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SOFTWARE VERSION 3.6.1
WWW.PRG.COM
MBOX
®
STUDIO
USER MANUAL
AutoPar®, Bad Boy®, Best Boy 4000®, PRG Series 400®, MBOX®, MBOX Extreme®, OHM™, Super Node™, V476®, V676®, Virtuoso®,
Virtuoso® DX, Virtuoso® DX2, and VL6C+™ are trademarks of Production Resource Group, LLC, registered in the U.S. and other countries.
Mac®, QuickTime® and FireWire® are registered trademarks of Apple Computer, Inc.
All other brand names which may be mentioned in this manual are trademarks or registered trademarks of their respective companies.
This manual is for informational use only and is subject to change without notice. Please check www.prg.com for the latest version.
PRG assumes no responsibility or liability for any claims resulting from errors or inaccuracies that may appear in this manual.
MBOX® Studio User Manual
Version as of: April 24, 2013
PRG part number: 02.9800.0003.36 A
Production Resource Group
Dallas Office
8617 Ambassador Row, Suite 120
Dallas, Texas 75247 www.prg.com
MBOX® Studio User Manual
©2013 Production Resource Group, LLC. All Rights Reserved.
TABLE OF CONTENTS
Introduction
Chapter 1. Overview
Chapter 2. Installation
Chapter 3. Operation
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STUDIO USER MANUAL
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Chapter 4. Advanced Features
IV
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Chapter 5. Pixel Mapping
Chapter 6. Video Input
Chapter 7. Content Creation
Appendix A. MBOX Remote Application
Appendix B. Parameter Mapping
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STUDIO USER MANUAL
V
REVISION HISTORY
This manual has been revised as follows:
Version
02.9800.0003.36
02.9800.0003.36 A
Release Date
January 8, 2013
April 24, 2013
Notes
Initial release.
Updated to software version 3.6.1
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INTRODUCTION
About This Manual
This manual provides necessary information regarding product safety, installation, and operation for the following
PRG product:
+
MBOX® Studio
This manual applies to software version 3.6.1.
Familiarizing yourself with this information will help you get the most out of your PRG product.
WARNING:
It is important to read ALL accompanying safety and installation instructions to avoid damage to the product and potential injury to yourself or others.
Important Note About Consoles!
MBOX is designed to work with moving-light consoles. Consequently, most of its features are not compatible with conventional consoles. MBOX Studio v 3.6.1 works with the following moving-light consoles: PRG V676™, V476™ and Virtuoso® consoles, MA Lighting grandMA 1 and 2 consoles, High End Systems Hog® 3 or iPC consoles
(running Hog 3 software only), the ChamSys MagicQ console, and the Martin Maxxyz™ console. MBOX Studio v 3.6.1
is not compatible with High End Systems Hog® 2 or iPC consoles running Hog 2 software. Neither PRG nor High End
Systems will support the use of MBOX Studio v 3.6.1
on any console running Hog 2 software.
In general, if you are using MBOX with any console other than Vx76, Virtuoso or grandMA, it is a good idea to contact
PRG for more information.
Additional Documentation
For more information, refer to the following manuals:
+ MBOX® Designer User Manual (02.9800.0001.xx)
+
MBOX® Director User Manual (02.9800.0002.xx)
+ PRG Lighting Systems Networking Guide (02.3004.1000.0)
+ Vx76 Software User Manual (02.9814.0001.xx)
For more information regarding DMX512 systems, refer to the DMX512/1990 & AMX 192 Standards publication available from United States Institute for Theatre Technology, Inc. (USITT).
USITT
6443 Ridings Road
Syracuse, NY 13206-1111 USA
1-800-93USITT (phone) www.usitt.org
For more information regarding Art-Net protocol, refer to the specification for Art-Net II Ethernet Communication
Standard available from Artistic Licence Ltd.
Artistic Licence (UK) Ltd (Registered Office)
24 Forward Drive, Christchurch Avenue,
Harrow, Middlesex, HA3 8NT, United Kingdom
+44 (0)20 88 63 45 15 (phone)
+44 (0)20 84 26 05 51 (fax) www.artisticlicence.com
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Training Videos
Mbox Media Server Training Videos are available on the PRG website. The following is a list of videos that apply to
MBOX Studio:
+ Patching: http://www.prg.com/mbox-media-server-training-video-4/
+
CITP - Streaming Feedback & Thumbnails: http://www.prg.com/mbox-media-server-training-video-6/
+
Daemon Application: http://www.prg.com/mbox-media-server-training-video-7/
+ Media Server Concepts: http://www.prg.com/mbox-media-server-training-video-10/
+
Play Modes: http://www.prg.com/mbox-media-server-training-video-11/
+
Transitions: http://www.prg.com/mbox-media-server-training-video-13/
+ Texture Effects: http://www.prg.com/mbox-media-server-training-video-17/
+
3D Functionality: http://www.prg.com/mbox-media-server-training-video-18/
+
Shutters & Keystone: http://www.prg.com/mbox-media-server-training-video-19/
+ Codes, Storage, and Media Types: http://www.prg.com/mbox-media-server-training-video-20/
Direct links to the videos are also provided throughout this manual, where applicable.
Customer Service
For technical assistance, contact the PRG International Service Center or contact your nearest PRG office. Contact information for all PRG office locations can be found on our website at: www.prg.com/about-us/locations/
PRG Dallas (International Service)
8617 Ambassador Row, Suite 120
Dallas, Texas 75247 USA
Phone: 214.630.1963
Fax: 214.630.5867
Service Fax: 214.638.2125
Service Email: [email protected]
For Mbox support, please contact: [email protected]
For additional resources and documentation, please visit our website at: www.prg.com
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1.
OVERVIEW
This chapter provides an overview of MBOX features and operations.
+
GENERAL OVERVIEW
+
FIXTURE DESCRIPTIONS
+
OPERATING MODES
GENERAL OVERVIEW
Features
MBOX allows advanced video playback and effects to be integrated into an automated lighting system. Powerful real time rendering, built-in effects, and interactive 3D objects provide tools for combining pre-recorded movies and still images to create visual imagery, which can be displayed by any projector, LED wall, plasma screen or LED lighting fixture.
MBOX can be programmed and operated directly from many Art-Net or DMX512-based moving light console, allowing ease of coordination between movie/image effects and lighting cues. Intricate MBOX sequences can be generated instantly on site without the need for offline video processing, rendering or editing. Custom media files are easy to add to the server for playback on demand.
The MBOX Studio software runs on an Apple® Mac® computer controlled by Art-Net. All movies, still images and 3D objects are stored directly on the hard drive, allowing instant access to any file.
Feature List
+
Two operating modes: Single Output and Panoramic Wide.
+
Accepts live video input with an optional video capture card, USB/FireWire device or QuickTime input device.
+
1080p HD Video playback. (Playback resolutions are affected by the capability of the computer hardware.)
+
Up to eight interactive, scalable layers that can be configured as backgrounds or 3D objects.
+
Digital gobos that can be used as backgrounds, masks, or for advanced layer blending effects.
+
Pixel mapping.
+
Mapping of textures (movies or still images) to 3D objects and digital gobos.
+
Real-time crossfades and transitions between movies or images on the same layer.
+
Effects: 1 on Master and 2 on each layer. Over 100 Effects including blur, pixelate, LED wall twirl, color exposure and alpha adjustment that can be used in combination on any layer.
+
User-configurable aspect ratio and output resolution control.
+
Control by Art-Net.
+
Stores up to 65,535 movies and still images.
+
Stores up to 255 3D objects.
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Concepts of Operation
Basic Function
The basic function of MBOX is to control dynamic media - such as movie clips, still images and 3D objects - during a stage show or other performance. The resulting visual imagery is output to a display device such as a projector, LED wall, plasma screen or LED lighting fixture. Built-in features allow the media to be manipulated "on the fly" so that changes can be made during the actual performance and immediately seen on stage. This eliminates the need to modify media clips in advance, which can take considerable time. MBOX is like a combination of After Effects,
Photoshop, Maya, and Studio Cut Pro which can be used in real-time to project custom imagery.
Control
The MBOX Studio software can be controlled by either a lighting console or a Mac computer running OS X 10.6.7 or greater and MBOX Director software. In either case, the console or computer can be used to configure and control all aspects of MBOX media content and playback parameters.
+
Console - Since a lighting console would typically be used in a stage production, this method is a convenient and logical way to consolidate all stage control elements into a single device using Art-Net.
+
MBOX Director - MBOX Director is a software application that allows control of MBOX Studio from either another
OS X machine or optionally from the same computer running MBOX Studio depending on the required performance of the MBOX Studio software.
This manual assumes that a lighting console is being used to control MBOX. For instructions on using MBOX Director, refer to the separate MBOX Director User Manual (02.9800.0002.xx).
Primary Components
A typical MBOX system is made up of several different components that work together to achieve the final result. The following simplified diagram illustrates how the components work together:
CONSOLE
FINAL MEDIA OUTPUT
(to projector, LED wall, plasma screen, etc.)
MAC COMPUTER
(stored media)
Audio, MIDI, SMPTE, SDI video, etc.
Figure 1-1: Simplified Component Diagram
MBOX Studio is a software product that requires a suitable Mac computer to achieve desired performance levels.
The following items should be considered:
+
Video Card
+
Hard Drive Configuration (RAID, SSD)
+
Number of Processor Cores and Processor Speed
+
Capture Cards
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FIXTURE DESCRIPTIONS
MBOX Environment Concept
In order to get the most from MBOX Studio, it is important to understand the overall concept of the MBOX environment, which is essentially a building platform for "virtual scenery." The final "look" of this virtual scenery is comprised of multiple layers
. These layers can be made up of backgrounds and 3D objects, all of which are controllable elements within the MBOX environment. Likewise, each of these elements has a set of controllable parameters such as color, texture, size, and rotation. When all combined, it provides an infinite number of possibilities for the virtual scenery.
At first, the interaction of these elements may seem complicated, but as they are broken down into individual components, you will find that they are similar to automated lighting parameters which you may already be familiar with. The only difference is that luminaire parameters coincide with physical hardware - e.g. a motor that controls an iris - while the MBOX parameters coincide with software elements. For example, just as you would control a luminaire’s beam color from a console encoder or keypad, you can control the color of an MBOX 3D object.
Once configured, the entire MBOX environment (i.e. the virtual scenery) can be output on any compatible video device connected to the machine.
The following illustration is a virtual representation of each element within the MBOX environment. (More detailed descriptions of each element are provided on subsequent pages.)
3D OBJECT
* DIREC TIONAL
SPOT L IGHT
3D OBJECT
*
DIREC TIONAL
SPOT L IGHT
3D OBJECT
*
DIREC TIONAL
SPOT L IGHT
3D
OBJECT
AMBIENT
LIGHT
3D OBJECT 2
6
3D OBJECT 3
3D OBJECT 1
3D OBJECT 4
* Spot Light positions and intensities are fixed.
*
DIREC TIONAL
SPOT L IGHT
Figure 1-2: MBOX 3D Environment
Note:
This concept drawing shows 4 backgrounds and
4 objects. The system allows up to 8 active entities at one time. For example, 8 backgrounds; 4 backgrounds and 4 objects; 3 backgrounds and 5 objects; 1 background and 7 objects; etc.
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Training Video: Mbox Media Server Training Video Chapter 10: Media Server Concepts
Fixture and Layer Overview
The MBOX environment is based on the concept of layers
. The system supports up to 8 active layers at a time, each having its own particular elements and parameters. The elements include a choice of still images, movies, or 3D objects. The parameters include settings such as opacity, texture, intensity, color, blending, rotation, and many more.
The combination of all 8 layers results in the final "look" of the virtual scenery.
For control purposes, each layer is considered a "fixture" by the console. Some consoles may use one fixture to control 2D textures and another fixture to control 3D objects. In addition, a set of overall master settings are considered as yet another fixture. All parameters are controlled by mapping them to control channels on the console.
An appendix at the end of this manual contains tables for all channels used with the MBOX Studio software.
The fixtures and their controllable parameters are outlined below. To help illustrate these concepts, an image of the corresponding "Heads Up Display" is shown. The HUDs provide feedback regarding the values (VAL) assigned to the parameters (PARAM). The HUDs will be covered in more detail later in this manual.
MASTER
+ Fixture: Master
-
Pixel-Mapping Output Level
-
Pixel-Mapping Control
-
Effect 1 with Controls A & B
-
Master Color: Red, Green, Blue
-
Intensity
HUD Control
-
Audio Output Level
+ Fixture:
Keystone
Keystone Controls 1a - 4b
+ Fixture:
Shutter (Framing)
-
Color: Red, Green, Blue
Scale
-
Soft Edge
-
Shutter Controls 1a - 4b
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LAYERS
Fixture:
Texture (2D)
+
Effect 1 with Controls A & B
+
Effect 2 with Controls A & B
+
Blend Mode
+
Drawmode
+
Color: Red, Green, Blue
+
Opacity
+
Texture Folder Number
+
Texture File Number
+
Playmode
+
Playspeed
+
In-Frame
+
Out-Frame
+
Sync Stream and Sync Offset
(Timecode and Layer-to-Layer)
+
Frame Blending
+
Crossfade Type and Timing
Fixture:
Objects (3D)
+
X and Y Position
+
Scale
+
X and Y Scale
+
X, Y, Z Rotation
+
Object File Number
8
For a complete parameter maps, refer to "Parameter Mapping" on page 97.
Fixture, Layer and Parameter Details
Master
The Master function is to provide mastering controls for the final output color, intensity, pixel-mapping intensity and control, and audio output volume.
The Master fixture has overall color mixing and one texture effect that affect the composite image created by the twelve content layers.
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Guidelines:
+ The intensity level must be above 0 to see any output.
Shutter Control
MBOX has shutters, much like a Leko, which can be used to mask off areas of the final image. The shutters can be thought of as sitting in between the viewer and the layers. They do not affect any one layer or group of layers, only the final image. Shutters can be positioned, rotated, colored, and softened.
Guidelines:
+
Each shutter has two channels of control for its position/angle.
Keystone Control
The Keystone fixture allows the final output image to be "straightened up" (i.e., squared) in case it is being projected onto a surface with an irregular angle. This is accomplished by controlling geometrical keystone adjustments. To allow precise keystone corrections, there are individual X and Y controls for each corner of the output.
Guidelines:
+
The keystone adjustments act upon the composite image created by the 8 content layers.
Layers: Texture + Object
Each of the 8 content layers incorporates both Texture (2D) and Object (3D) functionality. The Texture element displays still images and movies as backgrounds. The Object element displays 3D objects or digital gobos. The combination of the Texture and Object elements make up the final composition of each layer.
CAUTION! Even if you are not actively using 3D objects or digital gobos, there are object-related controls on each layer that can affect a background texture on that layer (e.g. X & Y Scale, Z Rotation).
Texture
In addition to texture selection, the Texture controls allow further manipulation of each layer. For the most part, the
Texture controls act in 2D space. Each layer can be colored individually; the position, aspect ratio, and scale can be changed; the playback mode, rate, in/out points, and frame blending can be controlled; the transition type and timing can be modified; and up to three effects can be applied. There are over 100 different texture effects to select from, and each effect has up to two modifying controls.
IMPORTANT! MBOX can transition from one texture to another on the same layer. This feature makes MBOX both powerful and easy to use. The ability to transition on the same layer speeds up programming and can help in live situations. A transition style (e.g. dissolves, wipes, bleeds) and a time for the Texture transition can be set on each layer. If a layer’s transition time control is set above 0, MBOX will use the layer’s current transition mode to change from one image to the next in the time designated.
Object
The Object controls allow selection and manipulation of 3D objects and digital gobos. The controls allow further manipulation of the layer in 3D space, as well as, control over transitions and effects within the 3D environment. The
Object controls include scaling on X and Y axes and rotations on all three axes.
Training Video: Mbox Media Server Training Video Chapter 18: 3D Functionality
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OPERATING MODES
MBOX Studio Modes
MBOX Studio has two modes of operation: Studio (Single Output), and Studio Pan Wide (Panoramic Wide). The primary purpose of the operating modes is to configure the screen arrangement and required Art-Net universes.
Note: MBOX Studio modes are not compatible with MBOX Designer or MBOX Extreme profiles.
The MBOX Setup tab, covered later in this manual, is used to change the operating mode. (Refer to
"Setup" on page 27). The modes function as follows:
Studio Mode (Single Output)
The Studio mode provides one video output from the server. (This is the most common mode of operation.) The output has one set of camera, shutter, and keystone fixtures. It can display up to 8 content layers.
Figure 1-3: Example of Single Output Mode
Studio Pan Wide Mode (Panoramic Wide)
The Studio Pan Wide mode provides two video outputs from the server. The two outputs create a single display surface and the overlap and blending between the two outputs can be adjusted. Outputs can be arranged either horizontally or vertically. The two outputs share one set of lighting, camera, shutter, and keystone fixtures. Any of the server's 8 possible content layers can be displayed on either screen or across the overlap with a portion on each screen.
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Figure 1-4: Example of Panoramic Wide Mode
2.
INSTALLATION
This chapter provides instructions for installing the MBOX Studio software and getting started.
+
SETUP
+
GETTING STARTED
SETUP
Installing MBOX Studio Software
The MBOX Studio installer will place the required files in several places on your computer. You must have the necessary rights to install software on that computer (password authentication).
+
The MBOX Studio software will be stored in: /Applications/Mbox Studio
+
Utility applications will be stored in: /Applications/Mbox Utilities
+
Thumbnail and Web images will be stored in: /Library/Application Support/Mbox
The MBOX Studio installer requires the creation of an Mbox folder at the root level of your boot hard-drive, or the creation of an alternate Mbox folder plus an alias to that folder. The alias must be placed at the root level of your boot hard-drive. The installer will create the necessary alias for you.
Pre-existing Mbox folders will be renamed (rather than deleted) by the installer, allowing you to move existing content and preferences files from an older version of MBOX software to a newer version.
Content - both 2D and 3D - and preferences must be stored in the Mbox folder. The MBOX Studio installer will not place any content in the Mbox folder, but demo content is available as a free download from the MBOX webpages on the PRG website.
Thumbnails and Apache HTTP Server
As noted above, MBOX Studio places thumbnail and web images on the hard-drive of the server. These items are intended to be accessed remotely by either the MBOX Director software or any web browser. Access to the images requires the Apache HTTP Server functionality to be enabled on the MBOX server. The MBOX Studio installer will automatically enable the Apache server on your computer.
Suggested Hardware Configurations
MBOX Studio performance options:
+ Highest performance - Apple MacPro with 8 or more CPU cores, boot hard-drive and separate RAID or SSD drive for content, Blackmagic Decklink video capture card, ATI 4870 or 5870 graphics card, 4GB or more RAM.
+ Medium performance - Apple iMac with quad-core processor, boot hard-drive and separate hard-drive for content, ATI 6770 or 6790 graphics card, 4GB or more RAM, external video output adapter for connection to stage device.
+ Portable system - Apple MacBook Pro or Mac Mini with quad-core processor, boot hard-drive and separate hard-drive for content (external Thunderbolt drive or SSD recommended), 4GB or more RAM, external video adapter for connection to stage device.
MBOX Studio computer requirements:
+
Mac OSX 10.6.7 operating system or newer
+
Intel processor Mac computer
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GETTING STARTED
Overview
When launched, the MBOX Studio software will initially show a splash screen. After a brief pause, the application window will appear. During this time the software will scan and index all media. Depending on the preferences, the software may enter Fullscreen mode. In Fullscreen mode, if no control signal is being received the output screen may be black. This is normal and you can exit Fullscreen mode at any time (see below).
While in Window mode, the application’s user interface will be shown. This window contains three tabs: Mbox, Setup, and Pixel Map as shown in this sample screen below:
Upon launch, the Mbox tab will be selected. This tab shows the server’s video output. The Setup tab is used to configure the server preferences and operating modes, while the Pixel Map tab is used for configuration of the Pixel
Map and its Art-Net output. Refer to
"Application Window" on page 26 for more in-depth information about these
functions.
