If you need to use balanced audio inputs or outputs, for low impedance microphones or connections with other professional audio gear, you need to use an impedance matching device to convert low to high impedance (and/or vice versa). For example Datavideo BAC-03 (on page 62)

Outputs and Monitors

Your particular set up and application for the SE-800 will determine what video and audio devices you connect to the outputs. Take a look at the Sample Applications, page 15 for some examples. While all the outputs of the SE-800 are very high quality, keep in mind that the video quality of the various formats, in descending order, goes like this: SDI (serial digital), Y.U.V. (analog component), DV, Y/C (S-video), and composite. Audio outputs are all line level, suitable for connecting to an amp, VCR, or video projector (for example). We can stress enough the importance of good monitoring systems. If something doesn look or sound right t t at the last stage of the signal path, the Main output, it can only be easily corrected if you can pinpoint where in the signal path the problem is being introduced. Certain set ups will benefit greatly by being able to monitor the video of each input channel, as well as the Main output. High quality headphones allow you to hear the audio with far fewer intermediate steps and far more accuracy, thanks to the Headphone controls on the front panel, than going through an amp and speakers. We suggest both methods of monitoring, and listening to the sound through a video monitor speakers is also a good s idea. Needless to say, if you are outputting to a record deck, you should be able to easily monitor the output of that device as well. Connecting a Datavideo TLM-x 4 TFT LCD for four input video channels monitoring, page 60.
Using SE-800 SDI Overlay interface for CG Text overlay
Using SDI interface (270 Mbps, SMPTE 259M standard) and the EXT Chroma-Key effect on SE-800 to communicate with a PC SDI CG overlay card and perform a text overlay for the output video, page 45.

GPI Trigger

A GPI (General Purpose Interface) trigger is connected here by means of a mini plug (1/8). This device allows you to make the SE-800 do certain things at the specific moment you press the trigger, such as making transitions and effects happen. For more information on what you can do with the GPI Trigger, see Using Transitions, page 35, and Using Effects, page 41.

RS-232 control

Connects a Datavideo SE-800 Remote Control Panel RMC-90, page 61. Connects to PC RS-232 serial interface for remote controlled by PC application software.
Refer to the Appendix detail of RS-232 Remote Control Protocol, page 67.

Quick Start

We made three sample application set ups for using the Switcher: Production studio; Multi-camera event ve (city council meeting, church service, etc); and Performance (club VJ, concert visuals, etc.). Pick the one that most closely approximates your initial intended use, follow the block diagram to make the video and audio connections, and jump in to using the controls. For more in-depth information on specific connections, controls, and functions, please see the appropriate section of this manual.

Sample Applications

Connect Studio Mixer, VCR Studio Camera on weather talent with green/blue screen
Connect CD Player or other tape player, for background music

Studio Camera on Anchor

Weather talent mic, Anchor mic
Video Pass thru to a preview monitor or Datavideo TLM-404 4x4 TFT LCD Display
Connect DV input sources, such as Datavideo DV Bank for background video

To Master Recorder Deck

Connect a program Monitor
Production studio: cable weather/news show Text on diagram: This is but one of a nearly infinite number of possible production studio set-ups. It shows mixing a live green/blue screen camera with background footage, such as in a weather segment of a news show, and recording the result to a master recorder. Do this: Connect the recorder, input, and monitor devices as shown. Turn on all peripherals, then power up the SE-800. You can tell that the initialization cycle has completed when the Main Video Source LEDs (4.) and others are lit. Jump to the next sections to finish set up procedures and then explore the other basic functions described below.

DV Camera 2 DV Camera 1

DV Camera 4

DV Camera 3

Preview Monitor 1 Preview Monitor 2
Preview Monitor 3 Preview Monitor 4

To DV Recorder Deck

Moderator mic Council mic Audience mic From Audio Mixer, VCR
Multi-camera event: city council meeting Text on diagram: This multi-camera event could just as easily be a church service, Queen for a Day pageant, school play, or jazz concert; the general idea of the set up remains the same. It assumes multiple live camera feeds, analog and digital and multiple audio sources being recorded to a master recorder, in this case a DV deck. Do this: Connect the recorder, input, and monitor devices as shown. Turn on all peripherals, then power up the SE-800. You can tell that the initialization cycle has completed when the Main Video Source LEDs (4.) and others are lit. Jump to the next sections to finish set up procedures, and then explore the other basic functions described below.

