Truelight

Version 2.1

Shake Node

Fil m Light

D I G I TA L F I L M T E C H N O L O G Y
Truelight Product Version: 2.1 Shake Node Document Version: 1.2 Date: 17/03/2005 Modified: 14/04/2005 21:03

FilmLight 2005

Truelight Overview
Truelight is a complete film colour management system for pre-visualising film images on electronic display devices. It provides a full simulation of the entire workflow from digital data to final projected image. By carefully measuring and characterising each stage in the workflow, the closest possible match between preview on the Shake monitor and the final projected film image can be achieved. The simplified overview diagram below shows how the Truelight system uses calibration data to create a 3D colour-cube transform, accurately matching the electronic display of digital film images to the projection of a print created from the same digital source:
NEG FILM STOCK PRINT FILM STOCK

FILM RECORDER

FILM PROJECTOR

CAL CAL

COMBINED C A L I B R AT I O N
D I G I TA L F I L M I M AG E S
HD MONITOR OR D I G I TA L P R O J E C T O R

S HA K E

TRUELIGHT TRANSFORM (PLUGIN)

UI MONITOR

For more details on Truelight, please visit the FilmLight web pages at www.filmlight.ltd.uk, and follow the product link to the Truelight sections.

Truelight Licence

Truelight is automatically licensed to use generic profiles. The Truelight node can be upgraded to load custom profiles if required. For further information, please refer to the Truelight support section of the FilmLight website: www.filmlight.ltd.uk/support/truelight.html

Monitor Calibration

A monitor must be correctly calibrated before it can accurately reproduce images. The Truelight node provides a built in tool for the visual calibration of the Shake monitor. It is also possible to use monitor calibration files which have been created using a Truelight Monitor Probe and imported into the machine. Before calibrating the Shake monitor, it should be set up to ensure optimal performance in your current viewing environment. You should use the controls on the display to set the brightness, the contrast, and the white point. The FilmLight recommended practice document RP-FL001 Viewing Environment and Monitor Setup gives more detailed advice on setting up your viewing environment - this can be downloaded from the FilmLight website. The following procedure applies to the visual calibration of the Shake user interface monitor. If you have an external HD broadcast monitor, Truelight provides two preset calibration options which may be appropriate for your monitor (see step 5 on page 8). Before starting, ensure that the VLUT and user scripts are switched off: To start the Truelight Monitor Calibration utility: Click on the other tool tab This tab should include two Truelight icons - click on the Truelight Calibrate icon:
A TLCalibrate node will appear in the Node View. This node does not require any inputs or outputs as it is just being used to generate a series of lineup patterns in the viewer:
The viewer should currently be displaying two patches side-by-side, a mid grey patch on the left and a patch composed of alternate white and black lines on the right. Select the Parameters1 tab to access the Truelight monitor calibration controls:
Before adjusting any of the controls, check that the useProxy setting in the Globals parameter tab is set to Base, and the viewer is set to a 1:1 zoom. If necessary, click on the viewer Home button 4 to reset the viewer.
Leave the gang button turned on so that all three sliders move together and then drag any of the rgb sliders to the left or right, to visually match the brightness of the two halves of the screen. It may help to view the screen through half-closed eyes so that the white/black lines on the right-hand side of the viewer appear to merge into a continuous grey patch.
If there is any noticeable colour cast on the left side of the screen compared to the right, click on the gang button to turn it off and then trim the rgb sliders independently to match the colour of the two patches.
Once the two halves of the viewer match, and there appears to be a single uniform grey patch across the whole monitor, click on the Next step button Two new patches appear at half the level of the previous ones (i.e. one stop less), and the step number shown above the rgb sliders increments.