While MBOX is running, there are two important key combinations to note:
+ To toggle between Fullscreen or Window mode, press [
F].
+ To quit MBOX, press [
Q].
Training Video: Mbox Media Server Training Video Chapter 4: Patching
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MBOX Daemon
MBOX network communication involves a software application called MBOX Daemon. This software is required on all MBOX servers to enable remote feedback. When the MBOX application is launched (on the MBOX server), it will automatically launch the last version of MBOX Daemon used on that computer.
To view the Daemon interface, choose it in the dock or press [
D] while the MBOX application is in
Window mode.
The MBOX Daemon screen will always reflect the Network Interface setting as configured in the Setup tab (see above). The Network Interface setting can be changed at the MBOX Daemon screen, however, this is not recommended since the setting WILL NOT be retained if the MBOX is restarted. A sample MBOX Daemon screen is shown below:
Training Video: Mbox Media Server Training Video Chapter 7: Daemon Application
Adding Content
Use the following guidelines when adding content:
+
2D content (Textures) must be placed inside the /Mbox/Media folder.
+
3D content (Objects) must be placed inside the /Mbox/Models folder.
+
The use of both Textures and Objects relies on the correct structure of their parent folders and the correct numbering of folders and files. You may add up to 65535 Textures and up to 255 Objects.
+
/Mbox/Media Folder - Texture files may be numbered from 0 to 255 and must be placed into folders numbered 0 to 255 inside the Media folder. Folders 0 and 255 are used for built-in functionality and should be avoided, but can be used if necessary.
+
/Mbox/Models Folder - Object files may be numbered from 0 to 255 and must be placed into a folder numbered 0 inside the Models folder. The MBOX Studio installer will have created this folder and placed some files inside. You may replace these files as desired.
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Patching Fixtures
In order to control MBOX, it will need to be "patched" to a control console. Patching allows channels to be mapped to the controllable elements of the MBOX environment. Use the following guidelines when patching:
+ The MBOX Studio software, using eight layers of playback, requires at least 434 channels.
+
One Art-Net universe per server is required.
+
It is not recommended to patch more than one MBOX server to a single universe, as this will limit the number of layers that can be used.
+ By default, MBOX Studio is configured to respond to Art-Net universe 0.
CAUTION! For ease of operation, the many channels that make up one MBOX server are divided into multiple fixtures. Unless you are an advanced user, it is strongly recommended that you patch all fixtures that are part of the
MBOX profile. If you do not patch all of the associated fixtures, undesirable results will occur! The parameter mapping charts on the following page shows all fixtures that make up a single MBOX server. The fixtures must be patched in the order shown.
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Parameter Mapping
Summary: Single Output
Start
76
118
160
202
1
12
20
34
244
286
328
Size
42
42
42
42
11
8
14
42
42
42
42
Type
Master
Keystone
Shutter
Layer 1
Layer 2
Layer 3
Layer 4
Layer 5
Layer 6
Layer 7
Layer 8
Universe
1st
369 Total
Channels
Summary: Dual Output - Panoramic Wide
Universe Start
76
118
160
202
1
12
20
34
244
286
328
Size
42
42
42
42
11
8
14
42
42
42
42
Type
Master
Keystone
Shutter
Layer 1
Layer 2
Layer 3
Layer 4
Layer 5
Layer 6
Layer 7
Layer 8
1st
369 Total
Channels
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Playing Back Video - Quick Start
Once a console has been connected, the MBOX fixtures patched, and the display device turned on, video can be played back.
IMPORTANT! The following procedure assumes that some content has been placed at Folder 001 / File 001.
To immediately play back video:
Step 1. At console, select Master fixture and set its intensity to full.
Step 2. Select Layer 1 fixture and set its opacity to full. (Note that when viewing in the HUD, opacity will be shown as "opac.") A white square should appear in the center of the display:
Step 3. With Layer 1 still selected, set Texture Folder to a value of 1. Then set Texture File to a value of 1. An image should appear on the display.
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Step 4. At this point, adjust the folder and file parameters to change to different media content. For example, changing to another folder and file might result in the following clip:
Step 5. To apply an effect to the layer, for example, set the Effect 1 parameter to 2 (sepia tone) and set the Effect 1
Control A to 255 (full). This should result in a sepia version of the same clip:
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3.
OPERATION
This chapter provides instructions for configuration and operation of MBOX Studio.
+
MEDIA CONTENT
+
APPLICATION WINDOW
+
HEADS UP DISPLAYS (HUDS)
+
ENHANCING MBOX PERFORMANCE
MEDIA CONTENT
File Type Specifications
MBOX supports Apple QuickTime® technology for rendering and playback of images and movie files. The following file types are supported:
Still Image Files
JPEG (.jpeg or .jpg), PNG (.png), TARGA (.tga), TIFF (.tiff or .tif) for still image files.
+ For still images not requiring transparency, JPEG is the best choice.
+ To use files with transparency, PNG is the best choice.
Movie Files
QuickTime format (.mov) for movie files. Spatial-compressed codecs will always provide better playback results than temporarily-compressed codecs (e.g. H264 and MP4 are not recommended and MPEG2 is not supported).
+
Photo JPEG – Medium (50-60%) is the recommended codec for movie clips.
+
Apple ProRes - Light or Normal are also recommended, High Quality can be used if you make sure the bitrate is not too high (150Mb/sec or lower).
Note: File extensions are not case-sensitive. For example, files with extension .JPG and .jpg are the same.
3D Model Files (Objects)
Custom 3D models can be added to the MBOX. The server supports the Alias Wavefront™ 3D .obj format. There are several third-party applications that can export files to this format, including Maya®, Poser®, Bryce®, and
Cheetah3D to name a few.
File extensions for 3D object files:
+
.obj is the standard format.
Additional File Types
Scalable Vector Graphics (.svg) for digital gobo files, .aiff for audio files, and .rtf or .txt for text files.
Recommended Practices
JPEG and PNG file types are recommended for creating still image content for optimum output from MBOX. For movie content, Photo-JPEG (50% - 60% quality) is the recommended codec for optimum video playback. MBOX will play movies that use other QuickTime codecs, if the appropriate codec is installed on the server. However, sometimes those movies may not load as quickly or play as smoothly as movies that use the preferred codecs. For best results, all custom content should be created in a single, common format. The Photo-JPEG codec is strongly recommended.
(Refer to "Creating Custom Content" on page 82 for more information.)
Note: In this manual, "preferred movie codecs" refers to Photo-JPEG, DV/DVCPro, Apple Intermediate, Animation,
Apple ProRes 422 (Proxy, Light, Normal and High Quality), and Apple ProRes 4444. All other movie codecs are considered "non-preferred."
Typically, movie files should not have embedded audio tracks, although embedded audio tracks in movies can be made to play. To completely remove audio tracks from movies, use your preferred application to re-render or export the movie without its audio tracks.
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If the file extension of a DV movie file is changed from .mov to .vid, MBOX will deinterlace the movie as it plays. The results of deinterlacing on the fly are not as good as when using deinterlaced content, but this means that interlaced content can be played without it looking as noticeable.
As is the case with all media servers, MBOX playback performance can decrease as the resolution of its media files increases. Content up to and including 1080p can be played, keeping in mind that higher-resolution files will sometimes lead to lower performance than smaller files. The amount of compression used when creating a file will also affect performance. Given equal file resolutions, higher quality (lower compression) files may not play as well as higher compression (lower quality) files. Depending on the final display device, high-resolution or low-compression files may not look better than lower-resolution, more highly-compressed files. For best results, try to find a compromise between quality and performance.
Media Content Management
MBOX Studio allows for a flexible media folder structure. Media can reside locally on the Mac hard-drive or on additional hard-drives or storage devices connected to the computer. Just be aware that using external devices is not recommended because playback performance can suffer.
At startup, the MBOX Studio software performs a media scan to search all folders that reside within the Mbox/Media and Mbox/Models folders on the hard-drive of the MBOX server. External media can be attached to these folders using aliases, provided the following guidelines are observed:
+ Aliases must link to folders on the supplemental media; they cannot be aliased to files.
+
An alias cannot refer to another alias.
+
The /Mbox/Media , and /Mbox/Models folders cannot be aliases.
Each time the MBOX server completes a media scan, a text file is created with all media files found and their corresponding combined file numbers. This text file can be found at
/Mbox/Media_Report.txt
Note: The initial media scan allows the locations of files to be resolved at startup, therefore the "distance" of a file from the main folder has no effect on the time required to find a file. In addition, the content in the
Media
folder is allowed to be nested (folders within folders) to a limit of 64 folders deep.
Folder and File Numbering
Media content files are arranged into individual "Library" folders within the
/Mbox/Media
or
/Mbox/Models
folders. Each folder name must begin with a 3-digit index value. In turn, each file within the
Library folder must be named using a 3-digit index value between
000 to 255 as a prefix in the case of the Media folder and must start with an index of 000 in the case of the Models folder.
Control channels on the console will be used to select a Library folder and the numbered file within that folder.
Mbox/Media
001.videos
001.rain.mov
002.drops.jpg
etc.
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Library folders within the
Media
folder must have a number prefix and can have a descriptive name separated from the number by a period or a space. For example:
025.Central Park or 025 Central Park
Files within each library folder must have a numerical prefix, can have a descriptive name if desired, and must have a three-letter file extension. Each of these parts should be separated by a period:
001.Great Lawn.jpg or 001.jpg
Movie and still image files may be numbered between 000 and 255 and placed in folders numbered 001 - 254. Models and digital gobos may be numbered between 000 and 255 and placed in folders numbered 001 - 255.
Avoid using folders 000 and 255 in the Media folder. You must use folder 000 in the Models folder.
Stock 3D objects, animated gobos, and digital gobo files are located in
Models
folder 000.
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Additional Media Content Organization Guidelines
+
Media folders 000 and 255 are reserved for default files and utility files respectively. The MBOX Studio software can use a video capture card to receive external video input. This input can be used to display video from an external source on any layer, as if it were content on the server's harddrive. You may also display video from a USB or FireWire® camera connected directly to the computer. To view video from the video inputs, select library 255 and either texture 254 or 255. The Setup tab allows assignment of up to two video inputs to these values. If no video capture card or camera is detected and diagnostics are enabled, it will show the
"No Camera" image on the display when requesting one of these media locations.
+ When adding content files, DO NOT duplicate existing folder and file number combinations. It is best to make new folders for custom content.
+
Leading zeros are not required when numbering folders or files, but they can help by making the file listing easier to read.
+
Folder 255, texture 000 will display the MBOX Art-Net universe and start address.
+ MBOX Studio scans for content upon startup. If new content is added while MBOX Studio is running, the Media and Models folders must be rescanned in order to use that new content. These folders can be rescanned while MBOX Studio is running by pressing [
R] on the server's keyboard or from the console by using the control channel on the Master fixture. There will be a brief pause in movie playback while the rescan takes place.
+
Media Folder 255 contains the following:
0: MBOX patch info
121-128: reserved for Layer Copy FX+ functionality for Layers 1-8 respectively
254-255: reserved for video inputs
Note: Refer to
"Layer Copy" on page 52 for more information about the Layer Copy feature.
No Camera
Address
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Adding Media Content
When adding content files, it is recommended that new, unique folder numbers be created for the custom content. It is possible to have more than one folder with the same numerical prefix, however, as long as the content files within such folders do not have the same numerical prefix. Also, folders need not have numerical prefixes.
CAUTION! Numbered content files will be assigned a folder number that is equal to the numerical prefix of their immediate parent folder. Therefore, using folders without numbers requires caution.
A file at this location:
Media/022.Water/BlueWater/001.SomeWater.mov
- will be assumed to be in folder 000, because the immediate parent of the numbered file has no numerical prefix
The correct method:
Media/BlueWater/022.Water/001.SomeWater.mov
- would work as desired, assigning the file to folder 022.
To add movies or image files:
Step 1. On the content drive, open Mbox/Media folder.
Step 2. At File menu, select New Folder and enter a unique 3-digit number (that is not already being used) followed by a descriptive name. For example, "075.mycontentfolder".
Step 3. Copy image and/or movie files into the new folder.
Step 4. For each file, add a unique 3-digit index value to each file (between 0-255) along with a descriptive name that includes the file extension. For example, "001.earth.jpg", "002.wind.mov", "003.fire.mov", etc. (Note the caution given above.)
To add 3D objects:
Step 1. On the content drive, open
Mbox/Models folder.
Step 2. Place files into the 000.Studio Models folder.
Step 3. For each file, add a unique 3-digit index value to each file (between 0-255) along with a descriptive name that includes the file extension. For example, "001.man.obj", "002.hammer.obj", "003.airplane.obj", etc.
(Note the caution given above.)
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Creating and Viewing Content Thumbnails
The MBOX Studio software can create thumbnail images of content placed on the hard-drive. To force an update of thumbnails by MBOX Studio, press [
T].
Thumbnail images are stored in a standard location on every server and are grouped with HTML files that allow any networked computer (Mac or PC) to use an HTML browser to view the thumbnails. Individual thumbnails can also be used by consoles connected to the server. The thumbnail files are located in folders on each server at
/Library/
Application Support/Mbox
. The HTML pages can be browsed by entering http://IP Address of remote server in the address line of the browser.
CAUTION! While thumbnails are being created, playback performance on the server may be severely affected.
Thumbnail creation time will depend on the amount of content in the
Media
and
Models
folders. While thumbnails are being created, you will not be able to view them from either a browser or the MBOX Remote application.
Console Interface Example
Once patched to an automated lighting console, MBOX can be controlled using the console’s interface. The following example shows the Media window offered by the PRG Vx76 series console. In this case, the window is displaying thumbnails for the Texture library media files. Basic controls - such Play, Stop, Rewind, Loop, etc. - are also available in the window.
Training Video: Mbox Media Server Training Video Chapter 6: CITP – Streaming Feedback & Thumbnails
Training Video: Mbox Media Server Training Video Chapter 20: Codes, Storage, and Media Types
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APPLICATION WINDOW
Overview
The MBOX Studio application window allows the server’s output to be viewed in either Window or Fullscreen mode on the preview monitor.
Fullscreen - While in Fullscreen mode, the server’s output (i.e., video) will be displayed at "full screen" without any user interface showing. In this mode, the output will also be visible on the Stage output of the Dual I/O module.
Window - While in Window mode, the application’s user interface will be displayed. In this mode, the output will NOT be visible on the Stage output of the Dual I/O module. The Window mode interface contains three tabs: Mbox, Setup, and Pixel Map as shown in this sample screen below:
Fullscreen Mode Window Mode
Output to: Preview (Monitor) and Stage Output to: Preview (Monitor) only
The function of the three Window mode tabs is as follows:
+
Mbox tab - used for previewing the server’s video output.
+
Setup tab - used to configure the server. Refer to "Setup" on page 27 for more details.
+
Pixel Map tab - used to configure the Pixel Map and its Art-Net output. Refer to
"Pixel Mapping" on page 65 for
more details.
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Setup
The Setup tab of the MBOX Studio application window is used to:
+ Set the operating mode and Art-Net universe for the MBOX Studio software.
+
Set the software to start in either Window or Fullscreen mode. For Window mode, the window size can be set. For
Fullscreen mode, the resolution can be set.
+
Input License Key to authorize the software.
+ Set a width and height for Textures.
+
Set the network port for CITP communications between MBOX Studio and MBOX Remote and/or any lighting console or visualizer that supports CITP and MSEX. (Refer to
"MBOX Daemon" on page 88 for more information
about using this setting with the MBOX Remote application.)
+
Configure video inputs.
+ Verify the configuration of the connected I/O module output sections.
+
Enable or disable Diagnostics, Deinterlace, Pixel Mapping, and AIFF Audio File Playback.
Sets Window Mode Preferences
Sets Fullscreen Mode Preferences
Sets Active
Area Preferences
Sets Operating Mode
Sets # of Layers
Sets Universe & Address
Enters License Key
Sets Screen
Arrangement
Preferences
Sets Network Sync Port
Sets Network CITP Port
Sets Local Video Inputs
"Diamonds" indicate that settings have been changed and a software restart is required to take effect.
Opens Error Log
Sets Texture Size
Rendering Rate
(Update Rate Divisor Setting)
Sets Options:
+
Diagnostics (it is recommended that this option be checked during show conditions)
+
Pixel Map Enable/Disable
+
AIFF Playback Enable/Disable (requires restart to take effect)
Refer to the following pages for in-depth explanations about each of these settings.
Note: The settings configured at this window are stored in a standard Mac Property List (.plist) format. This file, located at
/Mbox/MboxSettings.plist
, stores the startup settings for the MBOX Studio software and the variables that define its operating parameters: window size, screen size, etc. The most important of these settings can be adjusted from the Setup tab, however, some advanced settings can only be adjusted using MBOX Remote. Refer to
Remote Application" on page 87 for more information.
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Setup: Control
The Control section is used to set the operating mode, protocol, address and layer count for the server.
+
Mode - use this pop-up menu to select the desired mode. (Refer to "Operating
Modes" on page 10 for detailed information about each mode.) It is important
that the operating mode match the console profile that is being used. If these are not properly matched, there may be little or no control over MBOX!
+
Active Layers - use this pop-up menu to select the number of active layers for the server.
+
Control Universe - this field refers to the Art-Net universe that MBOX Studio is
"listening to" for control information. MBOX Studio responds to Art-Net data. When using an Art-Net connection, modify the server’s universe to match that of the control signal. There are several methods of referring to the 256 available universes within the Art-Net protocol. MBOX Studio numbers these universes 0 - 255 and, therefore, universe 0 is the first universe. Other Art-Net devices may call this first universe "universe 1" or "subnet 0:universe
0."
+ Source IP - this field shows the source IP address of the Art-Net that MBOX Studio is receiving on the universe selected immediately above. If no IP address or "0.0.0.0" is displayed, then there is no valid Art-Net being received on the selected universe.
Setup: Window Mode
The Window Mode section is used to configure the behavior of the MBOX Studio application window when not running in Fullscreen mode. This is intended to be an accurate representation of the fullscreen output while in Window mode.
+
Scale % - use this pop-up menu to specify a window size in relation to the fullscreen size. This number is a percentage of the Fullscreen mode. For example, choosing 75 would mean that the Window mode size is 75 percent smaller than the Fullscreen size.
The resulting window size will be shown under the menu (1024 x 819 in the example to the right).
+
At Startup - when this box is checked, the MBOX Studio software will start in Window mode. If it is not checked, the software will start in Fullscreen mode.
+
Aspect Comp. - when this box is checked, MBOX Studio will change the aspect ratio of Window mode to compensate for the aspect ratio value selected in the Fullscreen Mode setup area. By default, the Window mode will be sized to an exact percentage of the Fullscreen mode dimensions (80% of 1280 x 1024 is 1024 x 819) and the Fullscreen aspect ratio is ignored. However, to have the aspect ratio of the Fullscreen mode taken into account in Window mode, then check the "Aspect Comp" checkbox. This will cause the Window mode dimensions to take the Fullscreen aspect into account, sizing the window appropriately. Maintaining the correct aspect is critical for proper aspect viewing in Window mode.
For example
: NTSC SDI has a resolution of 720 x
480, but a true aspect ratio of 1.364. A window scale setting of 50% results in a window size of 360 x 240, which is an actual aspect ratio of 1.5 meaning that the image will be stretched. Checking the "Aspect Comp" checkbox will result in a window that is 327 x 240, thus keeping the aspect ratio at 1.364.
Setup: Fullscreen Mode
The Fullscreen Mode section is used to set the native resolution, frequency, and aspect ratio of the stage display device being used. It is not uncommon to change the
Fullscreen Mode settings since, for example, a standard definition projector would require different settings than an HD projector, etc.