Using Video and Audio Monitors
We save the speech on how important monitoring is for another section. Suffice it to say that ll without reliable video and audio monitors, you won be able to tell what what in your mix. t s The SE-800 provides the ability to easily and reliably monitor video and audio at both the input and output stages. Each input channel video can be monitored by connecting to the channel Monitor Output, with s either one monitor per channel as in example set ups 2 and 3 above (page 16, 17), or to a passive switch box as in example set up 1, page 15. You should have a video monitor displaying the Main Output. This could be a composite monitor, for example, connected to the V plug (Composite) in the Video Output section (11c, page10), or to the composite output of a VCR connected to the Video Output, or even, by using Datavideo DV Repeater to provide multiple parallel DV outputs, a DV recorder and monitor. Input audio can be monitored at the Headphone jack (26.), using the Headphone controls (23.) to set the level and the button to cycle through input busses. With the input bus set to Video (VCR), use the Audio Input selectors (2.) to audition individual sources. For output audio monitoring with headphones, set the Headphone selector to MASTER; to monitor through an amplifier and speakers, make sure the MASTER button is lit in the Audio Faders (21.) section. For more information, see Controls and Operations, page 22.

Cutting between sources

The simplest way to cut (switch) between source video inputs: use the Video Main Source buttons (4.) to select which input goes to the program monitor (output). Look at the results on your program or record monitor.
Dissolving between sources
Select the Main Video Source (4.) by pressing the appropriate channel button. The LED for the channel you have selected should be lit and you should see that source on the program monitor. Select the Sub Video Source (5.) you want to dissolve to. Make sure the Mode Selector (11.) is on Video (the LED on the button will be lit). With nothing selected in the Transitions (20.) controls (no LEDs lit on any of the buttons means none are selected. If one is selected at power up, press it to deselect.), the default transition is dissolve. Move the T-Bar (12.) to the opposite position and watch the dissolve happen on the program monitor. You can stop the dissolve part way through and watch a mix of the sources. Or: Select the Fade transition button (20.) by pressing it until it is lit. Set the speed for the transition using the SPD key on the Keypad (18.) to change the read out in the Speed window, on the right above the Keypad (1 is slowest, 9 is fastest). Hit the Take-button (20.) and watch the transition automatically happen. If you want to switch automatically between the audio channels associated with each source, make sure the A+V button (6.) is lit. You should see the resulting transition on your program monitor.

Input Formats

This is the second thing to do when setting up your SE-800 for use: select the input format for each channel you be using. These controls are active as soon ll as you push the upper channel select button. They become inactive when you have cycled through all 4 channels or when you press a button in any other control except the Color Processor. Select a channel and it is temporarily shown on the video output, allowing you to select the proper video format and use the Color Processor (see below). The lower button makes the format selection and lights an LED to indicate the choice. DV=IEEE 1394 digital video (a.k.a. Firewire, iLink) V=composite video S=S-video (Y/C) (S-VHS, Hi8, etc.) YUV=analog component video (Betacam, DVCPro, DVCam, etc.) Settings made in this section are remembered by the SE-800 after you power down the unit. In other words, these settings remain in effect until they are changed or the Reset All button is pressed (see Color Processor below). For more information on video formats, see the Appendix, page 59.
Tech note: Transcoding is the act of changing video from one format to another,
for example, from composite video to S-video. The SE-800 has been designed to perform transcoding, as well as digital to analog and analog to digital conversions, as part of its standard operating procedure. Select a video source at the Main Source Input bus, and it will be available at the Main Output in all formats, digital and analog, simultaneously. With the exception of analog component (YUV) and S-video (Y/C): only one of these output formats can be available at a time.

