke any remedy available under this Agreement or by law despite such forbearance
or indulgence.
8.5. The relationship between Matrox and you is that of an independent contractor and its customer and under no
circumstances shall either party, its agents or employees be deemed agents or representatives of the other party.
Neither party shall have the right to enter into any contracts or commitments in the name of or on behalf of the other
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has any such authority vis-a-vis the other party.
Both parties agree to comply with all applicable laws, rules, regulations, orders and ordinances of the state, province
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8.6. This Agreement and any schedule attached hereto contains the complete and exclusive statement of the
agreement between the parties and supersedes all prior and contemporaneous agreements, including, but not limited to,
understandings, proposals, negotiations, representations or warranties of any kind whether oral or written with respect
to the subject matter hereof. No oral or written representation which is not expressly contained in this Agreement is
binding on Matrox or End User.
8.7. This Agreement will be governed by and construed in accordance with the laws of the Province of Quebec. The
United Nations Convention on Contracts for the International Sale of Goods shall not apply to this Agreement.
9. UNAUTHORIZED USE
THIS SOFTWARE AND ANY DOCUMENTATION RELATED THERETO ARE NOT DESIGNED, INTENDED,
AUTHORIZED OR WARRANTED TO BE SUITABLE FOR USE OR RESALE IN ANY TYPE OF SYSTEM OR
Matrox End-User VFW Software Codec License Agreement ("Agreement")
xii
OTHER APPLICATIONS RELATED TO, HAZARDOUS OR POTENTIALLY HAZARDOUS
ENVIRONMENTS OR APPLICATIONS REQUIRING HIGH-AVAILABILITY OR FAIL-SAFE
PERFORMANCE, WHERE PERSONAL INJURY OR DEATH MAY OCCUR, SUCH AS MEDICAL
SYSTEMS, LIFE SUSTAINING, LIFE SAVING SYSTEMS, OPERATION OF NUCLEAR FACILITIES,
AIRCRAFT NAVIGATION OR COMMUNICATION SYSTEMS, AIR TRAFFIC CONTROL, PUBLIC
WORKS, WEAPONS SYSTEMS, OR ANY OTHER APPLICATION IN WHICH THE FAILURE OF A
PRODUCT COULD LEAD TO PROPERTY DAMAGE, ENVIRONMENTAL DAMAGE, OR PERSONAL
INJURY. LICENSEE WILL NOT USE, OR PERMIT TO BE USED, THE PRODUCTS FOR SUCH
HIGH-AVAILABILITY, FAIL-SAFE OR CRITICAL APPLICATIONS AND FURTHER, LICENSEE AGREES
TO INDEMNIFY, DEFEND AND HOLD HARMLESS MATROX AND ITS MANAGERS, DIRECTORS,
OFFICERS, EMPLOYEES, AGENTS, AFFILIATES, SUCCESSORS, AND ASSIGNS FROM AND
AGAINST ANY ACTION, SUIT , PROCEEDING, COST, EXPENSE, DAMAGES, AND LIABILITY
(INCLUDING, BUT NOT LIMITED TO, REASONABLE ATTORNEYS' FEES) ARISING OUT OF , OR
RELATED TO, THE BREACH OF LICENSEE'S OBLIGATIONS RELATED HERETO, EVEN IF SUCH
CLAIM ALLEGES THAT MATROX WAS NEGLIGENT REGARDING THE DESIGN OR MANUFACTURE
OF THE SOFTWARE.
10. CHOICE OF LAW
This Agreement shall be governed by and interpreted in accordance with the laws of the Province of Quebec,
excluding any conflict of laws provisions. All disputes arising out of this Agreement shall be subject to the
exclusive jurisdiction of the courts of the Province of Quebec, district of Montreal, and the parties agree and
submit to the personal and exclusive jurisdiction and venue of these Courts.
Matrox End-User VFW Software Codec License Agreement ("Agreement")
Contents
Chapter 1
Introducing Matrox Mojito MAX
Welcome to Matrox Mojito MAX........................................................... 2
Matrox Mojito MAX system requirements ............................................ 2
Supported programs .................................................................................. 2
Check our website for equipment information............................................ 3
About this guide.................................................................................... 3
Style conventions ....................................................................................... 3
How video formats are expressed ............................................................. 3
Last-minute information.............................................................................. 4
Chapter 2
Installing Your Matrox Mojito MAX
Hardware and Software
Installing multiple Matrox Mojito MAX cards ........................................ 6
Before you install your Matrox Mojito MAX hardware.......................... 6
Start with a functioning system................................................................... 6
Avoid costly damage .................................................................................. 6
Installing your Matrox Mojito MAX card.................................................7
Installing Matrox Mtx.utils......................................................................7
Updating your Mojito MAX firmware ............................................................7
Installing the Matrox effect patterns .................................................... 8
Installing additional Matrox WYSIWYG plug-ins or removing unneeded
plug-ins ................................................................................................ 8
Installing the Matrox VFW software codecs on a system without the
Mojito MAX hardware .......................................................................... 8
Updating your display card’s drivers .................................................... 9
Setting Matrox Mojito MAX as your default audio playback device ..... 9
Note about using sleep and hibernation modes with Mojito MAX........ 9
Removing your Matrox Mojito MAX software...................................... 10
Chapter 3
Connecting External Devices to
Matrox Mojito MAX
Available Mojito MAX connections ...................................................... 12
Mojito MAX video connections .................................................................. 12
xiv
Mojito MAX audio connections .................................................................. 12
Connecting the Mojito MAX I/O cable to your system ........................ 12
Connecting HDMI and SDI devices to Mojito MAX .............................. 13
Connecting S-Video devices to Mojito MAX ....................................... 14
Mojito MAX RS-422 serial connection ................................................ 15
Typical Matrox Mojito MAX connections ............................................. 16
Analog component video connections ...................................................... 16
Digital video connections............................................................................17
Mojito MAX input and output descriptions .......................................... 18
Inputs ........................................................................................................ 18
Outputs ..................................................................................................... 19
Chapter 4
Calibrating Your HDMI Monitor
for Video
Overview .............................................................................................22
Calibrating your HDMI monitor ............................................................22
Loading Matrox HDMI calibration settings..........................................24
Enabling and disabling the Matrox HDMI calibration settings ............24
Chapter 5
Using Matrox Mojito MAX with Adobe Premiere Pro
Running antivirus software with Adobe Premiere Pro ........................28
Displaying warnings in Adobe Premiere Pro’s Events panel ..............28
Creating a new Adobe Premiere Pro project......................................28
About the Matrox 10-bit editing workflow ...........................................29
Defining your playback settings ..........................................................30
Specifying your video output settings ........................................................30
Specifying your genlock settings for playback ...........................................35
Specifying your audio output settings........................................................36
Specifying your closed captioning settings................................................ 37
Defining your video preview settings ..................................................39
Mapping audio output for a 5.1 master track......................................40
Defining your capture settings ............................................................ 41
Specifying your video capture settings ...................................................... 41
Specifying your audio capture settings......................................................44
Contents
xv
Specifying your video output settings for previewing captured clips ........ 48
Specifying your genlock settings for capture ............................................ 48
Notes about capturing to Matrox .m2v files ............................................. 50
Selecting your MPEG-2 I-frame settings ............................................. 51
Selecting your MPEG-2 IBP settings .................................................. 53
Exporting to a Matrox .avi file............................................................. 55
Exporting an NTSC or 486p sequence to Adobe Premiere Pro 720x480
formats .............................................................................................. 58
Adding a voice-over to your sequence .............................................. 58
Connection and setup .............................................................................. 58
Recording your voice-over ....................................................................... 59
Setting up Matrox device control ........................................................ 61
Requirements for using Matrox device control ......................................... 64
Exporting your sequence to tape ....................................................... 65
Avoiding issues when using Matrox device control .................................. 65
Exporting to tape using Matrox device control (CC)................................. 65
Exporting to tape using Matrox device control (CS6) ............................... 66
Obtaining a frame-accurate export to tape using Matrox device control . 68
Chapter 6
Setting Up Matrox Effects with Adobe Premiere Pro
Available effects ................................................................................. 72
How to apply a Matrox video effect in Adobe Premiere Pro.............. 73
How to apply a Matrox video transition in Adobe Premiere Pro ........ 73
Applying a mask to your Matrox effects............................................. 74
Using Select Mask .....................................................................................75
Creating a Matrox primary color correction....................................... 76
Using Split View .........................................................................................78
Working with Split View in the Program Monitor ........................................79
Using RGB curves .................................................................................... 80
Adjusting tonal range................................................................................ 82
Using the color balance graph.................................................................. 83
Performing an auto balance ..................................................................... 86
Matching colors between two clips ...........................................................87
Using the luma mapping graph................................................................. 89
Creating a Matrox secondary color correction ................................... 91
Contents
xvi
Using the selective key graph ...................................................................96
Creating a color pass effect .................................................................... 100
Overview of the Matrox chroma key effects ..................................... 101
Creating a chroma key or chroma key shadow effect ..................... 102
Using the chroma key graph to modify key colors and perform an auto key
105
Overview of the Matrox luma key effect ........................................... 108
Creating a luma key effect ................................................................ 109
Using the luma key graph......................................................................... 110
Creating a wipe transition .................................................................. 112
Using the Matrox chroma clamper effect .......................................... 114
Chapter 7
Using Matrox Mojito MAX with Adobe SpeedGrade
Defining your playback settings ......................................................... 116
Chapter 8
Using Matrox Mojito MAX with Avid Editing Applications
Creating a new project on Matrox Mojito MAX.................................. 118
Defining your playback settings ......................................................... 118
Specifying your video output settings ....................................................... 118
Specifying your genlock settings ............................................................. 122
Specifying your audio output settings...................................................... 124
Defining your capture settings .......................................................... 126
Adding a voice-over to your sequence ............................................. 130
Connection and setup ............................................................................. 130
Recording your voice-over ....................................................................... 131
Exporting your sequence to tape...................................................... 133
Requirements for using RS-422 device control ................................ 134
Chapter 9
Using Matrox A/V Tools
About Matrox A/V Tools .................................................................... 136
Starting Matrox A/V Tools ................................................................. 136
Using the Matrox A/V Tools interface ............................................... 137
Using the A/V Tools pop-up menu .......................................................... 138
Navigating through clips with the transport controls ............................... 138
Contents
xvii
Defining your A/V Tools options.........................................................140
Selecting your capture folder................................................................... 142
Defining your playback settings ............................................................... 142
Defining your capture settings .................................................................. 151
How A/V Tools assigns clip names ...................................................159
Capturing clips...................................................................................159
Capturing live video ................................................................................. 159
Capturing from tape without device control ............................................ 160
Editing clips........................................................................................160
Updating clip information ......................................................................... 160
Changing a clip’s In and Out icons .......................................................... 160
Working with the clip list.................................................................... 161
Adding clips .............................................................................................. 161
Playing back clips ..................................................................................... 161
Saving and loading a clip list ..................................................................... 161
Copying clips ........................................................................................... 162
Moving clips ............................................................................................ 162
Deleting clips ........................................................................................... 162
Detaching and resizing the clip list........................................................... 163
Grabbing a single-frame image.........................................................163
Keyboard shortcuts ...........................................................................165
Chapter 10
Using the Matrox WYSIWYG Plug-ins
Overview............................................................................................168
Configuring the Matrox WYSIWYG Control Panel..............................168
Required steps to use the WYSIWYG plug-ins ..................................169
Adobe After Effects (v12.x or earlier) ....................................................... 169
Adobe Photoshop ................................................................................... 169
Autodesk 3ds Max .................................................................................. 170
Autodesk Combustion ............................................................................. 170
eyeon Fusion ........................................................................................... 170
NewTek LightWave 3D ............................................................................ 170
Chapter 11
Using Mojito MAX with Adobe and Microsoft Live Media Encoders
Overview............................................................................................ 172
Contents
xviii
Specifying your settings for media streaming .................................. 172
Chapter 12
Using Mojito MAX with Webcam Applications
Overview ........................................................................................... 176
Specifying your settings for media streaming .................................. 176
Chapter 13
Using Matrox Mojito MAX with Livestream Procaster
Overview ........................................................................................... 180
Specifying your settings for media streaming .................................. 180
Chapter 14
Using Matrox Mojito MAX with
Telestream Wirecast
Overview ........................................................................................... 184
Specifying your settings for media streaming .................................. 184
Specifying your settings for Matrox ISO recording ........................... 187
Specifying settings in the Matrox ISO recording tool ............................... 190
Matrox ISO recording file naming conventions ........................................ 194
Record functionality................................................................................. 195
Record status.......................................................................................... 196
Input states and video formats.................................................................197
Record log file ......................................................................................... 198
Specifying your output settings......................................................... 198
Chapter 15
Using Matrox Mojito MAX with StudioCoast vMix
Overview ...........................................................................................202
Specifying your settings for media streaming ..................................202
Chapter 16
Using the Matrox Video for Windows Codecs
Overview ...........................................................................................206
Using VFW programs without the Mojito MAX hardware..................206
Before you start rendering................................................................207
Selecting color space conversion options ...............................................208
Rendering material to a Matrox VFW .avi file....................................209
Contents
xix
Configuring the Matrox DVCPRO HD codec ............................................ 210
Configuring the Matrox Uncompressed codecs ...................................... 210
Configuring the Matrox MPEG-2 I-frame codecs ..................................... 211
Chapter 17
Using the Matrox MAX H.264 Codec with Adobe Software
Exporting to Matrox MAX H.264 files using Adobe Media Encoder..214
Performing a direct export of an Adobe Premiere Pro sequence ....219
Transcoding for Blu-ray Disc authoring in Adobe Encore .................221
Specifying your Matrox MAX H.264 settings.................................... 224
Chapter 18
Using Matrox MAX H.264 Capture
Overview........................................................................................... 230
How to capture clips .........................................................................231
Specifying your input settings .......................................................... 232
Specifying your output settings ........................................................ 234
Specifying your capture format settings .......................................... 236
Starting your capture........................................................................ 240
Chapter 19
Monitoring Your Matrox Mojito MAX System
Using X.info to display Mojito MAX information ................................ 244
Displaying system information ................................................................ 244
Displaying hardware information ............................................................ 246
Monitoring your Mojito MAX’s operating temperatures ...........................247
Selecting your primary Matrox I/O device................................................247
Error notification ......................................................................................247
Appendix A
Understanding Pulldown
Overview........................................................................................... 250
Standard 2:3 pulldown...................................................................... 250
Advanced 2:3:3:2 pulldown ...............................................................251
Appendix B
Matrox Mojito MAX Supported Input and Capture Formats
Supported input formats................................................................... 254
Contents
xx
Supported capture formats for Adobe Premiere Pro .......................255
Supported capture formats for Avid editing applications .................256
Supported capture formats for Matrox A/V Tools ............................257
Supported capture formats for Matrox MAX H.264 Capture ...........258
Appendix C
Matrox Mojito MAX Supported Output Formats
Supported video output formats for playback ..................................260
Playback using Adobe Premiere Pro, Prelude, and Encore .....................260
Playback using Adobe SpeedGrade ........................................................265
Playback using Avid editing applications .................................................268
Playback using Matrox A/V Tools and Matrox WYSIWYG........................ 270
Supported video output formats for monitoring ...............................274
Adobe Premiere Pro................................................................................ 274
Avid editing applications .......................................................................... 275
Matrox A/V Tools..................................................................................... 276
Matrox MAX H.264 Capture and Telestream Wirecast............................ 277
Appendix D
Matrox Mojito MAX Specifications
General..............................................................................................280
Connections ......................................................................................280
Video .......................................................................................................280
Audio .......................................................................................................283
Environmental specifications ............................................................284
Appendix E
Matrox Customer Support
How to get Matrox customer support ..............................................286
Registration .............................................................................................286
Keep up to date with our website ...........................................................286
Contacting us ..........................................................................................286
Index ........................................................................................ 287
Contents
1
Introducing Matrox Mojito MAX
This chapter lists the Mojito
MAX system requirements,
and describes the Mojito MAX
documentation.
2
Welcome to Matrox Mojito MAX
The Matrox Mojito MAX card provides broadcast-quality video input/output,
monitoring, and up/down/cross conversion to streamline your workflow with
supported video editing applications, and provides WYSIWYG output when
working with many popular compositing and animation programs. You get
broadcast-quality HDMI, SDI, and analog input/output, professional audio inputs
and outputs, and HDMI video monitoring with calibration controls. The
dedicated Matrox MAX hardware processor on your Mojito MAX card
accelerates the encoding of H.264 files for resolutions ranging from iPod to HD.
This lets you quickly and easily create H.264 files for Blu-ray Disc, the web, and
mobile devices.
Matrox Mojito MAX system requirements
Matrox Mojito MAX requires a computer system with the following minimum
configuration:
• Intel Core 2 Duo 2.67 GHz or Intel Core i7 2.67 GHz CPU.
¦ Note If you want to use Mojito MAX with Telestream Wirecast, you must
have an Intel Core i7 2.67 GHz CPU or greater.
• Microsoft Windows 7 Professional, Ultimate, or Home Premium (64-bit)
with Service Pack 1.
• 4 GB of RAM (8 GB is recommended).
• One free PCIe slot to install the Matrox Mojito MAX card.
• Storage requirements for Matrox ISO recording and Telestream Wirecast
recording to disk:
$
Two 7200 RPM SATA II drives in a striped RAID array.
• We recommend an HDMI monitor that supports the following:
$
An HDMI input resolution of 1920×1080 for previewing all HD formats.
$
1:1 pixel mapping for displaying your Mojito MAX output at its exact
resolution, and for use with the Matrox HDMI Calibration Utility.
• Adobe Premiere Pro is required if you want to use Adobe Mercury Transmit
for playback on Mojito MAXwith Adobe Prelude.
Supported programs
For a complete list of the third-party applications supported for using Matrox
Mojito MAX with the current software release, see the “Supported OS and
Applications” document provided in the “Downloads” section of the Matrox
Mojito MAX Support website.
Chapter 1, Introducing Matrox Mojito MAX
3
Check our website for equipment information
For up-to-date information about system requirements and Mojito
MAX-compatible devices, check the Matrox Mojito MAX Support section of our
website at www.matrox.com/video/support.
¡ Important To use Matrox Mojito MAX with Avid editing software, you must
use an Avid-certified system as listed in the “System Recommendations” section
of the Matrox Mojito MAX Support section of our website at
www.matrox.com/video/support.
About this guide
This guide provides you with information about installing and using your Matrox
Mojito MAX hardware and software.
Style conventions
The following style conventions are used in this guide:
• The names of files, folders, and documents appear in italics. For example:
$
The data is stored in the Sample.wav file.
$
The file is located in your C:\Windows\System folder.
$
Please refer to your Matrox Mojito MAX Release Notes.
• Menus and commands that you need to choose are displayed in the form
Menu > Command. For example, File > Save means click File in the
menu bar, then click Save in the menu that appears.
• The names of keys are displayed in small capital bold letters, such as the
CTRL key.
• A plus (+) sign is used to indicate combinations of keys and/or mouse
operations. For example:
$
CTRL+C means to hold down the CTRL key while pressing the C key.
$
SHIFT+click means to hold down the SHIFT key while you click an item
with the mouse.
How video formats are expressed
With the exception of NTSC and PAL, all SD and HD video formats are
expressed in the Matrox Mojito MAX documentation as follows:
VRp or i or PsF @ n fps
Where:
• VR is the vertical resolution. For 1440×1080 video, however, both the
horizontal and vertical resolutions are specified.
• p or i or PsF represents progressive, interlaced, or progressive segmented
frame video.
About this guide
4
• n fps is the frame rate in frames per second.
Here are some examples:
• 486p @ 23.98 fps
per second.
Represents 720×486 progressive video at 23.98 frames
• 720p @ 59.94 fps Represents 1280×720 progressive video at 59.94
frames per second.
• 1440x1080i @ 29.97 fps Represents 1440×1080 interlaced video at 29.97
frames per second. This format is used for HDV 1080i material.
• 1080i @ 29.97 fps Represents full-size 1920×1080 interlaced video at
29.97 frames per second.
Last-minute information
Any important information that wasn’t available for inclusion in this manual by
publication time is provided to you in the Matrox Mojito MAX Release Notes.
Chapter 1, Introducing Matrox Mojito MAX
2
Installing Your Matrox Mojito MAX
Hardware and Software
This chapter explains how to
install the Matrox Mojito MAX
hardware and software.
6
Installing multiple Matrox Mojito MAX cards
You can choose to install multiple Matrox Mojito MAX cards to feed live video
and audio to Telestream Wirecast for streaming and recording (see Chapter 14,
“Using Matrox Mojito MAX with Telestream Wirecast”). All other applications
used with your Matrox Mojito MAX hardware, such as Matrox A/V Tools and
editing applications, support only one Matrox I/O device. If you have multiple
Matrox I/O devices, you can use Matrox X.info to select the primary device that
you want to use with these applications as explained in “Selecting your primary
Matrox I/O device” on page 247.
Before you install your Matrox Mojito MAX
hardware
Read the following information carefully before attempting to install Matrox
Mojito MAX hardware.
Start with a functioning system
Before attempting any Matrox Mojito MAX installation, you should have a
computer with a supported Windows operating system fully installed and
functioning smoothly. This will avoid potential problems later on.
Avoid costly damage
Static electricity from your body can damage your Matrox Mojito MAX card or
your computer. Although you may not notice it, static electricity is generated
every time you move. It’s often too small to cause a spark, but it can still cause
damage to sensitive electronic components or at least reduce their life span.
To avoid damage, please observe the following precautions:
• Do not remove your Matrox Mojito MAX card from its antistatic bag until
you’re ready to install it. Before removing the card, place the package within
easy reach of the area where you intend to perform the installation.
• You should avoid touching the chips and other components on the circuit
board. Try to handle the card by its edges.
• Try to work in an area where the relative humidity is at least 50%.
• Do not wear wool or synthetic clothing. These fabrics tend to generate more
static electricity than cotton, which is best for this kind of work.
• Turn off the power switches on your computer and its connected
components.
Once you’ve opened your computer, drain static electricity from your body by
touching a bare metal surface on your computer chassis before you install or
remove any parts of your system. If you have a grounding wrist strap, use it while
handling and installing any components in your computer.
Chapter 2, Installing Your Matrox Mojito MAX Hardware and Software
7
Installing your Matrox Mojito MAX card
The Matrox Mojito MAX card is a three-quarter-length PCIe x1 card designed to
operate in a PCIe slot in your computer. For detailed instructions on how to
perform the following steps, refer to your computer’s documentation.
1 Shut down your system, unplug the power cord and all the cables from the
unit, and open your computer’s chassis.
2 Insert the Matrox Mojito MAX card in an available PCIe slot in your
computer, and secure the card into place.
²Caution To avoid overheating issues, don’t install the Mojito MAX card
close to another card that generates heat, such as a display card.
3 Close your computer’s chassis, and reconnect the power cord and all the
cables to the unit.
Installing Matrox Mtx.utils
Matrox Mtx.utils Setup installs the Mojito MAX device drivers, and all the
software required to use your Mojito MAX hardware with supported programs.
Before installing Matrox Mtx.utils, make sure that you’ve installed the
third-party software that you’ll be using with Mojito MAX.
You can install Matrox Mtx.utils on a computer with or without the Mojito MAX
card installed. To download and install the latest version of Matrox Mtx.utils,
visit the Mojito MAX Support section of our website at
www.matrox.com/video/support. You can also contact your Matrox
representative for the latest software.
Remarks
• Matrox Mtx.utils Setup installs software for Matrox Mojito MAX as well as
the Matrox CompressHD card. You can therefore use your Matrox Mojito
MAX hardware with CompressHD. For details on installing CompressHD,
see your Matrox CompressHD Installation and User Guide.
• If you want to use a Matrox Convert DVI product with Mojito MAX on the
same system, you must install Matrox MtxConvert.utils instead of Matrox
Mtx.utils. Matrox MtxConvert.utils is available in the “Downloads” section
of the Matrox Support website under “Combo Software” for your Convert
DVI product.
Updating your Mojito MAX firmware
When you install Matrox Mtx.utils on a computer that has the Mojito MAX card
installed, the Mtx.utils Setup program automatically verifies the firmware on
your Mojito MAX card and updates it if required. If you install Mtx.utils on a
computer without the Mojito MAX card, the next time you start your computer
Installing your Matrox Mojito MAX card
8
with Mojito MAX installed, Mtx.utils Setup will update your Mojito MAX card’s
firmware if needed.
²Caution Do not power off your computer, or interrupt the firmware update
during the update process. Doing so may damage your Mojito MAX card.
Installing the Matrox effect patterns
The Matrox plug-in for Adobe Premiere Pro includes Matrox wipes that you can
apply to clips in your Matrox projects as explained in Chapter 6, “Setting Up
Matrox Effects with Adobe Premiere Pro.” In order to apply the Matrox wipes,
you must install Matrox Mtx.utils as well as the Matrox effect patterns (GFX)
files. The Matrox effect patterns are available for download with Matrox Mojito
MAX software releases that support Adobe Premiere Pro in the Mojito MAX
Support section of our website at www.matrox.com/video/support.
Installing additional Matrox WYSIWYG plug-ins
or removing unneeded plug-ins
When you install Matrox Mtx.utils, you are prompted to install the Matrox
WYSIWYG plug-ins for any supported programs that are currently installed on
your system. If after you’ve installed Matrox Mtx.utils you want to install
additional Matrox WYSIWYG plug-ins, or re-install or remove a currently
installed plug-in, you can update your system by choosing Start > All
Programs > Matrox Mtx.utils > Update Matrox WYSIWYG Plug-ins.
You’ll be prompted to specify which plug-ins you want to install, re-install, or
remove. For more information about the programs supported and required
settings, see Chapter 10, “Using the Matrox WYSIWYG Plug-ins.”
¦ Note To install the Matrox WYSIWYG plug-in for a program, you must first
install that program.
Installing the Matrox VFW software codecs on
a system without the Mojito MAX hardware
The Matrox Video for Windows (VFW) software codecs let you render and play
back Matrox .avi files in your VFW programs without having to install Matrox
Mtx.utils and the Matrox Mojito MAX hardware. This flexibility allows you to
use a remote editing workstation to create a rough cut of your project, and then
copy the project and assets to your Mojito MAX system to finish the job.
¦ Note If you’ve installed Matrox Mtx.utils, you do not need to install the
Matrox VFW software codecs because Matrox Mtx.utils installs all the Matrox
codecs on your system.
Chapter 2, Installing Your Matrox Mojito MAX Hardware and Software
9
The Matrox VFW software codecs are available for download in the
“Downloads” section of the Matrox Support website at
www.matrox.com/video/support.
Updating your display card’s drivers
For the best performance when using your Mojito MAX system with Adobe
Premiere Pro, you should update the drivers for your display card with the latest
drivers available from your display card’s manufacturer. For example, if you’re
using Adobe Premiere Pro with a supported NVIDIA display card for GPU
acceleration, it’s recommended that you update your system with the latest
drivers for your card from NVIDIA.
¡ Important If you’re using Matrox Mojito MAX with Avid editing software,
you must use an Avid-certified system with a specific display card and driver as
listed in the System Recommendations section of the Matrox Mojito MAX
Support section of our website at www.matrox.com/video/support.
Setting Matrox Mojito MAX as your default
audio playback device
You can use Matrox Mojito MAX as your output device for playing back audio
using Windows Driver Model (WDM)-based applications on your Windows
system, such as Windows Media Player. To set Mojito MAX as your default
sound playback device in Windows, do the following:
1 Choose Start > Control Panel > Hardware and Sound > Sound, and
click the Playback tab.
2 Right-click Matrox WDM audio device LE, and click Set as Default
Device.
¦ Note In order to monitor the audio channels that you’re streaming in
Telestream Wirecast, you must connect your speakers to the output of your sound
card and set your default sound playback device to your sound card (not your
Matrox device). For details on using Telestream Wirecast with your Matrox
hardware, see Chapter 14, “Using Matrox Mojito MAX with Telestream
Wirecast.”
Note about using sleep and hibernation modes
with Mojito MAX
Before setting your computer to sleep or hibernation mode, make sure that you
first quit any application that is using your Matrox Mojito MAX hardware.
Updating your display card’s drivers
10
Removing your Matrox Mojito MAX software
You can remove the various Matrox Mojito MAX software components as
follows:
• To remove Matrox Mtx.utils from your computer, choose Start > All
Programs > Matrox Mtx.utils > Uninstall Matrox Mtx.utils.
• To remove the Matrox effect patterns from your computer, choose Start >
All Programs > Matrox Effect Patterns > Uninstall Matrox Effect
Patterns.
• To remove the Matrox VFW software codecs from a computer without
Matrox Mtx.utils, choose Start > All Programs > Matrox VFW
Software Codecs > Uninstall Matrox VFW Software Codecs.
Chapter 2, Installing Your Matrox Mojito MAX Hardware and Software
3
Connecting External Devices to
Matrox Mojito MAX
This chapter shows how to
connect external devices to
Matrox Mojito MAX.
12
Available Mojito MAX connections
Matrox Mojito MAX features a full compliment of professional inputs and
outputs, and allows you to connect multiple devices for up to four user-selectable
simultaneous video outputs. The HDMI and SDI inputs and outputs are located
on the Mojito MAX card, and all other available inputs and outputs are located on
the Mojito MAX I/O cable.
Mojito MAX video connections
• One HD HDMI input and one HD/SD HDMI output, both with up to eight
channels of embedded audio. The HDMI input/output supports YUV and
RGB devices.
• One HD/SD SDI input with up to eight channels of embedded audio, and one
HD/SD SDI output with up to 16 channels of embedded audio.
• One HD/SD analog component input/output, or one S-Video input/output
and one composite input/output.
• Analog black burst reference input.
Mojito MAX audio connections
• Two balanced analog XLR inputs (stereo pair).
• Four balanced analog XLR outputs (two stereo pairs).
• One AES/EBU stereo input/output.
• Two unbalanced analog RCA outputs (stereo pair).
Connecting the Mojito MAX I/O cable to your
system
The Mojito MAX I/O cable is the link between the Mojito MAX card and your
external devices. The Mojito MAX I/O cable includes all the inputs and outputs
available on your Mojito MAX system, except for the HDMI and SDI
inputs/outputs, which are located on your Mojito MAX card (see “Connecting
HDMI and SDI devices to Mojito MAX” on page 13).
Connect the Mojito MAX I/O cable to the corresponding connector on your
Mojito MAX card, and your external devices to the corresponding input/output
connectors on the Mojito MAX I/O cable. For examples of typical connections to
external devices, see “Typical Matrox Mojito MAX connections” on page 16. For
descriptions of the various Mojito MAX inputs and outputs, see “Mojito MAX
input and output descriptions” on page 18.
Chapter 3, Connecting External Devices to Matrox Mojito MAX
13
Matrox Mojito MAX I/O cable
Matrox Mojito MAX card
(installed in computer)
To the corresponding connectors
on your external devices (see
“Typical Matrox Mojito MAX
connections” on page 16).
Connecting HDMI and SDI devices to Mojito
MAX
Your Matrox Mojito MAX card includes one HDMI input and output, and one
SDI input and output. Connect an HDMI or SDI device to your Mojito MAX via
an HDMI or SDI cable connected to the corresponding input/ouput on your
Mojito MAX card. For descriptions of the various Mojito MAX inputs and
outputs, see “Mojito MAX input and output descriptions” on page 18.
¦ Note The Mojito MAX card has Type C HDMI sockets for input and output,
which are smaller than Type A sockets. To connect your Mojito MAX card to a
Type A HDMI device, use a Type A-to-Type C HDMI cable or adapter.
SDI cable
(BNC connector)
To the corresponding
connector on your
external device (see
“Typical Matrox
Mojito MAX
connections” on
page 16).
Matrox Mojito MAX card
(installed in computer)
HDMI cable
(Type C connector)
Connecting HDMI and SDI devices to Mojito MAX
14
Connecting S-Video devices to Mojito MAX
An S-Video adapter cable (two BNC male to S-Video) is required for connecting
an S-Video device to your Mojito MAX input/output. Connect the Y (luminance)
and C (chrominance) BNC connectors on the S-Video adapter cable to the Pb/Y
and Pr/C connectors on the Mojito MAX I/O cable respectively, as shown below.
¦ Note When you connect an S-Video device to Mojito MAX, you won’t be able
to connect an analog component device at the same time.
Matrox Mojito MAX I/O cable
Matrox Mojito MAX card
(installed in computer)
S-Video to two BNC
(male) adapter cable
To the S-Video OUT
connector on your
source device.
To the S-Video IN
connector on your
output device.
Chapter 3, Connecting External Devices to Matrox Mojito MAX
15
Mojito MAX RS-422 serial connection
The RS-422 connector on the Mojito MAX I/O cable lets you use RS-422 device
control with a supported video editing application when capturing material and
exporting your sequence to tape. This serial connection supports any device that
uses the RS-422 SMPTE time code protocol, such as a VTR or digital disk
recorder.
To use Mojito MAX’s RS-422 serial connector for device control, connect the
Mojito MAX I/O cable to your computer, and then connect the RS-422 cable on
the Mojito MAX I/O cable to the RS-422 serial port on your external device. For
information on how to configure Matrox RS-422 device control settings in Adobe
Premiere Pro, see “Setting up Matrox device control” on page 61.
Matrox Mojito MAX I/O cable
RS-422 cable
Matrox Mojito MAX card
(installed in computer)
To the RS-422 serial
port on your
external device.
Mojito MAX RS-422 serial connection
16
Typical Matrox Mojito MAX connections
In the following typical connection examples, we’ve connected a monitor to view
the signal that will be recorded, and separate source and record decks. You may,
however, use the same deck as both your source and record device by making the
input and output connections to a single deck. For details on the Mojito MAX
inputs/outputs, see “Mojito MAX input and output descriptions” on page 18.
Analog component video connections
In this illustration, we’re using analog component connectors for video, XLR
connectors for audio, and an HDMI connector for video monitoring. The video is
genlocked using a tri-level sync generator.
Mojito MAX I/O cable
To Mojito MAX card
To HDMI OUT on
Mojito MAX card
HDMI
monitor
Tri-level sync
generator
Source (Deck 1)
Recorder (Deck 2)
Chapter 3, Connecting External Devices to Matrox Mojito MAX
17
Digital video connections
In this illustration, we’re using SDI connectors for video and audio, and an
HDMI connector for video monitoring. The video is genlocked using a tri-level
sync generator.
Matrox Mojito MAX card
Matrox Mojito MAX I/O cable
Tri-level sync
generator
Source (Deck 1)
Recorder (Deck 2)
To HDMI OUT
To SDI OUT
To SDI IN
To Mojito
MAX card
HDMI
monitor
Typical Matrox Mojito MAX connections
18
Mojito MAX input and output descriptions
This section describes the inputs and outputs available on the Matrox Mojito
MAX card and I/O cable.
Inputs
This section describes the inputs that are available on the Mojito MAX card and
I/O cable. For a list of the supported input and capture formats, see Appendix B,
“Matrox Mojito MAX Supported Input and Capture Formats.”
Matrox Mojito MAX card
• HDMI IN Provides a Type C HDMI socket input for HD HDMI video
(either YUV or RGB), and up to eight channels of uncompressed embedded
audio, from a digital HDMI device. HDCP sources and SD video are not
supported on this input. Connect an HDMI video/audio cable from a camera,
VTR, or other video input source.
• SDI IN Provides an input for use with a digital SDI device. This input
supports HD-SDI and SD-SDI video, and up to eight channels of embedded
audio. Connect an SDI video/audio cable from a camera, VTR, or other
video input source.
Matrox Mojito MAX I/O cable
• REF IN Allows you to genlock all devices connected to your Mojito MAX
system to an external genlock source (bi-level analog black burst for SD, or
analog tri-level sync for HD).
To compensate for cable delays, timing-offset controls that align your video
output relative to your external genlock source are available (see “Specifying
your genlock settings for playback” on page 148).
• Y, Pb, and Pr IN (Component video) Provide inputs for use with an
analog component device, and support HD and SD video. Connect
component Y, Pb, Pr video cables from a camera, VTR, or other video input
source.
¦ Note The CVBS and S-Video inputs are not available when using the
component input.
• Pb/Y and Pr/C IN (S-Video) Input connectors Pb/Y and Pr/C allow you
to connect an S-Video adapter cable (two male BNC to S-Video) for use with
an analog S-Video device (SD only). Connect an S-Video cable, via an
S-Video adapter cable, from a camera, VTR, or other video input source. For
instructions on how to connect S-Video devices to Mojito MAX, see
“Connecting S-Video devices to Mojito MAX” on page 14.
¦ Note The component input is not available when using the S-Video input.
Chapter 3, Connecting External Devices to Matrox Mojito MAX
19
• CVBS IN (Composite video) Allows you to input SD video from an
analog NTSC or PAL device. Connect a composite video cable from a
camera, VTR, or other video input source.
¦ Note The component input is not available when using the CVBS input.
• AES IN (digital audio) Allows you to input stereo digital audio. Connect
a coaxial BNC audio cable from a camera, VTR, audio mixer, or other audio
input source.
• IN 1 and IN 2 (Balanced analog audio) Allows you to input balanced
stereo analog audio. Connect XLR cables from a camera, VTR, audio mixer,
or other audio input source.
Outputs
This section describes the outputs that are available on the Mojito MAX card and
I/O cable.
Matrox Mojito MAX card
• HDMI OUT Provides a Type C HDMI socket output for HD/SD HDMI
video, and up to eight channels of embedded audio, to a digital HDMI
device. HDCP is not supported on this output. This output supports 1:1 pixel
mapping for accurate monitoring on your HDMI display of NTSC, PAL,
1280×720, and 1920×1080 video. Connect an HDMI video/audio cable to
an HDMI monitor, VTR, or other digital HDMI device. You can also connect
directly to a home theatre system for surround sound monitoring.
¦ Note The HDMI output supports YUV and RGB devices.
HDMI monitor calibration is available through this output. Use the Matrox
HDMI Calibration Utility to calibrate your HDMI monitor (see Chapter 4,
“Calibrating Your HDMI Monitor for Video”).
• SDI OUT Provides an output for HD/SD SDI video, with up to 16
channels of embedded audio. Connect an SDI video/audio cable to a video
monitor, VTR, or other SDI device. You can also perform surround sound
monitoring through the SDI output by connecting to a third-party device,
such as an SDI audio de-embedder.
Matrox Mojito MAX I/O cable
• Y, Pb, and Pr OUT (Component video) Allows you to output HD or SD
video to an analog component device. Connect component Y, Pb, Pr video
cables to a video monitor, VTR, or other component device.
¦ Note The CVBS and S-Video outputs are not available when using the
component output.
• Pb/Y and Pr/C OUT (S-Video) Output connectors Pb/Y and Pr/C allow
you to connect an S-Video adapter cable (two male BNC to S-Video) for
outputting SD video to an analog S-Video device. Connect an S-Video cable,
Mojito MAX input and output descriptions
20
via an S-Video adapter cable, to a video monitor, VTR, or other S-Video
device. For instructions on how to connect S-Video devices to Mojito MAX,
see “Connecting S-Video devices to Mojito MAX” on page 14.
¦ Note The component output is not available when using the S-Video output.
• CVBS OUT (Composite video) Allows you to output SD video to an
analog NTSC or PAL device. Connect a composite video cable to a video
monitor, VTR, or other NTSC or PAL device.
¦ Note The component output is not available when using the CVBS output.
• AES OUT (digital audio) Allows you to output stereo digital audio.
Connect a coaxial BNC audio cable to a VTR, audio mixer, speakers, or
other audio device.
• OUT 1 to OUT 4 (Balanced analog audio) Allows you to output
balanced stereo analog audio. Connect XLR cables to a VTR, audio mixer,
speakers, or other audio device.
• OUT L and OUT R (Unbalanced analog audio) Allows you to output
unbalanced stereo analog audio. Connect RCA cables to a VTR, audio
mixer, speakers, or other audio device.
Chapter 3, Connecting External Devices to Matrox Mojito MAX
4
Calibrating Your HDMI Monitor
for Video
This chapter explains how to
use the Matrox HDMI
Calibration Utility to calibrate
your RGB HDMI monitor for
video.
22
Overview
The Matrox HDMI Calibration Utility is a unique tool designed to calibrate your
RGB HDMI monitor or television so that it performs like a traditional broadcast
video monitor. This utility provides a wizard that walks you through the
calibration process using specially designed patterns to effectively identify and
compensate for the processing errors that may be present in your HDMI monitor.
The Matrox HDMI Calibration Utility calibrates your monitor’s black and white
levels, white point, gamma response, and hue and chroma.
This utility is optimized for calibrating HDMI LCD/LED monitors or televisions
that support 1:1 pixel mapping, which allows you to view the output on your
HDMI monitor at its exact resolution without any scaling. Although instructions
are provided for calibrating plasma HDMI monitors, and HDMI monitors that do
not support 1:1 pixel mapping, a blue-only filter will be required for the color
calibration (hue and chroma). Some HDMI monitors feature a built-in blue-only
mode that you can use for color calibration. If your HDMI monitor does not have
a built-in blue-only mode, you can use a proper third-party blue-only filter (for
example, a blue gel filter, or blue-only calibration glasses) that completely blocks
out all colors except for blue. Because some blue-only filters do not block out
colors effectively, the Matrox HDMI Calibration Utility includes a blue-only
filter test that you can use to determine if your blue-only filter is adequate for
color calibration.
¦ Note To ensure that the Matrox HDMI Calibration Utility displays correctly,
your computer screen’s resolution must be 1280×800 or higher, and the
Windows DPI scaling option for text must be set to the default size. For details on
how to change your screen resolution and DPI scaling setting for text, see your
Windows documentation.
Calibrating your HDMI monitor
The Matrox HDMI Calibration Utility provides on-screen instructions to
calibrate your HDMI monitor. At the end of the calibration process, you must
save your calibration settings to a file. Once saved, the calibration settings are
automatically loaded as your system’s current calibration settings. If you’re
calibrating more than one HDMI monitor, you can calibrate and save settings for
each monitor and load the corresponding settings at any time (see “Loading
Matrox HDMI calibration settings” on page 24). You can later choose to enable
or disable the loaded calibration settings (see “Enabling and disabling the Matrox
HDMI calibration settings” on page 24).
The Matrox HDMI Calibration Utility uses the Matrox WYSIWYG Control
Panel to display the specially designed patterns that are required to calibrate your
HDMI monitor. Therefore, you’ll need to configure your Matrox WYSIWYG
output settings as explained in this section. For more information about using the
Chapter 4, Calibrating Your HDMI Monitor for Video
23
Matrox WYSIWYG Control Panel, see “Configuring the Matrox WYSIWYG
Control Panel” on page 168.
¡ Important When running the Matrox HDMI Calibration Utility, make sure
that you don’t run any other application that uses your Matrox Mojito MAX
hardware, such as Matrox A/V Tools, or another application that displays Matrox
WYSIWYG output.
° To run the Matrox HDMI Calibration Utility:
1 Ensure that your HDMI monitor is connected to the HDMI output on your
Mojito MAX, turn the HDMI monitor on, and allow it to warm up for about
20 or 30 minutes.
2 Right-click the
icon on your Windows taskbar and configure your
Matrox WYSIWYG output settings as follows:
$
Enable WYSIWYG Output must be selected.
$
Choose Output Configuration and on the Video Output page, set the
HDMI output to RGB - calibrated. This is required in order to run the
Matrox HDMI Calibration Utility and output the adjusted RGB HDMI
video to your HDMI monitor.
$
All other required Matrox WYSIWYG output settings will be
automatically set by the HDMI Calibration Utility.
3 Click OK to save your video output settings.
4 Right-click the
icon on your Windows taskbar, and choose Matrox
HDMI Calibration Utility.
5 Follow the onscreen instructions to calibrate your HDMI monitor.
6 When prompted at the end of the calibration process, save your calibration
settings to a file anywhere on your system. Once saved, your settings are
automatically loaded as your system’s current HDMI calibration settings.
You can later choose to enable or disable the loaded calibration settings (see
“Enabling and disabling the Matrox HDMI calibration settings” on page 24).
¦ Note The calibration settings file is saved as an .mtx file. If you cancel the
HDMI calibration, or close the utility at any time before saving the calibration
settings, the current calibration settings will be lost.
Calibrating your HDMI monitor
24
Loading Matrox HDMI calibration settings
After calibrating your HDMI monitor and saving your calibration settings to a
file (see “Calibrating your HDMI monitor” on page 22), the calibration settings
are automatically loaded as the current HDMI calibration settings for your
system. You can, however, load another HDMI calibration settings file at any
time, but only one calibration settings file can be loaded for your system at any
given time. Once loaded, you can enable or disable the calibration settings (see
“Enabling and disabling the Matrox HDMI calibration settings” on page 24).
¦ Note If your system has multiple users, the loaded calibration settings apply to
the logged on user only.
1 Right-click the
icon on your Windows taskbar, choose Output
Configuration and on the Video Output page, set the HDMI output to
RGB - calibrated.
2 Click OK to save your video output settings.
3 Right-click the
icon on your Windows taskbar, and choose Matrox
HDMI Calibration Utility.
4 From the Welcome page, click Load Settings.
5 When prompted, select your desired .mtx calibration settings file, and then
click Open.
Enabling and disabling the Matrox HDMI
calibration settings
The HDMI calibration settings that are loaded for your system (see “Loading
Matrox HDMI calibration settings” on page 24) can be enabled or disabled.
When using a program that supports Matrox Mojito MAX video output, you can
configure the Matrox video output settings for that program to enable or disable
the loaded HDMI calibration settings. For example, you can configure the Mojito
MAX video output settings that you want to use with Matrox A/V Tools as
explained in “Specifying your video output settings” on page 144.
When you set the HDMI video output to RGB - calibrated, the video that is
output from the Mojito MAX HDMI output will have the color settings that are
saved in the currently loaded calibration file. This is used when you want to
monitor video on your RGB HDMI monitor.
To disable the loaded calibration settings and output HDMI video from Mojito
MAX with its native color settings, set the HDMI video output to YUV or RGB native, depending on the HDMI device you connected to the Mojito MAX
HDMI output. For example, you can set the HDMI video output to RGB - native
when you want to output native RGB HDMI video to an HDMI recorder to
perform an export to tape.
Chapter 4, Calibrating Your HDMI Monitor for Video
25
¦ Note When you configure your Matrox WYSIWYG output settings, the
settings apply to all programs that display Matrox WYSIWYG output. This
means that when you set the HDMI video output to RGB - calibrated using the
Matrox WYSIWYG Control Panel, the currently loaded calibration settings will
be applied when you preview HDMI video using any program that displays
Matrox WYSIWYG output, such as Adobe After Effects. For more information
about using the Matrox WYSIWYG Control Panel, see “Configuring the Matrox
WYSIWYG Control Panel” on page 168.
Enabling and disabling the Matrox HDMI calibration settings
26
Your notes
Chapter 4, Calibrating Your HDMI Monitor for Video
5
Using Matrox Mojito MAX with Adobe
Premiere Pro
This chapter explains how to
define various settings for
using Matrox Mojito MAX with
Adobe Premiere Pro. This
includes creating a new
Premiere Pro project, and
specifying your playback,
capture, and export settings.
28
¦ Note This chapter provides instructions for using Adobe Premiere Pro CC and
Adobe Premiere Pro CS6. When an operation is different between the CC and
CS6 versions, the version is displayed after the operation as (CC) or (CS6).
Screen shots of the Premiere Pro dialog boxes are for the CC version only. Dialog
boxes in the CS6 version may be slightly different.
Running antivirus software with Adobe
Premiere Pro
To avoid having dropped frames or other performance issues when working with
Adobe Premiere Pro, make sure that you disable any antivirus scanning of files
while running Premiere Pro. If possible, schedule your antivirus scanning at a
time when you’re not using Premiere Pro, such as overnight or on the weekend.
Displaying warnings in Adobe Premiere Pro’s
Events panel
Matrox Mojito MAX uses Adobe Premiere Pro’s Events panel to issue certain
error messages and warnings. To display these, choose Window > Events. For
more information about using the Events panel, see your Adobe Premiere Pro
documentation.
Creating a new Adobe Premiere Pro project
Creating a new Adobe Premiere Pro project involves specifying the location of
your scratch disks and selecting a sequence preset.
° To create a new project:
1 Start Adobe Premiere Pro and click New Project. The New Project dialog
box appears. You can leave all the settings on the General pane at the default
settings. For details on changing these settings, see your Adobe Premiere Pro
documentation.