Getting the desired results from any Fullscreen mode setting requires the computer to be receiving EDID information that matches the Fullscreen mode settings. If no EDID is present or
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if the EDID does not match the setting entered here, MBOX Studio will not output the desired resolution and/or frequency when the software enters Fullscreen mode. Always confirm that you have the appropriate EDID before using the MBOX Studio software. The MBOX Dual I/O Module provides EDID data to the computer at all time, but when you are using MBOX Studio without the I/O Module, you will need to supply the appropriate EDID by connecting the output device (or some alternate EDID spoofing device) to the computer's video output(s).
If one of the standard modes is selected (e.g. SDI 720p), the resolution, frequency, and aspect values will be automatically set to match. If the custom mode is selected, then these values will need to be manually adjusted.
The Fullscreen mode settings will also be applied to the video signal that is output from the video connectors on the
Mbox server. Ensure that the display device is able to display an image when receiving a signal with that resolution and frequency. If the native aspect ratio of the display device does not match that of the Fullscreen mode, then it may still display an image, however, it will have the wrong aspect ratio.
Above all, it is more important to tailor the Fullscreen mode settings to the stage device, than to the preview monitor.
Incorrect EDID may allow output resolutions to be set that may not work with some preview monitors.
When a certain resolution setting for Fullscreen mode is requested, the operating system will review its EDID information to see if it is capable of that configuration. If a resolution is requested that does not match a resolution listed in the current EDID set - see
"Connected Display Devices and EDID" on page 35 for further details - there are
two possible outcomes:
+
If the EDID set does not have any resolutions that are higher than the requested setting, the operating system will pick a resolution from among those in the current EDID set. In this situation, MBOX Studio has no control over what resolution the operating system provides.
+ If the EDID set does have higher resolutions, then the next highest available resolution with a similar aspect ratio will be used and the selected fullscreen resolution will be inserted in the bottom-left corner of the screen, inside the higher resolution. The extra screen area outside the requested fullscreen dimension will be rendered in black and will not allow content to be placed there. As in the prior case, MBOX has no control over the actual resolution that the operating system provides. (See "Active Area Controls" section below for further information.)
CAUTION! It is strongly recommended that the Mac desktop resolution and refresh rate (frequency) be set to the same value as the Fullscreen mode settings. If these settings are not the same, then any devices connected to the media server's video outputs will temporarily lose sync when switching between the Fullscreen and Window modes or when the MBOX Studio software is relaunched. With some display devices, the results of losing sync, even temporarily, can be quite disruptive. With identical settings for the Mac desktop and MBOX Fullscreen mode, there will be no loss of sync. (Desktop resolution can be set in the Mac’s Preferences window.)
Note: The EDID from the MBOX Dual I/O module provides EDID with accuracy to two decimal places (e.g., 59.94Hz).
However, the Mac Displays Preference window rounds these frequencies to no decimal places (e.g., 60Hz).
Functionally, MBOX Studio is still able to request and receive the correct frequency when entering Fullscreen mode, but it is difficult and confusing to set the desktop to the same frequency. To assist in getting the best result, the
Displays drop-down in the menu bar shows frequencies with one decimal place (e.g., 59.9Hz) and therefore this should be used for accurate selection rather than the Displays Preference window.
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+
Force Desktop Mode - when this box is checked, MBOX
Studio will will force the Mac's desktop resolution and frequency to match the Fullscreen mode resolution and frequency. This will result in faster switching back and forth, and also prevent the SDI output from being interrupted.
Once the desktop resolution has been set, the operating system will remember the setting. By default it is off
(unchecked).
+ Active Area Controls - In some circumstances it may be necessary to use a large output resolution, but the content is not sized to fill that large of an output resolution (and you wish to keep pixels accurate) or the show has already been programmed using a smaller output resolution. For this purpose, MBOX Studio provides a way to embed a custom active screen area within the larger output area.
To use this feature, select "Custom" from the pop-up menu, then check the "Active Area Controls" checkbox. Enter values for Width and Height, which will define the smaller display area. The values for Left and Bottom can be used to position the interior area at a specific location within the larger area.
Note: For the purposes of the Active Area Controls, MBOX Studio’s screen origin is the bottom-left of the output raster. When Active Area controls are enabled, the Window mode size will be a percentage of the Active Area size rather than the Fullscreen mode size.
Setup: Rendering
MBOX Studio will always try to output video frames to the Mac graphics card at the same rate as the current output frequency. However, in some circumstances (e.g., a heavy load),
MBOX Studio is unable to deliver the full number of frames per second, and must automatically reduce the number of frames it delivers to the graphics card.
At the default setting of x1, MBOX Studio will automatically adjust its update rate. However, if there is poor playback smoothness, it may be necessary to force MBOX Studio to output a lower number of frames per second to the graphics card. The optional setting of ÷2 will force MBOX to output a number of frames per second equal to the numerical value that is 50% of the current fullscreen frequency (e.g., If fullscreen output frequency is 60Hz, then update rate would be set to 30fps.)
Note: This setting does not affect the output frequency of the graphics card.
Setup: License
The License section is used to enter a license key, as required.
The MBOX Studio software will run in a demo mode if it is not licensed.. In this case the video output will be watermarked.
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Setup: Texture Size
The Texture Size section is used to set the resolution of the largest content (still or movie) that will be displayed.
This setting should be kept to the lowest possible minimum, since overly large values can negatively affect performance. If you attempt to display content that is larger than the Texture
Size - either in width or height - it will automatically be reduced in size (in 50% increments) until it fits within the Texture Size. This automatic resizing affects image quality, but it is necessary to ensure oversized content can be displayed quickly. We recommend finding a compromise between keeping the Texture Size as small as possible and keeping your image quality as high as required.
CAUTION! If changes are made to the Texture Size, the MBOX Studio software must be restarted for these changes to take effect.
Setup: Screen Selection (Screen Arrangement)
When using the Single Output operating mode, MBOX can be setup to enter Fullscreen mode on Output 1 or Output 2 of the I/O module. The other output will continue to display the Mac desktop. Alternately, the "Mirror Screens" checkbox can be selected.
This will cause the single output to appear on both screens at the same time.
When using the Panoramic Wide operating mode, it is possible to set and adjust the overlap between the two screens and specify whether they are horizontally or vertically
arrayed. (Refer to "Operating Modes" on page 10 for more information about the various modes.)
CAUTION! Mirror Screens should not be used in show situations because it will cause one or the other of the output screens to tear. The functionality is included as a convenience. If you require a duplicate of either video output, you should use the appropriate video signal D/A or splitter.
Setup: Network
The Network section is used to configure the Sync and CITP settings when connecting two or more MBOX servers.
+
Sync - sets which port the server will use for layer-to-layer and network timecode sync.
+
CITP - selects the port that the MBOX Daemon application uses for communication. When changes are made here, it will be reflected 4-5 seconds
later in the Daemon screen. (Refer to "MBOX Daemon" on page 14 for more information.)
The available port choices will depend on which Ethernet cables are connected on the servers. It is important to plug in network cables first before making changes to these settings. The settings will be remembered in case the cable is ever unplugged, but if the cable is disconnected the pop-up will not show the port name because it is not active.
+
Ethernet 1 is the standard setting since it is typically connected.
+
The use of a second Ethernet port is recommended for all other communications besides Art-Net.
Training Video: Mbox Media Server Training Video Chapter 6: CITP – Streaming Feedback & Thumbnails
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Setup: Video Inputs
The Video Inputs section is used to select and configure the local video inputs to the server. These inputs can be a PCIe video capture card (e.g., Blackmagic Decklink) or a USB or FireWire camera.
When setting up the video inputs, make sure that none of the layers are attempting to display the video input that is being configured. It may also be necessary to open the Preference window (in the Mac System Preferences) to select the type of signal that is being received (SDI, Composite, or Component) by a video capture card.
Refer to "Video Input" on page 75 for more information.
Setup: Options
The Options section is used to enable/disable various software features.
+
No Diagnostics - Checking this box will disable the MBOX Studio automatic error-reporting images such as the icons for locked content, broken movie, etc.
(Checking this box is recommended during show situations).
+
Pixel Map Enable - Checking this box enables the processing of pixel-mapping patches and the resulting Art-Net output. (Unless you are using pixel-mapping, this box should be left unchecked.)
+
AIFF Playback - Checking this box enables AIFF audio playback. (The MBOX Studio software must be restarted for this change to take effect.) This checkbox has no effect on embedded audio playback. Refer to
Audio Tracks (in QuickTime Movies)" on page 55.
Setup: Media Log (Media Errors)
The Media Log button opens the MBOX Media Report window, which contains a list of reported errors. When MBOX Studio performs a media scan, it looks for errors or other conflicts and reports them. For example, two media files with the same number would be reported as an error in the log. The log also lists all media content found by MBOX Studio during the scan. If a file does not appear in this list, then the server will not attempt to play it.
The following is an example Media Report window:
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HEADS UP DISPLAYS (HUDS)
Overview
MBOX Studio provides Heads Up Displays (HUDs) that contain detailed information about the server. There are two methods for calling up most of these HUDs: the Camera fixture control channel or the keyboard. Refer to the chart on
one of the function keys listed below:
+
F1 - Master, Keystone, Shutter HUD
+
F2 - Texture HUD
+
F3 - Objects HUD
+
F4 - Control Universe HUD
+
F5 - Pixel-Mapping Previsualization
+
F6 - Pixel-Mapping Sample Areas
Example of the F4 HUD
+
F7 - Alignment Rectangles
+
F8 - Software Version HUD
+
F9 - Performance HUD
+
F10 - Timecode/Activity HUD
Note: On some keyboards it may be necessary to press a combination of the [fn] key and the function [F1 - F10] key since the function keys are mapped to OS-specific tasks.
Use the following guidelines when working with the HUDs:
+
Any HUD called from the keyboard will override a request for a HUD by the Master Control Channel.
+
Press [esc] to clear any keyboard HUD or press the activating key a second time.
+
HUDs activated from the keyboard can also be cleared from the control console through the use of the Camera
Control Channel.
+
[F2] and [F3] have a double toggle action. The first press is for the first six layers, while the second press is for layer 7 and 8.
+
[F5] and [F7] cycle through the two modes for Pixel-Mapping and Alignment Rectangles respectively: Mode 1,
Mode 2, Off. (Refer to
"Alignment Rectangles" on page 61 for more information.)
Activity/Timecode Monitoring
Program activity and timecode input can be monitored on the display. Since the screen may be programmed to go black at certain points in time, this provides an indication that MBOX
Studio is running, and also provides an on-screen indication of current timecode.
[F10] will cycle through the five display positions for the
Timecode/Activity HUD: center, top-right, top-left, bottomleft, and bottom-right. The position can also be set using the
Camera Control Channel (
).
The green rectangle moves across the gray notification area from left to right, indicating program activity. When valid timecode is being received (using the MBOX Remote application), the current timecode value (HH:MM:SS:FF) will be displayed in the notification area. If timecode stops, the timecode notification will go away, but the green activity rectangle will continue to move.
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Using the HUDs
The HUDs can be very useful during programming to view the values for fixtures and parameters. When making changes to the parameters, the values will be immediately reflected in HUD screens. For example, when making changes to parameters on the Layer 1 Fixture, they can be viewed in the Layer:Texture HUD (F2).
The following screen shows Layer 1 with the default levels:
This next screen shows Layer 1 after some modifications have been made to the effects, color and scale. Note the altered values in the LAYER 1 column:
All other HUDs will show the same type of changes to the parameter values. Paging through F1, F2, F3 and F4 HUDs can be helpful during programming to verify value changes, or for troubleshooting patch issues.
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DISPLAY DEVICES
Connected Display Devices and EDID
Without special hardware or software, a typical computer can only output video resolutions and frequencies that are supported by the display equipment that is connected to it. Display devices communicate their required input configurations via EDID (Extended Display Identification Data), which is essentially a communication protocol used between a device and a computer.
When connecting the MBOX video outputs to a display device, you must ensure that the display device's desired resolution and frequency appear in the Mac Displays Preference window so that it will be possible to select the
EDID spoofing device.
The currently selected EDID set for each output is shown in the Mac Displays Preference window. Each output of the
the name of the EDID set (e.g. PRG-MbE 60Hz as shown below) or the name of the captured EDID (e.g. LCD
2408WFP).
Figure 3-1: Mac Display Preferences
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ENHANCING MBOX PERFORMANCE
Recommended Practices
Use the following recommended practices to enhance the performance of your MBOX system:
+
Disable any screen-savers.
+
Disable File Sharing and Remote Management (any and all sharing, in fact).
+
Turn off automatic software updates.
+
Disable Spotlight on all connected hard-drives by placing them in the Privacy table.
+
Set Energy Saver settings to disable computer and display sleep, and to stop hard-drives from being put to sleep.
+
If using a laptop with two graphics modes, disable automatic switching (use max performance).
+
Disable Time Machine.
+
Disconnect the computer from the internet.
+
Disable Expose and Spaces.
+
Turn off FileVault and Firewall.
+
Turn off Bluetooth.
+
Turn off automatic data and time setting.
+
Quit all other applications!
+
Disable unnecessary background processes.
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4.
ADVANCED FEATURES
This chapter provides instructions for using the MBOX advanced features.
+
3D OBJECTS AND DIGITAL GOBOS
+
DRAWMODES
+
LAYER BLENDING MODES
+
LAYER COPY
+
TEXT FILES
+
AUDIO
+
SYNCHRONIZATION
+
ALIGNMENT RECTANGLES
+
EFFECTS AND TRANSITIONS
3D OBJECTS AND DIGITAL GOBOS
About 3D Models and Digital Gobos (Objects)
3D Model and Digital Gobo files are arranged into individual folders within the
/Mbox/Models
folder.
Lighting
All 3D models and digital gobos require some amount of lighting to be properly visible. MBOX Studio uses default lighting settings for 3D objects, which is not adjustable. You may turn on full ambient lighting for any layer by using
Drawmode 1 (refer to
"Using Drawmodes" on page 47).
Vertex Array Files (Compiling)
When displaying a 3D model or digital gobo file on the screen, that file is read from the hard-drive just like the 2D content. But loading model and digital gobo files in their original format (.obj, .svg) and converting them to be used within the MBOX environment can be a slow process. Instead, MBOX Studio generates a new version of these files in the
Mbox/Models folder using a proprietary format. The resulting vertex array files have been optimized to allow for shorter load times when the files are requested for display. The process of creating the vertex array files is called
"compiling."
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All appropriate files in the Models folder will be compiled automatically the first time MBOX Studio is started (and successfully locates them). Thereafter, files in the Models folder will only be compiled if they are new or if they have been modified since the last time MBOX Studio was used. Compiling all of the stock files in the Models folder takes some time, but this task occurs in the background, allowing all other functions to be available during this process. If models or digital gobos that are still waiting to be compiled are requested,
MBOX will display a substitute image until the requested file has been compiled. If a file that hasn't been compiled yet is requested, MBOX will display the "Waiting for Gobot" gobo (shown at right).
Waiting For Gobot
Note: If you place a large number of new files in the
Models
folder, don't expect them to be available as soon as the software launches, but once compiled, the files will be available immediately.
Compiled object files are automatically placed in the
Mbox/model_cache folder. These files are given a numerical prefix and the .vtxa (vertex array) suffix. These vertex array files cannot edited or renumbered. Any additions, deletions, or renumbering of model or digital gobo content should be done in the
Models
folder rather than in the model_cache
folder.
Normalization
By default, both model and digital gobo files are "normalized" when they are compiled. The MBOX vertex array compiler performs this task to ensure that the files appear at a usable scale rather than being too large or too small.
Given the wide variety of applications that can be used to create models or digital gobos, an object that appears to be just right when created might appear to be gigantic or tiny when displayed by MBOX. Different applications may use different units of scale – pixels, inches, meters – but each of these units of measure will be saved as a generic unit in an .obj or .svg file.
Therefore, when compiling, MBOX's default action is to normalize all models and digital gobos. Normalization is accomplished by scaling objects to fit into a bounding cube that is 480 px
on each side. Objects are scaled up or down so that their largest dimension is 480 px
and their other dimensions are then scaled proportionally.
To stop the compiler from normalizing an object, the suffix ".noscale" can be added to its name before the file is compiled and the file will not be normalized when it is compiled. If this option is used, one generic unit will equal 240 pixels in the MBOX 3D environment. Example: a file named - 001.MyObject.obj should be renamed as - 001.MyObject.noscale.obj
To create an object with a scale factor (relative to other files), use the ".scale" switch. In the following example, the second file would appear at half the size of the original: a file named - 023.DigiGobo.svg would be renamed as - 023.DigiGobo.scale_0.50.svg
If you create an object that is scaled to match a particular piece of 2D content (which is measured in pixels), and you want MBOX to treat generic units as pixels, add the suffix ".pixels" to the file's name before it is compiled. Example: a file named - 001.NewObject.obj should be renamed as - 001.NewObject.pixels.obj
In this case, an object that is 200 generic units tall will appear as 200 pixels tall within MBOX. And a piece of 2D content that is 200px high would fit exactly when applied to that object.
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Creating Custom Digital Gobos
Overview
Custom digital gobos can be created in two formats: SVG and AI (Adobe Illustrator®). Adobe Illustrator is the best application for creating custom digital gobos because it provides the best toolset for features that MBOX supports.
SVG files are the most compatible and they provide better functionality than AI files.
The MBOX vertex array compiler pays attention to "object fill" information in these file types. Path and Stroke information is ignored, unless special steps are taken with the file. (Refer to the Adobe Illustrator documentation for more information on path, fill, and stroke.)
Scale-To-Fit vs. Arbitrary Fit
Before beginning, determine the intent of the digital gobo. If you create an SVG gobo file, you have two options for how a texture is mapped to the digital gobo:
+
Scale To Fit - This will have a texture stretched (or squashed) to fit onto the digital gobo, provided you have a shape that you want to apply the texture to.
+
Arbitrary Fit - This will have a texture applied to a digital gobo with a specific fill factor given to the texture - if you are using a digital gobo as a texturable masking aid or if you don't want the texture scaled. If you create an AI gobo file, you are limited to the Scale To Fit option, and the procedure is slightly different.
Creating a Digital Gobo with Adobe Illustrator CS5
The following steps provide a general guideline for creating custom digital gobos using Adobe Illustrator CS5. Note that older versions of Illustrator may require slightly different steps to achieve the same results. For more information regarding the use of Illustrator, consult the Illustrator Help documentation included with the application.
Step 1. Start a new document and name it appropriately. The size of the artboard and orientation of the document are not critical, nor is the color space (RGB or CMYK). Basically, just make sure the document is large enough to hold all of the objects.
Drawing Tools
Document Name
Artboard
Other Tools
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Step 2. Use the various drawing tools to compose the gobo. The most useful tools are the objects (ellipse, rectangle, polygon, or star), the paintbrush, the linear tools (line, arc, spiral), text tool, and the pencil. All of these tools, except the line tool, will create a filled object. Filled objects will be compiled as solid areas in
MBOX and will be the areas that accept a texture, if one is applied.
Text
Lines
Objects
Paint Brush
Pencil
Tool Options
Step 3. To make an outline of an object, turn off the object's fill and then expand the object. To turn off the fill, select the object in question and then make sure the Fill/Stroke portion of the toolbar looks like the example below.
Filled Object
Outlined (Stroked) Object Fill/Stroke Color Options
Fill/Stroke Setting
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Step 4. To expand an object, first select the object, then choose Expand from the Object menu. This will open a pop-up window. You don't need to change any of the options in the window, just press OK. Add more objects as desired. (You can use multiple layers, if required.)
Step 5. Use the text tool to create text as desired. Use the Character options to set font and size.
Character
Options
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Step 6. Text is a special case, and must be converted out "outlines." Switch to the Selection Tool and select the text. Select "Type" in the menu bar, and then select "Create Outlines." You cannot make outlined text
(stroke only), it has to be filled.