Color Processor

The Color Processor is active only when the Input Format section is active. Its controls work on the channel selected by the upper button in the Input Format section, which is temporarily displayed at the Video Output. These controls are like picture controls on a video monitor or the proc amp (processing amplifier) controls on a time base corrector. In fact, they are the proc amp controls of one of the SE-internal s TBCs. On the left side of this section is a column of 9 LEDs, 4 red ones above and below the green LED marked U. These LEDs are lit, and this section controls are engaged, when any of the 4 pairs of control buttons s
(Brightness, Contrast, Color, and Tint) are pressed. U stands for Unity, or perhaps Unchanged. In either case, it shows that the signal passing through that particular control is being neither boosted nor cut. To see the settings for another control, press either one of that control buttons. To change the settings, press the s up and down arrow buttons. You can see the extent of color processing available in this section by experimenting with the controls. Brightness has to do with how light or dark the colors in the image will appear at the Video Output. The Contrast controls affect the range between the lightest and the darkest parts of the image, including how much shadow and highlight detail can be seen. Color controls the saturation or intensity of the color image, from fully saturated or extremely intense at the top of the scale to completely desaturated or monochrome (black and white) at the bottom. The Tint buttons (NTSC only) control the actual hue or specific colors in the image, in effect rotating all the colors equally around an imaginary color wheel. The up and down Tint buttons do double duty as Reset and Reset All. Reset works on the selected input source, and when pressed and held for 2 seconds, resets the Color Processor controls and R.G.B. white balance corrector for just that input to U or unity. (Press and hold the Reset button until you see the image shake a bit and return to it unprocessed state.) Reset All is activated the same way, but resets the Color s Processor and RGB Corrector settings on all 4 inputs to U or neutral. But how do you know for certain how effective any of these adjustments are? You can see the changes by looking at the Main Output on a video monitor, but how do you know if that reference is accurate? The first part of the answer is: by having an accurately calibrated monitor that shows exactly, with reference to a standard, what the video looks like. That standard has been described and agreed to by the Society of Motion Picture and Television Engineers (SMPTE) and the European Broadcasters Union (EBU), and is most commonly shown as color bars. Color bars are an image consisting of columns and blocks of specific colors and gray tones. Because of differences in television standards, SMPTE bars and EBU bars do not look the same. They are used in much the same ways: when these are displayed on a monitor, the monitor can then be adjusted to meet the standard. The most serious, accurate color correction is done with the aid of a waveform monitor/vector scope, a signal analysis instrument (actually a pair of instruments) common in video editing suites, which shows precisely the details of the video signal. With one of these instruments, you can see at a glance (once you know what you are looking for) the most intimate electronic details and irregularities of the video signal. Many users may not have access to a waveform monitor or vector scope, but this does not necessarily condemn them to produce less than high quality video. It means that more care must be taken and some different procedures must be followed. Nothing will take the place of a calibrated, properly adjusted monitor, so that must always be your first step. For more information on monitor calibration procedure, see Appendix: Monitor Calibration, page 55.

Selecting and customizing an effect
To apply an effect to the input selected on the Main Video Source bus: press the button associated with the effect (the LED on the button will light, confirming the selection), and adjust the parameters using either the buttons associated with the effect or the Keypad. For more information, see the appropriate section below.
Using the Keypad to customize an effect
The Effects and Speed windows at the top of this section display parameter data related to the selected effect. Press numbers to enter values into the Effects Window. Values are entered into the Speed Window by pressing the SPD key. The arrow buttons at the bottom can be used to set the location for the Picture in Picture Window. See the relevant section below for specific details about each effect.

Freeze

This effect freezes the incoming video, as selected on the Main Video Source bus. Simple as that! There are no parameters, no variations. Press the button once, and the video freezes, press it again, and it returns to the selected source in full motion. The Freeze effect is single channel, and can work in conjunction with any transition.
MISC Mode will have more features added. Currently you can have more features by the operation procedures as below: Strobe effect: Press the MISC button 01 keys Take button Black and While video effect: Press the MISC button 02 keys Take button This effect takes a freeze frame of the selected incoming video at one of four preset rates. Engage the effect by pressing the MISC button and verifying that the LED on the button is lit, the rate (1 to 4) is adjusted by pressing the SPD key on the Keypad; the rate is displayed in the Speed window above the Keypad. 1 is the fastest rate (more frames per second), 4 is the slowest. This is a single channel effect and cannot be used with any other transitions or effects.

Effects: Mosaic

The Mosaic effect turns the selected Main Source Video into a grid of colored squares. Engage the effect by pressing the Mosaic button and verifying that the LED on the button is lit. There are 8 mosaic patterns to choose from; selected by repeated presses of the up and down buttons. The patterns are represented by numbers 1-8 displayed in the Effects window above the Keypad. 1 = small mosaic blocks, horizontal and vertical 2 = medium mosaic blocks, horizontal and vertical 3 = large mosaic blocks, horizontal and vertical 4 = very large mosaic blocks, horizontal and vertical 5 = very large mosaic blocks, vertical only 6 = large mosaic blocks, vertical only 7 = medium mosaic blocks, vertical only 8 = small mosaic blocks, vertical only The effect can be applied to the whole image or one of two window sizes, which can be positioned anywhere on the screen, using the Joystick in Position Control Mode. The size of the effect window is represented by numbers 1-2 displayed in the Speed window above the Keypad, and may be changed by pressing the UP and DOWN Arrow buttons beneath the PIP button. PIP off = the effect is full screen

Background

While not strictly an effect, these controls are in the same general area, and we thought you look here for d any information you might need. These controls select what solid color the background will be when selected on either the Main or Sub Video bus. There are eight possible background colors; see below, with the value displayed in the Effect window above the Keypad. The background colors are: 1: black 2: blue 3: magenta 4: red 5: green 6: cyan 7: yellow 8: white Engage this control by pressing the ON button in this section. The LED on the button will blink to indicate that the controls are active. Repeated presses of the COLOR button select colors: 1 is black, 8 is white. When you have selected the color background you want, lock the choice in by pressing the on button again to disengage the control.