2 Click the Scratch Disks tab, and use the Browse button to select an
appropriate A/V drive for each scratch disk type. When specifying the
location of your scratch disks, make sure you follow the recommendations in
your Adobe Premiere Pro documentation. For example, store your video and
audio files on a separate hard drive dedicated to your media assets.
¥ Tip Specifying the same scratch disk settings for all your projects will help
shorten the amount of time it takes to open new or existing projects.
3 From the Location list, select where you want to save your project.
4 In the Name box, specify a name for your project.
5 Click OK to save your settings.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
29
6 Choose File > New > Sequence (CC only). The New Sequence dialog
box opens on the Sequence Presets page.
7 Under Available Presets, select the preset that matches the type of
sequence you want to create. Matrox Mojito MAX supports all the available
presets, including custom presets that you create.
¦ Note When you select any of the MPEG-2 I-frame, uncompressed 10-bit,
or uncompressed 8-bit presets, the appropriate Matrox codec will be set for
rendering your video previews. If you create a custom sequence preset using
a Matrox codec editing mode, you can specify the Matrox codec that you want
to render your video previews. For more information, see “Defining your video
preview settings” on page 39.
8 In the Sequence Name box, specify a name for your sequence.
9 Specify any other sequence settings that you require as explained in your
Adobe Premiere Pro documentation, and click OK to apply the settings.
About the Matrox 10-bit editing workflow
Matrox Mojito MAX supports a complete 10-bit editing workflow in Adobe
Premiere Pro to give you the highest quality video. This means that you can
capture and export clips to Matrox 10-bit uncompressed format for use in your
sequence, render your video previews to Matrox 10-bit uncompressed format,
and output your sequence at 10-bit on Matrox Mojito MAX for preview or export
to tape.
° To use a Matrox 10-bit editing workflow:
1 Create your sequence using one of the available presets under
Uncompressed 10-bit. This automatically applies the appropriate settings
for your video previews (the rendering codec is set to Matrox 10-bit
uncompressed and maximum bit depth is enabled).
2 When you configure your video output settings on Matrox Mojito MAX, set
the bit depth for your video output to 10-bit (see “Specifying your video
output settings” on page 30).
3 Capture your clips to Matrox 10-bit uncompressed format for editing in your
sequence (see “Specifying your video capture settings” on page 41).
4 If you add Matrox effects or other software effects to your sequence, you
must render these sections in order to output them at 10-bit. Only 10-bit
uncompressed clips without effects or with GPU-accelerated effects, and
video previews that have been rendered using the Matrox 10-bit
uncompressed codec can be output at 10-bit.
¦ Note You can also export your sequence to a Matrox 10-bit uncompressed .avi
file as explained in “Exporting to a Matrox .avi file” on page 55.
About the Matrox 10-bit editing workflow
30
Defining your playback settings
In order to use your Matrox Mojito MAX hardware to output video and audio
played back in Adobe Premiere Pro, you must set your video and audio devices
to use the Matrox Player as follows:
1 Choose Edit > Preferences > Playback.
2 From the Audio Device list, select Matrox Player.
3 Under Video Device, select Matrox Player.
4 To configure your playback settings on Matrox Mojito MAX, click Setup
beside Matrox Player under Video Device.
The Matrox Playback Settings dialog box provides various settings that you
can use to configure your Matrox Mojito MAX video and audio outputs as
explained in the following sections.
Remarks
• The video output formats (if locked) and the audio output settings in the
Matrox Playback Settings dialog box apply to your entire project. All
other settings, however, are specific to your sequence. Any video output
settings you specify for a particular video format will be applied the next
time you create a new sequence in that same format. If you change any of the
video output settings, the new settings will be applied to all previously
created sequences that have that video format in your project. For example,
if you create a new DV-NTSC sequence, the settings you apply for that
sequence will also be applied to any previously created DV-NTSC sequences
in your project.
• For the best quality output when previewing a sequence that has an
interlaced video format, make sure that you choose Display Both Fields in
the Program Monitor menu.
• You can also select Matrox Player as your video and audio devices in
Adobe Prelude and Encore to use your Matrox Mojito MAX hardware to
monitor video and audio played back in those applications. The settings
provided for configuring your Matrox Mojito MAX video and audio outputs
in Adobe Prelude and Encore are the same as for Premiere Pro, except the
option to lock the video output formats is not available.
Specifying your video output settings
You can specify various settings to configure the main and secondary outputs
from Mojito MAX. Some of the settings are predetermined for you based on your
sequence’s video format. For a list of the supported video output formats, see
“Playback using Adobe Premiere Pro, Prelude, and Encore” on page 260.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
31
° To specify your video output settings:
1 In the Matrox Playback Settings dialog box, click the Video Output tab.
2 Select Lock output formats if you want to ensure that the currently
selected main and secondary video output formats for playback won’t
change when working in your project. When this option is cleared, your
sequence’s video output may change to a different format when you open a
title or graphic in the Source Monitor or use the Multi-Camera Monitor.
¡ Important When Lock output formats is selected, you won’t be able to
change the main and secondary video output formats, and the currently
selected video output formats will be applied to all sequences in your
project. Therefore, make sure that you’ve selected the output formats that
you want (see step 3 below) before selecting this option. In order to specify
different video output formats for each sequence in your project, the video
output formats must not be locked.
Defining your playback settings
32
3 Under Main Output and Secondary Output, you can specify the settings
you want for your main and secondary outputs from Mojito MAX.
Depending on your sequence’s video format, you may not be able to change
some of the settings.
Use this to select the video format you want for your outputs.
Be aware that the format you select may not be supported on all the
Mojito MAX outputs. For a list of the supported formats, see “Playback
using Adobe Premiere Pro, Prelude, and Encore” on page 260.
$
Format
$
Pulldown Method If this setting is available, select the pulldown
method you want to be applied to your video output (Standard 2:3 or
Advanced 2:3:3:2). Depending on your sequence’s frame rate and the
current video output format, a pulldown method may automatically be
selected.
$
Aspect Ratio Conversion
Use this to specify how you want your
video to be output when upscaling or downscaling:
Outputs the widescreen 16:9 picture in letterbox
mode by adding black bars at the top and bottom of the picture for
display on a standard 4:3 television screen.
•
16x9 Letterbox
•
4x3 Pillarbox
•
Anamorphic
•
Center Cut Outputs the widescreen 16:9 picture by evenly cropping
the left and right sides of the picture for display on a standard 4:3
television screen.
•
Center Zoom Outputs the standard 4:3 picture by evenly cropping
the top and bottom edges of the picture for display on a widescreen
16:9 television screen.
Outputs the standard 4:3 picture in pillarbox mode by
adding black bars to the left and right sides of the picture for display on
a widescreen 16:9 television screen.
Outputs the widescreen 16:9 picture as horizontally
compressed 4:3 video, which retains the picture’s full vertical
resolution for display on a widescreen television. To display the video
with the correct proportions on an NTSC or PAL monitor, select the
16:9 display setting on the monitor.
¦ Note When aspect ratio conversion is applied to both the main and
secondary outputs, the same setting will be applied to both outputs.
4 Under Analog Output, you can specify your analog output format, NTSC
setup level, and output type:
$
Format Use this to specify whether you want the format for the analog
outputs to be the same as the main or secondary output.
$
Output Type Select the type of analog video output you want. If you’re
outputting SD analog video, you can select Component, or Composite
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
33
& S-Video. If you’re outputting HD analog video, the output type will be
set to Component (and the composite and S-Video outputs will be
invalid).
$
$
Use this to select the setup level you want for your
NTSC analog video. This affects both the NTSC analog video input and
output.
Setup (NTSC)
•
0 IRE Applies a setup level of 0 IRE. You should select this option
only when working with a commercial DV device that uses the
Japanese analog NTSC setup of 0 IRE. For example, if the video
appears too bright when you play back DV clips on your NTSC
monitor, you can change the setup to 0 IRE to output your DV clips at
the correct brightness.
•
7.5 IRE
Applies the standard NTSC setup level of 7.5 IRE.
YUV/RGB Select YUV or RGB - native to set the type of video signal
that is sent from the component output. For example, select RGB - native
if you connected the component output to a device that accepts an RGB
signal.
5 Under HDMI Output, you can specify your HDMI output format and type.
Use this to specify whether you want the format for your
HDMI output to be the same as the main or secondary output.
$
Format
$
YUV/RGB Select the type of video signal that you want to be sent from
the HDMI output:
$
•
YUV Outputs YUV HDMI video. Select this only if you connected
the HDMI output to a device that accepts a YUV signal.
•
RGB - calibrated Outputs adjusted RGB HDMI video using the
currently loaded Matrox HDMI calibration settings for your HDMI
monitor or television. For details on calibrating your HDMI monitor
and loading calibration settings using the Matrox HDMI Calibration
Utility, see Chapter 4, “Calibrating Your HDMI Monitor for Video.”
•
RGB - native
Outputs native RGB HDMI video that does not apply
any calibration compensation. This is useful when you want to output
RGB HDMI video to a device other than an HDMI monitor or
television, such as an HDMI recorder to perform an export to tape.
Select the 3D signal type that you want to be sent
from the HDMI output to your 3D monitor:
3D Viewing Mode
•
Disabled Select this if you’re not outputting 3D video, or to disable
3D video output. You can still monitor 3D video, but you must select
the correct viewing mode on your 3D monitor manually.
•
Side-by-side
Outputs horizontally compressed side-by-side 3D
video (also referred to as side-by-side horizontal).
Defining your playback settings
34
•
Over/Under
Outputs over/under 3D video (also referred to as top
bottom).
¦ Note This feature may not be supported on some 3D monitors.
6 Under SDI Output, specify whether you want the format for your SDI
output to be the same as the main or secondary output.
7 Under Advanced, you can specify advanced video output settings.
Use this slider to advance or delay your analog
video output’s subcarrier phase with respect to the horizontal sync of the
genlock source (for composite video only).
$
Analog SC/H Phase
$
Allow Super White/Allow Super Black
Select Allow Super White
to allow the highest luminance level of your video output to exceed the
standard maximum white level. Select Allow Super Black to allow the
lowest luminance level of your video output to fall below the standard
black level. These options apply to all video outputs.
¦ Note Super white and super black should not be allowed when producing
your final video production for broadcast.
8 Under Video Bit Depth, select either 8-bit or 10-bit to indicate the bit
depth that you want for your video output.
¡ Important Only 10-bit uncompressed clips without effects or with
GPU-accelerated effects, and video previews that have been rendered using
the Matrox 10-bit uncompressed codec can be output at 10-bit. For more
information about using this feature, see “About the Matrox 10-bit editing
workflow” on page 29.
9 Click OK to save your settings.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
35
Specifying your genlock settings for playback
You can select the source to which you want to genlock all devices connected to
your Mojito MAX system during playback, as well as adjust the timing settings
for all video outputs from Mojito MAX.
For an example of connecting an external sync source to your system, see
“Typical Matrox Mojito MAX connections” on page 16. When using Matrox
device control with an analog RS-422 device, you need to connect an external
broadcast-quality analog sync source, such as a tri-level sync generator, as shown
in the illustrations.
° To specify your genlock settings for playback:
1 In the Matrox Playback Settings dialog box, click the Genlock tab.
2 Under Genlock Source, select one of the following:
Genlock to Mojito MAX’s internal reference signal. Select this
option only if you don’t have an external sync generator or other reliable
external video sync source.
$
Internal
$
Black Burst Broadcast Quality
$
SDI, Composite, Component, S-Video, and HDMI Input Genlock to
your SDI, composite, component, S-Video, or HDMI video source
connected to the video input on Mojito MAX.
Genlock to an external analog sync
source connected to the reference (REF) input on Mojito MAX. This must
be a stable sync source, such as an external sync generator (bi-level black
burst for SD or tri-level sync for HD), or a source VTR that has a built-in
TBC.
¦ Note The status of your genlock source will be displayed, such as Locked
or Not Locked, to indicate whether or not Mojito MAX is presently locked
to your selected genlock source. When you change the genlock source,
Defining your playback settings
36
distorted video and silent audio will be output until Mojito MAX locks to the
new genlock source.
3 Under Genlock Video Format, select your genlock source’s video format.
If you can’t select a video format, make sure that your genlock source
matches the specified video format. When the genlock source is set to
Internal, the genlock video format is set to your main video output format.
4 Under Advanced Settings, drag the Horizontal Delay and Vertical Delay
sliders to adjust the horizontal and vertical timing of your video outputs with
respect to your genlock source. This lets you compensate for cable delays
within your system.
5 Click OK to save your settings.
Specifying your audio output settings
The audio output page lets you adjust various settings for your audio output from
your Mojito MAX system. For example, you can adjust the volume of your
analog audio output before or while playing back clips.
° To specify your audio output settings:
1 In the Matrox Playback Settings dialog box, click the Audio Output tab.
2 Under Analog Audio Volume, drag the sliders to adjust the volume of your
analog audio output. By default, the sliders are locked so that they move
together. To move each slider independently, click the lock button (
) to
disable it.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
37
3 Under SDI Audio Bit Depth, select the bit depth you want for your
embedded SDI audio output (20-bit or 24-bit).
4 Under HDMI Audio Output, select Output only two audio channels if
you want to output two audio channels from the Mojito MAX HDMI output,
instead of eight channels. This option is especially useful for HDMI
monitors that don’t accept more than two audio channels.
5 Click OK to save your settings.
Specifying your closed captioning settings
You can specify various settings for playing back and exporting to tape closed
captions in your sequence on Matrox Mojito MAX. For example, you can choose
to embed the closed captioning data in the SDI VANC output for display on an
SDI video monitor that supports closed captioning. You can also choose to
overlay the closed captions on all the Matrox Mojito MAX video outputs for
display on video monitors that don’t have a closed captioning feature.
For details on working with closed captions in your sequence, see your Adobe
Premiere Pro documentation. To determine your video monitor’s capabilities for
displaying closed captioning, check your video monitor’s documentation.
° To specify your closed captioning settings:
1 In the Matrox Playback Settings dialog box, click the Closed
Captioning tab.
2 Under Embedding Options, select the options that you want for
embedding the closed captioning data in the Matrox Mojito MAX video
output during playback:
Select this to embed the closed captioning data in
the SDI video output’s VANC for display on an SDI video monitor.
$
Embed in SDI VANC
$
Embed in SDI line 21 (NTSC) Select this to embed the closed
captioning data in line 21 of the VBI portion of the SDI video output for
display on an SDI NTSC video monitor.
Defining your playback settings
38
$
Select this to embed the closed
captioning data in line 21 of the VBI portion of the analog video output
for display on an analog NTSC video monitor.
Embed in analog line 21 (NTSC)
¡ Important Embedding closed captioning in the video output is supported
only when the frame rate of the video output matches your sequence’s frame
rate. If the frame rate is converted at the output, such as when you apply a
pulldown, you can still display the closed captions by selecting Enable
overlay on output as explained below.
3 Under Video Output, select Enable overlay on output if you want to
overlay the closed captions on all the Mojito MAX video outputs, which lets
you display closed captioning on video monitors that don’t have a closed
captioning feature.
Remarks
$
For the overlay to be displayed, closed captioning display must be enabled
in the Adobe Premiere Pro Program Monitor pop-up menu (choose
Closed Captioning Display > Enable). If you’re using Premiere
Pro CC, you must also choose Overlay Settings > Settings, and in the
displayed dialog box, select Enable overlays for Transmit.
$
When using Premiere Pro CC, the closed captioning overlay is supported
for playback only. The overlay will not be exported to tape.
$
When Enable overlay on output is selected, the bit depth of your video
output is forced to 8-bit, and you won’t be able to change the bit depth
setting on the Video Output page. Therefore, if you want to output 10-bit
video, you must clear this option before changing the bit depth setting for
your video output.
$
Selecting Enable overlay on output may cause dropped frames in your
video output. If you select this option and also choose to embed the closed
captioning in the video output, you should turn off the closed captioning
feature for all video monitors connected to the Mojito MAX video outputs
to avoid simultaneously displaying both the embedded and overlaid
closed captions.
4 Click OK to save your settings.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
39
Defining your video preview settings
When you select an MPEG-2 I-frame, uncompressed 10-bit, or uncompressed
8-bit sequence preset, an appropriate Matrox preview file format and codec are
automatically set for rendering your video previews on Mojito MAX. When you
create a custom preset using a Matrox codec editing mode, you can specify the
Matrox codec that you want to use to render your video previews. To check your
video preview settings, choose Sequence > Sequence Settings.
Depending on your sequence’s video format, you can select a different preview
file format or Matrox codec to render your video previews. For details on
configuring the Matrox MPEG-2 I-frame codec settings, see “Selecting your
MPEG-2 I-frame settings” on page 51.
Remarks
• For an SD sequence, make sure that the preview file format matches your
sequence’s format (standard or widescreen).
• To use the Matrox MPEG-2 I-frame codec for rendering video previews in
an NTSC or 486p sequence, select the appropriate MPEG-2 I-frame preview
file format, such as MPEG-2 I-frame NTSC Standard for a Matrox NTSC
standard sequence.
• If you set the bit depth for your video output on Mojito MAX to 10-bit, you
must use the Matrox 10-bit uncompressed codec for rendering video
previews. You must also select Maximum Bit Depth in order to output
10-bit video when the playback is paused. For more information, see “About
the Matrox 10-bit editing workflow” on page 29.
For details on specifying additional settings for your video previews, see your
Adobe Premiere Pro documentation.
Defining your video preview settings
40
Mapping audio output for a 5.1 master track
To properly output embedded HDMI audio on Matrox Mojito MAX for a 5.1
master track, you must map the audio output channels in your sequence as
follows:
• Channel 1: Left front
• Channel 2: Right front
• Channel 3: Low frequency effects
• Channel 4: Center front
• Channel 5: Left surround
• Channel 6: Right surround
° To specify your 5.1 surround audio output mapping:
1 Choose Edit > Preferences > Audio Hardware (CC) or Audio Output
Mapping (CS6).
2 From the Map Output for list, select Matrox Player.
3 Drag the icons for the surround sound channels into the order required for
output on Matrox Mojito MAX. The mapping should appear as follows:
4 Click OK to save your settings.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
41
Defining your capture settings
The Matrox Capture Settings dialog box provides various settings for
capturing video and audio in Adobe Premiere Pro on Matrox Mojito MAX. For
information about the supported capture formats, see Appendix B, “Matrox
Mojito MAX Supported Input and Capture Formats.” For a list of the supported
video output formats for monitoring the video that you’re capturing, see
“Supported video output formats for monitoring” on page 274.
If you want to capture material from an RS-422 device using Matrox device
control, see “Setting up Matrox device control” on page 61. For details on how to
capture material in Adobe Premiere Pro, see your Adobe Premiere Pro
documentation.
¦ Note When you specify your capture settings on Matrox Mojito MAX, VU
meters can be displayed to let you monitor your audio input levels. For more
information, see “Monitoring audio levels for capture” on page 47.
Specifying your video capture settings
Matrox Mojito MAX lets you capture your video to an MPEG-2 I-frame or
uncompressed format to create .avi files for use in your Adobe Premiere Pro
projects. If you want to capture to an SD format, such as NTSC, you can choose
to capture your video to an .m2v file for DVD authoring using Adobe Encore. For
details about specific limitations when capturing to Matrox .m2v files, see “Notes
about capturing to Matrox .m2v files” on page 50.
° To specify your video capture settings:
1 Choose File (CC) or Project (CS6) > Project Settings > General.
2 From the Capture Format list, select Matrox AVI to capture to an .avi file,
or Matrox M2V to capture to an .m2v file.
Defining your capture settings
42
3 Click the Configure button, then click the Video Capture Settings tab.
4 Under Input Format, select the video format that matches your source
video. For a list of the video input formats supported on the various Mojito
MAX inputs for capturing clips, see “Supported input formats” on page 254.
5 Under Input Aspect Ratio, select the aspect ratio of your SD source video
(4:3 or 16:9). For example, to capture SD video that was recorded using the
standard TV screen format, select 4:3. To capture SD video that was
recorded using the widescreen 16:9 format, select 16:9. If you’re capturing
HD video, the Input Aspect Ratio will be set to 16:9.
6 Under Input Source, select the type of input you want to capture. For
example, to capture material from your HDMI source, select HDMI. The
available input sources depend on your selected input format.
¦ Note If Matrox Mojito MAX can’t detect your source device when you start
a capture, you’ll receive an error message. Either black video will be captured
or the capture won’t be able to start until a valid input signal is present. In
either case, you must make sure that your source device is switched on and
properly connected to Mojito MAX to properly capture the video.
7 Under Input Type, select the type of equipment you’re using for capture:
Select this if your source device is
broadcast-quality. This setting provides the best capture results for most
devices.
$
Broadcast-quality Source
$
Consumer-quality Source Select this if you’re having problems
capturing video because your source device doesn’t meet
broadcast-quality standards. For example, the capture may be interrupted
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
43
when you try to capture from certain composite and S-Video devices,
especially from low-quality VCRs. If this happens, selecting
Consumer-quality Source will allow the video to be captured, but you
may experience dropped frames during the capture.
¦ Note For any change to the input type to take effect, you must restart
Premiere Pro and open your project again.
8 Select Use Automatic Gain Control (AGC) if you want the gain of your
composite or S-Video input signal to be adjusted automatically to
compensate for very bright or dark images. This improves the brightness or
contrast of your picture.
9 Under Capture Format, select the format to which you want to capture
your source video. The formats available depend on your selected input
format. If required, your source video will be scaled during capture to match
your capture format. For a list of the supported capture formats, see
“Supported capture formats for Adobe Premiere Pro” on page 255.
10 If you’re capturing HD video to an SD format, under Capture Aspect
Ratio, select 4:3 to capture video to the standard TV screen format, or 16:9
to capture to the widescreen 16:9 format. For all HD capture formats, the
Capture Aspect Ratio is set to 16:9. When capturing SD video to an SD
format, the Capture Aspect Ratio is set to match the Input Aspect Ratio.
11 Under Codec, select the codec that you want to use for the capture. When
capturing to an .m2v file, the codec is set to Matrox MPEG-2 IBP.
$
Matrox 8-bit Uncompressed
Captures video to 8-bit uncompressed
format.
Captures video to 10-bit
$
Matrox 10-bit Uncompressed
uncompressed format.
$
Matrox MPEG-2 I-frame Captures video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ Main Level at a selected data rate (SD
resolution only).
$
Matrox MPEG-2 I-frame HD Captures video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ High Level at a selected data rate (HD
resolution only).
12 If you’re capturing to a Matrox MPEG-2 format, click the Configure button
to configure your MPEG-2 settings. For details on the available settings, see
“Selecting your MPEG-2 I-frame settings” on page 51 or “Selecting your
MPEG-2 IBP settings” on page 53. Once you’ve configured your settings,
click OK to return to the Matrox Capture Settings dialog box.
13 Under Aspect Ratio Conversion, specify the type of aspect ratio
conversion that you want to be applied to your captured video (used when
upscaling or downscaling video during capture only):
Defining your capture settings
44
Captures the widescreen 16:9 picture as letterbox
video by adding black bars at the top and bottom of the picture for display
on a standard 4:3 television screen.
$
16x9 Letterbox
$
4x3 Pillarbox
$
Center Cut Captures the widescreen 16:9 picture by evenly cropping
the left and right sides of the picture for display on a standard 4:3
television screen.
$
Center Zoom Captures the standard 4:3 picture by evenly cropping the
top and bottom edges of the picture for display on a widescreen 16:9
television screen.
Captures the standard 4:3 picture as pillarbox video by
adding black bars at the left and right sides of the picture for display on a
widescreen 16:9 television screen.
¦ Note When capturing to an SD 16:9 format, such as NTSC 16:9, the video
will be captured as horizontally compressed 4:3 (anamorphic) video. To
display the video with the correct proportions on an NTSC or PAL monitor,
select the 16:9 display setting on the monitor.
14 Click OK to save your settings.
Specifying your audio capture settings
You can specify various audio capture settings, such as to specify your input
source and the type of audio files (either stereo .wav or mono .wav) that you want
to create when capturing audio on Matrox Mojito MAX.
Remarks
• When you capture to an .avi file on Matrox Mojito MAX, the clip’s video
and audio are saved to the .avi file, and the clip’s audio is also saved to one
or more separate .wav files. You could choose to edit the separate .wav files
using an audio post-processing application.
• When you capture to an .m2v file on Matrox Mojito MAX, the clip’s
associated audio is always saved to one or more separate .wav files.
° To specify your audio capture settings:
1 Choose File (CC) or Project (CS6) > Project Settings > General.
2 From the Capture Format list, select Matrox AVI to capture to an .avi file,
or Matrox M2V to capture to an .m2v file.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
45
3 Click the Configure button, then click the Audio Capture Settings tab:
4 Under Input Source, select your audio source. For example, if you want to
capture the embedded audio of your HDMI source, select HDMI
(embedded audio). Your audio input source may be set for you based on
your selected video input source.
¦ Note When capturing HDMI embedded audio, only uncompressed
embedded audio is supported.
5 Under Capture Format, select the bit-depth for your captured audio files.
6 If you want the VU meters to be displayed each time you configure your
Matrox Mojito MAX capture settings or open the Capture panel to start a
capture, select Show VU meters. For details on using the VU meters, see
“Monitoring audio levels for capture” on page 47.
7 If you experience dropped frames during capture, select Disable audio
preview to disable the audio preview only while you’re capturing material
(for .avi captures only).
8 Under Capture Files, indicate whether you want to capture to stereo or
mono audio files, and select which channels you want to save to separate
.wav files.
$
From the File Type list, select Stereo to save your captured audio to
stereo .wav files, or Mono to save your captured audio to mono .wav files.
If you’re capturing an .m2v clip, the File Type will be set to Stereo.
$
From the Filename lists, select which stereo pairs or mono channels you
want to save to your .wav files (up to four stereo files or up to eight mono
Defining your capture settings
46
files depending on the type of audio being captured). Select None for the
particular .wav files you don’t want to be created, or click the D (default)
button for each Filename list if you want to capture only channels 1 and
2. When Matrox Mojito MAX saves each .wav file, it assigns a
.Stereo.wav or .Mono.wav suffix to the base name you gave for the
associated video file. For example, if you’ve named your video file
MyFile.avi, the associated stereo audio files would be named
MyFile.Stereo1.wav, MyFile.Stereo2.wav, etc.
Remarks
$
The channels that you choose to save to the first stereo.wav file or first
two mono.wav files will be embedded in the associated .avi file. When
you import your .avi file to the Project panel, the clip’s separate .wav files
will also be imported, and the embedded audio in the .avi file will be
ignored. The clip’s .avi file and first associated .wav file, however, will
appear as a single Movie clip in your project. The embedded audio in the
.avi file will be used only if the .avi file does not have any associated .wav
files. Therefore, if you perform audio post processing on your .avi files,
make sure you delete the associated .wav files so that only the embedded
audio in the .avi files will be used in your project.
$
When performing an audio-only capture, Matrox Mojito MAX supports
capture of only one stereo pair. Your first stereo or first two mono
channels will be saved to a single stereo .wav file (any other channels will
be ignored). When Mojito MAX saves the .wav file of an audio-only
capture, it does not assign the .Stereo.wav suffix to the filename.
9 Click OK to save your settings.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
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Monitoring audio levels for capture
If you select Show VU meters on the Audio Capture Settings page, each
time you configure your Matrox Mojito MAX capture settings or open the
Capture panel to start a capture in Adobe Premiere Pro, VU meters will be
displayed to let you monitor the levels of your currently selected audio input
source.
Clipping detectors
Peak level indicators
As you play your audio source, the color of the input level is green at or below
–12 dBFS, yellow between –12 and –6 dBFS, and red above –6 dBFS. The
clipping detectors will “light up” (become red) whenever audio clipping occurs.
The peak level indicators are thin lines that show the highest level recently
reached. These indicators will show the peak level for about two seconds or until
a higher peak level is reached.
If needed, adjust the audio level on your source device to keep the average input
level between –30 and –10 dBSF.
Defining your capture settings
48
Specifying your video output settings for
previewing captured clips
While capturing clips on Matrox Mojito MAX, you can preview your captured
video using the Mojito MAX video outputs. You can specify various video output
settings for previewing your captured video as follows:
1 Choose File (CC) or Project (CS6) > Project Settings > General.
2 From the Capture Format list, select Matrox AVI to capture to an .avi file,
or Matrox M2V to capture to an .m2v file.
3 Click the Configure button, then click the Video Output tab.
4 The settings provided are the same as explained in “Specifying your video
output settings” on page 30. However, the main and secondary video output
settings will be set for you based on your selected capture format. For a list
of the supported video output formats for previewing your captured video,
see “Supported video output formats for monitoring” on page 274.
5 Click OK to save your settings.
¦ Note The video output settings that you select for capture will be applied the
next time you capture clips to the same format. For example, the video output
settings you select for clips captured to NTSC format will be retained for the next
time you capture NTSC clips. Your new video output settings will also be applied
to all sequences in your project that have that video format.
Specifying your genlock settings for capture
You can select the source to which you want to genlock all devices connected to
your Mojito MAX system during capture, as well as adjust the timing settings for
all video outputs from Mojito MAX.
For an example of connecting an external sync source to your system, see
“Typical Matrox Mojito MAX connections” on page 16. When using Matrox
device control with an analog RS-422 device, you need to connect an external
broadcast-quality analog sync source, such as a tri-level sync generator, as shown
in the illustrations.
° To specify your genlock settings for capture:
1 Choose File (CC) or Project (CS6) > Project Settings > General.
2 From the Capture Format list, select Matrox AVI to capture to an .avi file,
or Matrox M2V to capture to an .m2v file.
3 Click the Configure button, then click the Genlock tab.
4 The settings provided are similar to the genlock settings for playback (see
“Specifying your genlock settings for playback” on page 35), except the
settings apply only during capture.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
49
Remarks
$
To avoid inaccurate In/Out points during batch capture, you must select an
external sync source.
$
If you want to genlock to your video input source, select Video Input.
5 Click OK to save your settings.
Defining your capture settings
50
Notes about capturing to Matrox .m2v files
When capturing to Matrox .m2v files, keep the following points in mind:
• Automatic scene detection (Scene Detect) is not supported, but batch capture
is supported.
• An associated .xmp metadata file is created for all captured and logged
(offline) .m2v clips. These files are created in your specified video capture
folder, and contain time code and other information that you provided for
your .m2v clips, such as tape name, description, and scene. You can open the
.xmp files in Adobe Bridge. Take care not to delete the .xmp files and always
keep them with their associated .m2v files. Otherwise, you won’t be able to
batch capture logged .m2v clips, and the time code information won’t appear
for your .m2v clips in the Project panel.
• Matrox .m2v files are to be used for DVD authoring with Adobe Encore.
However, if you want to use your Matrox .m2v clips in Adobe Premiere Pro,
be aware of the following issues:
$
The associated .wav files for your .m2v clips are not automatically
imported to the Project panel.
$
When performing a batch capture of .m2v clips, the captured video and
audio clips won’t be automatically imported to the Project panel. Because
you won’t be able to link the logged (offline) clips to the captured files on
disk, you’ll have to import the batch captured .m2v clips manually. As
well, if you recapture clips using batch capture, captured video clips will
be imported automatically only if you choose to delete the original media
files from disk.
$
When you place a Matrox .m2v clip on a video track, an empty associated
.wav clip will be placed on an audio track beneath it. To get rid of this
clip, select it in the sequence and choose Clip > Unlink. Once you’ve
unlinked the .wav from the .m2v, you can select the .wav clip on the audio
track and delete it.
$
It’s recommended that you don’t add handles (extra frames) to your
captured .m2v clips. If you do, the handles will be appropriately trimmed
from the video when you add the clip to your sequence, but the handles
won’t be trimmed from the associated audio.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
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Selecting your MPEG-2 I-frame settings
When using the Matrox MPEG-2 I-frame or Matrox MPEG-2 I-frame HD codec
to capture or render video, you can specify various settings for the MPEG-2
I-frame compression.
° To select your MPEG-2 I-frame settings:
1 Click the Configure button. This displays a dialog box similar to the
following:
2 Drag the Data Rate slider until your desired data rate is displayed. The
higher the data rate you select, the better the video quality will be. The range
of available data rates depends on whether you’re using the Matrox MPEG-2
I-frame HD or SD format.
¡ Important Depending on the capabilities of your system, you may drop
frames if you select a data rate higher than 125 Mb/sec.
3 To apply advanced settings to your MPEG-2 I-frame file, click the
Advanced button.
¦ Note The default advanced settings should provide good results for most
applications. We recommend that you change these settings only when needed
for special purposes.
4 Under Rounding Type, select one of the following:
Rounds the AC coefficients up to the nearest whole number
when calculating the quantization coefficient.
$
MPEG-2
$
Matrox Custom Truncates the AC coefficients to the lowest whole
number when calculating the quantization coefficient. In some cases, this
setting may yield less artifacts in graphics.
5 Under DC Precision, select the bit-depth precision of the DC intra block.
Selecting your MPEG-2 I-frame settings
52
¦ Note The higher the DC precision value that’s used to capture or render
your video, the more likely that the DC content will be increased at the expense
of the AC content in the encoded stream. This may result in lowering the
overall quality of the compressed stream at a specified data rate.
6 Under Zig Zag Type, select one of the following:
Sets the regular (default) zig zag scanning pattern of the AC
coefficient of the DCT block as defined in the ISO/IEC 13818-2 (figure
7-2) specification documentation.
$
Regular
$
Alternate
Sets an alternate zig zag scanning pattern of the AC
coefficient of the DCT block as defined in the ISO/IEC 13818-2 (figure
7-3) specification documentation. Use this setting when capturing or
rendering video at a high data rate (that is, at a data rate of about 50
Mb/sec for SD video, or 100 Mb/sec or higher for HD video).
7 Select the Force Frame-based DCT setting to render macroblocks as
frames rather than as fields. In some cases, graphics will yield less artifacts if
this option is selected.
8 Click OK to save your settings.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
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Selecting your MPEG-2 IBP settings
When capturing video to a Matrox .m2v file using Adobe Premiere Pro, the codec
is set to Matrox MPEG-2 IBP. You can specify various settings for the MPEG-2
IBP compression.
° To select your MPEG-2 IBP settings:
1 Click the Configure button. This displays a dialog box similar to the
following:
2 Under Data Rate (Mb/sec), you can select the encoding type and data rate
for the MPEG-2 IBP compression.
$
Encoding type
•
From this list, select one of the following:
Constant bit rate (CBR) Video is compressed at your selected
target data rate, which is useful when you need to limit or predict the
size of your .m2v file. However, if your video is very complex (such as
scenes with many colors or sharp edges), you’ll need to select a high
data rate to avoid having frames of very blocky video in your file.
Selecting your MPEG-2 IBP settings
54
•
$
Variable bit rate (VBR) Video is compressed at varying data rates
based on the complexity of the video. The target data rate you select is
used as the average data rate for the compression.
Min, Target, and Max sliders
Use these sliders to select your desired
data rate. The higher the target data rate you select, the better the video
quality will be. Only the Target slider will be available if you selected
Constant bit rate (CBR). If you selected Variable bit rate (VBR), all
three sliders will be available so that you can set the minimum, target, and
maximum data rates for the video compression.
¦ Note Adobe Encore requires CBR-encoded .m2v files longer than about two
minutes to be transcoded. VBR-encoded .m2v files do not require transcoding
in Adobe Encore.
3 Under GOP Structure, you can customize the GOP structure for the
MPEG-2 IBP compression as follows:
Determines the number of frames in the GOP (Group of
$
GOP length
Pictures).
$
Subgroup length
Determines the subgroup length of B-frames and
P-frames in the GOP, after the initial I-frame. For example, a subgroup of
3 appears as “BBP,” and a subgroup of 2 appears as “BP.” The available
subgroup lengths depend on your selected GOP length.
4 Under Profile, select one of the following MPEG-2 profiles:
$
4:2:0 This profile uses 4:2:0 luminance/chrominance sampling and is
suitable for broadcast transmission and distribution on DVD. You must
select this profile if you’re capturing to an .m2v file for DVD authoring.
$
4:2:2 This profile uses 4:2:2 luminance/chrominance sampling and is
suitable for high-quality distribution and archiving.
5 Under Motion Estimation, drag the slider to adjust the quality of the
motion estimation used for the video compression. The default setting gives
good results for most video. However, if you have a lot of fast motion in your
video, such as fast-paced sports footage, you can get better results by
dragging the slider to the right (towards Slow/High quality). This improves
the quality of the motion estimation, but decreases the speed of the video
compression. Alternately, if you have mostly slow-paced video, you may
want to drag the slider to the left (towards Fast/Low quality) to decrease
the quality of the motion estimation and speed up the video compression.
6 Click OK to save your settings.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
55
Exporting to a Matrox .avi file
Several software codecs are included with Adobe Premiere Pro so that you can
export your video to different formats. Your Matrox Mojito MAX system adds
several Matrox codecs to the ones included with Premiere Pro to allow you to
export your sequence to a Matrox .avi file.
With Matrox Mojito MAX, you can also export your sequence to a Matrox MAX
H.264 file as explained in Chapter 17, “Using the Matrox MAX H.264 Codec
with Adobe Software.”
° To export your sequence to a Matrox .avi file:
1 Unless you want to export your entire sequence, position the work area bar
over the section of the sequence you want to export.
2 Choose File > Export > Media. This opens the Export Settings dialog
box.
3 From the Format list, select Matrox AVI.
¦ Note Although the AVI format also lets you export your sequence to a
Matrox .avi file using Matrox codecs, it uses Video for Windows (VFW)
codecs only. To obtain the best performance when exporting material from
Adobe Premiere Pro to a Matrox .avi file, you must select the Matrox AVI
format for your exports.
4 From the Preset list, select the video format you want for your exported file.
5 Select Export Audio if you want to export both video and audio (Export
Video is always selected.)
Exporting to a Matrox .avi file
56
¦ Note Exported audio will be embedded in your .avi file. Matrox Mojito
MAX does not support audio-only exports to an .avi file.
6 Click the Video tab. Under Codec, an appropriate Matrox codec is
automatically selected for you based on your selected preset. You can change
the codec if you want.
Renders video to DV or DVCAM format.
$
Matrox DV/DVCAM
$
Matrox DVCPRO
$
Matrox DVCPRO50
$
Matrox DVCPRO HD
$
Renders video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ Main Level (for SD resolutions) or High
Level (for HD resolutions) at a selected data rate.
$
Matrox 8-bit Uncompressed
Renders video to DVCPRO format.
Renders video to DVCPRO50 format.
Renders video to DVCPRO HD format.
Matrox MPEG-2 I-frame
Renders video to 8-bit uncompressed
format.
$
Matrox 10-bit Uncompressed
Renders video to 10-bit uncompressed
format.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
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7 If you’re exporting to Matrox MPEG-2 I-frame format, click the Configure
button to select your MPEG-2 I-frame settings (see “Selecting your MPEG-2
I-frame settings” on page 51).
8 Under Video, appropriate settings are applied based on your selected preset.
You can customize these settings as follows:
$
Frame Size Sets the width and height for your exported video. The
available frame sizes depend on your selected codec.
$
Frame Rate Sets the frame rate for the video format to which you are
rendering. The available frame rates depend on your selected frame size.
$
Field Type Specifies the order in which the video fields are displayed,
such as Upper First for interlaced HD video, or Progressive for all
progressive video formats. The available field types depend on your
selected codec, frame size, and frame rate.
$
Aspect Ratio This is set to 16:9 when exporting to HD. When
exporting to SD, you can select 4:3 to export to the standard TV screen
format, or 16:9 to export to the widescreen 16:9 format.
$
De-interlace video
$
Maintain aspect ratio when scaling Select this option if you’re
scaling your source video for export, and you want to maintain your
source video’s aspect ratio. Your source video will be exported as
pillarbox video when exporting to a larger aspect ratio, or letterbox video
when exporting to a smaller aspect ratio. If this option is not selected,
scaled video that doesn’t match the specified aspect ratio for export will
be exported as anamorphic video.
If you’re exporting interlaced video to a
progressive format (such as 1080i to 720p), select this option to
de-interlace the video for display on a monitor that displays lines
progressively, such as an LCD or computer monitor. (This option won’t be
present if you’re exporting to an interlaced format or your source video is
progressive.)
9 From the Source Range list in the Source panel, select the range you want
to export, such as Work Area.
10 Click Queue to send your export request to Adobe Media Encoder, or click
Export to immediately start your export.
For information about other export settings and using Adobe Media Encoder, see
your Adobe Media Encoder documentation.
Exporting to a Matrox .avi file
58
Exporting an NTSC or 486p sequence to
Adobe Premiere Pro 720x480 formats
When you choose File > Export > Media to export a sequence, Adobe
Premiere Pro provides the MPEG2-DVD export format in the Export Settings
dialog box, which lets you export your sequence to a DVD-compliant MPEG-2
file suitable for use with most DVD authoring programs, such as Adobe Encore.
To export an NTSC or 486p sequence that has a Matrox codec editing mode to a
720×480 MPEG2-DVD format or any other Adobe Premiere Pro 720×480
format, you must select Scale to Fill from the Source Scaling menu on the
Output panel of the Export Settings dialog box. For details on how to export to
MPEG2-DVD and other Adobe Premiere Pro 720×480 formats, see your Adobe
Premiere Pro documentation.
Adding a voice-over to your sequence
Matrox Mojito MAX supports voice-over, which allows you to record audio
tracks as .wav files directly in the Timeline panel to add commentary to video
clips, such as newsreels and documentaries.
¦ Note Matrox voice-over supports recording to standard, mono, and adaptive
audio tracks only.
Connection and setup
1 Connect the microphone to the audio input on your source device and
connect the audio output (analog or AES/EBU) from the source device to the
corresponding audio input on your Mojito MAX hardware.
2 Choose Edit > Preferences > Audio Hardware.
3 From the Adobe Desktop Audio list (CC) or the Default Device list
(CS6), select Matrox ASIO Driver for Adobe Premiere Pro, then click
ASIO Settings.
4 From the Input Source list, select the audio source type corresponding to
the device to which the microphone is connected.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
59
5 The audio input channels are set to Channel 1-2.
6 Click OK to save your settings, and then click OK to close the Preferences
dialog box.
Recording your voice-over
You use Adobe Premiere Pro’s Audio Track Mixer (CC) or Audio Mixer (CS6) to
record your voice-over. For further information on using this mixer, see your
Adobe Premiere Pro documentation.
1 Choose Window > Audio Track Mixer (CC) or Audio Mixer (CS6), then
select the sequence in which you want to record your voice-over, such as
Sequence 01.
2 Position the current-time indicator in the Timeline panel where you want the
voice-over to begin.
Adding a voice-over to your sequence
60
¦ Note If a track that you’ll be recording your voice-over on already contains
audio at the current-time indicator, the audio will be overwritten by your
voice-over.
Enable track for
recording
Volume
Play/Stop toggle
Record
3 In the mixer’s panel, click the Enable track for recording button (R) for
each track on which you want to record audio. You can record your
voice-over on multiple tracks at the same time.
4 If you enable recording for a mono track, you can select Matrox Left or
Matrox Right from the Track Input Channel menu at the top of the panel to
indicate which channel you want to record on that track.
5 Select Meter Input(s) Only in the mixer’s menu to display the Mojito MAX
audio input levels in the meters.
¥ Tip You can click the Solo Track button (S) for a track on which you’ll be
recording audio to mute the audio playback of other audio tracks in your
sequence.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
61
6 Test the audio input levels by speaking into the microphone, and watch the
levels in the meters. If needed, adjust the audio level on your source device
so that the input levels are sufficiently high but not clipping.
7 Click the Record button (
8 Click the Play button (
) to prepare the sequence for recording.
) to start recording your voice-over.
¦ Note During recording, there’s a slight delay in the audio preview of your
voice-over. To mute the preview, click the Mute Track button (M) or you can
choose to lower the track volume by dragging the Volume slider.
9 Click the Stop button (
) to stop recording. Your voice-over will be added
to the selected audio tracks as .wav files.
Setting up Matrox device control
Matrox device control lets you control any device that supports the RS-422
SMPTE time code protocol when capturing or exporting material to tape in
Adobe Premiere Pro. To use this device control, you must connect the RS-422
connector on the Mojito MAX I/O cable to the RS-422 serial device control port
on your source device or recorder (see “Mojito MAX RS-422 serial connection”
on page 15).
° To configure your Matrox device control settings:
1 Choose Edit > Preferences > Device Control.
2 From the Devices list, select Matrox RS-422 Device Control.
Setting up Matrox device control
62
3 Click Options to display the following dialog box:
4 From the Port list, select Matrox RS-422
5 From the Time Source list, select the time source to be used for controlling
your device:
$
LTC Longitudinal Time Code recorded on a track adjacent to the video
(this is the default time source). This type of time code can be read at all
tape speeds, except still.
$
VITC
$
LTC+VITC
$
Control Track Select this if you want to use only your tape’s control
track as the time source. Because using the control track is not as reliable
as LTC or VITC for device control, you should select this option only if
you’re having problems using the time code on your tape.
Vertical Interval Time Code that is recorded onto the vertical
blanking interval of the video. This type of time code can be read
whenever an image is displayed, but not usually during high-speed
operation.
Select this if you want your device to decide which type of
time code to use in different operational modes (recommended only if
you’re sure that the two types of time code match on your tape).
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
63
6 From the Time Base list, select the time base that matches your tape, such as
30 fps Drop Frame if you’re using NTSC video with drop frame time code,
or 25 fps if you’re using PAL video.
7 Select Use VTR’s internal cue if the Matrox device control is having
problems cueing your VTR, such as when you cue to a specific In or Out
point. Because using the VTR’s internal cueing method slows down the
cueing, you should select this option only if you’re experiencing problems
cueing to a time code when using Matrox device control.
8 Under Capture, use the Time Code Offset to specify the number of frames
to adjust the start time for capture, if needed. For example, if your captures
are starting three frames too early (that is, three frames before your specified
In point), enter a time code offset of 3. Alternately, if your captures are
starting three frames too late, enter a time code offset of -3.
9 Under Export to Tape, you can specify various settings that enable you to
obtain a frame-accurate export to tape. For an example of how to calibrate
your device for frame-accurate recording, see “Obtaining a frame-accurate
export to tape using Matrox device control” on page 68.
$
Device Edit Mode Select one of the following modes to specify the
editing capabilities of your recorder:
Select this if your recorder supports edit commands and
has auto edit capabilities. Devices that support this mode perform
frame-accurate recording. Therefore, you won’t need to make any
adjustments to the Mark In and Out time code offsets, and those
settings won’t be available.
•
Auto Edit
•
Basic Edit Select this if your recorder supports edit commands, but
does not have auto edit capabilities. When using this mode, you may
need to adjust the Mark In time code offset, but the recording should be
accurate at the Out point.
•
Edit Not Supported Select this if your recorder doesn’t support any
edit commands. In this case, you will probably need to specify both a
Mark In and a Mark Out time code offset.
¥ Tip If you’re not sure if your device supports edit commands, try
performing an export to tape using the different edit modes, starting with
Auto Edit. If your device doesn’t support the selected edit mode, the
recording will either not start or nothing will get recorded on the tape.
$
These offsets specify the number of
frames to adjust the recording start and stop times if the recording doesn’t
start at your specified In point and stop at your specified Out point on the
tape. For example, if the recording starts three frames before the In point,
set the Mark In Time Code Offset to 3 (or -3 if the recording starts three
frames too late). You should adjust the Mark In time code offset first,
Mark In/Out Time Code Offset
Setting up Matrox device control
64
because once this setting is accurate your device may also be accurate at
the Out point.
$
Specifies the number of frames to offset the playback
of your sequence for export to tape. For example, if playback starts too
late and you’re missing the first three frames of your sequence recorded
on the tape, enter an offset of -3. Alternately, if playback starts too early
and the first three frames of your sequence are repeated, enter an offset of
3. Before changing this offset, you must first make any required
adjustments to the Mark In and Mark Out time code offsets.
Playback Offset
10 Click OK to save your settings.
For details on capturing with device control, see your Adobe Premiere Pro
documentation. For information about exporting your sequence to tape, see
“Exporting your sequence to tape” on page 65.
Requirements for using Matrox device control
When using Matrox device control, keep the following points in mind:
• You must set your device to Remote or VTR mode.
• When working with an analog RS-422 device, you must genlock to an
external broadcast-quality analog sync source. If you’re using an SDI
RS-422 device and you don’t have an external broadcast-quality analog sync
source, you can genlock to your SDI video source for capture. For export to
tape, you can set your genlock source to the Mojito MAX internal reference
and configure the setting on your deck to genlock to the SDI video input. For
details on how to set your genlock source, see “Specifying your genlock
settings for playback” on page 35 and “Specifying your genlock settings for
capture” on page 48.