Step 7. If you are creating an SVG gobo, you need to apply a crop area to the document. The size and location of this crop area will determine whether your digital gobo will fall under Option 1 or Option 2. The texture applied to the gobo will fill the crop area when the gobo is used in MBOX. Note: It is not recommended that the crop area be sized or positioned so that any portion of an object fall outside the crop area.
a.
Option 1: If you just want to apply a texture to your gobo so that the texture completely fills the gobo, then create the crop area so its borders are just outside the edges of all of the objects in your composition. b.
Option 2: If you have a texture that you do not want scaled (or want scaled to a specific size) and only want to show that texture in the positive areas of the gobo without any further scaling, then make the crop area the same as your content and arrange the objects in the file inside that crop area. In this case the gobo acts as an inverted mask since the result ends up displaying the unscaled texture on the the positive areas of the SVG file.
If you are creating an AI gobo, you can't use crop areas, and the applied texture will be stretched or squashed automatically to cover all of the objects in the file. You can use rectangles with no dimensions
(0 px
x 0 px
) to affect how the texture is applied by using them to define the corners of an imaginary crop area. To add a rectangle with no dimensions, select the rectangle tool and click and release on the drawing area. In the dialog box that opens, enter 0 for the horizontal and vertical size of the rectangle. You won't be able to see these objects in MBOX, but they will affect how the texture is applied.
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Step 8. Before you saving the file, consider where the center of the file should be. By default, the center of a digital gobo will appear in the center of the MBOX window and the gobo will rotate around that center point. If you save the file as an AI file, you can set the center by modifying the origin of the file in Illustrator. To modify the origin of a file, click and hold on the small, dotted set of crosshairs at the top-left of the document window then drag the crosshairs to where you want the origin to be. For optimal results, the new origin must be within the boundaries of one of the objects in the file. Note: You must have rulers turned on to see the origin and crosshairs.
Drag Crosshairs from corner
Crosshairs
Ruler
If you save your file as an SVG file, then the rotational center of the file can either be the center of the crop area, or you can add a rectangle with no dimensions which then defines an alternate center point. This 0 px x 0 px
rectangle can be either inside or outside of other objects in the file and inside or outside the crop area.
Step 9. Save file, choosing either the SVG or AI format. Both file types will prompt a secondary pop-up window to set options when saving the file. When saving as an SVG file, you do not need to modify any of the default values. When saving as an AI file, you need to make sure that "Use Compression" is not checked.
Step 10. When creating an SVG file, change the file extension from .svg to .svge to allow MBOX Studio to generate thumbnails of the SVG file.
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Animated Digital Gobos
MBOX animated gobos are similar to SVG gobos, but they have special functions. Animated gobos, saved as .dgob files, are located in the /Mbox/Models folder. Unlike normal digital gobos, these files do not need to be compiled so there will be no corresponding .vtxa files. Like other digital gobos, the animated gobos are treated as objects and some of them require lighting.
EuroFlag (005)
The EuroFlag animated gobo is very basic. The layer’s texture is applied to each star.
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TV Screen v1.4 (006)
The TV Screen animated gobo allows a texture to be placed onto a plane in 3D space and manipulated it as a 3D object. The texture can rotate and spin on all three X, Y, and Z axes. (A texture on its own will only rotate on the Z axis.) The TV Screen will automatically light itself and Drawmode 1 does not have to be set for it to be visible.
Fisheye (007)
The Fisheye gobo is used for the conical geometric correction necessary when using a very wide angle lens and projecting into the inside of a translucent sphere.
Fit To Screen (008)
The Fit To Screen animated gobo can be used to force any content to fill the screen. The image is scaled so both width and height are >= screen size (i.e. the smaller dimension is scaled to fill, so the larger dimension overfills the screen and is cropped). The image aspect ratio is not affected.
MultiScreen Gobo (009)
The MultiScreen animated gobo allows the placement of content onto a predefined structure that can receive external data (Art-Net) to control both the position and arrangement of the content on the structure, and also the structure’s position in 2D and 3D space.
The MultiScreen gobo is intended for use with complicated or creative video arrangements that require remapping, or that involve motion (scenic tracking) during playback.
The MultiScreen Editor provides the toolset for creating and editing the MultiScreen.plist file that the MultiScreen animated gobo uses as its instruction set.
Note: The MultiScreen Gobo and MultiScreen Editors are advanced topics. You should receive instruction and assistance from a PRG representative before using it.
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DRAWMODES
Using Drawmodes
The Drawmodes feature provides control over how a 3D object is lit and how it interacts with other layers. Drawmode has its own control channel with several modes. The different Drawmodes are:
+ 0 = Idle
+
1 = Light
+ 2 = Cut Stencil
+
3 = Cut plus Light
+ 4 = Cut and Draw
+
5 = Cut, Draw plus Light
+ 6 = Draw Thru Stencil
+
7 = Draw Thru plus Light
+ 8 = Draw Onto Stencil
+
9 = Draw Onto plus Light
For a complete channel map, refer to
Drawmodes 0-9 listed above can be used in various combinations with the Orthographic mode (
) and the
Layer Blending mode (
) to achieve the desired result.
For example : To have a layer use Orthographic drawmode, cut the stencil, and then use Subtractive Layer blend mode to add the three values together to get the value for the Drawmode channel:
16 (Orthographic) + 2 (Cut Stencil) + 128 (Subtractive Blend) = 146
1
Mode 1, Light, automatically raises the ambient lighting level to 100% for the selected layer only. This control works with both gobos and
3D objects and enables objects (and their applied textures) to be seen without affecting the lighting on other layers.
To achieve the results shown in the images to the right, do the following:
2
1
2
3
4
Set the Camera intensity to 100% and then, on Layer 1 only, with all other attributes set to default values, set the opacity to 100%. (You should see a white square.)
With Layer 1 still selected, choose object folder 3, file 0. (The screen should be black - you cannot see anything.)
At Drawmode control, change from 0 to 1. The gobo should now be visible. Feel free to experiment with the gobo at this point. Because it is essentially a 3D object (but with no thickness on the Z axis), you can do pretty much everything to it that you can do to a 3D object: scale, rotation, spin, and
X/Y/Z position. Most importantly, you can apply a texture.
Image 4 is the same gobo with a texture applied. In this case, it is acting like a mask; the texture is applied onto the gobo, but it appears you’re looking through the gobo to a layer behind it. However, you’re only using one layer not two.
You can set the Drawmode back to 0 and try out the other lighting fixtures to see how they affect the gobo.
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The Stencil
To explain the Drawmodes other than "Light" requires an explanation of the "Stencil" and what it means to cut it, draw onto it and draw through it. The Stencil is an imaginary layer that can be cut, as if cutting holes in a piece of paper. The Stencil can then be used as a tool to tell other layers how their textures are applied: either onto the areas where the stencil is whole or the areas where the Stencil has holes in it.
There are two important things to note:
1) When using a layer to cut the Stencil, the holes that it makes in the Stencil will only affect higher numbered layers.
For example, if Layer 3 is used to cut the stencil, that cut will not affect Layer 1 or 2 no matter what Drawmode they are set to.
2) For useful results, the layer used to cut the Stencil must have some transparency. In this case, use a 3D object or gobo or apply a texture effect to the texture on that layer to give it transparency in some areas. If using an unaltered rectangular image or movie clip to cut the Stencil, it will only create a rectangular hole in the Stencil.
The following example shows a blue rectangle that represents the Stencil and a red gobo that will cut the Stencil:
The following example first shows the two together and then shows the holes being cut into the Stencil by the gobo:
Finally, the following example shows the Stencil on its own showing the holes cut into it:
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The following shows an example of using the Stencil to affect a higher numbered layer. The left image shows a digital gobo on Layer 1 in Drawmode 1 (Light) so that it can be seen. The right image shows a movie clip on Layer 2 in
Drawmode 0 (idle). The movie on Layer 2 obscures the gobo on Layer 1.
In the example below, on the left, Layer 2 has been set to Drawmode 6 (Draw thru Stencil) and on the right it has been set to Drawmode 8 (Draw onto Stencil). In both cases, the gobo on Layer 1 has been set to Drawmode 2 (Cut) otherwise it would not have any effect upon the Stencil. Note that the lighting on the gobo is off, since the Drawmode has been changed.
draw thru stencil draw onto stencil
It is important to realize that when a layer’s Drawmode is set to 6, the term "Draw thru Stencil" really means: draw this layer’s texture only where the holes are in the Stencil. In the opposite case, if a layer’s Drawmode is set to 8, the term
"Draw onto Stencil" really means: draw this layer’s texture only where the Stencil does not have holes.
By setting Layer 1 to Drawmode 5 (Cut and Draw plus Light) and applying a texture to Layer 1, Layer 1’s texture can be shown instead of the black areas seen in the right-hand image above.
In the example below, Drawmode 5 causes the shape of Layer 1’s gobo to be cut into the Stencil. Also, Layer 1’s texture is applied to the gobo and, therefore, that texture is shown in the holes in the Stencil. In this particular example, the same result could be achieved without using Drawmodes by placing the green clip on Layer 1 and placing the textured gobo on Layer 2 with Layer 1’s Drawmode set to 1.
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The benefits of the various Drawmodes become more apparent when the holes cut into the Stencil are used to affect more than one layer. Interesting results can be achieved by using a movie with a transparency effect to cut the
Stencil. In the example below, the left-hand image shows a movie playing on Layer 1, and on the right, that same movie with the White Alpha Effect (056) turned on.
In the following example, Layer 1 is using Drawmode 5 and a movie is placed on Layer 2, shown with Drawmode 6 on the left and then with Drawmode 8 on the right.
draw thru stencil draw onto stencil
Training Video: Mbox Media Server Training Video Chapter 10: Media Server Concepts
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LAYER BLENDING MODES
Using Layer Blending
There are seven layer blending modes. Many of these layer blending modes have been chosen to best replicate common modes found in commercial image editing software (e.g. PhotoShop®, After Effects®
)
. The modes and their values are:
+
0 - Default Overlay: no layer blending
+ 1 - Additive: layer’s colors are added to underlying colors (blacks appear transparent).
+
2 - Screen: similar to above, with less of underlying color (blacks appear transparent).
+ 3 - Multiply: multiplies a layer’s color with underlying color (blacks appear opaque).
+
4 - Subtractive: layer’s colors are subtracted from underlying colors (blacks appear transparent).
+ 5 - Exclusion: underlying colors are inverted where layer color is lighter; layer’s colors are then added to underlying colors (blacks appear transparent).
+
6 - Invert Subtractive: underlying colors are subtracted from layer’s colors (blacks appear opaque).
+ 7 - Invert Additive: layer’s colors are inverted and are added to inverse of underlying colors (blacks appear transparent).
The blending modes are accessed using the Drawmode control on each layer. Their discrete values have been structured so that the pre-existing drawmode controls can still be used in combination with the new blend modes. As noted in
"Using Drawmodes" on page 47, the Drawmode control uses values between 1 and 31 to select
combinations of functionality. These original values can be added to the blend mode values noted above to in order to combine the functions. For example, Drawmode "Draw thru stencil" has a value of 6. Blend Mode Exclusion has a value of 128. To use these two items together, set the drawmode channel to a value of 6 + 128 = 134.
Overlay (default) Additive Screen Multiply
Subtractive Exclusion Invert Subtractive Invert Additive
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LAYER COPY
Using Layer Copy
At times, there may be a need to play the same movie content on more than one layer at the same time. The same content can be requested on multiple layers, but doing so causes the content to be read from the hard-drive more than once, as well as being decompressed more than once. This is a waste of resources if you intend to display the same frame of the same movie on multiple layers at the same time. The Layer Copy function provides a way to copy the content from one layer to another and to receive the source layer’s effects and transitions, or to ignore the source layer’s effects and transitions.
There is one mode of Layer Copy: FX+. In this mode, the source layer sends its effects and transitions to the destination layer. The destination layer can add more effects via its own controls (allowing up to four effects to be visible on a destination layer).
Layer Copy functionality is selected as if it were a piece of content in the media folder. Folder 255 is selected, and the file number attribute controls which layer is being copied and which mode of copying takes place.
Folder 255 /
File #
121 - 128
Mode
FX+
Layers Note
1 - 8
File numbers 121-128 correspond to the FX+ mode for Layers 1-8. i.e. 121 = Layer 1 FX+ copy mode, 122 = Layer 2 FX+ copy mode, and so on.
Guidelines:
+
Layer Copy does not work with transition 255 (Object Dissolve).
+ A layer cannot copy another layer that is already copying a third layer.
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TEXT FILES
Support for Text Files
MBOX can display text using RTF (Rich Text Format) or TXT (Text) files. Both files will work, but the RTF format will result in higher quality.
.rtf
An RTF file can be created by using the TextEdit application on the Mac computer. Simply type some text into a document and then save as an RTF file. Be sure to give the document a numerical prefix, make sure it has a file extension of .rtf, and place it in the Media folder.
Guidelines for RTF files:
+
Do not use multiple fonts on the same line of text.
+
Keep font sizes large.
+
Justification in the document is ignored; use spaces in the text instead.
+
Font color is taken into account. For best results, make text white rather than black.
.txt
A text file can also be created using the TextEdit application. In this case, save as a .txt file. Be sure to give the document a numerical prefix and place it in the Media folder.
Guidelines for TXT files:
+
Text quality is quite low in comparison to that of RTF files.
+
The .txt format does not allow for text sizing or custom fonts.
+
If there is more than one line of text in the file, MBOX will "play" the file line by line.
+
Adjusting play speed will cause the file to play faster or slower.
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AUDIO
Audio Output Features
Overview
In addition to movies, still images, and 3D objects, MBOX can also play audio files. Audio can be played back by any of the following methods:
+
The Mac computer’s internal speaker.
+
The Mac computer’s line-out or digital audio connectors.
Selecting an Output Device
In order for sound to play, the appropriate audio output device must be selected in the Mac's Sound Preference window. (To use the XLR or 3.5mm connectors on the Auxiliary Input panel, choose the Mac’s Line Out output.) The balance and volume may also be adjusted at the Sound window.
External Audio Tracks (Associated AIFF Files)
AIFF audio files can be placed in the Media folder with texture files. They are triggered when a content file with the same folder and file number is played.
Guidelines:
+
To play any associated AIFF audio files, the AIFF Playback checkbox must be checked on MBOX Setup tab (refer
must be restarted after this change is made.
+
To trigger an audio file, it must have an identically numbered movie or still image and be placed in the same folder.
+
Associated audio files will only play in the forward direction and their play speed cannot be modified. Only the
Forward Loop or Forward Once play modes can be used. If pause or scrub movie playback is used, the audio will not follow.
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+
Audio files must be AIFF files - Stereo (L&R), 16-bit Integer, Linear PCM encoding, Big-Endian or Little-Endian.
+ The sample rate of the audio file must match the default sample rate of the computer for it to play at the correct speed (44.1kHz) .
+
A triggered audio file will always loop when the triggering movie loops (at the movie's out-point). If the audio is triggered by a still image, it will play once and not loop.
+
If an audio file is triggered with a movie, and that movie's playmode set to Forward Loop, the audio file will loop at the exact same time as the movie. This means that audio files that are longer or shorter than the triggering movie will not loop at the end point of the audio file. For an audio clip loop properly, it must have a movie of exactly the same length, down to the frame. Oftentimes you may be extracting an audio file directly from the QuickTime movie file that it goes with. If you do this properly, then your audio file will be exactly the same length as the movie.
+ Rather than having its own in and out points, AIFF playback uses those of the associated movie. If the in and out points of the associated movie are modified, the audio file's in and out points will be modified as well. If the play speed of a movie that triggers an audio file is modified, the audio file will continue to play at normal speed. This means that the audio will be out of sync with the movie and that it will loop too early (if the play speed is increased) or too late (if play speed is decreased).
+
An audio file can be triggered using a still image rather than a movie. Though in this case, the audio file will not loop. In this case, request a different content file on the same layer and then return to the initial triggering image to cause the audio file to play again. To play an audio file, but not see the content that is triggering it, simply request the triggering content with an opacity of 0. The audio file will play, but the triggering content will not be displayed.
Embedded Audio Tracks (in QuickTime Movies)
MBOX can also play audio that is embedded in a movie clip. To get MBOX to play the embedded audio in these files, it will be necessary to rename the file:
a file named - 001.MyMovie.mov would be renamed as - 001.MyMovie.audio.mov
In order to playback the embedded audio tracks, MBOX must play the movie in "Main Thread Mode." Main Thread
Mode is the mode that allows playback of some less-desirable codecs and embedded audio. When playing audio in this manner, it has the advantage that the movie and audio playback are always synced, the playspeed can be adjusted, and the movie can be scrubbed. But Main Thread Mode also has drawbacks.
Guidelines:
+
It is not necessary to check the AIFF Playback checkbox (on the MBOX Setup tab) when using embedded audio.
+
Embedded audio tracks can use any audio format and rate.
+
Embedded tracks can also use as many channels as can be handled by the computer. Please note, however, that any audio output using more than two channels will require the use of the FireWire ports on the Mac computer and a compatible FireWire audio interface device (MOTU, RME, MH-Labs). (The Audio Playback checkbox on the
Setup tab need not be checked for this feature to work.)
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SYNCHRONIZATION
Timecode Synchronization (Timecode Sync Playmode)
MBOX allows movie playback to be synchronized to external SMPTE or MIDI timecode, or a simple internal clock. The timecode sync works with both 30 fps non-drop and 30 fps drop-frame timecode and requires the use of the MBOX
Remote application (refer to
"MBOX Remote Operation" on page 88). In addition to its monitoring and remote control
functions, MBOX Remote acts as the receiving host for timecode signals and can then pass that information locally or over the Ethernet network.
By default, with no action taken by the user, every movie file is automatically linked to a time of 01:00:00:00
(HH:MM:SS:FF). Therefore, to simply trigger any file, set it to the timecode sync playmode (see below) and then run the clock signal up to 1 hour. The default timecode setting can be changed using the preferences available in the
MBOX Remote application. The preference is called "TC Default" and the format is HH:MM:SS:FF. Refer to
MBOX Server Preferences Remotely" on page 93 for more information.
To have a file respond to a specific time, modify the name of the file appropriately. For example: a file called 001.Movie.mov could be renamed as 001.Movie.TC-03-15-23-15.mov
In this case, the movie would play when the clock signal reaches 3 hours, 15 minutes, 23 seconds, and 15 frames.
Labeling Timecode Sync Files
A Property List (plist) document can be created to hold the timecode values for any or all files on the server. The file should be called
MediaTimeCodes.plist
and should be placed in the
Mbox/Media folder. This plist file is a simple set of objects, where each object is a media index (folder.file) with a linked timecode value (HH:MM:SS:FF). Refer to the example window below:
Guidelines:
+
Both timecode linking methods can be used at the same time.
+
Sync times generated by the direct filename modification method will override times generated by entries in the plist file.
IMPORTANT! All values entered in the MediaTimeCodes.plist file must have the padding zeros. Folder and file numbers must have three digits, and the timecode values must have two digits. Incorrectly formatted values will result in those entries being ignored.
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Note: Apple's Property List Editor application is an optional install with the Snow Leopard developer tools only. In
Lion and Mountain Lion, you will need to find an alternate editor for Property List files.
To create a TimeCodes file using Apple's Property List Editor application:
Step 1. Locate Property List Editor icon in
/Applications/Mbox Utilities
folder and double-click on icon. An Untitled window will open.
Step 2. At window, click Add Child button. At Key field, enter a number which is library.file
number of the media file.
Be sure to include leading zeros.
Step 3. Press [tab].
Step 4. At Value field, enter a number which is the timecode value.
Step 5. Press [return].
Step 6. Continue adding entries by pressing Add Item button.
Step 7. At File menu, select Save As. Enter MediaTimeCodes.plist
as the file name and click Save.
Using Timecode Sync Playmodes
Timecode Sync does not control any properties of a layer except the playback position and rate. All other functions must be programmed separately. If a movie is set to one of the three Timecode Sync playmodes, it will sit, paused on the in-frame until the appropriate time is reached. Thereafter, the movie will play based on the selected Timecode
Sync playmode's characteristics until it reaches the out-frame, upon which it stops on that frame. It will not loop or fade out.