Chroma Key

When engaged, Chroma Key removes the selected color from the Main Video Source and reveals the corresponding portions of the Sub Video Source. To engage this effect, select sources in the Main and Sub sections. Then, press the Chroma Key button once to select video as the key overlay (INTL LED will light), press a second time to select EXT (LED is lit) for PC/MAC SDI CG overlay, and a third time to select both. You may turn off the INTL Chroma Key function to have system default Chroma Key at EXT SDI CG Overlay, see page 67 for more detailed control operation. Repeated presses of the Color up and down buttons select the color to be removed. Some examples are: 1: red 2: pink, 3: orange, 4: orange-yellow, 5: yellow, 6: yellow-green, 7: green, 8: green-cyan, 9: cyan, 10: cyan-blue, 11: blue 12: blue-purple, 13: purple, 14: magenta 15: black; 16: white
Repeated presses of the Level up and down buttons sets how much of the color will be removed. Color (15 possible colors) and level (15 levels) information is displayed in the windows above the Keypad (18.)

Sample applications

We figured, being practical minded, that the best way to show off what the SE-800 can do is to give you some examples of how it could be used in real life situations. If you haven yet looked at the Quick Start t section please do so now. The following three examples are the basis for that section, with more details explained below. Each example refers to a block diagram for set up and connections. Each of these examples is meant to illustrate a typical type of use for the SE-800. Needless to say, there will be gazillion (several orders of magnitude higher than a billion) variations on any of these themes. Try to look for the principles of each set up and adapt these to your particular situation. As you get deeper into working with your SE-800 in different situations, you should familiarize yourself with the Tech Notes, page 53 and Accessories sections of the Appendix, pages 60 for a quick index of how to do various things with your digital Switcher.

frame synchronizer: a digital buffer that stores a frame of video, compares the sync information to a reference, and releases the frame at a specific time to adjust for timing errors. glossary: a list of difficult or specialized words for reference. GPI: General Purpose Interface, a simple trigger device. hue: a specific color; one of the 3 attributes of color, see also saturation, brightness. IEEE1394: a low cost digital interface that can transport data at up to 400 Mbps. impedance: A.C. resistance in an electrical circuit, measured in Ohms. Impedances must be matched in audio circuits to avoid distortion and the introduction of noise. key: 1) in lighting, short for key light, the principle (usually brightest) light used to illuminate the main subject; 2) to switch between two or more video sources using a control signal; 3) an image whose color or brightness is used to determine the switching between two or more video signals. level: another word for signal strength, power, volume. line level: an audio signal level, between 10dBu and +30dBu, likely to be the output of a cassette deck or CD player as opposed to that of a microphone. Line level signals are most often unbalanced luminance: the brightness or intensity of an image, in particular the brightness without regard to color. microphone level: a high sensitivity audio input intended for low level signals, such as a microphone, typically below 30dBu. nonlinear editing (NLE): video editing methods that record source clips on a hard disk, allowing the user to assemble the clips into any order and see the result without shuttling through the tape from beginning to end. overdub: to add a signal or channel to existing material, especially audio. overlay: to show one image (still, moving, or text) on top of another image. pan: moving the camera or point of view horizontally. See also tilt, zoom. parameter: a limit, boundary, or defining term. pixel: picture element, the smallest part of a picture that can be addressed or changed in a digital image. posterize: to transform an image to a more stark form by rounding all tonal values to a smaller number of possible values, with the result being visible banding. resolution: a measure of the detail in an image or a sound. Image resolution is often described in pixels (i.e., 1024 x 768 pixels) or bit depth (i.e., 8 or 10 bit). Sound resolution is described in terms of sampling frequency (kHz.) and bit depth. The higher the numbers, the greater the possible detail. RGB: one format of component video; one of the descriptions of component color space, in this case Red, Green, Blue. See also Y.U.V. sampling frequency: the number of times per second that a sound's waveform is captured and converted to digital form, expressed as kiloHertz (kHz.). saturation: indicates the strength or richness of a color; from paint mixing terminology, the amount of the color pigment in the mix. SDI: Serial Digital Interface, a standard for 10 bit digital video with a transfer rate of up to 270 Mbps. shot: a single continuous run of film or videotape. signal: an electrical current that transmits video or audio information. SMPTE: the Society of Motion Picture and Television Engineers, the standard-setting professional organization for American television. solarize: to invert a range of brightness values in an image. S-video: Y/C separated video, used with a specific round, 4 pin plug.