• You must stripe your tapes with continuous and consecutive time code. You
can stripe your entire tape with time code by recording black video for the
duration of the tape. Avoid having the time code counter reset to 00:00:00:00
during the striping.
• When capturing material, make sure that you don’t specify any preroll in the
Device Control section of the Settings pane. Instead, a preroll of about
five seconds will automatically be applied.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
65
Exporting your sequence to tape
To export your Adobe Premiere Pro sequence to tape without using device
control, simply play back your sequence and record the output from any of the
available outputs on your Mojito MAX system. If your recorder supports RS-422
device control, you can export your sequence to tape using Matrox device control
as explained in “Exporting to tape using Matrox device control (CC)” on page 65
or “Exporting to tape using Matrox device control (CS6)” on page 66.
Avoiding issues when using Matrox device
control
Keep the following points in mind when exporting to tape using Matrox device
control:
• To avoid having discontinuous (broken) time code recorded onto your tape
when using Matrox device control, set your recorder to generate time code
internally based on time code already present on the tape (this setting is
called INT REGEN on some devices). Don’t use free run or external time
code regeneration mode.
• Because Matrox device control requires a preroll, don’t start the export to
tape within the first ten seconds on your tape or at a time code less than
00:00:10:00.
• To avoid repeated frames or broken time code when performing an assemble
edit using Matrox device control, add ten seconds or more of black video or
color bars to the end of your sequence.
Exporting to tape using Matrox device control
(CC)
¦ Note This section applies to Adobe Premiere Pro CC only. If you’re using
Adobe Premiere Pro CS6, see “Exporting to tape using Matrox device control
(CS6)” on page 66.
You can record your Adobe Premiere Pro sequence onto tape using Matrox
device control as follows:
1 Open your project, activate the sequence that you want to export to tape, and
position the work area bar over the section of the sequence that you want to
export.
2 If you haven’t already done so, render all sections that are identified with a
red or yellow render bar.
¦ Note Adobe Premiere Pro will automatically render sections that have a red
render bar when you start an export to tape, but to avoid having dropped frames
you must render both the red and yellow sections before performing your
export to tape.
Exporting your sequence to tape
66
3 Make sure that you’ve properly connected your RS-422 recorder and
configured Matrox device control as explained in “Setting up Matrox device
control” on page 61.
4 Load a striped recordable tape into your recorder, and set your recorder to
Remote or VTR mode.
5 Choose File > Export > Tape (Serial Device) and select the settings that
you want for the recording as explained in your Adobe Premiere Pro
documentation.
6 Click Record to start the recording.
Remarks
• You can record a maximum of four audio tracks (A1 to A4).
• The Preroll setting in the Edit To Tape panel is not used for recording with
Matrox device control. Instead, a preroll of about five seconds is always
applied.
• Adobe Premiere Pro uses the Matrox capture settings to allow you to
preview your recording in the Edit To Tape panel. If you’ve connected the
output of your recorder to the input on Matrox Mojito MAX, click Recorder
Settings to configure your video and audio input settings (input format and
source), and specify your video output settings for preview.
Exporting to tape using Matrox device control
(CS6)
With Matrox device control, you can perform either an insert or assemble edit to
record your sequence onto tape in Adobe Premiere Pro CS6 as follows:
1 Open your project, activate the sequence that you want to export to tape, and
position the work area bar over the section of the sequence that you want to
export.
2 If you haven’t already done so, render all sections that are identified with a
red or yellow render bar.
¦ Note Adobe Premiere Pro will automatically render sections that have a red
render bar when you start an export to tape, but to avoid having dropped frames
you must render both the red and yellow sections before performing a Matrox
export to tape.
3 Make sure that you’ve properly connected your RS-422 recorder and
configured Matrox device control as explained in “Setting up Matrox device
control” on page 61.
4 Load a striped recordable tape into your recorder, and set your recorder to
Remote or VTR mode.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
67
5 Choose File > Export > Tape to display the following dialog box:
6 To review or change your device control settings, click Device Options.
This displays the Matrox RS-422 Device Control Settings dialog box as
explained in “Setting up Matrox device control” on page 61 (except you
won’t be able to change the specified port).
7 Under Export to Tape Mode, you can specify the type of export you want
to perform and the tracks you want to be recorded:
Determines the video format for the export to tape. The
available formats depend on your currently selected video output settings
(see “Specifying your video output settings” on page 30).
$
Format
$
Assemble Records all tracks (video and audio) sequentially onto the
tape. The control track and previously recorded material on the tape will
be replaced with the material recorded from your sequence.
Exporting your sequence to tape
68
$
Insert Records selected tracks (video and/or audio), without affecting
the control track. This lets you perform a video or audio dub. For
example, you can choose to record only video, only selected audio tracks,
or video and selected audio tracks from your sequence.
¦ Note You can record a maximum of four audio tracks (tracks 1 to 4). Check
your device’s documentation to determine its recording capabilities for
assemble and insert editing. To perform an insert edit, your recorder must
support edit commands and the edit mode for Matrox device control must be
set to Auto Edit or Basic Edit as explained in “Setting up Matrox device
control” on page 61.
$
Select Abort export on dropped frames if you’d like the export to tape
to automatically stop when dropped frames are encountered. You’ll get a
warning if the export to tape is aborted due to a dropped frame.
8 Use the transport controls to play back your tape. The current time code of
your tape appears in the text box above the transport controls. You can also
use the J, K, and L shortcut keys to control the shuttle. Press J to shuttle left,
L to shuttle right, and K to stop. Pressing J or L multiple times increases the
speed of the shuttling.
9 Specify where you want the recording to start and stop as follows:
$
Click the Set In Point button (
) to specify where you want the
recording to start, or enter the required time code in the In box.
$
Click the Set Out Point button (
) to specify where you want the
recording to stop, or enter the required time code in the Out box.
Alternately, you can select Duration and enter the duration you want for
the recording. The Out point will then be calculated for you. By default,
the duration is set to the duration of the work area. You can click Reset at
any time to set the duration back to the duration of the work area.
¦ Note When Out is selected, the duration is calculated based on your
selected In and Out points. When Duration is selected, the Out point is
calculated based on your specified In point and duration.
10 Click Export to start the export to tape.
Obtaining a frame-accurate export to tape
using Matrox device control
In order to obtain a frame-accurate export to tape when using Matrox device
control, there are various settings that you may need to adjust in the Matrox
RS-422 Device Control Settings dialog box:
• The Mark In Time Code Offset and Mark Out Time Code Offset
determine when your device starts and stops recording on the tape. If the
recording doesn’t start on the tape at your specified In point and stop at your
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
69
specified Out point, you can adjust these offsets so that the recording
starts/stops earlier or later.
¦ Note Adjusting the Mark In and Out time code offsets won’t be required if
your recorder has auto edit capabilities and you set the edit mode for export
to tape to Auto Edit as explained in “Setting up Matrox device control” on
page 61.
• The Playback Offset determines when your sequence starts playing back.
Depending on your system, you may need to adjust this offset so that your
sequence starts playing back earlier or later.
Here’s an example of how to calibrate your RS-422 device for frame-accurate
export to tape:
1 Stripe an NTSC tape with continuous and consecutive time code starting at
00:00:00:00.
2 Create a new Matrox NTSC sequence with a bars and tone clip at least ten
seconds long containing time code starting at 00:00:00:00. Make sure you
place the clip at the start of your sequence.
¥ Tip You can create a bars and tone clip by right-clicking in the Project
panel and choosing New Item > Bars and Tone. You can add time code to
the clip by applying a Timecode effect as explained in your Adobe Premiere
Pro documentation.
3 Set up Matrox device control with the Mark In Time Code Offset, Mark
Out Time Code Offset, and Playback Offset for export to tape set to 0
(see “Setting up Matrox device control” on page 61).
4 Export your sequence to tape and set the In point for the recording to
00:00:10:00 and the Out point for the recording to 00:00:20:00 (see
“Exporting to tape using Matrox device control (CC)” on page 65).
5 When the export to tape is finished, play back your tape and check where the
recording started. For example, if the bars and tone clip started recording at
00:00:09:25 on your tape (five frames before your specified In point), then
you need to set the Mark In Time Code Offset to 5. Alternately, if the
recording started at 00:00:10:05 (five frames after your specified In point),
then you need to set the Mark In Time Code Offset to -5.
6 Make any required adjustment to the Mark In Time Code Offset in the
Matrox RS-422 Device Control Settings dialog box, and perform another
export to tape with the same settings (In point at 00:00:10:00 and Out point
at 00:00:20:00.)
7 When the export to tape is finished, play back your tape and make sure that
your bars and tone clip stopped recording at 00:00:20:00 (the recording
should have started at 00:00:10:00). For example, if the recording stopped at
Exporting your sequence to tape
70
00:00:19:25 (five frames before your specified Out point), then you need to
set the Mark Out Time Code Offset to 5.
8 Once you’ve made any required adjustments to the Mark In and Out time
code offsets and ensured that your bars and tone clip starts and stops
recording at your specified In and Out points, perform another export to tape
with the In point for the recording set to 00:00:30:00.
9 When the export to tape is finished, go to 00:00:30:00 on your tape, and
check which frame from your sequence has been recorded. You should see
frame 00:00:00:00 from your bars and tone clip at 00:00:30:00 on your tape,
with no repeated frames. For example, if frame 00:00:00:00 has been
repeated for the next five frames, then your sequence started playing back
five frames too early and you need to set the Playback Offset to 5.
Alternately, if you see frame 00:00:00:05 from your bars and tone clip
recorded at 00:00:30:00, then the sequence playback started five frames too
late and you need to set the Playback Offset to -5.
Chapter 5, Using Matrox Mojito MAX with Adobe Premiere Pro
6
Setting Up Matrox Effects with Adobe
Premiere Pro
This chapter explains how to
set up Matrox effects such as
color corrections and wipes
using the Matrox plug-in for
Adobe Premiere Pro.
72
Available effects
The Matrox plug-in for Adobe Premiere Pro lets you set up the following Matrox
effects in your Adobe Premiere Pro projects1:
• Color corrections.
• Chroma key and luma key effects.
• Chroma clamper effect.
• Wipes.
When you install Matrox Mtx.utils, all the Matrox effects are added to Adobe
Premiere Pro. You set up Matrox effects in your projects the same way as other
effects included with your Adobe software. For example, you apply a Matrox
wipe to your clips in Adobe Premiere Pro just as you would any other type of
transition, except that the controls provided let you create a Matrox wipe, as
explained in this chapter. For instructions on setting up Adobe Premiere Pro
effects and transitions, refer to your Adobe documentation.
¥ Tip You can filter the Effects panel to show only the effects and transitions that
are accelerated by your Matrox hardware by clicking the
button at the top of
the Effects panel.
1
The Matrox color correction, chroma key, luma key, and chroma clamper effects are
also available in Adobe After Effects.
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
73
How to apply a Matrox video effect in Adobe
Premiere Pro
The Matrox plug-in for Adobe Premiere Pro allows you to apply several Matrox
video effects to your clips. To apply a Matrox video effect, drag the desired effect
from the Effects panel onto the clip in the Timeline panel.
By default, the Matrox video effects are found in the Matrox bin under Video
Effects.
¥ Tips
• You can also apply preconfigured Matrox video effects found in the Matrox
Effect Presets bin under Presets.
• If you can’t see the Effects panel, choose Window > Effects. If you can’t
see the Effect Controls panel, choose Window > Effect Controls.
How to apply a Matrox video transition in
Adobe Premiere Pro
In Adobe Premiere Pro, the Matrox wipe transitions are found in the Matrox bin
under Video Transitions in the Effects panel.
There are numerous methods to create transitions in Premiere Pro. Use the
method that works best for you to apply your Matrox wipes. For information on
applying transitions, see your Adobe Premiere Pro documentation.
How to apply a Matrox video effect in Adobe Premiere Pro
74
Applying a mask to your Matrox effects
The Matrox color correction, chroma key, and luma key effects allow you to add
a mask to define the area where you want to apply your effect. For example, you
may want to apply a color correction to only one area of your clip and leave the
rest of the clip untouched.
° To adjust the mask properties:
Click the triangle next to Mask to expand the property list.
The properties under Mask let you control the area on the clip where you want to
apply the mask. You can enter the values you want in the text boxes or drag the
appropriate sliders (Left, Right, Top, and Bottom).
• Left
Adjusts the left edge of your mask.
• Right Adjusts the right edge of your mask.
• Top Adjusts the top edge of your mask.
• Bottom
Adjusts the bottom edge of your mask.
• Select Mask Displays a dialog box in which you can apply your mask
settings (see “Using Select Mask” on page 75).
• Invert Inverts the mask so that your effect is applied outside the mask,
instead of within the mask.
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
75
Using Select Mask
To apply a mask to your Matrox effect using the Select Mask dialog box, click
the triangle next to the Select property to expand it, then click the Select Mask
button:
The Select Mask dialog box allows you to apply a mask in two ways:
• Click and drag directly in the Select Mask window to create the rectangular
area where you wish to apply the mask.
You can resize the mask area by dragging any side of the rectangle. For example, dragging the right side of the rectangle adjusts the right edge of the
mask area. To resize the entire mask area at once, drag one of the corners
(the corner that’s diagonally opposite the corner you are moving will remain
stationary).
• Use the Left, Right, Top, and Bottom controls to adjust any edge of your
mask by a given number of pixels. You can enter values in the text boxes or
drag the sliders to resize your mask area. For example, drag the Left slider to
adjust the left edge of your mask area.
Applying a mask to your Matrox effects
76
Creating a Matrox primary color correction
Color correction is important for all productions, whether you want to achieve
continuity when cutting between shots, ensure broadcast safe levels, or establish
and emphasize a “look.” Matrox color correction provides basic proc amp
control, three-way color correction complete with master, shadows, midtones,
and highlights control, and input and output level control. You can also easily
match colors with a reference shot. For more information about color matching,
see “Matching colors between two clips” on page 87.
¥ Tip Adobe Premiere Pro includes a workspace setup that is optimized for
working with clips and effects to facilitate color correction. To prepare your
workspace for color correction, choose Window > Workspace > Color
Correction.
° To set up a Matrox primary color correction:
Click the triangle next to Matrox Color Correction (Primary) or Matrox Color
Correction (Primary - Advanced) to expand the property list.
¦ Note The RGB Curves and Tonal Range settings are available only with the
advanced versions of the Matrox primary and secondary color correction effects.
Because the advanced versions of these effects require additional system
resources, you should apply them only if you want to use the RGB Curves or
Tonal Range settings.
• Enable Split View Select this option to split your clip into two sections in
the Program Monitor and on your video monitor. One section will display
your clip as you adjust the color correction controls, and the other section of
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
77
the clip will remain unchanged. For more information, see “Using Split
View” on page 78.
¡ Important This option is for preview only. You should clear it before you
render your clip, otherwise the split will appear in your video output.
• Proc Amps The processing amplifier (proc amp) controls allow you to
adjust different aspects of your clip:
Adjusts the tint of the colors in the image.
$
Hue
$
Saturation
$
Contrast
$
Brightness
Adjusts the saturation (vividness) of the image’s colors.
Adjusts the difference in luminance between the lightest and
darkest areas of the image.
Adjusts the level of black in the image.
• RGB Curves Lets you use curves to adjust the red, green, and blue color
channels of your clip individually, or use a master curve to adjust all color
channels simultaneously. For more information, see “Using RGB curves” on
page 80.
• Color Balance These controls let you adjust the mixture of colors in your
clip.
$
Tonal Range Allows you to fine-tune the tonal ranges of your clip by
reducing the range of pixels included for shadows, midtones, or
highlights. For more information, see “Adjusting tonal range” on page 82.
$
Graphical
$
Numerical
Allows you to see a graphical representation of your changes
when you adjust the color balance settings. You can also modify most of
the color balance settings directly within the graph. For more information,
see “Using the color balance graph” on page 83.
Lets you adjust your color balance settings numerically by
entering values in the text boxes, or by dragging the corresponding sliders.
You can adjust the Hue, Saturation, and Luminance for each tonal
range.
•
Master (Hue, Saturation, and Luminance) Affects all areas of
your clip from the lightest white to the darkest black.
•
Shadows (Hue, Saturation, and Luminance)
Affects the darkest
areas of your clip.
•
Midtones (Hue, Saturation, and Luminance)
Affects the areas
with tones between the darkest and lightest areas of your clip.
•
Highlights (Hue, Saturation, and Luminance)
Affects the lightest
areas of your clip.
• Luma Mapping
$
Allows you to see a graphical representation of your changes
when you adjust the luma mapping settings. You can also modify the
Graphical
Creating a Matrox primary color correction
78
luminance of your clip directly within the graph. For more information,
see “Using the luma mapping graph” on page 89.
$
Lets you adjust the luma mapping settings numerically by
entering values in the text boxes, or by dragging the corresponding sliders.
Numerical
•
Input Levels (Black and White) These controls let you fine-tune
your clip’s brightness and contrast by changing the luminance value
that represents black, white, or gray. Doing so expands or compresses
the range of luminance levels in your clip, which increases or decreases
your clip’s tonal range.
For example, by increasing the black value, you set black in your clip
to a higher luminance value, which compresses the luminance range
and darkens your clip proportionally.
•
Output Levels (Black and White) These controls let you map the
values under Input Levels to any level of black and white. You can
reduce contrast in your clip, or reverse the luminosity of your clip by
setting black to a higher value than white.
•
Gamma Use this to adjust the midtones in your clip without
adjusting black or white.
• Mask Allows you to apply a mask to your effect. For more information,
see “Applying a mask to your Matrox effects” on page 74.
Using Split View
The Split View option allows you to split your clip in two for preview on your
Program Monitor and your video monitor. One section displays your clip as you
adjust the color correction controls, while the other section of the clip remains
unchanged.
There are two ways to enable Split View. You can select the Enable Split View
option in the Effect Controls panel, or work directly in Adobe Premiere Pro’s
Program Monitor using your mouse.
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
79
Working with Split View in the Program Monitor
To activate the Split View controls in the Program Monitor, click the Transform
icon (
) beside the name of the Matrox color correction effect in the Effect
Controls panel. The Split View button will appear in the upper left corner of the
Program Monitor:
Split View button
Enable Split View by clicking the Split View button. You can then drag the
handles on the corners of the split rectangle to define the area you want to split.
You can also drag the split rectangle to move it to a specific region of your clip.
The area within the split view rectangle will display any color correction you
make, while the area outside remains unchanged.
In the following example, the split view rectangle has been moved to display the
color correction in the area surrounding part of the Chinese character on the wall:
Remarks
• The Split View option is for preview only. You should disable it before
rendering your material, otherwise the split will appear in your video output.
• If you enable Split View and create a mask outside the split view rectangle,
you will not be able to see it. The mask will only be visible when you move
the split view rectangle directly over it. If you invert a mask that is not in the
split view rectangle area, the whole clip will be inverted since the mask is
ignored.
Creating a Matrox primary color correction
80
Using RGB curves
¦ Note The RGB Curves settings are available only with the advanced versions
of the Matrox primary and secondary color correction effects.
With RGB curves, you can individually adjust the red, green, and blue color
channels across the entire tonal range of your clip, or adjust all three color
channels simultaneously with a master curve. RGB curves allow you to achieve
color effects that would be difficult, if not impossible, to achieve using the Color
Balance settings, and also give you a high degree of control over the color
channels in each tonal range. For example, you can easily add a red, green, or
blue tint to your clip, or use the master curve as a way to adjust the brightness and
contrast of your clip.
Each curve is displayed on a grid with the horizontal axis representing the input
or current pixel value, and the vertical axis representing the output value of the
pixel after the curve adjustment is applied. By default, a curve starts as a straight
line with two end points, one at the bottom left of the grid (shadows), and the
other at the top right of the grid (highlights). Before any adjustments are made,
each point on the curve has the same input and output value.
i
0 Default end point
(shadows)
1 Default end point
(highlights)
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
81
Click the R, G, or B button to select the curve corresponding to the color channel
you want to adjust, or click the Master button for the master curve, and then drag
the curve to obtain your desired effect. For example, click the R button and drag
the top right end point towards the top left of the grid to increase the slope of the
curve and add red to the clip. Drag that same point towards the bottom right of
the grid to decrease the slope of the curve and remove red from the clip. Clicking
the Enable button will show/hide any adjustments you have made to the RGB
channels at any time (you do not need to click Enable to start adjusting the
curves).
¥ Tip For increased precision, hold down the ALT key while you drag the curve,
or the CRTL key to change your cursor into a crosshair that will help you align
your curve to the grid.
You can add up to 14 control points to each curve in addition to the two default
end points. These control points act as anchors that allow you to lock your curve
so adjustments can be applied only to specific tonal ranges. Click on a curve to
add control points, and hold the SHIFT key while clicking a control point to
delete it (end points cannot be deleted). Adjusting the points in the top right area
of the grid affects highlights, the middle area affects midtones, and the bottom
left area affects shadows. For example, the following S-shaped master curve adds
contrast in the midtones range, without creating any completely black or white
areas.
Creating a Matrox primary color correction
82
If you want to reset the Master, R, G, or B curve to its default setting at any time,
click the appropriate Reset button.
Red curve Reset button
¥ Tip By applying a mask to your clip, you can adjust the RGB channels for that
specific area of your clip, or invert the mask to isolate that same area from being
affected by your RGB adjustments.
Adjusting tonal range
¦ Note The Tonal Range settings are available only with the advanced versions
of the Matrox primary and secondary color correction effects.
Using the tonal range curves allows you to fine-tune the range of pixels that are
affected when you make a color correction to the shadows, midtones, or
highlights of your clip using the color balance graph. For more information, see
“Using the color balance graph” on page 83.
The histogram shows the distribution of pixels in each tonal range of your clip. In
the following example, the histogram represents a clip with a high amount of
shadows (left), a lesser amount of midtones (middle), and an even lesser amount
of highlights (right).
i
0 Shadows 1 Midtones 2 Highlights
Click the Shadows, Midtones, or Highlights button to select the curve
corresponding to the tonal range you want to adjust, and then drag the curve as
desired to reduce the number of pixels to be included in each tonal range.
¦ Note You cannot increase the number of pixels in a tonal range. For example,
you can’t extend the shadows curve into the highlights range.
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
83
Using the color balance graph
The color balance graph allows you to modify the Color Balance settings for
each tonal range directly within the color maps. You can also perform an auto
balance or a color match using the buttons beneath the color maps. For more
information, see “Performing an auto balance” on page 86 and “Matching colors
between two clips” on page 87. Depending on which color map you use, you can
adjust your clip globally, or only the shadows, midtones, or highlights.
You can drag the handle in the center of any color map to adjust the color balance
(Hue and Saturation) for a specific tonal range, such as to adjust the color
balance globally throughout your clip using the Master color map, or adjust the
color balance of only the shadows using the Shadows color map. Drag the
handle toward a color you want to increase in your clip, or away from a color you
Creating a Matrox primary color correction
84
want to decrease. For example, if you move the handle towards red, you also
decrease cyan by the same amount, as shown in the following diagram:
RED
YELLOW
GREEN
¥ Tip
MAGENTA
BLUE
CYAN
For increased precision, hold down the ALT key while you drag the handle.
If you want to reset the color balance (Hue and Saturation) setting, click the
Reset Color Balance button under the color map you are using.
Reset Color
Balance button
To adjust the luminance for a tonal range, drag the corresponding luminance
slider under the appropriate color map. For example, if you want to adjust the
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
85
luminance for only the shadows, drag the luminance slider under the Shadows
color map.
Luminance
slider
Creating a Matrox primary color correction
86
Performing an auto balance
Before matching colors, you can perform an auto balance on your target clip to
automatically apply a color shift to your clip to compensate for different lighting
conditions. To do this, click the Auto Balance button under the corresponding
color map and use the eyedropper to select the area you want to correct in your
clip. For example, to balance your clip’s highlights, click the Auto Balance
button under the Highlights color map, and click (or click and drag) on the
lightest area of your clip. The auto balance is performed immediately.
Auto Balance
button
¦ Note To perform an auto white balance, click the Auto White Balance button
under the Master color map, and click (or click and drag) on a white or light gray
area of your clip.
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
87
Matching colors between two clips
You can perform a color match to match colors between two clips (such as skin
tone, sky, etc.). The color match lets you select colors from a reference clip to
match to your target clip. You can affect the colors globally (Master), or just the
Shadows, Midtones, or Highlights.
You can select the colors for your reference color and match color by either
clicking the Color Picker button or the eyedropper.
Color Picker button
Eyedropper
The eyedropper can be used in two ways:
• Click the eyedropper button and click on the desired color in your clip.
• Click the eyedropper button and click and drag anywhere on your clip to
create a rectangular area containing the color you want to select. The
selected color will be an average of the pixel information contained within
the rectangle.
° To perform a color match:
1 Prepare your workspace for color correction by choosing Window >
Workspace > Color Correction.
2 Open your target clip (clip that contains the colors you want to correct) in the
Source Monitor.
¦ Note For best results when using a target clip that has multiple effects
applied to it, create a nested sequence and open it in your Source Monitor
before performing the color match. For more information about creating
nested sequences, see your Adobe Premiere Pro documentation.
3 Apply the Matrox Color Correction effect to your target clip on the
timeline.
4 Use the controls under the Reference Monitor to move to a frame in your
reference clip that contains the colors you want to match.
5 Use the controls under the Source Monitor to go to the frame in your target
clip that contains the colors you want to match to your reference clip.
Creating a Matrox primary color correction
88
6 Select a reference color from your reference clip by using the Reference
Color eyedropper under the color map you want to affect (Master,
Shadows, Midtones, or Highlights).
Reference Color eyedropper
7 For example, to match a very dark color in your reference clip to your target
clip, click the Reference Color eyedropper under the Shadows color map,
and click (or click and drag) on the desired color in your reference clip.
8 Select a match color from your target clip in the Source Monitor window by
using the Match Color eyedropper under the corresponding color map
(Master, Shadows, Midtones, or Highlights).
Match Color eyedropper
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Using the luma mapping graph
To modify your luma mapping values directly in the graph, click the triangle next
to the Luma Mapping Graphical property to expand it:
• Map This is the default view when you first expand the Graphical
property. You can drag the handles in the graph to adjust the Input and
Output levels for black and white, as well as the Gamma.
i
0 Input
Black
Level
1 Input
White
Level
2 Output
Black
Level
3 Output
4 Gamma
White
Level
• Plot Click this button to plot the luminance values in the current frame of
your clip to the histogram (the plot will reflect any color correction changes
you’ve made). Each luminance value present in your image appears as a
vertical line in the histogram. A longer line indicates a higher amount of
pixels in your image of that line’s luminance value. You can drag the handles
Creating a Matrox primary color correction
90
in the graph to adjust the Input and Output levels for black and white, as
well as the Gamma.
i
0 Input
Black
Level
1 Input
White
Level
2 Output
Black
Level
3 Output
4 Gamma
White
Level
• Auto Black Click this to define the darkest pixels in your clip as black.
The intermediate luminance values are proportionally redistributed.
• Auto White Click this to define the lightest pixels in your clip as white.
The intermediate luminance values are proportionally redistributed.
¦ Note If you want to restore the default luminance values at any time, click
the Restore Default Values button.
Restore
Default Values
button
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Creating a Matrox secondary color correction
Matrox secondary color correction offers all the properties found in Matrox
primary color correction, with the added capability of limiting the color
correction to a specific range of pixels using the selective key properties. For
example, secondary color correction can be used to change the color of a dress,
deepen the background sky color, or to achieve an effect where only one object or
person remains in color while the rest of the image becomes black and white. For
details on how to isolate a color and make the rest of the clip black and white, see
“Creating a color pass effect” on page 100.
¥ Tip Adobe Premiere Pro includes a workspace setup that is optimized for
working with clips and effects to facilitate color correction. To prepare your
workspace for color correction, choose Window > Workspace > Color
Correction.
° To set up a Matrox secondary color correction:
Click the triangle next to Matrox Color Correction (Secondary) or Matrox
Color Correction (Secondary - Advanced) to expand the property list.
¦ Note The RGB Curves and Tonal Range settings are available only with the
advanced versions of the Matrox primary and secondary color correction effects.
Because the advanced versions of these effects require additional system
resources, you should apply them only if you want to use the RGB Curves or
Tonal Range settings.
Creating a Matrox secondary color correction
92
• Enable Split View Select this option to split your clip into two sections in
the Program Monitor and on your video monitor. One section will display
your clip as you adjust the color correction controls, and the other section of
the clip will remain unchanged. For more information, see “Using Split
View” on page 78.
• Proc Amps The processing amplifier (proc amp) controls allow you to
adjust different aspects of your clip:
Adjusts the tint of the colors in the image.
$
Hue
$
Saturation
$
Contrast
$
Brightness
Adjusts the saturation (vividness) of the image’s colors.
Adjusts the difference in luminance between the lightest and
darkest areas of the image.
Adjusts the level of black in the image.
• RGB Curves Lets you use curves to adjust the red, green, and blue color
channels of your clip individually, or use a master curve to adjust all color
channels simultaneously. For more information, see “Using RGB curves” on
page 80.
• Color Balance These controls let you adjust the mixture of colors in your
clip.
$
Tonal Range Allows you to fine-tune the tonal ranges of your clip by
reducing the range of pixels included for shadows, midtones, or
highlights. For more information, see “Adjusting tonal range” on page 82.
$
Graphical
$
Numerical
Allows you to see a graphical representation of your changes
when you adjust the color balance settings. You can also adjust and
modify most of the color balance settings directly within the graph. For
more information, see “Using the color balance graph” on page 83.
Lets you adjust your color balance settings numerically by
entering values in the text boxes, or by dragging the corresponding sliders.
You can adjust the Hue, Saturation, and Luminance for each tonal
range.
•
Master (Hue, Saturation, and Luminance) Affects all areas of
your clip from the lightest white to the darkest black.
•
Shadows (Hue, Saturation, and Luminance)
Affects the darkest
areas of your clip.
•
Midtones (Hue, Saturation, and Luminance)
Affects the areas
with tones between the darkest and lightest areas of your clip.
•
Highlights (Hue, Saturation, and Luminance)
Affects the lightest
areas of your clip.
• Luma Mapping
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Allows you to see a graphical representation of your changes
when you adjust the luma mapping settings. You can also modify the
luminance of your clip directly within the graph. For more information,
see “Using the luma mapping graph” on page 89.
$
Graphical
$
Numerical
Lets you adjust your luma mapping settings numerically by
entering values in the text boxes, or by dragging the corresponding sliders.
•
Input Levels (Black and White) These controls let you fine-tune
your clip’s brightness and contrast by changing the luminance value
that represents black, white, or gray. Doing so expands or compresses
the range of luminance levels in your clip, which increases or decreases
your clip’s tonal range.
For example, by increasing the black value, you set black in your clip
to a higher luminance value, which compresses the luminance range
and darkens your clip proportionally.
•
Output Levels (Black and White) These controls let you map the
values under Input Levels to any level of black and white. You can
reduce contrast in your clip, or reverse the luminosity of your clip by
setting black to a higher value than white.
•
Gamma Use this to adjust the midtones in your clip without
adjusting black or white.
• Mask Allows you to apply a mask to your effect. For more information,
see “Applying a mask to your Matrox effects” on page 74.
• Selective Key The selective key settings allow you to apply the color
correction effect to a specific range of pixels in your clip. Performing a
selective key is similar to performing a chroma or luma key, however, with a
selective key you are applying color correction to the keyed area instead of
transparency. For example, if you use the selective key properties to select
red as your Hue color, the color correction will be applied to the red regions
in your clip. You can enable each keyer (Hue, Saturation, and Luma)
individually, or enable all three at the same time to get the desired results.
Allows you to see a graphical representation of your changes
when you adjust the selective key Numerical settings. You can also
modify the settings directly within the graph and perform an auto key. For
more information, see “Using the selective key graph” on page 96.
$
Graphical
$
Numerical
Lets you adjust your key settings numerically by entering
values in the text boxes, or by dragging the corresponding sliders.
•
Hue Key This type of key lets you select areas to be keyed (affected
by the color correction) based on their hue.
$
Enable Select this to enable the Hue Key properties and hue key
indicator in the selective key graph.
Creating a Matrox secondary color correction
94
•
$
Hue Use this to rotate the indicator around the perimeter of the color
spectrum so that you can select different hues (colors) on which to key.
$
Aperture Use this to widen or narrow the aperture of the indicator
to increase or decrease the range of colors on which you want to key.
$
Softness
Sets the amount of softness applied to the range of colors
specified in the aperture region.
Saturation Key This lets you select colors to be keyed (affected by
the color correction) based on their saturation value. Pale colors have a
low saturation value, while vivid colors have a high saturation value.
Select this to enable the Saturation Key properties and
saturation key indicator in the selective key graph.
$
Enable
$
Low Clip
$
Use this to set the range of saturation values you want
to be partially affected based on the value set by the Low Clip control.
As you increase the Low Gain setting, more pixels are partially
affected by the color correction. If you decrease the Low Gain
control, less pixels are partially affected.
Use this to select the lower saturation values to be keyed.
Low Gain
A Low Gain setting of 100 provides the widest range for maximum
color correction. Alternately, a gain setting of 0 creates a key where
saturation values are either completely affected or left untouched. You
can think of the Low Gain control as defining an “Affected to
Untouched” range for keying the pale colors in your image.
$
High Gain This control is similar to the Low Gain setting, except
you use it to set the range of higher saturation values you want to be
partially affected based on the value set by the High Clip control. As
you increase the High Gain setting, less pixels are partially affected
by the color correction. If you decrease the High Gain setting, more
pixels are partially affected. You can think of the High Gain control
as defining an “Untouched to Affected” range for keying the vivid
colors of your image.
$
High Clip This control is similar to Low Gain, except you use it to
select the higher saturation values to be keyed.
¦ Note The values you can select using the Low Clip and Low Gain
controls are dependent on the High Clip and High Gain controls, and
vice versa. This prevents the low and high controls from keying on
the same values.
•
Luma Key This type of key lets you select areas to be keyed (affected
by the color correction) based on their luminance value.
$
Select this to enable the Luma Key properties and luma key
indicator in the selective key graph.
Enable
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Use this to select the lower (darker) luminance values to
be keyed. A Low Clip setting of 0 represents black, and a setting of
255 represents white. Intermediate settings represent different shades
of gray, from very dark to very light gray.
$
Low Clip
$
Low Gain Use this to set the range of luminance values you want
to be partially affected based on the value set by the Low Clip control.
As you increase the Low Gain setting, more luminance values
become partially affected by the color correction.
A Low Gain setting of 100 provides the widest range for maximum
color correction. Alternately, a gain setting of 0 creates a key where
the luminance values are either completely affected or left untouched.
You can think of the Low Gain control as defining an “Affected to
Untouched” range for keying the dark areas of your image.
$
High Gain This control is similar to Low Gain, except you use it
to set the range of luminance values you want to be partially affected
based on the value set by the High Clip control. You can think of the
High Gain control as defining an “Untouched to Affected” range for
keying the lighter areas of your image.
$
High Clip This control is similar to Low Clip, except you use it to
select the higher (brighter) luminance values to be keyed.
¦ Note The values you can select using the Low Clip and Low Gain
controls are dependent on the High Clip and High Gain controls, and
vice versa. This prevents the low and high controls from keying on
the same luminance values.
•
Invert Key Select this to invert the key selection, giving you the
opposite result of what you originally selected.
•
Show Key as Output Select this to display the matte used to define
your selective key region. This enables you to further refine your key.
Areas that are completely affected by the color correction are white,
untouched areas are black, and gray areas are partially affected.
•
Expand Outside Mask
Applies the color correction settings outside
the mask area. This setting is especially useful when setting up a color
pass effect where you have several objects of the same color but want to
retain the color for only one object. For more information, see
“Creating a color pass effect” on page 100.
Creating a Matrox secondary color correction
96
Using the selective key graph
The selective key graph allows you to modify your selective key settings (Hue
Key, Saturation Key, and Luma Key) directly in the graph. You can also
perform an auto key.
• Map This is the default view when you first expand the graphical property.
You can drag the handles to move the indicator to different regions in the
graph to adjust the Hue Key, Saturation Key, and Luma Key settings.
In order to see the indicator and handles, you have to enable the key setting you
want to use. For example, if you want to adjust the Hue Key properties, you need
to click the Hue button in the selective key graph or select the Enable option in
the Hue Key numerical properties. In the following graph, the Hue properties
have been enabled.
• Plot Click this button to plot the colors and luminance values that are
present in the current frame of your clip. You can drag the handles to move
the indicator to different regions in the graph to adjust the Hue Key,
Saturation Key, and Luma Key properties. The luma plot histogram shows
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
97
each luminance value present in your image as a vertical line. A longer line
indicates a higher amount of pixels in your image of that line’s luminance
value.
• Hue Click this button to enable or disable the Hue Key properties (Hue,
Aperture and Softness). When enabled you will be able to see the Hue
Key indicator and handles to modify the Hue Key properties in the selective
key graph.
0 Hue
i
1 Aperture
2 Softness
• Sat Click this button to enable or disable the Saturation Key properties
(Low Clip, Low Gain, High Gain, and High Clip). When enabled you will
Creating a Matrox secondary color correction
98
be able to see the Sat Key indicator and handles to modify the Saturation
Key properties in the selective key graph.
i 0 Low Clip
1 Low Gain
2 High Gain
3 High Clip
• Lum Click this button to enable or disable the Luma Key properties (Low
Clip, Low Gain, High Gain, and High Clip). When enabled you will be
able to see the Lum Key indicator and handles to modify the Luma Key
properties in the selective key graph.
i
0 Low Clip
1 Low Gain
2 High Gain
3 High Clip
• For both the Saturation Key and Luma Key properties, you can lock and
move all the handles at the same time in the selective key graph by pressing
SHIFT and then dragging any handle. If you press CTRL you can lock and
move either the Low Clip and Low Gain handles or High Gain and High
Clip handles.
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
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¦ Note If you want to reset the hue, saturation, and luma key properties to the
default settings at any time, click the appropriate Reset button.
Saturation Key
Reset button
• Show Key Click this button to display the matte used to define your
selective key region. This enables you to further refine your key. Areas that
are completely affected by the color correction are white, untouched areas
are black, and gray areas are partially affected.
• Auto Key Click this button to automatically key on the most common
color at the current frame (except gray). Selecting Auto Key affects values
for the Hue Key, Saturation Key, and the Luma key properties.
Alternately, you can use the auto key eyedropper to select a color on which
you want to key.
Auto key
eyedropper
• The auto key eyedropper can be used in two ways:
$
Click the eyedropper button and click on a color on which you want to
key.
$
Click the eyedropper button and click and drag anywhere on your clip to
create a rectangular area containing the color on which you want to key.
The selected color will be an average of the pixel information contained
within the rectangle.
You can further refine your auto key color by using the plus and minus eyedroppers.
Plus and minus
eyedroppers
For example, if you selected light red as your auto key color and would like a
dark red color in your clip to be included in the auto key, you can use the
plus eyedropper to select that dark red in your clip. To remove colors from
your auto key, use the minus eyedropper.
¦ Note The Show Key mode and any color correction applied will be
temporarily deactivated in the Program Monitor when using an eyedropper.
Creating a Matrox secondary color correction
100
This allows you to see the original colors of your clip before any modifications
were made.
• Indicator Click this button to turn the indicator lines on or off.
• Handles Click this button to turn the handles for the indicator lines on or
off.
Creating a color pass effect
You can use the Matrox secondary color correction to create a color pass effect to
convert your clip to black and white, with the exception of one specified color.
This can be useful if you want to isolate a single color to make it prominent.
In the following example, the pink color of the girl’s shirt has been retained,
while the rest of the clip has been converted to black and white:
Pink shirt is isolated,
while the rest of clip is
grayscale.
° To perform a color pass effect:
1 Click the Auto Key eyedropper in the selective key graph and click and drag
anywhere on your clip to create a rectangular area containing the color you
want to isolate.
2 Under Proc Amps, set the Saturation to 0.
3 Select Invert Key.
If you have more than one object of the same color but you want to isolate only
one of those objects, you can apply a mask and use the Expand Outside Mask
option to isolate the area that contains the color you want to remain intact. For
example, if you have a clip that has two roses that are the same red and you
would like only one of them to remain red, you can do the following.
° To perform a color pass effect using the Expand Outside Mask option:
1 Click the auto key eyedropper in the selective key graph and click and drag
anywhere on your clip to create a rectangular area containing the color you
want to isolate.
2 Under Proc Amps set the Saturation to 0.
3 Select Invert Key.
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4 Apply a mask surrounding the colored object you want to remain intact (see
the next section, “Applying a mask to your Matrox effects).
5 Select Expand Outside Mask.
Overview of the Matrox chroma key effects
You can apply a Matrox chroma key or chroma key shadow effect to make certain
areas of a foreground image transparent based on a color in that image, so that an
underlying image can show through.
In the following example of a chroma key effect, our foreground image is a video
clip of a woman sitting in front of a green backdrop, and our underlying image is
a video clip of a sand dune:
+
Foreground image
Underlying image
By chroma keying on the particular shade of green in the backdrop of the
foreground image, the backdrop area becomes transparent and the corresponding
area of the underlying image shows through in the composite image as follows:
=
Result of chroma key
¡ Important The chroma key shadow effect includes controls for fine-tuning
shadows in your effect. It is best to use the chroma key shadow effect when you
are performing a chroma key without any additional effects. If you want to apply
Overview of the Matrox chroma key effects
102
additional effects to your chroma key, you will get more desirable results by
using the chroma key effect without shadow controls. For example, if you want to
apply an Adobe Motion effect to your chroma key, you should use the chroma
key effect and not the chroma key shadow effect.
Creating a chroma key or chroma key shadow
effect
To set up a Matrox chroma key or chroma key shadow effect, click the triangle
next to Matrox Chroma Key/Matrox Chroma Key Shadow to expand the
property list:
• Graphical Provides a graphical representation of the chroma key controls
that you can use to select your key colors, and also lets you perform an auto
key.
$
Map Lets you select your key colors within a circular graph that
contains a color spectrum.
$
Plot Displays a plot of the colors present in your clip so that you can
select the particular colors on which you want to key.
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Click this button to display the matte used to create your key
effect. This enables you to further refine your key. For example, when you
display the matte, your key color (such as green) appears as black, and
opaque areas appear as white. If you notice some white spots that you
want to key, you can adjust the key controls until the undesired white
spots disappear.
$
Show Key
$
Auto Key Click this button to automatically key on the most common
color at the current frame in your clip (except gray).
For details on selecting key colors within the graph or performing an auto
key, see “Using the chroma key graph to modify key colors and perform an
auto key” on page 105.
¦ Note You must expand the Graphical property in order to see the indicator
when adjusting the chroma key controls.
• Hue Use this to rotate the indicator around the perimeter of the color
spectrum so that you can select different hues (colors) on which to key.
• Aperture Use this to widen or narrow the aperture of the indicator to
increase or decrease the range of colors on which you want to key.
• Saturation Use this to select colors that have a particular saturation value.
Pale colors have a low saturation value and are located at or near the center
of the spectrum. Vivid colors have a high saturation value and are located at
or near the perimeter of the spectrum. Because pale colors have low
saturation, you’ll find them more difficult to key on than the vivid colors.
• Saturation Threshold Use this to proportionally increase or decrease the
region outside of your saturation range. This controls how closely the
Saturation value must match the key color before a region becomes
transparent.
For example, after applying a chroma key effect to a foreground image that
includes dark areas or shadows that you want to preserve in your effect, you
may find that these areas have become semi-transparent. By adjusting the
Saturation Threshold, you can eliminate the key color from these dark
areas, so that they’ll become completely opaque.
• Softness Use this to soften the edges of your key by blending parts of
your foreground image with your underlying image. This makes certain
areas of your foreground image partially transparent instead of completely
transparent or opaque.
• Spill Removal Use this to remove the contamination (spill) that your key
color may leave on or around the edges of your foreground image. Spill is
usually caused by light reflecting from your solid color backdrop (key color)
onto your foreground image. Spill Removal replaces your key color from
the “spill areas” with the opposite color in the spectrum, which returns a
more natural look to these areas.
Creating a chroma key or chroma key shadow effect
104
• Chroma Suppression Use this to remove any tint that your key color
imposes on your foreground image. For example, if your solid color
backdrop (key color) is green and you are using a person in your foreground
image, the person’s skin may have a green tint. You can adjust the Chroma
Suppression to replace the green tint with the opposite color in the
spectrum to return the person’s skin to a more natural-looking color.
¦ Note The following properties (Luminance and Shadow Suppression)
are only available in the chroma key shadow effect.
• Luminance Use this to adjust the luminance of your shadow. Negative
values increase the brightness of the shadow, while positive values decrease
the brightness.
• Shadow Suppression Use this to make shadows in your clips less
apparent. A higher value indicates less shadow.
• Mask Allows you to apply a mask to your effect. For more information,
see “Applying a mask to your Matrox effects” on page 74.
• Transparent Outside Mask Select this option to apply transparency
outside the mask area. This allows you to define a mask area where you want
the keying to be performed, and show only your underlying image outside
the mask. For more information, see “Applying a mask to your Matrox
effects” on page 74.
• Invert Key Select this to invert the key selection, giving you the opposite
result of what you originally selected.
• Show Key as Output Select this to display the matte used to create your
key effect. This enables you to further refine your key. For example, when
you display the matte, your key color (such as green) appears as black, and
opaque areas appear as white. If you notice some white spots that you want
to key, you can adjust the key controls until the undesired white spots
disappear.
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105
Using the chroma key graph to modify key
colors and perform an auto key
To modify your key colors directly within the chroma key graph or perform an
auto key, click the triangle next to the Graphical property to expand it:
• Map This is the default view when you first expand the Graphical
property. You can drag the handles in the color spectrum to move the
indicator to different regions in the cube to adjust the Hue, Aperture,
Saturation, and Saturation Threshold.
i
0 Hue
1 Saturation 2 Saturation 3 Aperture
4 Luminance
Threshold
¦ Note This graph will contain a luminance spectrum only if you are creating a
chroma key shadow effect. You can drag the handle in the luminance spectrum to
adjust the Luminance.
• Plot Click this button to plot the colors and luminance values that are
present in the current frame of your clip. You can drag the handles in the
chroma plot graph to move the indicator to different regions in the graph to
adjust the Hue, Aperture, Saturation, and Saturation Threshold. The
luma plot histogram shows each luminance value present in your image as a
Creating a chroma key or chroma key shadow effect
106
vertical line. A longer line indicates a higher amount of pixels in your image
of that line’s luminance value.
i
¦ Note The Plot graph will contain a luma plot histogram only if you are
creating a chroma key shadow effect. You can drag the handle in the luma plot
histogram to adjust the Luminance.
0 Hue
1 Saturation 2 Saturation 3 Aperture
4 Luminance
Threshold
• Show Key Click this button to display the matte used to create your key
effect. This enables you to further refine your key. For example, when you
display the matte, your key color (such as green) appears as black, and
opaque areas appear as white. If you notice some white spots that you want
to key, you can adjust the key controls until the undesired white spots
disappear.
• Auto Key Click this button to automatically key on the most common
color at the current frame (except gray). Selecting Auto Key affects values
for Hue, Aperture, Saturation, and Saturation Threshold. If your clip
consists of a uniform key color that is evenly lighted, Auto Key will usually
give you a good-quality chroma key. Alternately, you can use the eyedropper
to select a color on which you want to key.
eyedropper
You can use the eyedropper in two ways:
$
Click the eyedropper button and click on a color on which you want to
key.
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
107
$
Click the eyedropper button and click and drag anywhere on your clip to
select a rectangular area containing colors on which you want to key.
¦ Note The Show Key mode and any chroma key applied will be temporarily
deactivated in the Program Monitor when using the auto key eyedropper. This
allows you to see the original colors of your clip before any modifications
were made.
• Indicator
• Handles
Click this button to turn the indicator on or off.
Click this button to turn the handles for the indicator on or off.
Creating a chroma key or chroma key shadow effect
108
Overview of the Matrox luma key effect
You can apply a Matrox luma key to make certain areas of a foreground image
transparent based on the luminance in that image, so that an underlying image
can show through.
In the following example of a luma key effect, two video clips are combined to
produce the effect of two cowboys riding through fire. Our foreground image is a
video clip of a ring of fire against a black background, and our underlying image
is a video clip of two men riding horses:
+
Foreground image
Underlying image
By luma keying on the particular luminance (brightness) of the black areas in the
foreground clip, these areas become transparent and the corresponding areas of
the underlying image show through in the composite image as follows:
=
Result of luma key
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
109
Creating a luma key effect
To set up a Matrox luma key effect, click the triangle next to Matrox Luma Key
to expand the property list:
• Graphical Allows you to see a graphical representation of your changes
when you adjust the property settings. You can adjust the luma key
properties directly in the graph to select the luminance values on which you
want to key. For more information, see “Using the luma key graph” on
page 110.