Repeat the process of matching the two halves of the screen as described above and again, click on the Next step button Repeat the process a further eight times to match all ten sets of grey patches. If the patches are too dark to see any differences, just click on the Next step button Note that it is possible to step back to a previous grey level at any time by clicking on the Prev step button
Once all the patches have been matched, the monitor calibration data must be saved: 9 Click on the template button to choose a calibration template appropriate to the type of monitor you have (currently, Apple Cinema and CRT displays are supported). The template list will also include any existing monitor calibration files, including ones created using a Truelight Monitor Probe. You can use a previous calibration as a template. The new calibration will have new RGB tone curves, but the other display properties are inherited from the template file.
10 Type a file name for this monitor calibration data in the calName box, and then click on the Save button (note that the default name for this file is monitor). Note that if the chosen calibration file already exists, a warning message will appear asking whether you want to overwrite it. Cancel if you do not. The calName box has a browser control. You can put calibrations in other directories, but the default directory is where Truelight will expect to find them. The monitor has now been calibrated for use with Truelight and the TLCalibrate node can be deleted. Warning: If you alter the display controls now, your new calibration will be invalid. Please lock or disable any controls on your monitor, if you can. Note that the calibration tool only calibrates the tone curves. It cannot measure the absolute brightness or colour of your monitor. The standard Apple Cinema and CRT templates use the Truelight default white point (16 foot-lamberts D65). If you are using a Truelight Monitor Probe calbration as your template, then you will get the correct absolute white point for your monitor. For more details see Truelight note FL-TN-00-001 on the FilmLight website.
Calibrations based on the standard Apple Cinema and CRT templates link display RGB values to absolute colours in CIE XYZ. Truelight also supports display calibrations that link display RGB values to colours relative to the display white in CIE L*a*b*. For more details on these standard colour spaces see Truelight note FL-TN-00-002 on the FilmLight website.

The Truelight Viewer

Once the Shake monitor has been calibrated (see Monitor Calibration on page 3), a Truelight node can be added to provide an accurate preview of what the final film print will look like: Select the color tool tab. Click on the Truelight Viewer icon:
A Truelight node will appear in the Node View. Insert the Truelight node into the tree at the appropriate point. 3 Click or double-click on the Truelight node to load its parameters:

Click on the profile button and select a Truelight profile from the pop-up list which matches the film-out process (print stock) you are simulating.
The default profile set is based on different film stocks, projected with a standard xenon lamp. Advanced users can make their own profiles using a text editor (for more details see Truelight note FL-TN-00-003 on the FilmLight website). If you require detailed simulation of your light box, projector, or specific film-out process, please contact FilmLight for information on alternative profiles and customised calibrations.
Click on the display button to choose the monitor calibration file for your display. If you have not yet calibrated the Shake monitor, please use the Truelight Calibration utility (see page 3). The list of display calibrations will include three standard files - rec709, rec709legal, and SonyHD. These calibrations are normally used in conjunction with an external broadcast monitor. The two rec709 calibrations match the standard ITU broadcast formulae; SonyHD matches a typical well-set up HD monitor.
Finally, click on the colourSpace button to set the correct working colour space for your material. The options are log, linear and video. These settings correspond to the basic colour space settings in the Shake LogLin node, but without the additional parameters (see Appendix for more details).
The Truelight node should now be set up to correctly simulate the chosen film-out process on the calibrated Shake monitor. Note that the screen shot on the previous page shows controls for white point luminance (whiteLuma) and chrominance (whiteChroma) at the bottom of the advanced drop-down section. These controls are only shown if the currently selected display needs them. If you cannot see these three sliders, then you may be using a CIE L*a*b* display calibration. Note also that there are three printerPoint controls. These controls are only shown if the currently selected profile can use them. If you cannot see the three printerPoint sliders, then you may be using a profile that matches your display to another display. In this case, the profile is not simulating a film-out process, so these controls would have no function.

Viewing controls

When viewing a Truelight node, the images displayed should be an accurate representation of what you would see if the image data were recorded and printed to film, then projected on the cinema screen. Ideally there should be no need to adjust anything. However, sometimes the user needs to adjust the display to compensate for external factors not modelled within the Truelight profile. Note: It is very important that the user does not adjust any of the controls on the monitor itself once it has been calibrated. If the monitor controls are adjusted, the monitor will have to be recalibrated (see page 3). The Parameters1 tab contains the following controls to allow for adjustments to the simulation of printer points and also to enable other Truelight modes:

printerPointR,G,B

- These controls allow offsets to be applied to the Truelight simulation of
printer lights at the printing stage of the film-out process. Adjust them to match a print which has come out with a colour cast. The default setting is zero. These sliders may be hidden if, for example, the currently selected profile does not simulate a film-out process.

showOutOfGamut invert

- Click on this toggle button to turn on Truelights gamut alarm (see
page 11). When active, any out-of-gamut colours are highlighted.
- Click on this toggle button to invert the operation of the Truelight node.
An inverted node will turn display RGB into film data.

oneDLUT

- Click on this toggle button to replace the Truelight cube transform with
simple look-up tables. This is slightly faster, but it is only accurate for neutral tones. When this control is enabled the 'showOutofGamut' control is hidden as it will have no effect.
Expanding the advanced section at the bottom of the panel provides access to additional controls to compensate for ambient lighting conditions. Adjustments can also be made to the white point (luminance and colour temperature) of the display:

brightness

- The brightness level of the displayed image can be shifted up or down. If
you are working under office lighting, you may want to turn up the brightness.