sync: electronic pulses that synchronize the scan rates of different components (cameras, recorders, switcher, etc.) in a video system. THD (Total Harmonic Distortion): Of a signal (most often audio), the ratio of the sum of the powers of all harmonic frequencies above the fundamental to the power of the fundamental, usually expressed in dB. Useful measurement of the accuracy of an amplifier or signal processor. tilt: camera movement of pointing the lens up or down time base corrector (TBC): a frame synchronizer used to correct timing errors in a video stream. unbalanced: an audio circuit in which the 2 legs are not balanced with respect to ground. Less expensive to make, but more susceptible to noise and distortion. vector scope: a test instrument for displaying color hue and saturation in a video signal used to aid in color correction. waveform monitor: a test instrument which shows a graphical representation of the luminance levels of the video waveform, used, in conjunction with a vectorscope, as an aid in color and image correction and video system set up. white balance: the adjustments of color circuitry in a video camera to produce an image with balanced white and color components, where the white component has a specific color temperature or color cast. Y/C: the separate processing of the light (luma or Y) and chroma (C) parts of a video signal for higher image quality than composite video; a.k.a. S-video. Y.U.V.: one of the formats of component video; one of the descriptions of component color space, in this case Y (luminance), and U (blue), and V (red) hue saturation. zoom: 1) to change the size of an area selected for display to provide either a more detailed view or more of an overview; 2) for a camera shot, to change the distance relationship between the camera and subject.

Tech Notes

Books are written about many of the topics below, large and complex books. Look for them if you want more information than what we have presented here. What we want to do here is to provide a bit more in depth information, deeper background, on some relevant topics, and give you a framework for further technical investigations.

Video Standards, Formats, and Quality
Video standards refer to the broadcast and/or viewing systems; they are specific to certain regions of the world. In the US, Canada, and Japan, the analog standard is NTSC (which stands for National Television Standards Committee, the organization that formalized the standard). In Europe (except France and Eastern Europe), the standard is PAL (phase alternate line). In France, the Middle East, and most of Eastern Europe, SECAM (sequential coleur avec mmoire) is the standard. Why is this important? In part, because each standard requires compatible monitors, cameras, VCRs, projectors, and switchers. The signals are electronically different from format to format, and so cannot interoperate unless the equipment is specifically designed to be multi-standard. Within each standard are multiple formats - different systems of recording video onto different types of medium. At the lowest quality and cost level is VHS, a composite form of video, meaning the chroma (color) and luma (lightness) bits of information are electronically mashed together into one signal: convenient, inexpensive, and very much of a compromise of image quality. Colors are not reproduced especially brilliantly, but firsts generation quality is usually high enough for accurate viewing. 8mm is the similar format but recorded on narrower tape. Plugs for composite video can be either RCA or BNC. Y/C, or S-video, is so named because the chroma (C) and luma (Y) information is kept separate in the signal, processed separately, and even transmitted separately. The result of this separation is far greater color fidelity and detail. S-video can be recorded onto specially formulated VHS (S-VHS) or 8mm (Hi8) tapes. There is a special 4 pin connector for Y/C signals. There are many variations of 3 wire analog component video: Betacam, MII, etc. They are all relatively (but not completely) similar ways of describing a color space like Y/C, except that the C component is broken into 2 signals, for maximum color reproduction, fidelity, and detail. You may see the signal described as RGB, YUV, YCC, Y B-Y R-Y. Usually cables with BNC connectors are used for component signals. DV, digital video, is a compressed 8 bit digital format that encodes video and audio into one digital stream. The video is compressed at roughly 5:1; the audio can be either bit channels sampled at 48 or 44.1 kHz or bit channels sampled at 32 kHz. DV is transported, in digital form, via FireWire (or IEEE1394 or iLink) cables, which can have 4 pin or 6 pin connectors. The signal is the same regardless of the connector. DVCAM and DVCPro are Sony and Panasonic (respectively) professional implementations of the s s native DV spec. Encoding, sampling, audio, and compression are the same as DV, but the signals are stored onto cassettes that have a more robust transport and better tape formulation. SDI (Serial Digital Interface) is a standard for transmitting 10 bit component or composite digital video and four channels of embedded digital audio along a single coax cable (with a BNC connector).