• Transparency Use this control to set the transparency level of your key
effect. Higher values indicate higher transparency. For example, a
Transparency value of 100 makes the keyed area in your foreground image
completely transparent, leaving the underlying image visible.
• Low Clip Use this to select the lower (darker) luminance values to be
keyed. A Low Clip setting of 0 represents black, and a setting of 255
represents white. Intermediate settings represent different shades of gray,
from very dark to very light gray.
• Low Gain Use this to set the range of luminance values you want to be
partially transparent based on the value set by the Low Clip control. As you
increase the Low Gain setting, more luminance values become partially
transparent to give you a softer-edged key.
A Low Gain setting of 100 provides the widest range for maximum
softness. Alternately, a gain setting of 0 creates a hard key where the
luminance values are either completely transparent or opaque. You can think
Creating a luma key effect
110
of the Low Gain control as defining a “Transparent to Opaque” range for
keying the dark areas of your foreground image.
• High Clip This control is similar to Low Clip, except you use it to select
the higher (brighter) luminance values to be keyed.
• High Gain This control is similar to Low Gain, except you use it to set the
range of luminance values you want to be partially transparent based on the
value set by the High Clip control. You can think of the High Gain control
as defining an “Opaque to Transparent” range for keying the lighter areas of
your foreground image.
The values you can select using the Low Clip and Low Gain controls are
dependent on the High Clip and High Gain controls, and vice versa. This
prevents the low and high controls from keying on the same luminance
values.
• Mask Allows you to apply a mask to your effect. For more information,
see “Applying a mask to your Matrox effects” on page 74.
• Transparent Outside Mask Select this option to apply transparency
outside the mask area. This allows you to define a mask area where you want
the keying to be performed, and show only your underlying image outside
the mask. For more information, see “Applying a mask to your Matrox
effects” on page 74.
• Invert Key Select this to invert the key selection, giving you the opposite
result of what you originally selected
• Show Key as Output Select this to display the matte used to create your
key effect. This enables you to further refine your key settings. For example,
when you display the matte, areas of your clip that are completely
transparent appear as black, and opaque areas appear as white. If you notice
some white spots that you want to key, you can adjust the key controls until
the undesired white spots disappear.
Using the luma key graph
The luma key graph contains a luminance spectrum and a luminance eyedropper.
You can drag the handles in the luminance spectrum to adjust the Transparency,
Low Clip, High Clip, Low Gain, and High Gain properties.
Eyedropper
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
111
You can select luminance values on which to key by adjusting the Low Clip and
High Clip handles, or you can use the luminance eyedropper to automatically
pick the luminance value you want to key on. The eyedropper can be used in two
ways:
• Click the eyedropper button and click on the color with the desired
luminance value in your clip.
• Click the eyedropper button and click and drag anywhere on your clip to
create a rectangular area containing the luminance values you want to select.
The selected luminance will be an average of the luminance values contained
within the rectangle.
¦ Note Any luma key displayed in the Program Monitor will be temporarily
deactivated when using the luminance eyedropper. This allows you to see the
colors of your clip before any modifications were made.
You can also adjust the softness of your key with the Low Gain, High Gain, and
Transparency handles. All these adjustments affect the shape and size of the
luminance selector as follows:
LOW CLIP
HIGH CLIP
TRANS
LOW GAIN
HIGH GAIN
• Plot Click this button to see the luminance spectrum with a plot that shows
each luminance value present in your image as a vertical line in the
histogram. A longer line indicates a higher amount of pixels in your image of
that line’s luminance value. You can drag the handles in the luma plot
spectrum to adjust the Transparency, Low Clip, High Clip, Low Gain, and
High Gain properties. Any adjustments made affect the shape and size of the
luminance selector in the Luma Plot.
Creating a luma key effect
112
Creating a wipe transition
The Matrox wipe transitions support standard dissolves, SMPTE wipes, and
organic wipes with soft edges and color borders.
° To set up a Matrox wipe transition:
Click the transition’s icon in your sequence, then click the Custom button in the
Effect Controls panel. This opens the Customize Matrox Wipes dialog box:
1 Under Wipe Pattern, click the Select Pattern button and choose a pattern
for your wipe.
2 If you would like to add a border to your wipe, select Enable under Border.
$
Width Lets you adjust the width of your border by dragging the slider
or entering a percentage in the text box.
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
113
Click this button to select a color for your border.
$
Color
$
Balance Lets you adjust the prominence of the border between image A
and image B. For example, positive values make the border more
prominent in image B, while negative values make the border more
prominent in image A.
$
Reset
Click this button to restore the default Border values.
3 Use the controls under Softness to create a soft edge on the border of your
wipe.
This option is selected by default. You may find it
useful to clear this option when using certain wipe patterns. For example,
nonlinear softness often provides better results when creating SMPTE
wipes, while linear softness is usually preferable when creating organic
wipes.
$
Nonlinear softness
$
Amount Lets you adjust the amount of softness by dragging the slider
or entering a percentage in the text box. The higher the value, the less
sharp the edge of your border or wipe will become.
$
Reset
Click this button at any time to restore the default Softness
values.
4 Use the controls under Preview to preview your wipe transition on your
video monitor (the preview will not appear in the Program monitor):
$
Drag the slider beside the Play button to scrub through your transition.
$
Click the Play button or press the SPACEBAR to play back your transition.
Select Loop if you’d like the wipe to play back continuously until you
click Stop.
You can adjust the wipe settings as your transition is playing to immediately
see the result of your changes.
5 Use the controls under Presets to save and load your wipe transition
settings. You can also create default settings for your wipe transitions.
$
Save Allows you to save your organic wipe settings to a file for future
use. When you click the Save button, the Save As dialog box opens and
allows you to name your effect and save it as a Matrox wipe transition
(.mwt) file.
$
Load
$
Set as Default
$
Restore Default
Click this button to load a previously created .mwt file.
Sets your current wipe settings as the default settings
for Matrox wipe transitions.
Click this button to restore the default settings you
specified using the Set as Default button.
For more information about setting up transitions, see your Adobe Premiere Pro
documentation.
Creating a wipe transition
114
Using the Matrox chroma clamper effect
You can use the Matrox chroma clamper effect to ensure that when you’ve
applied effects that perform color space conversion on part of a clip, the clip’s
colors remain constant throughout. Some Adobe Premiere Pro native effects
perform color space conversions (YUV to RGB) that will clip RGB values to the
acceptable range of 0-255 per color component. The clipping, however, is usually
only required on clips that have very bright or highly saturated colors.
For example, if you split a clip that contains very bright or highly saturated colors
and apply an Adobe basic 3D effect to one portion of the clip, you may notice
minor color differences between the two halves on your video monitor. Applying
the Matrox chroma clamper effect to the portion of the clip that does not have the
Adobe effect ensures that colors remain constant throughout the clip.
Chapter 6, Setting Up Matrox Effects with Adobe Premiere Pro
7
Using Matrox Mojito MAX with Adobe
SpeedGrade
This chapter explains how to
specify your playback settings
for previewing video played
back in Adobe SpeedGrade on
Matrox Mojito MAX.
116
Defining your playback settings
You can output video played back in Adobe SpeedGrade on the Matrox Mojito
MAX video outputs to preview your clips on your video monitor. For a list of the
supported video output formats, see “Playback using Adobe SpeedGrade” on
page 265.
¦ Note Adobe SpeedGrade does not support embedded audio in .avi files, but
separate .wav files are supported.
° To specify your playback settings on Matrox Mojito MAX:
1 Start Adobe SpeedGrade and click Preferences (
) at the top left of the
window.
2 In the Preferences dialog box, click Playback and set the base frame rate
for the playback, such as 29.97.
3 Click Display and select Enable under Mercury Transmit.
4 From the Device list, select Matrox Player.
5 From the Resolution list, select the resolution for playback, such as 1080p
(1920 x 1080).
6 Click Setup and specify the video output settings you want for previewing
your video. The available settings are the same as those provided for Adobe
Premiere Pro as explained in “Specifying your video output settings” on
page 30, except the option to lock the video output formats is not available.
7 Click OK to return to the Preferences dialog box.
For more information about using Adobe SpeedGrade, see your Adobe
SpeedGrade documentation.
Chapter 7, Using Matrox Mojito MAX with Adobe SpeedGrade
8
Using Matrox Mojito MAX with Avid
Editing Applications
This chapter explains how to
define various settings for
using Matrox Mojito MAX with
Avid editing applications. This
includes your playback and
capture settings.
118
Creating a new project on Matrox Mojito MAX
You can create a new project for editing on Matrox Mojito MAX as explained in
your Avid documentation, with the following exceptions:
• Avid supports only standard raster dimensions for projects created on
Matrox Mojito MAX hardware. This means that when you create an HD
project on Mojito MAX, the raster dimension will be set to 1280×720 for a
720p project, or 1920×1080 for a 1080i/p project. You can, however, still
import, export, and play back thin raster material in your HD project.
• Matrox Mojito MAX supports YCbCr video only. If you set your project’s
color space to RGB, your Avid editing application will convert your material
to YCbCr for output on Matrox Mojito MAX. To capture video using your
Matrox Mojito MAX hardware, your project’s color space must be set to
YCbCr.
Defining your playback settings
The Matrox Playback Settings dialog box provides settings that you can use to
configure your video and audio outputs on Matrox Mojito MAX for playing back
material in Avid editing applications. You can open the Matrox Playback
Settings dialog box using any of the following methods:
• Choose Tools > Hardware Setup.
• Click the Settings tab in the Project window, and then double-click Video
Output (this is the method explained in the step-by-step instructions).
• Click the Hardware tab in the Audio Project Settings dialog box, and
then click the Hardware Setup button (
).
¦ Note The Monitor Volume button (
) in the Timeline window can be used
as a shortcut to open the Matrox Playback Settings dialog box, and therefore
does not work as described in your Avid documentation. For details on how to
adjust various audio output settings on Mojito MAX, see “Specifying your audio
output settings” on page 124.
Specifying your video output settings
You can specify various settings to configure the main and secondary outputs
from Mojito MAX. Some of the settings are predetermined for you based on your
project’s video format. For a list of the supported video output formats, see
“Playback using Avid editing applications” on page 268.
Chapter 8, Using Matrox Mojito MAX with Avid Editing Applications
119
° To specify your video output settings:
1 Click the Settings tab in the Project window, and then double-click Video
Output.
2 In the Matrox Playback Settings dialog box, click the Video Output tab.
3 Under Main Output and Secondary Output, you can specify the settings
you want for your main and secondary outputs from Mojito MAX.
Depending on your project’s video format, you may not be able to change
some of the settings.
Use this to select the video format you want for your outputs.
Be aware that the format you select may not be supported on all the
Mojito MAX outputs. For a list of the supported video output formats, see
“Playback using Avid editing applications” on page 268.
$
Format
$
Pulldown Method Depending on your project’s frame rate and the
current video output format, the pulldown method may be automatically
set to Standard 2:3.
$
Aspect Ratio Conversion
Use this to specify how you want your
video to be output when upscaling or downscaling:
Defining your playback settings
120
Outputs the widescreen 16:9 picture in letterbox
mode by adding black bars at the top and bottom of the picture for
display on a standard 4:3 television screen.
•
16x9 Letterbox
•
4x3 Pillarbox
•
Anamorphic
•
Center Cut Outputs the widescreen 16:9 picture by evenly cropping
the left and right sides of the picture for display on a standard 4:3
television screen.
•
Center Zoom Outputs the standard 4:3 picture by evenly cropping
the top and bottom edges of the picture for display on a widescreen
16:9 television screen.
Outputs the standard 4:3 picture in pillarbox mode by
adding black bars to the left and right sides of the picture for display on
a widescreen 16:9 television screen.
Outputs the widescreen 16:9 picture as horizontally
compressed 4:3 video, which retains the picture’s full vertical
resolution for display on a widescreen television. To display the video
with the correct proportions on an NTSC or PAL monitor, select the
16:9 display setting on the monitor.
¦ Note When aspect ratio conversion is applied to both the main and
secondary outputs, the same setting will be applied to both outputs.
4 Under Analog Output, you can specify your analog output format, NTSC
setup level, and output type.
$
Format Use this to specify whether you want the format for the analog
outputs to be the same as the main or secondary output.
$
Output Type Select the type of analog video output you want. If you’re
outputting SD analog video, you can select Component, or Composite
& S-Video. If you’re outputting HD analog video, the output type will be
set to Component (and the composite and S-Video outputs will be
invalid).
$
Setup (NTSC)
$
Use this to select the setup level you want for your
NTSC analog video. This affects both the NTSC analog video input and
output.
•
0 IRE Applies a setup level of 0 IRE. You should select this option
only when working with a commercial DV device that uses the
Japanese analog NTSC setup of 0 IRE. For example, if the video
appears too bright when you play back DV clips on your NTSC
monitor, you can change the setup to 0 IRE to output your DV clips at
the correct brightness.
•
7.5 IRE
Applies the standard NTSC setup level of 7.5 IRE.
YUV/RGB Select YUV or RGB - native to set the type of video signal
that is sent from the component output. For example, select RGB - native
Chapter 8, Using Matrox Mojito MAX with Avid Editing Applications
121
if you connected the component output to a device that accepts an RGB
signal.
5 Under HDMI Output, you can specify your HDMI output format and type.
Use this to specify whether you want the format for your
HDMI output to be the same as the main or secondary output.
$
Format
$
YUV/RGB Select the type of video signal that you want to be sent from
the HDMI output:
$
•
YUV Outputs YUV HDMI video. Select this only if you connected
the HDMI output to a device that accepts a YUV signal.
•
RGB - calibrated Outputs adjusted RGB HDMI video using the
currently loaded Matrox HDMI calibration settings for your HDMI
monitor or television. For details on calibrating your HDMI monitor
and loading calibration settings using the Matrox HDMI Calibration
Utility, see Chapter 4, “Calibrating Your HDMI Monitor for Video.”
•
RGB - native
Outputs native RGB HDMI video that does not apply
any calibration compensation. This is useful when you want to output
RGB HDMI video to a device other than an HDMI monitor or
television, such as an HDMI recorder to perform an export to tape.
Select the 3D signal type that you want to be sent
from the HDMI output to your 3D monitor (this feature may not be
supported on some 3D monitors):
3D Viewing Mode
•
Disabled Select this if you’re not outputting 3D video, or to disable
3D video output. You can still monitor 3D video, but you must select
the correct viewing mode on your 3D monitor manually.
•
Side-by-side
•
Over/Under
Outputs horizontally compressed side-by-side 3D
video (also referred to as side-by-side horizontal).
Outputs over/under 3D video (also referred to as top
bottom).
¡ Important If your project’s Stereoscopic setting is anything other than
Side by side, Over/Under, or Full, make sure that you set the 3D Viewing
Mode to Disabled. For example, if your project’s Stereoscopic setting is
Off or Leading Eye, you must disable the 3D video output in order to
properly view the HDMI output.
6 Under SDI Output, specify whether you want the format for your SDI
output to be the same as the main or secondary output.
7 Under Advanced, you can specify advanced video output settings.
$
Use this slider to advance or delay your analog
video output’s subcarrier phase with respect to the horizontal sync of the
genlock source (for composite video only).
Analog SC/H Phase
Defining your playback settings
122
$
Select Allow Super White
to allow the highest luminance level of your video output to exceed the
standard maximum white level. Select Allow Super Black to allow the
lowest luminance level of your video output to fall below the standard
black level. These options apply to all video outputs.
Allow Super White/Allow Super Black
¦ Note Super white and super black should not be allowed when producing
your final video production for broadcast.
8 Click OK to save your settings.
Specifying your genlock settings
You can select the source to which you want to genlock all devices connected to
your Mojito MAX system, as well as adjust the timing settings for all video
outputs from Mojito MAX. For an example of connecting an external sync source
to your system, see “Typical Matrox Mojito MAX connections” on page 16.
¦ Note These genlock settings are used during playback only. During capture,
Mojito MAX genlocks to your selected video input source.
° To specify your genlock settings:
1 Click the Settings tab in the Project window, and then double-click Video
Output.
2 In the Matrox Playback Settings dialog box, click the Genlock tab.
3 Under Genlock Source, select one of the following:
$
Genlock to Mojito MAX’s internal reference signal. Select this
option only if you don’t have an external sync generator or other reliable
external video sync source.
Internal
Chapter 8, Using Matrox Mojito MAX with Avid Editing Applications
123
Genlock to an external analog sync
source connected to the reference (REF) input on Mojito MAX. This must
be a stable sync source, such as an external sync generator (bi-level black
burst for SD or tri-level sync for HD), or a source VTR that has a built-in
TBC.
$
Black Burst Broadcast Quality
$
SDI, Composite, Component, S-Video, and HDMI Input Genlock to
your SDI, composite, component, S-Video, or HDMI video source
connected to the video input on Mojito MAX.
Remarks
•
The status of your genlock source will be displayed, such as Locked or
Not Locked, to indicate whether or not Mojito MAX is presently
locked to your selected genlock source. When you change the genlock
source, distorted video and silent audio will be output until Mojito
MAX locks to the new genlock source.
•
If Mojito MAX is unable to lock to your genlock source, it will
automatically lock to the internal reference. However, if Mojito MAX
is unable to do this, you’ll need to manually set the genlock to Internal
or select a different genlock source.
4 Under Genlock Video Format, select your external genlock source’s video
format. When the genlock source is set to Internal, the genlock video format
is set to your main video output format.
¡ Important To ensure good output results, make sure that your genlock
source’s video format is compatible with the Mojito MAX video output
format.
5 Under Advanced Settings, drag the Horizontal Delay and Vertical Delay
sliders to adjust the horizontal and vertical timing of your video outputs with
respect to your genlock source. This lets you compensate for cable delays
within your system.
6 Click OK to save your settings.
Defining your playback settings
124
Specifying your audio output settings
The simultaneous audio outputs on your Matrox Mojito MAX hardware allow
you to send your audio to a variety of devices at the same time. Your Avid editing
application and Matrox provide various settings to configure your audio output
on Mojito MAX.
° To specify your audio output settings:
1 Click the Settings tab in the Project window, and then double-click Audio
Project.
2 In the Audio Project Settings dialog box, click the Output tab and specify
your desired audio output settings as explained in your Avid documentation.
To map tracks directly to audio output channels on your Matrox hardware,
click the Mix Mode Selection button to select Direct or Direct, surround
tracks in SMPTE order, depending on the version of your Avid editing
application. You can then select an output channel on Mojito MAX for each
audio track in your sequence.
Remarks
$
For surround sound HDMI audio output, Matrox Mojito MAX supports
the 5.1 and 7.1 SMPTE settings only (and the Direct SMPTE setting, if
available).
$
Matrox Mojito MAX supports the Audio tool so that you can monitor the
global output level of your sequence. If needed, you can use the Output
Gain (master attenuator) slider to adjust the overall output volume for all
tracks.
Chapter 8, Using Matrox Mojito MAX with Avid Editing Applications
125
3 Click the Hardware tab in the Audio Project Settings dialog box, and
then click the Hardware Setup button (
).
4 Under Analog Audio Volume, drag the sliders to adjust the volume of your
analog audio output. By default, the sliders are locked so that they move
together. To move each slider independently, click the lock button (
) to
disable it.
5 Under SDI Audio Output Format, select the bit depth you want for your
embedded SDI audio output (20-bit or 24-bit).
6 Under HDMI Audio Output, select Output only two audio channels if
you want to output two audio channels from the Mojito MAX HDMI output,
instead of eight channels. This option is especially useful for HDMI
monitors that don’t accept more than two audio channels.
7 Select Use system sound card if you want to use your system’s sound card
to output audio played back from your sequence. Make sure this option is
cleared if you want audio to be output from your Mojito MAX system (this
ensures accurate A/V sync during playback).
8 Click OK to save your settings.
Defining your playback settings
126
Defining your capture settings
The Matrox Capture Settings dialog box provides settings that allow you to
capture material from any of your Mojito MAX system’s video and audio inputs.
The settings available are based on your project’s video format and your input
source (video is always captured to your project’s video format). For information
about the supported capture formats, see Appendix B, “Matrox Mojito MAX
Supported Input and Capture Formats.” For a list of the supported video output
formats for monitoring the video that you’re capturing, see “Supported video
output formats for monitoring” on page 274.
To capture video and audio on Matrox Mojito MAX, make sure that your video
input and audio input sources in the Capture tool are set to Matrox. For details
on how to capture material using your Avid editing application, see your Avid
documentation.
If you want to capture material using RS-422 device control, you can connect the
RS-422 connector on the Mojito MAX I/O cable to the RS-422 serial device
control port on your device (see “Mojito MAX RS-422 serial connection” on
page 15). When configuring your deck for RS-422 device control, the RS-422
connector on your Mojito MAX hardware is usually identified as the COM3 port.
For more information on using RS-422 device control, see “Requirements for
using RS-422 device control” on page 134.
° To specify your capture settings:
1 Do one of the following:
$
Click the Settings tab in the Project window, and then double-click
Video Input.
Chapter 8, Using Matrox Mojito MAX with Avid Editing Applications
127
$
In the Capture tool, click the Hardware Setup button (
).
¡ Important In order to perform a capture, make sure that Audio Punch-in
mode is not selected. This mode is used only for recording a voice-over as
explained in “Adding a voice-over to your sequence” on page 130.
2 Under Input Type, select the type of equipment you’re using for capture:
Select this if your source device is
broadcast-quality. This setting provides the best capture results for most
devices.
$
Broadcast-quality Source
$
Consumer-quality Source Select this if you’re having problems
capturing video because your source device doesn’t meet
broadcast-quality standards. For example, the capture may be interrupted
when you try to capture from certain composite and S-Video devices,
especially from low-quality VCRs. If this happens, selecting
Consumer-quality Source will allow the video to be captured, but you
may experience dropped frames during the capture.
¦ Note For any change to the input type to take effect, you must restart your
Avid editing application and open your project again.
Defining your capture settings
128
3 Under Video Input Source, select the type of video you want to capture.
For example, to capture material from your composite source, select
Composite. The available video input sources depend on your project’s
video format.
4 Under Video Input Format, select the video format that matches your
source video. If required, your source video will be scaled during capture to
match your project’s video format. The formats available depend on your
selected input source. For information about the supported capture formats,
see Appendix B, “Matrox Mojito MAX Supported Input and Capture
Formats.”
5 Under Input Aspect Ratio, select the aspect ratio of your SD source video
(available only when capturing SD video in an HD project). For example, to
capture SD video that was recorded using the standard TV screen format,
select 4:3. To capture SD video that was recorded using the widescreen 16:9
format, select 16:9.
6 Under Aspect Ratio Conversion, specify the type of aspect ratio
conversion that you want to be applied to your captured video (used when
upscaling or downscaling video during capture):
Captures the widescreen 16:9 picture as letterbox
video by adding black bars at the top and bottom of the picture for display
on a standard 4:3 television screen.
$
16x9 Letterbox
$
4x3 Pillarbox
$
Center Cut Captures the widescreen 16:9 picture by evenly cropping
the left and right sides of the picture for display on a standard 4:3
television screen.
$
Center Zoom Captures the standard 4:3 picture by evenly cropping the
top and bottom edges of the picture for display on a widescreen 16:9
television screen.
$
None
Captures the standard 4:3 picture as pillarbox video by
adding black bars at the left and right sides of the picture for display on a
widescreen 16:9 television screen.
No aspect ratio conversion is applied. If your project and source
video have different aspect ratios, the video will be captured as
horizontally or vertically compressed (anamorphic) video.
7 If you’re working in a 1080p project, under Video Output Format, select
the format (p or PsF) that you want for previewing your captured video. For
example, if you’re capturing to 1080p @ 25 fps, you can choose to output
1080p or 1080PsF @ 25 fps video for preview.
8 Under Audio Input Source, select your audio source. For example, if you
want to capture the embedded audio of your HDMI source, select HDMI
(embedded audio). Your audio input source may be set for you based on
your selected video input source.
Chapter 8, Using Matrox Mojito MAX with Avid Editing Applications
129
¦ Note When capturing HDMI embedded audio, only uncompressed
embedded audio is supported.
9 Select Use Automatic Gain Control (AGC) if you want the gain of your
composite or S-Video input signal to be adjusted automatically to
compensate for very bright or dark images. This improves the brightness or
contrast of your picture.
10 Click OK to save your settings.
Remarks
• To capture video on Matrox Mojito MAX, your project’s color space must be
set to YCbCr.
• Matrox Mojito MAX supports the Audio tool so that you can monitor and
adjust your audio input levels for capture.
• Capture on Matrox Mojito MAX is not supported for a 24p NTSC, 24pPAL,
or 720p/29.97 project.
• When Matrox Mojito MAX is outputting video for previewing your captured
video, attempting to open the Matrox Playback Settings dialog box will
stop the video preview and the Capture tool will lose the focus. However,
the Matrox Playback Settings dialog box will not open unless you attempt
to open it a second time.
Defining your capture settings
130
Adding a voice-over to your sequence
Matrox Mojito MAX supports the Audio Punch-In tool, which allows you to
record audio directly into the Timeline to add voice-over narration, such as to
add commentary to newsreels and documentaries.
¦ Note The Audio Punch-In tool supports recording to mono tracks only.
Connection and setup
1 Connect the microphone to the audio input on your source device and
connect the audio output (analog or AES/EBU) from the source device to the
corresponding audio input on your Mojito MAX hardware.
2 Click the Settings tab in the Project window, and then double-click Video
Input.
Chapter 8, Using Matrox Mojito MAX with Avid Editing Applications
131
3 Select Audio Punch-in mode and click Configure.
4 From the Input Source list, select the audio source type corresponding to
the device to which the microphone is connected.
5 The audio input channels are set to Channel 1-2.
6 Click OK to save your settings, and then click OK to close the Matrox
Capture Settings dialog box.
¡ Important When you’ve finished recording your voice-over, you’ll need to
clear Audio Punch-in mode before performing a capture as explained in
“Defining your capture settings” on page 126.
Recording your voice-over
You use the Audio Punch-In tool to record your voice-over. The following steps
provide guidelines for recording a voice-over. For details on using the Audio
Punch-In tool, see your Avid documentation.
Adding a voice-over to your sequence
132
1 With a sequence loaded in the Timeline, choose Tools > Audio Punch-In.
Stop
button
Record button
Punch-in
monitoring is
disabled
Audio tool button
2 Make sure that the Input Source is set to Matrox.
3 Select the input channels that you want to record (CH1 and/or CH2), and
select the corresponding tracks on which you want to record. If you select an
existing track, you can replace all or part of the audio on the track with your
voice-over.
4 Click the Audio tool button (
), and use the controls and meters in the
Audio tool to test the audio input levels while speaking into the microphone.
If needed, adjust the audio level on your source device so that the input
levels are sufficiently high but not clipping.
¦ Note To see the meters in the Audio tool, make sure that the In/Out toggle
buttons for channels 1 and 2 are set to I (for Input):
Input
selected
For details on using the Audio tool, see your Avid documentation.
5 Set In and Out points to specify the section of the Timeline to which you
want to add your voice-over, and specify preroll and postroll values if
desired.
Chapter 8, Using Matrox Mojito MAX with Avid Editing Applications
133
6 When you’re ready to start the voice-over, click the Record button (
).
7 Click the Stop button (
) to stop the recording. Your voice-over will be
added as an audio clip on the Timeline.
¦ Note During recording, your voice-over will not be output to your Matrox
Mojito MAX hardware, and audio punch-in monitoring is not supported.
Exporting your sequence to tape
You can record your sequence onto tape using device control or manually as
explained in your Avid documentation. Before exporting to tape, set your desired
playback settings as explained in “Defining your playback settings” on page 118.
For a list of the supported video output formats, see “Playback using Avid editing
applications” on page 268.
To export to tape without device control, simply play back your sequence and
record the output from any of the available outputs on your Mojito MAX system.
If your recorder supports RS-422 device control, you can connect the RS-422
connector on the Mojito MAX I/O cable to the RS-422 serial device control port
on your recorder (see “Mojito MAX RS-422 serial connection” on page 15).
When configuring your deck for RS-422 device control, the RS-422 connector on
your Mojito MAX hardware is usually identified as the COM3 port. For more
information on using RS-422 device control, see “Requirements for using
RS-422 device control” on page 134.
To record the output from your Mojito MAX system using device control with
the Digital Cut tool, make sure that the Output Mode is set to Real-Time. For
details on using the Digital Cut tool, see your Avid documentation.
¡ Important If you want to downconvert a 720p/23.976, 1080p/23.976, or
1080p24 sequence to SD to record a digital cut, you must change your project’s
format (project type) to SD. For example, to downconvert a 720p/23.976 or
1080p/23.976 sequence to NTSC to record a digital cut, you must change the
project type to 23.976p NTSC. You can then select the output format that you
want in the Digital Cut tool.
Exporting your sequence to tape
134
Requirements for using RS-422 device control
When using RS-422 device control with Matrox Mojito MAX, keep the
following points in mind:
• You must set your device to Remote or VTR mode.
• When working with an analog RS-422 device, you must genlock to an
external broadcast-quality analog sync source. If you’re using an SDI
RS-422 device for export to tape and you don’t have an external
broadcast-quality analog sync source, you can set your genlock source to the
Mojito MAX internal reference and configure the setting on your deck to
genlock to the SDI video input. For details on how to set your genlock
source, see “Specifying your genlock settings” on page 122.
• You must stripe your tapes with continuous and consecutive time code. You
can stripe your entire tape with time code by recording black video for the
duration of the tape. Avoid having the time code counter reset to 00:00:00:00
during the striping.
Chapter 8, Using Matrox Mojito MAX with Avid Editing Applications
9
Using Matrox A/V Tools
This chapter explains how to
use Matrox A/V Tools to
capture clips, grab
single-frame images, and play
back clips in a clip list.
136
About Matrox A/V Tools
Matrox A/V Tools is an application that allows you to capture and play back
clips. With A/V Tools, you can:
• Capture analog, SDI, or HDMI video from your camera or VTR into .avi
files on your computer.
• Use onscreen transport controls to navigate quickly and easily through clips
on disk.
• Grab single-frame images and save them as .tga files, such as to create photo
montages.
• Change the order of clips in your clip list by simply dragging and dropping
clips into the sequence you want.
Starting Matrox A/V Tools
1 Choose Start > Programs > Matrox Mtx.utils > Matrox AV Tools.
2 The Options dialog box pops up every time A/V Tools starts. For
information about the settings in the Options dialog box, see “Defining your
A/V Tools options” on page 140. To close the Options dialog box and start
working with A/V Tools, click OK.
Chapter 9, Using Matrox A/V Tools
137
Using the Matrox A/V Tools interface
Once you’ve specified your A/V Tools options, a dialog box similar to the
following appears:
0
1
2
4
8
3
5
6
7
Here’s a brief description of the A/V Tools dialog box:
0 New tab
Use this tab to capture new clips to add to your clip list. See
“Capturing clips” on page 159.
1 Edit tab
Use this tab to edit clips, and update clip information. For details,
see “Editing clips” on page 160.
2 Preview Window
Allows you to preview video from your camera, VTR,
or clips on disk. The preview is also displayed on your video monitor.
3 CAM and Disk buttons
These buttons let you switch between the
following modes:
Using the Matrox A/V Tools interface
138
$
CAM mode lets you capture live video from your camera, or video on
tape.
$
Disk mode lets you play back captured clips in your clip list.
4 Clip identification area
This section contains several items to help you
identify your clips.
$
Tape ID
Displays the name that you’ve assigned to the tape in your
VTR.
Displays the base name for your new clips when using the New
tab, or the name of the currently selected clip when using the Edit tab. For
details, see “How A/V Tools assigns clip names” on page 159.
$
Clip ID
$
Comment
Lets you enter comments that help you distinguish between
clips in your clip list.
5 Transport controls
A set of common transport controls that lets you
easily navigate through clips on disk. For more information, see “Navigating
through clips with the transport controls” on page 138.
6 Clip list
A numbered list of clips and their properties. As you capture clips
in A/V Tools, your clips are automatically added to the clip list. The clip list
can be docked to the Matrox A/V Tools dialog box or float freely as a
resizable window. For more information on using the clip list, see “Working
with the clip list” on page 161.
7 Status bar
Displays information about the operation you’re currently
performing in A/V Tools, such as clip information and if frames are dropped
during a capture.
8 Float/dock clip list button
This button lets you dock the clip list to the
Matrox A/V Tools dialog box, or detach the clip list so that you can move
and resize it. For more information, see “Detaching and resizing the clip list”
on page 163.
Using the A/V Tools pop-up menu
When you right-click anywhere in the clip list, a pop-up menu appears containing
commands for working with A/V Tools. All commands present in the A/V Tools
pop-up menu are described in this chapter.
Navigating through clips with the transport
controls
A/V Tools includes a common set of transport controls for navigating through
clips on your hard drive when working in Disk mode.
¦ Note The transport controls are disabled in CAM mode.
Chapter 9, Using Matrox A/V Tools
139
The transport controls are much like those on your VTR:
Loop
button
Positioner
Most of these controls perform standard transport functions, but some can be
used for special tasks:
• Scrub Drag the slider on the Positioner to scrub through any clip in your
clip list.
• Cue to In or Out point on disk Click the Rewind or Fast Forward
button to cue to the beginning or end of a clip on disk.
• View frame-by-frame Click the Frame Reverse or Frame Advance
button.
• Play a clip on disk repeatedly
Play button.
Click the Loop button, then click the
Keyboard Shortcuts
Disk mode
Play
Rewind
Fast Forward
Frame Advance
Frame Reverse
Stop
Loop
K
B
Z
X
’ (apostrophe)
; (semicolon)
V
A
Using the Matrox A/V Tools interface
140
Changing the time code display
A value in a time code field can be displayed as a time code or a specific number
of frames. The first time you run A/V Tools, the fields display time codes. To
toggle between the two formats, press CTRL+SHIFT while the insertion point
(flashing vertical bar) is in any time code field.
For example, when working with NTSC clips, you could change a value of 24:04
(24 seconds, 4 frames) to 724 frames by pressing CTRL+SHIFT, and then switch
back to time codes again by pressing CTRL+SHIFT.
The time code format of your tape is indicated by the separator between the
seconds and frames digits in the time code fields as follows:
• A colon ( : ) indicates non-drop frame.
• A semicolon ( ; ) indicates drop frame.
Defining your A/V Tools options
Before capturing or playing back clips with A/V Tools, you need to specify
various options, such as your editing video format and your capture and playback
settings.
° To define your options for A/V Tools:
1 Click the Options button.
¦ Note The Options dialog box automatically pops up every time A/V Tools
starts.
2 Under Capture Folder, specify the folder where you want to store your
captured clips. For more information, see “Selecting your capture folder” on
page 142.
Chapter 9, Using Matrox A/V Tools
141
3 Under Editing Video Format, select the video format and aspect ratio you
want for your clips. For example, select NTSC and 4:3 if you want to capture
and play back NTSC clips with a standard 4:3 aspect ratio.
Remarks
$
When you select an editing video format, many of the playback and
capture settings are predetermined for you. All clips are captured to your
selected video format, and clips added to the clip list must have the same
frame size and frame rate. You can mix interlaced and progressive clips
that have the same frame size and frame rate in a clip list.
$
Once your editing video format has been defined, it cannot be changed.
You can run multiple instances of A/V Tools if you want to capture or
play back clips with a different video format.
$
Your editing video format will automatically change if you load a .dvl file
with a different format. For more information see, “Saving and loading a
clip list” on page 161.
4 Under Display Time Code As, select the format that you want for
displaying time codes in A/V Tools (applicable only if you’re using a video
format that has a frame rate of 29.97 or 59.94). The format used is indicated
by the separator between the seconds and frames digits in the time code
fields as follows:
$
A colon ( : ) indicates non-drop frame.
$
A semicolon ( ; ) indicates drop frame.
5 Click the Playback Settings button to specify your playback settings (see
“Defining your playback settings” on page 142).
6 Click the Capture Settings button to specify your capture settings (see
“Defining your capture settings” on page 151). If capture is not supported for
your selected editing video format, a message will be displayed to indicate
that it is not supported. For information about the supported capture formats,
see Appendix B, “Matrox Mojito MAX Supported Input and Capture
Formats.”
7 Click OK to save your settings.
Defining your A/V Tools options
142
Selecting your capture folder
You can select the folder where you want A/V Tools to store your captured clips
by typing the drive and folder name directly into the Capture Folder box, or by
using the Browse button.
To ensure the best capture and playback performance of your clips, save them on
one of your A/V drives.
A/V Tools will save your video and audio clips in a subfolder with the same
name as the Tape ID. For example, if you selected D:\Matrox AV Tools Capture
as your capture folder, all video and audio clips from tape “MyTape” will be
saved in D:\Matrox AV Tools Capture\MyTape.
Defining your playback settings
The Matrox Playback Settings dialog box has several pages that you can use to
specify various settings for working with A/V Tools. When you select your
editing video format in the Options dialog box, many settings are optimized for
you.
Specifying your general settings
To specify your general settings for playback in A/V Tools:
1 Click the Options button in the Matrox A/V Tools dialog box.
2 Click the Playback Settings button. This displays the Matrox Playback
Settings dialog box.
¦ Note You can also access the Matrox Playback Settings dialog box by
right-clicking the clip list and selecting Playback Settings.
3 Click the General tab.
4 Under Scrubbing Mode, select Frame, 1st Field, or 2nd Field to indicate
whether you want to display frames or only one field when you scrub your
clips in the clip list using the transport controls. For example, you may want
to scrub the first or second field to eliminate the flickering that can be seen in
Chapter 9, Using Matrox A/V Tools
143
your picture when you pause while scrubbing interlaced video. Scrubbing
fields can also be used to check for any dropped fields that may have
occurred in your video during a telecine process.
¦ Note When using a progressive editing video format, the scrubbing mode
is set to Frame.
5 Under Video Processing Format, select either 8-bit or 10-bit to indicate
the bit depth you want to use for processing video. This option is
automatically set to 8-bit when using a 1440×1080i/p editing video format.
¦ Note If you select a 10-bit video processing format, you’ll be able to capture
clips to Matrox 10-bit uncompressed format only.
6 Use the Preroll/Postroll frames for audio scrubbing sliders to specify the
number of audio frames you want to be played before/after the location of
the positioner when you scrub a clip. This lets you hear more audio to help
you better identify sounds when scrubbing. For example, if you set the
number of preroll frames for audio scrubbing to 3, you will hear the audio
for the current frame and three previous frames when you scrub a frame in a
clip.
¦ Note To return a slider to it’s default setting, click its D button. This button
is available for all sliders in the Matrox dialog boxes.
7 Click OK to save your settings.
Defining your A/V Tools options
144
Specifying your video output settings
You can specify various settings to configure the main and secondary outputs
from Mojito MAX. Some of the settings are predetermined for you based on your
editing video format. For a list of the supported video output formats, see
“Playback using Matrox A/V Tools and Matrox WYSIWYG” on page 270.
° To specify your video output settings:
1 Click the Options button in the Matrox A/V Tools dialog box.
2 Click the Playback Settings button. This displays the Playback Settings
dialog box.
3 Click the Video Output tab.
4 Under Main Output and Secondary Output, you can specify the settings
you want for your main and secondary outputs from Mojito MAX.
Depending on the editing video format you chose in the Options dialog box,
you may not be able to change some of the settings.
Chapter 9, Using Matrox A/V Tools
145
Use this to select the video format you want for your outputs.
Be aware that the format you select may not be supported on all the
Mojito MAX outputs. For a list of the supported formats, see “Playback
using Matrox A/V Tools and Matrox WYSIWYG” on page 270.
$
Format
$
Pulldown Method If this setting is available, select the pulldown
method you want to be applied to your video output (Standard 2:3 or
Advanced 2:3:3:2). Depending on your editing video format’s frame
rate and the current video output format, a pulldown method may
automatically be selected.
$
Aspect Ratio Conversion
Use this to specify how you want your
video to be output when upscaling or downscaling:
Outputs the widescreen 16:9 picture in letterbox
mode by adding black bars at the top and bottom of the picture for
display on a standard 4:3 television screen.
•
16x9 Letterbox
•
4x3 Pillarbox
•
Anamorphic Outputs the widescreen 16:9 picture as horizontally
compressed 4:3 video, which retains the picture’s full vertical
resolution for display on a widescreen television. To display the video
with the correct proportions on an NTSC or PAL monitor, select the
16:9 display setting on the monitor.
•
Center Cut Outputs the widescreen 16:9 picture by evenly cropping
the left and right sides of the picture for display on a standard 4:3
television screen.
•
Center Zoom Outputs the standard 4:3 picture by evenly cropping
the top and bottom edges of the picture for display on a widescreen
16:9 television screen.
Outputs the standard 4:3 picture in pillarbox mode by
adding black bars to the left and right sides of the picture for display on
a widescreen 16:9 television screen.
¦ Note When aspect ratio conversion is applied to both the main and
secondary outputs, the same setting will be applied to both outputs.
5 Under Analog Output, you can specify your analog output format, NTSC
setup level, and output type:
$
Format Use this to specify whether you want the format for the analog
outputs to be the same as the main or secondary output.
$
Output Type Select the type of analog video output you want. If you’re
outputting SD analog video, you can select Component, or Composite
& S-Video. If you’re outputting HD analog video, the output type will be
set to Component (and the composite and S-Video outputs will be
invalid).
Defining your A/V Tools options
146
$
$
Use this to select the setup level you want for your
NTSC analog video. This affects both the NTSC analog video input and
output.
Setup (NTSC)
•
0 IRE Applies a setup level of 0 IRE. You should select this option
only when working with a commercial DV device that uses the
Japanese analog NTSC setup of 0 IRE. For example, if the video
appears too bright when you play back DV clips on your NTSC
monitor, you can change the setup to 0 IRE to output your DV clips at
the correct brightness.
•
7.5 IRE
Applies the standard NTSC setup level of 7.5 IRE.
YUV/RGB Select YUV or RGB to set the type of video signal that is
sent from the component output. For example, select RGB if you
connected the component output to a device that accepts an RGB signal.
6 Under HDMI Output, you can specify your HDMI output format and type.
Use this to specify whether you want the format for your
HDMI output to be the same as the main or secondary output.
$
Format
$
YUV/RGB Select the type of video signal that you want to be sent from
the HDMI output:
$
•
YUV Outputs YUV HDMI video. Select this only if you connected
the HDMI output to a device that accepts a YUV signal.
•
RGB - calibrated Outputs adjusted RGB HDMI video using the
currently loaded Matrox HDMI calibration settings for your HDMI
monitor or television. For details on calibrating your HDMI monitor
and loading calibration settings using the Matrox HDMI Calibration
Utility, see Chapter 4, “Calibrating Your HDMI Monitor for Video.”
•
RGB - native
Outputs native RGB HDMI video that does not apply
any calibration compensation. This is useful when you want to output
RGB HDMI video to a device other than an HDMI monitor or
television, such as an HDMI recorder to perform an export to tape.
Select the 3D signal type that you want to be sent
from the HDMI output to your 3D monitor:
3D Viewing Mode
•
Disabled Select this if you’re not outputting 3D video, or to disable
3D video output. You can still monitor 3D video, but you must select
the correct viewing mode on your 3D monitor manually.
•
Side-by-side
•
Over/Under
Outputs horizontally compressed side-by-side 3D
video (also referred to as side-by-side horizontal).
Outputs over/under 3D video (also referred to as top
bottom).
¦ Note This feature may not be supported on some 3D monitors.
Chapter 9, Using Matrox A/V Tools
147
7 Under SDI Output, specify whether you want the format for your SDI
output to be the same as the main or secondary output.
8 Under Advanced, you can specify advanced video output settings.
$
Use this slider to advance or delay your analog
video output’s subcarrier phase with respect to the horizontal sync of the
genlock source (for composite video only).
Analog SC/H Phase
¦ Note This setting is unavailable until a clip is added to the clip list and you
click the Disk button.
$
Select Allow Super White
to allow the highest luminance level of your video output to exceed the
standard maximum white level. Select Allow Super Black to allow the
lowest luminance level of your video output to fall below the standard
black level. These options apply to all video outputs.
Allow Super White/Allow Super Black
¦ Note Super white and super black should not be allowed when producing
your final video production for broadcast.
9 Click OK to save your settings.
Defining your A/V Tools options
148
Specifying your genlock settings for playback
You can select the source to which you want to genlock all devices connected to
your Mojito MAX system during playback, as well as adjust the timing settings
for all video outputs from Mojito MAX.
For an example of connecting an external sync source to your system, see
“Typical Matrox Mojito MAX connections” on page 16.
° To specify your genlock settings:
1 Click the Options button in the Matrox A/V Tools dialog box.
2 Click the Playback Settings button. This displays the Playback Settings
dialog box.
3 Click the Genlock tab.
4 From the Genlock Source list, select one of the following:
Genlock to Mojito MAX’s internal reference signal. Select this
option only if you don’t have an external sync generator or other reliable
external video sync source.
$
Internal
$
Black Burst Broadcast Quality
$
SDI, Composite, Component, S-Video, and HDMI Input Genlock to
your SDI, composite, component, S-Video, or HDMI video source
connected to the video input on Mojito MAX.
Genlock to an external analog sync
source connected to the reference (REF) input on Mojito MAX. This must
be a stable sync source, such as an external sync generator (bi-level black
burst for SD or tri-level sync for HD), or a source VTR that has a built-in
TBC.
¦ Note The status of your genlock source will be displayed, such as Locked
or Not Locked, to indicate whether or not Mojito MAX is presently locked
Chapter 9, Using Matrox A/V Tools
149
to your selected genlock source. When you change the genlock source,
distorted video and silent audio will be output until Mojito MAX locks to the
new genlock source.
5 Under Genlock Video Format, select your genlock source’s video format.
If you can’t select a video format, make sure that your genlock source
matches the specified video format. When the genlock source is set to
Internal, the genlock video format is set to your main video output format.
6 Under Advanced Settings, drag the Horizontal Delay and Vertical Delay
sliders to adjust the horizontal and vertical timing of your video outputs with
respect to your genlock source. This lets you compensate for cable delays
within your system.
7 Click OK to save your settings.
Defining your A/V Tools options
150
Specifying your audio output settings
The audio output page lets you adjust various settings for your audio output from
your Mojito MAX system. For example, you can adjust the volume of your
analog audio output before or while playing back clips.
¦ Note Before adjusting these settings, you must have a clip in the clip list and
click the Disk button.
° To specify your audio output settings:
1 Click the Options button in the Matrox A/V Tools dialog box.
2 Click the Playback Settings button. This displays the Matrox Playback
Settings dialog box.
3 Click the Audio Output tab.
4 Under Analog Audio Volume, drag the sliders to adjust the volume of your
analog audio output. By default, the sliders are locked so that they move
together. To move each slider independently, click the lock button (
) to
disable it.
5 Under SDI Audio Output Format, select the bit depth you want for your
embedded SDI audio output (20-bit or 24-bit).
6 Click OK to save your settings.
Chapter 9, Using Matrox A/V Tools
151
Defining your capture settings
The Matrox Capture Settings dialog box has pages that you can use to specify
your settings for capturing video and audio in A/V Tools. The settings available
are based on your editing video format and your input source (video is always
captured to your selected editing video format). For a list of the supported
capture formats, see Appendix B, “Matrox Mojito MAX Supported Input and
Capture Formats.” For a list of the supported video output formats for monitoring
the video that you’re capturing, see “Supported video output formats for
monitoring” on page 274.
¦ Note When you specify your capture settings in A/V Tools, VU meters can be
displayed to let you monitor your audio input levels. For more information, see
“Monitoring audio levels for capture” on page 157.
Specifying your video capture settings
You can capture video to MPEG-2 I-frame or uncompressed format, depending
on your selected editing video format and source video format. For example, you
can choose to capture analog NTSC clips to Matrox MPEG-2 I-frame .avi files.
° To specify your settings for capturing video in A/V Tools:
1 Click the Options button in the Matrox A/V Tools dialog box.
2 Click the Capture Settings button. This displays the Matrox Capture
Settings dialog box.
¦ Note You can also access the Matrox Capture Settings dialog box by
right-clicking the clip list and selecting Capture Settings.
Defining your A/V Tools options
152
3 Click the Video Capture Settings tab.
4 From the Input Source list, select the type of input you want to capture. For
example, to capture material from your HDMI source, select HDMI.