- When ambient light levels are high, detail in the darker areas of an image
can become difficult to see. Flare correction can be applied to effectively stretch the black end of the gamma curve. This is useful when it is impractical to black out the room. The default value of 0.01 matches the reference cinema conditions.

whiteLuma

- Sets the maximum white output level of the monitor. The default setting is
appropriate for matching cinema conditions. This control is hidden if the current display calibration does not use it.

whiteChromaU,V

- These two sliders adjust the overall colour balance of the monitor.
Changing the u value shifts the white point towards red or green. Changing v shifts white towards yellow or blue. The default settings shown match D65, the white used in video standards. These controls are hidden if the current display calibration does not use them.

Viewer LUT

Truelight can also be selected as a viewer LUT. Right click on the viewer LUT control to access the parameters.

Gamut alarm

Some colours can be displayed on film but cannot be reproduced on a particular electronic display such as an LCD or CRT monitor. These colours are considered as out-of-gamut for that display device. When the showOutOfGamut button is enabled, these out of gamut colours are highlighted and the colours in gamut are rendered neutral. In normal operation, when the Gamut Alarm is disabled, the Truelight system gets as close to the colours as the display gamut allows.

Troubleshooting

The viewer will put a yellow cross over the image if there is a problem with the viewer settings or profile. This is most likely to be because the default 'monitor' display calibration hasn't been created (see page 3). For further assistance please visit the Truelight FAQs page in the Truelight support section of the FilmLight website: www.filmlight.ltd.uk/support/truelight.html

Support Information

Truelight Shake Plugin
Further information, support and FAQs can be found in the Truelight support section of the FilmLight website: http://www.filmlight.ltd.uk
Main Office (London): 38 Bedford Square London WC1B 3EL UK
FilmLight Inc. (LA): 10 Universal City Plaza Suite 2000, 20th floor Universal City, CA 91608 USA
Asia Pacific: 51A Markham Road Ararimu, Drury Auckland 1750 NZ
Appendix - Colour Space Conversions
Truelight can work with data which represents images in either log, linear or video colour space. When setting up the Truelight node, it is important to choose the correct input colour space for the images you are working with (see page 8). The example shown here illustrates how Truelight should be set to simulate a print on Kodak Vision stock on your display with three different input data types: Case 1 - Image data is Cineon Log To preview how images stored in logarithmic format (densities) would print on Kodak Vision stock, set Truelight input colour space to Log, profile to Kodak Vision and choose your calibrated monitor for the monitor Case 2 - Image data is Linear To preview how photometrically linear images (gamma=1.0) after conversion to logarithmic space would print on Kodak Vision stock, set Truelight input colour space to Lin, profile to Kodak Vision and choose your calibrated monitor for the monitor Case 3 - Image data is Video or HD To preview how video or HD originated images would print on Kodak Vision stock, after conversion to logarithmic space, set Truelight input colour space to Video, profile to Kodak Vision and choose your calibrated monitor for the monitor To get a better idea of the input conversions within a Truelight node, the above cases for Linear and Video input data can also be represented by Shake nodes providing similar results:

Linear Image Data

LogLin Settings: conversion = 0; /* log to lin */ rOffset = gOffset = bOffset = 0; rBlack = 95; rWhite = 685; rNGamma = 0.6; rDGamma = 1.7 rSoftClip = 0
Truelight Settings: colourSpace = Lin; profile = KodakVision; display = my_monitor;

Video Image Data

LogLin Settings: conversion = 1; /* lin to log */ rOffset = gOffset = bOffset = -8; rBlack = 95; rWhite = 685; rNGamma = 0.6; rDGamma = 0.7727; /* 1.7/2.2 */ rSoftClip = 0
Truelight Settings: colourSpace = Log; profile = KodakVision; display = my_monitor;
Note that the Truelight node is designed as a viewing node but there is no restriction against using it in the middle of a tree. Internally, the node limits the floating point range to between 0 and 1. If the Truelight node is used in the middle of a tree, please be aware that clipping could occur if the image data goes above 1.0