The point of all this technical information is ultimately to help you to make high quality video: video that looks good and serves the purpose for which it is made. But how do we know if the video is of high quality? And what does that really mean? There are certain technical standards that video must meet simply in order to be viewable on a monitor. And beyond that fairly cut and dried realm is the area of aesthetics. Which leaves us with the notion that most discussions of video quality are relative, in the sense that there is a context, a purpose to which definitions of quality level relate. For example, a video that looks acceptable on an inexpensive television set might look absolutely horrible on a high end video monitor. Is this because the expensive monitor cannot display the video properly? No, probably not. In fact, the reverse is true: the inexpensive monitor doesn t show enough of the signal to reveal how bad it actually is or where the problems actually lie. The context in this case is the display, the quality of the monitor. As video makers, we have to produce to the quality specifications our clients demand, what is appropriate for the project, what they can afford. If the clients are ourselves, then the quality level has to be better than the weakest link in the viewing chain - now or in the future - but not so good that the cost of producing prohibits the production. One important way, perhaps the most important way, to make sure that your video really looks as good on other monitors as it does on yours is to monitor the video with a properly calibrated monitor of as professional-level quality as you can afford. See below for some methods to calibrate monitors. And it goes without saying that you should have dependable, high quality audio monitoring as well, either through headphones or speakers you can trust. A second way to be sure that your video looks as good as it can is to use, if available, monitoring test equipment (waveform monitor, vector scope) in parallel with the well-calibrated monitor mentioned above.
Monitor Calibration (procedures, test patterns/bars)
The following technique was suggested by an old broadcast engineer who began working in video when tape was two inches wide and scene changes were made with razor blades and tape, Fades and dissolves did not exist. One had to walk up 6 flights of stairs to the studio and back, often carrying a 65pound camera. Test instruments were expensive and often unavailable. Network engineers had to find a convenient, simple, reliable way to calibrate monitors that could be done in the field. (You could always recognize one of these fellows by the Wrattten 47B (dark blue) they kept in their wallets or in their mechanical pencil pocket protectors, along with their little screwdrivers.) To calibrate a monitor is to adjust it so that it displays colors that are the same as a standard. That standard, and a major aid to calibration, is called color bars: a pattern of colored strips (and in some cases gray scale strips) of very specific colors, arranged in a very specific way. To do the following calibration procedure, you will need a source of standard color bars. There are several possible places to get this: your camera may generate bars; perhaps your black burst generator puts ouT-Bars; you could use a graphics program on your computer to display an image of standard color bars. There are numerous places on the Internet to download standard color bars if you don have them; do an t Internet search for color bars and take your pick. The following procedure will be described using SMPTE bars, but EBU bars will work for most of this technique as well. As you will see, they bars are different in format, in part because of the differences in

broadcast systems between NTSC and PAL, but much of the usage will be the same. You can use the SMPTE bars regardless of where you are and what video system you are producing for, just as you can use EBU bars wherever. You notice that the EBU bars don have the gray scale information ll t The first thing to do is to get the color bars displayed on the monitor you want to calibrate. And then, locate the image controls on the video monitor, as these are the ones we will be adjusting. Turn the contrast control to its midpoint. Turn the chroma (color) control all the way down so the screen image is shades of black, white, and gray. Look in the lower right corner of the color bars. In the absolute lower right corner is a black square. Immediately to the left of that black square are three thinner vertical bars. (These are called Pluge Bars, which stands for Picture Lineup Generating Equipment.) Actually, when the monitor is correctly adjusted, you should only see two of these bars. Adjust the brightness control until the bar on the right is jusT-Barely visible, and the bar in the middle is jusT-Barely not visible. Now look at the lower left hand corner: the second box in from the left is a pure white. Turn the contrast control all the way to maximum and watch the white box flare and bloom. Now turn down the contrast control just until the white box begins to change noticeably. At this point, the Pluge Bars should still look as you set them in the previous step above: only the rightmosT-Bar should be barely visible. If that is not the case, adjust the brightness control until it is. If your monitor doesn have a blue only switch, you have to do this next bit strictly by eyeball and t luck: put the color control to the midpoint, and adjust the hue control so that the vertical yellow bar is a lemon yellow (no orange or green tint) and the vertical magenta bar should not tilt toward red or purple. If your monitor does have a blue only switch, or if you can find some blue lighting gel (like Wratten 47B dark blue), make it so the monitor is blue only. As you look at the top half of the bars, the large vertical bars should look like alternating bars of equal brightness. Adjust the chroma control until the gray bar on the far left and the blue bar on the far right are of equal intensity. As an aid in doing this, look at the line of horizontal bars and match the gray vertical bar on the left with the gray horizontal bar on the right. Or do the same with the blue bars. Next adjust the hue control until the cyan and magenta vertical bars are of the same brightness. Use the same technique described above, matching the vertical bar with the diagonally opposite horizontal bar of the same color. The goal of these last 2 adjustments, to chroma and hue, is to make the 4 large vertical bars (gray, cyan, magenta, and blue) of all the same intensity or brightness. When that is done, turn off the blue only switch or remove the blue filter, and look at some program material (video) with skin tones, and use that as a somewhat subjective (though accurate) basis for making fine tuning adjustments to chroma and hue. If you have a waveform monitor and/or a vector scope, you can and probably do use it to check and adjust the input video signals. The instruction manual will give you all the information you need. But, if you don have a waveform monitor/vector scope to adjust incoming video, you can make t those adjustments by eye, using the SE-800 color processing controls, now that you have a properly s calibrated program monitor. The process for each input channel will be very similar to the process we just used to calibrate the program monitor, except we were adjusting the controls on the monitor, and now we will be adjusting the controls on the SE-800.