There are three Timecode Sync playmodes, each of which has its own benefits:
+ 130 - 134 - TC Sync -> strict lock to timecode; movie waits for appropriate timecode to initiate playback, and if timecode stops or goes away, the movie playback stops.
+
135 - TC Sync then Freewheel -> movie waits for appropriate timecode to initiate playback, but then ignores timecode for the remainder of that movie’s playback
+ 136 - TC Jam Sync -> movie waits for appropriate timecode to initiate playback, if timecode stops or goes away, the movie freewheels. However, if timecode returns, then the movie will resync to the incoming timecode.
If the in-point of the movie is modified, playback will start from that point when the correct time is reached. The
Timecode Offset channel on each layer allows modification of a file's start time by approximately 4 seconds without having to rename the file and rescan the content. The offset value options are:
+
0 > 126 - Positive offset (movie plays later) -> 1 point = 1 frame
+
127 - Default, no offset
+
128 > 255 - Negative offset (movie plays sooner) -> 1 point = 1 frame
For a complete channel map, refer to
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Receiving SMPTE Timecode (LTC)
SMPTE timecode input can be connected to the audio line-in port on the Mac computer. Both balanced and unbalanced
SMPTE signals are accepted, as are both
30fps non-drop-frame and 30fps dropframe formats.
"Line In" must be selected as the audio input source in the Sound preference window in the Mac's system preferences.
The input volume can also be adjusted here.
Receiving MIDI Timecode
A USB->MIDI interface box is required to receive MIDI timecode within MBOX Studio. (When using third-party devices, keep in mind that special drivers may be required for your computer.)
Setting Preferences for Timecode Input
The TC Reader or MBOX Remote application is used to set the preferences for incoming timecode. Each application contains a Timecode window for this purpose. (To toggle the Timecode window on and off while MBOX Remote is running, press [
T] on the keyboard.) The preferences include the source type, output options, auto-start preference, and start/end time values. The Timecode window also provides buttons for start, stop and resume control.
Refer to "Timecode Window" on page 95 for more detailed information.
Guidelines:
+
Since TC Reader and MBOX Remote can retransmit the timecode data via Ethernet, a timecode source can be connected to one MBOX server and then sync’d to any other connected servers. The servers must be networked together using a compatible network setup.
+
When using a timecode input, multiple layers on one MBOX server or layers on multiple servers can respond to the same timecode, but need not have any other layer properties set the same (except the Timecode Sync playmode, of course).
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Layer-To-Layer Synchronization
MBOX offers the ability to synchronize playback of a designated master layer on one server to a layer on another server. A layer on one server can sync to the same numbered layer on another server, or one of two sync streams can be selected for both sync mastering and slaving.
Layer-To-Layer sync typically requires that most or all of the layer playback settings between two synced layers would be identical with exception of the playmode, which would designate master or slave:
+
140 > 149 - Layer to Layer Slave
+
150 > 159 - Layer to Layer Master - FWD Loop
+
160 > 169 - Layer to Layer Master - FWD Once
In practice, it is possible to modify the in and out points of the layers, and to change the movie. This can lead to odd results, however, if the lengths of the resulting clips are not the same. Also, other settings on the server (Tile modes, edge-blending, etc.) can be modified. If you initiate a crossfade (at the same time) with both layers, the outgoing and incoming images will stay in sync.
To select which stream is used by a server while using Layer-To-Layer sync, adjust the Sync Stream channel appropriately on both Master and Slave as follows:
+
0 - Layer to Layer by layer number: If Layer 1 on a server is set to one of the Master playmodes and Stream 0, then if Layer 1 on any other server (but not the same server) is set to the Slave playmode and Stream 0, the slave will sync to the master layer.
+
1 - Stream 1: Any layer can be set to Master and Stream 1 or 2, and any layer on any server set to Slave and the same Stream # will sync to that master layer.
+
2 - Stream 2
The Timecode Offset channel of the slave layer can be used to fine tune the sync by up to 127 frames in a forward or backward direction.
For a complete channel map, refer to
Specifying the Network Port for Layer-To-Layer Sync
When using Layer-To-Layer sync, each MBOX server must be told which Ethernet port to use for synchronization. The Network section of the MBOX Setup tab can be used to select one of three Sync ports: Local, Ethernet 1, or Ethernet 2. Only the currently connected ports will be shown in the pop-up menu, so it may not have three choices in all cases.
To prevent the sync signal from transmitting from a particular server, select "Local."
Otherwise, select which of the Ethernet ports to use for the sync signal. In typical setups, the port should be the same on every machine, whether the server is sending or receiving sync. Ethernet ports used for Layer-To-Layer sync on all
MBOX servers must be configured using compatible network setups.
Also refer to "Setup: Network" on page 31.
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Kiosk Playmodes
Several Kiosk Modes are available for controlled playback of files.
+ 180 - Kiosk Mode non-looping, pause on last frame of last file - this is the same as the range of 180-184 in MBOX v3.3.
+
181 - Kiosk Mode non-looping, loop last file - this mode will loop the last file in the folder using the layer's currently selected crossfade type and time.
+
182
- Kiosk Mode non-looping, fade out last file - this mode will fade the last file to transparent using the layer's current crossfade time.
+ 185-189 - Kiosk Mode looping - This playmode will play through all the files in a folder in sequential order, looping back to the first file when it reaches the end of the last file.
+
190-199 - SMPTE Kiosk mode - This playmode will play timecode-linked files in a folder, triggering playback of any new file (from that folder) when timecode reaches that file’s starting point.
Guidelines:
+
The two non-SMPTE Kiosk modes use the layer’s current crossfade type and time when switching from one piece of content to the next. These two modes require the first desired piece of content in the folder to be selected.
+
The SMPTE Kiosk mode requires any valid SMPTE-linked piece of content in the folder to be selected; this should typically be the first piece of content desired. Folders for use with SMPTE Kiosk mode should not include any non-SMPTE linked content. It is also a good idea to make the first and last frame of any SMPTE-linked content black to avoid an undesirable paused frame as the layer waits for the appropriate SMPTE to initiate playback.
For a complete channel map, refer to
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ALIGNMENT RECTANGLES
Using Alignment Rectangles
Oftentimes there is a need for program content to conform to a particular area of the output. This is especially true when outputting to a device that will crop the video signal or when using one server to drive multiple LED screens - using one layer per screen. In this case, Alignment Rectangles can be used to aid in the placement of content on the
MBOX video outputs. Alignment Rectangles are drawn on the screen as the outline and can optionally display a crosshair and circle inside the rectangle. The crosshair and circle can be useful for assistance with overlapping and to check for proper aspect ratio.
).
There are two modes of display for alignment rectangles: Rectangle Only and Rectangle with Crosshair and Circle.
Rectangle Only Rectangle with Crosshair and Circle
Alignment Rectangles have five settings; four are unique to each rectangle and one is global to all simple rectangles.
Every rectangle has and Origin X, Origin Y, Width, and Height setting. All rectangles also have a common lineweight setting and a custom color. Alignment Rectangles can be created by using the MBOX Remote application. (Refer to
"Setup of Alignment Rectangles Using Remote" on page 93.)
Like many other settings for MBOX, the Alignment Rectangle settings are stored in a plist file. This file's default location is /Mbox/alignment/alignment.plist
It is possible to automatically crop and center content to any Alignment Rectangle. This is accomplished through the use of the effect called "AutoCrop."
# Name
212
Crop Content to
Alignment Rectangle
Description
Crops content to Alignment
Rectangle
Mod A
Rectangle #, 0-255
Mod B
Value > 64 = Center content
If you choose not to center the content in the Alignment Rectangle, then only the portion of the content that overlaps the position of the Alignment Rectangle will be shown.
When using Panoramic Wide mode, both outputs together are treated as one rendering surface. Therefore, the origin of an Alignment Rectangle that appears on the right-hand screen needs to be offset by the width of the left-hand screen.
These features rely on additional information stored in the alignment.plist file. The MBOX Remote application is able to create these additional properties and edit them after they have been created. The supplemental application called
"MBOX Alignment Rectangle Editor" can also help create and edit these more complex alignment rectangles.
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Alignment Rectangle Grouping:
It is possible to have nine (9) groups of Alignment Rectangles. The group number comes into play when the Master control channel is set to a value that makes Alignment Rectangles visible. Rectangles can be assigned to groups
Master control channel values are as follows:
+
120
- All rectangles without X & O
+
121
- Group 1 rectangles without X & O
+
122
- Group 2 rectangles without X & O
+
123
- Group 3 rectangles without X & O
+
124
- Group 4 rectangles without X & O
+
125
- Group 5 rectangles without X & O
+
126
- Group 6 rectangles without X & O
+
127
- Group 7 rectangles without X & O
+
128
- Group 8 rectangles without X & O
+
129
- Group 9 rectangles without X & O
+
+
+
+
+
130
131
132
133
134
- All rectangles with X & O
- Group 1 rectangles with X & O
- Group 2 rectangles with X & O
- Group 3 rectangles with X & O
- Group 4 rectangles with X & O
+
135
- Group 5 rectangles with X & O
+
136
- Group 6 rectangles with X & O
+
137
- Group 7 rectangles with X & O
+
138
- Group 8 rectangles with X & O
+
139
- Group 9 rectangles with X & O
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EFFECTS AND TRANSITIONS
Effects and Transitions with Additional Input Files
Effects and transitions that require additional image input files will use numbered files placed in a specific location inside the
Mbox
folder. The actual parent folder of the image files will depend on the effect or transition in question:
+
Alpha Mask From File Effect -
Mbox/plugins/images/masks/…
+
Custom Wipe Transition and Shaded Material Effect -
Mbox/plugins/images/grayscale/…
Within each of these folders, you may have numbered files. In the case of the Alpha Mask effect, you may have up to
255 files, numbered 001 – 255. In the case of the Custom Wipe transition, you may have up to 20 files – ten are hardedge wipes 001 – 010, and ten are soft-edge wipes 011 – 020. Numbering, naming, and file extensions conventions follow the same rules as standard MBOX content. [e.g. 001.MyFile.png]
Guidelines:
+
For the best results, the input image files should be sized appropriately for their intended purpose. However, this is not necessary as the Alpha Mask effect and Custom Wipe transition input images will be scaled to fit the content they are used with. This can result in a mismatch between the aspect ratio of the input image and the content though. When using the Custom Wipe, for best results make sure the outgoing and incoming content are the same size.
+
The Alpha Mask input image file must be either a PNG or TIFF file saved with an alpha channel. The effect uses the alpha channel information in the input file to generate the mask.
+
The Custom Wipe input image file can be a JPG, PNG, or TIFF and can be grayscale or color. No alpha channel is required since that information is ignored. The grayscale file will provide the best indication of how the transition will work, as this effect uses luminance values to create the wipe. The darker areas will start to show the incoming content first, followed by lighter areas.
Training Video: Mbox Media Server Training Video Chapter 13: Transitions
Training Video: Mbox Media Server Training Video Chapter 17: Texture Effects
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Notes
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5.
PIXEL MAPPING
This chapter provides instructions for setup and operation of the MBOX pixel-mapping feature.
+
BASIC PIXEL-MAPPING
+
ADVANCED PIXEL-MAPPING
BASIC PIXEL-MAPPING
Overview
The MBOX software allows mapping of certain functions of Art-Net-controlled fixtures (RGB, Intensity, CMY, etc.) to each of the pixels in the composite video image. Up to 32 universes of Art-Net data is generated from the screen image and is output from an available Ethernet port of the Mac computer. It may be necessary to use an Art-Net to
DMX512 converter to change the data into a more suitable protocol if the device intended to be controlled cannot receive Art-Net directly. When pixel-mapping, MBOX retains the normal video output so a video signal can still be sent to a display device. MBOX also provides the ability to previsualize the pixel-mapping setup on the video monitor.
Using Pixel-Mapping with Different Modes:
+ While in Single Output mode, the entire screen can be mapped.
+ While in Panoramic Wide mode, the entire width of the two screens can be mapped.
When pixel-mapping, it is advisable to use a second Ethernet port on the Mac to output the Art-Net data. If both Art-Net input and output share a single Ethernet port, the volume of network traffic generated by complex pixel-mapping configurations will affect the reception of
Art-Net control data. If you want to use two different ports for Art-Net input and pixelmapping Art-Net output you will need to set up the Ethernet ports of your computer properly. Some knowledge of IP addressing and subnetting practices is required..
Network settings can be changed from the
Apple menu or from the Mac’s Network preferences window.
The following guidelines assume that your computer's first Ethernet port is set to receive Art-Net to control MBOX Studio and you are using a second Ethernet port to output pixel-mapping Art-Net.
+ Art-Net is typically sent to the broadcast destination IP address for the local network being used. For Art-Net this destination address is usually
2.255.255.255*. Art-Net can also be unicast (sent to one specific IP address). MBOX Studio's Art-Net output will automatically be unicast to ArtPoll compliant devices.
+ If your computer uses an overlapping or ambiguous IP/subnet scheme for the two Ethernet ports, then your pixelmapping Art-Net output may not be routed from the correct Ethernet port on your computer resulting in a lack of function. You must ensure that the two ports have settings that allow MBOX Studio to send the data from the correct port.
+ You must also coordinate the IP/subnet of the pixel-mapping output port with the destination IP address in MBOX
Studio's Pix Map Connection Settings window (see
).
* PRG's Series400 requires data to be sent to a destination IP address of 10.255.255.255. Which will mean configuring the Ethernet port for pixel-mapping output to an IP address that uses a value of "10" for the first octet.
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The following guidelines assume that you are using a second Ethernet port to output pixel-mapping Art-Net and that the first Ethernet port will be set to receive Art-Net to control MBOX Studio.
+ Typically Art-Net is sent to the broadcast destination IP address for the local network being used. For Art-Net this destination address is usually 2.255.255.255. Unicast Art-Net is sent directly to a specific IP address and
+
The above means that any computer on the network with an IP address whose first octet is "2" will be able to receive broadcast Art-Net data no matter what the last three octets are.
Note: In order to use the previsualization features and to output Art-Net data, the "Pixel Map Enable" box on the
MBOX Setup tab must be checked. See
Setup
While in Window mode, select the Pixel Map tab at the top of the MBOX window. If there is no current pixel-mapping file, you will see an empty configuration like the one below. If a pixel-mapping configuration already exists, then click the New button and choose a name and save location for the new file.
The gridded area to the top left is the pixel-mapping context. This is where you will arrange your fixtures so as to assign their pixels to various areas of the screen image. The grid lines are colored white every tenth division. The table to the right of the grid shows the fixture patch information. You may select a fixture on either the grid or in the table; it will become highlighted in both places. Below the context grid you will find various controls that modify the pixelmapping setup.
The first step is to define how large your pixel-mapping context should be. Set this by modifying the values in the boxes labeled "Context Width" and "Context Height." Trying to determine how large to make the context may be difficult before you place your fixtures, however, it is possible to modify the size of the grid at any time. Each rectangle on the pixel-mapping context not only represents an area of the screen image – the grid is laid directly over the video image, which is divided accordingly – but additionally, each grid rectangle relates to one pixel on a patched fixture.
For the purposes of pixel-mapping, the screen image size is the same size as the Fullscreen mode selected on the
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In the illustration above, a 50 x 50 context has been applied over a fullScreen size of 800px x 600px. Each rectangular subdivision of the context will be (800px/50) x
(600px/50), or 16px x 12px. MBOX will average (sample) the color/intensity values for each 16px x 12px area of the screen image. Each sample is used to create one
"pixel" in the map. This pixel is then used to generate Art-Net levels.
Figure 5-1: Pixel-Mapping Concept
The size of the pixel-mapping context plays a large role in how the pixels in the screen image are converted into Art-
Net. You could create a 1 x 1 context or one that is 1000 x 1000. In the first case, the entire screen would be reduced to one pixel in the map, and the results would be pointless. In the second case, you could have a very high resolution setup, but it would require a great number of fixtures and Art-Net to be worthwhile. You should try to avoid extremely large context sizes, as doing so requires extra processing. If you need a large amount of pixel-for-pixel mapping of your video to LED fixtures, you may be better served by using an existing video pixel-mapping product rather than the
MBOX pixel-mapping. You should strive to create a pixel-mapping context that is as small as possible while still allowing you to map your content to fixtures in the manner that you desire. Initially some trial and error may be required. If you are unsure where to begin, start with the context at its default size of 50 x 50 and then experiment once you have patched your fixtures.
If you click on the pop-up list in the fixtures area, you will find a list of stock fixture choices. The fixtures in this list are mainly RGB LED fixtures, but there are also selections for intensity fixtures (dimmers) and moving light fixtures (both
CMY and CYM). To begin, pick one simple type of fixture from the list. To place one or more of these fixtures in the pixel-mapping context, click the Place New Fixtures button - it will darken to indicate that you are in fixture placement mode - then click anywhere on the grid. This will place a fixture on the context grid.
Notice that the fixture, when highlighted, has one red pixel (the origin) while the remaining pixels are blue. Even when not highlighted, the origin pixel will be slightly darker than the rest. When you place a fixture on the context grid, an entry for that fixture is added to the table on the right of the grid. MBOX will automatically patch fixtures in order (as you place them) beginning with Art-Net universe 16. Therefore, you can reduce your patch time by placing fixtures in order. However, you can modify the patch information for any fixture at any time.
Note: If you edit your patch and allow two fixtures to share a range of channels, the name, universe, and address of both overlapping fixtures will turn red.
Note: You should always avoid re-using any Art-Net universe anywhere on your system. Never duplicate Art-Net universe numbers between incoming data and outgoing data. Also avoid duplicate output universes unless you are running a backup system and have some means of merging data or taking control from one server or the other (Refer to the "Backup Mode" setting in MBOX Remote for information on suppressing Art-Net output from a backup server.)
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Once you have placed several fixtures on the context grid, you are ready to see what they can do. Press [Return] or the
Place New Fixtures button to exit fixture placement mode.
You should save your file by clicking the Save button at this time. The text field above the file action buttons displays the location of the current pixel-mapping file.
Click the Mbox tab at the top of the window to return to the
Window view and play some content. Initially, there is nothing different, but if you press [F5] on the keyboard, your view will change – press once to see the context view, a second time to see the patched fixture view, a third time to return to the normal view. Pressing [F5] affects both the preview output and the stage outputs, so if you are using one MBOX server for both pixel-mapping and video output, you should not leave the view set to context view or patched fixture view when outputting video for your show. Initially, the patched fixture view may not look any different from the context view. Both views will appear to be blocky versions of the content that you are playing.
Go back to the Pixel Map tab and adjust the slider for the DMX Ghosting control. Reduce the level of this control to about 30% and then return to the Window view. Now, the patched fixture view will display patched fixtures at full brightness and unpatched pixels at a reduced intensity. This enables you to better visualize the result of your setup
(both context sizing and fixture placement) without needing to set up the rest of your equipment.
DMX Ghosting @ 100% DMX Ghosting @ 30%
Finally, in order to properly output Art-Net data with the configuration you have created, you should modify the Art-
Net connection settings for your system. Go to Pixel Map in the menu bar at the top of the screen and select
Connection Settings to open the pop-up window.
This window allows you to customize the Art-Net output. In the IP Address field you should see "2.255.255.255" as the default setting. In most circumstances, this setting should remain untouched. In more advanced setups, the first octet in this field will match the first octet of the Ethernet port on the computer that you are using to output pixel-map Art-Net.
As noted on
, the configuration of the Ethernet port on your computer and the destination IP address on the Pix Map Connection Settings window should be coordinated. The pixel map destination IP address determines both how the outgoing Art-Net packets are addressed, but also which Ethernet port on your computer they will be output from.