Installing Your Software

The following information is intended to get you up and running with Shake 4 as quickly as possible and covers the following topics:
Contents of the box Onscreen help Shake system requirements RAM Requirements Uninstalling Shake Installing Shake Serializing and registering Shake Installing and licensing Shake for render-only workstations Apple Qmaster system requirements Installing Apple Qmaster Client, Services, and Administration tools Shake and Apple Qmaster support
Important: Be sure to review the Before You Install Shake 4 document (in the Shake 4 installer or on the installation CD). For the latest information on Shake, go to the Shake website at http://www.apple.com/shake.
About the Contents of Your Shake Box
Your Shake box contains the following software and documentation. Installation CD The Shake 4 installation CD: This is your installation disc. Use this CD to install the Shake and Apple Qmaster software and documentation. Printed documentation The following printed instructional material is included in your Shake box: Shake 4 User Manual: Provides information on new features, the Shake user interface, image input and output, the compositing nodes and Node View, file formats and footage, keying, color correction and color space, using masks and transforms, working with the Curve Editor and the Time View, painting and rotoscoping tools, using filters, customizing Shake and making macros, and rendering. Shake 4 Tutorials: Provide step-by-step instructions for general Shake workflow and the user interface, basic color correction, using the Z channel, using local variables with expressions, color correction on premultiplied elements, using Keylight and Primatte, tracking, how to make a macro, and how to create a simple clean plate. Note: Tutorial media for use with the Shake 4 Tutorials is included on on the Shake 4 installation CD, in the Tutorial_Media folder. PDF documentation The following PDF documentation is located in the Documentation folder on the Shake 4 installation CD. Shake 4 User Manual Shake 4 Tutorials Shake 4 New Features Installing Your Software Apple Qmaster User Manual Truelight User Manual

About Onscreen Help

The Shake 4 User Manual, Shake 4 Tutorials, Shake 4 New Features, and Late-Breaking News documents are accessible via the Help menu of the Shake application. The Apple Qmaster User Manual and Apple Qmaster Late-Breaking News are available in the Help menu of the Apple Qmaster application. Documentation for the bundled Truelight features is included in the Documentation folder, located on the Shake 4 installation CD.

Onscreen Documentation

The Shake and Apple Qmaster onscreen documentation is in PDF format, and allows you to access information directly onscreen while youre working in Shake or Apple Qmaster via the Help menu. In Shake, there is also a Help button located in the Parameters tab of each function. This button opens an HTML page that describes the function. An additional HTML page that contains information on customizing Shake can also be accessed from the Help menu. These HTML pages (the function pages and the customizing section) include the same content as the Shake 4 User Manual. To access the onscreen help: Choose Shake User Manual, New Features, Tutorials, or another option from the Shake Help menu. The onscreen PDFs are interactive and contain links for easy navigation. To quickly find a specific topic, use the bookmarks or the interactive index.
In Apple Qmaster, choose Help > Apple Qmaster Help; in Apple Qadministrator, choose Help > Apple Qmaster Help; in Batch Monitor, choose Help > Batch Monitor Help (Batch Monitor is the utility installed with the Apple Qadministrator and Apple Qmaster Client components). To access the onscreen help for a specific Shake function: In the Node View, click the right side of the node to load its parameters. In the Parameters tab, click the Help button. Note: In the printed user manual, all function information is included in their associated chapters. To access the onscreen help for customizing Shake: Choose Help > Customizing Shake. Note: In the Shake 4 User Manual, extensive information on customizing is located in Chapter 14, Customizing Shake.