Useful Accessories from Datavideo
Datavideo TLM-404 4x4 TFT LCD panel
Datavideo TLM-404 is a 4x4 TFT LCD monitors, 2U height design for standard 19" rack mount. NTSC/PAL video format auto recognition with video pass through 75-ohm self-terminated video output connector. The "AUX" input provides options for external format converters such as SDI and DV input converter. The tilt hinges let you tilt the screen +/- 30 degree with contrast, brightness, color and tint (Tint only available for NTSC) controls for a best view quality of display.

l l l l l l l l

LCD Display Aspect Ratio Brightness (luminance) Video Input Video Output Video System Tally Indication Power Consumption
4" TFT LCD active matrix, resolution 480 x 234 4:NITs 1.0 Vp-p, 75 Ohm Loop-through with self 75 Ohm-terminated NTSC/PAL auto recognition Three-Way Tally LED indicators DC12Volt. 50W.
Datavideo RMC-90 Remote Control Panel
RMC-90 is a Remote Control Panel specially designed to work with SE-800 control panel simultaneously. RMC-90 provides a wired remote function of video channel selection keys, programmable effect function keys, T-Bar control most of the control key functions from SE-800. It includes a Tally control for the Datavideo TLM-404 LCD panels and three GPI triggers to control Datavideo DV Bank.
Datavideo DV Bank Native DV recorder and GPI Trigger cable Built-in 120GB HDD for 9 hours native DV backup recording
DV Bank is the industry-standard, stand-alone solution that allows video professionals to capture digital video (DV) content directly to a high performance disk drive-based system while shooting or anytime afterwards. Once your video is captured on the DV Bank, it can be quickly and easily accessed in a non-linear fashion for in-field review and logging. DV Bank FireWire s (IEEE-1394) interface allows direct capture from Digital camcorders, VTR or Switchers. With its simple and dependable s VTR-style controls, the DV Bank is very easy to use and integrates seamlessly with your existing studio and location equipment.
Datavideo BAC-03 Balanced-Unbalanced Audio converter
The BAC-03 is a bi-directional unbalanced to balanced and balanced to unbalanced audio converter, with four independent amplifiers providing stereo audio input and output.
SPECIFICATIONS INPUT LEVEL INPUT IMPED GAIN OUTPUT LEVEL OUTPUT LOAD FREQ RESPONSE NOISE LEVEL DISTORTION POWER INPUT DIMENSION UNBAL to BAL output -10dBv nominal 50K ohms +4 to +20dB 0 to +8dBm nom, +22dBm max 600 ohms or higher, balanced DC to 25kHz, +/-0.5dB 80dB below nom output level <0.01% at any frequency DC 12V, 200mA 140(W) x 112(D) x 40(H) mm BAL to UNBAL output 0dBm to +8dBm nominal 0K ohm -20dB to +18dB -10dBv nom, +20dBv max 600 ohms or higher, unbalanced DC to 25kHz, +/-0.5dB 80dB below nom output level <0.01% at any frequency