If you have two Ethernet ports on your computer, recommended practice is to receive Art-Net to control MBOX Studio on one port and to output pix-map Art-Net from the other port. Therefore the two ports must be on separate subnets to ensure that MBOX Studio can determine which port to use.
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By default MBOX Studio will broadcast pixel map Art-Net using the destination address, but in cases where the computer is connected to ArtPoll compliant devices (e.g. Artistic Licence Ether-Lynx) MBOX will unicast selected universes to the specific IP Address for those devices. If more than one device responds stating that they require a universe of data, then that universe will be broadcast instead of being unicast.
+ Most Art-Net devices use an IP address of 2.#.#.# and subnet mask of 255.0.0.0. However some devices can be configured to use other IP addresses, don't assume that your IP address and subnet mask are correct, always check.
+
Some Art-Net devices do not respond to ArtPoll requests and should always receive broadcast data. If you are using a system with both ArtPoll compliant and non-compliant devices where these devices are required to receive the same universes, the default action of MBOX Studio will be to unicast the data. At which point the non-compliant devices will not receive the Art-Net. In this case you will need to disable Pix Map unicast by enabling the "Pixmap Disable Unicast" setting in MBOX Remote.
Suggested Ethernet setup:
+
Port 1 (receiving Art-Net for control) - IP = 2.1.0.123 Subnet Mask = 255.255.0.0
+
Port 2 (sending pixel-mapping Art-Net) - IP = 2.0.0.123 Subnet Mask = 255.0.0.0
+ MBOX Studio Pixel-map destination IP address - 2.255.255.255
The above setup ensures that the computer can receive Art-Net on the first port, and that it will also send pixelmapping Art-Net out from the second port. The key factor being the coordination between the subnet mask of the second port and the destination IP address of the pixel-map Art-Net. The first octet of the destination address matches the first octet of the port's IP address, and importantly when you overlay the destination IP and the subnet mask, no two matching octets both have values of 255.
255.000.000.000
002.255.255.255
Note: This is only one of many possible IP/subnet configurations that will work. Depending on your requirements and other devices on the network, you may require different settings.
Note: It is possible to receive and output Art-Net from the same port on the computer, but this is not recommended in all except very simple configurations with only a few universes of pixel-map data both in and out.
The Protocol field should be left at Art-Net. The "Universe From" and "Universe To" fields need to be updated to reflect which Art-Net universes you are using in your patch. If you are using universes 16 through 18 in your patch, you need to make sure that the same range is shown in the fields here. Standard practice should be to use a range of universes that is higher than all universes used for control inputs to all MBOX servers in the system. Therefore if universes 0 - 9 are used for control, use universe 10 and higher for pixel mapping output.
Once you are done modifying the connection settings, click Okay to accept the changes and close the window. Make sure you save your file before continuing. When you return to the Mbox tab you will be outputting Art-Net.
Note: The pixel-map level channel on the Master fixture masters the overall Art-Net output levels generated when pixel-mapping. If this channel is at 0, then you will be outputting valid Art-Net, but all levels will be suppressed. In addition, the pixel-map control channel should be set to its default value, 0, to allow all Art-Net levels to pass - settings of 254 or 255 will suppress some or all of the Art-Net output.
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ADVANCED PIXEL-MAPPING
Creating Custom Fixtures
MBOX Studio allows you to create custom fixture profiles for use in your patch. At the Pixel Map tab, click on the
Fixture Type pop-up menu and choose Create New
Profile. A window will open to enable you to set up a new fixture profile.
You can select the shape of the pixels (rectangle or circle) that your new fixture will display on the screen, the type of fixture (RGB, CMY, CYM, or Intensity), and its default rotation (in 90° increments). The "Pixel Fill" slider will determine the fill factor of the fixture’s pixels, i.e. whether they completely fill their context grid rectangle or not. The pixel fill control has no effect on the Art-Net output, it is merely used to help you better visualize certain fixtures.
On the other hand, the "Fixture Level" slider does have an effect on the Art-Net output. The fixture level is a mastering control for the Art-Net levels generated by this fixture type. At any level below 100%, the fixture will be dimmed proportionally.
The "Mask" checkbox allows you designate fixtures that will be suppressed (all color or intensity levels sent to 0) when the pixel map control channel on the Camera fixture is set to 254 (suppress masked fixtures). The mask attribute is intended for use with fixtures that have two sources of color information - from both the MBOX server and a lighting console. For shared control in these situations, a DMX512 merger (in HTP mode) can be used to merge the outputs of the MBOX server and the lighting console. In order to give the lighting console control over the fixtures’ color, MBOX must reduce its Art-Net levels for the fixture to 0. At times it may be impractical to reduce Art-Net output on only a few fixtures, especially if the MBOX server is also outputting video. Suppressing fixtures (even just a few) would require dimming the output or removing content to make screen pixels black and would affect other fixtures and the video output as well. The mask attribute allows you to turn off fixtures without affecting the overall video composition, while still retaining output from fixtures that do not have the mask attribute turned on. When masked fixtures are suppressed, the lighting console can be used to modify the attributes that the MBOX server would otherwise have control over. For CMY and CYM fixtures that use a value of 0 for open white, use the mask attribute to give control to the console. In this case, a value of 255 is sent for black and, since 255 is higher than 0, the console cannot take control if MBOX dims the pixel.
The "Slew Rate" setting provides the ability to limit the speed at which fixtures can change color. This control is particularly useful with moving lights as the rapid color changes possible when pixel-mapping may cause excessive noise or even damage to the fixture. The default slew rate is 0 seconds - MBOX will allow the fixture to change color as fast as it can. The other settings allow you to reduce the speed of the changes progressively, up to a maximum of
8 seconds. While the slower speeds are impractical for realistic video mapping, they can be used to create a particular
"look."
The final step in fixture creation is to define the scan order of the pixels in the fixture. A fixture’s scan order is the order in which the pixels of the fixture are addressed. For a fixture that is a single line of pixels this is easy; it goes from one side to the other in order. If you create a linear fixture, the only scan order selection that matters is the origin setting; the direction and sequence will be determined by the height and width. A horizontal fixture’s origin would be left or right and a vertical fixture’s origin would be top or bottom. For either of these linear fixture types you can select either of the choices that include the side on which you want the origin to be placed. For example, if your fixture is 16 px
x 1 px
(W x H), then its orientation can be on the left or the right. Choosing either Top-Left or Bottom-Left for the origin pixel will ensure that the origin is at the left side of the fixture.
For a rectangular fixture the origin is far more important. Again, width and height should be set to match the orientation in which the fixture will typically be used. Now you must select the origin of the fixture, which is always in one of the corners of the fixture. You then select whether the scan moves in a vertical or horizontal fashion – this will
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depend on the fixture and its orientation. Finally, you select if the scan is linear (moves across one row and then across the next in the same direction) or if it is zigzag (moves across one row and then across the next in the opposite direction).
Go ahead and create a new fixture profile. Give the profile a name and then a width and a height. Select a shape for the pixels in the fixture and then a pixel type and a fixture rotation if desired. For the time-being, leave the slew rate, mask, fixture level, and pixel fill controls at their default settings. Finally, adjust the scan order of your fixture appropriately. When you are done with your fixture creation, click the Okay button to return to the Pixel Map and place some of your fixtures on the context grid.
You can import custom fixture profiles from previous show files by selecting the last entry in the Fixture Type pop-up list and then selecting the patch file in which the custom fixtures are included. If you create numerous custom fixture profiles, save your patch file to an external drive and take them with you for the next show. PRG has the capability to create special fixture types that cannot be created by the on-board fixture creation tool. If you require a custom fixture type that cannot be created with the profile creator, please contact your PRG representative for assistance.
If you have placed a fixture onto the context grid, you can select that fixture (or multiple fixtures) and edit fixture properties: pixel shape, pixel type, fixture level, slew rate, and mask. Select one or more fixtures and then choose Edit Fixture from the Pixel Map menu on the menu bar. This will open a window where you can modify those settings.
This feature can be used to modify both stock and custom fixtures. It only modifies patched fixtures though, not the read-only profiles used when adding a new fixture to the context grid. Take care when editing multiple fixtures as the modifications shown in the window will overwrite all of the existing properties on all of the selected fixtures.
Sampling Areas
The most complex aspect of the MBOX pixel-mapping is the Sample Area. Sample Areas are powerful objects that allow you to sample different areas of the screen in different ways so as to better map on-screen content to fixture types with different resolutions. Without Sample Areas you always have the same fixed relationship between screen pixels and pixels on fixtures, no matter what type of fixture you are using. Typically this works well, but only if you are using one type of fixture.
To create a new Sample Area, click the New Sample Area button in the context area to open the Sample Area creation window. There are two areas that you need to define in order to use sampling: the Sample Area and the Output Area.
The sample area is the rectangular area of the screen image from which pixel information is taken. The output area is the rectangular area of the pixel-mapping context to which the information from the sample area is applied. Each of these two areas has an origin setting found at the lower-left corner of the rectangle. The sample origin is a point within the screen image (Texture Size) and the output origin is a point within the context grid.
Without the use of Sample Areas, the entire pixel-mapping context is sampled from the entire screen image (see illustration on
). When using Sample Areas, each rectangle is a sample of only part of the screen image.
Furthermore, each sample can be scaled uniquely and applied to a specific portion of the context.
For example, you are programming a show that uses two different types of LED fixtures. Fixture type A has large pixels that are fewer in number and widely spaced (center to center). Fixture type B has many smaller pixels whose centers are close together. It is your intent to play low resolution content on fixture type A but to play higher resolution content on fixture type B. The problem is that you have only one media server. Sample Areas allow you to use one server to provide appropriately sampled content to both fixture types at the same time. In fact, you can even play the exact same content on both fixture types (at different sampling resolutions) if desired.
If you want to play different content on each of your fixture types, then first split up the screen in some manner and use part of it for one fixture type and the other part for the other fixture type. Use separate layers to place content on each area of the screen. Your sample area for fixture type A is the entire bottom half of the screen. If your Texture Size is set to 800 px
x 600 px
then the sample area will be 800 px
x 300 px
and its origin is (0,0) – the bottom left corner of the screen. Your sample area for fixture type B is the top-left quarter of the screen so it is 400 px
x 300 px
and its origin is
(0,300).
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The second task is to determine the portion of the context grid onto which each screen sample will be mapped.
Without Sample Areas, the entire screen image is mapped directly to the context for conversion to Art-Net - so something at the top of the screen will always be mapped to fixtures that are placed at the top of the context grid.
Because Sample Areas allow you to manually select how the areas are applied on the grid, it does not matter where on the grid your fixtures lie (any area of the screen can be mapped to any area of the context grid). Two things to remember are 1) that each group of fixtures needs to occupy an area that can have a rectangular boundary drawn around it, and 2) that no sample areas can overlap on the context grid. You can however overlap the screen sample areas if you want to sample the same area of the screen differently. Unless you intend to create a pixel-for-pixel sample between the screen image and the pixel-mapping context, your sample area and output area will not be the same size. Once a sample area has been created, you can right-click on it in the Pixel Map window to edit its attributes or to delete it.
In the picture to the right, the red sample area denotes the type A (low-res) fixtures and the green sample area denotes the type B (hi-res) fixtures. The 800 px
x 300 px
screen area has been sampled to map to the type A fixtures. This will give an impressionistic effect with large blocks of color, but there will not be much visible detail. A smaller screen area has been sampled to map to a larger number of the type B fixtures.
Since the type B fixtures are higher resolution, they can display the video mapped to them more accurately.
This layout will look like the following three pictures when in
Window mode:
Normal View Context View Patched Fixture View
You can press [F6] on the keyboard while in Window mode to see the outlines of the screen sample areas overlaid on the screen image. The outlines will be the same color as the sample area they belong to. This helps to align your content to fit within (and to fill, if necessary) the sampling areas. Like the context view and patched fixture views, the outlines are visible on the stage video output and should be turned off if a video output is being used. However you will probably not be using a video output if you are using Sample Areas.
Outlines of sample areas Layers placed inside areas Previsualization
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Notes
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6.
VIDEO INPUT
This appendix provides setup instructions for the MBOX video inputs.
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OVERVIEW
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CONFIGURATION
OVERVIEW
Video Input
The MBOX Studio software allows for up to two video inputs per server. Each input must be set up in advance for it to work properly with the video signal that is being used. The three types of supported video inputs are: Blackmagic
Decklink, QuickTime streaming (other video capture card) and USB/FireWire (camera).
Using a Video Capture Card
A video capture card installed in the Mac computer can act as a video input for the MBOX Studio software.
Depending on the card installed, you may be able to receive composite, component, DVI, or SDI signals.
CAUTION! The BlackMagic video capture card will support both 8-bit and 10-bit video input signals, however, MBOX
Studio only supports 8-bit input. Use only the available 8-bit streams, not one of the 10-bit input streams.
USB/FireWire Input
The MBOX Studio software can receive a video input from a Mac-compatible USB or FireWire camera. Any camera that works with QuickTime-based applications on the Mac should work. However, because there are such a wide variety of cameras, it is impossible to verify that all of them work with MBOX. Always test your particular camera with
MBOX in advance.
Because USB/FireWire cameras are not professional equipment, the quality (resolution and framerate) from these types of cameras will not be very high.
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CONFIGURATION
Setting Video Input for a Video Capture Card
NOTE: A Blackmagic Design card is shown in this procedure.
Before attempting to use a video input from a BlackMagic video capture card, it will be necessary to configure the card for the type of video signal that it will be receiving. This configuration is done outside the MBOX Studio software.
To configure video capture card:
Step 1. Quit MBOX Studio application, if running.
Step 2. At Apple menu, select System Preferences.
Step 3. At System Preferences window, click on Blackmagic Design button.
Note: MBOX Studio v3.6 will work with Blackmagic Design software version 8.0 and higher.
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Step 4. At Blackmagic Design window, click on the "Set input" pop-up menu to select the appropriate input type.
The available choices will depend on the input signals that the installed card is able to receive, as different cards may have different input types. In the case of the Decklink HD Extreme capture card (show below), the three possible selections are: SDI Video, Component Video, and Composite Video (Y in). Because
MBOX does not use the audio input on the Decklink capture card, the audio type in each of the inputs can be ignored.
Step 5. Make sure the "When not playing video, send" pop-up menu is set to "Black" as show in the picture above.
Step 6. Close Blackmagic Design window.
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Configuring Video Input within MBOX
Once the appropriate video signal type for the BlackMagic video capture card has been selected (see previous procedure), MBOX must be told which stream to "listen to." In other words, if you are receiving a 720p/59.94 signal on the input to the video capture card, MBOX needs to listen to the 720p/59.94 stream and not one of the others.
To configure video input:
Step 1. Start MBOX Studio software.
Step 2. Make sure that the capture card is installed in the computer or that the USB/FireWire camera is connected.
Step 3. Make sure that no layer on MBOX is being told to display a video input. (Send all fixtures to their default state on the console to be sure.)
Step 4. While in Window mode, click on the Setup tab. Video input settings can modified in the lower-left area of the window.
Step 5. At Video Inputs section, click on one of the two input pop-up menus to configure that input. If the pop-up says "Disabled," select "Decklink" for an input from a Decklink capture card. Otherwise select "QuickTime" for other capture cards or USB/FireWire sources.
Step 6. When an input is first enabled, the software will choose a default input stream from those available from that type. If this is a QuickTime stream, then you must select the appropriate source using the Input pop-up. If this is a Decklink stream you should select the Input number (1-4) that you want to link to this video input.
You can leave the Input format pop-up untouched, as this will be automatically set when an input is received.
Step 7. The edit fields labeled T, B, R, and L can be used to enter a crop (in pixels) to the incoming video signal.
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Step 8. When enabled, the Sub checkbox will cause MBOX to display a substitute image if a Decklink input is not available. The default substitute image is a blue rectangle with the input number and format listed. You can use a custom substitute still image by typing the Folder.File index (e.g. 004.001) into the field next to the
Sub checkbox. The substitute image does not work for QuickTime inputs.
Step 9. Once everything is set up correctly, click Close button to close setup window.
Step 10. Make sure that your Texture Size width and height settings are as large or larger than the camera input resolution width and height. Failing to set the Texture Size correctly will result in an unusable image when the video input is requested for display. Texture Size is entered at the Setup tab of the MBOX Setup window.
Step 11. In some cases you may need to quit and restart the MBOX Studio software after changing the video input settings.
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7.
CONTENT CREATION
This chapter contains information on the proper formatting of content for playback with MBOX.
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CREATING CUSTOM CONTENT
CREATING CUSTOM CONTENT
Creating Movies and Audio Files
As mentioned earlier in this manual, MBOX will try to play any QuickTime movie -no matter what codec it may be - however, movies using non-preferred codecs may not play as well as movies that use the preferred codecs. While
MBOX will do the best job possible to play any movie content, if the file is not optimized specifically for MBOX, poor results may occur. There are many elements of movie files that need to be considered when creating content: file extension, codec, compression, frame rate, resolution, and audio. The following sections take an in depth look at each of these requirements.
File Extension
MBOX can open any file that QuickTime can open. However, MBOX will only open movie files with either a .mov or
.vid file extension unless the application is told to use other extensions, such as mp4, .qtz. By default, some of these extensions have been enabled, but at times, additional extensions may also need to be enabled. Keep in mind that any movie file that does not have a .mov or .vid file extension is treated as a special case for playback, and as such, may respond differently to playmodes, effects, and transitions. It is a good idea to always test such files in advance. In order to add file extension types to MBOX, use the MBOX Remote application that is included in the MBOX Utilities folder. Refer to
"MBOX Remote Operation" on page 88 for information.
Codec
Beyond the file extension, the movies’ codec (compressor/decompressor) is very important. MBOX will try to play any
QuickTime movie, no matter what its codec is. However only movies using the Photo-JPEG, Apple Intermediate,
Apple Animation, Apple ProRes, or DV codecs will receive preferred treatment and be able to take advantage of all of the MBOX functionality. Photo-JPEG should be the first choice when creating content for MBOX. Apple ProRes and
DV will work very well, although there are some additional considerations that must be taken into account when using these codecs. Any other codec will be treated as "non-preferred" and may not play as well as a movie that uses a preferred codec.
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Photo-JPEG is a high quality, scalable format that does not use any temporal compression. As such, it is perfect for use with MBOX. These movies can be of any resolution (within performance limits) and will take full advantage of the many MBOX playmodes. Photo-JPEG is a processor-intensive codec, so care must be taken to keep movies to a reasonable quality setting otherwise playback will not be smooth. Typically, a setting of Medium or
50%-60% is appropriate for MBOX.
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Apple Intermediate is a scalable codec that uses spatial compression. In many ways it is similar to Photo-JPEG, but tends to place a lighter load on the processor.
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Animation is one of the two codecs that allow for an alpha channel which can be used by MBOX - the other being
Apple ProRes 4444. The only reason to use the Animation codec is when a movie requires transparency. In this case, be aware that the bit rate of Animation movies can be very high as its compression scheme is actually optimized for large areas of the same color - essentially for animated cartoon content. To play movie files with alpha channel information, the MBOX Movie Converter application provides a method of re-rendering Animation codec movies to a format that may be easier to play.
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Apple ProRes is a high-quality codec that was designed to compress HD content sufficiently to keep bit rates at
SD levels. Like Animation, the bit rate of ProRes content can be very high, so care should be used when creating movies in this format.
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DV is a compression format typically used by video cameras. For best results, DV-encoded movies must conform to either NTSC or PAL resolutions, and therefore, should not use any random resolution. The quality of DV is typically not as high as that of Photo-JPEG, although it is less processor-intensive. DV movies from a camera or
DVD source will often be interlaced. If you have an interlaced DV movie file, you can change the file extension from .mov to .vid and MBOX will deinterlace the file as it plays. However, better quality may result by converting/ re-rendering such movies to Photo-JPEG in advance. DV movies may also have embedded audio tracks that should be separated before attempting to play the movie on MBOX.