Late-Breaking News

The Late-Breaking News option in the Help menu links to the Late-Breaking News section of the Shake website and contains the latest information about the software, new features, and known bugs. To access Late-Breaking News: In the Shake application, choose Help > Late-Breaking News. In Apple Qmaster or Apple Qadministrator, choose Help > Late-Breaking News.
Shake 4 System Requirements

Before you install Shake 4, make sure that your Macintosh system meets the following minimum requirements. Minimum Hardware and Software Configuration Power Mac G5; Power Mac G4 or PowerBook G4 with 1 GHz or faster PowerPC G4 processor Mac OS X v10.3.9 or Mac OS X v10.4 (or later) QuickTime 7 (or later) 512 MB of RAM minimum1 GB RAM or more recommended 1 GB of available disk space for caching and for temporary files AGP graphics card with at least 32 MB of video memory and OpenGL hardware acceleration Display supporting 1280 x 1024-pixel resolution and 24-bit color, with 32MB or more of VRAM and Open GL hardware acceleration Three-button mouse Minimum Requirements for Render-Only Workstations The Shake 4.0 render-only workstation requires the following minimum hardware and software configuration: 500 Mhz or higher PowerPC G4 PowerPC G4 refers to any Tower, PowerBook, iMac, eMac over 500 Mhz. 1 Ghz PowerPC G4 or higher XServe Mac Mac OS X v10.3.9 or Mac OS X v10.4 (or later) QuickTime 7 (or later) 1 GB local disk space for caching and temporary files 256 MB of RAM RAM Requirements Real-time playback is a function of RAM, processor, image size, clip length, and graphics card. In Shake, images are loaded into memory and then played back. Current systems cannot achieve real-time playback with 2K-resolution images. With sufficient RAM and a good graphics card, files of up to 1K resolution should play back in real time. Use the following formula to determine the amount of required memory:
width * height * channels * bytes per channel * images = bytes
For example, a single 1024 x 768 RGB 8-bit (1 byte) per channel image is:
1024 * 768 * 3 * 1 = 2359296 bytes
Or, approximately 2.4 MB per frame.
Tip: To convert from bytes to megabytes (MB), divide by 1024 two times (1024 equals the number of bytes per kilobyte). Thankfully, all operating systems come with calculators. For a rough approximation, drop the last 6 digits. An 8-bit image is 1 byte, a 10 or 16-bit image is 2 bytes, and a float image is 4 bytes.

Installing Shake

When you install Shake, its components are placed in the Applications folder of the hard disk, typically your startup disk. Important: Be sure to review Shake 4 System Requirements on page 4 before installing Shake.
Installing Shake From the CD
Before you install Shake, turn off any virus protection and security software that you may have installed on your computer. Also, review any Before You Install files or documentation. To install and serialize Shake: 1 Insert the Shake 4 installation CD into your CD drive. 2 Double-click the Install Shake icon, then follow the onscreen instructions. 3 Read the Introduction, then click Continue. 4 Read the Before You Install Shake 4 document, then click Continue. 5 Read the Software License Agreement, then click Continue and Agree. 6 Select the destination disk where you want to install Shake, then click Continue. 7 Click Install. Note: If you have previously installed other Apple Pro Applications, this button may be labeled Upgrade instead of Install. 8 In the Authenticate window, enter your administrator name and password, then click OK. By default, Shake is installed into a folder named Shake within the Applications folder on your hard drive. Shake Folder Contents When Shake is installed, three icons appear within the Shake folder: shake, shkv, and shkqtv. The shake icon represents the Shake application, and can be placed in the Dock. The shkv icon represents the Shake Viewer application (the Flipbook player for all platforms). The shkqtv icon represents the Shake Disk-Based Viewer application (the QuickTime Flipbook player). You cannot launch shkv or shkqtv outside of Shake. When you create a standard or disk-based Flipbook in Shake, Shake Viewer is automatically launched and the shkv or shkqtv icon appears in the Dock.

Serializing Shake

1 Double-click the Shake icon (if starting Shake from the Dock icon, single-click). 2 In the Licensing dialog, enter your first and last name. Note: Entering an organization is optional. 3 In the Serial Number field, enter the Shake 4 serial number printed on the front of this document. 4 Click OK.

Registering Shake

The first time you start Shake, the application prompts you for registration information. By default, the Me card information in your Address Book is automatically entered in the appropriate fields. To register Shake to a user other than the user listed in the Me card in your Address Book: 1 Fill out the Name, Address, Organization, and Email address fields. 2 If you want information about Apple news and software updates sent to your email account, select the checkbox. 3 If you want to review Apples Privacy Policy, click Privacy Policy. 4 When you are finished, click Register Now. You are now ready to begin using Shake. Note: If you decide to click the Register Later button, you will be prompted to register again after opening the application five times.
Installing and Licensing Shake for Render-Only Workstations
To install the render-only version of Shake, perform the CD install as described in Installing Shake on page 5 on all systems intended for use as render workstations. Mac OS X render licenses are free, and do not require serial numbers or special licensing.