Bi-Directional IEEE/1394 DV Format Repeater:
A smart DV-DA for your studio or field applications. Move the cameras further than 60 feet (20m) from the SE-800 or send the SE-800 output to several other DV Sources.
One channel DV repeater (VP-314)
20 meter DV cable P/N: 2066
One input to five channels output DV-DA (VP-332) Please check website (www.datavideo-tek.com) for the most up to date list, descriptions, and pricing of accessories for the SE-800.
The new functions for unit serial number #0305000427 and after s
In order to have these new functions, there are three firmware ICs need to be changed, which are System ROM-A: V5.2 or higher System ROM-B: V2.1 Video in boards (There are 4 channels Video input boards in SE-800): V5.0 Please Note: The items 1) to item 8) below are ROM-A (V5.2) and ROM B (V2.1) related function, only the item 9) is Vin (V5.0) related function. You may change it accordingly. The new firmware enables new features as below: 1). RS-232 interface control to SE-800 (For the Datavideo RMC-90 Remote control panel or for PC RS-232 interface control) 2). On performing an effect transition, the selected A, B channel LED indicators on Main Source will s be both turned on. 3). Enable the main source output selection during the Input type mode selection. 4). Selectable DV audio ON/OFF 5). Selectable AGC ON/OFF control 6). Adjustable position (50 lines up/down) for external SDI overlay video. 7). Selectable internal Chroma-Key effect ON/OFF control 8). Consistency A/V LED for T-Bar. 9). Instant reset for individual video channel. (Vin firmware related) Please see below for more detail description. 1). Enable RS-232 interface for SE-800 Front Panel Control: Connect the PC/MAC RS-232 interface to SE-800 for different application. (Note: Please see section 5 for the detail RS-232 control protocol) Or connect to Datavideo RMC-90 remote control panel interface as below:
2). On performing an effect transition, the selected A, B channel LED indicators on Main Source s will both be turned on.
3). During SETUP the video format type for channel A, B, C, D, you may select the main source output accordingly to enable the video output to TV display.
4). Selectable DV Audio On/Off This feature enables you to separate DV Video input source with or without DV audio Operation procedure: S1. Click on Setup button to select channel A, B, C or D S2. Select Effect: 01 and Enter S3. Click on the SPD key to toggle speed LED show Y (with DV audio) or N(without DV audio) S4. Click on SETUP button to exit and save the setting condition.
5). Selectable AGC ON/OFF control Procedure to turn Off/On the video input Auto Gain Control (AGC) S1. Click on Setup button to select channel A, B, C or D S2. Select Effect: 02 and Enter S3. Click on the SPD key to toggle speed LED display Y (with AGC control) or N(without AGC Control) S4. Click on SETUP button to exit and save the setting condition.

SE-800AV to DV Upgrade Instructions
http://www.datavideo-tek.com
Parts needed to upgrade the SE-800AV to SE-800: Item
11 SDI OUT Module DV OUT Module DV IN Module IDE FLAT CABLE 26P(female)-26P(female) 50mm UL SDI board rear metal plate DV in board rear metal plate Screws f 3 * 12mmblack Screw ISO w/spring and washer 3 * 8mm Hex risers 17mm Hex risers 20mm Nut f 3 * 5.5mm for hex risers

Description

Part number Num
305-SDI-OUT 305-DV-OUT B361N0-16 20
Step1: Open the SE-800 top cover
There is a screw inside this hole, that needs to be removed. There are another 7 screws on the bottom case to be removed and then you can lift off the top cover.

Step2:

Remove all 4 screws holding the metal braces

Step3:

Remove 10 rear panel screws
Step4: Remove two metal braces, four AV IN Modules and one NO-SDI card

NO SDI Card x 1

AV IN Module Card x 4
Step5: Add four hex risers (17mm) onto the SDI Out Module Card with 4 (5.5mm) Nuts Description Part number
09160000171 17mm hex risers 09140301003

f 3 * 5.5mm Nut

SDI Out Module Card
SDI Out Module Card Description

SDI OUT Module

DV Out Module Card Description

DV OUT Module

Part number

305-SDI-OUT

305-DV-OUT
Step6: Put DV Out Module Card onto SDI Out Module Card with 4 ISO 3 * 8mm screws with the spring and washer. Add on the SDI rear panel with two f 3 * 12mm screws
Description SDI board rear metal plate Screws f 3 * 12mm black Screws ISO 3 * 8mm with spring and washer

Part number 09112300813

Step7: Add four hex risers (20mm) on the AV IN Module Card and fasten with Nuts AV IN Module Card Description Part number 09160000201 hex risers 20mm 09140301003 Nut f 3 * 5.5mm

Step8:

Connect the IDE FLAT CABLE on to J2 of the DV IN Module Card (Please note: the red line on cable should match Pin 1 of J2)
DV IN Module Card Description DV IN Module IDE FLAT CABLE 26P 50mm UL Part number B361N0-305 07640260004
Step 9: Adjust the NTSC/PAL J4 Jumper setting on DV IN Module Card Short on 1&2 for NTSC System Short on 2&3 for PAL System
Step 10: Replace the original AV IN Module Card plate with the DV module plate.
DV module rear Plate Description DV module rear plate (6-Pin DV) Part number

09310003053

Step 11: Add four ISO 3 * 8mm screws onto the DV IN Module Card Connect the 26-Pin FLAT CABLE from the DV to AV card
AV IN and DV IN Module Card Description Screw ISO 3 * 8mm with spring and washer Part number 09112300813
Step12: Follow Step 7 to Step 11 to assemble the three remaining DV and AV modules. Install all the modules with SDI/DV Out Module back onto the SE-800 PCI slot. (Shown below)

Step13:

Attach the metal braces to secure the modules.
Note: The direction of the metal brace assembly.
Note: The direction of metal brace assembly.
Fasten all four screws (two per side)

Step14:

Fasten 10 screws
Step15: Put the top cover on and fasten the screws.
There is a screw inside this hole and another 7 screws on the bottom.