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Other codecs, when treated as non-preferred, are played in a QuickTime "wrapper" rather than natively in
MBOX. Because of this, playback may be poor, playmodes other than FWD Loop and FWD Once may not work, movies may not loop unless the in/out points are rolled inwards slightly, frame blending will not work, and some transitions and effects may not work properly. On the plus side, embedded audio tracks in movies with nonpreferred codecs may play when the movie is played. To force MBOX to attempt to play non-preferred codecs natively, however, this is not recommended. Please contact your PRG representative if you would like further information about this feature.
Compression (Bit Rate)
Movie compression can have a large impact on playback performance. There is a balance between quality and performance that can be tipped in either direction by adjusting the amount of compression when a movie is rendered.
Typically, compression is labeled as "Compressor Quality" or something similar and the scale goes from "least" to
"best" or 0% to 100% - more compression to less compression. The more compression used, the smaller the movie file will be and the bit rate (or data rate) of the movie will be lower. Lower bit rates theoretically lead to better playback performance, but below a certain point the quality may be unacceptable. Alternately, lowering compression will provide a higher quality movie, but due to a higher bit rate, playback performance may suffer. At a certain limit in either direction there will be a point of diminishing returns where either quality or playback is unacceptable. Typically,
MBOX will provide the best performance to quality ratio at Medium or 50%-60%. Higher quality settings may not look noticeably better for the trade-off in performance. As a rule of thumb, movie bit rates should be kept below 65Mbits/ sec in order to play content on multiple layers at the same time. In special circumstances, MBOX can handle bit rates up to approximately 200Mbits/sec.
Frame Rate
Movie frame rate may also need to be considered when creating content for MBOX. For optimal results, content should be rendered at a frame rate that is a divisor of the current Fullscreen mode output frequency. Therefore, if the
Fullscreen mode has a 60Hz refresh, movies that play at 30fps will synchronize nicely with the output of the Mac
Graphics card (each frame of the movie will be repeated twice to equal two fields of the output). While content with lesser frame rates will work, there may be some noticeable effects. In the above example, if the movie has fewer than
30fps, then the Graphics card will need to repeat some frames more than twice and the movie may appear to play less smoothly. Depending on the frame rate of the movie, this effect may be more or less noticeable. If the movie’s frame rate divides evenly into 60 then the movie will play more smoothly; so 20fps content will look better than 24fps content. So if the MBOX output frequency is 50Hz, then it would be best to create content that is rendered at 25fps. If output frequency is 59.94Hz, then content should be rendered at 29.97fps, and so on. (Refer to
Mode" on page 28 for more information about setting the output frequency.)
Resolution
As noted above, movie resolution has an impact on the performance of the MBOX server. To put it simply, the larger the movie’s pixel dimensions, the harder it is to play. For best results, always try to play the smallest movie possible.
Furthermore, always make sure that the MBOX texture size setting is no larger than the largest piece of content that you intend to play. Setting the texture size larger than necessary will affect movie playback. Of course there are factors outside of MBOX that need to be taken into consideration when choosing a content resolution - type of output signal, display device native resolution, size of projection surface- but for the most part, there is not much point in playing content that has a higher resolution than the selected Fullscreen output size. But admittedly, sometimes the smallest possible movie is not the one that looks the best with your particular setup, so make sure to test in advance if possible.
Audio
Audio file manipulation for MBOX is one of the more complicated tasks in content creation. Particularly, AIFF audio files that are associated with movie files rather than audio that is embedded in movies that use non-preferred codecs.
Remember that audio playback cannot be sped up or slowed down when using associated AIFF files, and that audio files will loop when the movie hits its out-point. So it is imperative to make sure that an audio file’s playback rate matches the movie’s default playback rate, and that the audio file is exactly the same length as the movie. The best way to do this is to keep the audio and video components of movies together until the very last minute (all throughout the editing process). Once the editing process is complete, then separate the two files. Try to avoid any manipulations
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of either file (especially the movie file) once the two have been separated. (You can always shorten the movie or play portions of it by adjusting the in and out points.)
AIFF audio files for playback on MBOX must be encoded as 2-channel (Stereo: L & R), LPCM, 16-bit Integer (Big or
Little Endian) at a sample rate of 44.1 kHz. Other sample rates will play, but will not play at the correct speed. MBOX cannot play more than one AIFF audio file at a time. The most recent file requested will play. There is a slight crossfade between tracks that play back, but this is only there to eliminate any pops or clicks when the audio switches files. On the other hand, if you choose to play the audio that is embedded in movies (refer to
is no crossfade or volume control when playing embedded audio.
The audio volume control channel on the Camera can be used to modify the volume of AIFF audio file playback.
However, at present time the volume control does not affect embedded audio tracks in movies that use a nonpreferred codec.
Discrete Audio Support for Multichannel Audio
FireWire devices require audio outputs to be assigned to channels called "discrete - 0" through "discrete - 31." Most
QuickTime movies are made with mono, stereo, or 5.1/7.1 audio and the audio tracks and/or channels must be manually re-assigned to work properly with the FireWire interfaces. To simply this, MBOX has the ability to automatically take audio tracks in movies and re-assign their output to the discrete channels used by FireWire audio interface boxes (e.g., MOTU, Fireface, RME).
With the Discrete Audio preference enabled, MBOX will automatically re-assign audio channels (sequentially) to the discrete range if it encounters a movie with more than one audio track or a track with more than two channels. This means that movies with a single mono or stereo track will not be affected, but since the mono output is always assigned to discrete - 0, and stereo L & R to discrete 0 & 1, this is not an issue.
To enable discrete audio support:
Step 1. Use MBOX Remote application to enable the preference named "Audio Discrete Mapping."
(Refer to
"MBOX Remote Application" on page 87.)
Step 2. If a movie is currently playing, choose a different movie on that layer and then return to the original movie.
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Alpha Channel in Movies – the Animation and ProRes 4444 Codecs
It is often very useful to be able to add areas of transparency to a layer when using MBOX. This will make it possible to see other layers behind, to create a "knockout" for IMAG, or to properly display a movie that uses green-screen technology.
When creating content, there are several QuickTime codecs that allow an alpha channel (transparency information) to be embedded in a movie. For the purposes of MBOX, the only useful codecs are Animation and ProRes 4444.
Encoding content using the Animation or ProRes 4444 codecs can result in movies having a very high or unplayable bitrate. Take care to choose the appropriate quality setting to keep the movie's bitrate lower than ~150mbits/sec.
If a movie is created using the Animation or ProRes 4444 codec and played on MBOX, the preferred playback engine will handle it. MBOX is able to use the alpha channel information in the movie and to display transparent areas as transparent. However, unless the movie is quite small and/or has a low bit-rate (< 80mbits/sec), the movie may not play very smoothly, and all other playback on the server may be affected to some extent.
Another way to create a movie with an alpha channel is to use the Animation codec conversion built into the MBOX
File Converter application. This application will convert the movie into a format that MBOX is better able to play while still retaining the alpha channel information. When the movie is played in MBOX, the bit-rate is significantly lower – allowing for better playback – and the transparent areas are still transparent.
Applications for Content Creation
There are many applications that can be used to create movie content for MBOX. They vary from the higher end
(Adobe After Effects®, Apple Final Cut®) to the lower end (QuickTime® Pro). All of them have their uses, but there are some guidelines and caution to be observed:
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Never create a movie with compressed headers or prepare a movie for internet streaming.
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To modify both the framerate of a movie and trim the movie, do not use QuickTime Pro, as this will modify the headers of the QuickTime file to the point where MBOX cannot play it. However, QuickTime Pro can be used to convert a movie from one codec to another or to trim an existing movie. It is recommended that you perform more complex tasks (changing the framerate) in such a way that the movie’s source elements are re-rendered into a new file. This is especially critical if audio is involved.
Training Video: Mbox Media Server Training Video Chapter 20: Codes, Storage, and Media Types
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Notes
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A.
MBOX REMOTE APPLICATION
This appendix provides operation instructions for the MBOX Remote application.
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MBOX REMOTE OPERATION
MBOX REMOTE OPERATION
About MBOX Remote
The MBOX Remote application is used for remote control and monitoring of MBOX. The application can be used on any Mac computer (running Leopard® X 10.5.7 or greater ) to monitor from a remote location.
MBOX Daemon
Before discussing the MBOX Remote application, it is important to note that MBOX Daemon software is required on all servers to enable remote feedback to both MBOX Remote and to CITP/MSEX-enabled devices. When MBOX launches, it will automatically launch the last version of MBOX Daemon used on that computer.
MBOX Daemon is a background process and has no UI unless it is "forced" to be shown. To force
Daemon’s interface to be shown, press [
D] while MBOX is in Window mode.
To set the network port that MBOX and Daemon will use to communicate with external monitoring devices (like
Remote or CITP-enabled consoles and visualizers), use the CITP pop-up on the MBOX Setup tab as shown below:
Set Network
Synchronization
Port
Set Network
CITP Port
Training Video: Mbox Media Server Training Video Chapter 7: Daemon Application
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General Operation
Before opening the MBOX Remote application, ensure that your computer is on a network with one or more MBOX servers. It is important that all MBOX servers be running the latest versions of the MBOX and the MBOX Daemon applications, and that all computers have compatible network settings.
When the MBOX Remote application is first opened it will present a blank screen:
First, set your interface preferences by opening up the Remote Preferences window from the menubar or by pressing
[
,] on the keyboard.
(The servers shown in the window will reflect the MBOX servers on your particular network.)
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To add an MBOX server for monitoring, double-click on the server. The server(s) will be added to the window:
At the Server View Settings section of the Preferences window, adjust the Size (width in pixels), Mode (single or dual output), Aspect (4:3 or 16:9), and number of columns as desired. It is a good idea to make things larger at this time, and if you have servers using two outputs or a 16:9 aspect ratio, set those preferences as well. At the same time, adjust the Breakout View Settings to have a similar size. (Notice that as soon as two columns are selected for the
Breakout View, they may obscure the servers. To correct this, make the entire window larger.)
The Breakout View can be toggled on and off by pressing [
B] on the keyboard.
When finished, close the Preferences window. Now servers can be dragged from the Server View column (far left) into one of the Breakout View columns (the two right-hand columns).
Server View Column Breakout View Column 1 Breakout View Column 2
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To see more details about a layer, click and drag that layer to an empty spot on one of the breakout columns:
To delete a Server View or Breakout View, right-click on the view and then select "Remove" from the pop-up menu.
To see more information about a server or layer, hover the cursor over one of the Breakout video streams for approximately 3 seconds.
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Description of Indicators
The Remote window has several indicators that provide system information.
Server status - The green, yellow, or red dot to the left of the server name in the Server View column indicates the running status of the server:
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Green – Server connection OK, MBOX running in Fullscreen mode.
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Green/Yellow Flashing – Server connection OK, MBOX running in Window mode.
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Yellow – Server connection OK, MBOX not running.
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Red – No server connection.
Note: The server connection status is dependent on the MBOX Daemon application running on the MBOX server(s).
The MBOX Studio software can be running, but unless the Daemon application is also running, Remote will only display the red dot and will not provide any feedback.
Server IP Address – each MBOX server’s IP address is shown under the server’s name in the Server View column.
Local Timecode Value – if the computer running the Remote application is receiving timecode locally, that timecode value will be displayed at the top-right of the Remote window.
Server Timecode Value – if an MBOX server is receiving timecode locally or over the network, that timecode value will be show to the right of the server’s IP address in the Server View column.
Layer Opacity – the vertical white line to the left of each layer video stream represents the opacity value of that layer.
Playback Position, In/Out Points – the length of the green line below each layer video stream represents the position of the layer’s current in and out point values, and the yellow dot represents the current playhead position.
Monitor HUD
The Monitor HUD can be toggled on and off by pressing [
M] on the keyboard. It will show a floating window of the
Breakout View that is currently selected (designated by a surrounding white box) in the main window.
Note: The size of the Monitor HUD view can be adjusted in the Remote Preferences window. This allows you to set the main application window images to be quite small to save space, but still have a large view of the selected server or layer.
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Setting MBOX Server Preferences Remotely
If you select a server or layer on the Remote main window and then press [
P], the MBOX Server Preferences window will open. This window allows you to remotely set the preferences of the server: Art-Net Universe, Number of Layers,
Alignment Rectangles.
To edit a setting, click inside the box that surrounds the name of the setting. The preference will become active so that it can be edited. Note that text values will require pressing [enter] to accept them.
Note: Some preferences require the MBOX Studio software to be relaunched before they take effect. These preferences are noted by the presence of two diamonds after the pref's name
Setup of Alignment Rectangles Using Remote
Certain preferences have more complex settings, such as the Alignment
Rectangles configuration. (Refer to "Alignment Rectangles" on page 61 for more
information.)
To setup Alignment Rectangles on a server using MBOX Remote application:
Step 1. Using Remote , open MBOX Server Preferences window (for the desired server).
Step 2. Click inside Alignment Rectangles box.
Step 3. At Alignment Rectangles edit window, press "+" button to add a rectangle or "-" to delete a rectangle. When a rectangle is added, it will receive an index number (beginning with 0). You may have up to 256 rectangles
(0 - 255).
Step 4. Use Name field to enter a name for the rectangle.
Step 5. Use X, Y, W, and H fields to specify an origin (X, Y) and size (Width, Height) for the rectangle. Keep in mind that the origin (0,0) of the MBOX display is the top-left corner.
Step 6. Use Line field to enter a lineweight for the rectangle. (The default lineweight is 1.)
Step 7. Use Col (Color) pop-up to specify a color.
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Step 8. Specify a Screen and Group as required.
Step 9. Press "Set" button to apply rectangle settings. If rectangles are not currently being displayed, all rectangles in the selected group will appear briefly to show the location of the new rectangle. If rectangles are being displayed, the new rectangle will appear and remain until the alignment rectangle display is turned off.
Server Control Commands
With a server selected in the Remote main window, there are a large number of commands in the Commands section of the menubar that will affect that server. The following tasks are available:
+
Rescan Media – rescans Media and Models folder.
+
Update Thumbnails – scans for new content and builds thumbnails.
+
File Sharing On – turns File Sharing on.
+
File Sharing Off – turns File Sharing off.
+
Go Fullscreen – if the MBOX Studio software is in Window mode, it will enter Fullscreen mode.
+
Exit Fullscreen – if the MBOX Studio software is in Fullscreen mode, it will enter Window mode.
+
Relaunch MBOX – immediately quits and relaunches the MBOX application.
+
Quit MBOX – immediately quits the MBOX Studio software.
+
Restart Computer – immediately restarts the computer.
+
Shutdown Computer – immediately shutdowns the computer.
+
Show MBOX Daemon – if the MBOX Daemon is hidden on the server, it will be unhidden.
+
Launch MBOX – launches the MBOX Studio software. (This only works if MBOX Daemon is running.)
+
Mount Server – opens a File Sharing session with the server. (Assumes default user name and password, but will allow substitute entry if the default is not correct.)
+
Share Screen – opens a Screen Sharing session with the server. (Assumes default user name and password, but will allow substitute entry if the default is not correct.)
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Timecode Window
To toggle the Timecode window on and off, press [
T] on the keyboard.
+ Source – choose the appropriate source for timecode: Generator, Audio In Left, Audio In Right, or MTC (MIDI timecode).
+ Output – Local (internal routing only), or an active Ethernet port (for sending timecode over the network to MBOX servers).
+ Auto-Start – enabling this will cause timecode be active as soon as the Remote application launches. Depending on the source setting, the application will immediately begin generating or listening for external timecode.
+ Start Time value – specifies where the internal generator will start.
+ End Time value – specifies where the internal generator will loop back to the start time.
+ Start – starts generating code from Start Time value if generator is selected, or will start listening for external code if not.
+ Stop – stops generating internal code or listening for external code.
+ Resume – resumes generating internal timecode from current position.
Note: The Timecode window does not have to be visible to function. If timecode is being received, it will be shown at the top-right of the Remote main window.
Note About Thumbnails
The Remote application had a tab that allowed you to see the stored content, effect, and transition thumbnails on the selected server, however, this functionality has been removed. Instead, you can use any browser to view the same information. Just type the computer’s IP address into the navigation field of the browser: http:// IP Address of computer
For example: http://192.168.0.123
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Notes
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B.
PARAMETER MAPPING
This Appendix contains tables for the combined parameter map, as well as, additional controls such as playmodes, tiling, shutter shapes, aspect control, blending control, texture effect, transitions, and built-in shapes.
+
PARAMETER MAPPING CHARTS
Parameter Mapping Charts
One MBOX server running v3.6 software or greater is made up of between 14 and 22 fixtures depending on the operating mode. For ease of use, some consoles may split the Layer fixture into two separate fixtures. Previous operating modes have significant differences in the arrangement of parameters. In all cases, a show programmed to run in one particular operating mode will not be compatible with a server running another mode. This configuration includes lighting, camera, shutter, keystone, and object controls.
Note: All 16-bit values are in Big Endian format. For example, the value 23 would be presented as 0 in the first channel and 23 in the second channel.
For additional instructions on parameter mapping, refer to the following online videos:
Layer, Frame Blending, Play Modes: Mbox Media Server Training Video Chapter 11: Play Modes
Transitions: Mbox Media Server Training Video Chapter 13: Transitions
Texture Effects: Mbox Media Server Training Video Chapter 17: Texture Effects
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Summary: Single Output
Start
1
12
20
34
76
118
160
202
244
286
328
Size
42
42
42
42
11
8
14
42
42
42
42
Type
Master
Keystone
Shutter
Layer 1
Layer 2
Layer 3
Layer 4
Layer 5
Layer 6
Layer 7
Layer 8
Universe
1st
369 Total
Channels
Summary: Dual Output - Panoramic Wide
Universe Start
1
12
20
34
76
118
160
202
244
286
328
Size
42
42
42
42
11
8
14
42
42
42
42
Type
Master
Keystone
Shutter
Layer 1
Layer 2
Layer 3
Layer 4
Layer 5
Layer 6
Layer 7
Layer 8
1st
369 Total
Channels
Parameter Descriptions
Fixture
Master
Keystone
Parameter Description
Pixel Map
Level
Pixel Map
Control
Texture
Effect 1
Intensity master for pixelmapping Art-Net output
Control functions for pixelmapping
2D effect applied to the final image
Modifier 1a First modifier
Modifier 1b Second modifier
Red
Green
Red subtractive
Green subtractive
Blue Blue subtractive
Intensity Intensity of the video output
Control
Control functions for server -
HUDs, macros, etc.