Uninstalling Shake

This section discusses uninstalling Shake and its associated files. Important: Although custom files are generally stored in the nreal folder of the Users directory, be sure to back up any custom files that may be stored in the Shake directory that you want to save before you uninstall Shake. To uninstall Shake: 1 Drag the Shake folder to the Trash (located in the Dock). 2 In the Library/Receipts folder, drag the Shake.pkg file to the trash. 3 Empty the Trash contents. Note: If the Shake4.0.pkg file is not removed from the Receipts folder prior to installing Shake again, the Shake Installer shows that you are upgrading Shake. The Shake4.0.pkg file is simply overwritten. This process does not remove the nreal folder in the user directory that is created when Shake is run for the first time. This folder usually contains your custom settings, such as macros, machine and user interface settings, icons, and autosaved scripts.
Installing Apple Qmaster 2
Apple Qmaster 2 is available via a separate installer on the installation CD. For more information on the Apple Qmaster 2 components and installation, see the Apple Qmaster 2 User Manual, located in the Documentation folder of the Shake 4 installation CD. By default, the Apple Qmaster 2 installer places Apple Qmaster and Apple Qadministrator icons in the Applications folder, and the Batch Monitor in the Applications/Utilities folder. It also installs the Apple Qmaster Preferences Panel, which lets you set your computer up as a service node.

Minimum Requirements for Apple Qmaster 2
Software requirements: Mac OS X v10.3.9 (or later) Hard disk drive requirements: The Apple Qmaster applications and Apple Qmaster
services require at least 20 MB available disk space for application installation.
Apple Qmaster Installation Components
Within the Customize dialog in the Apple Qmaster installer are two separate installation components for Apple Qmaster, each designed for a different part of a Apple Qmaster system.
Installation Component Apple Qmaster Applications
Where to Install It On client computers: Any computer from which you use Shake Qmaster to submit processing jobs. On administrator computers: Any computer you use to create and administer Shake Qmaster clusters. It must be on the same network as the clusters. On cluster computers:
Applications and Utilities Installed
Apple Qmaster 2 (the interface for
submitting jobs for distributed processing) Apple Qadministrator Batch Monitor utility

Apple Qmaster Services

Apple Qmaster 2 pane in System

Preferences

service nodes: The computers that
perform the actual processing of jobs. cluster controller computers: The computer that acts as the manager of a cluster. It divides up tasks, determines which service nodes to send work to, and then distributes the work. There is only one cluster controller per cluster.
While one computer could act as a combination of client, service node, and cluster controller, keeping these functions on separate computers generally increases the speed and efficiency of processing.
Client computer from which users work and send jobs to the cluster

Cluster

(can contain multiple service nodes, but only one cluster controller)
Cluster controller manages the distribution of clients jobs across the cluster Service node processes jobs Service node processes jobs Service node processes jobs Service node processes jobs
Example of a network setup for distributed rendering

Client

Highspeed switches (chained together)
Rack of servers containing cluster controller and render-only Shake service nodes, plus rackmounted shared storage device.

For more background information about the different parts of an Apple Qmaster system and how to prepare an Apple Qmaster network, see the Apple Qmaster 2 documentation. To open the Apple Qmaster User Manual included on the installation CD, double-click the Apple Qmaster 2 User Manual.pdf icon in the documentation folder.
Using Apple Remote Desktop to Create and Administer Shake Cluster Computers Remotely
You can conveniently set up and control Shake service nodes and cluster controllers over a network or over the Internet, using Apple Remote Desktop. Apple Remote Desktop, using real-time screen sharing, lets you configure and administer Shake service nodes and cluster controllers that are running Mac OS X. For example, from one computer, you can turn services on and off and mount shared storage devices on cluster computers. You can also use Apple Remote Desktop to distribute or install the software, configure headless service nodes, and control desktops from anywhere on the network. For more information, see http://www.apple.com/remotedesktop/ For details on configuring and managing service nodes, cluster controllers, and clusters, see the Apple Qmaster 2 documentation. You can install both of the Apple Qmaster software components on any computer in your Apple Qmaster system, but you do not need to. The instructions that follow tell you how to install only the necessary components on each computer. Important: All the computers in a cluster need Read and Write access to any computers (or storage devices) that will be specified as output destinations for files.
Installing Apple Qmaster Applications on Client and Administrator Computers
You need to install Apple Qmaster Applications on any computer that you use to submit processing jobs with Apple Qmaster, and on any computer from which you create and administer Apple Qmaster clusters. Apple Qmaster is available from a separate installer. Note: When using Apple Qmaster 2, Shake is not required to be installed on client and administrator computers. To install Apple Qmaster Applications on client or administrator computers: 1 Double-click the Install Apple Qmaster 2 icon. 2 Follow the onscreen instructions.