5 From the Input Format list, select the video format that matches your
source video. If required, your source video will be scaled during capture to
match your editing video format. The formats available depend on your
selected input source. For information about the supported capture formats,
see Appendix B, “Matrox Mojito MAX Supported Input and Capture
Formats.”
6 From the Input Aspect Ratio list, select the aspect ratio of your SD source
video (4:3 or 16:9). For example, to capture SD video that was recorded
using the standard TV screen format, select 4:3. To capture SD video that
was recorded using the widescreen 16:9 format, select 16:9. If you’re
capturing HD video, the Input Aspect Ratio will be set to 16:9.
7 Under Codec, select the codec that you want to use for the capture.
$
Matrox 8-bit Uncompressed
Captures video to 8-bit uncompressed
format.
$
Matrox 10-bit Uncompressed Captures video to 10-bit
uncompressed format. This is the only codec available when using a
10-bit video processing format, and is not available when using an 8-bit
format.
Chapter 9, Using Matrox A/V Tools
153
¦ Note If you want to capture to a format other than Matrox 10-bit
Uncompressed, you can switch the video processing format (on the General
page) to 8-bit, and then change back to 10-bit after you’ve completed your
capture.
$
Matrox MPEG-2 I-frame Captures video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ Main Level at a selected data rate (SD
resolution only).
$
Matrox MPEG-2 I-frame HD Captures video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ High Level at a selected data rate (HD
resolution only).
8 If you’re capturing to a Matrox MPEG-2 I-frame format, click the
Configure button to configure your settings. The MPEG-2 I-frame settings
for capture in Matrox A/V Tools are the same as when you capture using
Adobe Premiere Pro. For more details, see “Selecting your MPEG-2 I-frame
settings” on page 51.
9 Under Aspect Ratio Conversion, specify the type of aspect ratio
conversion that you want to be applied to your captured video (used when
upscaling or downscaling video during capture only):
Captures the widescreen 16:9 picture as letterbox
video by adding black bars at the top and bottom of the picture for display
on a standard 4:3 television screen.
$
16x9 Letterbox
$
4x3 Pillarbox
$
Center Cut Captures the widescreen 16:9 picture by evenly cropping
the left and right sides of the picture for display on a standard 4:3
television screen.
$
Center Zoom Captures the standard 4:3 picture by evenly cropping the
top and bottom edges of the picture for display on a widescreen 16:9
television screen.
Captures the standard 4:3 picture as pillarbox video by
adding black bars at the left and right sides of the picture for display on a
widescreen 16:9 television screen.
¦ Note When capturing to an SD 16:9 format, such as NTSC 16:9, the video
will be captured as horizontally compressed 4:3 (anamorphic) video. To
display the video with the correct proportions on an NTSC or PAL monitor,
select the 16:9 display setting on the monitor.
10 Select Use Automatic Gain Control (AGC) if you want the gain of your
composite or S-Video input signal to be adjusted automatically to
compensate for very bright or dark images. This improves the brightness or
contrast of your picture.
11 From the Input Type list, select the type of equipment you’re using for
capture:
Defining your A/V Tools options
154
Select this if your source device is
broadcast-quality. This setting provides the best capture results for most
devices.
$
Broadcast-quality Source
$
Consumer-quality Source Select this if you’re having problems
capturing video because your source device doesn’t meet
broadcast-quality standards. For example, the capture may be interrupted
when you try to capture from certain composite and S-Video devices,
especially from low-quality VCRs. If this happens, selecting
Consumer-quality Source will allow the video to be captured, but you
may experience dropped frames during the capture.
¦ Note For any change to the input type to take effect, you must restart Matrox
A/V Tools.
12 If your editing video format is 1080p @ 23.98 fps, 25 fps, or 29.97 fps, from
the Output Format list, select the format (p or PsF) that you want for
previewing your captured video. For example, if you’re capturing to 1080p
@ 25 fps, you can choose to output 1080p or 1080PsF @ 25 fps video for
preview.
13 Click OK to save your settings.
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Specifying your audio capture settings
You can specify various audio capture settings, such as to specify the type of
audio files (either stereo .wav or mono .wav) that you want to create when
capturing audio in A/V Tools.
Remarks
• When you capture to an .avi file using A/V Tools, the clip’s video and audio
are saved to the .avi file, and the clip’s audio is also saved to one or more
separate .wav files. You could choose to edit the separate .wav files using
audio post-processing software.
• The separate .wav files are not supported in the A/V Tools clip list, but you
can import them into Adobe Premiere Pro.
° To specify your settings for capturing audio in A/V Tools:
1 Click the Options button in the Matrox A/V Tools dialog box.
2 Click the Capture Settings button. This displays the Matrox Capture
Settings dialog box.
3 Click the Audio Capture Settings tab.
4 Under Input Source, select the audio input source you want to capture. This
may be set for you based on your selected video input source.
¦ Note When capturing HDMI embedded audio, only uncompressed
embedded audio is supported.
5 Under Capture Format, select the bit-depth for your captured audio files.
Defining your A/V Tools options
156
6 If you want the VU meters to be displayed each time you configure your
capture settings or start a capture in A/V Tools, select Show VU meters.
This option is not available if you’re working with 1080i @ 29.97 fps video
and using a 10-bit video processing format. For details on using the VU
meters, see “Monitoring audio levels for capture” on page 157.
7 If you experience dropped frames during capture, select Disable audio
preview to disable the audio preview only while you’re capturing material.
8 Under Capture Files, indicate whether you want to capture to stereo or
mono audio files, and select which channels you want to save to separate
.wav files.
$
From the File Type list, select Stereo to save your captured audio to
stereo .wav files, or Mono to save your captured audio to mono .wav files.
$
From the Filename lists, select which stereo pairs or mono channels you
want to save to your .wav files (up to four stereo files or up to eight mono
files depending on the type of audio being captured). Select None for the
particular .wav files you don’t want to be created, or click the D (default)
button for each Filename list if you want to capture only channels 1 and
2. When A/V Tools saves each .wav file, it assigns a .Stereo.wav or
.Mono.wav suffix to the base name you gave for the associated video file.
For example, if you’ve named your video file MyFile.avi, the associated
stereo audio files would be named MyFile.Stereo1.wav,
MyFile.Stereo2.wav, etc.
¦ Note The channels that you choose to save to the first stereo.wav file or first
two mono.wav files will be embedded in the associated .avi file.
9 Click OK to save your settings.
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Monitoring audio levels for capture
If you select Show VU meters on the Audio Capture Settings page, each
time you configure your capture settings or start a capture in A/V Tools, VU
meters will be displayed to let you monitor the levels of your currently selected
audio input source.
¦ Note The VU meters won’t be available if you’re working with 1080i @ 29.97
fps video and using a 10-bit video processing format.
Clipping
detectors
Peak level
indicators
As you play your audio source, the color of the input level is green at or below
–12 dBSF, yellow between –12 and –6 dBFS, and red above –6 dBFS. The
clipping detectors will “light up” (become red) whenever audio clipping occurs.
The peak level indicators are thin lines that show the highest level recently
reached. These indicators will show the peak level for about two seconds or until
a higher peak level is reached.
If needed, adjust the audio level on your source device to keep the average input
level between –30 and –10 dBSF.
Defining your A/V Tools options
158
Specifying your genlock settings for capture
You can select the source to which you want to genlock all devices connected to
your Mojito MAX system during capture, as well as adjust the timing settings for
all video outputs from Mojito MAX.
For an example of connecting an external sync source to your system, see
“Typical Matrox Mojito MAX connections” on page 16.
° To specify your genlock settings for capture:
1 Click the Options button in the Matrox A/V Tools dialog box.
2 Click the Capture Settings button. This displays the Matrox Capture
Settings dialog box.
3 Click the Genlock tab.
4 The settings provided are similar to the genlock settings for playback (see
“Specifying your genlock settings for playback” on page 148), except the
settings apply only during capture.
¦ Note If you want to genlock to your video input source, select Video Input.
5 Click OK to save your settings.
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How A/V Tools assigns clip names
When using the New tab, Clip ID displays the base name for your new clips. For
example, if the Clip ID is “MyClip,” A/V Tools will assign the name
MyClip000.avi to the first new clip you capture, and continue naming clips
sequentially (for example, MyClip001.avi, MyClip002.avi, etc.). Before
capturing new clips, you can change the Clip ID to any base name you like.
When editing clips using the Edit tab, Clip ID displays the name of the selected
clip in the clip list. You can change the name by typing a new name in the Clip ID
box on the Edit tab, then clicking Update. You can also change a clip ID directly
in the clip list by typing a new name in the clip’s Clip ID box, then pressing
ENTER.
¦ Note Changing the clip ID for a captured clip will not change the clip’s file
name.
Capturing clips
With A/V Tools you can capture live video from your camera, or video on tape.
Capturing saves the clips as .avi files on your computer’s hard drive.
¦ Note A/V Tools does not support capture from tape with device control.
Capturing live video
1 In the A/V Tools dialog box, click the CAM button. To capture live video,
your device must be set to Camera mode.
2 In the Clip ID box, type the base clip name you’d like to be assigned to your
clip. For more information, see “How A/V Tools assigns clip names” on
page 159.
3 Click Capture.
4 A/V Tools will start capturing the clip. To stop the capture, click the Stop
button.
5 Your captured clip is added to the clip list with its duration and an icon
representing the first and last frames of the clip.
How A/V Tools assigns clip names
160
Capturing from tape without device control
1 In the A/V Tools dialog box, click the CAM button. To capture video from
tape, your device must be set to VTR mode.
2 In the Tape ID box, type a name for the tape presently loaded in your VTR.
3 In the Clip ID box, type the base clip name you’d like to be assigned to your
clip. For more information, see “How A/V Tools assigns clip names” on
page 159.
4 Press the Play button on your device. You will see the video play back in the
A/V Tools Preview Window and on your video monitor.
5 Click Capture.
6 A/V Tools will start capturing the clip. To stop the capture, click the Stop
button.
7 Your captured clip is added to the clip list with its duration and an icon
representing the first and last frames of the clip.
Editing clips
Matrox A/V Tools lets you update the clip ID and comment information for clips
in your clip list, as well as change a clip’s In and Out icons.
Updating clip information
To update the clip ID and comment information for a clip, select the clip in the
clip list and click the Edit tab. Type the new text in the text boxes, then click
Update. For more information on the clip ID, see “How A/V Tools assigns clip
names” on page 159.
Changing a clip’s In and Out icons
In and Out icons are the small icons representing the first and last frames of a
clip in the clip list. These icons can be changed to better represent your clip.
° To change the In and Out icons of captured clips in the clip list:
1 Use the transport controls to play back your clip in the preview window and
on your video monitor.
2 When you see the frame you want for the In icon, click Grab In Icon. A/V
Tools automatically updates the icon.
3 When you see the frame you want for the Out icon, click Grab Out Icon.
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Working with the clip list
The following sections explain how to add new clips to the clip list, play back
clips, save and load clip lists, copy, move and delete clips, and how to detach and
resize the clip list.
Adding clips
You can add a clip or a series of clips (.avi files) to the clip list using any of the
following methods:
• Drag an .avi file from a file management program, such as Windows
Explorer, to the clip list. If you’re adding clips to an existing clip list, you
can drag them to the bottom of the clip list, or place them in a specific
position using the methods described in the section “Moving clips” on
page 162.
• Right-click the clip list, then choose Import Clip from the pop-up menu (or
double-click an empty area of the clip list). In the Open dialog box, select
the .avi files you want to import, then click Open.
Playing back clips
You can play back your clips one at a time, or in the same sequence as they
appear in the clip list. To play back your clips:
• Select a clip in the clip list and click the Play button on the transport
controls.
• Right-click a clip on the clip list and choose Play.
• To play back multiple clips in sequence, select a range of clips in the clip list
using SHIFT+click or select individual clips using control click, then use
one of the afore-mentioned methods to play them back.
Saving and loading a clip list
To save a clip list, right-click the clip list. Choose Save As from the pop-up
menu to save your current clip list as a .dvl file.
You can load a clip list (.dvl) using any of the following methods:
• Right-click the clip list. Choose Open Clip List or Open Recent to select a
recently opened clip list.
• Drag a .dvl file from a file management program, such as Windows Explorer,
to the clip list.
• Double-click the .dvl file in Windows Explorer to start A/V Tools and load
the clip list. Make sure that A/V Tools is not running when you do this.
Working with the clip list
162
Remarks
$
The first time you double-click a .dvl file in Windows Explorer, you will
need to specify Matrox A/V Tools as the program you want to use to open
.dvl files.
$
If you load a .dvl file to a clip list that already contains clips, it will
replace the current clip list. If needed, your editing video format in A/V
Tools will be changed to match the video format of the clips in the loaded
clip list.
Copying clips
You can copy a clip or a series of clips in the clip list using either of the following
methods:
• Select the clips you want to copy, right-click the clip list, then choose Copy
from the pop-up menu. Select a clip in the clip list, then choose Paste to
paste the copied clips above the currently selected clip.
• Select the clips you want to copy, then CTRL+drag the clips and drop them
into the sequence you want.
¦ Note When copying a clip, the clip’s .avi file is not copied, only the reference
to the clip on disk is copied. A/V Tools assigns the -Copy extension to the Clip ID
of the copied clips.
Moving clips
You can change the order of clips in the clip list, such as to arrange clips in the
order you want to play them back. To rearrange your clips, do any of the
following:
• Select the clips you want to move, then drag and drop them into the sequence
you want. If you drag clips up in the clip list, the clips are inserted above the
black line. If you drag clips down in the clip list, the clips are inserted below
the black line. Releasing the mouse button places the clips in the list and
ripples the position of all subsequent clips in the clip list.
• Select the clips you want to move, then right-click the clip list. Choose Cut
from the pop-up menu to cut the clips. Select a clip in the clip list, then
choose Paste to paste the clip above the currently selected clip.
Deleting clips
Select the clips you want to delete, right-click the clip list, then choose one of the
following from the pop-up menu:
• To delete only the selected clips from the clip list, choose Delete Clip Only.
• To delete the selected clips and their corresponding files from your hard
drive, choose Delete Clip+File.
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Detaching and resizing the clip list
You can change the size of your clip list to suit your needs. First, detach the clip
list from the Matrox A/V Tools dialog box by clicking the Float/dock clip list
button (
) above the clip list. Now the clip list can be freely moved and
resized. To resize the clip list, drag the sides or corner of the clip list as needed.
You can also use the standard Windows Maximize and Restore buttons in the
top right corner of the window.
After resizing, A/V Tools will automatically rearrange the clips in the clip list. To
dock the clip list back to the Matrox A/V Tools dialog box, click the
Float/dock clip list button, or click the Close button in the top right corner of
the Clip List window. Once the window is docked again, A/V Tools will
remember the previous size and location of the clip list for the next time you
detach the clip list.
Grabbing a single-frame image
You can grab single-frame (still) images and save them as .tga files to use in your
Adobe Premiere Pro projects. Your source video can be a clip on tape, a clip on
disk, or live video.
Grabbing a single-frame image
164
° To grab a single-frame image:
1 Play back your source video. If it is on disk, you can use the transport
controls to locate the clip
2 In the A/V Tools dialog box, click the Grab Image button to open the Grab
Image dialog box.
3 When the frame you want is displayed in the Preview Window, click the
Grab button.
4 If you notice flickering in your image, you can choose to grab only one of
the fields. From the Grab list, select Field 1 or Field 2. One field contains
the odd-numbered scan lines in the frame, and the other field contains the
even-numbered lines. Select the field that best displays your image. A/V
Tools interpolates between the two consecutive scan lines to create the
missing field.
5 Click Save or Save As to save the image.
6 Click the Close button to return to the Matrox A/V Tools dialog box.
¦ Note If you do not specify a file name in the Save As text box, or if you select
Auto Save, A/V Tools will assign a default name to the first grabbed image
(such as MyImage01.tga or a name based on the last name you used) and
continue naming images sequentially.
Chapter 9, Using Matrox A/V Tools
165
Keyboard shortcuts
The following table provides a complete list of keyboard shortcuts available for
using A/V Tools.
Keyboard Shortcuts
Disk mode
CAM mode
Play
Rewind
Fast Forward
Frame Advance
Frame Reverse
Stop
Loop
Delete Clip Only
Delete Clip + File
Grab
Auto Save
Save
Import Clip
Select All
Cut
Copy
Paste
New Clip List
Open Clip List
Save Clip List
K
B
B
Z
X
’ (apostrophe)
; (semicolon)
V
A
DELETE
SHIFT+DELETE
F5
F6
F7
CTRL+I
CTRL+A
CTRL+X
CTRL+C
CTRL+V
CTRL+N
CTRL+O
CTRL+S
Keyboard shortcuts
166
Your notes
Chapter 9, Using Matrox A/V Tools
10
Using the Matrox WYSIWYG Plug-ins
This chapter explains how to
use the Matrox WYSIWYG
plug-ins available with Matrox
Mojito MAX so that you can
display the contents of your
composition or animation on
your video monitor.
168
Overview
Together with your Matrox Mojito MAX hardware, the Matrox WYSIWYG
Control Panel and Matrox WYSIWYG plug-ins let you display the contents of
your composition or animation on your video monitor. This lets you see the exact
color temperature, safe-title area, and any interlaced artifacts as you work.
You can preview video played back using the following applications that are
supported by the Matrox WYSIWYG plug-ins:
• Adobe After Effects (v12.x or earlier as explained in the note below).
• Adobe Photoshop.
• Autodesk 3ds Max.
• Autodesk Combustion.
• eyeon Fusion.
• NewTek LightWave 3D.
¦ Note The Matrox WYSIWYG plug-in for Adobe After Effects supports v12.x
and earlier only. If you’re using After Effects v13.x, you can output video from
the Mojito MAX outputs using the Mojito MAX playback device. To do this,
choose Preferences > Video Preview and select Matrox Player under Video
Device. To configure your playback settings, click Setup beside Matrox Player.
The available settings are the same as those provided for Adobe Premiere Pro as
explained in “Specifying your video output settings” on page 30, except the
option to lock the video output formats is not available.
Configuring the Matrox WYSIWYG Control
Panel
The Matrox WYSIWYG Control Panel lets you specify the settings you want for
previewing video on your video monitor. To use the Matrox WYSIWYG Control
Panel, right-click the
icon on your Windows taskbar. If you don’t see the
icon, check your taskbar properties and make sure that you’re showing the icons
for your Matrox applications. If you still don’t see the icon, choose Start > All
Programs > Matrox Mtx.utils > Matrox WYSIWYG Control Panel.
The Matrox HDMI Calibration Utility uses the Matrox WYSIWYG Control
Panel to display specially designed graphics for calibrating your HDMI monitor
for video. For details on calibrating your HDMI monitor, see Chapter 4,
“Calibrating Your HDMI Monitor for Video.”
¦ Note By default, the Matrox WYSIWYG output to your video monitor is
enabled. To disable it, clear the Enable WYSIWYG Output option in the
Control Panel.
Chapter 10, Using the Matrox WYSIWYG Plug-ins
169
1 From the Project Format menu, select the format that matches your
composition or animation, such as NTSC 4:3.
2 Choose Output Configuration to specify the video output settings you
want for previewing your video. The available settings depend on your
selected project format (editing video format), and are the same as those
provided when using Matrox A/V Tools as explained in “Specifying your
video output settings” on page 144.
¦ Note The Genlock page is also available to let you adjust the genlock
settings for your video output, if needed. For details, see “Specifying your
genlock settings for playback” on page 148.
3 From the Preview Type menu, select one of the following options for the
preview:
Select this to view your composition or animation.
$
Video
$
Alpha Channel
Select this to view only your composition’s or
animation’s grayscale alpha-key (matte) information.
4 From the Scaling menu, select one of the following options for your preview
output:
Select this to scale your output to fit your video monitor.
The aspect ratio of your project format will be preserved.
$
Scale to fit
$
Original Size
Select this to output your video without any scaling. If
you are playing back HD clips in an SD project, your output will be
centered on your video monitor.
Required steps to use the WYSIWYG plug-ins
The following sections list the steps required to use the Matrox WYSIWYG
plug-in for each application in order to preview video on your video monitor.
¦ Note The following procedures may change with a subsequent release of the
program.
Adobe After Effects (v12.x or earlier)
1 Start Adobe After Effects and import the footage you want to preview.
2 Drag the footage from the Project panel to the Composition panel.
Adobe Photoshop
1 Start Adobe Photoshop and open the file you want to preview.
2 Choose File > Export > Matrox WYSIWYG Preview.
Required steps to use the WYSIWYG plug-ins
170
Autodesk 3ds Max
1 Start Autodesk 3ds Max and open the file you want to preview.
2 Open the Render Scene dialog box by choosing Rendering > Render
Setup.
3 Click the Common tab.
4 Under Render Output, click Devices.
5 In the Select Image Output Device dialog box, select Matrox WYSIWYG
Preview, and click OK.
6 Click Render.
Autodesk Combustion
1 Start Autodesk Combustion and open the file you want to preview.
2 Choose File > Preferences > Framebuffer.
3 In the menu beside Framebuffer Type, select Matrox WYSIWYG
Preview, and click OK.
eyeon Fusion
1 Start eyeon Fusion and open the file you want to preview.
2 Right-click on the file, and choose View On > Matrox WYSIWYG
Preview.
NewTek LightWave 3D
1 Start NewTek LightWave 3D and load the file you want to preview by
choosing File > Load > Load Scene.
2 Click the Render tab.
3 Under Options on the left hand side of the screen, click Render Globals.
4 From the Render Display menu, select Matrox WYSIWYG Preview.
5 Under Render on the left hand side of the screen, click Render Frame.
Chapter 10, Using the Matrox WYSIWYG Plug-ins
11
Using Mojito MAX with Adobe and
Microsoft Live Media Encoders
This chapter explains how to
use your Matrox Mojito MAX
system as an input device to
feed live video and audio to
Adobe Flash Media Live
Encoder or Microsoft
Expression Encoder.
172
Overview
You can use your Matrox Mojito MAX system as an input device to feed live
video and audio to Adobe Flash Media Live Encoder orMicrosoft Expression
Encoder. This lets you stream media for broadcasting live events such as sports,
concerts, news, educational seminars, and corporate meetings. For example, you
can select any video and audio source connected to the Mojito MAX inputs as
your A/V sources for use with Adobe Flash Media Live Encoder, scale the
incoming video to the streaming format that you want using the Mojito MAX
hardware scaler, and stream the live video and audio to a public distribution
website or your dedicated IP hosting site. While working in your encoding
application, live video and audio passthrough are provided so that you can
monitor the source material that you’re encoding using the Mojito MAX video
and audio outputs.
Because the Mojito MAX hardware scaler is used to scale your incoming video,
you don’t need to perform any additional scaling in your encoding application.
This feature provides high-quality scaling of HD and SD video for live media
streaming, and frees up your system’s CPU to perform other tasks.
¦ Note You won’t be able to use your streaming media application with Mojito
MAX if you’re currently running another application that uses your Mojito MAX
hardware, such as Matrox A/V Tools. You must close other applications that use
your Mojito MAX hardware before starting your streaming media application.
Specifying your settings for media streaming
The following instructions are guidelines for using Mojito MAX with Adobe
Flash Media Live Encoder or Microsoft Expression Encoder.
1 Connect the video and audio input sources that you want to stream to the
corresponding inputs on your Mojito MAX hardware.
¦ Note If you want to stream HDMI or SDI embedded audio only, you must
have a valid HDMI or SDI video source containing the audio that you want to
stream, although the video won’t be streamed. To perform audio-only
streaming of other types of audio input, you’ll need to select a video source
when you configure your Matrox A/V settings, but this source doesn’t need
to be connected or have a valid video input signal unless you select an HDMI
or SDI source.
2 Start your streaming media encoding application and select Matrox A/V
Input as your source video and audio devices.
3 Click the button that your application provides for configuring your video
device settings (you configure both your video and audio settings using the
Chapter 11, Using Mojito MAX with Adobe and Microsoft Live Media Encoders
173
source video device settings only). This displays a dialog box similar to the
following:
4 From the Video Input Format list, select the video format that matches
your source video. For a list of the video input formats supported on the
various Mojito MAX inputs, see “Supported input formats” on page 254.
5 From the Video Input Source list, select the type of video input you want
to stream. For example, to stream video from your composite source, select
Composite. The available video input sources depend on your selected
video input format.
6 From the Audio Input Source list, select your audio source. For example, if
you want to stream channels 1 and 2 of your XLR (balanced analog) audio
input, select XLR Channel 1-2. The available audio input sources depend on
your selected video input source. You can stream stereo audio only (two
input channels).
¦ Note When streaming HDMI embedded audio, only uncompressed
embedded audio is supported.
7 From the Video Frame Size list, select the frame size you want for your
streaming video. If required, your source video will be scaled to your
selected frame size for use with your media encoding application.
8 From the Video Frame Rate list, select the frame rate that you want for
your streaming video. The available frame rates depend on your selected
video input format. For example, if your source video’s frame rate is 29.97,
you can select a frame rate of 14.98 or 29.97.
¡ Important To avoid having your media encoding application perform
additional scaling or frame rate conversions, make sure that the video frame
Specifying your settings for media streaming
174
size and frame rate specified in your application match the frame size and
frame rate that you selected for your Matrox A/V settings.
9 Click OK to save your settings and return to your media encoding
application. You should see your selected video source play back in your
application’s live preview window. If you don’t see your source video, check
that your Matrox Mojito MAX hardware and selected video source are
properly connected.
10 If you want to stream audio only, clear the option to enable video encoding
in your application.
11 If your application provides an audio input volume control, you can use it as
needed to adjust the volume of the incoming audio for streaming.
For details on how to specify additional encoding settings and stream your live
video and audio, refer to the documentation for your streaming media encoding
application.
Chapter 11, Using Mojito MAX with Adobe and Microsoft Live Media Encoders
12
Using Mojito MAX with Webcam
Applications
This chapter explains how to
use your Matrox Mojito MAX
system as an input device that
emulates a USB webcam on
your computer to feed live
video and audio to streaming
applications that use webcam
devices.
176
Overview
You can use your Matrox Mojito MAX system as an input device that emulates a
USB webcam on your computer to feed live video and audio to streaming
applications that use webcam devices. For example, you can select any video and
audio source connected to the Mojito MAX inputs as the A/V sources that you
want to be used as a webcam stream for video conferencing with applications
such as Skype, GoToMeeting, and Adobe Connect.
¦ Note You won’t be able to specify your Matrox USB webcam emulator
settings for use with Mojito MAX if you’re currently running another application
that uses your Mojito MAX hardware, such as Matrox A/V Tools. You must close
other applications that use your Mojito MAX hardware before starting the
Matrox USB webcam emulator.
Specifying your settings for media streaming
The following instructions are guidelines for using Mojito MAX with the Matrox
USB webcam emulator to stream live video and audio when working with
webcam applications such as Skype, GoToMeeting, and Adobe Connect. See
your webcam application’s documentation for details on how to apply settings
within the application.
1 Connect the video and audio input sources that you want to stream to the
corresponding inputs on your Mojito MAX hardware. Live video and audio
passthrough are provided on all the Mojito MAX outputs.
¦ Note If you want to use a microphone input for your audio stream, you can
connect your microphone directly to the microphone input on your system’s
sound card. If you want to stream an audio input connected to your Mojito
MAX hardware (such as to stream the HDMI or SDI embedded audio), use
an appropriate adapter cable to connect any of the audio outputs from your
Mojito MAX hardware to the microphone input on your sound card.
Chapter 12, Using Mojito MAX with Webcam Applications
177
2 Choose Start > All Programs > Matrox Mtx.utils > Matrox USB
Webcam Emulator. This displays the following dialog box:
3 From the Video Input Format list, select the video format that matches
your source video. For a list of the video input formats supported on the
various Mojito MAX inputs, see “Supported input formats” on page 254.
4 From the Video Input Source list, select the type of video input you want
to stream. For example, to stream video from your HDMI video source,
select HDMI. The available video input sources depend on your selected
video input format.
5 From the Audio Input Source list, select your audio source. For example, if
you want to stream the embedded audio from your HDMI video source,
select HDMI Channel 1-2. The available audio input sources depend on
your selected video input source. You can stream stereo audio only (two
input channels).
¦ Note When streaming HDMI embedded audio, only uncompressed
embedded audio is supported.
6 From the Video Frame Size list, select the frame size you want for your
streaming video. This is the frame size for video that will be sent to your
webcam application.
¦ Note Some webcam applications have a maximum video frame size that
can be streamed, such as 640×360. See your application’s documentation for
details on the maximum video frame size that you can stream.
7 From the Video Frame Rate list, select the frame rate that you want for
your streaming video. The available frame rates depend on your selected
video input format. For example, if your source video’s frame rate is 29.97,
you can select a frame rate of 14.98 or 29.97.
Specifying your settings for media streaming
178
8 Click Apply and then OK to save your settings.
9 Start your webcam application and apply the following settings:
a Set the webcam or camera input to Matrox A/V Input. Some
applications may automatically be set to use the Matrox A/V input. You
should see your selected video source play back in your application’s live
preview window. If you don’t see your source video, check that your
Matrox Mojito MAX hardware and selected video source are properly
connected.
b Set the audio input to use the microphone input from your sound card.
¦ Note The audio output from Mojito MAX is line level. Therefore, if you
connected the audio output from your Mojito MAX hardware to the
microphone input on your sound card and your webcam application provides
a setting to select the type of microphone input, set it to Line In (High
Definition Audio Device).
10 Use your webcam application to stream as you normally would with a
webcam device and microphone input.
Chapter 12, Using Mojito MAX with Webcam Applications
13
Using Matrox Mojito MAX with
Livestream Procaster
This chapter explains how to
use your Matrox Mojito MAX
system as an input device to
feed live video and audio to
Livestream Procaster.
180
Overview
You can use your Matrox Mojito MAX system as an input device to feed live
video and audio to Livestream Procaster. This lets you stream media for
broadcasting live events such as sports, concerts, news, educational seminars, and
corporate meetings. For example, you can select any video and audio source
connected to the Mojito MAX inputs as your A/V sources for use with Procaster,
and stream the live video and audio to your Livestream channel.
¦ Note You won’t be able to use Procaster with Mojito MAX if you’re currently
running another application that uses your Mojito MAX hardware, such as
Matrox A/V Tools. You must close other applications that use your Mojito MAX
hardware before starting Procaster.
Specifying your settings for media streaming
This section provides instructions on how to use Mojito MAX as the input device
for video and audio in Livestream Procaster.
¦ Note To use Livestream Procaster, you must have a Livestream account. If you
don’t already have an account, you can register for one by clicking Register
when you start Procaster.
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1 Connect the video and audio input sources that you want to stream to the
corresponding inputs on your Mojito MAX hardware.
2 Start Livestream Procaster, enter your username and password, then click
LOGIN.
3 Below the GO LIVE button, your Matrox hardware will automatically be
selected as your video input source.
Specifying your settings for media streaming
182
4 Click Input Source to display the input source page, similar to the
following example:
5 Under Select Video Input, select the video input source and format that
match your source video. You should see a preview of your selected video
source play back at the top of the page. If you don’t see your source video,
check that your Matrox Mojito MAX hardware and selected video source are
properly connected. For a list of the video input formats supported on the
various Mojito MAX inputs, see “Supported input formats” on page 254.
6 Under Select Audio Input, select the audio input that you want to stream.
You can stream stereo audio only (two input channels). The levels for your
audio input should appear at the top of the page.
7 Click Finish and select your desired encoding settings as explained in your
Procaster documentation.
8 Click the GO LIVE button to start the streaming.
Chapter 13, Using Matrox Mojito MAX with Livestream Procaster
14
Using Matrox Mojito MAX with
Telestream Wirecast
This chapter explains how to
stream and record your video
and audio input feeds using
Matrox Mojito MAX in
Telestream Wirecast.
184
Overview
You can use Matrox Mojito MAX or any combination of Matrox I/O devices
(Mojito MAX and MXO2 products) to feed live video and audio to Telestream
Wirecast for streaming, and simultaneously record your original feeds to disk.
The easy-to-use Matrox ISO recording tool lets you create high-quality ISO
recordings of your feeds, ready for post-event editing in your favorite editing
application.
Using Wirecast, you can choose any stereo pair for your streaming production.
When streaming HDMI or SDI video, you can simultaneously record up to eight
channels of embedded audio to disk using the Matrox ISO recording tool. You
have complete flexibility to go from a simple stereo mix to surround sound for
your post-event editing needs.
Specifying your settings for media streaming
This section provides instructions on how to use your Matrox hardware for video
and audio streaming in Telestream Wirecast. For details on how to add shots in
Telestrem Wirecast, see your Wirecast documentation.
1 Connect the video and audio input sources that you want to stream to the
corresponding inputs on your Matrox hardware.
2 In Telestream Wirecast, add a new shot for the Matrox input source that you
want to stream. Make sure that you select your Matrox device (do not select
Matrox A/V Input).
¦ Note If you have multiple Matrox I/O devices, you must add a Matrox shot
for each input source that you want to stream, such as for input 1, input 2, and
input 3 to stream from three devices.
3 For each Matrox shot added in step 2, your Matrox device is automatically
set as the audio source for the shot. If desired, you can change the shot’s
audio source as explained in your Wirecast documentation.
¦ Note For a Matrox device or system audio source to appear in the list of
available audio sources, a shot must have been added for that Matrox device
or system audio source.
Chapter 14, Using Matrox Mojito MAX with Telestream Wirecast
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4 To configure your source settings, choose Sources > Show Sources
Settings.
5 In the Source Settings dialog box, under MATROX INPUT DEVICES,
select the Matrox device that you want to configure, and then specify the
following settings:
$
From the Video Format list, select the video format that matches your
source video. For a list of the video input formats supported on the various
Mojito MAX inputs, see “Supported input formats” on page 254.
$
From the Video Source list, select the type of video input you want to
stream. For example, to stream video from your HDMI source, select
HDMI. The available video input sources depend on your selected video
input format.
Specifying your settings for media streaming
186
$
Aspect Ratio Specify the aspect ratio of your SD source video. For HD
sources, this option is automatically set to 16:9.
$
From the Audio Source list, select your audio source. For example, if
you want to stream your HDMI embedded audio input, select HDMI
(embedded audio). The available audio input sources depend on your
selected video input source. This setting is ignored if you selected a
system audio source for your Matrox shot (see step 3).
¦ Note When streaming HDMI embedded audio, only uncompressed
embedded audio is supported.
$
Audio Channels Based on your selected audio source, select the audio
pair that you want to stream with your source video. Telestream Wirecast
outputs one stereo pair when streaming.
$
De-interlace Video If your source video is interlaced (i) and you want
to de-interlace your video before encoding, select De-interlace Video.
This option is used to better display your encoded video on a monitor that
displays lines progressively, such as an LCD or computer monitor.
6 Click Output Settings to specify the settings that you want for monitoring
your source video and audio on your Matrox hardware as explained in
“Specifying your output settings” on page 198.
¦ Note The source settings are automatically saved, and will load automatically
when Wirecast opens and when creating a new Wirecast document.
7 If you have multiple Matrox devices, repeat steps 5 to 5 to configure and
save the required settings for each device.
8 Set any additional encoding options in Telestream Wirecast as you would
normally, and then output your video.
¦ Note To scale your source video for streaming to another video format, use
the scaling options that are available in Telestream Wirecast.
If you want to simultaneously record your original feeds to disk, see the next
section, “Specifying your settings for Matrox ISO recording.”
Chapter 14, Using Matrox Mojito MAX with Telestream Wirecast
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Specifying your settings for Matrox ISO
recording
Your Matrox hardware not only sends your source feeds to Wirecast for
streaming (see “Specifying your settings for media streaming” on page 184), it
can also simultaneously record your original feeds to disk using the Matrox ISO
recording tool. You can, however, record your feeds without streaming.
You can choose to record your input sources to disk using various Matrox codecs.
You can use the Matrox MPEG-2 I-frame codec to create .avi files, a Matrox DV
codec, such as DVCPRO or DVCPRO HD, to create .mov files, and the Matrox
MAX H.264 codec on Matrox I/O devices that have MAX technology to create
.mp4 files.
Depending on your selected audio source, you can also choose to record up to
eight audio channels as separate mono or stereo .wav or .aac files. A log file
(Record.Log) is generated after every recording session, wherein you can view
the events for each recording (see “Record log file” on page 198).
¦ Note All settings in the Matrox ISO Record dialog box are automatically
saved.
Specifying your settings for Matrox ISO recording
188
1 Connect the video and audio input sources that you want to record to the
corresponding inputs on your Matrox hardware.
2 To configure your source settings, choose Sources > Show Sources
Settings.
3 In the Source Settings dialog box, under MATROX INPUT DEVICES,
select the Matrox device that you want to configure, and then specify your
source settings for recording as follows:
$
From the Video Format list, select the video format that matches your
source video. If your video input is not presently connected because you
want to connect it later during your recording session, select the video
format that matches the input that you’ll be connecting. For a list of the
video input formats supported on the various Mojito MAX inputs, see
“Supported input formats” on page 254.
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189
$
From the Video Source list, select the type of video input you want to
record. For example, to record video from your HDMI source, select
HDMI. The available video input sources depend on your selected video
input format.
$
Aspect Ratio Specify the aspect ratio of your SD source video. For HD
sources, this option is automatically set to 16:9.
$
From the Audio Source list, select your audio source. For example, if
you want to record your HDMI embedded audio input, select HDMI
(embedded audio). The available audio input sources depend on your
selected video input source.
¦ Note When recording HDMI embedded audio, only uncompressed
embedded audio is supported.
4 Click Output Settings to specify the settings that you want for monitoring
your source video and audio on your Matrox hardware as explained in
“Specifying your output settings” on page 198.
5 If you have multiple Matrox devices, repeat steps 3 and 4 to configure the
source and output settings that you want for each device.
6 Click ISO Record to open the Matrox ISO recording tool:
7 Select the settings that you want for recording as explained in “Specifying
settings in the Matrox ISO recording tool” on page 190.
8 Click
to start recording your selected inputs. Click
to stop the
recording session. You can also start and stop the recording of individual
inputs during a recording session (see “Input recording” on page 195).
¡ Important If the status light turns red when recording, this indicates that
one or more of the selected inputs experienced dropped or skipped frames.
After the recording session ends, check the Record.Log file to see the
dropped/skipped events for your recording session (see “Record log file” on
page 198).
9 Click
to open Windows Explorer at the specified Record Path location
to view the recorded video/audio files, including the record log file
(Record.Log).
Specifying your settings for Matrox ISO recording
190
Once you’ve finished recording, you can import your recorded video and audio
files into an editing application, such as Adobe Premiere Pro, for post-event
editing.
Specifying settings in the Matrox ISO recording
tool
To specify the settings that you want for recording your clips, select any Matrox
device under MATROX INPUT DEVICES in the Source Settings dialog box,
and then click the ISO Record button.
¦ Note You can hide or show the settings in the Matrox ISO Record dialog
box by clicking
or
respectively.
Record path
Under Record Path, specify the destination where all your recorded clips will be
stored, or click Browse to select the location that you want. Every recording
session generates a separate subfolder within the specified location, in the form
YYYY-MM-DD HHMMSS, which contains the recorded video and audio files,
and the log file (Record.Log) for that recording session.
Input selection
Under Matrox Input, select the Matrox input(s) that you want to record. You can
also select or clear an input during a recording session (see “Input recording” on
page 195). You must have a valid input signal in order for an input to be recorded.
For more information on the input states and how they affect recording, see
“Input states and video formats” on page 197.”
Preset selection
If you’d like to load a preset to apply Matrox ISO record settings to an input,
click
beside the input, choose Load Preset, and select the preset that you
want in the displayed dialog box. Matrox presets are provided for recording .mp4
files on devices that have Matrox MAX technology. For more details on this
feature, see “Saving and loading record presets” on page 193.
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¦ Note When you load a preset, the video file type, codec settings, audio file
type, and audio settings are applied according to the preset. You can customize
any of these settings if needed as explained in the following sections. You can
also copy and paste the settings from one Matrox input to another as explained in
“Copying and pasting record settings” on page 194.
Filename
In the Filename box for each Matrox input, specify the base name for your
recorded files. A default base name is provided, but you can change this name if
you want. The base name applies to both the video and audio files that are
recorded, but the naming conventions for video and audio files differ (see
“Matrox ISO recording file naming conventions” on page 194”).
Video file type selection
Under Video File Type for each Matrox input, select one of the following:
• Matrox AVI Creates an MPEG-2 I-frame .avi file with embedded stereo
PCM (WAV) audio.
• Matrox MOV Creates an .mov file in a selected DV format, such as
DVCPRO or DVCPRO HD, with embedded stereo or mono PCM (WAV)
audio. This option is not available for 1080p @ 24 fps source video.
• Matrox MP4 Creates a Matrox MAX H.264 .mp4 file with embedded
stereo AAC audio. This option is available only for Matrox I/O devices that
have Matrox MAX technology.
¦ Note Audio will be embedded in the file only if you choose to record audio
with your video (see “Audio settings” on page 192).
Codec settings
Under Codec Settings, specify the settings that you want for each Matrox input
as follows:
• If the Video File Type is set to Matrox AVI, use the provided slider to select
the data rate (in Mb/sec) at which the Matrox MPEG-2 I-frame codec will
record your source video to disk. The last setting for an SD or HD source is
automatically saved and loaded when an SD or HD source is connected to
the input. Click
to set the data rate to the default value for an SD or HD
input source.
• If the Video File Type is set to Matrox MOV and your source video is HD,
the codec will be set to Matrox DVCPRO HD. For SD source video, you can
select one of the following codecs for recording your video:
$
Matrox DV/DVCAM
$
Matrox DVCPRO
$
Matrox DVCPRO50
Records video to DV or DVCAM format.
Records video to DVCPRO format.
Records video to DVCPRO50 format.
Specifying your settings for Matrox ISO recording
192
• If the Video File Type is set to Matrox MP4, click Matrox MAX Settings
to customize the Matrox MAX H.264 codec settings. The settings are the
same as when you export clips as explained in “Specifying your Matrox
MAX H.264 settings” on page 224.
Audio file type
When recording a video input, you can also record the input from your selected
audio source. If you choose to record audio (see “Audio settings” below), audio
will be embedded in the resulting video file. Unless you choose to record
embedded audio only, separate .wav or .aac audio files will also be created.
Under Audio File Type for each Matrox input, select the type of separate audio
files that you want to create:
• WAV
Records PCM audio to separate .wav files.
• AAC
Records AAC audio to separate .aac files.
Audio settings
Click Audio Settings for each Matrox input to specify the settings that you want
for your recorded audio:
• Audio Channels Specifies the number of channels to record from your
selected audio source:
$
When 0 is selected for this option, the audio input is not recorded.
Therefore, audio will not be embedded in the video file, and separate
audio files will not be created.
$
When 2, 4, 6, or 8 is selected, the Matrox ISO recording tool embeds the
first audio pair (channel 1-2) from your audio source in the video file.
Unless you choose to record embedded audio only, separate .wav or .aac
audio files will be created for the first two, four, six, or eight audio
channels from your audio source respectively (the number of available
audio channels depends on your selected audio source).
• Audio Bit Depth If 2, 4, 6, or 8 is selected for Audio Channels, select
the bit depth that you want for your recorded audio.
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• Audio Channel Type If 2, 4, 6, or 8 is selected for Audio Channels,
select the channel type that you want for your recorded audio:
$
Creates a separate .wav or .aac audio file for every selected
channel. For example, if four audio channels are selected, four mono
audio files will be created. The embedded audio in an .mov file will also
be mono (not supported for embedded audio in an .avi or .mp4 file, which
is always stereo).
$
Stereo Creates a separate .wav or .aac audio file for each audio pair
Mono
selected. For example, if four audio channels are selected, two stereo
audio files will be created. The embedded audio in an .avi, .mov, or .mp4
file will also be stereo.
¦ Note Separate .wav audio files can have a maximum file size of 4 GB. See
“WAV audio recording” on page 196 for the approximate maximum duration
for a separate .wav audio file based on the audio settings. This limitation does
not apply to separate .aac audio files.
• Embedded audio only Select this if you want to embed the first audio
pair (channel 1-2) in the video file only. Separate audio files will not be
created (the Audio File Type will be ignored). If you’re recording to an .avi
or .mp4 file, the Audio Channel Type will be set to Stereo.
• AAC bit rate For AAC audio, drag the bit rate slider to select the bit rate
(in kilobits per second) that you want for your recorded audio. This slider is
available for separate .aac audio files and embedded audio in .mp4 files only.
Saving and loading record presets
Once you’ve specified the Matrox ISO record settings that you want for a Matrox
input, you can save your settings as a custom preset and load the preset at any
time to apply those settings to an input in the Matrox ISO Record dialog box.
Matrox presets are provided for recording .mp4 files on devices that have Matrox
MAX technology. You can load and customize these presets as needed to suit
your needs.
• To save your settings for a Matrox input as a custom preset, click
beside
the input and choose Save Preset. You’ll then be prompted to enter a name
for your preset. Because the video file type is saved in the preset, you should
include the video file type, such as AVI, in your preset name so that you can
easily identify your custom presets.
• To load a preset for a Matrox input, click
beside the input, choose Load
Preset and select the preset that you want in the displayed dialog box. Only
presets that are compatible with your input’s video format will be listed, and
a Matrox preset will be listed only if your input is for a device that has
Matrox MAX technology.
¦ Note To delete a custom preset, select the preset and click
.
Specifying your settings for Matrox ISO recording
194
Copying and pasting record settings
If you have multiple Matrox inputs in the Matrox ISO Record dialog box, you
can copy and paste your record settings from one input to another.
• To copy the settings for a Matrox input, click
Copy.
beside the input and choose
• To paste the copied settings to another Matrox input, click
beside the
input and choose Paste. The video file type, codec settings, audio file type,
and audio settings that are compatible with your Matrox input are applied.
Default settings will be applied for any incompatible settings.
¦ Note Settings for the Matrox MP4 video file type can be pasted only to an
input for a device that has Matrox MAX technology.
Matrox ISO recording file naming conventions
The base name specified under Record Path in the Matrox ISO Record dialog
box applies to both the video and audio files that are recorded, but the naming
conventions for video and audio files differ as follows:
• Video files Recorded .avi, .mov, and .mp4 video files contain the base
name, Matrox input, and recording number using the following convention:
basename_input_recordingnumber.avi, or .mov, or .mp4
For example, if the base name for input 1 is Record and the Video File Type
is set to Matrox AVI, the resulting file will be named Record_1_0.avi. You
can also have more than one recording for a Matrox input. In this case, the
files are differentiated by a recording number. This occurs when:
$
You clear and then re-select an input during a recording session. This
creates a different file for each selection sequence. For example, if you’re
recording input 1 to an .avi file with the base name Record, and you select
input 1 three times during a recording session, the resulting video files
will be Record_1_0.avi, Record_1_1.avi, and Record_1_2.avi.
$
You disconnect the source from your selected input during a recording
session, and then reconnect a source to that input. For example, if you’re
recording the video connected to input 1 to an .avi file, and then you
connect a source with the same or a different video format to the input, the
resulting video files will be Record_1_0.avi and Record_1_1.avi. If you
connect a source with a different video format, however, you must select
the source’s video format in the Source Settings dialog box.
• Audio files If you’re recording to separate .wav or .aac audio files, the
audio files are named the same as the video files, except that they also
include the audio channel type (mono or stereo) and an incremental suffix
using the following convention:
basename_input_recordingnumber_channeltypesuffix.wav or .aac
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For example, if you’re recording input 1 to separate .wav files with the base
name Record, Audio Channels is set to 8, and Audio Channel Type is set
to Stereo, the resulting audio files will be named Record_1_0_Stereo1.wav,
Record_1_0_Stereo2.wav, Record_1_0_Stereo3.wav, and
Record_1_0_Stereo4.wav. If Mono is selected as the Audio Channel Type,
eight files will be created instead of four, and the files will be named
Record_1_0_Mono1.wav, Record_1_0_Mono2.wav,
Record_1_0_Mono3.wav, and so on.
Record functionality
This section describes the Matrox ISO recording functionality regarding the
recording session, record time code, and input recording.
Recording session
A recording session begins when you click
, and ends when you click
.
You must have a valid input signal in order for your selected input to be recorded.
See “Input recording” on page 195 for the input recording methods.
¡ Important If the status light turns red when recording, this indicates that one
or more of the selected inputs experienced dropped or skipped frames. After the
recording session ends, check the Record.Log file to see the dropped/skipped
events for the recording session (see “Record log file” on page 198).