Master
Audio
Volume
Final output volume master
Keystone 1a
Keystone 1b
Keystone 2a
Keystone 2b
Bottom-Left X or X Rotation
Coarse
Bottom-Left Y or X Rotation
Fine
Bottom-Right X or Y Rotation
Coarse
Bottom-Right Y or Y Rotation
Fine
Keystone 3a Top-Left X or Aspect Coarse
Keystone 3b Top-Left Y or Aspect Fine
Keystone 4a Top-Right X or Curve Y
Keystone 4b Top-Right Y or Curve X
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Parameter Descriptions (Continued)
Fixture
Shutter
Layer
Parameter Description
Red
Green
Blue
Opacity
Edge
Softness
Shutter 1a
Shutter 1b
Shutter 2a
Shutter 2b
Shutter 3a
Shutter 3b
Shutter 4a
Shutter 4b
Red additive
Green additive
Blue additive
Opacity of shutter blades
Adjusts the soft edge of the shutters
Bottom-left corner L/R adjustment
Top-Left corner L/R adjustment
Top-Left corner U/D adjustment
Top-Right corner U/D adjustment
Top-Right corner L/R adjustment
Bottom-Right corner L/R adjustment
Bottom-Right corner U/D adjustment
Bottom-Left corner U/D adjustment
Effect 1
Effect 2
2D or 3D effect applied to the layer
Modifier 1a First modifier
Modifier 1b Second modifier
2D or 3D effect applied to the layer
Modifier 2a First modifier
Modifier 2b Second modifier
Blend Mode
Draw Mode
Adjusts how layer blends with layers underneath
Adjusts methods for drawing the layer
Red
Green
Blue
Opacity
Texture
Folder
Red subtractive
Green subtractive
Blue subtractive
Transparency of the layer
Texture File
Play Mode
Selects numbered content folder from w/in Media folder
Selects numbered file from within Texture folder
Selects play mode of movie content
Play Speed
Adjusts play speed of movie content
In Frame Sets in-frame of movie content
Parameter Descriptions (Continued)
Fixture
Layer
(continued)
Parameter Description
Out Frame
Sync
Stream
Sync Offset
Frame
Blending
Sets out-frame of movie content
Selects 1 of 16 channels for playback synchronization
Adjusts layer's playback sync offset later/earlier
Adjusts the amount of interframe blending for movie content
Selects the type of crossfade for 2D content on the layer
Texture
X-Fade Type
Texture
X-Fade
Time
Adjusts the timing of 2D crossfades on the layer
X Position Moves the layer left and right
Y Position Moves the layer up and down
Scale
X Scale
Adjusts the size of the layer
Adjusts the width of content on the layer
Y Scale
Z Rotation
X Rotation
Y Rotation
Object File
Adjusts the height of content on the layer
Adjusts rotation of the layer through the Z axis
Adjusts rotation of the layer through the X axis
Adjusts rotation of the layer through the Y axis
Selects numbered file from folder 000 within Models folder
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Master
Chan Size
6
7
4
5
8
9
1
2
3
1
1
1
1
1
1
1
1
1
10
11
1
1
Function
Pixel Map Level
Texture Effect 1
Modifier 1a
Modifier 1b
Red
Green
Blue
Intensity
Master Audio Volume
Default Snap
255
0
0
0
0
255
255
255
255
N
N
N
N
N
N
N
Y
Y
0
255
Y
N
Pixel Map Control
Values
0
254
255
Command
Enable All
Disable Masked
Disable All
Master Control Channel
Values Command
0 None/Idle
10-19
20-29
40-49
50-59
Version HUD
Performance HUD
Master/Keystone/Shutter HUD
Layer HUD 1
60-69
70-71
80-84
85-89
Layer HUD 2
Raw Art-Net HUD
Show pix-map context view
Show pix-map fixture view
100 - 109 Show pix-map sample areas
110-111 Timecode HUD Center
112-113 Timecode HUD Top Right
114-115 Timecode HUD Top Left
Master Control Channel
Values Command
250
251
252
253
231
232
233
240
138
139
220
230
134
135
136
137
130
131
132
133
126
127
128
129
116-117 Timecode HUD Bottom Right
118-119 Timecode HUD Bottom Left
120
121
Show Alignment Rectangles No Group,
No X or O
Show Alignment Rectangles Group 1, No X or O
122
123
124
125
Show Alignment Rectangles Group 2, No X or O
Show Alignment Rectangles Group 3, No X or O
Show Alignment Rectangles Group 4, No X or O
Show Alignment Rectangles Group 5, No X or O
Show Alignment Rectangles Group 6, No X or O
Show Alignment Rectangles Group 7, No X or O
Show Alignment Rectangles Group 8, No X or O
Show Alignment Rectangles Group 9, No X or O
Show Alignment Rectangles Group, No X and O
Show Alignment Rectangles Group 1, X and O
Show Alignment Rectangles Group 2, X and O
Show Alignment Rectangles Group 3, X and O
Show Alignment Rectangles Group 4, X and O
Show Alignment Rectangles Group 5, X and O
Show Alignment Rectangles Group 6, X and O
Show Alignment Rectangles Group 7, X and O
Show Alignment Rectangles Group 8, X and O
Show Alignment Rectangles Group 9, X and O
Cancel keyboard HUD *
File Sharing On *
File Sharing Off *
ARD On *
ARD Off *
Rescan Media Library *
Quit MBOX Application *
Shutdown Computer *
Restart Computer *
Restart MBOX Application *
* Special commands require that the parameter value be held for three seconds, followed by an immediate change to value 0 (without any other values in between).
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Keystone
Chan Size
6
7
4
5
8
1
2
3
1
1
1
1
1
1
1
1
Function
Keystone 1a
Keystone 1b
Keystone 2a
Keystone 2b
Keystone 3a
Keystone 3b
Keystone 4a
Keystone 4b
Default Snap
0
0
0
0
0
0
0
0
N
N
N
N
N
N
N
N
Shutter
Chan Size
8
9
6
7
3
4
1
2
10
11
12
13
14
1
1
1
1
1
2
1
1
1
1
1
1
1
Function
Red
Green
Blue
Scale
Edge Softness
Shutter 1a
Shutter 1b
Shutter 2a
Shutter 2b
Shutter 3a
Shutter 3b
Shutter 4a
Shutter 4b
Default Snap
0
0
0
0
0
0
0
32767
0
0
0
0
0
N
N
N
N
N
N
N
N
N
N
N
N
N
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Layer
Chan Size
36
38
40
42
28
30
32
34
23
24
25
26
17
19
21
22
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
2
1
2
2
2
2
2
2
1
2
1
1
1
1
2
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
Function
Effect 1
Modifier 1a
Modifier 1b
Effect 2
Modifier 2a
Modifier 2b
Red
Green
Blue
Opacity
Texture Folder
Texture File
Play Speed
In Frame
Out Frame
Sync Offset
Texture Xfade Type
Texture Xfade Time
X Position
Y Position
Scale
X Scale
Y Scale
Z Rotation
X Rotation
Y Rotation
Object File
Default Snap
32767
32767
32767
32767
32767
32767
32767
0
0
65535
0
0
255
0
0
32767
0
0
0
127
255
255
255
0
0
0
0
0
0
0
0
0
N
Y
N
N
N
N
N
N
Y
N
N
Y
Y
N
N
N
Y
N
Y
Y
N
N
N
N
Y
Y
N
N
N
Y
Y
N
Layer Blend Mode
Values
0
Mode
Default
Overlay
1 Additive
2 Screen
3 Multiply
4 Subtractive
5 Exclusion
6
Invert
Subtractive
Description no layer blending layer’s colors are added to underlying colors (blacks appear transparent) similar to above, with less of underlying color (blacks appear transparent) multiplies layer’s color with underlying color (blacks appear opaque) layer’s colors are subtracted from underlying colors (blacks appear transparent) underlying colors are inverted where layer color is lighter; layer’s colors are then added to underlying colors (blacks appear transparent) underlying colors are subtracted from layer’s colors (blacks appear opaque) underlying colors are added from layer's colors (blacks appear transparent)
Draw Mode
Values Mode Description automatic ambient lighting of
1 Light/Trim object/trims edge of backgrounds
2
3
Cut
Cut + Light cuts holes in stencil mask as above w/ lighting
4 Cut & Draw as mode 2 but texture is drawn on object too
5
6
7
8
9
Cut & Draw +
Light
Draw thru
Stencil
Draw thru
Stencil + Light
Draw onto
Stencil
Draw onto
Stencil + Light as above w/ lighting this layer's texture is drawn where holes have been cut in stencil as above w/ lighting this layer's texture is drawn where stencil is not cut as above w/ lighting
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Play Mode
Values Play Mode
0-9
10-19
Forward Loop
Reverse Loop
20-29 Forward Once
30-39 Reverse Once
40-49
50-59
60-69
80-89
Forward Bounce
Reverse Bounce
Random
Scrub - In Frame
90-99 Scrub - Out Frame
130-134 Timecode Sync (Strict Lock)
135
136
Timecode Sync then Freewheel
Timecode Jam Sync
140 - 149 Layer Slave
150 - 159 Layer Master - Forward Loop
160 - 169 Layer Master - Forward Once
180
Kiosk Mode Non-Looping, pause on last frame of last file
181
182
Kiosk Mode Non-Looping -loop last file
Kiosk Mode Non-Looping - fade out last file
185 - 189 Kiosk Mode Looping
190 - 199 SMPTE Kiosk Mode
250-255 Restart Movie from In Point
Sync Stream
Values
0
1-2
Mode
Layer to Layer Stream (default)
Stream Number
Frame Blending
Values Description
0
1-255
No Frame Blending (more accurately, blend time = 0)
Variable Frame Blend Time, as a proportion of the frame time. This is a square-law control, and 50% blend time is achieved at value 210, 25% blend time at value 165.
Video Input and Utility (Texture Folder 255)
Texture
Value
124
125
126
127
0
121
122
123
128
240
254
255
Input
Patch Info Display
Layer Copy FX+ Layer 1
Layer Copy FX+ Layer 2
Layer Copy FX+ Layer 3
Layer Copy FX+ Layer 4
Layer Copy FX+ Layer 5
Layer Copy FX+ Layer 6
Layer Copy FX+ Layer 7
Layer Copy FX+ Layer 8
CG Color bars
Video Input 2
Video Input 1
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ID
28
29
30
31
24
25
26
27
32
33
34
20
21
22
23
16
17
18
19
12
13
14
15
8
9
10
11
6
7
4
5
2
3
0
1
35
36
37
Effects
Refer to notes at end of Effects table.
Effect Description
Sharpen
Median
Color Switch
Vertical Lines
Color Shift
Blur
Gaussian Blur
Circular Screen
Dot Screen
Line Screen
Hatched Screen
CMYK Halftone
Tiles
Circular Crop
Rectangular Crop
Mirrors
NONE
Monochrome
Sepia Tone
Invert
Color Reduce
Bright/Cont
Saturation
Hue
Gamma
Exposure
Solarize
Black&White
Black Alpha
X-Ray
Bloom
Gloom no effect convert colors to grayscale convert colors to sepia tone image color invert reduce color space brightness and contrast controls saturation control adjustment hue gamma adjustment exposure adjustment solarize effect convert image to black/white dark areas transparent
inverted grayscale soften edges, add glow dulls highlights increases image detail by sharpening reduce noise with median calculation
RGB->RBG/BGR/BRG/GBR/GRB spread single row over vertical space dynamic color shift (sine function) simple/quick image blur more sophisticated/slow blur circular shaped halftone screen dot patterned halftone screen line patterned halftone screen hatch patterned halftone screen color, halftoned rendition image tiling circular image crop with edge blur rectangular image crop with edge blur
various mirror modes
Horizontal Bars
Vertical Bars break image into bars break image into bars
Double Vision offset image and overlay
Circular Crop w/ X/Y Position
Crop that can be repositioned
1
Rectangular Crop w/ X/Y Pos.
Crop that can be repositioned
1
Rippling simple ripple effect
39
40
41
Shake
Wobble
Bump Distortion dynamic shaking effect dynamic wobbling effect bump distortion
Control 1 amount amount amount brightness saturation hue gamma exposure amount threshold threshold amount radius radius sharpness mode row range amount amount width width width width width divisions size size mode number number x offset size
size size size size size radius radius
Control 2 contrast intensity intensity intensity speed
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sharpness angle angle angle angle edge edge width width y offset softness softness granularity speed speed speed scale
105
Effects (Continued)
Refer to notes at end of Effects table.
ID Effect Description Control 1 width
Control 2 thickness
106
66
67
68
69
62
63
64
65
58
59
60
61
54
55
56
57
70
71
72
74
75
76
77
78
79
49
50
52
82
84
86
Edge Detect
Crystallize
Pointillize
LED Wall
Cartoon
White Alpha
Red Alpha
Green Alpha
Blue Alpha
White Only
Red Only
Green Only
Blue Only
Zoom Blur
Unsharp Mask
Motion Blur
Op Tile
Circular Wrap
Circular Splash
Orth Shutter
Horiz Crop
Vert Crop
Vertical Roll Up
Horizontal Roll
Horizontal Roll Left
Black Alpha 2
Black Threshold
Pos Lattice
Channel Shift
LumaKey Inverse
Hexagonal Pixelate
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edge detection with color break up into crystal pattern width radius intensity radius thickness break image into points scale radius break up into dots cartoon effect white areas transparent red areas transparent green areas transparent blue areas transparent everything but white areas transparent everything but red areas transparent everything but green areas transparent everything but blue areas transparent blurs from center of image angle dot amount line width threshold threshold threshold threshold threshold threshold threshold threshold size divisions dot size color reduction increases image detail by sharpening intensity radius blurs along a variable axis glass block tile effect wraps image into tube shape clamps image from center outwards horizontal & vertical 90° shutters horizontal 90° shutters intensity scale size size
H insertion insertion direction tile size rotation
V insertion center (127=def.) vertical roll up horizontal roll horizontal roll left revised black alpha effect renders black areas as true black divides image into rectangles separates RGB channels renders dark areas transparent pixelates image, hexagonal speed speed speed intensity intensity divisions divisions mode horizontal intensity scale pause pause pause threshold threshold size size threshold vertical threshold
Effects (Continued)
Refer to notes at end of Effects table.
ID
87
88
Effect
Glide Reflected Tile
4-fold Rotated Tile
Description rectangular tile effect four-sided tile effect
94
95
96
97
90
91
92
93
98
100
101
102
108
109
6-fold Reflected Tile
12-fold Reflected
Layer Edge Blend Left
Layer Edge Blend Right six-sided tile effect twelve-sided tile effect soft edge to transparent soft edge to transparent
Layer Edge Blend Top
Layer Edge Blend Bottom soft edge to transparent soft edge to transparent
Layer Edge Blend Left & Right soft edge to transparent
Layer Edge Blend Top & Bottom soft edge to transparent
Alpha Mask From File *
Drop Shadow 2
Luma Lines
ASCII Art
Shaded Material *
Hue and Saturation mask using additional file simple drop shadow color & luma block effect converts image to characters additional file creates relief map combines hue and saturation controls in a single effect
201
202
203
204
205
206
207
209
210
L/R-Shutter
B/T-Shutter
Move Center
Shake
Texture Scale/Rotation
Texture X/Y Position
211 n/a mask LHS/RHS of layer mask Bot/Top of layer shift rotational center of image
X/Y shake effect
Strobe
Object Tile strobe effect tiling effect
Z-Position changes z-position of object creates specular highlight from
Highlight spotlights adjusts scale & rotation of texture on gobos adjusts X/Y position of texture on gobos
Control 1 rotation rotation rotation rotation rotation amount amount amount amount amount amount file number offset width scale file number
Hue
(127 = default) left bottom
X (127=def.)
X off time number position amount spread scale rotation
X Y
212
213
214
215
Crop to Alignment Rectangle
X/Y Position and Scale Damping
Z Rotation and Scale Damping
Texture Flip crops content to screen area defined by alignment rectangle motion damping for position & scale ** motion damping for position & scale ** inverts drawing axes (X,Y,Z) when applying a texture to an object alignment rectangle number
X/Y position
Z rotation
1>63 no action,
64>127 center content scale scale
Control 1:
0 - 31 = flip X
32 - 63 = no flip
64 - 95 = flip X, Y
96 - 127 = flip Y
128 - 159 = flip X, Z
160 - 191 = flip Z
192 - 223 = flip X, Y, Z
224 - 255 = flip Y, Z
Control 2 size size size size size softness softness softness softness softness softness
Flip mode amount rows desaturate amount
Saturation
(127 = default) right top
Y (127=def.)
Y on time spacing
Control 2: N/A
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Effects (Continued)
Refer to notes at end of Effects table.
ID Effect
217 Spin
Description controls spin speed and direction about X/Y/Z axes
Control 1 Control 2
Control 1 - Z Axis :
0 = stop + return to 0°
1 - 126 = fast to slow forwards
127 = stop
128 - 255 = slow to fast backwards
Control 2 - X Axis :
0 = stop + return to 0°
1 - 126 = fast to slow forwards
127 = stop
128 - 255 = slow to fast backwards
Control 3 - Y Axis :
0 = stop + return to 0°
1 - 126 = fast to slow forwards
127 = stop
128 - 255 = slow to fast backwards
Control 4 - N/A
*
These elements require additional input files in order to obtain the desired result. Users will need to provide their own additional files.
** The modifier channels for the Damping effects apply damping in 1/30 sec. increments. Therefore, a value of 30 will add 1 second to any change of that parameter. The damping is divided equally between the start and end of the movement curve. Effect parameters can be adjusted during a move to affect only one side of the curve.
Notes for Effects:
1
These effects require that the second effect channel on the corresponding layer be set to 255. At that point, Mod 2A controls Xposition and Mod 2B controls Y-position. The default value for both additional controls is 127.
2
Effects 201-217 are not available for use on the Master fixture.
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7
8
9
10
11
13
14
15
Transitions
Refer to notes at end of Transitions table.
ID
2
3
0
1
4
5
Transition
Dissolve
Dissolve2
Wipe Right
Wipe Left
Wipe Down
Wipe Up
Description dissolve dissolve 2 slightly blended right to left wipe slightly blended left to right wipe slightly blended top to bottom wipe slightly blended bottom to top wipe
Wash Right
Wash Left
Wash Down
Wash Up
Wash Diagonal
White Left
White Down
White Up more blended right to left more blended left to right more blended top to bottom more blended bottom to top more blended diagonal blended white stripe right to left blended white stripe top to bottom blended white stripe bottom to top
30
31
32
33
26
27
28
29
22
23
24
25
18
19
20
21
38
39
40
41
42
34
35
36
37
Through White
Through Red
Bright First
Dark First
Dots
Big Dots
Burst
Flash fade to white and back in fade to red and back in transition by brightness of new image transition by darkness of new image fade with small dots fade with big dots white star burst transition white flash transition
Slow Dissolve
Slower Dissolve
Rotate Left
Rotate Right dissolve that comes in more slowly dissolve that comes in even more slowly simple 3d rotate effect simple 3d rotate effect
Rotate Down
Rotate Up simple 3d rotate effect simple 3d rotate effect
Rotate Center Vertical simple 3d rotate effect
Rotate Center Horizontal simple 3d rotate effect
Zoom Out
Zoom In zoom out and back in zoom in and back out
Horizontal Bars 10 horizontal bars, hard edge
Horizontal Bars + Blend 10 horizontal bars, blended edge
Vertical Bars
Vertical Bars + Blend
Circle Center
Circle Center + Blend
Concentric Circles
20 vertical bars, hard edge
20 vertical bars, blended edge circle out from center circle out from center, blended edge circles out from center, blended edges
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Transitions (Continued)
Refer to notes at end of Transitions table.
ID
55
56
57
58
51
52
53
54
47
48
49
50
43
44
45
46
101-110
111-120
255
Transition Description
Push Right
Push Left
Push Down
Push Up
Split Right
Split L/R Center
Split Down
Split Up
Split U/D Center
Split XY
Bar Swipe Right
Bar Swipe Left
Bar Swipe Up
Bar Swipe Down
Page Curl 1 *
Page Curl 2 * new image pushes in left to right new image pushes in right to left new image pushes in top to bottom new image pushes in bottom to top old image splits and slides to the right old image splits and slides left and right from the center old image splits and slides down old image splits and slides up old image splits and slides up/down from the center old image splits slides out from center old image slides to right in strips old image slides to left in strips old image slides upward in strips old image slides downward in strips curls from the bottom-right corner of the image to the top-left corner.
curls from the top-right corner of the image to the bottom-left corner.
Custom Hard Wipe 1-10 ** hard edge wipe generated from additional image file
Custom Soft Wipe 1-10 ** soft edge wipe generated from additional image file
Object Fade fade out on current object, fade in on new object
*
The Page Curl transitions attempt to use files 021 and 022 in the Mbox/plugins/images/grayscale folder. If these files do not exist, the transitions will not work properly. File 021 is a 1920 x 1080 50% gray, and file 022 is a 480 x 480 radial gradient. Both files are saved as JPEGs.
** These elements require additional input files in order to obtain the desired result. Users will need to provide their own additional files.
110
MBOX
®
STUDIO USER MANUAL
MBOX® Studio User Manual
Version as of: April 24, 2013
PRG part number: 02.9800.0003.36 A
Production Resource Group, LLC
Dallas Office
8617 Ambassador Row, Suite 120
Dallas, Texas 75247 www.prg.com
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