Installing Apple Qmaster Services on Cluster Computers
You need to install Apple Qmaster on cluster computers (service nodes and cluster controller computers). Keep in mind that while it is possible for each cluster to have multiple service nodes, you are only required to have one cluster controller per cluster. On service nodes, you also need to install the application that will process batches submitted to Apple Qmaster. For Shake clusters, you can install Shake and the render license on the service nodes, since the only component of Shake that you need in a service node is its rendering capability. Shake 4 and Apple Qmaster 2 are available as separate installers. For more information on installing Shake 4.0 for rendering, see Installing and Licensing Shake for Render-Only Workstations on page 6. See the previous section for more information on installing Apple Qmaster 2. When Apple Qmaster Services are installed, the Apple Qmaster icon appears in the Other group of System Preferences. Note: See Special Installation Instructions for Extended Node Clusters on page 11 for information about creating an extended node cluster. You do not need to install any Apple Qmaster software on extended service nodes, but an extended node cluster does require an intermediary node that needs Apple Qmaster Services.
Special Installation Instructions for Extended Node Clusters
There is a way to use computers as service nodes even if they do not have Apple Qmaster installed. To do this, you configure an intermediary node that executes Apple Qmaster commands on other computers, called extended nodes. The intermediary node runs UNIX commands on the extended nodes via the SSH (secure shell) UNIX program, so that the extended nodes can process batches without having Apple Qmaster installed. This type of cluster is called an extended node cluster. Note: See the Apple Qmaster documentation for details on configuring and using an extended node cluster. To open the Apple Qmaster Help included on the installation CD, double-click the Apple Qmaster Help.pdf icon. You only need one intermediary node in an extended cluster. It can act as the cluster controller, or you can add it to another cluster that already has a cluster controller. To install Apple Qmaster on the intermediary node: Double-click the Install Apple Qmaster 2 icon, and follow the onscreen instructions. To install Apple Qmaster 2 on the extended nodes: Double-click the Install Shake 4 icon to install Shake on any computer that is intended for use as an extended node. There is no need to install Apple Qmaster software on extended nodes. Computers acting as extended nodes can operate as render-only workstations. See Installing and Licensing Shake for Render-Only Workstations on page 6 for more information.

About Installing Software and Saving Files
Mac OS X provides a multiuser environment so everyone has their own home directory where they can save files that arent accessible to others. If users are working on the same projects, they need to save or place these files in a location where others can access the files. When installing or saving files, including project files, consider who needs access to these items. Use the following to help determine where to locate files:
Shared folder within the Users directory: All users have access to this folder, making
this a good location to save and store files that you want others to use. Computer/Volume/Users/Shared For example, if you want all users to have access to the tutorial media, copy the appropriate folder from the Shake 4 installation CD to this Shared folder in the Users directory on a volume root.
Public folder within a users home directory: The user must turn on file sharing in
Sharing preferences so other users can access this folder. Computer/Volume/Users/Username/Public OR Home/Public
Volume roots: All users typically have access to the volume roots, which are all of the
connected volumes or hard disk drives. If all users need access to specific applications, such as Shake, make sure you install these applications in an accessible folder on a volume root, such as the Applications folder. Note: For information on setting preferences and environment variables, see Chapter 14, Customizing Shake, in the Shake 4 User Manual.
Shake and Apple Qmaster Support
For support information, see the Shake Services and Support Guide card that is included in your Shake box.
2005 Apple Computer, Inc. All rights reserved. Apple, the Apple logo, Shake, Apple Qmaster, FireWire, Mac, Mac OS, and QuickTime are trademarks of Apple Computer, Inc., registered in the U.S. and other countries.