Record time code
Starting a recording session also starts the record time code for a selected input.
Depending on the video input frame rate, the time code is displayed in either drop
frame (HH:MM:SS;FF) or non-drop frame (HH:MM:SS:FF) SMPTE format.
Drop frame format is used for NTSC, 23.98 fps, 29.97 fps, and 59.94 fps video,
and non-drop frame format is used for all other video frame rates, such as PAL
and 25 fps. If you select an input at any time during a recording session, the
record time code for that input starts when you select the input. A recording’s
time code stops only when the recording ends for that input. See “Input
recording” on page 195 for information on stopping an input recording.
Input recording
This section describes the various ways of recording an input source, and
stopping an input recording.
Recording methods:
• Selecting an input and then starting a recording session If an input is
selected with a valid video signal when you start a recording session, a
recording is created for that input. If the selected input is invalid or
disconnected, the recording will start once a valid signal is connected to the
input. See “Input states and video formats” on page 197 for information on
how to determine the video format of an “invalid input.”
Specifying your settings for Matrox ISO recording
196
• Selecting an input during a recording session You can select an input at
any time during a recording session to begin recording that input. If you
clear and then re-select an input during the same recording session, a
separate file will be created for each selection sequence. The files are
differentiated by a recording number (see “Matrox ISO recording file
naming conventions” on page 194).
• Connecting an input source during a recording session You can connect
a valid input source to an unselected input during a recording session, and
then select the input to record your source feed.
To stop an input recording:
• Clear an input during a recording session Clearing a selected input
during a recording session stops the recording for that input. This is done
without affecting the recording of other selected inputs.
• Disconnect an input during a recording session If you disconnect a
selected input’s source, the recording will stop. You can later connect a
source with the same or a different format to start recording to a new file. If
you connect a source with a different video format, however, you must select
the source’s video format in the Source Settings dialog box.
• Stop the recording session Click
to stop the recording session. The
input recording will stop for your selected input.
WAV audio recording
When you record audio to separate .wav files along with your video, the .wav
files can have a maximum file size of 4 GB. This means that depending on your
specified audio settings, the .wav audio file has a maximum duration. This
restriction does not apply to the embedded audio in the video file, which can last
as long as the associated video. The following table lists the approximate
maximum duration for a separate .wav audio file based on the audio settings:
Audio Channel Type
Mono
Stereo
Audio Bit Depth
Approximate
Maximum Duration
16-bit
12 hours
24-bit
6 hours
16-bit
6 hours
24-bit
3 hours
Record status
The Matrox ISO Record dialog box includes a record status indicator. If the
indicator remains green throughout the entire recording session, all recordings
completed without any dropped or skipped frames. If dropped or skipped frames
occur during a recording, the indicator turns red for the duration of the recording.
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Check the Record.Log file to see the dropped/skipped events for your recording
session (see “Record log file” on page 198).
Record status indicator
Input states and video formats
The video format that you selected in the Source Settings dialog box for your
Matrox device is displayed in the Matrox ISO Record dialog box.
Input
indicator
The following input states are displayed:
• Valid input signal When a signal that matches the video format selected
for your Matrox device is connected to the input, such as 1080i @ 29.97 fps,
the video format is displayed under the input label. If the input is selected for
recording, the resulting video file will be in the displayed video format.
¦ Note For .mp4 files, the created file will always be in a progressive video
format. For example, 1080i @ 29.97 fps source video will be recorded to an
.mp4 file as 1080p @ 29.97 fps, and NTSC source video will be recorded as
480p @ 29.97 fps.
• No input signal/Invalid input signal If your Matrox hardware detects no
input signal or an invalid signal for an input, Disconnected or Invalid
Input Signal will be displayed. If the input is selected, the input indicator
switches between displaying the state (Disconnected or Invalid Input
Signal) and the expected video format for that input. To record the input,
you must connect a source that matches the displayed video format. If
needed, change the video format for your Matrox device in the Source
Settings dialog box as explained in “Specifying your settings for Matrox
ISO recording” on page 187.
Specifying your settings for Matrox ISO recording
198
Record log file
After every recording session (see “Recording session” on page 195) a record log
file (Record.Log) is generated. The Record.Log file is located in the same folder
that contains the files for that recording session. When dropped or skipped
frames occur during a recording session, the Record.Log file provides a
breakdown of the events by input, and the time code of when the events occurred.
Specifying your output settings
To specify the output settings that you want for monitoring your source video and
audio on your Matrox hardware, select your Matrox device under MATROX
INPUT DEVICES in the Source Settings dialog box, and then click the Output
Settings button.
¦ Note In order to monitor the audio channels that you’re streaming, you must
connect your speakers to the output of your sound card (not your Matrox
hardware), and make sure that your sound card is set as your default sound
playback device in the Windows Control Panel. For a list of the supported video
output formats for monitoring your source video, see “Supported video output
formats for monitoring” on page 274.
1 Under Analog Output, you can specify the settings you want for your
analog output from Mojito MAX.
$
Specifies the analog video output type. If you’re
outputting SD analog video, you can select Component, or Composite
Output Type
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& S-Video. If you’re outputting HD analog video, the output type will be
set to Component (and the composite and S-Video outputs will be
invalid).
$
$
Use this to select the setup level you want for your
NTSC analog video:
Setup (NTSC)
•
0 IRE Applies a setup level of 0 IRE. You should select this option
only when working with a commercial DV device that uses the
Japanese analog NTSC setup of 0 IRE. For example, if the video
appears too bright when you preview DV video on your NTSC monitor,
you can change the setup to 0 IRE to output the video at the correct
brightness.
•
7.5 IRE
Applies the standard NTSC setup level of 7.5 IRE.
YUV/RGB Select YUV or RGB to set the type of video signal that is
sent from the component output. For example, select RGB if you
connected the component output to a device that accepts an RGB signal.
2 Under HDMI Output, select the type of video signal that you want to be sent
from the HDMI output:
$
YUV Outputs YUV HDMI video. Select this only if you connected the
HDMI output to a device that accepts a YUV signal.
$
RGB - calibrated Outputs adjusted RGB HDMI video using the
currently loaded Matrox HDMI calibration settings for your HDMI
monitor or television. For details on calibrating your HDMI monitor and
loading calibration settings using the Matrox HDMI Calibration Utility,
see Chapter 4, “Calibrating Your HDMI Monitor for Video.”
$
RGB - native Outputs native RGB HDMI video that does not apply any
calibration compensation. Select this when you want to disable the
currently loaded Matrox HDMI calibration settings and output RGB
HDMI video from Mojito MAX using its native color settings for
previewing video on your HDMI monitor.
3 Under SDI Audio Output Format, select the bit depth you want for your
embedded SDI audio output (20-bit or 24-bit).
4 Under Analog Audio Volume, drag the sliders to adjust the volume of your
analog audio output. By default, the sliders are locked so that they move
together. To move each slider independently, click the lock button (
) to
disable it.
5 Under Advanced, you can use the Analog SC/H Phase slider to advance or
delay your analog video output’s subcarrier phase with respect to the
horizontal sync of the genlock source (for composite video only).
6 Click OK to save your settings.
Specifying your output settings
200
Your notes
Chapter 14, Using Matrox Mojito MAX with Telestream Wirecast
15
Using Matrox Mojito MAX with
StudioCoast vMix
This chapter explains how to
use your Matrox Mojito MAX
system as an input device to
feed live video and audio to
StudioCoast vMix.
202
Overview
You can use your Matrox Mojito MAX system as an input device to feed live
video and audio to StudioCoast vMix for streaming, such as for broadcasting live
sports events, concerts, news, educational seminars, and corporate meetings. For
example, you can select any video and audio source connected to the Mojito
MAX inputs as your A/V sources for use with vMix, and stream your video and
audio to a live streaming service.
¦ Note You won’t be able to use vMix with Mojito MAX if you’re currently
running another application that uses your Mojito MAX hardware, such as
Matrox A/V Tools. You must close other applications that use your Mojito MAX
hardware before starting vMix.
Specifying your settings for media streaming
This section provides instructions on how to use Mojito MAX as the input device
for video and audio in StudioCoast vMix.
1 Connect the video and audio input sources that you want to stream to the
corresponding inputs on your Mojito MAX hardware. For a list of the video
input formats supported on the various Mojito MAX inputs, see “Supported
input formats” on page 254.
2 Start StudioCoast vMix and click the Add Input button on the Input Bar at
the bottom of the main window.
3 In the Input Select dialog box, click the Capture tab:
4 From the Capture list, select Matrox A/V Input.
5 From the Resolution list, select the frame size that matches your source
video, such as 1920x1080.
Chapter 15, Using Matrox Mojito MAX with StudioCoast vMix
203
6 From the System list, select your source video’s frame rate. For example, if
your source video is interlaced at 29.97 fps, select NTSC 59.94i or 29.97p.
7 From the Input list, select the type of video that you want to stream. For
example, to stream video from your HDMI source, select HDMI.
8 Under Audio Device, select Matrox A/V Input.
9 Under Audio Input, select the audio input that you want to stream, such as
HDMI to stream the embedded audio from your HDMI source. You can
stream stereo audio only (two input channels).
¦ Note When streaming HDMI embedded audio, only uncompressed
embedded audio is supported.
10 Click OK to apply your changes (all other settings on the Capture tab can be
left at their default settings). You should see a preview of your selected video
source play back in the Matrox A/V Input preview window. If you don’t see
your source video, check that your Matrox Mojito MAX hardware and
selected video source are properly connected.
11 Click the Streaming button on the Input Bar to specify the settings you
want for streaming to a live streaming service as explained in your vMix
documentation.
Specifying your settings for media streaming
204
Your notes
Chapter 15, Using Matrox Mojito MAX with StudioCoast vMix
16
Using the Matrox Video for Windows
Codecs
This chapter explains how to
use the Matrox Video for
Windows codecs to render
material to Matrox .avi files.
206
Overview
When using Video for Windows (VFW) programs to render material to an .avi
file, you can use a Matrox VFW codec to create a Matrox .avi file. For example,
you may want to render an animation to a Matrox MPEG-2 I-frame .avi file for
use in your Adobe Premiere Pro projects on Matrox Mojito MAX.
When rendering compositions or animations that have an alpha channel, you can
select a “+ Alpha” Matrox VFW codec to render to a Matrox uncompressed or
MPEG-2 I-frame .avi file that contains the alpha-key information. This .avi file
will be automatically keyed when you place the clip in an Adobe Premiere Pro
sequence.
The following sections explain the various settings that you need to make to
render material to a Matrox .avi file using a VFW program. For details on
exporting a sequence in Adobe Premiere Pro, see “Exporting to a Matrox .avi
file” on page 55.
¦ Note Although Matrox has tested many VFW programs, there may be certain
operational limitations when using the Matrox VFW codecs with some of these
programs (as well as with untested programs).
Using VFW programs without the Mojito MAX
hardware
If you installed the Matrox VFW software codecs for use without the Mojito
MAX hardware (see “Installing the Matrox VFW software codecs on a system
without the Mojito MAX hardware” on page 8), you can render and play back
Matrox .avi files using your VFW program without having the Mojito MAX
hardware. For example, if you captured clips to Matrox MPEG-2 I-frame format
using Adobe Premiere Pro, you could edit and play back those clips on a system
without the Mojito MAX hardware, assuming that you installed the Matrox VFW
software codecs on that system.
Chapter 16, Using the Matrox Video for Windows Codecs
207
Before you start rendering
Before you start rendering material to a Matrox .avi file, make the following
settings in your VFW program:
• Set the frame size (width and height) of your rendered material to
full-screen, depending on the codec that you’ll be using.
$
$
$
$
DV/DVCAM, DVCPRO, DVCPRO50, or MPEG-2 I-frame SD:
•
720 × 480 to render to NTSC or 486p format.
•
720 × 576 to render to PAL or 576p format.
Uncompressed SD:
•
720 × 486 to render to NTSC or 486p format.
•
720 × 576 to render to PAL or 576p format.
MPEG-2 I-frame HD:
•
1280×720 to render to 720p format.
•
1440×1080 to render to 1440×1080i/p format.
•
1920×1080 to render to full-size 1080i/p format.
DVCPRO HD or Uncompressed HD:
•
1280×720 to render to 720p format.
•
1920×1080 to render to 1080i/p format.
• Set the appropriate frame rate for the video format to which you are
rendering. For example, if you are rendering to PAL format, set the frame
rate to 25 fps.
• If available, select the “Recompress” option. This allows you to render video
using the same compression format, frame size, and frame rate as your
source video but using a different data rate, scanning mode (interlaced or
progressive), or bit depth (8-bit or 10-bit).
• If you’ll be rendering audio, set the audio sample rate to 48 kHz and the
sample size to 16-bit (mono or stereo).
• For best results, make sure that there is no data rate limit set in your program
for rendered material. This ensures that your .avi files will be rendered at the
particular data rate you select.
¦ Note Before rendering a lot of material, check that your rendered animations
and transitions such as wipes and slides play back smoothly. If they appear
jumpy, try adjusting the field dominance or field order for your rendered material.
Before you start rendering
208
Selecting color space conversion options
When you render material to an .avi file using a Matrox VFW codec, you can
determine how you want the luminance levels and chroma information to be
processed during the color space conversion that’s performed during the render.
¦ Note The default settings for color space conversion provide good results for
most applications. We recommend that you change these settings only when
needed for special purposes.
° To select the color space conversion options you want:
1 Choose Start > All Programs > Matrox Mtx.utils (or Matrox VFW
Software Codecs) > Matrox VFW Codec Configuration.
2 In the provided dialog box under Color Space Conversion, select the
options you want:
$
Standard Renders video using standard broadcast luminance levels.
Super black and super white luminance levels are clipped.
$
Expanded
Renders video using the full range of luminance levels.
Super black and super white luminance levels are retained. You may want
to use this setting, for example, to render material on which you’ll be
applying luminance key effects.
¡ Important When rendering RGB graphics, selecting Expanded will
create super black and/or white in your rendered images. For example, all
black in your RGB graphics will become super black, and white will become
super white. To render your RGB graphics with standard black and white
levels, set your luminance range to Standard.
Chapter 16, Using the Matrox Video for Windows Codecs
209
$
Chroma filtering and Chroma interpolation Select these options to
adjust the chroma bandwidth of RGB graphics. This improves images that
have abrupt changes between different colors, such as a blue box on a
black or white background. You should select these options for most
animation and compositing work (computer-generated material). For most
video editing programs, however, it’s best that you not select these
options. If you find that your rendered images appear to be blurred, try
clearing one or both of these options.
3 Click OK to save your settings. Any change you make to your selected
luminance range setting (such as switching from Standard to Expanded)
will only take effect the next time you start your VFW program.
Rendering material to a Matrox VFW .avi file
When you render material to an .avi file, such as when you render a finished
composition or an animation, you must select the compressor (codec) you want
to create the file. The compressor determines the quality of your rendered video.
Refer to your program’s documentation for instructions on how to select a
compressor for your .avi file.
If you want to export material from Adobe Premiere Pro to a Matrox .avi file, it’s
recommended that you use the Matrox AVI export format as explained in
“Exporting to a Matrox .avi file” on page 55.
° To create a Matrox VFW .avi file:
1 Select one of the following codecs from your program’s list of available
compressors:
Renders video to DV or DVCAM format.
$
Matrox DV/DVCAM
$
Matrox DVCPRO
$
Matrox DVCPRO50
$
Matrox DVCPRO HD
$
Matrox MPEG-2 I-frame
$
Matrox MPEG-2 I-frame + Alpha
$
Matrox MPEG-2 I-frame HD Renders video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ High Level at a selected data rate.
$
Matrox MPEG-2 I-frame HD + Alpha Renders video to MPEG-2
intra-frame format with alpha using the 4:2:2 Profile @ High Level at a
selected data rate.
Renders video to DVCPRO format.
Renders video to DVCPRO50 format.
Renders video to DVCPRO HD format.
Renders video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ Main Level at a selected data rate (SD
resolution only).
Renders video to MPEG-2
intra-frame format with alpha using the 4:2:2 Profile @ Main Level at a
selected data rate (SD resolution only).
Rendering material to a Matrox VFW .avi file
210
$
Matrox Uncompressed SD
Renders video to 8-bit or 10-bit
uncompressed SD format.
$
Matrox Uncompressed SD + Alpha
Renders video to 8-bit or 10-bit
uncompressed SD format with alpha.
Renders video to 8-bit or 10-bit
$
Matrox Uncompressed HD
uncompressed HD format.
$
Matrox Uncompressed HD + Alpha
Renders video to 8-bit or 10-bit
uncompressed HD format with alpha.
¦ Note The Matrox Offline HD codec is not supported for rendering clips.
This codec is provided only for playback of legacy Matrox Axio offline HD
projects.
2 If you’ve selected a Matrox codec that requires configuration, click the
button provided by your program that allows you to configure your codec
settings. For more details, see the following sections.
Configuring the Matrox DVCPRO HD codec
When you choose to configure the Matrox DVCPRO HD codec, a dialog box
similar to the following appears:
From the Frame Rate list, make sure that you select the frame rate that matches
the frame rate specified for rendering video in your editing application.
Configuring the Matrox Uncompressed codecs
When you choose to configure a Matrox Uncompressed codec (SD or HD
resolution), a dialog box similar to the following appears:
Chapter 16, Using the Matrox Video for Windows Codecs
211
1 Under Bit Depth, select the bit depth you want for your video.
¦ Note Matrox RT.X2 does not support 10-bit uncompressed video.
2 Under Scan Mode, select the scan mode of your video.
3 Click OK to save your selection. The settings you selected will be used each
time you render material with your program, until you change the settings
again.
Configuring the Matrox MPEG-2 I-frame codecs
When you choose to configure a Matrox MPEG-2 I-frame codec (SD or HD
resolution), a dialog box similar to the following appears:
1 Drag the Data Rate slider until your desired data rate is displayed. The
higher the data rate you select, the better the video quality will be.
Depending on the capabilities of your system, however, you may not be able
to smoothly play back video at a high quality using your VFW program.
2 Beside Frame Rate, select a frame rate from the list. Make sure the frame
rate you select is appropriate for the format to which you are rendering.
3 To apply advanced settings to your MPEG-2 I-frame file, click the
Advanced button.
¦ Note The default advanced settings should provide good results for most
applications. It’s recommended that you change these settings only when
needed for special purposes.
4 Beside DC Precision, select the bit-depth precision of the DC intra block.
The higher the DC precision value that’s used to render your video, the more
likely that the DC content will be increased at the expense of the AC content
in the encoded stream. This may result in lowering the overall quality of the
compressed stream at a specified data rate.
5 Under Zig Zag Order, select one of the following:
Rendering material to a Matrox VFW .avi file
212
Sets the regular (default) zig zag scanning pattern of the AC
coefficient of the DCT block as defined in the ISO/IEC 13818-2
(figure 7-2) specification documentation.
$
Regular
$
Alternate
Sets an alternate zig zag scanning pattern of the AC
coefficient of the DCT block as defined in the ISO/IEC 13818-2 (figure
7-3) specification documentation. Use this setting when capturing or
rendering video at a high data rate (for example, at a data rate of 100
Mb/sec or higher).
6 Under Rounding Type, select one of the following:
Rounds the AC coefficients up to the nearest whole number
when calculating the quantization coefficient.
$
MPEG-2
$
Matrox Custom Truncates the AC coefficients to the lowest whole
number when calculating the quantization coefficient. In some cases, this
setting may yield less artifacts in graphics.
7 Select the Force Frame-based DCT setting to render macroblocks as
frames rather than as fields. In some cases, graphics will yield less artifacts if
this option is selected.
8 Click OK to save your settings. The settings you selected will be used each
time you render material with your program, until you change the settings
again.
Chapter 16, Using the Matrox Video for Windows Codecs
17
Using the Matrox MAX H.264 Codec
with Adobe Software
This chapter explains how to
use the Matrox MAX H.264
codec on your Matrox Mojito
MAX card to export material to
Blu-ray Disc and other media
formats from Adobe Media
Encoder, Premiere Pro, and
Encore.
214
Exporting to Matrox MAX H.264 files using
Adobe Media Encoder
You can use the Matrox MAX H.264 codec on your Mojito MAX card to quickly
and easily export material to H.264 files for Blu-ray Disk and other media
formats from Adobe Media Encoder. Matrox presets are provided for creating
.264 elementary stream files in HD formats that are supported for Blu-ray Disc
authoring using Adobe Encore, and .mp4 files for creating files suitable for the
web and mobile devices.
Your Matrox .264 elementary stream files can be imported to Adobe Encore
without having to transcode the files. If you prefer, you can choose to transcode
your material to Matrox H.264 format for Blu-ray Disc authoring directly within
Encore as explained in “Transcoding for Blu-ray Disc authoring in Adobe
Encore” on page 221.
If you’d like to capture clips directly to Matrox MAX H.264 files, see Chapter
18, “Using Matrox MAX H.264 Capture.”
Remarks
• When the Matrox MAX H.264 codec on your Mojito MAX is in use for
export, your Mojito MAX inputs and outputs won’t be available. You’ll be
able to continue working in Adobe Premiere Pro, but the video preview and
output won’t be updated until the encoding is complete. In order to perform a
capture, use Matrox A/V Tools, or use the Matrox WYSIWYG plug-ins,
you’ll have to wait until the encoding is complete. These limitations,
however, don’t apply if your system includes a Matrox CompressHD card. In
this case, the Matrox MAX H.264 codec on your CompressHD card will be
used for the encoding, and your Mojito MAX hardware will be available for
other tasks (except when embedding closed captioning in an exported
Matrox .mp4 file).
• When you export an Adobe Premiere Pro sequence, the speed of the export
is affected by the rendering of any non-realtime sections of the sequence. If
your sequence’s video format matches your export format and you’ve
rendered previews of non-realtime sections, you can select Use Previews in
the Export Settings dialog box prior to performing your export. When you
do this, Premiere Pro won’t need to render the non-realtime sections for
which you’ve already created preview files.
• If you want to export a single Adobe Premiere Pro sequence, you may find it
more convenient and get faster results if you don’t export from Adobe Media
Encoder, and instead perform a direct export from Adobe Premiere Pro.
You’ll also need to perform a direct export if you want closed captioning in
your sequence to be embedded in your exported Matrox .mp4 file. For details
Chapter 17, Using the Matrox MAX H.264 Codec with Adobe Software
215
on this feature, see “Performing a direct export of an Adobe Premiere Pro
sequence” on page 219.
° To export material to a Matrox MAX H.264 file:
1 Start Adobe Media Encoder and add the source (clip, sequence, or
composition) that you want to export, and then click the source’s format or
preset in the Queue panel to display the Export Settings dialog box.
2 From the Format list, select one of the following Matrox formats:
$
Matrox 264 (Blu-ray) Creates a .264 elementary stream file, which is
supported for Blu-ray Disc authoring. Audio is exported as separate mono
or stereo .wav files (PCM audio).
$
Matrox MP4 Creates an .mp4 file with embedded stereo AAC audio,
which is suitable for the web and mobile devices.
3 From the Preset list, select the preset that matches the video format you
want for your exported file. Appropriate video and audio settings are
automatically set based on your selected preset.
¦ Note If you’re exporting to a Matrox .mp4 file, two types of presets will be
available—Fast Encode and High Quality. Select a Fast Encode preset for fast
encoding that leverages your system’s resources with your Matrox hardware.
Select a High Quality preset for high-quality encoding that is performed
entirely by your Matrox hardware, which frees your system’s resources for
other tasks.
Exporting to Matrox MAX H.264 files using Adobe Media Encoder
216
4 Select Export Video and Export Audio if you want to export both video
and audio.
5 Click the Video tab to display the settings for your exported video.
6 Under Codec, click Configure to customize your Matrox MAX H.264
codec settings as explained in “Specifying your Matrox MAX H.264
settings” on page 224.
¥ Tip You can check the Estimated File Size at the bottom of the dialog
box to determine the approximate file size of your exported material based
on your currently selected settings. If needed, you can change your Matrox
MAX H.264 settings to better meet your file size requirements, such as by
selecting a different encoding type and lower data rate.
7 Under Video, you can customize the settings that you want for your
exported video:
$
Frame Size Sets the width and height for your exported video. When
exporting to a Matrox .264 file, the available frame sizes are 1920 x 1080
and 1280 x 720. When exporting to a Matrox .mp4 file, you can select a
Chapter 17, Using the Matrox MAX H.264 Codec with Adobe Software
217
frame size, or select Custom (Square Pixels) if you want to enter a
custom size. If you enter an unsupported frame size, the closest supported
frame size will be used.
Sets the frame rate for your exported video.
$
Frame Rate
$
Field Type Indicates the order in which the video fields are displayed,
such as Upper First for interlaced HD video, or Progressive for all
progressive video formats.
$
Aspect Ratio This is set to 16:9 when exporting to HD. When
exporting to SD, you can select 4:3 to export to the standard TV screen
format, or 16:9 to export to the widescreen 16:9 format.
$
Maintain aspect ratio when scaling Select this option if you’re
scaling your source video for export, and you want to maintain your
source video’s aspect ratio. Your source video will be exported as
pillarbox video when exporting to a larger aspect ratio, or letterbox video
when exporting to a smaller aspect ratio. If this option is not selected,
scaled video that doesn’t match the specified aspect ratio for export will
be exported as anamorphic video.
$
Use Matrox MAX hardware scaler Select this option if you’re
scaling your source video for export, and you want to use the Matrox
MAX hardware scaler to perform the scaling. This gives good
performance when scaling to an HD resolution. If you’re downscaling to
an SD or lower resolution, you can get a faster export by clearing this
option, which allows Adobe to perform the scaling.
$
De-interlace video
If you’re exporting interlaced video to a
progressive format (such as 1080i to 720p), select this option to
de-interlace the video for display on a monitor that displays lines
progressively, such as an LCD or computer monitor. (This option won’t be
present if you’re exporting to an interlaced format or your source video is
progressive.)
Exporting to Matrox MAX H.264 files using Adobe Media Encoder
218
8 Click the Audio tab to display the settings for your exported audio. The
available settings depend on whether you’re exporting to a Matrox .264 or
.mp4 file.
9 Under Audio, you can customize the settings that you want for your
exported audio:
$
Audio Codec This is set to Uncompressed when exporting to a
Matrox .264 file, or AAC when exporting to an .mp4 file.
$
Sample Rate
$
Output Channels Specifies the audio channels to be exported (set to
Stereo when exporting to a Matrox .mp4 file).
This is set to 48 kHz.
¦ Note When exporting audio from an Adobe Premiere Pro sequence to a
Matrox .264 file, the available output channels depend on the type of audio
tracks being exported. For example, you can select Surround 5.1 to export
5.1 surround tracks to six mono .wav files. For a 16-channel track, you can
select Mono or Stereo to export the audio to a single mono or stereo .wav file.
You can select 16-bit or 24-bit.
$
Sample Size
$
Bitrate For AAC audio, drag the bitrate slider to select the bitrate you
want for your exported audio.
10 Click OK to save your export settings, and then click Start Queue (
) to
start the export.
For more information about using Adobe Media Encoder and specifying export
settings, see your Adobe Media Encoder or Premiere Pro documentation.
Chapter 17, Using the Matrox MAX H.264 Codec with Adobe Software
219
Performing a direct export of an Adobe
Premiere Pro sequence
When you export an Adobe Premiere Pro sequence from within Adobe Media
Encoder, additional processing is required to transfer the sequence from Premiere
Pro to Media Encoder. If you want to export only a single sequence to a Matrox
MAX H.264 file (.264 or .mp4 file), you may find it more convenient and get
faster results by performing a direct export as explained in this section. If you’ll
be exporting to a Matrox .mp4 file and you want the closed captioning in your
sequence to be embedded in your exported file, you must perform a direct export
from Adobe Premiere Pro because this feature is not supported when you export
a sequence from Adobe Media Encoder.
¦ Note A direct export can’t be used for batch encoding of Premiere Pro
sequences. As well, you won’t be able to work in Premiere Pro while your
sequence is being exported. If you want to batch encode sequences to Matrox
MAX H.264 files or continue to work in Premiere Pro while exporting, you must
export from Media Encoder. To avoid problems, don’t perform a direct export
and use Media Encoder independently to export Matrox MAX H.264 files at the
same time.
° To perform a direct export of a Premiere Pro sequence:
1 Unless you want to export your entire sequence, position the work area bar
over the section of the sequence you want to export.
2 Choose File > Export > Media.
3 In the Export Settings dialog box, select your desired Matrox format,
preset, video settings, and audio settings as explained in “Exporting to
Matrox MAX H.264 files using Adobe Media Encoder” on page 214 (see
steps 2 to 9).
Performing a direct export of an Adobe Premiere Pro sequence
220
4 If your sequence includes closed caption text and you’d like the closed
captioning to be embedded in your exported Matrox .mp4 file, under Video,
select Embed closed captioning in file:
Remarks
$
Only CEA-608 closed captioning data in your sequence can be embedded
in your exported Matrox .mp4 file.
$
Embedding of closed captioning is supported only when exporting a
sequence that has a frame rate of 29.97 fps to an export format that also
has a frame rate of 29.97 fps.
$
The closed captioning in your Matrox .mp4 file can be displayed when
you play back the file using supported applications and mobile devices
that are capable of playing back .mp4 files with closed captioning. If you
don’t see the closed captioning when you play back your Matrox .mp4
file, try changing the file’s extension to .m4v.
5 From the Source Range list in the Source panel, select the range you want
to export, such as Work Area.
6 Click Export to immediately start your export.
Chapter 17, Using the Matrox MAX H.264 Codec with Adobe Software
221
Transcoding for Blu-ray Disc authoring in
Adobe Encore
Instead of exporting material to a Matrox .264 file from Adobe Media Encoder or
Premiere Pro and then importing the file into Adobe Encore for Blu-ray Disc
authoring, you can choose to perform the transcoding of clips directly within
Encore. The transcoding will be accelerated using the Matrox MAX H.264
codec.
° To transcode to Matrox H.264 format for Blu-ray Disc authoring:
1 Start Adobe Encore, create a new Blu-ray project, and import the clip that
you want to transcode as an asset as explained in your Adobe Encore
documentation.
2 Right-click the clip in the Project panel, choose Transcode Settings, and
click Edit Quality Presets to display the Export Settings dialog box:
3 From the Format list, select Matrox H.264 Blu-ray, and from the Preset
list, select the preset that matches the video format you want for the
transcoding. Appropriate video and audio settings are automatically set
based on your selected preset.
¦ Note Only Matrox presets that are compatible with your project’s settings
will be available. The Matrox presets transcode video to Matrox .264 files and
audio to .wav files. If you want to transcode .wav files that you’ve imported
to Adobe Encore, you must use an Adobe preset.
Transcoding for Blu-ray Disc authoring in Adobe Encore
222
4 Click the Video tab to display the settings for your transcoded video.
5 Under Codec, click Configure to customize your Matrox MAX H.264
codec settings as explained in “Specifying your Matrox MAX H.264
settings” on page 224.
¥ Tip You can check the Estimated File Size at the bottom of the dialog
box to determine the approximate file size of your transcoded material based
on your currently selected settings. If needed, you can change your Matrox
MAX H.264 settings to better meet your file size requirements, such as by
selecting a different encoding type and lower data rate.
6 Under Video, you can customize the settings that you want for your
transcoded video:
$
Frame Size
Sets the width and height for your transcoded video.
$
Frame Rate
Sets the frame rate for your transcoded video.
$
Field Type Indicates the order in which the video fields are displayed,
such as Upper First for interlaced HD video, or Progressive for all
progressive video formats.
Chapter 17, Using the Matrox MAX H.264 Codec with Adobe Software
223
This is set to 16:9.
$
Aspect Ratio
$
De-interlace video
$
Maintain aspect ratio when scaling Select this option if you’re
scaling your source video for transcoding, and you want to maintain your
source video’s aspect ratio. Your source video will be transcoded as
pillarbox video when transcoding SD video to HD for Blu-ray Disc
authoring. If this option is not selected, scaled video that doesn’t match
the specified aspect ratio will be transcoded as anamorphic video.
$
Use Matrox MAX hardware scaler When scaling your source video
for transcoding to HD for Blu-ray Disc, it’s recommended that you select
this option to use the Matrox MAX hardware scaler to perform the
scaling.
If you’re transcoding interlaced video to a
progressive format (such as 1080i to 720p), select this option to
de-interlace the video for display on a monitor that displays lines
progressively, such as an LCD or computer monitor. (This option won’t be
present if you’re transcoding to an interlaced format or your source video
is progressive.)
7 Click the Audio tab to display the settings for your transcoded audio.
8 Under Audio, you can customize the settings that you want for your
transcoded audio:
$
Audio Codec
This is set to Uncompressed.
$
Sample Rate
This is set to 48 kHz.
$
Output Channels
$
Sample Size
Specifies the audio channels to be transcoded.
You can select 16-bit or 24-bit.
9 Click OK to save your settings. If you changed any of the preset settings,
you’ll be prompted to name the preset.
10 Right-click the asset that you want to transcode in the Project panel, and
choose Transcode Now to start the transcoding.
Transcoding for Blu-ray Disc authoring in Adobe Encore
224
For more information about using Adobe Encore and specifying transcode
settings, see your Adobe Encore documentation.
Specifying your Matrox MAX H.264 settings
When creating Matrox MAX H.264 files (Matrox .264 or .mp4 files), appropriate
codec settings are applied based on the Matrox preset you selected. If needed,
you can customize the settings that you want for the H.264 compression.
° To select your Matrox MAX H.264 settings:
1 Click the Configure button provided for the Matrox MAX H.264 codec
settings.
Chapter 17, Using the Matrox MAX H.264 Codec with Adobe Software
225
2 Under H.264 Level, select the H.264 level that you want for your encoded
video. The available levels depend on your encoded video’s frame size and
frame rate.
H.264 level
Maximum
frame size
Maximum
frame rate
(fps)
Maximum
data rate
(Mb/sec)
2.0
352×288
29.97
2
3.0
720×576
29.97
10
3.1
1280×720
29.97
14
4.0
1920×1080
29.97
20
4.1
1920×1080
29.97
50
4.2
1920×1080
59.94
50
Remarks
$
Use H.264 level 4.0 if you want to create Matrox MAX H.264 files
intended for mass replication of Blu-ray Discs. You can use either level
4.0 or 4.1 if you want to author and burn individual copies that are
compatible with Blu-ray Disc players.
$
Use H.264 level 3.1 to create HD video for use with Apple iPad.
3 Under Algorithm, select the entropy coding method to be used during
compression:
Encodes the video stream using the H.264 Main profile. This is
the only method available for Matrox .264 files.
$
CABAC
$
Encodes the video stream using the H.264 Baseline profile.
This method is recommended when creating Matrox .mp4 files at small
frame sizes, such as for Apple iPhone devices or the web.
CAVLC
4 Under Data Rate (Mb/sec), you can select the encoding type and various
data rate settings for the H.264 compression.
$
Encoding Type
From this list, select one of the following:
•
Variable bit rate (VBR) Video is compressed at varying data rates
based on the complexity of the video and your specified minimum and
maximum data rates. The Matrox MAX H.264 codec analyzes and
encodes each frame to deliver the highest possible quality at your target
data rate.
•
Constant bit rate (CBR) Video is compressed at your specified
target data rate, which is useful when you need to limit or predict the
size of your video file. However, if your video is very complex (such as
scenes with many colors, sharp edges, or transitions), you’ll need to
Specifying your Matrox MAX H.264 settings
226
specify a high target data rate to avoid having frames of blocky video in
your file.
¦ Note When creating Matrox .264 files for Blu-ray Disc authoring, it’s
recommended that you use a constant bit rate.
•
Target/Minimum/Maximum data rate Use these sliders to select
your desired data rate. The higher the target data rate you select, the
better the video quality will be. Only the Target data rate will be
available if you selected Constant bit rate (CBR). If you selected
Variable bit rate (VBR), all three sliders will be available so that you
can set the target, minimum, and maximum data rates for the video
compression.
¦ Note When customizing the settings for a Matrox .264 file, be aware that
Matrox .264 files that have a data rate higher than about 30 Mb/sec may require
transcoding in Adobe Encore. The maximum H.264 level and data rate
accepted by Adobe Encore for Blu-ray Disc authoring with audio and video
is level 4.1 at 35 Mb/sec.
•
Source video complexity (Variable data rate only) Specifies the
complexity level of your source video. A complex video can be defined
as containing scenes with many colors, sharp edges, or transitions. The
Matrox MAX H.264 codec uses this setting to determine how much
compression is required in order to deliver high-quality video at your
specified target data rate. The default setting (15) is suitable for most
moderately complex videos. For simpler or more complex videos, you
may need to adjust this setting to obtain the highest-quality encoding
possible while respecting your target data rate. If the size of your
encoded video is good but the quality can be improved, lower the
complexity level setting. Your video will then be encoded with less
compression. If the quality of your encoded video is good but the size
is larger than expected, raise the complexity level setting. Your video
will then be encoded with more compression. In any case, you may
need to try different settings to get your desired results.
•
Sample rate Determines how frequently the Matrox MAX H.264
codec verifies the current data rate while encoding and compares it to
your selected target data rate. If a discrepancy exists between the
current and target data rates, the current data rate is adjusted as
specified by the Data rate adjustment setting (see below).
•
When the current encoding data rate does not
match your specified target data rate, this setting determines how
quickly the current data rate is adjusted to reach the target data rate. A
gradual adjustment produces smoother transitions than a quick
adjustment.
Data rate adjustment
Chapter 17, Using the Matrox MAX H.264 Codec with Adobe Software
227
5 Under GOP Structure, select the GOP structure that you want to be used to
encode your video:
$
Select one of the following GOP types (can be changed for
CABAC encoding only):
GOP type
•
Simple GOP Offers a fixed structure in how frames are referenced,
and may be more easily decoded than advanced GOPs. This is the
recommended GOP type when creating Matrox .264 files for Blu-ray
Disc authoring.
•
Advanced GOP (short/long) An advanced GOP has more
structural flexibility than a simple GOP, is capable of using more
reference frames, and therefore may provide better overall
compression. For a “short” advanced GOP, the distance between P
frames is always 4, and for a “long” advanced GOP, the distance
between P frames is always 8. Advanced GOPs may not be compatible
with some Blu-ray Disc players, and may cause stability issues in
Adobe Encore when burning a Blu-ray Disc.
¦ Note The GOP type provides standard default values for the GOP size and
the distance between P frames. You can change these default values as
explained below.
$
GOP size Drag the slider to select the number of frames in the GOP
(must be a multiple of the distance between P frames). When creating a
Matrox .264 file for Blu-ray, the GOP size must be less than one second of
video. For example, if the frame rate for your encoded video is 29.97 fps,
the GOP size must be 29 frames or less.
$
Distance between P frames Drag the slider to select the number of
frames between P frames in the GOP (can be changed for a simple GOP
only).
6 Drag the Noise Filter slider to set the level of noise filtering that you want to
apply to your video before encoding. Increasing the noise filter level reduces
the amount of high frequencies in your source video by softening the
high-detail portions of your video. Since high frequencies require more bits
to encode, increasing the noise filter level leaves more bits available for the
encoding of other frames, which can improve the overall quality of your
encoded video. However, if you lose too much detail in your encoded video
you may need to decrease the noise filter level.
7 Click OK to save your settings.
Specifying your Matrox MAX H.264 settings
228
Your notes
Chapter 17, Using the Matrox MAX H.264 Codec with Adobe Software
18
Using Matrox MAX H.264 Capture
This chapter explains how to
use the Matrox MAX H.264
Capture application to capture
clips to various formats on
Matrox Mojito MAX.
230
Overview
The Matrox MAX H.264 Capture application lets you use your Matrox Mojito
MAX to capture clips directly to Matrox MAX H.264 files for Blu-ray Disc, the
web, and mobile devices. You can also use this application to capture clips to
Matrox MPEG-2 I-frame or uncompressed .avi files.
You can capture material from any of your Mojito MAX’s video and audio
inputs, and monitor the source material that you’re capturing using the Mojito
MAX video and audio outputs. Matrox presets are provided for capturing clips to
various formats for creating .264, .mp4, and .avi files. This includes presets for
creating .264 elementary stream files in HD formats that are supported for
Blu-ray Disc authoring using Adobe Encore, and .mp4 files suitable for the web
and mobile devices. Your Matrox .264 elementary stream files can be imported to
Adobe Encore without having to transcode the files.
Remarks
• When performing a capture, your Mojito MAX hardware won’t be available
for use with any other application. For example, you’ll be able to work in
Adobe Premiere Pro, but you won’t be able to perform a capture or export to
a Matrox MAX H.264 file, and the video preview and output won’t be
updated until your capture is complete.
• If your Mojito MAX hardware is in use by another application while running
the Matrox MAX H.264 Capture application, you’ll get a warning and you
won’t be able to perform a capture or preview your video input until your
Mojito MAX hardware becomes available.
• If you want to run Adobe Encore at the same time as the Matrox MAX
H.264 Capture application, you must set your video and audio output devices
in Encore to Adobe devices only.
Chapter 18, Using Matrox MAX H.264 Capture
231
How to capture clips
1 Connect the video and audio input sources from which you want to capture
clips to the corresponding inputs on your Mojito MAX hardware.
2 Choose Start > Programs > Matrox Mtx.utils> Matrox MAX H.264
Capture.
3 Click Input Settings to select your video and audio input settings for
capturing clips as explained in “Specifying your input settings” on page 232.
4 Click Output Settings to select your video and audio output settings for
monitoring the source material that you’re capturing as explained in
“Specifying your output settings” on page 234.
5 Select a preset for the type of clips that you want to capture. The Matrox
presets available depend on the frame rate of your video input source.
6 Click the Advanced button to review the settings provided by your selected
preset and make any required changes as explained in “Specifying your
capture format settings” on page 236.
How to capture clips
232
7 Click Capture to specify where you want to store your captured clips, the
base filename to use, and start capturing clips as explained in “Starting your
capture” on page 240.
Specifying your input settings
To specify your video and audio input settings for capturing clips, click the Input
Settings button.
1 From the Video Input Format list, select the video format that matches
your source video. For a list of the video input formats supported on the
various Mojito MAX inputs for capturing clips, see “Supported input
formats” on page 254.
¦ Note If you select a 1080PsF video input format, you won’t be able to
capture to a 1080i format. As a workaround, select a 1080i video input format,
even though your connected video input is actually 1080PsF.
2 From the Input Aspect Ratio list, select the aspect ratio of your SD source
video (4:3 or 16:9). For example, to capture SD video that was recorded
using the standard TV screen format, select 4:3. To capture SD video that
was recorded using the widescreen 16:9 format, select 16:9. If you’re
capturing HD video, the Input Aspect Ratio will be set to 16:9.
3 From the Video Input Source list, select the type of input you want to
capture. For example, to capture material from your HDMI source, select
HDMI. The available video input sources depend on your selected video
input format.
Chapter 18, Using Matrox MAX H.264 Capture
233
4 From the Audio Input Source list, select your audio source. For example, if
you want to capture the embedded audio of your HDMI source, select HDMI
(embedded audio). This may be set for you based on your selected video
input source.
¦ Note When capturing HDMI embedded audio, only uncompressed
embedded audio is supported.
5 From the Input Type list, select the type of equipment you’re using for
capture:
Select this if your source device is
broadcast-quality. This setting provides the best capture results for most
devices.
$
Broadcast-quality Source
$
Consumer-quality Source Select this if you’re having problems
capturing video because your source device doesn’t meet
broadcast-quality standards. For example, the capture may be interrupted
when you try to capture from certain composite and S-Video devices,
especially from low-quality VCRs. If this happens, selecting
Consumer-quality Source will allow the video to be captured, but you
may experience dropped frames during the capture.
6 Select Use Automatic Gain Control (AGC) if you want the gain of your
composite or S-Video input signal to be adjusted automatically to
compensate for very bright or dark images. This improves the brightness or
contrast of your picture.
7 Click OK to save your settings. Your selected video source will play back in
the Preview Window of the Matrox MAX H.264 Capture dialog box.
¦ Note If your source video is HD and you choose to capture to a Matrox .avi
file, video in the Preview Window will be scaled to quarter-size, and the frame
rate of video played back in the Preview Window may also be reduced.
Specifying your input settings
234
Specifying your output settings
To specify the output settings you want for monitoring the source material that
you’re capturing, click the Output Settings button.
¦ Note For a list of the supported video output formats for monitoring the video
that you’re capturing, see “Supported video output formats for monitoring” on
page 274.
1 Under Analog Output, you can specify the settings you want for your
analog output from Mojito MAX.
Specifies the analog video output type. If you’re
outputting SD analog video, you can select Component, or Composite
& S-Video. If you’re outputting HD analog video, the output type will be
set to Component (and the composite and S-Video outputs will be
invalid).
$
Output Type
$
Setup (NTSC)
Use this to select the setup level you want for your
NTSC analog video:
•
0 IRE Applies a setup level of 0 IRE. You should select this option
only when working with a commercial DV device that uses the
Japanese analog NTSC setup of 0 IRE. For example, if the video
appears too bright when you preview DV video on your NTSC monitor,
you can change the setup to 0 IRE to output the video at the correct
brightness.
•
7.5 IRE
Applies the standard NTSC setup level of 7.5 IRE.
Chapter 18, Using Matrox MAX H.264 Capture
235
$
YUV/RGB Select YUV or RGB to set the type of video signal that is
sent from the component output. For example, select RGB if you
connected the component output to a device that accepts an RGB signal.
$
Under HDMI Output, select the type of video signal that you want to be
sent from the HDMI output:
•
YUV Outputs YUV HDMI video. Select this only if you connected
the HDMI output to a device that accepts a YUV signal.
•
RGB - calibrated Outputs adjusted RGB HDMI video using the
currently loaded Matrox HDMI calibration settings for your HDMI
monitor or television. For details on calibrating your HDMI monitor
and loading calibration settings using the Matrox HDMI Calibration
Utility, see Chapter 4, “Calibrating Your HDMI Monitor for Video.”
•
RGB - native
Outputs native RGB HDMI video that does not apply
any calibration compensation. Select this when you want to disable the
currently loaded Matrox HDMI calibration settings and output RGB
HDMI video from Mojito MAX using its native color settings for
previewing video on your HDMI monitor.
2 Under SDI Audio Output Format, select the bit depth you want for your
embedded SDI audio output (20-bit or 24-bit).
3 Under Analog Audio Volume, drag the sliders to adjust the volume of your
analog audio output. By default, the sliders are locked so that they move
together. To move each slider independently, click the lock button (
) to
disable it.
4 Under Advanced, you can use the Analog SC/H Phase slider to advance or
delay your analog video output’s subcarrier phase with respect to the
horizontal sync of the genlock source (for composite video only).
5 Click OK to save your settings.
Specifying your output settings
236
Specifying your capture format settings
When you select a capture preset, appropriate capture format settings are
automatically applied for you. To review or change any of these settings, click the
Advanced button.
1 Under Video Capture Format, you can select the video format settings you
want for your captured clips. For a list of the supported capture formats
based on your selected video input format, see “Supported capture formats
for Matrox MAX H.264 Capture” on page 258.
$
File Type
•
Select one of the following Matrox formats:
Creates a .264 elementary stream file, which
is supported for Blu-ray Disc authoring. Audio is captured as separate
mono or stereo .aac files (AAC audio) or .wav files (PCM audio).
Matrox 264 (Blu-ray)
Chapter 18, Using Matrox MAX H.264 Capture
237
$
Creates an .mp4 file with embedded stereo AAC audio,
which is suitable for the web and mobile devices. You can choose to
also capture audio to separate .wav files (PCM audio), and select an
option to simultaneously capture to a Matrox MPEG-2 I-frame .avi file
in the same format as your source video.
•
Matrox MP4
•
Matrox AVI Creates an MPEG-2 I-frame or uncompressed .avi file.
Audio is embedded in the .avi file and also captured as separate .wav
files (PCM audio).
Codec Type If you’re capturing to a Matrox .264 or .mp4 file, the codec
will be set to Matrox MAX H.264. If you’re capturing to a Matrox .avi
file, select the codec that you want to use for the capture:
•
Matrox MPEG-2 I-frame Captures video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ Main Level (for SD resolutions) or
High Level (for HD resolutions) at a selected data rate.
•
Matrox 8-bit Uncompressed
Captures video to 8-bit
uncompressed format.
•
Matrox 10-bit Uncompressed
uncompressed format.
Captures video to 10-bit
$
Click this to configure your codec settings (for the Matrox
MAX H.264 and MPEG-2 I-frame codecs only). The Matrox MAX H.264
settings are the same as when you export clips as explained in “Specifying
your Matrox MAX H.264 settings” on page 224. The Matrox MPEG-2
I-frame settings are the same as when capturing clips using Adobe
Premiere Pro as explained in “Selecting your MPEG-2 I-frame settings”
on page 51.
$
Frame Size Sets the width and height for your captured video. The
available frame sizes depend on your specified file type, codec, and
source video format. When capturing to a Matrox .264 or .avi file, only
standard SD and/or HD frame sizes are available. When capturing to a
Matrox .mp4 file, you can select a frame size, or select Custom if you
want to enter a custom size. If you enter an unsupported frame size, the
closest supported frame size will be used.
$
Frame Rate Sets the frame rate for your captured video. When
capturing to a Matrox .264 or .avi file, an appropriate frame rate is
automatically set based on your selected frame size and the frame rate of
your source video. When capturing to a Matrox .mp4 file, you can select a
frame rate from the list of compatible frame rates. For example, if your
source video is 29.97 fps, you can set the frame rate for your captured
video to 14.98, 29.97, or 59.94. Frame rates of 50 and 59.94, however, are
supported only when the frame size is set to 1280×720.
Configure
Specifying your capture format settings
238
¦ Note When using the Matrox MAX H.264 codec to capture to a 1440×1080
or 1920 ×1080 progressive video format, the highest supported frame rate is
29.97 fps. The specified frame size and frame rate determine the H.264 levels
available for your encoded video. For details on the maximum frame size and
frame rate supported for each H.264 level, see “Specifying your Matrox MAX
H.264 settings” on page 224.
$
Scan Mode Determines the scan mode of your captured video
(Interlaced or Progressive). This may be automatically set for you
based on your specified file type, frame size, and source video format.
$
Aspect Ratio This is set to 16:9 when capturing to HD. When
capturing to SD, you can select 4:3 to capture to the standard TV screen
format, or 16:9 to capture to the widescreen 16:9 format.
$
Aspect Ratio Conversion
$
If your source video and captured video
have different aspect ratios, select the option that you want for the aspect
ratio conversion:
Captures the widescreen 16:9 picture as letterbox
video by adding black bars at the top and bottom of the picture for
display on a standard 4:3 television screen.
•
16x9 Letterbox
•
4x3 Pillarbox Captures the standard 4:3 picture as pillarbox video by
adding black bars at the left and right sides of the picture for display on
a widescreen 16:9 television screen. (This option is not available for
frame sizes smaller than 720×576.)
•
Anamorphic
•
Center Cut
•
Center Zoom Captures the standard 4:3 picture by evenly cropping
the top and bottom edges of the picture for display on a widescreen
16:9 television screen.
Captures the video as horizontally or vertically
compressed video (the aspect ratio of your source video is not
maintained).
Captures the widescreen 16:9 picture by evenly cropping
the left and right sides of the picture for display on a standard 4:3
television screen.
Select this if you’re
capturing to a Matrox .mp4 file, and you’d like to simultaneously capture
to a Matrox MPEG-2 I-frame .avi file in the same format as your source
video. For example, if your source video is 1080i @ 29.97 fps, your
Matrox .avi file will also be 1080i @ 29.97 fps. To configure your
MPEG-2 I-frame codec settings, click Configure. The settings are the
same as when capturing clips using Adobe Premiere Pro as explained in
“Selecting your MPEG-2 I-frame settings” on page 51.
Also capture Matrox MPEG-2 I-frame AVI
2 Under Audio Capture Format, you can select the audio format settings you
want for your captured clips:
Chapter 18, Using Matrox MAX H.264 Capture
239
$
File Type
Specifies the type of audio files to be captured:
•
AAC Captures AAC audio to separate .aac files (for Matrox .264 files
only).
•
WAV
•
Matrox MP4
Captures PCM audio to separate .wav files. For Matrox .mp4
files, stereo AAC audio will also be embedded in the .mp4 file.
Captures stereo AAC audio that is embedded in the
Matrox .mp4 file (separate .wav files will not be created).
¦ Note When capturing to a Matrox .mp4 file with simultaneous capture to a
Matrox MPEG-2 I-frame .avi file, stereo audio will be embedded in the .mp4
and .avi files. When capturing to a Matrox .avi file only, audio is always
captured to separate .wav files, and the channels that you choose to save to the
first stereo .wav file or first two mono .wav files will be embedded in the
associated .avi file.
$
Channel Type Select Stereo to save your captured audio to stereo
files, or Mono to save your captured audio to mono files. This is set to
Stereo for embedded AAC audio in Matrox .mp4 files.
$
Format
$
AAC bit rate
$
From the Filename lists, select which stereo pairs or mono channels you
want to capture for each file.
Select the format for your captured audio (16-bit or 24-bit).
For AAC audio, drag the bit rate slider to select the bit
rate (in kilobits per second) that you want for your captured audio.
•
When capturing to a Matrox .mp4 file with only embedded AAC audio,
you can select one stereo pair to be embedded in the .mp4 file (only one
Filename list will be available). When capturing to a Matrox .mp4 file
with separate .wav files, the channels that you choose to save to the first
stereo .wav file or first two mono .wav files will be embedded in the
associated .mp4 file, and the associated .avi file if you’re
simultaneously capturing to a Matrox MPEG-2 I-frame .avi file.
•
When capturing to separate .aac or .wav files, you can select up to four
stereo channels or up to eight mono channels, depending on the type of
audio being captured. Select None for the particular files that you
don’t want, or click the D (default) button for each Filename list if you
want to capture only channels 1 and 2. When Matrox Mojito MAX
saves separate audio files, it assigns a .Stereo or .Mono suffix to the
base name of the associated video file. For example, if you’re capturing
to separate .wav files and your video file is named MyFile.001.264, the
associated stereo audio files will be named MyFile.001.Stereo1.wav,
MyFile.001.Stereo2.wav, etc.
3 Under Automatic File Switch, you can indicate whether you want the
capture to automatically switch to the next clip after a specified time or file
Specifying your capture format settings
240
size limit has been reached (available only when capturing to Matrox .mp4
files with or without .wav files).
Select this option to specify the number of minutes
after which you want the capture to switch to the next clip.
$
Every n minutes
$
Every n GB Select this option to specify the maximum file size (in
gigabytes) after which you want the capture to switch to the next clip.
¦ Note If you select both automatic file switch options, the capture will switch
to the next clip based on the limit that is reached first (minutes or file size).
Be aware that your captured clips won’t have exactly the same duration or file
size because the capture must always end at a GOP boundary.
4 If you’d like to save your changes as a custom preset, click the Save (
)
button beside the preset list in the Matrox MAX H.264 Capture dialog box.
You’ll then be prompted to enter a name for your custom preset.
¦ Note To delete a custom preset, select the preset and click the Delete (
button.
)
Starting your capture
Once you’ve specified your input, output, and capture format settings, you’re
ready to start capturing clips. To do this, click the Capture button.
1 Enter the capture path and subfolder where you want to store your captured
clips, or click Browse to select the location that you want.
2 A default filename will be provided as the base name for your captured clips.
You can change this name if you want. When capturing to Matrox .mp4 files
using the automatic file switching feature, your clips will be numbered
Chapter 18, Using Matrox MAX H.264 Capture
241
sequentially with a three-digit suffix, such as MyClip.000.mp4,
MyClip.001.mp4, and so on.
¦ Note Each time you start a new capture, the base filename will be
incremented accordingly with a _n suffix (for example, _1, _2, and so on).
3 Click Explore to open Windows Explorer. You can then go to your capture
folder and delete any clips that you no longer need, and you’ll be able to see
your clips being added as they are captured.
4 If you’re capturing to Matrox .mp4 files without .wav or .avi files, you can
select the automatic file switching options that you want, such as to switch to
the next clip after a specified time limit. These options are the same as
provided in the Matrox Capture Format Settings dialog box (see
“Specifying your capture format settings” on page 236).
5 To limit the capture to a maximum duration, enter the duration (in minutes)
that you want in the Maximum Duration box. The capture will
automatically stop once this limit has been reached.
¦ Note Keep the maximum duration close to the actual maximum that you
want. If the maximum duration is a lot longer than you need, the file size of
your clips will be larger.
6 Make sure that your video source is playing in the Preview Window, and
click Start Capture to start the capture (the button will change to Stop
Capture).
7 If you’re capturing to Matrox .mp4 files (with or without .wav files), you can
click Switch File at any time during the capture to switch the capture to the
next file.
8 To stop the capture before the maximum duration is reached, click the Stop
Capture button.
Starting your capture
242
Your notes
Chapter 18, Using Matrox MAX H.264 Capture
19
Monitoring Your Matrox Mojito MAX
System
This chapter explains how to
use the Matrox X.info program
to display important details
about your Matrox Mojito MAX
system and installed hardware.
244
Using X.info to display Mojito MAX information
The Matrox X.info program lets you display information about your Matrox
Mojito MAX system and installed hardware, and provides warnings when certain
problems arise, such as when the temperature of your Mojito MAX exceeds the
maximum operating temperature. If you have multiple Matrox Mojito MAX
cards, you can use X.info to select your primary Matrox I/O device.
Matrox X.info runs continuously to monitor your system, whenever your
computer is turned on and a Mojito MAX card is installed. You can open Matrox
X.info to display system and hardware details by double-clicking the
icon on
your Windows taskbar.
¦ Note If you do not see the icon, check your taskbar properties and make sure
that you’re showing the icon for Matrox X.info.
Displaying system information
To display information about your Matrox Mojito MAX system, select System
from the Display Information About list. On this page, you can see Install
Information, such as the install path and version of Matrox Mtx.utils.
You can also create an HTML log file of your system information, which can be
useful for troubleshooting. To create this log, use the Browse button under
System Information Log to select the path and name of the log, then click
Chapter 19, Monitoring Your Matrox Mojito MAX System
245
Create. If Open file after scan is selected, the HTML system log opens after it
is created.
If you had previously turned off certain Matrox warnings and want them to be
re-enabled, click Re-enable Warnings. For example, some Matrox warnings
provide an option to turn off the warning (that is, you can select Don’t display
this message again). Clicking Re-enable Warnings allows these warnings to
be displayed again.
Using X.info to display Mojito MAX information
246
Displaying hardware information
To display information about your Matrox Mojito MAX hardware, select
Hardware from the Display Information About list. This displays a page with
hardware information (for example, serial number and production date). You can
also monitor the current and maximum operating temperatures for your Mojito
MAX hardware.
If you have multiple Matrox Mojito MAX cards, a separate tab will be provided
to display the hardware information for each card.
¡ Important Whether or not you have opened Matrox X.info, if your Mojito
MAX exceeds the maximum operating temperature, you’ll receive a warning
Chapter 19, Monitoring Your Matrox Mojito MAX System
247
message with further instructions as explained in the section “Error notification”
on page 247.
Monitoring your Mojito MAX’s operating
temperatures
As shown in the X.info Hardware section, the Mojito page displays the current
and maximum operating temperatures for your Matrox Mojito MAX hardware.
To avoid damage to your Matrox Mojito MAX, make sure that you don’t operate
your Mojito MAX at or near the maximum temperature for a prolonged period of
time. You should target your Mojito MAX to operate at least 10°C below the
maximum operating temperature.
You should monitor the temperature of your Mojito MAX card periodically and
take measures as needed to lower the room temperature and/or improve the
ventilation in your Mojito MAX system. If needed, move your Mojito MAX card
to a PCIe slot in your computer that is not too close to another card that generates
heat, such as a display card.
Selecting your primary Matrox I/O device
If you’ve installed multiple Matrox Mojito MAX cards, you can use them all to
feed live video and audio to Telestream Wirecast for streaming and recording
(see Chapter 14, “Using Matrox Mojito MAX with Telestream Wirecast”). Other
applications used with your Matrox Mojito MAX hardware, such as Matrox A/V
Tools and editing applications, support only one Matrox I/O device, referred to as
the primary device.
To select your primary Matrox I/O device, click the device’s tab and select Use
as primary Matrox I/O device. In order for this setting to take effect, you’ll
need to close all applications that are using your Matrox I/O hardware. When you
restart an application that supports only one Matrox I/O device, your selected
primary device will be used with that application.
¦ Note The option to select a primary device will be available in X.info only
when multiple Matrox I/O devices are detected. If you don’t select a primary
Matrox I/O device, the first device detected in your system will be used as your
primary device.
Error notification
X.info provides temperature warnings and warnings for other possible Mojito
MAX hardware problems. Once X.info has detected a hardware problem, the
Matrox X.info Notification dialog box will be displayed to give you details of
the problem and further instructions. You will not be able to close this dialog box
until the problem has been resolved.
Using X.info to display Mojito MAX information
248
Your notes
Chapter 19, Monitoring Your Matrox Mojito MAX System
A
Understanding Pulldown
This appendix describes the
available Mojito MAX pulldown
methods.
250
Overview
Depending on your editing video format, a pulldown may be required to convert
23.98 fps video to 29.97 fps video for output on Matrox Mojito MAX. When a
pulldown is required for your video output, Matrox Mojito MAX performs either
a standard 2:3 pulldown or an advanced 2:3:3:2 pulldown.
Standard 2:3 pulldown
Standard 2:3 pulldown is often used as part of the telecine process to transfer
24 fps film footage to 29.97 fps interlaced video. This pulldown method is also
used to convert any 23.98 fps progressive video to 29.97 fps interlaced video,
such as for converting 486p @ 23.98 fps video to NTSC.
In order to convert 24 fps film or 23.98 progressive video to 29.97 fps interlaced
video, additional video frames, and more specifically video fields, must be
created and added to the video sequence. For example, to convert a sequence of
four film or progressive frames, five frames of video are needed for a total of 10
video fields. Therefore, one additional video frame or two video fields must be
created. To accomplish this, the first and third frames of a four-frame film or
progressive video sequence are each converted to two video fields. The second
and fourth frames of the sequence are converted to three video fields to make up
a total of five interlaced video frames.
The following diagram demonstrates the process:
Film frames @ 24 fps or progressive frames @ 23.98 fps
A
B
C
D
Video fields @ 29.97 fps
a1
a2
Frame A
b1
b2
Frame B
b3
c1
Frame C
c2
d1
Frame D
d2
d3
Frame E
Standard 2:3 pulldown is accomplished by representing the first frame of film or
progressive video (frame A) as two fields of video (fields a1 and a2), the second
frame (frame B) as three fields of video (fields b1, b2, and b3), the third frame
(frame C) as two fields (fields c1 and c2), and the fourth frame (frame D) as three
fields (fields d1, d2, and d3). This sequence repeats six times each second.
Appendix A, Understanding Pulldown
251
Advanced 2:3:3:2 pulldown
Advanced 2:3:3:2 pulldown was developed as an alternative to the standard
pulldown method for making frame rate conversions in DV video. It is used to
convert 486p @ 23.98 fps video to NTSC (486i @ 29.97 fps) video. This
conversion is used when video footage is acquired by a DV camera at 23.98 fps
and recorded to DV tape with the recorder set for advanced pulldown (called
24PA or 24P Advanced mode on some devices). Advanced 2:3:3:2 pulldown
differs from standard 2:3 pulldown in that the two middle frames of the video
sequence are each converted to three video fields.
The following diagram demonstrates the process:
Progressive frames @ 23.98 fps
A
B
C
D
Video fields @ 29.97 fps
a1
a2
Frame A
b1
b2
Frame B
b3
c1
Frame C
c2
c3
Frame D
d1
d2
Frame E
Advanced 2:3:3:2 pulldown is accomplished by representing the first frame of
progressive video (frame A) as two fields of video (fields a1 and a2), the second
frame (frame B) as three fields of video (fields b1, b2, and b3), the third frame
(frame C) as three fields (fields c1, c2, and c3), and the fourth frame (frame D) as
two fields (fields d1 and d2).
Advanced 2:3:3:2 pulldown
252
Your notes
Appendix A, Understanding Pulldown
B
Matrox Mojito MAX Supported Input and
Capture Formats
This appendix provides
information on the video input
and capture formats that are
supported on Mojito MAX.
254
Supported input formats
The following table shows the video input formats that are supported on the
Mojito MAX video inputs for capturing or recording video. For descriptions of
the Mojito MAX inputs, see “Mojito MAX input and output descriptions” on
page 18.
Matrox Mojito MAX input
Video input
format
HDMI
SDI
Component
S-Video
Composite
NTSC
—
PAL
—
Z
Z
Z
Z
Z
Z
Z
Z
Z
Z
Z
720p @ 50 fps
Z
Z
Z
Z
Z
Z
Z
Z
Z
Z
Z
Z
Z
Z
Z
—
—
—
—
—
—
—
—
—
—
—
—
—
Z
Z
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
1080i @ 29.97 fps
Z
Z
Z
Z
1080PsF @ 23.98 fps
—
1080PsF @ 24 fps
—
1080PsF @ 25 fps
Z
Z
Z
Z
Z
Z
Z
720p @ 59.94 fps
1080i @ 25 fps
1080PsF @ 29.97 fps
1080p @ 23.98 fps
1080p @ 24 fps
1080p @ 25 fps
1080p @ 29.97 fps
1080p @ 30 fps
Appendix B, Matrox Mojito MAX Supported Input and Capture Formats
255
Supported capture formats for Adobe
Premiere Pro
The following table lists the supported capture formats when using Adobe
Premiere Pro to capture clips to Matrox .avi and .m2v files, based on your
selected video input format. For a list of the video input formats supported on the
various Mojito MAX inputs for capturing clips, see “Supported input formats” on
page 254.
Captured file format
Video input format
Matrox AVI
Matrox M2V
NTSC
NTSC, 720p @ 59.94 fps, or 1080i/p @
29.97 fps
NTSC
PAL
PAL, 720p @ 50 fps, or
1080i/p @ 25 fps
PAL
720p @ 50 fps
PAL, 720p @ 50 fps, or
1080i/p @ 25 fps
PAL
720p @ 59.94 fps
NTSC, 720p @ 59.94 fps, or 1080i/p @
29.97 fps
NTSC
1080i @ 25 fps
PAL, 720p @ 50 fps, or 1080i @ 25 fps
PAL
1080i @29.97 fps
NTSC, 720p @ 59.94 fps, or
1080i @ 29.97 fps
NTSC
1080p/PsF @ 23.98 fps
486p @23.98 fps or
1080p @ 23.98 fps
—
1080p/PsF @ 24 fps
1080p @ 24 fps
—
1080p/PsF @ 25 fps
PAL, 720p @ 50 fps, or
1080p @ 25 fps
PAL
1080p/PsF @ 29.97 fps
NTSC, 720p @ 59.94 fps, or
1080p @ 29.97 fps
NTSC
1080p @ 30 fps
1080p @ 30 fps
—
Supported capture formats for Adobe Premiere Pro
256
Supported capture formats for Avid editing
applications
The following table lists the supported capture formats on Matrox Mojito MAX,
based on your project’s video format and selected input source in Avid editing
applications.
Matrox Mojito MAX input
Project video format
(capture format)1
30i NTSC
23.976p NTSC
24p NTSC
25i PAL
HDMI
SDI
Component
NTSC2, 720p @ 59.94 fps, or 1080i/p3/PsF @ 29.97 fps
2
3
NTSC , 720p @ 59.94 fps, or 1080i/p /PsF @ 29.97 fps
—
—
4
—
3
PAL , 720p @ 50 fps, or 1080i/p /PsF @ 25 fps
24p PAL
—
—
4
—
3
S-Video Composite
NTSC
NTSC
NTSC
NTSC
—
—
PAL
PAL
—
—
25p PAL
PAL , 720p @ 50 fps, or 1080i/p /PsF @ 25 fps
PAL
PAL
720p/23.976
NTSC2, 720p @ 59.94 fps, or 1080i/p3/PsF @ 29.97 fps
NTSC
NTSC
720p/25
PAL4, 720p @ 50 fps, or 1080i/p3/PsF @ 25 fps
PAL
PAL
—
—
720p/29.97
—
—
4
—
3
720p/50
PAL , 720p @ 50 fps, or 1080i/p /PsF @ 25 fps
PAL
PAL
720p/59.94
NTSC2, 720p @ 59.94 fps, or 1080i/p3/PsF @ 29.97 fps
NTSC
NTSC
1080i/50 (25 fps)
PAL4, 720p @ 50 fps, or 1080i @ 25 fps
PAL
PAL
1080i/59.94 (29.97 fps)
NTSC2, 720p @ 59.94 fps, or 1080i @ 29.97 fps
NTSC
NTSC
—
—
—
—
1080p/23.976
1080p @ 23.98 fps
1080p/24
1080p @ 24 fps
1080p3/PsF @ 23.98 fps
1080p/PsF @ 24 fps
4
—
3
1080p/25
PAL , 720p @ 50 fps, or 1080p /PsF @ 25 fps
PAL
PAL
1080p/29.97
NTSC2, 720p @ 59.94 fps, or 1080p3/PsF @ 29.97 fps
NTSC
NTSC
1
Video is always captured to the project’s video format.
NTSC is not supported on the HDMI input.
3
1080p is not supported on the component input.
4
PAL is not supported on the HDMI input.
2
Appendix B, Matrox Mojito MAX Supported Input and Capture Formats
257
Supported capture formats for Matrox A/V
Tools
The following table lists the supported capture formats on Matrox Mojito MAX,
based on your editing video format and selected input source in Matrox A/V
Tools.
Matrox Mojito MAX input
Editing video format
(capture format)1
NTSC
PAL
HDMI
SDI
Component S-Video Composite
NTSC2, 720p @ 59.94 fps, or 1080i/p3/PsF @ 29.97 fps
4
3
PAL , 720p @ 50 fps, or 1080i/p /PsF @ 25 fps
1080p3/PsF @23.98 fps
NTSC
NTSC
PAL
PAL
—
—
486p @ 23.98 fps
1080p @ 23.98 fps
486p @ 29.97 fps
—
—
—
—
—
576p @ 25 fps
—
—
—
—
—
720p @ 23.98 fps
—
—
—
—
—
720p @ 25 fps
—
—
—
—
—
—
—
—
720p @ 29.97 fps
—
—
720p @ 50 fps
PAL4, 720p @ 50 fps, or 1080i/p3/PsF @ 25 fps
PAL
PAL
720p @ 59.94 fps
NTSC2, 720p @ 59.94 fps, or 1080i/p3/PsF @ 29.97 fps
NTSC
NTSC
1440×1080i @ 25 fps
—
—
—
—
—
1440×1080i @ 29.97 fps
—
—
—
—
—
1440×1080p @ 23.98 fps
—
—
—
—
—
1440×1080p @ 25 fps
—
—
—
—
—
1440×1080p @ 29.97 fps
—
—
—
—
—
1080i @ 25 fps
PAL4, 720p @ 50 fps, or 1080i @ 25 fps
PAL
PAL
1080i @ 29.97 fps
NTSC2, 720p @ 59.94 fps, or 1080i @ 29.97 fps
NTSC
NTSC
—
—
—
—
1080p @ 23.98 fps
1080p @ 23.98 fps
1080p @ 24 fps
1080p @ 24 fps
1080p3/PsF @ 23.98 fps
1080p/PsF @ 24 fps
4
—
3
1080p @ 25 fps
PAL , 720p @ 50 fps, or 1080p /PsF @ 25 fps
PAL
PAL
1080p @ 29.97 fps
NTSC2, 720p @ 59.94 fps, or 1080p3/PsF @ 29.97 fps
NTSC
NTSC
—
—
1080p @ 30 fps
1080p @ 30 fps
—
1
Video is always captured to the editing video format.
2
NTSC is not supported on the HDMI input.
3
1080p is not supported on the component input.
4
PAL is not supported on the HDMI input.
Supported capture formats for Matrox A/V Tools
258
Supported capture formats for Matrox MAX
H.264 Capture
The following table lists the supported capture formats when using the Matrox
MAX H.264 Capture application to capture clips to Matrox .264, .mp4, and .avi
files, based on your selected video input format. For a list of the video input
formats supported on the various Mojito MAX inputs for capturing clips, see
“Supported input formats” on page 254.
Captured file format
Video input format Matrox 264 (Blu-ray)
Matrox MP4
Matrox AVI
NTSC
720p @ 59.94 fps or
1080i @ 29.97 fps
720p @ 59.94 fps,
Any_1p @ 14.98 fps, or
Any_p @ 29.97 fps
NTSC, 720p @ 59.94 fps, or
1080i/p @ 29.97 fps
PAL
720p @ 50 fps or
1080i @ 25 fps
720p @ 50 fps,
Any_p @ 12.5 fps, or
Any_p @ 25 fps
PAL, 720p @ 50 fps, or
1080i/p @ 25 fps
720p @ 50 fps
720p @ 50 fps or
1080i @ 25 fps
720p @ 50 fps,
Any_p @ 12.5 fps, or
Any_p @ 25 fps
PAL, 720p @ 50 fps, or
1080i/p @ 25 fps
720p @ 59.94 fps
720p @ 59.94 fps or
1080i @ 29.97 fps
720p @ 59.94 fps,
Any_p @ 14.98 fps, or
Any_p @ 29.97 fps
NTSC, 720p @ 59.94 fps, or
1080i/p @ 29.97 fps
1080i @ 25 fps
720p @ 50 fps or
1080i @ 25 fps
720p @ 50 fps,
Any_p @ 12.5 fps, or
Any_p @ 25 fps
PAL, 720p @ 50 fps, or 1080i
@ 25 fps
1080i @29.97 fps
720p @ 59.94 fps or
1080i @ 29.97 fps
720p @ 59.94 fps,
Any_p @ 14.98 fps, or
Any_p @ 29.97 fps
NTSC, 720p @ 59.94 fps, or
1080i @ 29.97 fps
1080p/PsF @ 23.98 fps
720p @ 23.98 fps or
1080p @ 23.98 fps
Any_p @ 11.99 fps or
Any_p @ 23.98 fps
486p @23.98 fps or
1080p @ 23.98 fps
1080p/PsF @ 24 fps
720p @ 24 fps or
1080p @ 24 fps
Any_p @ 12 fps or
Any_p @ 24 fps
1080p @ 24 fps
1080p/PsF @ 25 fps
720p @ 50 fps
720p @ 50 fps,
Any_p @ 12.5 fps, or
Any_p @ 25 fps
PAL, 720p @ 50 fps, or
1080p @ 25 fps
1080p/PsF @ 29.97 fps
—
Any_p @ 14.98 fps or
Any_p @ 29.97 fps
NTSC, 720p @ 59.94 fps, or
1080p @ 29.97 fps
1080p @ 30 fps
—
Any_p @ 15 fps or
Any_p @ 30 fps
1080p @ 30 fps
1
Any_ represents a custom frame size that you can enter for your Matrox .mp4 file as explained in
“Specifying your capture format settings” on page 236.
Appendix B, Matrox Mojito MAX Supported Input and Capture Formats
C
Matrox Mojito MAX Supported Output
Formats
This appendix provides
information on the video output
formats that are supported on
Mojito MAX.
260
Supported video output formats for playback
This section lists the formats that are supported on the main and secondary
Mojito MAX video outputs during playback, depending on the application used.
For descriptions of the Mojito MAX outputs, see “Mojito MAX input and output
descriptions” on page 18.
Playback using Adobe Premiere Pro, Prelude,
and Encore
The following table shows the formats that are supported on the main and
secondary Mojito MAX video outputs during playback using Adobe Premiere
Pro, Prelude, and Encore, based on your sequence’s video format (for sequence
formats natively supported by Mojito MAX as well as custom formats).
¦ Note For sequence formats where the width, multiplied by the pixel aspect
ratio, and the height correspond to a natively supported format, the available
output formats will be the same as those listed for the native format. For example,
a DVCPRO HD 960×720p @ 50 fps sequence has a pixel aspect ratio of 1.333
(960 ×1.333 = width 1280), and therefore supports the same output formats as
listed for the native 720p @ 50 fps (1280×720p) format.
Matrox Mojito MAX output
Sequence video
format
NTSC
Main output
Secondary output
NTSC
NTSC, 720p @ 59.94 fps, or 1080i/p1/PsF @ 29.97 fps
720p @ 59.94 fps
NTSC or 720p @ 59.94 fps
1080i @ 29.97 fps
NTSC or 1080i @ 29.97 fps
1080PsF @ 29.97 fps
1080p @ 29.97 fps1
PAL
PAL
PAL, 720p @ 50 fps, or 1080i/p1/PsF @ 25 fps
720p @ 50 fps
PAL or 720p @ 50 fps
1080i @ 25 fps
PAL or 1080i @ 25 fps
1080PsF @ 25 fps
1080p @ 25 fps1
NTSC
480p @ 59.94 fps
486p @ 23.98 fps
NTSC or 1080p1/PsF @ 29.97 fps
2
PAL or 1080p1/PsF @ 25 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, 1080i @ 29.97 fps, or
1080p1/PsF @ 23.98 fps
720p @ 59.94 fps
NTSC, 480p @ 59.94 fps2, or 720p @ 59.94 fps
1080i @ 29.97 fps
NTSC, 480p @ 59.94 fps2, or 1080i @ 29.97 fps
1080PsF @ 23.98 fps
1080p @ 23.98 fps1
NTSC, 480p @ 59.94 fps2, or 1080p1/PsF @ 23.98 fps
Appendix C, Matrox Mojito MAX Supported Output Formats
261
Matrox Mojito MAX output
Sequence video
format
Main output
NTSC
480p @ 59.94 fps2
486p @ 29.97 fps
NTSC, 480p @ 59.94 fps2, or 720p @ 59.94 fps
1080i @ 29.97 fps
NTSC, 480p @ 59.94 fps2, or 1080i @ 29.97 fps
1080p @ 29.97 fps1
PAL
576p @ 50 fps2
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080i/p1/PsF @ 25 fps
PAL, 576p @ 50 fps2, or 720p @ 50 fps
1080i @ 25 fps
PAL, 576p @ 50 fps2, or 1080i @ 25 fps
1080p @ 25 fps1
NTSC
480p @ 59.94 fps2
PAL, 576p @ 50 fps2, or 1080p1/PsF @ 25 fps
NTSC, 480p @ 59.94 fps2, or 720p @ 59.94 fps
720p @ 59.94 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, 1080i @ 29.97 fps, or
1080p1/PsF @ 23.98 fps
1080i @ 29.97 fps
720p @ 59.94 fps or 1080i @ 29.97 fps
1080PsF @ 23.98 fps
1080p @ 23.98 fps1
PAL
576p @ 50 fps2
720p @ 25 fps
NTSC, 480p @ 59.94 fps2, or 1080p1/PsF @ 29.97 fps
720p @ 50 fps
1080PsF @ 25 fps
720p @ 23.98 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080i/p1/PsF @ 29.97 fps
720p @ 59.94 fps
1080PsF @ 29.97 fps
576p @ 25 fps
Secondary output
720p @ 50 fps
720p @ 59.94 fps or 1080p1/PsF @ 23.98 fps
PAL, 576p @ 50 fps2, or 720p @ 50 fps
PAL, 576p @ 50 fps2, 720p @ 50 fps, 1080i/p1/PsF @ 25 fps
1080i @ 25 fps
1080PsF @ 25 fps
720p @ 50 fps or 1080i/p1/PsF @ 25 fps
1080p @ 25 fps1
NTSC
480p @ 59.94 fps2
720p @ 29.97 fps
NTSC, 480p @ 59.94 fps2, or 720p @ 59.94 fps
720p @ 59.94 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, 1080i/p1/PsF @ 29.97 fps
1080i @ 29.97 fps
720p @ 59.94 fps or 1080i @ 29.97 fps
1080PsF @ 29.97 fps
1080p @ 29.97 fps1
720p @ 59.94 fps or 1080p1/PsF @ 29.97 fps
Supported video output formats for playback
262
Matrox Mojito MAX output
Sequence video
format
Main output
PAL
720p @ 50 fps
576p @ 50 fps2
1440×1080i @ 25 fps
1440×1080i @ 29.97 fps
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080i @ 25 fps
1080i @ 25 fps
720p @ 50 fps or 1080i @ 25 fps
480p @ 59.94 fps2
NTSC, 480p @ 59.94 fps2, or 720p @ 59.94 fps
720p @ 59.94 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080i @ 29.97 fps
1080i @ 29.97 fps
720p @ 59.94 fps or 1080i @ 29.97 fps
PAL
PAL
720p @ 50 fps
720p @ 50
1080i @ 25 fps
PAL or 1080i @ 25 fps
NTSC
NTSC
720p @ 59.94 fps
720p @ 59.94 fps
1080i @ 29.97 fps
NTSC or 1080i @ 29.97 fps
NTSC
480p @ 59.94 fps2
1440×1080p @ 23.98 fps
PAL, 576p @ 50 fps2, or 720p @ 50 fps
720p @ 50 fps
NTSC
720p @ 59.94 fps
Secondary output
720p @ 59.94 fps
NTSC or 480p @ 59.94 fps2
720p @ 59.94 fps or 1080p1/Psf @ 23.98 fps
1080i @ 29.97 fps
1080PsF @ 23.98 fps NTSC, 480p @ 59.94 fps2, 1080i @ 29.97 fps, or 1080p1/PsF @ 23.98 fps
1080p @ 23.98 fps1
PAL
576p @ 50 fps2
1440×1080p @ 25 fps
720p @ 50 fps
1080PsF @ 25 fps
1080p @ 25 fps1
NTSC
480p @ 59.94 fps2
1440×1080p @ 29.97 fps
720p @ 59.94 fps
1080PsF @ 29.97 fps
1080p @ 29.97 fps1
PAL
1080i @ 25 fps
PAL or 576 @ 50 fps2
720p @ 50 fps
PAL, 576p @ 50 fps2, or 1080p1/PsF @ 25 fps
NTSC or 480p @ 59.94 fps2
720p @ 59.94 fps
NTSC, 480p @ 59.94 fps2, or 1080p1/PsF @ 29.97 fps
PAL or 1080i @ 25 fps
720p @ 50 fps
720p @ 50 fps or 1080i @ 25 fps
1080i @ 25 fps
PAL, 720p @ 50 fps, or 1080i @ 25 fps
Appendix C, Matrox Mojito MAX Supported Output Formats
263
Matrox Mojito MAX output
Sequence video
format
1080i @ 29.97 fps
Main output
Secondary output
NTSC
NTSC or 1080i @ 29.97 fps
720p @ 59.94 fps
720p @ 59.94 fps or 1080i @ 29.97 fps
1080i @ 29.97 fps
NTSC, 720p @ 59.94 fps, or 1080i @ 29.97 fps
NTSC
480p @ 59.94 fps2
1080p @ 23.98 fps
720p @ 59.94 fps
1080i @ 29.97 fps
1080PsF @ 23.98 fps
1080p @ 23.98 fps1
1080p @ 24 fps
1080PsF @ 24 fps3
1080p @ 24 fps1
PAL
1080p @ 25 fps1
NTSC
480p @ 59.94 fps2
720p @ 59.94 fps
1080PsF @ 29.97 fps
1080p @ 29.97 fps1
1080p @ 30 fps
1080p @ 30 fps1
Custom formats with a
width greater than 1920
and an aspect ratio of
16:9 or greater (such as
many RED formats)
1080p/PsF @ 24 fps1,3
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080p1/PsF @ 25 fps
NTSC, 480p @ 59.94 fps2, or 1080p1/PsF @ 29.97 fps
720p @ 59.94 fps or 1080p1/PsF @ 29.97 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080p1/PsF @ 29.97 fps
1080p @ 30 fps1
Same output formats as for 1080i/p with the corresponding frame rate.
NTSC, 720p @ 59.94 fps, or 1080i/p1/PsF @ 29.97 fps
NTSC
PAL, 720p @ 50 fps, or 1080i/p1/PsF @ 25 fps
PAL
480p @ 59.94 fps
All other custom formats4
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, 1080i @ 29.97 fps, or
1080p1/PsF @ 23.98 fps
720p @ 50 fps or 1080p1/PsF @ 25 fps
720p @ 50 fps
1080PsF @ 25 fps
1080p @ 29.97 fps
720p @ 59.94 fps, 1080i @ 29.97 fps, or 1080p1/[email protected] 23.98 fps
PAL, 576p @ 50 fps2, or 1080p1/PsF @ 25 fps
576p @ 50 fps2
1080p @ 25 fps
NTSC, 480p @ 59.94 fps2, 1080i @ 29.97 fps, or 1080p1/PsF @ 23.98 fps
2
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080i/p1/PsF @ 29.97 fps
576p @ 50 fps2
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080i/p1/PsF @ 25 fps
720p @ 50 fps
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080i @ 25 fps
720p @ 59.94 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080i @29.97 fps
1080i @ 25 fps
PAL, 720p @ 50 fps, or 1080i @ 25 fps
1080i @ 29.97 fps
NTSC, 720p @ 59.94 fps, or 1080i @ 29.97 fps
Supported video output formats for playback
264
Matrox Mojito MAX output
Sequence video
format
Main output
Secondary output
1080PsF @ 23.98 fps
1080p @ 23.98 fps
1
1080PsF @ 24 fps3
1080p @ 24 fps1
All other custom formats
(cont’d)4
1080PsF @ 25 fps
1080p @ 25 fps1
1080PsF @ 29.97 fp
1080p @ 29.97 fps1
1080p @ 30 fps1
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, 1080i @ 29.97 fps, or
1080p1/PsF @ 23.98 fps
1080p/PsF @ 24 fps1,3
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080p1/PsF @ 25 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080p1/PsF @ 29.97 fps
1080p @ 30 fps1
1
1080p is supported on the HDMI and SDI outputs only.
480p @ 59.94 fps and 576p @ 50 fps are supported on the HDMI output only.
3
1080PsF @ 24 fps is supported on the SDI output only.
4
For the best results, you should select a video output format with a frame rate that matches or is compatible with
your sequence’s frame rate.
2
Appendix C, Matrox Mojito MAX Supported Output Formats
265
Playback using Adobe SpeedGrade
The following table shows the formats that are supported on the main and
secondary Mojito MAX video outputs during playback using Adobe
SpeedGrade, based on your selected display format.
Matrox Mojito MAX output
Display format1
Main output
NTSC
480p @ 59.94 fps2
720p @ 23.98 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, 1080i @ 29.97 fps, or
1080p3/PsF @ 23.98 fps
1080i @ 29.97 fps
720p @ 59.94 fps or 1080i @ 29.97 fps
1080p @ 23.98 fps3
PAL
576p @ 50 fps2
720p @ 50 fps or 1080i/p3/PsF @ 25 fps
3
NTSC
480p @ 59.94 fps2
NTSC, 480p @ 59.94 fps2, or 720p @ 59.94 fps
720p @ 59.94 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, 1080i/p3/PsF @ 29.97 fps
1080i @ 29.97 fps
720p @ 59.94 fps or 1080i @ 29.97 fps
1080PsF @ 29.97 fps
1080p @ 29.97 fps3
PAL
576p @ 50 fps2
720p @ 59.94 fps or 1080p3/PsF @ 29.97 fps
PAL, 576p @ 50 fps2, or 720p @ 50 fps
720p @ 50 fps
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080i @ 25 fps
1080i @ 25 fps
720p @ 50 fps or 1080i @ 25 fps
NTSC
720p @ 59.94 fps
PAL, 576p @ 50 fps2, or 720p @ 50 fps
1080i @ 25 fps
1080p @ 25 fps
720p @ 50 fps
720p @ 59.94 fps or 1080p3/PsF @ 23.98 fps
PAL, 576p @ 50 fps2, 720p @ 50 fps, 1080i/p3/PsF @ 25 fps
720p @ 50 fps
1080PsF @ 25 fps
720p @ 29.97 fps
NTSC, 480p @ 59.942 fps, or 720p @ 59.94 fps
720p @ 59.94 fps
1080PsF @ 23.98 fps
720p @ 25 fps
Secondary output
480p @ 59.94 fps2
NTSC, 480p @ 59.94 fps2, or 720p @ 59.94 fps
720p @ 59.94 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080i @ 29.97 fps
1080i @ 29.97 fps
720p @ 59.94 fps or 1080i @ 29.97 fps
Supported video output formats for playback
266
Matrox Mojito MAX output
Display format1
Main output
NTSC
480p @ 59.94 fps2
1080p @ 23.98 fps
720p @ 59.94 fps
1080i @ 29.97 fps
1080PsF @ 23.98 fps
1080p @ 23.98 fps3
1080p @ 24 fps
1080PsF @ 24 fps4
1080p @ 24 fps3
PAL
576p @ 50 fps2
1080p @ 25 fps
720p @ 50 fps
1080PsF @ 25 fps
1080p @ 25 fps3
NTSC
480p @ 59.94 fps2
1080p @ 29.97 fps
720p @ 59.94 fps
1080PsF @ 29.97 fps
1080p @ 29.97 fps3
1080p @ 30 fps
2K (2048×1080)
Resolutions with custom
base frame rates5
1080p @ 30 fps3
Secondary output
NTSC, 480p @ 59.94 fps2, 1080i @ 29.97 fps, or 1080p3/PsF @ 23.98 fps
720p @ 59.94 fps, 1080i @ 29.97 fps, or 1080p3/[email protected] 23.98 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, 1080i @ 29.97 fps, or
1080p3/PsF @ 23.98 fps
1080p3/PsF @ 24 fps4
PAL, 576p @ 50 fps2, or 1080p3/PsF @ 25 fps
720p @ 50 fps or 1080p3/PsF @ 25 fps
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080p3/PsF @ 25 fps
NTSC, 480p @ 59.94 fps2, or 1080p3/PsF @ 29.97 fps
720p @ 59.94 fps or 1080p3/PsF @ 29.97 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080p3/PsF @ 29.97 fps
1080p @ 30 fps3
Same output formats as for 1080p with the corresponding frame rate.
NTSC
(not supported)
Not supported
PAL
(not supported)
Not supported
480p @ 59.94 fps
(not supported)
Not supported
576p @ 50 fps
(not supported)
Not supported
720p @ 50 fps
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080i @ 25 fps
720p @ 59.94 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080i @29.97 fps
1080i @ 25 fps
PAL, 720p @ 50 fps, or 1080i @ 25 fps
1080i @ 29.97 fps
NTSC, 720p @ 59.94 fps, or 1080i @ 29.97 fps
1080PsF @ 23.98 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, 1080i @ 29.97 fps, or
1080p3/PsF @ 23.98 fps
1080p @ 23.98 fps3
Appendix C, Matrox Mojito MAX Supported Output Formats
267
Matrox Mojito MAX output
Display format1
Main output
1080PsF @24 fps
Secondary output
4
1080p @ 24 fps3
1080PsF @ 25 fps
Resolutions with custom
base frame rates (cont’d)5
1080p @ 25 fps3
1080PsF @ 29.97 fp
1080p @ 29.97 fps3
1080p @ 30 fps3
1080p3/PsF @ 24 fps4
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080p3/PsF @ 25 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080p3/PsF @ 29.97 fps
1080p @ 30 fps3
1
The display format is determined by your selected video resolution and base frame rate.
480p @ 59.94 fps and 576p @ 50 fps are supported on the HDMI output only.
3
1080p is supported on the HDMI and SDI outputs only.
4
1080PsF @ 24 fps is supported on the SDI output only.
5
For the best results, you should select a video output format with a frame rate that matches or is compatible with
your selected base frame rate.
2
Supported video output formats for playback
268
Playback using Avid editing applications
The following table shows the formats that are supported on the main and
secondary Mojito MAX video outputs during playback using Avid editing
applications, based on your project’s video format.
¡ Important If the main and secondary output formats don’t match and the
video quality for playback is not set to Full Quality, the secondary output will be
blanked.
Matrox Mojito MAX output
Project video format
30i NTSC,
23.976p NTSC, or
24p NTSC
Main output
Secondary output
NTSC
NTSC, 720p @ 59.94 fps, or 1080i/p1/PsF @ 29.97 fps
720p @ 59.94 fps
NTSC or 720p @ 59.94 fps
1080i @ 29.97 fps
NTSC or 1080i @ 29.97 fps
1080PsF @ 29.97 fps
1080p @ 29.97 fps1
PAL
25i PAL, 24p PAL,
or 25p PAL
720p @ 50 fps
PAL or 720p @ 50 fps
PAL or 1080i @ 25 fps
1080p @ 25 fps1
NTSC
480p @ 59.94 fps3
1080i/50 (25 fps)
1080i/59.94 (29.97 fps)
PAL or 1080p1/PsF @ 25 fps
NTSC, 480p @ 59.94 fps3, or 720p @ 59.94 fps
720p @ 59.94 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080i @ 29.97 fps
1080i @ 29.97 fps
720p @ 59.94 fps or 1080i @ 29.97 fps
PAL
720p/25 or 720p/50
PAL, 720p @ 50 fps, or 1080i/p1/PsF @ 25 fps
1080i @ 25 fps
1080PsF @ 25 fps
720p/23.9762,
720p/29.97, or
720p/59.94
NTSC or 1080p1/PsF @ 29.97 fps
576p @ 50 fps3
PAL, 576p @ 50 fps3, or 720p @ 50 fps
720p @ 50 fps
PAL, 576p @ 50 fps3, 720p @ 50 fps, or 1080i @ 25 fps
1080i @ 25 fps
720p @ 50 fps or 1080i @ 25 fps
PAL
PAL or 1080i @ 25 fps
720p @ 50 fps
720p @ 50 fps or 1080i @ 25 fps
1080i @ 25 fps
PAL, 720p @ 50 fps, or 1080i @ 25 fps
NTSC
NTSC or 1080i @ 29.97 fps
720p @ 59.94 fps
720p @ 59.94 fps or 1080i @ 29.97 fps
1080i @ 29.97 fps
NTSC, 720p @ 59.94 fps, or 1080i @ 29.97 fps
Appendix C, Matrox Mojito MAX Supported Output Formats
269
Matrox Mojito MAX output
Project video format
Main output
NTSC
480p @ 59.94 fps3
1080p/23.9762
720p @ 59.94 fps
1080i @ 29.97 fps
1080PsF @ 23.98 fps
1080p @ 23.98 fps1
1080p/242
1080PsF @ 24 fps4
[email protected] 24 fps1
PAL
576p @ 50 fps3
1080p/25
720p @ 50 fps
1080PsF @ 25 fps
1080p @ 25 fps1
NTSC
480p @ 59.94 fps3
1080p/29.97
720p @ 59.94 fps
1080PsF @ 29.97 fps
1080p @ 29.97 fps1
Secondary output
NTSC, 480p @ 59.94 fps3, 1080i @ 29.97 fps, or 1080p1/PsF @ 23.98 fps
720p @ 59.94 fps, 1080i @ 29.97 fps, or 1080p1/[email protected] 23.98 fps
NTSC, 480p @ 59.94 fps3, 720p @ 59.94 fps, 1080i @ 29.97 fps, or
1080p1/PsF @ 23.98 fps
1080p/PsF @ 24 fps1,4
PAL, 576p @ 50 fps3, or 1080p1/PsF @ 25 fps
720p @ 50 fps or 1080p1/PsF @ 25 fps
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080p1/PsF @ 25 fps
NTSC, 480p @ 59.94 fps3, or 1080p1/PsF @ 29.97 fps
720p @ 59.94 fps or 1080p1/PsF @ 29.97 fps
NTSC, 480p @ 59.94 fps3, 720p @ 59.94 fps, or 1080p1/PsF @ 29.97 fps
1
1080p is supported on the HDMI and SDI outputs only.
To downconvert a 720p/23.976, 1080p/23.976, or 1080p24 sequence to SD to record a digital cut, you must change
your project’s format (project type) to SD (see “Exporting your sequence to tape” on page 133).
3
480p @ 59.94 fps and 576p @ 50 fps are supported on the HDMI output only.
4
1080PsF @ 24 fps is supported on the SDI output only.
2
Supported video output formats for playback
270
Playback using Matrox A/V Tools and Matrox
WYSIWYG
The following table shows the formats that are supported on the main and
secondary Mojito MAX video outputs during playback using Matrox A/V Tools
and the Matrox WYSIWYG plug-ins, based on your selected editing video
format.
Matrox Mojito MAX output
Editing video format
NTSC
Main output
Secondary output
NTSC
NTSC, 720p @ 59.94 fps, or 1080i/p1/PsF @ 29.97 fps
720p @ 59.94 fps
NTSC or 720p @ 59.94 fps
1080i @ 29.97 fps
NTSC or 1080i @ 29.97 fps
1080PsF @ 29.97 fps
1080p @ 29.97 fps1
PAL or DV-PAL
PAL
PAL, 720p @ 50 fps, or 1080i/p1/PsF @ 25 fps
720p @ 50 fps
PAL or 720p @ 50 fps
1080i @ 25 fps
PAL or 1080i @ 25 fps
1080PsF @ 25 fps
1080p @ 25 fps1
NTSC
480p @ 59.94 fps
486p @ 23.98 fps
2
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, 1080i @ 29.97 fps, or
1080p1/PsF @ 23.98 fps
NTSC, 480p @ 59.94 fps2, or 720p @ 59.94 fps
1080i @ 29.97 fps
NTSC, 480p @ 59.94 fps2, or 1080i @ 29.97 fps
1080p @ 23.98 fps1
NTSC
480p @ 59.94 fps2
NTSC, 480p @ 59.94 fps2, or 1080p1/PsF @ 23.98 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080i/p1/PsF @ 29.97 fps
720p @ 59.94 fps
NTSC, 480p @ 59.94 fps2, or 720p @ 59.94 fps
1080i @ 29.97 fps
NTSC, 480p @ 59.94 fps2, or 1080i @ 29.97 fps
1080PsF @ 29.97 fps
1080p @ 29.97 fps1
PAL
576p @ 50 fps2
576p @ 25 fps
PAL or 1080p1/PsF @ 25 fps
720p @ 59.94 fps
1080PsF @ 23.98 fps
486p @ 29.97 fps
NTSC or 1080p1/PsF @ 29.97 fps
NTSC, 480p @ 59.94 fps2, or 1080p1/PsF @ 29.97 fps
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080i/p1/PsF @ 25 fps
720p @ 50 fps
PAL, 576p @ 50 fps2, or 720p @ 50 fps
1080i @ 25 fps
PAL, 576p @ 50 fps2, or 1080i @ 25 fps
1080PsF @ 25 fps
1080p @ 25 fps1
PAL, 576p @ 50 fps2, or 1080p1/PsF @ 25 fps
Appendix C, Matrox Mojito MAX Supported Output Formats
271
Matrox Mojito MAX output
Editing video format
Main output
NTSC
480p @ 59.94 fps2
720p @ 23.98 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, 1080i @ 29.97 fps, or
1080p1/PsF @ 23.98 fps
1080i @ 29.97 fps
720p @ 59.94 fps or 1080i @ 29.97 fps
1080p @ 23.98 fps1
PAL
576p @ 50 fps2
480p @ 59.94 fps2
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, 1080i/p1/PsF @ 29.97 fps
1080i @ 29.97 fps
720p @ 59.94 fps or 1080i @ 29.97 fps
1080p @ 29.97 fps1
PAL
576p @ 50 fps2
720p @ 59.94 fps or 1080p1/PsF @ 29.97 fps
PAL, 576p @ 50 fps2, or 720p @ 50 fps
720p @ 50 fps
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080i @ 25 fps
1080i @ 25 fps
720p @ 50 fps or 1080i @ 25 fps
NTSC
1440×1080i @ 29.97 fps
NTSC, 480p @ 59.94 fps2, or 720p @ 59.94 fps
720p @ 59.94 fps
1080PsF @ 29.97 fps
1440×1080i @ 25 fps
720p @ 50 fps or 1080i/p1/PsF @ 25 fps
1
NTSC
720p @ 59.94 fps
PAL, 576p @ 50 fps2, or 720p @ 50 fps
1080i @ 25 fps
1080p @ 25 fps
720p @ 50 fps
720p @ 59.94 fps or 1080p1/PsF @ 23.98 fps
PAL, 576p @ 50 fps2, 720p @ 50 fps, 1080i/p1/PsF @ 25 fps
720p @ 50 fps
1080PsF @ 25 fps
720p @ 29.97 fps
NTSC, 480p @ 59.94 fps2, or 720p @ 59.94 fps
720p @ 59.94 fps
1080PsF @ 23.98 fps
720p @ 25 fps
Secondary output
480p @ 59.94 fps2
NTSC, 480p @ 59.94 fps2, or 720p @ 59.94 fps
720p @ 59.94 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080i @ 29.97 fps
1080i @ 29.97 fps
720p @ 59.94 fps or 1080i @ 29.97 fps
PAL
PAL
720p @ 50 fps
720p @ 50
1080i @ 25 fps
PAL or 1080i @ 25 fps
NTSC
NTSC
720p @ 59.94 fps
720p @ 59.94 fps
1080i @ 29.97 fps
NTSC or 1080i @ 29.97 fps
Supported video output formats for playback
272
Matrox Mojito MAX output
Editing video format
Main output
NTSC
480p @ 59.94 fps2
1440×1080p @ 23.98 fps
720p @ 59.94 fps
Secondary output
NTSC or 480p @ 59.94 fps2
720p @ 59.94 fps or 1080p1/Psf @ 23.98 fps
1080i @ 29.97 fps
1080PsF @ 23.98 fps NTSC, 480p @ 59.94 fps2, 1080i @ 29.97 fps, or 1080p1/PsF @ 23.98 fps
1080p @ 23.98 fps1
PAL
576p @ 50 fps2
1440×1080p @ 25 fps
720p @ 50 fps
1080PsF @ 25 fps
1080p @ 25 fps1
NTSC
480p @ 59.94 fps2
1440×1080p @ 29.97 fps
720p @ 59.94 fps
1080PsF @ 29.97 fps
1080p @ 29.97 fps1
1080i @ 25 fps
1080i @ 29.97 fps
PAL, 576p @ 50 fps2, or 1080p1/PsF @ 25 fps
NTSC or 480p @ 59.94 fps2
720p @ 59.94 fps
NTSC, 480p @ 59.94 fps2, or 1080p1/PsF @ 29.97 fps
PAL
PAL or 1080i @ 25 fps
720p @ 50 fps or 1080i @ 25 fps
1080i @ 25 fps
PAL, 720p @ 50 fps, or 1080i @ 25 fps
NTSC
NTSC or 1080i @ 29.97 fps
720p @ 59.94 fps
720p @ 59.94 fps or 1080i @ 29.97 fps
1080i @ 29.97 fps
NTSC, 720p @ 59.94 fps, or 1080i @ 29.97 fps
NTSC
720p @ 59.94 fps
1080i @ 29.97 fps
1080PsF @ 23.98 fps
1080p @ 23.98 fps1
1080p @ 24 fps
720p @ 50 fps
720p @ 50 fps
480p @ 59.94 fps2
1080p @ 23.98 fps
PAL or 576 @ 50 fps2
1080PsF @ 24 fps3
1080p @ 24 fps1
NTSC, 480p @ 59.94 fps2, 1080i @ 29.97 fps, or 1080p1/PsF @ 23.98 fps
720p @ 59.94 fps, 1080i @ 29.97 fps, or 1080p1/[email protected] 23.98 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, 1080i @ 29.97 fps, or
1080p1/PsF @ 23.98 fps
1080p/PsF @ 24 fps1,3
Appendix C, Matrox Mojito MAX Supported Output Formats
273
Matrox Mojito MAX output
Editing video format
Main output
PAL
576p @ 50 fps2
1080p @ 25 fps
720p @ 50 fps
1080PsF @ 25 fps
1080p @ 25 fps1
NTSC
480p @ 59.94 fps2
1080p @ 29.97 fps
720p @ 59.94 fps
1080PsF @ 29.97 fps
1080p @ 29.97 fps1
1080p @ 30 fps
1080p @ 30 fps1
Secondary output
PAL, 576p @ 50 fps2, or 1080p1/PsF @ 25 fps
720p @ 50 fps or 1080p1/PsF @ 25 fps
PAL, 576p @ 50 fps2, 720p @ 50 fps, or 1080p1/PsF @ 25 fps
NTSC, 480p @ 59.94 fps2, or 1080p1/PsF @ 29.97 fps
720p @ 59.94 fps or 1080p1/PsF @ 29.97 fps
NTSC, 480p @ 59.94 fps2, 720p @ 59.94 fps, or 1080p1/PsF @ 29.97 fps
1080p @ 30 fps1
1
1080p is supported on the HDMI and SDI outputs only.
480p @ 59.94 fps and 576p @ 50 fps are supported on the HDMI output only.
3
1080PsF @ 24 fps is supported on the SDI output only.
2
Supported video output formats for playback
274
Supported video output formats for monitoring
This section lists the formats that are supported on the Mojito MAX video
outputs for monitoring your video while capturing, recording, or streaming using
various applications. For descriptions of the Mojito MAX outputs, see “Mojito
MAX input and output descriptions” on page 18.
Adobe Premiere Pro
The following table shows the formats that are supported on the Mojito MAX
video outputs for monitoring your captured video, based on your selected capture
format in Adobe Premiere Pro.
Matrox Mojito MAX output
Capture format
HDMI
SDI
Component
NTSC1
PAL
Composite
NTSC
1
486p @ 23.98 fps
S-Video
PAL
480p @ 59.94 fps
NTSC
720p @ 50 fps
720p @ 50 fps
—
—
720p @ 59.94 fps
720p @ 59.94 fps
—
—
1080i @ 25 fps
1080i @ 25 fps
—
—
1080i @ 29.97 fps
1080i @ 29.97 fps
—
—
1080p @ 23.98 fps
1080p/PsF @ 23.98 fps
1080PsF @ 23.98 fps
—
—
1080p @ 24 fps
1080p/PsF @ 24 fps2
—
—
—
—
—
—
—
1080p @ 25 fps
1080p/PsF @ 25 fps
1080PsF @ 25 fps
1080p @ 29.97 fps
1080p/PsF @ 29.97 fps
1080PsF @ 29.97 fps
1080p @ 30 fps
1080p @ 30 fps
—
1
NTSC and PAL are the only supported capture formats when capturing to a Matrox .m2v file.
2
1080PsF @ 24 fps is supported on the SDI output only.
Appendix C, Matrox Mojito MAX Supported Output Formats
275
Avid editing applications
The following table shows the formats that are supported on the Mojito MAX
video outputs for monitoring your captured video, based on your project’s video
format in Avid editing applications.
Matrox Mojito MAX output
Project video format
(capture format)1
HDMI
SDI
Component
30i NTSC or
23.976p NTSC
NTSC
25i PAL or 25p PAL
PAL
720p/23.976 or
720p/59.94
720p @ 59.94 fps
S-Video
Composite
—
—
720p/25 or 720p/50
720p @ 50 fps
—
—
1080i/50 (25 fps)
1080i @ 25 fps
—
—
1080i @ 29.97 fps
1080i/59.94 (29.97 fps)
1080p/23.976
1080p/PsF @ 23.98 fps
—
—
1080PsF @ 23.98 fps
—
—
2
1080p/24 fps
1080p/PsF @ 24 fps
—
—
—
1080p/25 fps
1080p/PsF @ 25 fps
1080PsF @ 25 fps
—
—
1080p @ 29.97 fps
1080p/PsF @ 29.97 fps
1080PsF @ 29.97 fps
1
Video is always captured to the project’s video format.
2
1080PsF @ 24 fps is supported on the SDI output only.
Supported video output formats for monitoring
276
Matrox A/V Tools
The following table shows the formats that are supported on the Mojito MAX
video outputs for monitoring your captured video, based on your editing video
format in Matrox A/V Tools.
Matrox Mojito MAX output
Editing video format
(capture format)1
HDMI
SDI
Component
NTSC
Composite
NTSC
PAL
486p @ 23.98 fps
S-Video
PAL
480p @ 59.94 fps
NTSC
720p @ 50 fps
720p @ 50 fps
—
—
720p @ 59.94 fps
720p @ 59.94 fps
—
—
1080i @ 25 fps
1080i @ 25 fps
—
—
1080i @ 29.97 fps
1080i @ 29.97 fps
—
—
1080p @ 23.98 fps
1080p/PsF @ 23.98 fps
1080PsF @ 23.98 fps
—
—
1080p @ 24 fps
1080p/PsF @ 24 fps2
—
—
—
—
—
—
—
1080p @ 25 fps
1080p/PsF @ 25 fps
1080PsF @ 25 fps
1080p @ 29.97 fps
1080p/PsF @ 29.97 fps
1080PsF @ 29.97 fps
1080p @ 30 fps
1080p @ 30 fps
—
1
Video is always captured to the editing video format.
2
1080PsF @ 24 fps is supported on the SDI output only.
Appendix C, Matrox Mojito MAX Supported Output Formats
277
Matrox MAX H.264 Capture and Telestream
Wirecast
The following table shows the formats that are supported on the Mojito MAX
video outputs for monitoring the source material that you’re capturing using the
Matrox MAX H.264 Capture application, or streaming/recording using
Telestream Wirecast, based on your selected video input format. For a list of the
video input formats supported on the various Mojito MAX inputs, see
“Supported input formats” on page 254.
Matrox Mojito MAX output
Video input format
HDMI
SDI
Component
NTSC
S-Video Composite
NTSC
PAL
PAL
720p @ 50 fps
720p @ 50 fps
—
—
720p @ 59.94 fps
720p @ 59.94 fps
—
—
1080i @ 25 fps
1080i @ 25 fps
—
—
1080i @ 29.97 fps
1080i @ 29.97 fps
—
—
1080PsF @ 23.98 fps
1080PsF @ 23.98 fps
—
—
1080PsF @ 24 fps
—
—
1080PsF @ 25 fps
—
1080PsF @ 24 fps
1080PsF @ 25 fps
—
—
—
1080PsF @ 29.97 fps
1080PsF @ 29.97 fps
—
—
1080p @ 23.98 fps
1080p @ 23.98 fps
—
—
—
1080p @ 24 fps
1080p @ 24 fps
—
—
—
1080p @ 25 fps
1080p @ 25 fps
—
—
—
1080p @ 29.97 fps
1080p @ 29.97 fps
—
—
—
1080p @ 30 fps
1080p @ 30 fps
—
—
—
Supported video output formats for monitoring
278
Your notes
Appendix C, Matrox Mojito MAX Supported Output Formats
D
Matrox Mojito MAX Specifications
This appendix provides
specifications for Matrox Mojito
MAX.
280
General
• Video formats
NTSC, PAL, NTSC-EIAJ, 1080i/p/PsF, 720p, 576p, 480p
• Regulatory compliance
$
FCC Class A, CE Mark Class A, ACMA C-Tick Mark, VCCI
$
RoHS Directive 2002/95/EC
• Matrox Mojito MAX card
$
Standard three-quarter-length PCIe (x1) card
$
PCB dimensions
•
233.6 mm × 111.2 mm (9.2” × 4.4”)
•
overall thickness including components: 18.7 mm (0.75”)
• Typical operating voltages and current consumption
Voltage
+3.3 V
+12 V
Current
0A
1.6 A
Total power consumption: 20 watts
Connections
• Genlock reference input
$
HD analog tri-level sync or SD analog bi-level black burst
$
BNC connector (75 Ω), terminated
• RS-422
D-sub connector (9 pins)
Video
• HDMI
$
$
HD input and output
•
HDMI Y,Cb,Cr 4:2:2 (10-bit) / RGB (8-bit)
•
Eight channels of embedded audio
•
Standard Type C HDMI connector (19 pins)
SD output
•
HDMI Y,Cb,Cr 4:2:2 (10-bit) / RGB (8-bit)
•
Eight channels of embedded audio
•
Standard Type C HDMI connector (19 pins)
• SDI
$
HDTV input
•
HD-SDI with eight channels of embedded SDI audio
•
24-bit, 48 kHz
Appendix D, Matrox Mojito MAX Specifications
281
$
$
$
•
Compliant with SMPTE 292M, SMPTE 299M
•
BNC connector (75 Ω), terminated
•
Equalized input for maximum cable length support
HDTV output
•
HD-SDI with 16 channels of embedded SDI audio
•
24-bit, 48 kHz
•
Compliant with SMPTE 292M, SMPTE 299M
•
BNC connector (75 Ω)
SDTV input
•
SD-SDI with eight channels of embedded SDI audio
•
24-bit, 48 kHz
•
Compliant with SMPTE 259M-C, SMPTE 272M
•
BNC connector (75 Ω), terminated
•
Equalized input for maximum cable length support
SDTV output
•
SD-SDI with 16 channels of embedded SDI audio
•
24-bit, 48 kHz
•
Compliant with SMPTE 259M-C, SMPTE 272M
•
BNC connector (75 Ω)
• S-Video and composite video input
$
$
SDTV input
•
PAL, NTSC, NTSC-EIAJ
•
BNC connectors (75 Ω), terminated
•
12-bit ADC
•
2x oversampling
•
Anti-aliasing filtering
•
Automatic gain control
SDTV output
•
PAL, NTSC, NTSC-EIAJ
•
BNC connectors (75 Ω)
•
12-bit DAC
•
8x oversampling
• Analog component video input
$
HDTV input
•
EIA-770.3 compliant
Connections
282
$
$
$
•
BNC connectors (75 Ω)
•
12-bit ADC
•
Anti-aliasing filtering
HDTV output
•
EIA-770.3 compliant
•
BNC connectors (75 Ω)
•
12-bit DAC
•
2x oversampling
SDTV input
•
Betacam, Betacam SP (NTSC and NTSC-EIAJ)
•
SMPTE/EBU N10 (PAL)
•
BNC connectors (75 Ω)
•
12-bit ADC
•
4x oversampling
•
Anti-aliasing filter
SDTV output
•
Betacam, Betacam SP (NTSC and NTSC-EIAJ)
•
SMPTE/EBU N10 (PAL)
•
BNC connectors (75 Ω)
•
12-bit DAC
•
8x oversampling
• Analog video performance
$
$
HDTV analog component video (passthrough)
•
Frequency response Y: +/- 1.0 dB max to 28 MHz
•
Frequency response Pb, Pr: +/- 1.0 dB max to 12 MHz
•
Component channel delay: < 8 ns
•
Component S/N (Y, Pb, Pr): > 50 dB, unified weighted
SDTV S-Video and composite video (passthrough)
•
Amplitude error: < 4%
•
Frequency response: +/- 0.5 dB max to 5 MHz
•
2T pulse response: 1.0% max
•
Diff. Gain: < 2%, Diff. Phase: < 1 degree
•
S/N: > 58 dB, unified weighted
Appendix D, Matrox Mojito MAX Specifications
283
$
SDTV analog component video (passthrough)
•
Frequency response Y: +/- 0.5 dB max to 5 MHz
•
Frequency response Pb, Pr: +/- 1.0 dB max to 2 MHz
•
Component channel delay: < 8 ns
•
Component S/N (Y, Pb, Pr): > 54 dB, unified weighted
Audio
• Unbalanced analog audio outputs
$
1x stereo pair
$
RCA connectors
$
Output impedance: 100 Ω
$
Line level with 18 db headroom (max level)
• Balanced analog inputs
$
1x stereo pair
$
2x XLR female connectors
$
Nominal levels: +4 dBu (+4 dBm)
$
Input impedance: Hi-Z
$
Headroom (max level): 18 db
• Balanced analog outputs
$
2x stereo pair
$
4x XLR male connectors
$
Nominal levels: +4 dBu (+4 dBm)
$
Output impedance: 50 Ω
$
Headroom (max level): 18 db
• Unbalanced digital (AES/EBU) input
$
1x stereo pair
$
BNC connector (75 Ω), terminated
$
Maximum input level: 5 Vp-p
• Unbalanced digital (AES/EBU) output
$
1x stereo pair
$
BNC connector
$
Output impedance: 75 Ω
$
Nominal output level: 1Vp-p
Connections
284
• Balanced and unbalanced analog audio performance
$
Sampling frequency: 48 kHz (using 64x oversampling)
$
Quantization: 24 bits
$
S/N: > 85 db
$
THDN at 1 kHz, nominal level: < 0.05%
Environmental specifications
• Minimum/maximum room operating temperature1: 0 to 50º C
• Minimum/maximum storage temperature: –40 to 75º C
• Maximum altitude for operation: 3,000 meters
• Maximum altitude for transport: 12,000 meters
• Operating humidity: 20 to 80% relative humidity (non-condensing)
• Storage humidity: 5 to 95% relative humidity (non-condensing)
1
This temperature range assumes that your Matrox Mojito MAX hardare doesn’t
exceed the maximum operating temperature as explained in “Monitoring your Mojito
MAX’s operating temperatures” on page 247.
Appendix D, Matrox Mojito MAX Specifications
E
Matrox Customer Support
This appendix explains how
you can register your Matrox
product and obtain customer
support.
286
How to get Matrox customer support
If you have a problem that you’re unable to solve by referring to the
documentation for your Matrox product, please contact your Matrox
representative. He or she should be able to help you quickly correct any
installation or system configuration problem.
If your representative is unable to solve your problem, contact Matrox for further
information and assistance.
Registration
You can register your Matrox product in the Matrox Support section of our
website at www.matrox.com/video/support.
Only registered users are entitled to customer support, software updates, special
promotional offers, and access to our user forum.
Keep up to date with our website
In addition to registering your Matrox product, our website offers you
up-to-the-minute information about Matrox products and software updates. Be
sure to place our site in your favorites or bookmarks:
www.matrox.com/video/support.
Contacting us
Matrox is proud to offer worldwide customer support. Please use the contact
information for your Matrox product and area as provided on our website at
www.matrox.com/video/support.
Appendix E, Matrox Customer Support
Index
Numerics
10-bit editing workflow
See Matrox 10-bit editing workflow
10-bit Uncompressed codec
See Matrox 10-bit Uncompressed codec
264 files
capturing 230, 236
exporting directly from Premiere Pro 219
exporting from Adobe Media Encoder 215
3D viewing mode
setting for HDMI output 33, 121, 146
3ds Max WYSIWYG plug-in
See Autodesk 3ds Max WYSIWYG plug-in
5.1 audio output mapping
in Adobe Premiere Pro 40
8-bit Uncompressed codec
See Matrox 8-bit Uncompressed codec
A
A/V Tools
See Matrox A/V Tools
AAC files
capturing with Matrox MAX H.264 files 236, 239
recording using Matrox ISO recording tool 187,
192
Adobe After Effects WYSIWYG plug-in
about 168
required steps 169
See also Matrox WYSIWYG plug-ins
Adobe Connect
using with Mojito MAX 176
Adobe Encore
capturing material for DVD authoring 41
exporting sequence for DVD authoring 58
playback settings 30
transcoding to Matrox MAX H.264 for Blu-ray 221
Adobe Flash Media Live Encoder
using with Mojito MAX 172
Adobe Media Encoder
exporting Matrox AVI files 55
exporting Matrox MAX H.264 files 214
Adobe Photoshop WYSIWYG plug-in
about 168
required steps 169
See also Matrox WYSIWYG plug-ins
Adobe Prelude
playback settings 30
Adobe Premiere Pro
5.1 audio output mapping 40
adding voice-over to sequence 58
applying Matrox video effects 73
applying Matrox video transitions 73
audio output settings 36
available Matrox effects 72
capture settings 41
closed captioning settings 37
creating Matrox chroma key effects 102
overview 101
creating Matrox color correction
primary 76
secondary 91
creating Matrox luma key effect 109
overview 108
creating Matrox wipe transitions 112
creating new project 28
displaying warnings in Events panel 28
exporting sequence to Matrox AVI file 55
exporting sequence to Matrox MAX H.264 file 219
exporting sequence to tape 65
genlock settings 35, 48
loading sequence preset 29
playback settings 30
setting up Matrox device control 61
setting up scratch disks 28
using Matrox 10-bit editing workflow 29
video output settings 30, 48
video preview settings 39
Adobe SpeedGrade
playback settings 116
Advanced pulldown
description of 251
See also Standard pulldown
After Effects WYSIWYG plug-in
See Adobe After Effects WYSIWYG plug-in
Analog audio volume
adjusting 36, 125, 150, 199, 235
288
Anamorphic video
capturing 44, 128, 153, 238
outputting 32, 120, 145
Aspect ratio
conversion setting for video capture 43, 128, 153,
238
conversion setting for video output 32, 119, 145
selecting for source video 42, 128, 152, 232
selecting for video capture 43
Audio applications
setting Mojito MAX as default audio playback device 9
Audio capture settings
in Adobe Premiere Pro 44
in Avid editing applications 126
in Matrox A/V Tools 155
in Matrox MAX H.264 Capture 238
monitoring audio levels 47, 129, 157
selecting channels 45, 156, 239
Audio levels
monitoring for capture 47, 129, 157
Audio Mixer
using for voice-over 59
Audio output settings
in Adobe Premiere Pro 36, 40
in Avid editing applications 124
in Matrox A/V Tools 150
in Matrox MAX H.264 Capture 234
in Telestream Wirecast 198
Audio Punch-In mode
selecting 131
Audio Punch-In tool
using for voice-over 130, 131
Audio tool
testing input levels for voice-over 132
Audio Track Mixer
using for voice-over 59
Auto balance
performing using color correction 86
Auto key
performing using the chroma key graph 105
performing using the selective key graph 99
Autodesk 3ds Max WYSIWYG plug-in
about 168
required steps 170
Index
See also Matrox WYSIWYG plug-ins
Autodesk Combustion WYSIWYG plug-in
about 168
required steps 170
See also Matrox WYSIWYG plug-ins
Automatic Gain Control
selecting 43, 129, 153, 233
AVI files
capturing using Adobe Premiere Pro 41
capturing using Matrox A/V Tools 151, 159
capturing using Matrox MAX H.264 Capture 230,
237
exporting using Adobe Premiere Pro 55
naming in Matrox A/V Tools 159
recording using Matrox ISO recording tool 187,
191, 194
rendering using Matrox VFW codecs 206, 209
Avid editing applications
adding voice-over to sequence 130
audio output settings 124
capture settings 126
creating new project on Mojito MAX 118
exporting sequence to tape 133
genlock settings 122
video output settings 118
B
Bit depth
selecting for SDI audio output 37, 150
selecting for video output 34
Blu-ray Disc
capturing files for 230, 236
exporting files for 214, 215
transcoding files for 221
C
Calibration, monitor
See HDMI monitor calibration
Capture format
selecting for audio capture 45, 155, 238
selecting for video capture 43, 152, 236
supported on Mojito MAX
in Adobe Premiere Pro 255
in Avid editing applications 256
in Matrox A/V Tools 257
in Matrox MAX H.264 Capture 258
289
Capturing using Adobe Premiere Pro
monitoring audio levels for 47
specifying Matrox settings for 41
Capturing using Avid editing applications
monitoring audio levels for 129
specifying Matrox settings for 126
Capturing using Matrox A/V Tools 159
from tape without device control 160
live video 159
monitoring audio levels for 157
specifying audio settings for 155
specifying video settings for 151
Capturing using Matrox MAX H.264 Capture
about 230
how to capture clips 231
saving and deleting custom presets 240
specifying capture format settings for 236
specifying input settings for 232
specifying output settings for 234
starting the capture 240
Center cut video
capturing 44, 128, 153, 238
outputting 32, 120, 145
Center zoom video
capturing 44, 128, 153, 238
outputting 32, 120, 145
Chroma clamper effect
using 114
Chroma filtering and chroma interpolation
for rendering to VFW files 209
Chroma key effect
creating 102
overview 101
using the chroma key graph 105
Chroma key graph
using 105
Chroma key shadow effect
creating 102
overview 101
Clip information
updating in Matrox A/V Tools 160
Closed captioning
embedding in MP4 file during export 220
embedding in video output 37
overlaying on video output 38
Codec
Matrox 10-bit Uncompressed 43, 56, 152, 237
Matrox 8-bit Uncompressed 43, 56, 152, 237
Matrox DV/DVCAM 56
Matrox DVCPRO 56
Matrox DVCPRO HD 56
Matrox DVCPRO50 56
Matrox MAX H.264 224
Matrox MPEG-2 IBP 43, 53
Matrox MPEG-2 I-frame 43, 51, 56, 153, 237
Matrox MPEG-2 I-frame HD 43, 51, 153
Matrox VFW codecs 209
Color balance graph
using 83
Color correction
adjusting tonal range 82
color matching clips 87
performing an auto balance 86
primary 76
secondary 91
using the selective key graph 96
using RGB curves 80
using Split View in the Program Monitor 79
using the color balance graph 83
using the luma mapping graph 89
using the Split View option 78
Color matching clips
using color balance graph 87
Color pass effect
creating with secondary color correction 100
Color space conversion options
for rendering to VFW files 208
Combustion WYSIWYG plug-in
See Autodesk Combustion WYSIWYG plug-in
Compressor
selecting for VFW render 209
Computer system
connecting to your Mojito MAX I/O cable 12
requirements 2
Connections
available on Matrox Mojito MAX 12
HDMI 13
Mojito MAX I/O cable to computer 12
RS-422 15
SDI 13
typical 16
Index
290
Customer support 286
D
Device control
in Avid editing applications
capturing using RS-422 126
exporting to tape using RS-422 133
RS-422
connection to Mojito MAX 15
RS-422 in Adobe Premiere Pro
capturing material 41
exporting to tape 65, 66
obtaining frame-accurate export to tape 68
requirements for using 64
setting up 61
RS-422 in Avid editing applications
requirements for using 134
Digtal Cut tool
setting output for 133
Drivers
installing for Mojito MAX hardware 7
updating for display card 9
Drop frame time code
displaying in Matrox A/V Tools 141
DVL files
saving and loading 161
E
Editing video format
selecting in Matrox A/V Tools 141
Effect presets 73
Error notification
in Events panel 28
with X.info 247
Events panel
displaying warnings in 28
Exporting to disk
Matrox AVI files 55
Matrox MAX H.264 files 214
MPEG-2 for DVD authoring 58
See also Rendering using VFW programs
Exporting to tape
using Adobe Premiere Pro 65
with Matrox device control 65, 66
using Avid editing applications 133
Index
Expression Encoder
See Microsoft Expression Encoder
eyeon Fusion WYSIWYG plug-in
about 168
required steps 170
See also Matrox WYSIWYG plug-ins
F
Firmware
updating for Mojito MAX 7
Flash Media Live Encoder
See Adobe Flash Media Live Encoder
Fusion WYSIWYG plug-in
See eyeon Fusion WYSIWYG plug-in
G
General settings
in Matrox A/V Tools 142
Genlock settings
in Adobe Premiere Pro 35, 48
in Avid editing applicationsr 122
in Matrox A/V Tools 148, 158
Genlock source
selecting 35, 122, 148
Genlock video format
selecting 36, 123, 149
GFX files
installing for Matrox wipes 8
uninstalling 10
GoToMeeting
using with Mojito MAX 176
H
H.264 files
capturing 230
exporting 214
Hardware information
displaying with X.info 246
Hardware, Mojito MAX
before you install 6
installing 7
safety precautions 6
specifications 280
HDMI monitor calibration
calibrating your HDMI monitor 22
291
enabling and disabling the Matrox HDMI calibration settings 24
loading Matrox HDMI calibration settings 24
overview 22
HDMI, connection to Mojito MAX 13
Hibernation mode
using with Mojito MAX 9
Horizontal delay
adjusting 36, 123, 149
I
Input aspect ratio
selecting 42, 128, 152, 232
Input format
selecting 42, 128, 152, 173, 177, 182, 185, 188,
232
Input source
selecting for audio capture 45, 128, 155, 233
selecting for audio streaming 173, 177, 182, 186,
203
selecting for Matrox ISO audio recording 189
selecting for Matrox ISO video recording 189
selecting for video capture 42, 128, 152, 232
selecting for video streaming 173, 177, 182, 185,
203
Inputs
AES audio 19
analog XLR audio 19
component (Y, Pb, Pr) 18
composite (CVBS) 19
HDMI 18
REF 18
SDI 18
S-Video (SY/SC) 18
Internet site, Matrox 286
ISO recording
See Matrox ISO recording
Isolating colors in a clip
using secondary color correction 100
K
Key colors
modifying using the chroma key graph 105
Keyboard shortcuts
for Matrox A/V Tools 165
L
Letterbox video
capturing 44, 128, 153, 238
outputting 32, 120, 145
License agreement v
VFW software codecs ix
LightWave 3D WYSIWYG plug-in
See NewTek LightWave 3D WYSIWYG plug-in
Live media streaming
using Adobe Connect 176
using Adobe Flash Media Live Encoder 172
using GoToMeeting 176
using Livestream Procaster 180
using Microsoft Expression 172
using Skype 176
using StudioCoast vMix 202
using Telestream Wirecast 184
Livestream Procaster
using with Mojito MAX 180
Luma key effect
creating 109
overview 108
using the luma key graph 110
Luma key graph
using 110
Luma mapping graph
using 89
Luminance range settings
for rendering to VFW files 208
M
M2V files
capturing using Adobe Premiere Pro 41, 50
Mask
applying to Matrox effects 74
applying using Select Mask 75
Matrox
contacting us 286
WWW site 286
Matrox 10-bit editing workflow
in Adobe Premiere Pro 29
Matrox 10-bit Uncompressed codec
selecting for capture in A/V Tools 152
selecting for capture in Matrox MAX H.264 Capture
237
Index
292
selecting for capture in Premiere Pro 43
selecting for export in Premiere Pro 56
Matrox 8-bit Uncompressed codec
selecting for capture in A/V Tools 152
selecting for capture in Matrox MAX H.264 Capture
237
selecting for capture in Premiere Pro 43
selecting for export in Premiere Pro 56
Matrox A/V Tools
about 136
audio capture settings 155
audio output settings 150
CAM button 137
capture settings 151
capturing clips 159
capturing from tape without device control 160
capturing live video 159
changing In/Out icons 160
clip ID and clip names 159
clip list 161
adding clips 161
copying clips 162
deleting clips 162
detaching and resizing 163
moving clips 162
playing back clips 161
saving and loading 161
defining options 140
Disk button 137
editing clips 160
general settings 142
genlock settings 148, 158
grabbing a single-frame image 163
keyboard shortcuts 165
pop-up menu 138
time code
displaying 140
transport controls 138
video capture settings 151
video output settings 144
Matrox DV/DVCAM codec
selecting for export in Premiere Pro 56
selecting for Matrox ISO recording 191
selecting for VFW render 209
Matrox DVCPRO codec
selecting for export in Premiere Pro 56
Index
selecting for Matrox ISO recording 191
selecting for VFW render 209
Matrox DVCPRO HD codec
configuring for VFW render 210
selecting for export in Premiere Pro 56
selecting for Matrox ISO recording 191
selecting for VFW render 209
Matrox DVCPRO50 codec
selecting for export in Premiere Pro 56
selecting for Matrox ISO recording 191
selecting for VFW render 209
Matrox effect patterns
installing 8
removing 10
Matrox HDMI Calibration Utility
using 22
Matrox ISO recording 187
AAC files 187, 192
naming convention 194
audio file type selection 192
audio settings 192
AVI files 187, 191
naming convention 194
codec settings 191
file naming conventions 194
input selection 190
input states and video formats 197
log file (Record.Log) 198
MOV files 187, 191
naming convention 194
MP4 files 187, 191
naming convention 194
output settings for monitoring 198
presets
copying and pasting 194
saving and loading 193
record path 190
session 195
starting and stopping 195
status indicator 196
time code 195
video file type selection 191
WAV files 187, 192
maximum duration 196
naming convention 194
293
Matrox MAX H.264 Capture
about 230
how to capture clips 231
saving and deleting custom presets 240
specifying capture format settings for 236
specifying input settings for 232
specifying output settings for 234
starting the capture 240
Matrox MAX H.264 codec 214
for transcoding in Adobe Encore 221
specifying settings for 224
Matrox MAX H.264 files
capturing 231
exporting directly from Premiere Pro 219
exporting from Adobe Media Encoder 214
Matrox MPEG-2 IBP codec
configuring in Adobe Premiere Pro 53
Matrox MPEG-2 I-frame + Alpha codec
configuring for VFW render 211
selecting for VFW render 209
Matrox MPEG-2 I-frame codec
configuring for VFW render 211
configuring in Premiere Pro 51
selecting for capture in A/V Tools 153
selecting for capture in Matrox MAX H.264 Capture
237
selecting for capture in Premiere Pro 43
selecting for export in Premiere Pro 56
selecting for VFW render 209
Matrox MPEG-2 I-frame HD + Alpha codec
configuring for VFW render 211
selecting for VFW render 209
Matrox MPEG-2 I-frame HD codec
configuring for VFW render 211
configuring in Premiere Pro 51
selecting for capture in A/V Tools 153
selecting for capture in Premiere Pro 43
selecting for VFW render 209
Matrox Mtx.utils
installing 7
removing 10
Matrox Player
setting as audio device 30
setting as video device 30, 116
Matrox Uncompressed HD + Alpha codec
configuring for VFW render 210
selecting for VFW render 210
Matrox Uncompressed HD codec
configuring for VFW render 210
selecting for VFW render 210
Matrox Uncompressed SD + Alpha codec
configuring for VFW render 210
selecting for VFW render 210
Matrox Uncompressed SD codec
configuring for VFW render 210
selecting for VFW render 210
Matrox USB webcam emulator
about 176
specifying settings for 176
Matrox VFW software codecs
installing 8
removing 10
Matrox video effects
filtering in Effects panel 72
how to apply 73
Matrox video transitions
filtering in Effects panel 72
how to apply 73
Matrox WYSIWYG Control Panel
using 168
Matrox WYSIWYG plug-ins
about 168
installing 8
re-installing 8
removing 8
required steps 169
Matrox X.info
using 244
Media Composer
See Avid editing applications
Microsoft Expression Encoder
using with Mojito MAX 172
Mobile devices
capturing files for 230, 237
exporting files for 214, 215
Monitor calibration
See HDMI monitor calibration
Monitoring your system
with X.info 244
Index
294
MOV files
recording using Matrox ISO recording tool 187,
191, 194
MP4 files
capturing 230, 237
capturing with MPEG-2 I-frame AVI 238
exporting directly from Premiere Pro 219
exporting from Adobe Media Encoder 215
exporting with closed captioning 220
recording using Matrox ISO recording tool 187,
191, 194
MPEG-2 IBP codec
See Matrox MPEG-2 IBP codec
MPEG-2 I-frame codec
See Matrox MPEG-2 I-frame codec
MPEG-2 I-frame HD codec
See Matrox MPEG-2 I-frame HD codec
MTX files
loading Matrox HDMI calibration settings 24
saving Matrox HDMI calibration settings 23
N
NewsCutter
See Avid editing applications
NewTek LightWave 3D WYSIWYG plug-in
about 168
required steps 170
See also Matrox WYSIWYG plug-ins
Non-drop frame time code
displaying in Matrox A/V Tools 141
NTSC setup level
selecting for analog video 33, 120, 146, 199, 234
O
Outputs
AES audio 20
analog RCA audio 20
analog XLR audio 20
component (Y, Pb, Pr) 19
composite (CVBS) 20
HDMI 19
SDI 19
S-Video (SY/SC) 19
Index
P
Photoshop WYSIWYG plug-in
See Adobe Photoshop WYSIWYG plug-in
Pillarbox video
capturing 44, 128, 153, 238
outputting 32, 120, 145
Playback settings
defining for Adobe applications 30, 116
defining for Avid editing applications 118
Preconfigured Matrox video effects
applying 73
Premiere Pro
See Adobe Premiere Pro
Primary Matrox I/O device
selecting 247
Proc amps
adjusting using Matrox color correction 92
Procaster
See Livestream Procaster
Pulldown
description of advanced 251
description of standard 250
Pulldown method
selecting for output 32, 119, 145
R
Registering your Matrox product 286
Rendering using Matrox VFW codecs
before you start 207
selecting color space conversion options 208
selecting compressor 209
Returning procedure iii
RGB
setting for component output 33, 120, 146, 199,
235
setting for HDMI output 33, 121, 146, 199, 235
RGB curves
using 80
RS-422
connection to Mojito MAX 15
See also Device control
RS-422 device control
in Adobe Premiere Pro
obtaining frame-accurate export to tape 68
requirements for using 64
295
setting up 61
in Avid editing applications
requirements for using 134
using for capture 126
using for export to tape 133
S
SC/H Phase
adjusting 34, 121, 147, 199, 235
Scratch disks
specifying 28
Scrubbing audio
specifying preroll/postroll frames 143
Scrubbing mode
selecting 142
SDI, connection to Mojito MAX 13
Secondary color correction
creating a color pass effect 100
Select Mask
using 75
Selective key graph
using 96
Sequence preset
loading for Adobe Premiere Pro 29
Service, returns iii
Setup level
selecting for NTSC analog video 33, 120, 146,
199, 234
Skype
using with Mojito MAX 176
Sleep mode
using with Mojito MAX 9
Software installation
Matrox effect patterns 8
Matrox Mtx.utils 7
Matrox VFW software codecs 8
Matrox WYSIWYG plug-ins 8
Sound card
using to output audio from Avid editing applications
125
Specifications, Matrox Mojito MAX 280
Split View
using 78
working with in the Program Monitor 79
Standard pulldown
description of 250
See also Advanced pulldown
StudioCoast vMix
using with Mojito MAX 202
Style conventions, used in this manual 3
Super black
allowing for output video 34, 122, 147
Super white
allowing for output video 34, 122, 147
Symphony
See Avid editing applications
System information
displaying with X.info 244
System requirements 2
T
Technical support 286
Telestream Wirecast
Matrox ISO recording 187
media streaming 184
using with Mojito MAX 184
Temperature
monitoring for Mojito MAX hardware 247
TGA files
creating using Matrox A/V Tools 163
Time code
displaying in Matrox A/V Tools 140, 141
Transcoding
to Matrox MAX H.264 for Blu-ray 221
U
USB webcam emulator
See Matrox USB webcam emulator
V
Vertical delay
adjusting 36, 123, 149
Video capture settings
in Adobe Premiere Pro 41
in Avid editing applications 126
in Matrox A/V Tools 152
in Matrox MAX H.264 Capture 236
Video for Windows programs 206
rendering Matrox AVI file 209
Index
296
Video for Windows software codecs
installing 8
removing 10
Video formats
expressed in this manual 3
See also Video input formats
See also Video output formats
Video input formats
supported on Mojito MAX 254
See also Capture format
Video output formats
supported on Mojito MAX during capture
in Adobe Premiere Pro 274
in Avid editing applications 275
in Matrox A/V Tools 276
in Matrox MAX H.264 Capture 277
supported on Mojito MAX during playback
in Adobe Premiere Pro, Prelude, and Encore 260
in Adobe SpeedGrade 265
in Avid editing applications 268
in Matrox A/V Tools and Matrox WYSIWYG
270
supported on Mojito MAX using Telestream Wirecast 277
Video output settings
in Adobe Premiere Pro 30
in Avid editing applications 118
in Matrox A/V Tools 144
in Matrox MAX H.264 Capture 234
in Telestream Wirecast 198
Video preview settings
in Adobe Premiere Pro 39
Video processing format 143
vMix
See StudioCoast vMix
Voice-over
adding to sequence
in Adobe Premiere Pro 58
in Avid editing applications 130
connection and setup
in Adobe Premiere Pro 58
in Avid editing applications 130
recording
in Adobe Premiere Pro 59
in Avid editing applications 131
Index
VU meters 47, 157
W
Warnings
displayed for hardware issues by X.info 247
displaying in Adobe Premiere Pro’s Events panel 28
re-enabling using X.info 245
Warranty i
WAV files
capturing using Adobe Premiere Pro 44
capturing using Matrox A/V Tools 155
capturing using Matrox MAX H.264 Capture 236,
237, 239
exporting with Matrox MAX H.264 files 215, 218
recording using Matrox ISO recording tool 187,
192, 194
Web
capturing files for 230, 237
exporting files for 214, 215
Webcam applications
See Matrox USB webcam emulator
Wipe transitions
creating 112
Wirecast
See Telestream Wirecast
WWW site, Matrox 286
WYSIWYG Control Panel
See Matrox WYSIWYG Control Panel
WYSIWYG plug-ins
See Matrox WYSIWYG plug-ins
X
X.info
error notification 247
hardware information 246
monitoring temperatures 247
selecting primary Matrox I/O device 247
system information 244
using 244
XMP files
created for M2V clips 50
Y
YUV
setting for component output 33, 120, 146, 199,
235
297
setting for HDMI output 33, 121, 146, 199, 235
Index
298
Your notes
Index
Compliance Statements
USA
FCC Compliance Statement
Remark for the Matrox hardware products supported by this guide
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 instructions 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.
WARNING
Changes or modifications to this unit not expressly approved by the party responsible for the compliance could void the user’s authority to operate this equipment. The
use of shielded cables for connection of the equipment and other peripherals is required to meet FCC requirements.
Canada
(English) Industry Canada Compliance Statement
CAN-ICES-3 (A)/NMB-3 (A)
Remark for the Matrox hardware products supported by this guide
These digital devices do not exceed the Class A limits for radio noise emission from digital devices set out in the Radio Interference Regulation of Industry Canada.
(Français) Conformité avec les exigences de l’Industrie Canada
CAN-ICES-3 (A)/NMB-3 (A)
Remarque sur les produits matériels Matrox couverts par ce guide
Ces appareils numériques n’émettent aucun bruit radioélectrique dépassant les limites applicables aux appareils numériques de Classe A prescrites dans le Règlement sur
le brouillage radioélectrique édicté par Industrie Canada.
Europe
(English) European user’s information – Declaration of Conformity
Remark for the Matrox hardware products supported by this guide
These devices comply with EC Directive 2006/95/EC for a Class A digital device. They have been tested and found to comply with EN55022/CISPR22 and
EN55024/CISPR24. In a domestic environment these products may cause radio interference in which case the user may be required to take adequate measures. To meet
EC requirements, shielded cables must be used to connect the equipment and other peripherals. These products have been tested in a typical Class A compliant host
system. It is assumed that these products will also achieve compliance in any Class A compliant system.
(Français) Informations aux utilisateurs Européens – Déclaration de conformité
Remarque sur les produits matériels Matrox couverts par ce guide
Ces unités sont conformes à la directive communautaire 2006/95/EC pour les unités numériques de classe A. Les tests effectués ont prouvé qu’elles sont conformes aux
normes EN55022/CISPR22 et EN55024/CISPR24. Le fonctionnement de ces produits dans un environnement résidentiel peut causer des interférences radio, dans ce cas
l’utilisateur peut être amené à prendre les mesures appropriées. Pour respecter les impératifs communautaires, les câbles de connexion entre l’équipement et ses
périphériques doivent être blindés. Ces produits ont été testés dans un système hôte typique compatible classe A. On suppose qu’ils présenteront la même compatibilité
dans tout système compatible classe A.
(Deutsch) Information für europäische Anwender – Konformitätserklärung
Anmerkung für die Matrox Hardware-Produktunterstützung durch dieses Handbuch
Diese Geräte entsprechen EG Direktive 2006/95/EC für ein digitales Gerät Klasse A. Sie wurden getestet und entsprechen demnach EN55022/CISPR22 und
EN55024/CISPR24. In einer Wohnumgebung können diese Produkte Funkinterferenzen erzeugen, und der Benutzer kann genötigt sein, entsprechende Maßnahmen zu
ergreifen. Um EG-Anforderungen zu entsprechen, müssen zum Anschließen des ausrüstung und anderer Peripheriegeräte abgeschirmte Kabel verwendet werden. Diese
Produkt wurden in einem typischen, der Klasse A entsprechenden, Host-System getestet. Es wird davon ausgegangen, daß diese Produkte auch in jedem Klasse A
entsprechenden System entsprechend funktionieren.
(Italiano) Informazioni per gli utenti europei – Dichiarazione di conformità
Nota per i prodotti hardware Matrox supportati da questa guida
Questi dispositivi sono conformi alla direttiva CEE 2006/95/EC relativamente ai dispositivi digitali di Classe A. Sono stati provati e sono risultati conformi alle norme
EN55022/CISPR22 e EN55024/CISPR24. In un ambiente domestico, questi prodotti possono causare radiointerferenze, nel qual caso all’utente potrebbe venire richiesto
di prendere le misure adeguate. Per soddisfare i requisiti CEE, l’apparecchiatura e le altre periferiche vanno collegati con cavi schermati. Questi prodotti sono stati provati
in un tipico sistema host conforme alla Classe A. Inoltre, si dà per scontato che questi prodotti acquisiranno la conformità in qualsiasi sistema conforme alla Classe A.
(Español) Información para usuarios europeos – Declaración de conformidad
Observación referente a los productos de hardware de Matrox apoyados por este manual
Estos dispositivos cumplen con la directiva de la CE 2006/95/EC para dispositivos digitales de Clase A. Dichos dispositivos han sido sometidos a prueba y se ha
comprobado que cumplen con las normas EN55022/CISPR22 y EN55024/CISPR24. En entornos residenciales, estos productos pueden causar interferencias en las
comunicaciones por radio; en tal caso el usuario deberá adoptar las medidas adecuadas. Para satisfacer las disposiciones de la CE, deberán utilizarse cables apantallados
para conectar el equipo y demás periféricos. Estos productos han sido sometidos a prueba en un típico sistema anfitrión que responde a los requisitos de la Clase A. Se
supone que estos productos cumplirán también con las normas en cualquier sistema que responda a los requisitos de la Clase A.
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